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Scanned  from  the  collections  of 
The  Library  of  Congress 


Packard  Campus 
for  Audio  Visual  Conservation 
www.loc.gov/avconservation 


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Window  shopping  through 

the  world 

Looking  around,  comparing,  deciding  on  colors  and 
flavors  and  textures  and  designs — "shopping"  for 
many  of  us  is  half  the  fun  of  buying  things  and  having 
them.  .  .  .  Other  people  (more  scientifically  minded) 
always  know  exactly  what  they  want,  and  where  they 
want  to  buy  it. 

But  before  anyone  definitely  can  say  "I  like  that 
— I'll  take  it"  in  order  to  spend  money  wisely,  some 
"looking  around"  must  be  done. 

Looking  around  by  reading  the  advertisements 
saves  time  and  trouble  and  money.  For  advertisements 
are  the  shop  windows  of  a  world  of  manufacturers. 
You  don't  need  to  walk  up  Fifth  Avenue  or  past  the 
corner  drug  store  to  see  what  So-and-So  is  offering  in 
the  way  of  silk  stockings,  or  refrigerators,  or  tooth- 
paste, or  automobiles,  or  schools  for  young  George, 
or  vacations  for  the  whole  family. 

The  advertisements  picture,  describe,  explain  the 
merchandise  and  the  new  ideas  that  are  displayed  and 
talked  about  from  Maine  to  California. 

/       /  / 


Read  the  advertisements  because  it 
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Picture  Play 

Volume  XXIX  CONTENTS   FOR   SEPTEMBER,    1928  Number  1 

The  entire  contents  of  this  magazine  are  protected  by  copyright,  and  must  not  be  reprinted  without  the  publishers'  consent. 


What  the  Fans  Think       .       .       .       .  ... 

An  open  forum  for  and  by  our  readers. 

Back  Stage  in  Vaudeville  

A  glimpse  of  William  Haines  and  Josephine  Dunn,  in  "Excess  Baggage." 


You  Can't  Do  That!  

The  vagaries  of  censorship  are  authoritatively  set  forth. 

Oyez!  Oyez!  

John  Barrymore  smashes  some  conventions. 

The  Girl  Grows  Older  . 

Mary  Brian  displays  surprisingly  sophisticated  fashions. 

The  Stroller  

Ironic  observations  of  a  Hollywood  rambler. 

And  Now  the  Deluge!  . 

The  spectacular  production  of  "Noah's  Ark." 

Hot-weather  Cures     .       .       .  . 

Pictures  that  show  how  the  stars  combat  the  torrid  spell. 

There's  No  Place  Like  Home  .... 

Esther  Ralston's  residence  is  minutely  inspected. 

Reginald's  Lament  


Edwin  Schallert 


Helen  Louise  Walker 


Carroll  Graham 
A.  L.  Wooldridge 


Mr.  Denny  proves  that  happiness  and  comedians  are  strangers. 


Margaret  Reid 
Myrtle  Gebhart 


Portrait  of  a  Wow     .       .  . 

A  keen  interviewer's  impressions  of  Joan  Crawford. 

Favorite  Picture  Players  . 

Full-page  portraits  of  eight  favorites. 

The  Interviewers'  Waterloo 

Richard  Barthelmess  is  frankly  analyzed. 

Over  the  Teacups  . 

Fanny  the  Fan  steadily  chatters. 

The  World  Is  Upside  Down  to  Them 

Topsy-turvy  pictures  of  some  stars. 

Just  What  Is  Acting,  Anyhow? 

The  stars  express  conflicting  opinions. 

A  Girl  Comes  to  Hollywood 

The  fourth  installment  of  a  fascinating  serial. 


Malcolm  H.  Oettinger 


Madeline  Glass 
The  Bystander 


Katherine  Lipke  . 
Alice  M.  Williamson 


Manhattan  Medley  .... 

Impressions  of  the  stars  who  visit  New  York. 


.    Alma  Talley  . 

Continued  on  the  Second  Page  Following 


8 
15 
16 
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21 
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24 
27 
28 
32 
34 
35 
43 
44 
48 
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56 


Monthly  publication  issued  by  Street  &  Smith  Corporation.  79-89  Seventh  Avenue,  New  York  City;  Ormond  G.  Smith,  President:  George  C.  Smith,  Vice 
President,  and  Treasurer;  George  C.  Smith,  Jr.,  Vice  President;  Ormond  V.  Gould,  Secretary.  ■'Copyright,  1928,  by  Street  &  Smith  Corporation,  Ne» 
York.  Copyright,  1928,  by  Street  &  Smith  Corporation,  Great  Britain.  Entered  as  Second-class  Matter,  March  6,  1916,  at  the  Post  Office  at  New  York, 
N.  Y.,  under  Act  of  Congress  of  March  3,  1879.    Canadian  subscription,  $2.86.    Foreign,  $3.22. 


YEARLY  SUBSCRIPTION,  $2.50 


SINGLE  COPIES,  25  CENTS 


M.L   MANUSCRIPTS    MUST   BE    ADDRESSED    TO    THE  EDITORS 

We  do  not  hold  ourselves  responsible  for  the  return  of  unsolicited  manuscripts. 


 11  1  ■  Illllllllllllllllllllililllll  Illllllllllllllllllllllllllllllllllllllllllllllilll  I  Illlllllll!l!lllllllllllllllllllllll!ll!lll!llllllllllllll||||l!!!!!lll!lllll||  Illlllllll  II  IIIIIIIIIIIIIII  Illll  Illllllllllllllllllllllllllllli; 


1 


[iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiM  Contents  ContfnueJ 


High-hatting  the  Fans  60 

Who  do  you  think  is  guilty? 

Mother's  Boy  Grows  Up  William  H.  McKegg     .  61 

Barry  Norton,  of  "What  Price  Glory?"  is  interviewed. 

Hollywood  High  Lights     .....    Edwin  and  Elza  Schallert  63 

Paragraphs  of  Hollywood  news  and  gossip. 

A  Confidential  Guide  to  Current  Releases       ...       .       .       .  .67 

Brief  tips  on  pictures  now  being  shown. 

The  Screen  in  Review  Norbert  Lusk       .       .  68 

Critical  opinions  of  the  latest  films. 

We've  Heard  of  California  Sunshine  .       .       ...       .       .       .  .72 

And  now  the  stars  show  how  they  protect  themselves  from  it. 

Money,  But  No  Airs   Myrtle  Gebhart     .       .  74 

A  description  of  Estelle  Taylor. 

"Gimme  a  Lift?"       .       .       .       .       .       .    H.  A.  Woodmansee     .  83 

An  interesting  phase  of  Hollywood  life. 

Far  Away  and  Long  Ago  Myrtle  Gebhart     .       .  84 

The  stars'  earliest  impressions  are  painstakingly  recorded. 

There  Are  Styles  in  Stars,  Too       .       .       .    Ann  Sylvester       .       .  89 

Tracing  some  radical  changes  in  public  taste. 

"Talking"  Bathing  Outfits  93 

Beach  costumes  are  eloquent  this  season. 

Red-headed — By  Preference       .       .       .       ...       .       .       .  .99 

Pictures  of  stars  who  have  heeded  the  call  of  henna. 

Information,  Please  The  Picture  Oracle      .  102 

Answers  to  readers'  questions. 


The  Talk  of  Hollywood 


WHAT  is  sweeping  over  the  motion-picture  colony  like  a  storm, 
threatening  to  wreck  some  careers  and  bring  added  fame  to 
others?  Why,  "talking"  pictures,  of  course!  There  is  not  one  player 
whose  future  is  unaffected  by  this  innovation,  which  is  more  than  a 
passing  fad  and,  indeed,  shows  every  sign  of  completely  supplanting 
silent  pictures  in  the  next  few  years.  Did  you  know  that  one  company 
has  invested  three  million  dollars  in  the  future  of  talking  pictures,  and 
that  within  a  few  months,  a  greater  improvement  has  been  shown  in 
the  recording  process  than  has  been  the  case  with  any  other  develop- 
ment of  motion  pictures  in  the  history  of  their  existence?  All  this  is 
a  matter  of  grave  import  to  the  stars  as  well  as  the  fans,  because  new 
players  are  due  to  appear,  new  favorites  will  surely  develop,  and  an 
entirely  new  form  of  screen  acting  is  expected  to  evolve  from  the 
 combination  of  sight  and  sound. 

"V *»■  %*  *J* The  subject  of  talking  pictures  will  be  thoroughly  discussed  by 
Q<WOOOi(000<     Edwin  Schallert  in  the  October  PICTURE  PLAY,  with  some  amaz- 
ing side  lights  never  before  published.    Don't  even  think  of  missing  it! 
It  will  give  you  an  insight  into  the  future  of  the  movies. 

Leslie  Fenton,  Ben  Lyon,  and  Olga  Baclanova 

Can  you  think  of  a  more  varied  trio?  Leslie  Fenton  with  a  score 
of  splendid  characterizations  to  his  credit,  Ben  Lyon  with  a  legion  of 
fans  who  apparently  never  swerve  from  utter  loyalty,  and  Olga 
Baclanova,  the  Russian  actress  who,  with  only  a  few  roles  to  her 
credit  in  this  country,  is  already  thought  by  many  critics  to  be  the 
supreme  feminine  artist  of  the  screen.  Mr.  Fenton  has  been  inter- 
viewed by  none  other  than  the  controversial  Malcolm  H.  Oettinger, 
Mr.  Lyon  is  the  subject  of  Margaret  Reid's  impersonal  analysis,  and 
Madame  Baclanova  is  described  by  Madeline  Glass.  All  three  articles 
will  be  features  of  next  month's  PICTURE  PLAY  from  which,  of 
course,  the  favorite  Myrtle  Gebhart  will  not  be  missdng. 


if 


IllillllllllllllllllllUIIIIIIIIIIIIIIIIIIIIIIIIEllllllll!  Illllillllllllllllllllffl 


Advertising  Section 


They  gave  me  the  ha-ha 

when  I  offered  to 


•  but  I  was  the  life  of  the  party  after  that 


THE  first  day  of  Dorothy's  house  party 
at  her  cottage  on  the  shore  had  been  a 
huge  sucess.  With  an  afternoon  of  swim- 
ming, boating  and  golfing  we  were  all  set 
for  the  wonderful  dinner  that  followed. 

"Well,  folks,"  said  Bill  enthusiastically, 
as  we  were  leaving  the  table,  "I  don't  know 
how  you  feel,  but  I'm  all  pepped  up  for  a 
good  dance." 

"Fine !"  cried  Dorothy,  "Dick  Roberts 
has  his  banjo  and  can  sure  make  it  hum. 
Now  who  can  play  the  piano?" 

Instantly  the  laughter  and  merriment 
ceased.  All  looked  at  one  another  foolishly. 
But  no  one  said  a  word. 

"How  about  you,  Jim,  you  play,  don't 
you?"  asked  Dot. 

"Yes  I'll  play  'Far, Far  Away',"  laughed  Jim. 
"Well  then,  Mabel,  will  you  help  us  out?" 
"Honestly  Dot,  I  hate  to  admit  it,  but  I 
can't  play  a  note,"   she  answered. 

It  certainly  looked  as  if  the  party  were  go- 
ing flat.  Plenty  of  dancers  but  no  one  to  play. 

Then  I  Offered  to  Play 

"If  you  folks  can  stand  it,"  I  offered 
shyly,  "I'll  play  for  you." 

The  crowd,  silent  until  now,  instantly 
burst  out  in  laughter. 

"You  may  be  able  to  play  football,  Jack, 
but  you  can't  tackle  a  piano." 

"Quit  your  kidding,"  cut  in  another,  "I've 
never  heard  you  play  a  note  and  I've  known 
you  all  your  life." 

"There  isn't  a  bar  of  music  in  your  whole 
make-up,"  laughed  Mabel. 

-  A  feeling  of  embarrassment  mingled  with 
resentment  came  over  me.  But  as  I  strode  to 
the  piano  I  couldn't  help  chuck- 
ling to  myself  when  I  thought 
of  the  surprise  I  had  in  store 
for  them. 

No  one  knew  what  to  expect. 
They  thought  I  was  about  to 
make  a  fool  of  myself.  Some 
laughed.  Others  watched  me 
wide-eyed. 

Then — I  struck  the  first 
snappy  chords  of  that  foot-loos- 
ing fox-trot  "St.  Louis  Blues." 
Dick  was  so  dumbfounded  he  al- 
most dropped  his  banjo.  But  in 
a  flash  he  had  picked  up  the 
rhythm  and  was  strumming 
away  like  mad. 

Although  they  could  hardly 
believe  their   ears,   the  crowd 


PICK  YOUR  INSTRUMENT 


Piano 
Organ 
Ukulele 
Cornet 
Trombone 
Piccolo 
Guitar 


Hawaiian  Steel  Guitar 
Sjght  Singing 
Piano  Accordion 
Voice  and  Speech  Culture 
Harmony    and  Composition 

Drums  and  Traps 
Automatic  Finger  Control 
Banjo    (Plectrum.  5-String 
or  Tenor) 


were  all  on  their 
feet  in  a  jiffy.  And 
how  they  danced ! 
Fox-trots,  waltzes — 
with  rests  few  and 
far  between. 

After  a  good  round  of  dancing  I  decided 
to  give  them  some  real  music  and  began  a 
beautiful  Indian  love  lyric. 

The  couples,  who  but  a  moment  before  had 
been  dancing  merrily,  were  now  seated  quietly 
about  the  room,  entranced  by  that  plaintive 
melody. 

No  sooner  had  the  last  soft  notes  died  away 
than  I  was  surrounded  by  my  astonished 
friends.  Questions  were  fired  at  me  from  all 
sides. 

"How  wonderful,  Jack !  Why  haven't  you 
played  for  us  before?" 

"How  long  have  you  been  studying?" 

"Why  have  you  kept  it  a  secret  all  these 
years  when  you  might  have  been  playing 
for  us?" 

"Who  gave  you  lessons?  He  must  be  won- 
derful !" 

I  Reveal  My  Secret 

Then  I  explained  how  some  time  before  I 
made  up  my  mind  to  go  in  for  something 
besides  sports.  I  wanted  to  be  able  to  play 
— to  entertain  others — to  be  popular.  But 
when  I  thought  of  the  great  ex- 
pense and  the  years  of  study 
and  practice  required,  I  hesi- 
tated. 

Then  one  day  I  ran  across 
an  announcement  in  a  magazine 
telling  of  a  new,  quick  and 
simple  way  to  learn  music  at 
home,  without  a  teacher. 

I  was  a  little  skeptical  at 
first,  but  it  was  just  what  I 
wanted  so  I  sent  for  the  free 
booklet  and  demonstration  les- 
son. The  moment  I  saw  it  I 
was  convinced  and  sent  for  the 
complete  course  at  once. 

When  the  lessons  arrived  I 
started  right  in,  giving  a  few 
minutes  of  my  spare  time  each 


Violin 

Clarinet 

Flute 

Saxophone 
Harp 
Mandolin 
'Cello 


day.    And  what  fun  it  was — even  from  the 
very  beginning.     No  monotonous   scales — ■ 
no  tedious  exercises — no  tricky  methods — 
just  a  simple,  commonsense  system  that  even  a  child  could 
understand.    And  best  of  all  I  was  playing  my  favorite 
numbers  almost  from  the  start. 

Anyone  can  learn  to  play  this  easy  no-teacher  way — 
right  at  home.  The  piano  if  desired;  or  any  other  in- 
strument that  you  may  choose.  Almost  half  a  million 
people  have  learned  to  play  by  this  simple  system  in  less 
than  half  the  time  it  takes  by  the  old-fashioned  methods. 
And  regardless  of  what  instrument  you  pick,  the  cost 
averages  oniy  a  few  cents  a  day. 

Send  for  Free  Booklet  and 
Demonstration  Lesson 

To  prove  how1  simple  and  practical  this  remarkable 
course  is,  the.U.  S.  School  of  Music  has  arranged  a 
typical  demonstration  lesson  and  explanatory  booklet  which 
you  may  have  for  the  asking.  So  if  you  really  want  to 
learn  to  play — if  you  wish  to  win  a  host  of  friends — to  be 
popular  everywhere — write  for  this  free  booklet  and  valu- 
able demonstration  lesson. 

Don't  delay,  act  at  once — fill  in  and  mail  the  attached 
coupon  today — no  obligation  whatever. 

Instruments  supplied  when  needed,  cash  or  credit. 
XJ.  S.  School  of  Music,  537  Brunswick  Bldg..  New 
York  City. 


U.  S.  SCHOOL  OF  MUSIC, 

537  Brunswick  Bldg.,  New  York  City 

Please  send  me  your  free  book,  "Music  Lessons  in 
Your  Own  Home."  with  introduction  by  Dr.  Frank  Crane, 
demonstration  lesson,  and  particulars  of  your  easy  pay- 
ment plan.    I  am  interested  in  the  following  course: 


Have   you    above  instrument?  

Name   

(Please  write  plainly) 

Address   ,  

City  State  .. 


What  the   Fans  Think 


Guide,  Philosopher  and  Friend. 

IN  a  town  the  size  of  Montpelier,  even  a  back-yard, 
fire  calls  for  comment.  A  short  time  ago,  one  of 
our  jewelry  stores  suffered  the  loss  of  some  five 
thousand  dollars  by  theft.  The  offense  was  committed 
by  a  clerk,  a  comparative  newcomer  in  the  city,  during 
the  noontime  absence  of  his  employer. 

Rumors  and  speculations  were  many,  but  one  in  par- 
ticular certainly  roused  my  wrath.  The  youth  is  said 
to  have  had  movie  aspirations ;  indeed,  that  he  once 
started  for  Hollywood.  Consequently,  more  than  one 
person  made  use  of  this  information  in  the  wrong  di- 
rection entirely.  "He  got  his  idea  from  the  movies,  of 
course.   They  are  to  blame.   We  might  have  known  !" 

This  is  the  sort  of  thing  that  surely  makes  me  see  red. 
Why  cannot  people  see  that  the  movies  do  enough  good 
— more  than  enough — to  counteract  any  bad  influence 
they  may  exert  ?  One  cannot  possibly  find  any  thriving 
industry,  in  which  the  good  and  bad  elements  are  not 
always  present.  The  movies  are  no  exception.  Talk 
them  down  if  you  will — but  try  to  get  along  without 
them  !  Just  what,  I  ask  you,  would  the  small  towns  and 
villages,  far  removed  from  the  metropolitan  centers,  do 
for  amusement  were  it  not  for  the  cinema?  They  are 
the  only  way  out.  But  still  a  certain  class  of  people 
kick.  They  say  the  movies  are  an  undermining  influ- 
ence, destroying  the  elementary  goodness  of  the  younger 
generation,  and  introducing  unwelcome  examples  to  the 
old. 

Some  are  more  broad-minded,  of  course.  But  there 
are  those,  I  am  convinced,  who  actually  believe  that  the 
movies  are  all  bad,  right  through.  This  class  are  simply 
laboring  in  ignorance.  Some  of  their  ideas  are  fan- 
tastic, quite  unbelievable.  But  I  have  known  unpreju- 
diced persons  to  be  completely  reversed  in  opinion  after 
viewing  one  of  the  really  worth-while  films. 

In  a  way  they  are  right.  The  industry  does  need 
patching.  But  it  is  yet  a  baby  movement.  Judging  ac- 
cordingly, use  discretion  in  picking  your  films.  If  you 
go  every  night,  quite  at  random,  regardless  of  the  film, 
expect  to  be  disappointed.  Choose  your  pictures,  and 
you  will  not  be.  By  that  I  mean  choose  them  through 
some  worth-while  source.  Among  the  very  best  are  the 
splendidly  frank  reviews  contained  in  Picture  Play, 
and  other  fan  publications.  With  these  as  reference, 
one  need  never  go  blindly  to  the  theater,  whether  one 
lives  in  a  city  or  small  town. 


Read  the  splendid  articles  in  Picture  Play.  They 
are  not  written  as  space  fillers.  They  present  to  us,  in 
the  best  possible  manner,  the  things  we  want  to  know 
about  our  stars — and  the  right  things.  They  are  care- 
fully filtered,  and  only  the  best  remain.  Picture  Play 
deserves  much  credit  for  its  frank  and  straight-from- 
the-shoulder  interviews.  Most  sayings  of  the  stars 
sound  like  hokum,  and  are.  But  these,  especially  those 
by  our  admired  Mr.  Oettinger,  are  well  worth  any  one's 
time. 

So,  you  who  kick  the  movies :  Have  you  read  Picture 
Play  with  an  open  mind  ?  Have  you  seen  the  truly  fine 
pictures?  Or  are  you  laboring  under  a  warped  vision? 

Give  the  movies  a  chance !  They're  doing  their  level 
best  to  please  you,  but  you  make  it  mighty  hard.  Don't 
be  high-hat,  but  judge  them  honestly,  and  I'll  wager 
you'll  find  in  them  just  that  little  something  you're  now 
groping  for,  and  gain  the  friendship  and  understanding 
which  we  who  acknowledge  them  have  gained. 

S.  Garvey  Thomas. 

43  Summer  Street. 
Montpelier,  V ermont. 

Use  Common  Sense! 

We  all  look  back,  with  relief,  that  the  day  of  the  old, 
mechanical  piano  is  ended. 

The  movies  have  become  an  art,  because  they  can  put 
over  acting  without  the  aid  of  voice  or  any  other  sound. 

And  those  who  cannot  hear,  have  found  in  them  a 
real  solace. 

Then  why,  in  the  name  of  common  sense,  are  we  go- 
ing to  be  "educated"  to  Movietone  and  Vitaphone,  and 
all  the  other  such  annoyances? 

In  "Tenderloin,"  for  instance,  the  action  was  slowed 
up  so  the  voices  of  the  actors  could  carry  the  story. 
How  do  you  suppose  that  would  entertain  a  deaf  per- 
son? Not  even  subtitles  to  help,  in  the  slow  places. 
Looks  bad  for  those  who  are  hard  of  hearing. 

And  as  for  those  who  can  hear — I  am  sure  they 
prefer  the  trained  voices  of  stage  folk,  and  the  standard 
stage  acting,  to  this  maudlin  melange  which  gets  no- 
where. 

The  movies  have  plenty  of  room  for  improvement, 
just  as  they  are.  There's  no  reason  why  they  should 
retrograde  like  this.  Editha  L.  Watson. 

711  Seventeenth  Street, 
Denver,  Colorado. 


What  the  Fans  Think 


9 


Does  She  Like  Foreigners? 

Why  all  the  controversies  over  Valen- 
tino? He  was  my  ideal,  and,  so  far,  I 
have  found  no  one  to  take  his  place,  and 
never  shall.  He  had  something  that  I 
can  find  in  no  other  actor.  It  certainly 
was  not  his  love-making,  it  was  some- 
thing deeper. 

I  have  seen  no  letters  in  praise  of 
"White  Gold."  Why?  This  film  is  my 
idea  of  a  perfect  picture.  The  acting  is 
the  best  I  have  seen.  I  rank  "Seventh 
Heaven"  with  it,  and  "Soul  Fire,"  in  which 
Dick  Barthelmess  proved  he  could  act. 
Why  can't  we  have  more  pictures  like 
these,  instead  of  the  never-ending  series 
that  show  nothing  but  jazzy  youth,  and 
drunken  orgies? 

British  films  have  certainly  improved. 
To  me,  American  movies  seem  to  con- 
sist almost  of  the  same  type,  with  a 
few  exceptions.  America  is  crazy  over 
youth  and  good  looks.  In  a  British  pic- 
ture the  dramatic  value  is  taken  more  into 
account,  and  the  surroundings  are  more 
natural.  I  do  not  know  whether  many 
American  fans  have  seen  our  movies,  but 
"White  Gold"  and  "Seventh  Heaven"  are 
more  the  style  of  movie  we  go  in  for. 

One  other  item.  There  has  been  a 
great  number  of  brickbats  thrown  at  the 
foreigners  in  Hollywood.  I  agree  with 
one  of  your  readers  that  the  film  in- 
dustry in  America  would  look  queer,  if 
some  of  the  stars  took  it  into  their  heads 
to  go  back  to  Europe. 

And,  ■  lastly,  I  notice  that  the  "fallen 
stars"  of  Hollywood  are  beginning  to  come 
to  England.  I,  for  one,  do  not  want  them. 
If  they  are  not  good  enough  for  the 
States,  then  they  certainly  are  not  good 
enough  for  us.     J.  Ernest  Browne,  Jr. 

Cairo,  Bridge  Road,  East  Molesey,  Sur- 
rey, England. 

Harbor  Impressions. 

I  am  going  to  tell,  if  I  may,  how  some 
of  the  moving-picture  people  look  in  real 
life. 

San  Pedro  is  really  Los  Angeles  har- 
bor, and  consequently  this  port  is  used 
by  most  of  the  studios,  when  they  have 
a  harbor  scene  to  film.  For  that  reason, 
I  have  had  opportunity  to  see  a  few  of 
the  stars  "emoting,"  and  know  how  they 
appear  while  doing  it. 

Reginald  Denny  is  handsome,  boyish, 
and  seems  to  have  the  same  personality  off 
the  screen  as  on.  He  is  really  better  look- 
ing in  real  life.  I  saw  him  making  the 
yacht  scenes  for  "That's  My  Daddy,"  and 
he  was  patience  personified  with  the  lit- 
tle child  actress  used  in  that  picture. 
He  explained  the  action  to  her,  rehearsed 
it  with  her,  and  gave  her  all  the  best  cam- 
era angles. 

_  Robert  Frazer  made  a  picture  here.  He 
didn't  seem  particularly  handsome.  My 
main  impression  was  that  he  must  have  the 
vocabulary  of  a  government  mule  driver. 
The  day  was  warm,  and  the  director  in- 
sisted on  numerous  retakes.  Between  shots 
Robert  mopped  his  brow,  and  remarked 
quite  audibly  that  the  day  was  hot  as — 
well,  anyway,  he  gave  his  impressions  of 
the  movies  in  general,  the  retakes  in  par- 
ticular, and  the  air  took  on  a  sulphuric 
tinge. 

Milton  Sills — well,  I  don't  want  to  say 
much  about  him.  Mr.  Sills  no  doubt  has 
many  admirers,  and  they  might  not  care  to 
know  that  he  looks  a  great  deal  older  off 
the  screen.  And,-  does  he  like  himself? 
And  how ! 

William  Boyd  is  quite  nice  looking.  Of 
course,  most  of  the  fans  know  that  his 
hair  is  really  gray,  not  blond.  My  im- 
pression was  that  he  is  a  regular  fellow. 


Ramon  Novarro  made  scenes  from 
"Across  to  Singapore"  in  this  harbor.  He 
is  handsome,  with  an  olive  complexion — 
not  too  dark — and  that  spiritual  quality 
so  hard  to  describe.  I  know  that  phrase 
is  overworked  by  admirers  of  Ramon,  but 
it  is  the  only  way  to  describe  it.  He 
seemed  rather  shy,  and  not  at  all  the  over- 
confident type  of  actor  so  often  encoun- 
tered. He  seemed  very  considerate  of  the 
others  in  the  company,  and — this  may 
sound  trite,  but  it's  true — he  is  every  inch 
a  gentleman.  Marie  Price. 

San  Pedro,  California. 

A  Fine  Sentiment. 

"Lest  we  forget"  should  be  graven,  on 
our  calendars,  across  the  months  of  May 
and  August.  Each  one  holds  a  day  of 
memory — the  first,  a  happy  anniversary— 
the  birthday  of  Rudolph  Valentino;  the 
second,  a  sad  one — the  date  on  which  he 
left  thousands  of  hearts  to  weep  his  pass- 
ing. Will  you  remember  Rudy,  fans? 
Will  you  stop  every  once  in  a  while  to  re- 
call details  of  an  undying  past — will  you 
not  think,  sometimes,  of  a  story  we  know 
so  well — Valentino's  life  story? 

Once  Rudy  was  a  little,  dark5eyed,  im- 
petuous boy,  laughing,  with  the  sunshine  of 
his  home  in  the  heel  of  Italy.  There  was 
a  gentle  mother  who  held  him  fascinated 
with  stories  of  daring  ancestors — who 
fought,  ever,  for  honor  and  high  ideals. 
There  was  a  father,  stricken  by  death  while 
his  sons  were  yet  young — placing  a  cruci- 
fix in  the  hands  of  little  Rodolpho — tell- 
ing him  to  remember,  always,  "Mother 
and  Italy." 

Then  later — Rome  and  Paris !  Rudy  as 
a  reckless  youth — hitting  the  pleasure  trail, 
dancing  the  tango,  even  as  did  Julio!  And 
one  cold,  ice-bound  night  he  sailed  into 
New  York  harbor,  greeted  the  lights  of  a 
strange,  new  world  with  dauntless  cour- 
age, and  a  gallant  smile  for  Miss  Liberty! 
He  extended  his  love  to  America,  but 
could  he  have  understood,  this  lad  of  sev- 
enteen, that  in  return  there  would  come 
to  him  the  deep  devotion  of  our  millions? 

Struggle  for  years — hardship,  sometimes 
hunger !  Then  a  chance  in  "The  Four 
Horsemen"- — and  with  romance  and  art- 
istry, inimitable  Rudolph  Valentino  swept 
into  the  drab  humdrum  of  our  lives !  A 
sensation,  a  star — and,  finally,  a  beloved 
friend,  whose  place  in  our  hearts  will 
never  be  usurped  by  another. 

There  were  ifive  glorious  years  that  fol- 
lowed— years  of  amazing  success  for  the 
handsome,  black-haired  Rudy.  Disagree- 
ments, discouragements,  harsh  criticism, 
but  over  them  all  he  rode  triumphant ! 
Behind  the  gaudy  press  agentry  he  was 
simple  hearted  and  trustful,  sensitive  and 
cultured,  never  too  famous  to  take  the 
hand  of  an  admirer  and  say,  "I  thank 
you !" 

Can  we  not  commemorate  the  five  years 
Rudy  was  ours,  even  if  only  in  some  small 
way?  Flowers  may  be  sent  to  his  resting 
place.  Letters  can  be  written  to  friends, 
and  managers  of  the  smaller,  second-run 
theaters  are  only  too  glad  to  grant  the 
request  of  showing  one  of  his  films,  now 
and  then.  Rudy  gave  to  his  fans — his  all. 
Now  it  is  our  turn  for  a  gesture  of  grati- 
tude. Gan  we  not  find  some  way  to  say, 
"Rudy — we  thank  you"? 

Trix  MacKenzie. 

Box  443,  Atlanta,  Georgia. 

They've  Been  Kind  to  Her. 

I  read,  with  great  interest,  the  article 
in  a  recent  issue  of  Picture  Play,  "How 
Can  the  Fan  Please  the  Star?"  Writing 
to  stars,  and  receiving  photos  of  them,  is 
as  old  as  moviedom  itself.    It  is  some- 


thing that  never  fails  to  interest,  and  so 
perhaps  the  fans  would  like  to  hear  about 
my  experiences  in  writing  to  stars. 

I  sent  a  water-color  sketch  to  Norma 
Talmadge,  of  herself,  which  I  painted,  and 
in  return  came  a  beautiful  photo,  auto- 
graphed :  "For  Elinor  Garrison.  Thank 
you  for  your  sketch.  It  is  very  charm- 
ing. Sincerely,  Norma  Talmadge."  It  is 
the  third  of  three  photos  from  Miss  Tal- 
madge, autographed  to  me  personally,  with 
messages  in  answer  to  letters  of  mine. 
When  I  was  ill  and  using  crutches,  I 
wrote  to  Mary  Pickford,  and  told  her  how 
much  I  loved  "My  Best  Girl,"  which  I 
saw,  through  the  kindness  of  a  friend. 
She  replied  with  a  lovely,  large  photo,  au- 
tographed: "To  Elinor  Garrison,  with  lov- 
ing gratitude,  Mary  Pickford."  From  the 
indifferent  Barrymore  himself,  in  reply  to 
a  letter  of  mine,  I  received  a  lovely  photo, 
and  his  autograph  for  my  album,  "To 
Miss  Elinor  Garrison.  Sincerely,  John 
Barrymore."  Mary  Pickford  sent  me  an 
enlarged  snapshot  of  herself,  autographed 
to  me,  and  Richard  Dix  replied  to  my  let- 
ter with  a  personal  answer.  John  Gil- 
bert, my  supreme  favorite,  has  sent  me  at 
least  six  large  photos,  all  autographed  to 
me  personally,  and  from  Vilma  Banky 
came  a  beautiful  letter  of  gratitude  for  a 
letter  I  wrote  her.  I  have  autographed 
snapshots  of  Reginald  Denny,  'Mary  Phil- 
bin,  Olive  Borden,  and  Richard  Dix,  'be- 
sides about  fifty  other  snapshots  of  the 
stars — the  newest  one  is  a  lovely  post-card 
snap  of  Dick  Barthelmess,  in  "The  Pat- 
ent-leather Kid,"  taken  here  in  Washing- 
ton, at  Fort  Lewis.  Irene  Rich,  and  our 
own  Myrtle  Gebhart,  sent  me  beautiful 
Christmas  greetings,  and  on  Miss  Rich's 
sheet  in  my  album,  along  with  her  auto- 
graph, is  a  tiny  photo  she  pasted  on  the 
paper.  I  have  the  autographs  of  at  least 
twenty  famous  English  stars,  a  snap  of 
Betty  Balfour  of  England,  and  two  pho- 
tos and  a  note  from  Ivor  Novello ;  auto- 
graphed photos  of  Pauline  Frederick, 
Pearl  White,  Tallulah  Bankhead — remem- 
ber her  years  ago  over  here,  in  the  mov- 
ies?— and,  Betty  Blythe,  sent  to  me  from 
London.  These  are  just  a  few  of  m'y 
wonderful  photos,  and,  by  the  way,  I  have 
tinted  them  all. 

In  my  album  of  famous  autographs  I 
have  the  following:  Elinor  Fair's  signa- 
ture, Lillian  Gish's,  Myrtle  Gebhart's, 
Clifford  Holland's,  Irene  Rich's,  John  Bar- 
rymore's,  Richard  Dix's,  John  Gilbert's, 
Olive  Borden's,  the  following  from  Fran- 
cis X.  Bushman — "This,  dear  Miss  Elinor 
Garrison,  is  an  oath  of  eternal  friendship 
and  gratitude.  Your  lovely  letter  was 
greatly  enjoyed.  Sincerely,  Francis  X. 
Bushman";  Betty  Balfour's,  Charlotte 
Greenwood's,  with  a  personal  message  to 
me,  Ruth  Taylor's,  Ann  Christy's,  Gloria 
Swansons',  the  following  from  Maurice 
Costello — "To  Elinor  Garrison — May  the 
skin  of  a  gooseberry  be  big  enough  for  an 
umbrella  to  cover  up  all  your  troubles, 
is  the  sincere  wish  of  Maurice  Costello" — 
I  am  very  proud  of  that! — and  "For  Miss 
Elinor  Garrison,  the  good  wishes  of  Alice 
Joyce." 

Do  the  stars  answer  their  mail?  They 
have  been  wonderfully  kind  to  me,  and  I 
appreciate  their  kindness  with  all  my  heart. 
Their  very  kindness  has  kept  me  from  be- 
ing discouraged  during  two  years'  illness. 

Elinor  Garrison. 
1105  Olympia  Avenue,  Olympia,  Wash- 
ington. 

Eddie  Cantor's  Daughter  Speaks! 

Perhaps  the  fans  may  be  interested  in 
knowing  more  about  some  favorites  of  the 
screen,  whom  I  have  had  the  pleasure  to 
meet. 


10 


What  the  Fans  Think 


Clara  Bow. — She's  everything  that  we 
might  expect  of  her.  Very  vivacious  and 
enthusiastic.  She  explained  she  was  mak- 
ing a  study  of  the  different  makes  of  cars, 
and  every  automobile  that  passed  was  care- 
fully scrutinized  by  Clara. 

Lew  Cody. — Brown  as  a  berry,  in  light 
array  of  summer  clothes.    Full  of  humor. 

Norma  Talmadge. — Nice  clothes.  Quite 
regular.  Much  shorter  than  she  appears 
on  the  screen.  She  doesn't  speak  as  you 
might  want  her  to,  after  seeing  her  por- 
trayals; her  voice  is  somehow  different. 

Norma  Shearer. — Just  so  charming.  She 
said,  "Do  you  feel  grown  up  if  I  call  you 
'Miss  Cantor'?"      I  am  twelve. 

Larry  Gray. — Beautiful  teeth,  nice  eyes, 
altogether  handsome.  Quiet  and  gentle- 
manly. 

Jobyna  Ralston. — Very  real.  Her  descrip- 
tion of  her  morning's  adventures  in  mak- 
ing "Special  Delivery"  was  made  vivid  by 
her  facial  expressions. 

Adolphe  Menjou. — He  chews  gum  in  the 
most  adorable  manner.    Speaks  quietly. 

Billie  Dove. — Walks  and  skips,  arm  in 
arm  with  my  mother.  Raves  to  us  about 
her  loving  husband,  Irvin  Willat,  the  di- 
rector. 

William  Powell. — Fun-loving.  Dances 
with  every  girl  on  the  lot. 

Bebe  Daniels. — Helps  the  director  figure 
out  certain  sequences,  and  doesn't  merely 
do  as  she  is  told. 

Georgie  Jessel — Outside  of  Eddie  Can- 
tor. I  think  he  is  about  the  most  humor- 
ous man  on  the  stage,  or  in  the  movies. 
And  so  nice !    Oh,  sister ! 

In  closing,  I  want  to  say  that  I'm  mak- 
ing a  collection  of  Alice  White's  pictures. 
I'd  appreciate  any  pictures  of  that  cutie. 

Marjorie  Cantor. 

234  Lakeville  Road,  Great  Neck,  Long 
Island,  New  York. 

An  Interviewer  Unbosoms  His  Private 
Grievances. 

In  writing  interviews  with  stars  and 
players,  I  get  little  chance  to  express  opin- 
ions of  my  own.  Possibly  my  opinions  are 
not  needed.  But  several  things,  of  late, 
have  occurred  and  will  not  float  away  into 
nothingness.  Therefore  I  must  tell  them 
to  some  one.  And  what  better  way  could 
I  say  them  except  in  this  department? 

In  a  recent  interview  in  Picture  Play 
Gloria  Swanson  frankly  stated  that  she 
"felt  like  an  old  shoe,"  when  she  saw 
Janet  Gaynor  in  "Seventh  Heaven."  I  am 
quite  convinced  that  several  other  stars 
realized  they  were  old  shoes,  after  seeing 
Janet's  performance. 

With  "Seventh  Heaven"  still  in  mind,  I 
am  wondering  why  the  silver  cup  was  given 
to  Dolores  del  Rio  at  the  annual  Wampas 
Ball  in  Hollywood.  The  cup  is  supposed 
to  go  to  the  girl  who  has  done  the  best 
work  on  the  screen  throughout  the  previ- 
ous year.  Miss  del  Rio  is  a  pleasing  ac- 
tress. Her  delineation  of  Katusha,  in 
"Resurrection,"  was  worthy  of  note.  Good 
as  it  was,  it  came  nowhere  near  Janet 
Gaynor's  role  of  Diane,  in  "Seventh 
Heaven,"  nor  her  role  of  the  young  wife 
in  "Sunrise." 

Since  William  Fox  presented  the  Gay- 
nor-Farrell  team,  the  other  producers  are 
breaking  their  necks  in  an  effort  to  ob- 
tain "finds."  Paramount  is  creating  a  big 
furore  over  Fay  Wray  and  Gary  Cooper. 
Ruth  Taylor  and  James  Hall  are  also  to 
be  costarred.  It  will  be  interesting  to  see 
if  the  Paramount  children  turn  out  as  well 
as  Mr.  Fox's  proteges. 

This  last  year  has  also  seen  an  amaz- 
ing run  on  the  tropics.  On  the  stage, 
"Rain"  gave  us  an  unpleasant  idea  of  what 
a  damp  climate  can  do   to  individuals 


penned  up  in  a  native  hotel,  miles  from 
nowhere.  Gloria  Swanson  made  "Sadie 
Thompson"  a  glorious  success.  Not  to  be 
outdone,  Paramount  made  "The  Show- 
down," starring  George  Bancroft.  The 
chief  idea  of  the  picture  was  that  all  of 
the  characters  were  animals  under  their 
skin.    They  blamed  it  on  the  tropics,  too. 

Greta  Garbo  is  the  next  to  be  cast  into 
the  tropics.  The  picture  was  first  to  be 
called  "Heat."  It  is  to  be  set  in  Java. 
Recently,  some  monsoon  of  a  conference 
swept  the  idea  away.  But  very  soon  Greta, 
the  one  and  only,  will  be  seen  sweltering 
with  emotion,  d  la  Sadie  Thompson. 

While  still  broadcasting,  I  might  cor- 
rect one  or  two  details  that  appeared  in 
this  department  in  the  June  issue.  One 
fair  lady,  commenting  on  the  players' 
looks,  et  cetera,  said  of  Gilbert  Roland  that 
"He  has  black,  curly  hair  and  black  eyes." 

Now  I  can  tell  you  every  facial  detail 
of  such  dazzling  celebrities  as  Jetta  Gou- 
dal,  Pola  Negri,  and  the  Garbo- — but  the 
men  I  leave  to  the  lady  scribes.  However, 
to  be  informative,  and  since  I  know  Gil- 
bert very  well,  and  often  see  him,  I  wish 
you  to  know  that  his  eyes  are  a  bright 
gray.    They  photograph  black. 

Madeline  Glass,  one  of  my  fellow 
scribes,  tells  me  that  she  finds  them  very 
magnetic  and  disturbing,  on  the  screen.  I 
don't  know,  as  I  have  eyes  only  for  Greta 
Garbo  just  at  this  moment. 

William  H.  McKegg. 

Hollywood,  California. 

Concerning  a  "Coming"  Bald  Spot. 

There  have  been  many  poor  pictures,  but 
never  one  poorer  than  "The  Patent-leather 
Kid."  It  was  lacking  in  any  element  of 
appeal  or  interest.  The  years  have  not 
made  any  change  for  the  better  in  Barthel- , 
mess,  and  unless  my  eyes  deceive  me,  he 
will  soon  be  combing  his  patent-leather 
hair  over  a  bald  spot.  What  a  sadly  ridicu- 
lous figure  he  made  in  his  fighting  togs, 
and  how  impotent  his  puny  muscles  ap- 
peared. His  acting  was  weak  throughout 
the  whole  picture. 

As  if  the  poor  acting  and  appearance 
of  Barthelmess  were  not  enough,  who  must 
they  add  to  the  cast  but  that  most  in- 
capable of  actresses,  Molly  O'Day? 

Oh,  mystery  of  mysteries,  why  is  this 
characterless,  shapeless  girl  allowed  to 
grace  (?)  the  screen?  If  the  homeliest 
girls  in  America  must  be  chosen  for  ac- 
tresses, why  can't  they  choose  one  with  a 
spark  of  ability?  After  seeing  Molly 
O'Day  and  Barthelmess,  I  give  thanks  for 
the  foreign  invasion.    We  need  it  badly. 

Gene  Charteris. 

Benton,  Washington. 

This  Fan  Likes  a  Certain  Ford. 

Month  after  month  I  read  about  the  vir- 
tues of  Gilbert,  Colman,  and  Novarro. 
And,  I  say  "Yes" — to  all  this  raving— "but 
what  of  it?"    For  my  love  is  yet  another. 

Harrison  Ford  may  not  headline  in  let- 
ters several  feet  high,  but  he  has  been 
giving  us  sincere  and  varied  portrayals 
for  many  years. 

I  wonder  if  there  are  other  fans,  like 
myself,  who  are  fed  up  on  these  high- 
powered  romantic  stars,  and  prefer  the 
sincere,  real  actors  who  are  like  the  peo- 
ple we  know.  Louise. 

New  York  City. 

TheMostDivine  Woman  on  theScreen. 

It  is  about  time  some  one  defended  the 
most  divine  woman  on  the  screen — Mae 
Murray.  Miss  Murray  certainly  can  act, 
as  she  proved  to  us  in  "The  Merry 
Widow."  And  I  think  she  has  by  far  the 
loveliest  face  and  figure  on  the  screen.  I 


know  that  "Valencia"  was  sordid,  but 
could  any  actress  have  made  it  better? 
And  in  "Altars  of  Desire"  she  was  the 
most  exquisite  creature  I  ever  saw,  though 
the  picture  was  bad.  S.  E.  Paxton. 

1118  West  Street,  Topeka,  Kansas. 

Even  Interviewers  Have  Defenders. 

I  have  been  reading  this  department  for 
some  time,  and  the  unfair  criticism  of  Mr. 
Malcolm  Oettinger's  articles  has  made  me 
rise  in  his  defense.  Since  when  has  it 
become  unlawful  for  an  interviewer  to 
express  his  honest  opinion  of  the  person 
he  is  interviewing?  I  will  admit  that  Mr. 
Oettinger's  tone  is  rather  sarcastic,  but 
nevertheless  I  enjoy  every  word  that  he 
writes,  for  it  is  a  pleasure  to  read  what 
appears  to  be  the  truth. 

I  am  an  ardent  fan  and  read  all  the 
movie  magazines  and  have  become  fed  up 
on  all  the  stereotyped,  sugary  stories  that 
appear.  Mr.  Oettinger  is  at  least  original 
and  has  courage.      Virginia  Cumings. 

Washington,  D.  C. 

A  Plea  for  Tolerance. 

In  the  department  "What  the  Fans 
Think" — and  how  ! — I  have  found  some  in- 
teresting observations,  some  very  sensible 
criticism,  and  some  very  idiotic  comments. 

I  have  not,  however,  in  one  magazine 
found  so  many  things  that  I  disagree  with, 
as  in  a  recent  issue.  As  it  is  one  of  my 
hobbies  to  disagree  with  people,  and  there 
is  nobody  else  around  just  now,  I  use  this 
opportunity  to  air  my  views. 

Mr.  Livingston  considers  the  movies  as 
entertainment.  He  may  be  right.  But  why 
not  be  earnest  also  about  entertainment, 
why  not  discuss  this  actor  or  that  actress, 
why  not  compare  your  own  ideas  with  the 
ideas  of  the  "expert  critics"?  Why  not 
learn  to  choose  your  entertainment,  to  dis- 
criminate? If  Mr.  Livingston  does  not  feel 
that  "Faust,"  "The  Big  Parade,"  and  "He 
Who  Gets  Slapped,"  to  mention  a  few  of 
the  better  pictures,  are  giving  him  some- 
thing more  than  merely  a  couple  of  hours' 
pastime,  I  recommend  a  burlesque  show 
with  a  dozen  so-called  wise-cracks  as  far 
better  suited  to  him. 

Miss  Perula  just  can't  see  Mr.  Novarro, 
and  it  is  so  sad.  I  am  sure  he  would  be 
dreadfully  sorry  if  he  knew.  However,  a 
man  would  not  have  reached  the  place 
Mr.  Novarro  occupies  to-day  among  so 
many  able  competitors,  without  the  very 
rare  acting  ability  he  undoubtedly  has.  As 
to  his  personality,  his  fans  may  be  "hys- 
terically enthusiastic,"  and  then  again, 
maybe  not.  Still,  it  seems  to  me  that  Mr. 
Novarro  is  getting  far  less  publicity  than 
some  of  the  others,  which  may  account  for 
certain  of  the  fine  qualities  in  his  nature, 
that  Miss  Perula  refuses  to  believe  he  has, 
like  modesty,  natural  aloofness,  shyness, 
and  so  on. 

And  as  for  Miss  Hart,  it  is  really  too 
bad  they  allow  John  Gilbert  to  live,  let 
alone  play  in  pictures,  when  circumstances 
we  know  nothing  about,  brought  forth  a 
divorce  from  his  wife.  Chaplin,  of  course, 
must  also  be  banned.  Let's  get  together 
and  find  out  something  nasty  about  Von 
Stroheim,  Josef  von  Sternberg,  Eleanor 
Boardman,  and  Pola  Negri.  And,  of 
course,  "the  eye-rolling  Greta" — what  an 
intelligent  expression  ! — must  be  sent  back 
to  Sweden,  even  if  her  personality  is  more 
intensely  interesting  than  anybody  else's 
playing  in  pictures  to-day.  Bring  on  the 
ammunition.  Ben  Horne. 

Ossining,  New  York. 

Some  Roses  for  Buster. 

I  would  like  to  offer  my  sincerest  thanks 
to  Miss  Mildred  Anderson  for  her  letter 
about  Buster  Collier,  which  appeared  in 
a  recent  Picture  Play, 


What  the  Fans  Think 


11 


Why  don't  they  star  Buster?  He  has 
undoubted  talent — he  is  one  of  the  few 
young  actors  on  the  screen  who  is  pos- 
sessed of  real  ability — he  is  versatile,  good 
looking,  and  has  a  charming  personality; 
what  more  could  be  required?  Yet,  in 
spite  of  his  fine,  sincere,  and  natural  per- 
formances in  "The  Wanderer,"  and  sev- 
eral other  pictures,  he  is  still  made  to  play 
second  lead  in  some  films,  like  "God  Gave 
Me  Twenty  Cents."  But  whatever  he  does, 
his  performance  is  always  praised  by  crit- 
ics, and  it  always  deserves  praise. 

Miss  Anderson  is  right  in  saying  he  has 
the  spirit  of  Pan.  There  is  an  elusive 
quality,  a  spirit  of  youthfulness  about  him 
that  is  wholly  charming. 

Well,  here's  wishing  you  the  greatest 
possible  success,  Buster,  and  may  you  soon 
be  a  star  in  your  own  right ! 

Penelope  Storey. 

27  Silverdale  Road,  Eastburne,  Sussex, 
England. 

Another  Tribute  to  Valentino. 

Because  I  resent  so  strongly  what  Elinor 
Garrison  says  about  the  sentiments  ex- 
pressed about  Rudolph  Valentino,  I  ad- 
dress these  words  to  her. 

I  wonder,  my  friend,  if  you  have  ever 
heard  it  said  that  if  you  cannot  say  any- 
thing good  of  a  person,  do  not  say  any- 
thing at  all. 

We  all  make  mistakes  as  we  go  through 
life,  which  hurt  no  one  but  ourselves,  but 
it  is  mostly  through  our  desire  for  happi- 
ness that'  we  take  the  wrong  road.  It 
sometimes  happens  that  we  more  than 
atone  for  these  mistakes  by  the  kindness 
we  show  toward  others.  Valentino  was 
noted  for  this  trait,  for  he  was  generous 
to  a  fault.  Then  again  we  should  remem- 
ber that  it  was  due  to  his  honesty  and  jus- 
tice toward  the  public  that  he  was  off  the 
screen  for  so  long.  He  did  not  wish  to 
cheat  us  by  appearing  in  poor  pictures. 

Perhaps  there  are  many  who  have  given 
their  lives  in  the  interest  of  humanity,  and 
yet  are  not  honored  by  a  memorial,  but 
please  remember  that  the  influence  of  Mr. 
Valentino  was  felt  throughout  the  world 
and  he  who  has  lived  to  lighten  the  burden 
of  life  for  others,  has  not  lived  in  vain. 

If  some  of  us  wish  to  honor  his  mem- 
ory by  writing  little  poems,  et  cetera,  that 
is  no  discredit  to  us.  There  are  many  who 
would  like  to  be  able  to  do  the  same,  had 
we  the  ability,  but  as  we  cannot  we  are 
glad  that  some  one  can,  and  we  treasure 
them  accordingly. 

I,  for  one,  am  deeply  grateful  to  Rudy 
for  the  good  influence  he  had  upon  my 
life  and  I  wish  it  had  been  my  privilege 
to  have  known  him  in  reality.  I  know 
there  are  many  who  feel  just  as  I  do  and 
who  are  anxious  to  see  a  memorial  to 
him  that  would  be  a  fitting  tribute  to  his 
memory.  Brookline  Fan. 

Brookline,  Mass. 

Words  of  Praise. 

To  my  mind,  Picture  Play's  "What 
the  Fans  Think"  is  the  most  interesting 
of  any  department  in  any  motion-picture 
magazine.  As  some  one  has  said,  it  has 
so  much  to  agree  and  disagree  with. 

Why  don't  those  who  are  sick  of  the 
Valentino  poems  just  give  them  a  wide 
berth?  That's  the  best  way  to  keep  from 
being  am.  <r  ed. 

As  t  che  Novarro  controversy,  I'm 
very  glad  to  see  that  so  worthy  an  actor 
and  splendid  young  man  has  so  many 
loyal  admirers.  I'm  one  of  them,  my- 
self, and  I  sincerely  hope  that,  with  "The 
Student  Prince"  and  "The  Road  to  Ro- 
mance," he  is  entering  a  new  era  of  suc- 
cessful pictures. 

But  the  person  who  terms  Renee 
Adoree  "just  a  plump  French  peasant  girl" 
gets    my    ire    up.     Hasn't    this  person 


learned  by  now  that  the  exterior  is  the 
merest  detail  of  a  human  being?  It's  the 
soul  that  matters.  And  who  that  has  seen 
"The  Big  Parade"  or  "Mr.  Wu"  can  deny 
that  Renee  has  a  depth  of  soul  and  feel- 
ing that  many  a  more  beautiful  actress 
lacks.  To  me,  Renee  is  beautiful  because 
I  love  her. 

I  recently  saw  a  delightful  picture— 
"Seventh  Heaven" — and  it  was  nothing 
else  but  that  to  me,  compared  with  some 
of  the  would-be  pictures  I  have  seen  lately. 
I  think  Mr.  Fox  deserves  a  vote  of  thanks 
for  making  splendid  pictures  like  this  and 
"What  Price  Glory?"  Each  was  a  direc- 
torial triumph,  showing  that  the  director 
had  a  free  hand.  Some  of  the  other  pro- 
ducers would  do  well  to  notice  this,  and 
think  more  of  the  ultimate  result,  rather 
than  the  ultimate  dollar.  And  then,  as 
these  pictures  prove,  the  dollars  will  take 
care  of  themselves.  F.  W.  Murnau's 
"Sunrise"  is  another  example  of  Fox's 
method. 

Where,  I'd  'like  to  know,  has  Percy 
Marmont  gone,  and  "why?  He  is  a  real  ar- 
tist. And  why  don't  we  see  Ricardo  Cor- 
tez  oftener?  He  is  a  talented  player  and 
a  magnetic  personality — not  to  mention 
those  eyes  and  that  smile. 

Oriana  Kimler. 
1826  Arcade  Building,  St.  Louis,  Mis- 
souri. 

A  Fan's  "Finds." 

"If  these  aren't  finds,  nothing  was  ever 
lost." 

Gary  Cooper — whoever  discovered  him 
ought  to  be  called  the  Columbus  of  the 
movies.  With  a  little  more  acting  expe- 
rience, he  is  sure  to  be  one  of  the  Six 
Best  Stellars. 

Rosalind  Fuller — a  gorgeous  girl,  totally 
wasted  in  "quickies,"  like  a  jewel  in  a 
tawdry  setting.  She  is  a  miniature  Swan- 
son,  with  a  personality  as  rare  as  her 
unusual  beauty. 

Eddie  Quillan — a  comer  as  a  comedian. 
Unusual  because  original.    Watch  him. 

Arlette  Marchal — glorifying  the  French 
girl.  Loveliest  of  all  the  importations, 
and  worth  a  boatload  of  Polas  and  Jettas. 

Molly  O'Day — a  delightful  colleen  who 
rivals  Sister  Sally  O'Neil  in  pep  and 
charm.  They're  undoubtedly  the  cutest 
pair  of  sisters  on  the  screen. 

Earl  McCarthy — sunk  without  a  trace 
in  second-rate  comedies,  but  a  Jack  Mul- 
hall  in  the  making. 

Virginia  Bradford — a  cameo  girl  who 
might  be  a  big  sister  of  Peter  Pan,  so 
much  does  she  resemble  the  bewitching 
Betty  Bronson. 

Frank  Marion — another  Barthelmess. 
Sincere,  and  bound  to  make  the  grade. 

Walter  Pidgeon — hope  he  gets  the 
breaks,  for  he  certainly  deserves  them. 
Talent,  personality,  and  a  smile  you  can't 
forget. 

Reata  Hoyt — a  young  Lillian  Gish,  but 
with  more  poise  and  appeal. 

Joyce  Compton — the  screen's  prettiest 
blonde.  If  only  she  had  been  cast  as 
Lorelei  Lee. 

Just  a  few  others  who  ought  to  see  their 
names  in  Mazdas  some  day — Larry  Kent, 
Sally  Blane,  Martha  Sleeper,  Arthur  Ran- 
kin, Kenneth  Gibson,  Mona  Palma,  Bar- 
bara Kent,  Arthur  Lake,  Donald  Reed, 
Danny  O'Shea,  Eddie  Phillips,  and  those 
two  snappy  collegians,  John  Westwood  and 
John  Stambaugh. 

Good  luck  to  them  all,  and  to  Picture 
Play,  best  of  all  the  fan  magazines ! 

Kathleen  Greer. 

2660  North  Sixteenth  Street,  Philadel- 
phia, Pennsylvania. 

He  Likes  the  Foreigners. 

Many  fans  assume  a  ridiculous  attitude 
toward  the  players  imported  from  Europe. 


I  think  most  of  them  are  excellent.  Two 
of  them  stand  head  and  shoulders  above 
any  of  our  native  players — Greta  Garbo 
and  Emil  Jannings.  They're  different ! 
Between  them  and  other  players  there 
is  no  comparison. 

It  seems  to  me,  too,  that  all  of  the  for- 
eign directors  have  proved  their  worth. 
Erich  Von  Stroheim  is,  of  course,  the 
greatest  of  all  directors,  past  and  pres- 
ent. Victor  Seastrom  never  fails  to  click, 
nor  does  Ernst  Lubitsch. 

Aside  from  Greta  Garbo,  Lillian  Gish 
is  my  favorite  female  star.  "Annie 
Laurie"  was  terrible,  but  "The  Scarlet 
Letter"  and  "La  Boheme"  were  wonderful, 
and  "The  Wind"  and  "The  Enemy"  prom- 
ise much. 

Theodore  Dreiser  is  America's  great- 
est author,  and  if  Paramount  changes  one 
iota  of  "An  American  Tragedy,"  it  will 
deserve  all  the  ridicule  that  is  poured 
down  upon  it.  They  have  at  present  a 
young  man  suited  in  every  way  to  the 
role  of  Clyde  Griffiths.  That  young  man 
is  Donald  Keith.     Harold  F.  Kinney. 

New  York,  N.  Y. 

Hurray  for  Mr.  Oettinger  ! 

A  few  words  of  praise  'for  Malcolm  H. 
Oettinger,  for  his  frank  and  subtle  inter- 
view with  Pola  Negri,  in  a  recent  issue. 

I  was  not  only  surprised,  but  pleased, 
that  he  dared  risk  her  anger.  So  seldom 
is  the  truth  told  in  interviews — and  I  sup- 
pose there  are  usually  good  reasons,  too ! 
But  this  time  I  suspect  we  got  the  truth 
— and  it  was  a  relief  not  to  read  the  usual 
nonsense.  Instead,  the  grand  and  mysteri- 
ous Pola  failed  to  rake  in  another  victim ! 
The  result  was  that  he  was  able  to  collect 
his  wits  sufficiently  to  write  us  something 
very  clever  and  revealing  about  Pola  Negri. 

Since  her  recent  marriage  to  a  prince, 
Pola  has  lost  many  admirers  and  has  not 
gained  what  she  thought  she  would.  As 
an  individual  I  detest  Pola.  As  an  ac- 
tress I  admire  her.  My  admiration  for 
her  ability  to  act  has  somewhat  cooled  since 
her  public  weeping  over  Valentino,  for  it 
was  quite  apparent  that  her  sorrow  was  not 
sincere. 

There  isn't  a  reporter  who  can  write  like 
Malcolm  H.  Oettinger,  and  since  we  al- 
ways throw  so  many  bouquets  to  our  fa- 
vorite stars,  why  not  send  a  few  along  to 
our  favorite  writers? 

There  is  somebody  I  wish  he  would  in- 
terview some  time — Mary  Pickford  !  It 
seems  as  though  nothing  smacking  of  sin- 
cerity has  been  written  about  her  for  so 
long.  Of  course,  we  hear  about  her  busi- 
ness ability,  et  cetera,  but  I  mean  what  is 
she  really  like  in  her  attitude  toward  peo- 
ple. Is  she  a  snob,  as  has  been  suggested, 
or  is  her  reserve  merely  a  natural  longing 
for  solitude?  Believe  me,  if  Mr.  Oettin- 
ger interviews  her,  we  will  get  the  goods 
straight  from  the  shoulder. 

Frances  Smith. 

1853  West  Forty-second  Street, 
Los  Angeles,  California. 

The  Stars  As  I  Know  Them. 

M.  G.  L.'s  letter  has  inspired  me  to  write 
of  the  stars  as  I  know  them.  I  have  had 
the  good  fortune  to  meet  some  of  our 
famous  stars,  among  them  Lillian  and 
Dorothy  Gish,  Pauline  Frederick,  Irene 
Castle,  Kenneth  Harlan,  Marie  Prevost, 
Mary  Thurman,  Florence  Billings,  and  Ty- 
rone Power.  The  Gish  sisters  are  as  de- 
voted to  each  other  in  real  life  as  they 
appear  to  be  when  playing  together  on  the 
screen.  I  was  with  them  backstage  when 
they  made  their  public  appearance  in  "Or- 
phans of  the  Storm,"  with  D.  W.  Griffith. 
Lillian  is  a  wonderful  conversationalist, 
Dorothy  a  little  shy  when  speaking  in  pub- 
lic.   Irene  Castle  is  another  star  I  had  the 


12 


What  the  Fans  Think 


pleasure  of  knowing;  at  the  time  she  was 
Mrs.  Robert  Tremaine.  She  has  a  won- 
derful personality,  very  frank,  and  hesi- 
tated not  at  all  to  speak  of  the  days  when 
she  worked  with  Vernon  Castle  for  twen- 
ty-five dollars  a  week. 

Of  all  the  stars  I  know  personally,  I 
wish  to  say  that  Pauline  Frederick  is  one 
I  will  never  forget.  I  can  never  thank  her 
enough  for  the  wonderful  advice  she  gave 
me  when  I  was  studying  dramatic  art.  My 
interview  with  Miss  Frederick  was  in  her 
dressing  room.  There  were  no  formal- 
ities. Fans,  when  Pauline  Frederick 
shakes  your  hand  and  tells  you  she  is  glad 
to  make  your  acquaintance,  she  means  it, 
for  she  is  real.  I  have  pictures  of  all 
these  stars  I  have  mentioned,  besides  a 
personal  letter  from  Lillian  Gish. 

The  other  movie  people  I  have  men- 
tioned I  met  in  a  business  way.  In  our 
town  there  was  a  picture  studio,  and  these 
stars  came  from  Hollywood  to  take  part 
in  the  picture.  A  number  of  my  friends 
and  myself  were  called  upon  to  play  de- 
butants, and  in  this  way  not  only  met  the 
stars  'but  were  able  to  see  them  act  before 
the  camera.  Now  let  me  say  for  the  benefit 
of  Edwin  Nobs,  whose  letter  was  indeed 
interesting,  that  I  didn't  just  fall  into  the 
part,  either ;  I  had  to  make  the  casting 
director  really  believe  I  was  sincere  and 
could  act,  and  .that  took  one  good  hour  of 
talking  myself  into  a  job.  Florence  Bill- 
ings was  wonderful  to  us  all,  so  generous 
with  her  suggestions.  Kenneth  Harlan  had 
the  lead,  and  Marie  Prevost  came  to  visit 
him,  as  they  were  very  much  in  love  at  the 
time.  Mary  Thurman  also  was  in  the  pic- 
ture, and  she  had  'bright-red  hair — not 
very  pretty.  Tyrone  Power  did  not  mix 
much  with  the  rest  of  the  cast.  It  seems 
that  the  stars  that  have  reached  the  high- 
est pinnacle  are  the  easiest  to  approach  and 
always  willing  to  lend  a  helping  hand.  I 
am  so  glad  that  some  of  the  fans  are  rec- 
ognizing the  ability  of  Richard  Arlen,  who 
is  now  climbing  the  ladder  of  success. 
Both  Richard  Arlen  and  Richard  Dix  hail 
from  my  home  town,  St.  Paul,  Minnesota, 
and  are  known  to  my  friends  out  there  as 
Richard  van  Mattimore  and  Pete  Brimmer. 

A  Struggling  Artist. 

In  the  Name  of  Peace. 

May  I  thrust  my  sword  between  the 
rapiers  of  the  would-be  fighters  and  say  a 
few  words?  I  think  this  squabbling  over 
Valentino  is  unworthy  of  loyal  and  inter- 
ested American  fans.  Valentino  was  a 
foreigner,  but  he  certainly  was  a  fine  one, 
and  a  man  and  gentleman  that  any  coun- 
try could  be  proud  of — and'  he  could  act. 

Now  there  is  nothing  but  a  beautiful 
memory  of  what  was — and  I  hate  to  have 
it  all  mussed  up  with  criticisms  and  un- 
worthy sayings.  Let  Rudolph  lie  in  peace, 
and  you  would-be  disturbers,  who  cannot 
stand  for  a  few  enraptured  fans  saying 
their  say  in  print,  put  blinders  over  your 
eyes  and  wadding  in  your  ears  and  let 
them  have  their  say.  Rudolph  will  never 
be  forgotten,  and  no  matter  how  much 
abuse  is  heaped  upon  his  worshipers,  his 
name  will  be  a  password  to  a  chosen  few. 
Come,  fans!  Don't  be  mean  and  jealous! 
This  column  is  open  to  every  one,  and  be- 
cause a_  few  wish  to  use  it  as  a  means  of 
expressing  their  last  tribute  to  one  gone 
forever,  don't  take  that  as  a  signal  to 
hurl  brickbats.  It  is  like  having  your  best 
friend  laugh  and  jeer  at  you  as  you  ten- 
derly lay  flowers  on  your  mother's  grave. 
Forget  it,  fans,  and  let  Rudolph  rest  and 
his  peace  he  undisturbed. 

If  some  fans  aren't  ugly  minded  I  miss 
my  guess.  I  wonder  if  I  am  far  wrong 
in  saying  this  of  a  fan  who  recently  wrote 
harshly  of  a  certain  star,  because  he  was 
divorced    and    apparently   neglecting  his 


child.  Does  she  search  the  newspaper,  run- 
ning her  finger  carefully  over  each  line, 
smiling  here,  sneering  there — over  the  lat- 
est divorce  scandal  in  her  home  town? 
She  certainly  must  pay  a  great  deal  of  at- 
tention to  such  things,  when  she  can  quote 
quite  glibly  what  certainly  must  never  have 
appeared  anywhere  but  in  a  newspaper.  If 
she  doesn't  like  the  actors'  lives,  or  what 
they  do,  my  advice  is  to  forget  Hollywood 
and  take  up  Red  Cross  work.  John  Gil- 
bert seems  to  be  getting  along  quite  well, 
and  I  know  for  certain  that  he  is  neglect- 
ing no  one  and  that  he  and  Leatrice  Joy 
are  good  friends.  Why  fans  have  to  pick 
on  a  subject  like  that  for  dispute  in  an 
open  column  is  more  than  I  can  see.  I 
wish  some  one  would  pass  a  law  that  would 
compel  these  persons  to  keep  their  odious 
mouths  tightly  shut. 

I  certainly  agree  with  Miss  Dillon  that 
Warner  Brothers  are  not  doing  their  bit 
right  now.  Even  their  smaller  pictures 
are  monotonous  and  dull,  and  if  one  com- 
pany can  produce  bright,  lively  pictures,  I 
don't  see  why  a  company  that  has  been 
good  in  the  past  can't  wake  up  and  buy 
a  few  really  good  things  before  the  other 
producers  wipe  them  up.  Warners  have 
good  players,  and  they  could  be  the  leading 
producers  if  they  would  wake  up  to  the  fact. 
-  Now,  after  .saying  all  I  Can,  I  think  I 
will  close  with  just  a  word  for  a  few  of 
the  younger  -players.  I  think  that  Jose- 
phine Dunn  is  a  little  beauty,  and  that  in 
a  few  years  she  will  be  doing  big  bits. 
I'm  glad  that  some  one  has  noticed  Eddie 
Philips  at  last,  ,for  ever  since  "The  Love 
Light"  I  have  wanted  that  boy  to  succeed, 
and  if  I'm  not  mistaken,  some  one  will 
surely  do  right  by  him  now.  Barry  Nor- 
ton is  another  who  is  fine.  Charles  Far- 
rell,  of  course,  needs  no  boosting,  for  he's 
sure  of  success,  but  just  for  luck  I  can't 
help  hoping  he'll  come  up  big.  And  last 
but  not  least,  Richard  Dix,  whom  every 
one  seems  to  be  forgetting,  seems  to  be 
coming  .on  better  than  ever.  "Shanghai 
Bound"  was  fine,  and  if  I  had  my  way 
Richard  would  romp  through  several  films 
in  the  lieutenant's  uniform  he  displays  in 
the  last  scene;  Just  a  Fan. 

137  Wilson  Street,  Hamilton, 
Ontario,  Canda. 

He  Appreciates  Conrad  Veidt. 

This  is  my  first  attempt  to  write  a  letter 
for  "What  the  Fans  Think,"  and  it  is 
caused  by  the  wonderful  acting  of  Conrad 
Veidt  in  his  first  picture  for  Universal. 

Some  have  knocked  foreign  players,  and 
some  of  us  have  praised  and  defended 
them ;  I  took  my  position  with  -those  of 
the  latter,  but  didn't  voice  it.  Mr.  Veidt 
comes  from.  Germany  and,  like  Ernil  Jan- 
nings,  is  not  an  up-to-the-minute  sheik, 
nor  a  matinee  idol,  but  truly  an  immortal 
actor.  His  great  acting  ability  was  shown 
in  his  first  picture,  "A  Man's  Past."  The 
story  does  not  amount  to  a  great  deal,  but 
Mr.  Veidt  makes  it  interesting  and  walks 
away  with  the  acting  honors. 

John  Barrymore  has  been  said  to  be  a 
great  actor,  while  others  say  that  John 
Gilbert  has  the  edge  on  him,  but  I  am 
sure  that  all  fans  who  are  discriminating 
will  say  that  Emil  Jannings  and  Mr.  Veidt 
are  artists  of  the  rarest  type. 

Erich  F.  O'Brock. 

4221  Woodbridge  Avenue, 
Cleveland,  Ohio. 

Those  Hideous  Talking  Pictures ! 

Oh,  please,  picture-lovers,  join  in  howl- 
ing off  the  screen  those  hideous  talking 
pictures.  Tell  the  producers  that  we  are 
not  all  imbeciles  and  that,  if  we  want 
talking  actors,  we  know  where  to  go  for 
them,  and  where  we  can  get  Ithem  a  lot 
better  than  any  they  can  give  to  us.  Tell 
them  that  we  don't  go  to  the  silent  drama 


simply  because  we  cannot  afford  any  other 
kind. 

Tell  them  that  the  reason  why  pictures 
have  attained  a  popularity  never  achieved 
by  the  speaking  stage  is  not  because  they 
are  cheap,  but  because  we  ourselves  act 
the  parts  in  the  films  we  watch,  supply- 
ing almost  all  the  dialogue  and  the  em- 
phasis and  everything  which  makes  them 
appeal  to  us,  and  that  once  the  actor  does 
this  for  us,  we  cease  to  live  the  films  and 
become  merely  spectators. 

Tell  them  that  pictures  give  us  dreams, 
and  that  we  can  only  dream  to  music  and 
our  own  thoughts,  but  not  when  some  ac- 
tor is  bothering  us  with  talking. 

Tell  them  that  if  they  were  as  feverish 
to  give  us  something  good  as  they  are  to 
give  us  something  new,  they  would  have 
something  more  to  be  proud  of. 

If  you  don't  do  this,  you  will  lose  pic- 
tures as  you  know  them  now.  Please, 
picture-lovers,  help  to  save  our  precious 
silent  drama.  It  is  not  selfish  to  do  so,  for 
there  is  always  the  speaking  stage  for 
those  who  want  talking  actors. 

Talking  films  are  the  enemy  of  both 
stage  and  screen,  a  horrid  mongrel,  dis- 
loyal and  inferior  to  both  the  arts  they 
attempt  to  combine. 

Picture-lovers,  save  our  pictures — save 
our  dreams  !  E.  W. 

London,  England. 

So  the  Movies  Are  Going  to  the  Dogs? 

Letters  like  the  one  written  by  Trix 
MacKenzie  make  me  boil  over  in  exactly 
the  same  way  that  I  boil  over  when  I 
hear  some  old  fogy  cry  for  "the  good  old 
days." 

No  good  movies  since  "The  Four  Horse- 
men"? Perhaps  I  should  not  be  too  hasty 
in  judging  Miss  MacKenzie.  She  may  be 
one  of  those  poor  benighted  beings  like 
myself,  compelled  to  live  in  a  town  where 
movies  are  slashed  beyond  recognition,  and 
accompanied  by  terrible  music.  I  have 
to  depend  upon  my  frequent  visits  to  New 
York  to  see  a  real  movie. 

But  it  seems  to  me  that  any  one  who  can 
sit  through  pictures  like  "The  Big  Pa- 
rade," "Beau  Geste,"  and  "Seventh  Heaven" 
and  then  claim  that  the  movies  are  going 
to  the  dogs,  is  either  incapable  of  telling 
a  good  picture  from  a  poor  one,  or  is  too 
stubborn  to  admit  that  it  is  good. 

I  hope  to  see  all  three  of  the  above- 
mentioned  pictures  for  the  fourth  time. 
I  go  for  the  sheer  joy  of  seeing  acting 
so  real  that  it  isn't  acting  at  all ;  pho- 
tography so  beautiful  that  it  makes  one 
breathless  with  the  wonder  of  it;  and 
direction  that  is  truly  inspired. 

And  four  years  ago  I  was  bored  to  tears  by 
the  mere  mention  of  movies  !  Does  that 
sound  as  though  they  were  deteriorating? 
They  can  never  deteriorate  while  we  have 
sterling  actors  like  Ronald  Colman,  John 
Gilbert,  Clive  Brook  and  those  newly  dis- 
covered jewels,  Janet  Gaynor  and  Charles 
Farrell ;  or  while  we  have  directors  like 
King  Vidor,  Herbert  Brenon  and  Henry 
King;  and  producers  who  know  how  to 
choose  screen  vehicles  not  only  wisely  but 
well. 

Wake  up,  Trix  MacKenzie — you're  back 
in  grandma's  time  ! 

Eugenie  .van  Houten. 
28  McLaren   Street,   Red   Bank,  New 
Jersey. 

Not  Alone  in  Her  Admiration. 

George  K.  Arthur's  acting  has  always 
afforded  me  a  real  kick.  I  think  he  is  a 
fine  actor  and  recently  discovered  I  am 
not  the  only  one  who  thinks  so.  I  have 
attended  performances  where  noted  stars 
were  applauded  at  personal  appearances — 
have  also  heard  fans  applaud  films  at  ex- 
citing and  thrilling  scenes — but  I  was  cer- 
Continued  on  page  115 


Advertising  Section 


13 


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Don't  look  for  highlights  in  this  picture  .  .  .  EVERY 
scene  could  be  THE  BIG  SCENE  in  any  ordinary  produc- 
tion. The  cast  alone  is  worth  the  ticket-price:  DOROTHY 
MACKAILL,  RALPH  FORBES,  ANNAQ.  NILSSON, 
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A  "Jirat  national  Picture 

ij  Takes  the.  Guesswork  Out  of  "Going  to  the  Movies" 


15 


PICTURE  PLAY,  September,  1928 


VOLUME  XXIX 
NUMBER  1 


Photo  by  Euth  Harriet  Louise 


Great  injustice  has  been  done  William  Haines  by  those  fans  who  have  thought  him  only  a  wise-cracking- 
comedian,  and  he  intends  to  show  them  the  error  of  their  ways  by  revealing  his  more  serious  side,  in  "Excess 
Baggage."  Those  who  have  believed  in  him  all  along  will  be  elated  to  know  that  Billy  finds  a  splendid  oppor- 
tunity in  the  role  of  a  vaudeville  performer  whose  wife,  played  by  Josephine  Dunn,  deserts  his  act  to  go  in 

the  movies,  but  returns  at  a  critical  moment. 


16 


The  atiwists 
have  strenu- 
ously protested 
"The  Godless 
Girl," 
because  it 
discredits 
their  belief. 


You 


THE  title  of  this  article  sounds  like  the  admonition 
of  a  nurse  to  an  unruly  child.  Possibly  it  is — I 
don't  know.  Anyway,  it  has  to  do  with  the  movies. 
Hollywood's  famous  stripling  industry  is  always  get- 
ting into  trouble  on  one  score  or  another.  But  perhaps 
the  greatest  of  its  griefs  is  the  "don'ts"  leveled  at  the 
character  of  its  entertainment.  Broadly  considered, 
these  come  under  the  heading  of  censorship. 

Picture  censorship 
to-day  is  a  vastly 
different  thing  from 
what  it  used  to  be. 
For  one  thing,  it  is 
much  more  compli- 
cated. 

Once  upon  a  time, 
a  producer  knew 
that  when  he  sent 
out  a  film  it  would 
be  gently  but  firmly 
stepped  on,  by  a  few 
censorship  officials, 
if  it  happened  to 
contain  any  scenes — 
well,  let  us  say,  a 
bit  extreme.  But 
now,  he  simply  can't 
tell  who's  going  to 
get  mad  about  a  pro- 
duction. 

Not  long  ago  Italy 
was  suddenly  "up 
and  at  'era,"  so  to 
speak.  They  put  a 
ban  on  the  showing 
of  "The  Temptress." 
Now  what  on  earth 
could  Italy  find 
wrong  with  "The  Temptress"?  This  couldn't  seem  to 
be  solved,  for  the  picture  was  laid  partly  in  France, 
and  partly  in  South  America. 

It  developed  that  it  wasn't  Italy  that  objected,  but  the 
Argentine  Republic.  The  political  leaders  of  that  coun- 
try did  not  like  the  way  in  which  the  lives  of  their  people 
were  portrayed  in  "The  Temptress."  They  considered 
it  distasteful.  So,  the  Argentine  ambassador  to  Italy, 
with  which  nation  the  South  American  country  enjovs 


Much  of  the  original  power  of  "Rain"  was  lost  in  the  screen  "Sadie 
Thompson,"  by  the  utilization  of  a  felicitous  ending. 


A  few  years  ago  the  producer 
but  to-day  he  is  faced  with  in 

By  Edwin 


very  friendly  trade  and  diplomatic 
relations,  went  to  see  the  Italian 
government  about  it.  The  film 
was  put  on  the  shelf,  because  of 
the  sympathy  of  Italy  for  Argen- 
tina ! 

The  motion-picture  producer 
wants,  if  possible,  to  please  the 
whole  world,  nowadays.  He  can- 
not legitimately  offend  the  inhabi- 
tants of  any  particular  nation.  It 
means  a  loss  in  dollars  and  cents 
if  he  does.  That  is  the  problem 
that  he  is  up  against,  or  feels  he 
is,  in  any  event. 
A  few  years  ago,  he  didn't  care  so  much  about  this. 
But  the  foreign  profits  on  pictures  have  grown  amaz- 
ingly large  lately,  especially  in  Great  Britain,  Germany, 
and  France.  Some  pictures,  in  fact,  derive  a  forty  to 
fifty  per  cent  income  from  European  distribution.  No- 
table examples  are  the  films  made  by  Emil  Jannings  and 
Pola  Negri,  though  there  are  some  American  stars,  like 
Douglas  Fairbanks,  Harold  Lloyd  and  Tom  Mix,  who 

appeal  to  a  world 
public.  In  addition 
to  Europe,  there  is  a 
very  big  film  trade 
in  Latin-American 
countries. 

Maybe  you  saw 
Norma  Talmadge's 
"The  Dove."  This 
film  involved  very 
peculiar  complexi- 
ties, particularly  for 
those  audiences  who 
knew  the  stage  play, 
from  which  it  was 
adapted. 

In  its  original  ver- 
sion "The  Dove" 
was  laid  just  below 
the  Mexican  border. 
The  characters  were 
much  the  same  as  in 
the  screen  version. 
There  was  the  Amer- 
ican gambler,  the 
ruthless  caballero, 
and  the  heroine,  Do- 
lores. The  caballero 
provided  the  men- 
ace. 

However,  Mexicans  cannot  be  villains,  according  to 
the  accepted  tradition  of  our  neighboring  republic.  If 
they  are  so  depicted,  it  is  an  insult  to  the  people,  com- 
parable to  murder,  arson,  and  like  crimes  in  this  coun- 
try. Americans  did  show  them  as  villains  at  one  time, 
but  more  recently,  diplomatic  steps  have  been  taken  to 
prevent  this.  A  Mexican  must  be  nice  at  all  costs.  If 
villains  are  to  have  any  part  in  a  picture,  they  must  be 
from  some  other  country. 


17 


Can't  Do  That! 

had  only  to  consider  the  reaction  of  a  few  censorship  boards 
numerable  problems  in  making  his  film  profitably  acceptable. 

Schallert 


For  that  reason,  the  setting  of  "The  Dove"  was  changed. 
Instead  of  being  laid  south  of  the  border  it  was  presented  in  a 
locale  called  "Costa  Roja" — meaning  Red  Coast — vaguely  situ- 
ated on  the  Mediterranean. 

For  any  one  who  had  seen  the  stage  play,  the  effect  was 
ridiculous.    And  even  those  who  had  not  viewed  it  must  have 
found  rather  incongruous  the  typical  Western  cacti  flourishing 
on  a  desert,  presumably  in  southern  Europe,  not  to  speak  of 
costumes,  including  sashes,  neckerchiefs,  and  som- 
breros, generally  associated  with  the  Villalike  bandit. 
The  girl,  Dolores,  worked  in  a  dance  hall  operated  by 
an  American,  who  was  one  of  the  story's  villains. 
The  American  youth,  who  was  the  hero,  worked  in  a 
gambling  hall  that  looked  anything  but  European. 

It  is  always  safe  to  make  the  villains  Americans. 
In  fact,  any  character  the  least  bit  shady,  it  would 
seem,  has  to  be  carefully  identified  as  of  the  United 
States,  or  of  some  wholly  indeterminate  region.  That 
is,  if  the  film  production  is  to  be  popular  abroad. 
Americans  are  apparently  good-natured,  and  don't  fuss, 
about  being  portrayed  in  an  unfavorable  light,  in  the 
movies.    However,  I  have 
recently  heard  that  some 
objections  have  come  from 
American  business  men  in 
foreign    countries.  The 
reason   is  that  they  are 
afraid  these  countries,  in 
which  they  are  stationed 
will  soon  begin  to  regard 
us  as  a  nation  of  black- 
jackers  and  marauders. 

There  are  a  few  in- 
stances where  American 
villainy  has  even  become 
sectional.  I  recall  that  in 
"Uncle  Tom's  Cabin"  it 
was  very  carefully  stated 
that  Simon  Legree  was  a 
Northerner. 

Obviously  the  intention, 
in  this  case,  was  to  smooth 
the  way  for  the  film's  re- 
ception in  the  South.  It 
was  nothing  but  a  conven- 
tional sop,  to  a  portion  of 
the  public. 

A  short  time  ago,  pic- 
tures of  the  racial  type 
came  in  for  no  small  share 
of  difficulties.   The  one  to 
suffer  most  was,  perhaps, 
"The  Callahans  and  the 
Murphys."    Very  drastic 
action  was  taken  against  it 
by  various  Irish  organiza- 
tions. They  contended  that 
it  disclosed  the  American- 
Irish  people  in  a  most  unfavorable  light,  because  of  the 
vulgarity  of  certain  episodes.    So,  these  were  duly  elim- 
inated.   In  some  places,  the  picture  encountered  so  much 
trouble  that  it  was  withdrawn  altogether. 


The  picture  version  of 
"Chicago"  failed  utterly 
in  its  attempt  to  make 
RoxiE'S  husband  a  "sym- 
pathetic" character. 


In  "Uncle  Tom's  Cabin,"  Simon  Legree  was  pointedly  referred 
to  as  a  "Northerner,"  in  order  to  pacify  the  South. 


No  end  of  objections 
were,  of  course,  raised  to 
certain  portions  of  "The 
King  of  Kings"  by  the 
Jewish  public.  Quite  a 
few  changes  were  made, 
from  the  original  biblical 
version,  to  conform  with 
these  demands,  before  the 
picture  was  presented,  and 
still  more  were  required 
after  it  was  shown. 

For  a  time,  too,  it  ap- 
peared as  if  this  picture 
would  not  be  exhibited  in 
England,  but  for  a  differ- 
ent reason.  The  objection 
there  was  to  using  any 
semblance  of  The  Christ 
on  the  screen.  Indeed, 
England  has  a  law  against 
this,  but  the  showing  fi- 
nally went  ahead,  because 
the  law  did  not  cover  any 
theaters  but  those  limited 
to  pictures.  The  picture 
could  be  shown  in  music 
halls.    Imagine  it ! 

Strange  is  the  opposi- 
tion which  "The  Godless 
Girl"  has  evoked.  This 
picture  has  been  protested 
by  the  American  Associa- 
tion for  the  Advancement 
of  Atheism,  Inc.    It  was 
contended    that    no  film 
should  contain  propaganda  to  discredit  atheism.  How- 
ever, this  did  not  meet  with  very  hearty  encouragement 
from  the  Hays  office,  to  whose  attention  most  such  mat- 
ters are  brought.    DeMille  finished  the  film  as  a  chal- 


18 


You  Can't  Do  That'! 


Drastic  action  was  taken  against  "The  Callahans  and  the  Murphys,"  by  various  Irish  organizations. 


lenge  to  disbelief  in  a  Supreme  Being,  depicting  a  change 
in  the  character  of  the  heroine,  under  the  influence  of 
tragedy  and  adversity,  brought  about  through  her  at- 
tacks on  the  faiths  of  others. 

So  involved  have  the  demands  of  various  organiza- 
tions, countries  and  peoples  become,  that  the  producers 
are  often  at  their  wits'  ends  regarding  what  they  can 
make  safely.  One  director  told  me,  not  long  ago,  that 
very  soon,  every  place,  person,  or  thing  in  a  picture 
would  have  to  be  "anonymous."  Another  mentioned 
facetiously  that  the  best  thing  the  movies  could  do  to 
get  around  the  villain  complex, 
would,  be  to  set  up  and  dedicate 
an  island,  out  in  the  Pacific,  to  the 
propagation  of  the  necessary  "bad 
men"  for  the  screen. 

A  great  many  pitfalls  have  been 
covered  by  rules  laid  down  among 
the  producers  themselves,  as  to 
what  may  or  may  not 
be  filmed.  There  are 
eleven  rules  covering 
"what  shall  not  be 
shown  on  the  screen." 
These  naturally  include 
scenes  of  a  licentious  or 
suggestive  nature,  pro- 
fanity— either  by  title 
or  lip — and  a  willful  of- 
fense to  any  nation, 
race,  or  creed.  Special 
care  has  to  be  used  with 
twenty-six  other  sub- 
jects, including  the  use 
of  the  flag,  various 
crimes  like  theft,  ar- 
son, smuggling,  brand- 
ings— whether  of  ani- 
mals or  people — though 
to  be  sure,  the  former 
is  not  strictly  a  crime. 

Hangings  and  elec- 
trocutions also  have  to 


be  carefully  treated,  and  those  scenes  which  show  law 
enforcement,  or  law  enforcement  officers,  in  action. 
The  word  "booze"  cannot  be  generally  used  in  sub- 
titles. In  "The  Noose"  one  title,  "I'm  off  the  booze 
trail,"  was  reduced  to  "I'm  off  the  trail."  An  interest- 
ing rule  reads  as  follows :  "Excessive  kissing  is  forbid- 
den, particularly  when  one  character  or  the  other  is  a 
'heavy.'  "  Only  heroes  and  heroines  can  therefore 
give  an  enthusiastic  demonstration  of  their  affection. 
Which,  perhaps,  is  what  is  logically  expected. 

"Chicago,"  to  my  mind,  was  a  curious  instance  of 
how  a  picture  can  go  all  wrong  morally,  seemingly 
through  having  had  to  obey  certain  censorship  restric- 
tions, or  more  probably  through  a  desire  to  cater  to 
what  is  deemed  the  popular  fancy. 

In  this  film,  you  may  remember,  the  husband  stole 
money  to  save  his  wife  from  prison.    The  excuse  was 

,     :  given    that    it  was 

In  order  to  ap- 
pease the  Mexi- 
cans, the  locale 
of  "The  Dove" 
was  changed 
Jrom  "below  the 
Rio  Grande,"  to 
mythical  "Costa 
Roja. " 


tainted  money, 
which  he  took  from 
the  attorney  who 
was  defending  her, 
and  who  charged  an 
enormous  fee.  I  sup- 
pose many  people  in 
law  suits  feel,  when 
they  get  the  lawyer's 
bill,  that  such  a  pro- 
ceeding was  justi- 
fied. Still,  theft,  no 
matter  what  its 
form,  is  not  consid- 
ered, according  to 
strict  principle,  to  be 
justified.  It  hardly 
was  in  "Chicago," 
especially  when  the 
husband,  instead  of 
returning  the  surplus 
cash,  after  he  had 
paid  for  the  trial, 
dumped  it  into  the 
Continued  on  page  106 


19 


Oyez!  Oyez! 

Hear  ye!  Hear  ye!  The  head  of 
the  House  of  Barrymore  passes 
judgment  on  stage  and  screen. 

By  Helen  Louise  Walker 

JOHN  BARRYMORE  is  a  funny 
man,  a  really  amusing  person. 
This  is  surprising,  somehow,  he- 
cause  one  does  not  expect  a  Barry- 
more  to  be  funny.  He  does  not  look 
in  the  least  funny.  He  looks,  on  the 
contrary,  very  tall,  handsome,  and  ro- 
mantic— just  as  he  looks  on  the  screen. 
His  eyes  burn  and  flash  occasionally, 
just  as  Hamlet's  eyes  should  do. 

But  he  is  funny,  nevertheless.  His 
outlook,  his  views  on  life,  and  the  pic- 
ture business,  are  amusing.  He  has 
an  amusing  sort  of  mind. 

For  instance,  he  thinks  it  is  very 
impertinent  of  people  who  make  mo- 
tion pictures,  to  try  to  "instruct"  their 
audiences,  or  to  cram  "art"  down  their 
throats.  "Whatever  on  earth  do  thev 
mean  by  'art'  ?"  he  adds.  "Personally, 
I  haven't  the  least  idea !" 

One  anticipates  that  a  Barrymore 
would  be  on  intimate  terms  with  art ! 

"People  come  to  pictures  to  be 
amused,"  he  goes  on,  "to  be  made 
happy.  If  they  are  courteous  enough 
to  pay  fifty  cents  to  see  us  act,  then 
we  should,  in  all  decency,  be  courteous 
enough  to  considei 
their  wishes  in  these 
matters ! 

"Those  who  make 
motion  pictures — par- 
ticularly the  ones  who 
profess  to  know  what 
'art'  is — t  a  1  k  very 
loudly  and  earnestly 
about  'realism.'  And 
this  seems  to  be  inter- 
preted—rightly, per- 
haps— as  misery  and 
degradation. 

"I  feel  sure  that  the 
people  who  go  to  see 
pictures  do  not  want 
to  see  a  lot  of  misery. 
They  can  see  that  at 
home.  Or  if,  per- 
chance, they  haven't 
any  misery  in  their 
homes  at  the  moment, 
they  can  see  it  next 
door. 

"You  wouldn't,  you 
know,  pay  fifty  cents 
to  the  people  next 
door,  to  be  allowed  to 
go  in  and  gaze  on 
their  misery! 


Mr.  Barrymore' s  cartoon 
of  himself  in  ''Tempest." 


John  Barrymore  says  he  has  no  idea  of 
what  art  on  the  screen  means. 

"I  am  all  for  the  happy  endings 
—whatever  they  may  be !  The 
thing  which  seems  to  be  considered 
a  happy  ending  on  the  screen,  is 
'  where  two  people  embrace  at  the 
end  of  a  picture,  with  the  supposi- 
tion on  the  part  of  the  audience  that 
they,  are  going  to  marry,  and  try  to 
live  together  for  the  rest  of  their 
lives. 

"This,  I  think,  is  a  very  optimis- 
tic and  altruistic  attitude  on  the 
part  of  audiences.  I  should  con- 
sider it,  in  most  cases,  the  begin- 
ning of  a  very  sad  story.  These 
people  may  not  be  suited  to  each 
other.  After  they  are  married,  they 
will  have  to  begin  dealing  with 
grocery  bills,  a  depressing  propin- 
quity, leaky  faucets,  burned  beef- 
steaks and  trumping  one  another's 
aces  at  bridge — all  the  unpleasant 
things  which  go  with  marriage. 

"The  happiest  ending  I  can  re- 
member was  the  one  in  'Flesh  and 
the  Devil,'  where  the  lady  fell 
through  the  ice.    It  was  the  best 


20 


Oyez!  Oyez! 


thing-  possible  for  both  the  lovers.  They  had  had  their 
great  passion,  and  there  would  have  been  all  kinds  of 
explosions  if  two  such  people  had  tried  to  marry  and 
live  together. 

"Of  course,  there  was  a  subsequent  ending — some- 
body knitting,  I  believe,  and  a  demure  flapper  to  solace 
Jack  Gilbert's  loneliness.  But  that  did  not  count.  The 
story  was  over  when  the  lady  fell  through  the  ice,  and 
the  bubbles  came  up. 

"Of  course,  if  you  can  really  wring  tears  from  people 
— give  them  a  good,  thorough,  old-fash- 
ioned cry,  as  Emil  Jannings  does — that  is 
a  luxury  which  is  worth  fifty  cents  !  That 
is  making  them  happy ! 

"  'Romeo  and  Juliet'  has  a  happy  end- 
ing, really.    Two  lovers  have  their  great 
moment,  and  then  die.     That  is  rather 
glorious,    even    though  it 
would  be  considered  a  trag- 
edy on  the  screen. 

"Of  course,  the  story  of 
that  play  is  an  absurd  one, 
according  to  present-day 
standards.  It  could  not  be 
taken  seriously  now.  In  the 
first  place,  its  initial  premise 
is  one  that  no  one  in  the 
world  would  believe  to-day. 
These  two  young  people 
obeyed  their  parents ! 

"That  simply  is  not  done. 
One's  first  impulse  is  to  say, 
'Why  doesn't  this  bird,  Ro- 
meo, get  himself  a  good 
horse  and  elope  with  the 
lady?'    And  so  he  should." 

He  discussed  the  differ- 
ence between  screen  and 
stage  "technique." 

"It  is  much  more  difficult 
to  sustain  an  illusion  upon 
the  screen,  than  upon  the 
stage,"  he  said.  "On  the 
stage  the  chambermaid,  or 
somebody,  says,  'Here  comes 
the  Prince  of  Denmark.' 
You  enter,  looking  as  Swed- 
ish as  you  can.  The  audi- 
ence plays  the  game  with 
you.  They  pretend,  for  the 
time  being,  to  believe  you 
are  the  Prince.  You  make 
a  few  remarks  in  a  synthetic 
Swedish  dialect,  and  exit. 

"On  the  screen  you  are 
before  the  camera  almost 
every  minute — at  least,  if 
you  are  a  star. 

"The  damn  camera  is  like 
an  X-ray  machine.  It  shows 
everything  about  you — all 
the  things  inside  your  mind. 
After  two  hours  of  constant 
inspection  of  you,  the  audi- 
ence begins  to  be  skeptical.  They  begin  to  think,  'This 
guy  never  saw  Sweden  in  his  life!'  And  they  cease  to 
believe  in  you.    It  is  very  much  harder. 

"I  did  Peter  Ibbetson  on  the  stage.  He  was  a  dreamy 
sort  of  bird — not  so  difficult  to  characterize.  But  I 
should  never  try  to  do  it  on  the  screen.  I  could  not 
make  him  real. 

"On  the  stage  an  actor,  who  is  an  actor,  can  play 


Photo  by  Albin 


John  Barry  more  as  Hamlet,  his  most 
famous  role. 


almost  anybody.  You  can  portray  Romeo  when  you 
are  sixty.  You  can't  do  that  in  pictures !  The  camera 
gives  you  away.  That  is  why  we  always  have  young 
girls  play  young  girls,  and  old  men  cast  for  old  men's 
roles  in  pictures.  You  cannot  take  liberties  with  ap- 
pearances ! 

"Your  stage  character  is  before  the  audience  such  a 
short  time,  compared  to  the  time  a  screen  star  occupies 
the  center  of  attention. 

"Hamlet,  for  instance,  is  on  the  stage  more  than  al- 
most any  other  character  in  Shakespeare.  And 
yet  his  time  before  the  footlights  is  short — com- 
pared to  the  time  he  would  spend  before  the  cam- 
era. 

"I  have  always  thought  that  Shakespeare  liked 
the  chap  who  played  Hamlet,  and  arranged  the 
play  so  he  could  come  off  stage  now  and  then,  for 
a  chat — and  maybe  a  drink — with 
the  author!" 

Mr.  Barrymore  speaks  familiarly 
Shakespeare,  as  one  would  speak 
an  old  friend,  metaphorically,  if 
t  actually,  calling  him  "Bill." 
T  like  pictures,"  he  averred,  ear- 
;tly.    "I  like  them  so  much  that  I 
have   bought  a  house 
out  here,  and  am  pre- 
paring  to    spend  the 
rest  of  my  life  in  Hol- 
lywood. 

"I  am  anxious  to  find 
a  'type'  to  play  on  the 
screen  —  something 
which  will  strike  public 
fancy,  and  which  I  can 
continue  to  do,  over  a 
long  period.  Chaplin, 
you  know,  and  Harold 
Lloyd,  have  each  cre- 
ated a  character  the 
public  likes.  And  they 
can  present  this  same 
character  in  various  sit- 
uations, enduring  vari- 
ous vicissitudes,  times 
without  number.  I 
should  like  to  do  that. 

"Don't  think  for  a 
moment  that  it  is  easy 
to  play  one  character 
over  and  over,  and 
make  him  interesting. 
Chaplin,  I  am  sure, 
could  play  any  role  he 
chose  to  play,  with 
equal  success.  He  is  a 
very  fine  actor. 

"People  said  that 
my  uncle,  John  Drew, 
played  just  one  char- 
acter all  through  his 
career.  He  was  a  ca- 
pable actor,  for  all 
that ! 

"I  hope  I  can  hit  upon  something  similar — some  time!" 

Mr.  Barrymore  has  not  always  been  an  actor.  He 
asserted,  with  pride,  that  he  was  once  a  newspaper  man, 
and  a  cartoonist.  To  prove  the  latter,  he  drew  a  car- 
toon of  himself,  as  he  appears  in  "Tempest."  It  was 
not  very  flattering,  but  James  Montgomery  Flagg 
strolled  into  the  bungalow  just  in  time  to  do  Mr.  Barry- 
more real  justice,  with  a  sketch.         [Continued  on  page  110] 


21 


The  Girl  Grows  Older 


It's  a  different  and  more  radiant  Mary 
Brian,  picture  dbelow,  than  the  Mary 
the  screen  has  known  in  the  past. 


The  dance  frock, 
left,  is  unusual  by 
reason  of  the  cir- 
cular h  a  n  d  k  e  r- 
chiefs  which  cover 
the  entire  skirt  and 
give  a  c  a  p  e  1  i  k  e 
effect. 


The  wrap  Mary 
Brian  wears, 
left,  is  made  of 
pieces  of  gowns 
worn  in  the  past 
by  famous  Para- 
mount stars. 


The  evening  gown, 
right,  is  of  stiff, 
heliotrope  -  colored 
taffeta.  The  pan- 
nier effect  is  dis- 
tinctly novel,  as 
are  the  cartridge 
plaits. 


my 


Mary,  above,  wears  the 
snappiest  of  sport  cos- 
tumes— a  black  foulard 
skirt,  with  polka  dots  of 
gray,  and  a  jumper  of 
pale-gray  pique,  with  a 
black,  velveteen  jacket. 


The  evening  frock, 
right,,  is  of  white  mous- 
seline  de  soie.  It  is 
worn  over  a  silver-cloth 
strip. 


-J 





22 


T  h 


S  t 


r  o 


1  1 


e  r 


Random    observations   of   Hollywood    by   a    humorous  saunterer, 


By  Carroll  Graham 


Illustrations    by    Lui  Trugo 


SOME  day  there  is  likely  to  be  a  series  of  astounding 
murders  in  Hollywood,  which  will  be  reflected  in 
screaming  headlines  all  over  the  world.  And  they 
will  be  caused  by  the  indiscriminate  inflicting  of  pre- 
views on  unsuspecting  citizens  of  Los  Angeles  and  en- 
virons. 

One  may  still  retain  his  sanity  by  attending  one  fea- 
ture-length picture,  but  when  stumbling  onto  a  second 
one,  in  the  same  evening,  one's  reason  is  likely  to  totter 
on  the  brink  of  insanity. 

Of  course,  you  argue,  you  don't  have  to  stay.  But  too 
often  you  do.  You  perhaps  have  taken  a  wife,  a  mother- 
in-law,  or  both — or  a  sweetie  to  that  show.  I  have  never 
seen  a  woman  who  could  resist  getting  two  shows  for 
the  price  of  one,  no  matter  what  the  quality  of  either 
might  be. 

The  other  night  I  dropped  into  a  neighborhood  house, 
at  the  behest  of  friends,  to  see  "The  Legion  of  the 
Condemned."  Now  "The  Legion  of  the  Condemned" 
is  not  my  idea  of  a  very  good  picture,  but  I  am  a  person 
of  some  balance,  and  I  had  steeled  myself  in  advance. 

What  did  I  discover  but  another  picture,  very  bad 
to  begin  with,  and  much  too  long  for  human  inspection 
in  the  state  in  which  it  was  being  exhibited.  I  had  to 
sit  through  this  preview  to  see  the  second  picture — 
which  I  did  not  want  to  see,  but  was  forced  to — and 
I  left  the  theater  muttering  to  myself. 

In  my  little  way,  I  am  doing  what  I  can.  I  am  writ- 
ing indignant  letters  whenever  a  preview  is  foisted  upon 
me,  and  signing  fantastic  and  fictitious  names  to  them. 
Knowing  studio  politics  as  I  do,  I  am  almost  certain 
they  will  fall  into  the  hands  of  some  enemy  of  the  man 
who  wrote  or  directed  the  picture,  and  thus 
gain  considerable  circulation. 

Some  studios,  moreover,  have  a  habit  of 
handing  out  post  cards  to  preview  audiences, 
with  a  request  for  opinions  of  the  new  picture. 

I  generally  manage  to  get  three  or  four 
of  these  at  every  pre- 

In  the  gold  -  rush 
scenes  of  "The  Trail 
of  '98,"  Ralph 
Forbes  looked  as 
out  of  place  as  a 
trout  riding  a  bi- 
cycle. 


view,  and  mail  deroga- 
tory observations  in 
varied  handwritings. 

It  is  a  distressing 
fact — distressing,  both 
from  the  attitude  of  the 
public  and  the  film  in- 
dustry —  that  while 
"The' Trail  of  '98"  was 
being  given  its  world 
premiere  in  Sid  Grau- 
man's   usual  unctuous 


manner,  "The  Crowd"  was  being  kicked  around  neigh- 
borhood houses  by  dubious  exhibitors  who  wished  they 
had  not  booked  it. 

Both  pictures  were  made  by  Metro-Goldwyn  and 
both,  I  understand,  cost  upward  of  a  million  dollars. 

"The  Crowd,"  despite  the  opinions  of  a  great  many 
critics,  is  a  thoroughly  fine  picture. 

There  has  never  been  a  picture  either  resembling,  or 
approaching  it.  King  Vidor  is  the  only  director  in 
Hollywood,  I  ever  heard  of,  who  could  have  directed, 
or  even  thought  of  "The  Crowd."  And  I  know  a  lot 
of  them. 

"The  Crowd"  played  two  rather  unsuccessful  weeks 
at  a  downtown  Los  Angeles  theater,  and  then  wandered 
hopelessly  about  the  smaller  theaters,  at  one  of  which 
I  chanced  to  see  it. 

The  only  comparison  that  can  be  made  between  the 
two  pictures  is  that  both  cost  a  great  deal  of  money. 
Clarence  Brown  is  a  very  good  director,  but  even  he 
could  not  make  an  epic  out  of  a  lot  of  roughnecks  going 
up  to  Alaska  in  the  hope  of  digging  up  a  fortune.  The 
picture  contains  a  notorious  bit  of  miscasting,  moreover. 
Ralph  Forbes  looked  as  out  of  place  in  a  gold  rush  as — 
to  borrow  a  simile  from  Richard  Connell — a  trout  on  a 
bicycle. 

As  a  concrete  example  of  my  honest  opinion  of  Vidor's 
"The  Crowd,"  I  might  state  that  the  day  after  I  had 
seen  it  I  wrote  him  a  fan  letter.  And,  from  the  manner 
in  which  his  picture  is  being  received,  I  venture  to  say 
he'll  get  precious  few. 

years  ago,  when  the  movies  and  myself  were 
both  going  through  our  infancy,  I  had 
one  particular  film  idol,  whose  name 
courtesy  forbids  my  mentioning. 

I  followed  him  through  any  number 
of  thrilling  fifteen-episode  serials,  and 
to  me  he  was  the  last  word  in  heroes. 
He  slew  innumerable  villains, '  saved 
homesteads  and  valuable  documents, 
rescued  and  preserved  chaste  heroines 
and,  in  short,  acted,  as  I  was  convinced, 
no  other  person  could  have  done. 

I  see  him  almost  every  day 
now.  He  does  not  know  me, 
but  I  know  him  by  sight.  His 
hair  is  generously  silvered,  and 
his  face  is  lined,  though  he  is 
not  much  past  middle  age.  He 
seems  to  be  lame,  for  I  saw 
him  walking  with  a  cane  the 
other  day. 


HBBBMBnannnHB 


J 


The  Stroller 


23 


Although  I  have  no  information  on  the  subject,  I 
suspect  that  he  is  rather  broke  and  chronically  out  of  a 
job,  for  I  see  him  lurking  about  casting  offices. 

There  does  not  seem  to  be  much  point  to  this  item, 
except  that  I  wish  some  director — who  was  probably  an 
upstart  when  he  was  a  star — would  give  him  a  job.  He 
undoubtedly  needs  one,  and  he  is  probably  as  good  an 
actor  as  many  another  man  of  his  age,  who  is  working 
constantly  in  character  roles. 

I  suppose  if  I  were  a  good  Samaritan  I  would  do 
something  personally,  for  he  gave  me  dozens  of  hair- 
raising  evenings.  The  finest  picture  in  the  world  will 
never  entertain  me  as  thoroughly  as  those  cheap  se- 
rials did. 

Los  Angeles,  the  capital  of  the  movies,  is  taking  to 
the  legitimate  stage  in  a  manner  which  should  be  alarm- 
ing to  the  cinema  barons. 

Formerly  regarded  as  a  poor  town  for  legitimate  at- 
tractions, Los  Angeles  is  now  supporting  the  spoken 
drama  as  it  has  never  done  before,  and  consequently  is 
getting  more  good  plays,  and  better  productions,  than 
ever  before. 

Personally,  I  think  it  is  a  revolt  against  the  objection- 
able orchestra  leaders  and  masters  of  ceremonies,  whom 
the  movie-theater  managers  seem  to  regard  as  indis- 
pensable. 

The  town  seems  to  have  gone  mad  over  these  comic 
orchestra  kings,  and  no  leading  theater  is  without  one. 
Their  names  are  often  advertised  more  flamboyantly 
than  the  pictures  themselves,  and  their  acts  take  up 
a  great  deal  of  time  that  audiences  might  be  spending 
more  profitably  elsewhere. 

I  have  gone  to  some  length  to  interview  various  per- 
sons on  their  attitude  toward  this  strange  clan,  and  have 
yet  to  find  a  vote  in  their  favor. 

One  friend  of  mine,  indeed,  declares  that  if  he  ever 
becomes  more  mentally  unbalanced  than  he  is  now,  he 
intends  to  oil  up  his  Winchester  and  take  it  to  one  of 
the  leading  theaters  with  the  express  purpose  of  doing 
away  with  the  performing  band-leaders. 

He  is  convinced  it  will  start  a  general  uprising,  and 
the  hysterical  mob  will  save  him  from  the  police. 

The  "titular  bishops"  is  Hollywood's  latest  organi- 
zation. 

It  is  a  group  of  the  nine  leading  title-writers  of  the 
industry,  banded  together,  supposedly,  for  reasons  both 
social  and  professional. 

The  titular  bishops  is  now  a  closed  organization,  the 
agreement  being  that  nine  is  enough,  and  no  others  will 
ever  be  taken  into  the  circle. 

Title  writing  has  become  quite  a  profession  in  Holly- 
wood within  the  last  four  or  five  years.  Formerly  the 
subtitles  were  written  by  the  office  boy  or  the  producer's 
cousin,  which  accounted  for  much  of  the  eccentric  spell- 
ing and  stop-and-go  method  of  punctuation. 

Then  producers  discovered  that  good  titles  often  saved 
a  bad  picture  and  that,  conversely,  bad  titles  often  made 
a  good  one  mediocre. 


Writing  sub-titles  used  to  be  a  job 
for  the  office  boy  or  the  producer's 
cousin,  but  now  it's  a  profession. 


Some  day  there  will  be  a  series  of 
murders  in  Hollywood,  due  to  the 
previews  inflicted  on  unsuspecting 
audiences. 


Ralph  Spence,  I  believe,  was 
the   original  star  title-writer 
of   the  indus- 
try, and  others 
soon  began  to 
attract  atten- 
tion.   Now  the 
woods  are  full 
of  them,  intent 
on  making 
easy  money 
at  what  is 
act  u  al  l<y 
dif  f  icult 
and  pains- 
taking 
work. 

The  membership 
of  the  titular  bishops 
includes  Ralph 
Spence,  Malcolm 
Stuart  Boylan, 
George  Marion,  Jr., 
Julian  Johnson,  Her- 
man Mankiewicz — 
dictated,  but  not  read 
— Joseph  Farnham, 
Garrett    Graham  — 

he's  my  brother,  but  I  really  write  all  his  good  titles  for 
him— Walter  Anthony,  Randolph  Bartlett. 

Without  exception,  all  have  been  newspaper  men  at 
one  time,  which  statement,  I  trust,  will  not  prompt  all 
the  journalists  of  the  land  to  come  to  Hollywood.  Most 
of  them  have  also  contributed  to  magazines,  two  or 
three  have  written  plays,  one  was  a  former  music  critic, 
and  another  a  dramatic  reviewer.  Farnham  was  once 
a  director,  I  believe,  but  has  since  lived  it  down. 

Some  one  suggested  recently  it  would  be  something 
of  a  quip  to  get  all  nine  together  some  time  for  a  private 
screening  of  "The  Last  Laugh." 

The  mania  for  changing  the  names  of  well-known 
stories,  when  they  are  made  into  movies,  seems  to  con- 
tinue unabated. 

I  observe  that  "The  Little  Shepherd  of  Kingdom 
Come,"  which  has  been  read  by  millions,  as  a  novel, 
has  become  "Kentucky  Courage"  on  the  screen. 

And  while  Universal  has  not  actually  changed  the 
title  of  "Uncle  Tom's  Cabin,"  they  have  come  as  near 
to  it  as  possible.  All  their  advertisements  bear  "South- 
ern Love"  in  bold,  black  letters,  and,  beneath  it,  words 
to  the  effect  that  it  is  to  be  seen  in  large  quantities 
in  "Uncle  Tom's  Cabin." 

The  most  startling  change  in  some  months,  however, 
was  "Annie  Laurie."  Suddenly,  one  day,  I  was  con- 
fronted with  screaming  billboards  everywhere  announc- 
ing Lillian  Gish,  in  "Ladies  From  Hell,"  which  is  about 
as  incongruous  a  title  as  one  could  imagine  for  a  Gish 
picture.  Critics,  inclined  to  be  Pecksniffian,  might  also 
point  out  that  "Ladies  From  Hell"  was  a  slang  ex- 
pression growing  out  of  the 
World  War,  many  years  after 
the  period  in  which  the  film  story 
was  supposed  to  have  occurred. 
However,  I  didn't  see  it,  so  it's 
all  right  with  me. 

Hollywood  has  broken  out  into 
a    rash    of    new    Fords,  after 
months  of  breathless  expectancy. 
Billie    Dove,    Colleen  Moore, 
Continued  on  page  115 


24 


I       m  M 

1  H 
■  ■ 

I  I 

m: 


Research  revealed  that  Noah's  Ark  was  as  large  as  an  ordinary  transatlantic  liner,  and  the  producers  set  about  to  reproduce 

it  accordingly. 

And  Now  the  Deluge ! 

In  "Noah's  Ark"  the  screen  finds  another  biblical  epic  to  film  with  all  the 
resources  of  advanced  technique  and  skill,  and  it  also  includes  a  modern 
sequence  which  is  said  to  dovetail  perfectly  with  the  incidents  from  the  Bible. 

By  A.  L.  Wooldridge 


NEW  YORK'S  Broadway  was  immersed  in  rain. 
The  city,  from  the  Battery  to  the  Bronx,  was 
in  the  throes  of  one  of  those  occasional  down- 
pours, which  drive  all  pedestrians  to  shelter.  Taxicabs 
sloshed  and  skidded,  as  their  drivers  struggled  to  get 
through  the  sea  of  water.  Men,  women,  and  children 
grouped  in  doorways,  or  roamed  idly 
through  stores,  waiting  for  the  deluge 
to  cease.  Although  it  was  only  mid- 
afternoon,  electric  lights  were 
switched  on  in  order  to  dispel  the 


In  an  office,  high  above  the  street, 
H.  M.  Warner,  motion-picture  pro- 
ducer, stood  at  his  window,  looking 
down  upon  the  rain-drenched  scene. 

"  'And  the  rain  was  upon  the  earth 
forty  days  and  forty  nights,' "  he 
mused,  recalling  verses  from  the 
Bible.  "  'And  every  living  substance 
was  destroyed.'  " 

He  stood  contemplating  the  picture 
before  him.  "If  the  residents  of  New 
York  run  to  cover,  and  are  annoyed 
by  a  two-hour  rain,'-.,  he  meditated, 
"what  must  have  been  the  sensation 


Noah  Beery  plays  the  ruthless  Nephilim, 
a  oagan  king. 


experienced  by  all  creatures  of  the  world  when,  for 
forty  days  and  forty  nights,  'the  windows  of  heaven 
were  opened,'  and  water  descended  in  torrents,  in  cas- 
cades and  cataracts,  until  'every  living  substance  was 
destroyed'  ? 

"What  a  picture  it  would  make !"  he  pondered. 

He  sat  down  at  his  desk  and  con- 
tinued his  musing  while  the  rain 
splashed  on  the  pavement. 

"Why  not?"  he  philosophized. 
"Modern  skill  can  reproduce  Noah's 
Ark.  Modern  methods  can  supply 
and  control  water.  Modern  science 
can  rebuild  pagan  temples." 

The  more  he  thought  it  over,  the 
more  enthusiastic  he  became.  The 
idea  grew.  It  was  not  impossible ; 
nothing  is  impossible  in  the  movies. 

Thus  was  conceived,  nearly  two 
years  ago,  the  idea  for  one  of  the 
most  pretentious  efforts  ever  at- 
tempted in  motion  pictures.  Since 
then,  research  has  been  made  into  the 
histories  and  legends  of  the  entire 
world — digging,  scraping,  assembling 
ideas  which  might  bring  the  proper 


And  Now  the  Deluge! 


25 


authenticity  to  a  picturization  of  the  Great 
Deluge.  From  thirty  nine  Bibles  the  story 
of  the  Ark  was  translated.  From  a  hun- 
dred age-worn  volumes  references  to  the 
inundation  were  culled.  From  all  of  these, 
scientific  deductions  were  made. 

As  nearly  as  can  be  estimated,  the  re- 
search workers  found  that  the  flood  oc- 
curred approximately  ten  thousand  years 
before  the  birth  of  Christ.  It  followed  the 
Stone  Age,  and  just  preceded  the  Baby- 
lonian. Noah  was  pictured  as  a  man  six 
hundred  years  old,  at  the  time  he  built  the 
Ark.  Most  Bibles  say  that,  in  following 
the  mandates  of  the  Lord,  he  took  seven 
specimens  of  each  bird  and  beast  into  his 
sanctuary— four  good,  and  three  bad.  The 
Ark,  according  to  the  King  James  version, 
was  constructed  of  gopher  wood,  and 
chinked  with  pitch,  within  and  without.  It 
was  three  hundred,  cubits  long — something 
more  than  four  hundred  and  seventy-five 
feet — fifty  cubits  broad,  thirty  cubits  high, 
and  contained  three  decks.  It  was  larger 
than  most  of  the  ocean  liners  of  to-day, 
though  only  barely  half  as  large  as  the 
Leviathan,  or  the  Majestic.  Each  of  these 
latter  exceeds  in  length  the  greatest  of 
other  modern  steamships. 

When  all  available  data  on  the  Ark  and 
the  Flood  had  been  collected,  Warner 
Brothers  delegated  Darryl  Zanuck  to  write 
the  story.  It  was,  in  a  measure,  "passing 
him  the  buck,"  with  the  declaration, 
"Here's  the  material.  Make  it  big,  but 
not  too  big  to  be  filmed."  Michael  Curtiz 
was  advised  that  he  would  direct  pro- 
duction. 

What  an  assignment!  "Reproduce  the 
inundation  of  the  world.  Show  the  vener- 
able Noah  gathering  into  the  Ark  speci- 
mens of  all  the  birds,  beasts  and  reptiles 

The  Deluge  could  only  be  filmed  once,  because  the 
entire  set  was  destroyed. 


Dolores  Costello  plays  the  heroine,  in  both  the  biblical  and  modern 

sequences. 


that  inhabited  the  globe. 
Weave  into  the  picture  a  love 
story,  which  will  appeal  to 
modern  minds.  Let  the  action 
be  fast.  Avoid  stately,  slow- 
moving  spectacles.  Drive  home 
the  biblical  lesson,  which  un- 
derlies the  world's  greatest 
holocaust." 

Monster  sets  had  to  be  built, 
a  veritable  sea  of  water  im- 
pounded. An  ark,  apparently 
as  large  as  an  ocean  liner,  had 
to  be  constructed.  From  ani- 
mal farms,  menageries,  "zoos," 
aviaries,  public  parks,  and  pri- 
vate estates,  all  manner  of 
beasts,  fowls,  rodents,  and 
"every  living  thing  inhabiting 
the  earth"  had  to  be  obtained, 
then  photographed  "on  the 
way  to'  the  Ark,"  which  was 
to  house  them — as  the  only 
surviving  creatures  of  the  uni- 
verse. An  enormous  temple 
had  to  be  built,  in  which  might 
be  celebrated  a  great  pagan 
festival,    and    which  would 


And  Now  the  Deluge! 


burst  a  mighty  rush 
of  waters,  which 
swept  souls,  it  ap- 
peared, into  eternity. 
The  Flood  had  come. 

This  was  the  first 
great  spectacle  filmed 
for  the  picture.  From 
points  of  vantage,  one 
hundred  and  fifty 
sun-arcs  poured  their 
brilliant  light  upon  the 
scene.  These  were 
augmented  by  ninety- 
two  rotaries,  one  hun- 
dred and  twenty-eight 
side-arcs,  and  a  mis- 
cellaneous array  of 
lesser  incandescent 
equipment.  Fourteen 
cameras,  in  the  hands 
of  skilled  men  drawn 
from  almost  every 
studio  in  Hollywood, 
photographed  the  epi- 
sode from  every  ad- 


vantageous 


angle 


Guinn  Williams,  Louise  Fazenda,  and  Dolores  Costello  in  a 

of  "Noah's  Ark." 

crumble  beneath  the  impact  of  tumultuous  waters.  Pagan 
idols,  twenty,  thirty,  forty  feet  in  height,  had  to  come 
from  the  hands  of  craftsmen. 

The  company  went  to  work.  Paul  McAllister,  veteran 
actor  of  the  stage  and  screen,  was  selected  for  the  role 
of  Noah.  The  beautiful  Dolores  Costello  was  assigned 
the  part  of  Miriam,  leading  feminine  character  in  the 
play,  and  George  O'Brien  was  borrowed  for  the-  role 
of  Japhet,  the  son  of  Noah.  The  part  of  Nephilim,  the 
pagan  king,  was  given  to  Noah  Beery.  Louise  Fazenda, 
Guinn  Williams,  and  William  V.  Mong  were  cast  in 
outstanding  roles.    Then  the  cameras  began  to  click. 

One  Sunday  morning  not  many  weeks  ago,  four  thou- 
sand extras  journeyed  out  to  the  old  Vitagraph  studio, 
in  the  northern  section  of  Hollywood.  Young  men,  old 
men,  young  women,  old  women,  boys  and  girls  went  to 
participate  in  the  great  "Festival  of  Jaghut,"  given  by 
the  king  preceding  the  flood.  Inside  the  gates,  their 
clothing  'was  removed  and  their  bodies  sprayed  with  a 
brown  liquid,  to  give  them  the  appearance  of  the  swarthy 
peoples  of  antiquity.  Some  were  supplied  with  girdles, 
and  to  others  went  gorgeous  costumes  of  jewels  and 
beads,  together  with  silken  wigs.  The  occasion  was  to 
mark  the  exotic  sacrifice  of  a  girl — Dolores  Costello — - 
to  the  gods. 

Weird  music  was  played.  Barbaric  weapons  appeared. 
All  the  pomp  and  ceremony  incidental  to  pagan  worship 
entered  into  the  gorgeous  spectacle.  Miss  Costello, 
borne  to  the  temple  in  a  canopied  litter;  King  Nephilim 
on  his  jeweled  throne;  armed  warriors,  palm  bearers, 
cutlass  wielders,  trumpeters,  slaves,  dancing  girls — a 
strange  gathering.  And  then,  at  the  height  of  revelry  

A  human  sacrifice  stood  upon  the  altar,  before  the 
king.  A  distant  rumble  became  audible,  slowly  increas- 
ing in  volume.  It  became  a  roar.  Suddenly  there  was 
a  crashing  of  beams,  the  temple  walls  swayed,  and  there 


scene  from  the  modern  sequence 


There  could  be  no  re- 
takes, because  the 
flood  would  reduce 
the  set  to  a  shamble. 
It  was  estimated  that 
this  sequence  of  the 
production  cost  War- 
ner Brothers  ten 
thousand  dollars  an 
hour.  A  wet  and  bedraggled  mass  of  humanity  crawled 
from  the  scene,  when  the  shots  were  finished. 

"The  Ten  Commandments"  had  its  hosts  marching 
into  the  sea.  "The  Big  Parade"  has  its  contending  ar- 
mies struggling  with  weapons  of  modern  warfare.  "Old 
Ironsides"  pictured  a  terrible  naval  conflict.  But,  for 
sheer  massing  and  handling  of  living  bodies  in  one 
brief,  awe-inspiring  scene,  this  bit  of  "Noah's  Ark" 
becomes  a  precedent.  Later  on,  the  terrified,  hopeless 
souls  huddled  on  the  peaks  of  the  highest  hills,  watching 
the  steady  rise  of  waters,  and  facing  their  doom,  were 
photographed.  This  continued  until  "every  living  sub- 
stance was  destroyed." 

In  another  section  of  the  lot,  the  great  Ark  was 
under  construction,  in  preparation  for  scenes  which 
would  be  reached  within  a  very  few  days. 

One  mystery  surrounds  the  making  of  the  picture — 
one  which  the  producers  have  elected  to  keep  secret, 
until  the  picture  is  ready  for  release  this  fall.  The  story 
switches  from  the  Deluge  to  events  transpiring  in  the 
great  World  War.  Just  why,  no  one  but  the  studio 
executives  know. 

"It's  something  we  do  not  care  to  give  out,"  said 
Mr.  Zanuck.  "I  know  the  transition  seems  strange,  and 
yet  the  war  sequences  dovetail  so  perfectly  with  the 
biblical  episodes,  that  the}-  seem  to  be  an  essential  part 
of  the  production." 

In  the  modern  sequences  of  the  picture  there  is  a 
romance,  with  Miss  Costello  and  George  O'Brien  as 
its  principals.  Noah  Beery  plays  roles  in  both  sequences. 
Action  switches  from  the  Flood  to  the  canteens  in 
France,  where  Miss  Costello  is  seen  again,  as  an  enter- 
tainer, dancing  and  singing  before  the  doughboys. 
Louise  Fazenda,  as  an  innkeeper's  daughter,  and  Guinn 
"Big  Boy"  Williams,  as  a  rookie,  lend  comedy  relief. 
Continued  on  page  104 


27. 


Hot-weather  Cures 


There  are  at  least  five  stars 
who  know  what  to  do  when 
Summer  days  come  around 


Leatrice  Joy,  above,  enjoys  play- 
ing golf  no  matter  how  high  the 
temperature  rises,  but  Dorothy 
Dwan,  below,  has  an  electric-driven 
boat  that  serves  her  purpose  best. 


Robert  Armstrong,  above,  finds  that  the  old  lawn  hose 
has  uses  outside  the  realm  of  gardening. 

Vera  Reynolds,  left,  wears  something  akin  to  rompers 
when  days  grow  warmer, 

and  Marie  Prevost,  below,  is  evidently  looking  for  a 
ship  to  take  her  away  from  the  dock  on  which  she  is 

perched. 


28 


There  is  a  medley  of  Spanish,  Italian,  and  French  furniture  in  the 
living  room,  pictured  above,  yet  the  result  is  supremely  comfortable. 

THIS  is  about  a  house  that  blissfully  disregards 
the  conventions  of  period  and  type.  A  house 
that  was  planned  and  furnished,  with  details  that 
are  "a  little  bit  of  everything."  This  is  a  dangerous 
procedure,  unless  the 
ultimate  aim  is  for 
comfort.  When  this 
is  the  underlying  fea- 
ture of  every  device, 
the  result  is  individual 
and  delightful. 

An  example  is 
found  in  the  home  of 
Esther  Ralston, 
planned  throughout  by 
herself  and  George 
Webb,  her  husband. 
Esther  admittedly 
knows  nothing  of  pe- 
riods, and  such.  In 
doing  the  house,  she 
chose  anything  that 
caught  her  fancy  and 
suited  her  needs.  The 
result  might  have  been 
terrible,  but  for  her 
instinctive  understand- 
ing of  color  combinations,  and  what 
line  looks  best  in  what  wood.  De- 
void of  ostentation,  it  yet  has  an 
element  of  surprise,  in  the  very 
unexpectedness    of    the    carefully    planned  details. 

One  of  the  technical  artists  at  the  Paramount  studio 
asked  to  see  it. 

"Come  right  ahead,  but,"  Esther  warned,  "your 
esthetics  will,  probably  be  terribly  offended.  .  In  my 


There's  No 


The  dining  room  is  entirely  Italian  with 
massive,  beautifully  carved  pieces. 


Inspection  of  Esther  Ralston's  home  proves  that  money 

By  Mar 

French  pieces.  If  any 
type  of  furniture  is 
missing  there,  you'll 
be  sure  to  see  it 
somewhere  else  in  the 
house." 

Which  is  literally 
true,  but  in  such  a 
manner,  that  the  es- 
thetic sense  is  far 
from  offended. . 

On  their  decision  to 
establish  a  permanent 
home,  Esther  and  her 
husband  resolved  not 
to  build.  Instead, 
they  investigated  the 
merits  of  all  the 
Hollywood  architects, 
selected  one  of  the 
best,  and  looked  at  the 
houses  he  already  had 
under  construction, 
choice  was  a  spacious, 
twelve-room  house,  within  a  quarter 
of  completion.  All  the  practical 
construction  was  complete,  so  that 
they  could  go  over  it  leisurely,  adding  incidental  rooms 
and  features  to  suit  their  taste.  The  result  has  proved 
most  satisfactory,  and  Esther  Ralston  and  George  Webb 
have  every  cause  to  be  proud  of  their  self-planned  home. 
The  house  is  of  Italian  architecture.    In  passing,  men- 


Their  final 


living  room  you  will  find  Spanish,  Italian,  English,  and     tion  must  be  made  of  the  fact  that  in  Italian  houses 


29 


Place  Like  Home 

may  be  prodigally  expended  without  sacrifice  of  good  taste. 

garet  Reid 


there  is  allowed  consider- 
able license  in  furnishing. 
It  is  of  smooth,  gray 
stucco,  unrelieved  by  any 
color.  On  a  hilltop  within 
five  minutes  of  the  boule- 
vard, it  is  among  hills  that 
are,  as  yet,  more  sparsely 
populated  than  most  of 
the  picturesque  sections 
about  town.  The  sur- 
rounding houses — all  im- 
posing and  generously 
landscaped — are  set  far 
apart,  giving  the  view  a 
restful,  suburban  atmos- 
phere, a  rare  characteristic 
in  Hollywood  homes. 

Miss  Ralston's  house  is 
high  above  the  winding 
road.  A  high,  graystone 
wall  encircles  and  sup- 
ports the  property.  At 
the  road,  a  massive, 
wrought-iron  gate  is  the 
entrance  to  three  flights  of 

stone   steps,   leading  to  the   upper    Esther  RaUfon  sW         fl  dock 

level.    Here  is  a  flat  sweep  of  lawn,  „          ,,       .                 ...  .X 

,                      ,  .         ,,     K ,    ,        '  yellow  marble  and  gold,  a  wedding  gift 

from  the  top  of  the  wall  to  the  house,  f              .,  „    ...  „ 

,  .  ,   .      1       .            ,             -  r    ■  from  the  Neil  Hamiltons. 
which  is  severe  m  aspect,  except  for 

the  elaborate   stone   carving  which 

frames  the  wide  door. 

Inside  is  a  large,  circular  entrance  hall,  with  a  tall, 


The  tiled  pool  allows  for  privacy,  and  is  different,  in  this  respect, 
from  many  of  the  pools  of  Hollywood  homes. 

stained-glass  window  in  its  outer  arc.  This  hall  is  two 
stories  high,  and  the  staircase  rises  along  three  quarters 
of  its  circle.  Hung  from  the  ceiling  is  a  mammoth 
crystal  chandelier.    Against  the  wall,  near  the  door,  is 

a  V enetian  console,  and  a 
mirror  of  black  onyx-and- 
gold  filigree.  In  a  niche 
on  the  other  side  of  the 
hall  is  a  marble  statue, 
which  belonged  to  Mr. 
Webb's  mother.  Thrown 
over  the  iron  railing,  along 
the  gallery  at  the  top  of 
the  stairs,  is  a  Persian 
prayer  rug  of  incalculable 
antiquity. 

Breaking  one  side  of  the 
hall  is  the  broad  arch,  un- 
der which  three  low  steps 
lead  into  the  living  room. 
This  is  long,  and  in  its 
left  wall  a  wide  window, 
reaching    from    floor  to 
ceiling,    faces    the.  front 
lawn.    The  right  wall  is 
composed  of  French  win- 
dows, opening  on  the  gar- 
den and  swimming  pool. 
At  the  far  end  of  the  room 
is  a  stone  fireplace,  carved 
in  the  same  manner  as  the  entrance 
door.     The  fire  screen,  tongs,  and 
wood  box,  all  of  pewter,  were  made 
by  a  German  craftsman  discovered  by 
Esther  on  her  shopping  explorations. 
Above  the  fireplace  is  a  portrait  in  oils  of  Esther  and 
her  husband,  painted  by  Maillard  Kesslere.    On  the 


30 


There's  No  Place  Like  Home 


Frequent  wall  brackets  and  lamps  supply  the  light.  One 
lamp,  standing  by  the  piano,  has  a  shade  made  of  exquisite 
petit-point,  a  piece  which  took  the  prize  at  an  exposition. 

In  opposite  corners  of  the  room  are  two  widely  divergent 
forms  for  the  protection  of  music.  One,  an  electric  panatrope 
victrola  and  radio  incased  in  Jacobean  design.  The  other, 
an  old  music-box,  made  in  Switzerland  as  a  wedding  gift  to 
Mr.  Webb's  grandmother,  its  tinkling  repertoire  comprising 
her  favorite  songs.  It  looks  like  a  rosewood  table,  with 
inlays  of  delicate  workmanship.  Its  top  lifts  up,  disclosing 
its  remarkable,  fragile  mechanism. 

A  high,  dark  Spanish  desk  affords  space,  on  top,  for  two 
Italian  marble  vases  which  are  lit  from  the  inside,  and  -below, 
space  for  an  old  piece  of  Holland  pottery.  An  incidental 
table  in  Spanish,  contrasting  woods  inlaid  in  its  polished  top. 
Over  the  grand  piano  is  thrown  an  embroidered  scarf  and 
on  one  corner  of  it  stands  a  charming  Lalique  figure.  On 
the  wall,  in  one  corner,  is  a  little  Dutch  -bric-a-brac  shelf, 
holding  Dresden  and  Sevres  figurines. 


The  beautiful  gate,  pictured  above,  is  one  of  the'special 
prides  of  its  owners. 

mantel,  flanked  by  two  yellow-marble  vases,  is 
a  French  clock  of  yellow  marble  and  gold,  the  set 
a  wedding  present  from  the  Neil  Hamiltons. 

The  walls  and  ceiling  are  a  neutral,  fawn 
plaster.  In  the  thick  Turkish  carpet  the  pre- 
dominating color  is  a  deep  rose,  verging  on  mul- 
berry. Wisely,  Esther  did  not  attempt  the  pre- 
carious matching  of  this  shade  in  the  upholstery 
and  draperies.  The  big  divan,  the  long  bench 
fronting  the  fireplace,  and  three  of  the  armchairs 
are  upholstered  in  deep-blue  velvet.  One  of  the 
room's  salient  features  are  the  draperies  at  the 
windows  and  entrance  arch.  These  are  of  gen- 
erous proportions,  trailing  the  floor  gracefully, 
and  are  stiff  with  unusual  embroidery,  in  which 
the  same  blue  predominates. 

Incidental  armchairs  are  French  in  design,  up- 
holstered in  brocades  of  mellow,  indeterminate 
tones.  All  the  chairs  as,  indeed,  all  the  furniture 
in  the  house,  are  wide,  deep,  luxuriously  com- 
fortable. 

"My  principal  excuse  for  mixing  periods  so," 
Esther  explains,  "is  that  I  adore  comfort,  and 
consider  it  the  first  requisite  of  furniture.    I  love 
Spanish  desks,  so  we  have  two ;  but  I  don't  like  Spanish 
divans  and  chairs,  so  we  haven't  any.    That  is  the  gen- 
eral theme  of  how  the  house  is  furnished." 

In  the  big  front  window  stands  a  tabouret  on  which 
is  a  small  Spanish  leather  chest  with  nail  heads  in  de- 
sign. This  is  used  as  a  humidor.  By  each  chair  is  a 
wronght-iron  ash  tray  and  cigarette  box.  By  the  divan 
is  a  tiled  coffee  table,  holding  a  huge  brass  bowl,  filled 
with  cigarettes  of  a  dozen  different  brands. 


hall  in  the  Ralston  home  is  two  stories  high,  with  one  of  the  most 
beautiful  stairways  in  Hollywood. 

To  the  right,  as  one  enters  the  living  room,  is  a  glass 
door  at  the  top  of  three  steps  leading  into  a  small  sun 
,  room.  One  side  of  this  room  describes  a  semicircle  of 
French  windows,  opening  onto  the  garden  and  swimming 
pool.  The  walls  and  ceiling  are  painted  a  pale  gray,  with 
festoons  in  wistaria,  rose  and  green.  The  curtains  are 
a  light  rose,  the  wicker  furniture  is  gray,  upholstered 
in  cretonne,  patterned  in  wistaria,  rose  and  green.  Low 
tables  old  books,  magazines,  and  candy  boxes,  cushions 


There's  No  Place  Like  Home 


31 


strew  the  chairs  and  divan,  the  sun  streams  in, 
and  its  reflection  in  the  swimming  pool  outside 
gives  even  the  ceiling  a  shimmering  glow  in  the 
daytime. 

Outside,  a  strip  of  garden  is  parallel  to  the  living 
room.  The  house  is  shaped  like  a,  reversed  L, 
the  living  room  forming  the  short  end.  Running 
the  length  of  the  L  is  the  swimming  pool.  On  a 
higher  level,  opposite  the  house,  a  rose  garden 
forms  a  bank  of  color.  At  the  far  end  of  the 
pool,  a  little  loggia  runs  the  width  of  the  garden. 
Opening  on  it  are  two  dressing  rooms.  One  is 
painted  red,  with  black  woodwork,  two  chairs  are 
red  trimmed  in  black,  a  dressing  table  with  black- 
lacquered  top  and  red  oilcloth  valance,  holds  a 
round  mirror  encircled  with  red  oilcloth,  and  in 
the  lower  corner,  black  oilcloth  is  pasted  in  mod- 
ernistic designs.  The  other  room  is  done  in 
precisely  the  same  manner,  except  that  the  color 
scheme  is  orchid  and  green.  Esther  and  her  hus- 
band are  proud  of  these  delightful  rooms,  for  Mr. 
Webb  painted  the  furniture,  and  his  wife  devised 
and  executed  the  dressing  tables. 

Beyond  the  dressing  rooms,  the  loggia  ends  in 
steps  leading  up  to  servants'  quarters,  above  and 
beyond  them. 

In  the  house  again,  we  come  to  a  small  hallway, 
back  of  the  sun  room  and  entrance  hall.  Opening 
off  it  is  a  main-floor  bath  and  dressing  room. 
Farther  on,  a  stairway  leads  -down.  Halfway 
down  is  a  landing — the  continuation  of  the  stairs 
barred  by  an  iron  gate  leading  down  to  the  garages. 
Turning  to  the  left,  on  the  landing,  we  follow  the 
direction  of  an  electric  globe,  with  "Bar"  painted 
on  it,  and  descend  the  stairs  to  a  small  anteroom 
that  is  a  real,  old-fashioned  bar  in  every  detail. 
The  brass  footrail,  the  high  cupboards  for  glasses 
and  bottles  behind  it;  none  of  the  familiar  fea- 
tures  are  lacking. 

On  the  left,  a  ,  — - — - — 

door  opens  into  a 


long,  low-ceilinged 


room  used  for 
dancing.  Its  pol- 
ished floor  is  un- 
carpeted,  and  across 
the  end  of  the  room 
is  a  low  platform 
for  the  orchestra. 
The  divans,  chairs, 
lamps,  and  mirrors 
around  the  walls 
are  all  in  the  ultra- 
modern  mode. 
Chairs  and  divans 
are  low,  broad  and 
deep— silver-leafed 
wood  and  pale- 
green  satin  uphol- 
stery predominat- 
ing. Water  lamps, 
with  plaited  shades, 
cast  varicolored 
light,  reflected  in 
wall  mirrors.  A 
very  1  o  w  coffee 
table  has  a  mirror 
top,  and  on  it  is  a 

water  lamp,  a  black-and-silver  cigarette  chest,  a  Czecho- 
Slovakian  ash  tray,  and  a  red,  blown-glass  dancing  fig- 
ure. On  the  platform,  the  piano  is  pale  green,  with 
silver  lightning  on  the  music  rack.    One  of  the  most  at- 


Estlier  Ralston's  bedroom  is  done  in  her  favorite  colors,  orchid  and  green 


Miss  Ralston's  win- 
dow takes  in  all  Holly- 
wood, with  a  glimpse 
of  the  ocean,  fifteen 
miles  away. 

tractive  rooms  in 
the  house,  this. 

On  the  main 
floor  again,  the  en- 
trance hall  leads 
into  a  smaller, 
semicircular  hall, 
where  the  telephone 
desk  stands.  To  the 
right,  up  three 
steps,  is  a  smaller 
anteroom,  in  the 
end  of  which  is  a 
stained-glass  win- 
dow sending  a  dull, 
yellow  light  over 
the  formal  tapestry 
divan  facing  the 
curtained  arch  into 
the  dining  room. 

The  dining  room 
is    purely  Italian, 
in    dark,  carved 
wood,  combined  with  dully  painted  leather.    The  fur- 
niture is  massive,  and  the  chairs  are  tall  backed.  Giv- 
ing the   room  color,  are  the  heavy  curtains  at  the 
Continued  on  page  108 


32 


Reginald  Denny  feels  he  has  reached  the  crisis 
of  his  career. 

Reginald's  Lament 

The  vicissitudes  of  uncertain  star- 
dom are  turning  buoyant,  noncha- 
lant Reginald  Denny  into  a  man  of 
cares  and  frowns.  One  wonders 
what  he's  going  to  do  about  it. 

By  Myrtle  Gebhart 

IN  Hollywood,  when  a  day  passes 
without  a  new  squabble  between 
Reginald  Denny  and  Universal,  we 
wonder  what's  wrong.  One  week  he  de- 
clares an  open  breach.  There  are  con- 
ferences. The  smoke  of  battle  clears 
away  with  the  setting  sun,  only  to  pour 
forth  again  with  its  rising. 

In  the  calms  between  hostilities,  he 
works,  and  makes  films  that  do  not  ful- 
fill the  things  expected  of  him  a  few 
years  ago. 

Why,  I  wondered,  should  this  very  nice 
and  conservative  Englishman,  whom  I 
had  known  as  a  nonchalant  and  good- 
humored  chap,  develop  temperament  ?  He 
is  not  the  militant  or  excitable  type,  but, 
is  clean-cut,  terse,  arid  amiable. 


Photo  by  Freulich 


On  one  of  the  many  armistice  days,  I  talked 
with  him  and  found  him  considerably  more 
serious  than  he  was  a  year  ago.  Very  likely 
his  divorce  has  contributed  to  this.  We  did 
not  mention  it,  however.  There  was  in  his 
manner  a  more  authoritative  air  and,  too,  that 
look  of  one  who  carries  worries. 

"I  want  to  make  better  pictures,  that's  all," 
he  began.  We  were  having  lunch  at  the  Ath- 
letic Club.  "If  I  were  a  mechanic,  I  would 
want  to  do  my  work  well.  If  I  were  an  artist, 
I  would  want  to  paint  good  oils. 

"Acting  is  our  family's  business.  Great- 
grandfather, grandmother,  parents,  all  before 
me  have  been  theatrical  people.  I  played  my 
first  role  at  seven.  I  have  never  worked  at  any- 
thing else.  I  have  written  and  produced  plays. 
I  should  know  something  about  it.  Universal 
has  some  confidence  in  me,  because  they  prac- 
tically give  me  my  own  organization.  That  is, 
I  do  not  have  too  much  supervision.  However, 
they  do  not  give  me  the  material  with  which  to 
work. 

"Bad  stories  are  my  first  complaint.  Uni- 
versal buys  'Broadway'  for  $225,000,  and  then 
they  don't  know  what  to  do  with  it.  They 
spoke  of  Tvanhoe'  for  me.  Everything  in  'Ivan- 
hoe'  has  been  done.  Instead  of  stories,  they 
give  me  a  gag  and  expect  me  to  develop  it  into 
an  enjoyable  film.  They  allow  four  weeks  in 
which  to  go  over  the  thing  with  the  director, 
write  the  story,  and  make  the  picture.  They 
allow  for  the  whole  production  about  $160,000, 
dollars,  and  when  my  salary  is  taken  out,  there 
isn't  enough  left  to  make  a  really  good  pro- 
duction. 

"Occasionally  I  have  an  experienced  and  pop- 
ular girl  for  my  leading  lady — Marian  Nixon 

for  instance — but  too 
often  they  give  me 
young  newcomers, 
whom  they  wish  to  train 
and  develop.  Even  the 
biggest  stars  now  real- 
ize that  they  can't  carry 
a  picture  alone.  I'm 
supposed  to,  however, 
and  I'm  blamed  if  my 
pictures  are  no  good." 

At  this  writing,  there 
is  a  possibility  that  one 
of  the  largest  organiza- 
tions may  buy  Reg's 
contract,  and  make  him 
an  independent  unit  on 
a  par  with  the  top- 
notchers.  That  would 
mean  more  money  on 
production,  better  sto- 
ries, and  features  in- 
stead of  program 
quickies.  Of  course,  it 
sounds  so  good  he  is 
afraid  it  will  never  ma- 
terialize. 

"What  Happened  to 
Jones"  he  selected  as 

He  finds  opportunity,  occa- 
sionally, to  pull  in  the  anchor 
of  his  steam  launch,  and 
leave  his  worries  behind. 


Reginald's  Lament 


33 


Denny's  mountain  lodge  is  typically  a  man's  retreat,  and  he  spends  as  much  time  there  as  possible. 


his  best  picture,  though  "The  Leather  Pushers"  and 
other  fight  yarns  appealed  to  him. 

"They  had  action  and  thrill,  and  a  definite  characteri- 
zation. I  want  variety, 
though.  I  don't  care  par- 
ticularly what  I  play,  so 
long  as  it  has  a  story  and 
an  interesting  character. 
But  I  cannot  do  slapstick 
comedy,  such  as  I  have 
had  to  do.  My  face  isn't 
funny.  My  comedy  must 
be  of  situation,  and  not 
dependent  upon  my  face 
or  personality." 

A  nerve-racking,  uncer- 
tain business  is  this  sort 
of  stardom.  It  demands, 
leechlike,  an  actor's  all. 
There  is  compensation  for 
some,  perhaps,  in  the  fi- 
nancial reward  and  fame. 
But  these  cost  the  actor  in 
the  coin  of  worry. 

His  worries,  though,  do 
not  compare  to  those  of 
the  star-producer,  which 
is  virtually  the  position  al- 
lotted to  Denny  by  Uni- 
versal. He,  not  the  com- 
pany, supervisor  or  direc- 
tor, is  held  responsible 
for  the  caliber  of  his  films. 
He  has  the  final  say-so  on 
all  matters,  with  the  ex- 
ception that  he  must  ac- 
cept the  staff,  the  troupe, 
the  story  and  the  budget 
given  to  him. 

An  expert  flyer  himself,  Regi- 
nald Denny  owns  numerous 
planes  which  he  rents  out  to 
various  film  companies. 


It  is  like  telling  a  small  boy,  "This  is  Saturday,  you 
can  do  just  exactly  as  you  please.  You  can  mow  the 
lawn,  feed  the  chickens,  or  do  your  arithmetic.  Suit 

yourself."  An  actor  so 
placed  is  given  the  respect 
due  to  a  producer,  but  not 
the  latitude.  He  has  the 
name,  and  the  labor,  but 
he  lacks  the  wherewithal 
to  do  what  is  expected  of 
him. 

Is  it  any  wonder  that 
the  vicissitudes  of  a  ca- 
reer, under  such  peculiar 
conditions,  have  turned 
this  buoyant,  nonchalant 
fellow  into  a  man  of  cares 
and  frowns? 

"But,  Reg,"  I  asked, 
when  after  luncheon  we 
had  driven  to  his  house, 
and  were  looking  out  on 
the  rambling  gardens, 
"aren't  all  actors  more  or 
less  discontented  ?  They 
kick,  everywhere.  Why  ?" 

"We  are  egoists,"  he 
admitted,  "a  fault  which 
grows  out  of  public  ac- 
claim. Few  people,  placed 
in  the  center  of  the  spot- 
light, could  remain  hum- 
ble and  forget  self.  Self 
is  our  stock  in  trade.  Any 
actor  is  prone  to  over- 
rate himself  a  little,  and 
to  feel,  when  this  fame  is. 
given  to  him,  that  he  de- 
serves more  respect  from 
his  employers  than  he  gets. 
Still,  in  cases  where  the 
actor  is  held  responsible, 
there  arc  grounds  for  com- 
plaint." _  [Cont'd  on  page  105] 


A 


Photo  by  Ruth  Harriet  Louisa 

Joan  Crawford  lives  furiously,  completely,  seizing  at  everything,  for  fear 
she  may  miss  something  worth  while. 

Portrait  of  a  Wow 

Joan  Crawford  is  found  by  the  interviewer  to  possess 
smashing  vitality,  animation  and  sparkle,  without 
any  pose  to  detract  from  these  high-voltage  virtues. 

By  Malcolm  H.  Oettinger 

NO  man  looks  at  Joan  Crawford  without  looking 
twice. 

That  is  a  nine-word  portrait  of  a  wow. 

And  that  must  serve  as  description :  the  usual  giddy 
parade  of  adjectives  would  be  too  routine.  One  might 
catalogue  the  red  hair  and  the  challenging  smile,  the 
confident  eyes  and  the  impudent  chin,  the  miniature  ears 
and  the  amazing  row  of  freckles  chasing  across  the 
bridge  of  the  nose;  one  might  go  into  statistical  ecsta- 
sies over  the  figure,  matching  it  against  that  of  the  Milo 
contest  winner  on  a  smaller,  more  graceful  scale ;  one 
might  go  to  such  ends,  and  still  it  wouldn't  be  enough. 

No  description  of  the  mad,  mercurial  Crawford  would 
be  adequate.  She  is  young  and  irresponsible.  She  is 
gay  and  daring.  If  the  mood  were  upon  me,  I  should 
say  that  she  was  a  flaming  iris  waving  in  the  wind, 
drinking  in  the  sun,  graceful,  slender,  alive  with  color. 

She  lives  furiously,  completely,  seizing  at  everything 
life  offers,  for  fear  she  may  miss  something  worih 
while.  This  entails  taking  the  bitter  with  the  sweet 
upon  occasion  ;  but  that,  she  would  tell  you,  is  the  breaks. 


She  is  Broadway  in  Hollywood. 
That  plunges  one  into  biography.  For  Joan 
Crawford  was  Lucille  LeSeur,  no  less,  when 
she  kicked  high,  wide,  and  fancy  at  the  Silver 
Slipper.  This  is  no  Cinderella  fable;  the  Sil- 
ver Slipper  is  one  of  Broadway's  hey-hey  caba- 
rets, where  Cinderella  would  be  out  of  luck, 
because  things  barely  begin  to  look  up  at  the 
witching  hour  of  midnight.  Joan  was  one  of 
the  ponies.  She  had  nothing  special  to  do,  yet 
she  attracted  attention.  People  singled  her 
out  immediately. 

It  was  no  great  surprise  to  the  management 
when  Lucille  said  she  was  leaving  to  elevate 
the  drama  at  the  Winter  Garden.  That  was  a 
step.  Lucille  had  more  than  it  takes  to  make 
good  in  a  white-light,  song-and-sip  joint. 

Then  came  the  night  when  a  Hollywood 
producer  saw  the  show.  And  he,  too,  singled 
out  Lucille  LeSeur.  There  was  a  contract 
offered  her — a  contract  that  took  her  to  Hol- 
lywood, paid  her  enough  to  live  on,  and  gave 
her  a  chance  to  show  her  stuff. 

Hollywood  didn't  bat  an  eye.  When  it  was 
introduced  to  Joan  Crawford  it  said,  "Greet- 
ings, baby.  Have,  a  good  time!"  That  was 
all.  But  Joan,  loving  a  good  time,  took  it  seri- 
ously. She  proceeded  to  dance,  swim,  and  be 
merry. 

Diplomacy  was  not  the  least  of  her  talents. 
She  was  a  regular  fellow,  without  straining  to 
please.  She  had  the  gift.  The  publicity  de- 
partment found  that  out  quickly  enough,  and 
before  you  could  say  Metro-Goldwyn-Mayer 
she  was  in  every  picture  magazine  in  the  coun- 
try, racing  whippets,  autos,  and  trains ;  reading 
papers,  poetry  and  pamphlets ;  fondling  dogs, 
dolls  and  diaries.  She  was  photographed  do- 
ing the  waltz,  the  polka,  the  Charleston,  and 
the  Black  Bottom ;  :  kissing  visiting  royalty, 
congratulating  "Babe"  Ruth,  waving  to  Will 
Hays ;  christening  battleships,  adopting  regi- 
ments, joining  the  marines.  Joan  was  "sold" 
before  she  was  screened  at  all. 

This  might  have  wrecked  a  less  clever  girl. 
It  only  served  to  put  the  Crawford  soubrette 
on  her  toes.  They  immediately  took  a  pic- 
ture of  her  that  way.  She  had  the  break  in 
publicity,  she  figured.  Good !  Now  she  was 
going  to  show  something. 

"Sally,  Irene,  and  Mary"  was  the  first  pic- 
ture, after  months  of  waiting.  It  was  enough.  "Paris," 
"The  Understanding  Heart,"  and  "The  Taxi  Dancer" 
followed  in  gatling-gun  succession.  In  each  story  the 
Crawford  part  stood  out  with,  increasing  vividness.  Ex- 
hibitors wrote  incoherent  letters  inquiring  about  her; 
fans  rallied  round  the  new  figure. 

Joan  was  cast  opposite  Lon  Chaney  in  "The  Un- 
known," and  proved  that  she  could  act.  Her  work 
opposite  Gilbert  in  "Twelve  Miles  Out"  served  as  proof 
positive.  Then  she  was  teamed  with  Bill  Haines,  and 
Metro-Goldwyn,  et  cetera,  had  found  the  ideal  combina- 
tion. With  Haines  she  made  "Spring  Fever"  and 
"West  Point."  With  Haines  she  is  likely  to  play,  off 
and  on,  until  stardom  claims  her  for  its  own.  The 
Crawford-Haines  alliance  is  particularly  happy.  They 
are  youth  personified ;  they  are  verve  itself ;  they  are 
snap  and  zip  and  springtime.  They  are  what  the  public 
wants. 

All  this  was  not  extraordinary,  in  its  way.  Dozens 
of  girls  have  been  sighted  in  choruses  by  astute  pro- 
Continued  on  page  105 


Photo  by  Roth  Harriet  Lotriae 

Y 

NO  description  of  mad,  mercurial  Joan  Crawford  would  be 
adequate,  Malcolm  H.  Oettinger  surprisingly  confesses  on 
the  opposite  page ;  but  he  succeeds,  nevertheless,  in  capturing  for 
the  fans  much  of  the  recklessness  and  allure  that  make  her  vital. 


36 


POURING  his  long  illness,  Geor6--  Hackathorne's  place  as  un- 
»-J  disputed  leader  of  the  younger  character  actors  has  never 
been  usurped.  And  now  that  he  is  returning  to  the  screen,  to 
play  in  "The  Stool  Pigeon,"  there  is  cause  for  rejoicing. 


Photo  by  Rath  Harriet  Looise 


WEN  LEE  is  progressing  so 


she  played  bits  seem  very  dis- 
tant indeed.  And  if  you  think 
she  is  only  a  comedienne,  we 
advise  you  to  see  her  as  a  sinu- 
ous and  provocative  siren,  in 
"Laugh,  Gown,  Laugh,"  and  it 
is  by  no  means  too  early  to 
whisper  that  she  will  one  day 
be  a  star. 


Photo  by  Eocene  Robert  Richee 

CLARA  BOW  forsakes  her  tantalizing  expression  that  you 
may  be  devastated  by  her  soulful  one.  It  is  all  in  prepara- 
tion for  her  next  picture,  succinctly  entitled  "The  Fleet's  In" — 
and  can't  you  guess  what  Oara  will  do  to  the  gobs? 


Photo  by  Melbourne  Spurr 

PITY  poor  Anna  Q.  Nilsson — and  then  shout  for  joy! 
Through  an  accident  she  lost  a  splendid  role,  but  gained  an- 
other by  recovering,  which  proves  that  no  horse  can  throw  Anna 
Q.  far  from  good  luck.    The  role?    In  "Tropic  Madness." 


Pboto  by  Eugene  Koberc  Kicbee 

AS  a  graduate  of  the  Paramount  School,  Josephine  Dunn 
>•  started  brightly  on  a  career  which  came  suddenly  to  a  stand- 
still— no  one  knew  why.  Now  friendly  Kleigs  are  shining  upon 
her  in  two  pictures,  "Excess  Baggage"  and  "The  Singing  Fool." 


DON  ALVARADO  always  adds  to  his  personal  success,  no 
matter  in  what  picture  he  appears,  this  .being  admitted  both 
by  his  fellow  actors  and  his  fans — though  with  dissimilar  enthu- 
siasm.  His  next  chance  ?   In  "The  Battle  of  the  Sexes." 


42 


RICHARD  BARTHELMESS  is  essentially  the  aristocrat  and 
is  proud  and  mildly  imperious,  says  Madeline  Glass  in  the 
story  opposite,  the  result  of  three  attempts  to  interview  the  star, 
who  protests  that  interviewers  write  fiction  instead  of  facts. 


43 


The  Interviewers'  Waterloo 

In  spite  of  having  had  every  educational  and  cultural  advantage,  and  successful  years  in  a  colorful  pro- 
fession, Richard  Barthelmess'  remarks  are  guarded,  trivial  and  hyphenated  by  periods  of  profound  silence* 

By  Madeline  Glass 


CLASSIFIED  according  to  their  behavior  in  the 
presence  of  interviewers,  there  are  five  types  of 
actors :  natural,  unnatural,  exotic,  pseudo-exotic, 
and  Richard  Barthelmess. 

Barthelmess  is  the  most  reticent  of  all  the  stars.  He 
is  the  writers'  Waterloo.  Easily  one  of  the  most  indi- 
vidual members  of  his  profession,  he  stands  alone  in  his 
own  particular  niche.  In  retrospect,  one  can  follow  his 
progress  down  through  the  years  of  a  brilliant  career, 
firm,  aloof,  determined,  satis  pair  et  sans  reproche, 
lauded  by  the  critics  and  respected  by  the  fans. 

Of  the  myriad  stories  about  him,  none  has  yet  re- 
vealed the  true  soul  and  char- 
acter of  this  unusual  man. 
Superficial  pen  pictures,  un- 
important quotations,  routine 
life  stories,  yes.  But  the  real, 
comprehensive  analysis  is  yet 
to  be  written.  Perhaps  it 
never  will  be.  Certainly  not 
if  the  writer  depends  on  the 
actor  to  reveal  it  in  the  form 
of  an  interview.  He  is,  I  re- 
gret to  say,  an  annoyingly 
poor  conversationalist.  More- 
over, he  is  not  particularly 
fond  of  press  interrogations. 

"The  trouble  with  inter- 
viewers," he  told  me,  impa- 
tiently, "is  that  they  so  often 
write  fiction,  when  the  facts 
are  far  more  interesting." 

Tut,    tut,    Dick.  Them's 
harsh  words ! 

I  have  interviewed  this  gen- 
tleman three  times,  and  three 
times  the  laboriously  written 
articles  have  gone  into  the 
wastebasket.  Not  one  was 
worth  the  paper  it  was  typed 
on. 

It  is  odd  indeed  that  this 
brilliant  actor  should  be  so 
difficult  to  draw  out,  so  im- 
possible to  plumb.  In  spite 
of  having  had  every  educa- 
tional and  cultural  advantage, 
extensive  travel,  and  many 
years  of  success  in  a  fantas- 
tically colorful  profession,  he 
is  distinctly  dull  copy.  His 
remarks  are  guarded,  trivial, 
and  hyphenated  by  embarrassing  periods  of  profound 
silence.  One  does  not  know  whether  to  attribute  his 
attitude  to  modesty,  fear  of  misquotation,  or  what. 

One  very  rainy  day,  many  months  ago,  I  called  on 
Mr.  Barthelmess  at  the  First  National  studio.  The 
chauffeur  remarked  that  it  was  good  weather  for  ducks  ; 
unfortunately,  it  was  not  good  weather  for  actors.  In 
those  days  I  was  a  rabid  Barthelmess  fan.  For  years 
my  admiration  for  him  had  steadily  increased,  until  it 
had  become  an  acute  form  of  hero  worship.  I  devoutly 
and  foolishly  idolized  him,  as  many  another  girl  has 
done. 


Richard  Barthelmess  is  home-loving,  exclusive  and  de- 
votedly parental,  but   his  extreme  sensitiveness  often 
makes  him  intolerant. 


The  star  was  telephoning  when  I  entered  the  office, 
and  after  finishing  his  conversation,  he  greeted  me  cor- 
dially enough,  then  entrenched  himself  behind  a  desk 
in  an  attitude  at  once  expectant,  but  uncompromising. 
A  bit  self-conscious  in  the  presence  of  my  own  private 
deity,  I  couldn't  think  of  any  bright  questions  to  ask. 
The  fact  that  the  conversation — if  I  may  call  it  that — 
was  languishing,  didn't  seem  to  bother  him  any.  When 
he  grew  weary  of  toying  with  the  desk  fixtures,  he  un- 
hurriedly took  up  the  telephone  and  made  a  couple  of 
calls.  The  next  time  I  go  to  talk  with  him  I  shall  take 
along  a  pack  of  cards,  and  indulge  in  a  little  solitaire 

during  lulls  in  the  interview. 

It  was  shortly  after  that, 
that  I  saw,  for  the  first  and 
only  time,  the  Barthelmess 
mask  of  suave  repression  torn 
aside  and  trampled  under  foot. 
At  that  time  his  artistic  affairs 
were  in  a  precarious  state. 
Good  stories  seemed  unobtain- 
able, and  the  star  was  ob- 
viously uninspired.  Critics, 
who  had  previously  offered 
only  praise,  were  changing 
their  tune.  Perfectly  con- 
scious that  he  was  slipping  be- 
hind in  the  procession,  I  wrote 
an  article  about  him,  chasten- 
ing him  and  his  producers 
gently  for  what  seemed  to  be 
sheer  carelessness.  I  might 
add  that  I  did  it  "for  his  own 
good." 

Barthelmess  eventually  read 
the  story,  and  there  followed 
several  days  of  ominous  si- 
lence. Then  his  press  agent 
called  me  on  the  phone  and 
invited  me  to  lunch  with  the 
star  at  his  palatial  Beverly 
Hills  home.  I  went,  vaguely 
apprehensive,  but  thrilled  at 
the  prospect  of  seeing  my  fa- 
vorite again. 

Now  I  can  look  back  upon 
the  episode  with  a  smile — a 
wry  smile,  to  be  sure,  but  a 
smile  nevertheless.  At  the 
time  it  occurred,  the  incident 
assumed  the  proportions  of  a 
tragedy. 

Barthelmess  strode  into  the  room  where  I  was  wait- 
ing,- courteous,  informal,  offering  a  friendly  hand.  It 
was  like  the  preliminary  amenities  of  boxers  before  the 
initial  bell.  Then,  taking  up  the  offending  article,  he 
tapped  it  across  his  palm. 

Alas  for  sweet,  lavender-scented  illusions !  The  atti- 
tude of  my  beloved  idol  suddenly  changed,  and  he 
looked  at  me  as  if  he  would  have  enjoyed  throwing  me 
off  Lick  pier.  His  fine,  brown  eyes  flashed  angrily. 
Too  pained  and  astonished  to  think  coherently,  I  sat  si- 
lent while  he  snowed  me  under  with  reproaches  and 
Continued  on  page  119 


44 


Marion 
Nixon's  free- 
lance career 
started 
gloriously 
when  she 
was  cast 
opposite 
Richard 
Barthehness. 

Photo  by  Frculich 


JUST  remember  me  as  an  old-fashioned 
girl,"  Fanny  the  Fan  counseled,  "and 
don't  expect  me  to  trail  along  with  you 
young  folks.  I  knew  and  loved  the  movies 
when  they  were  quiet,  but  now  they  are 
getting  articulate  I  can  spend  quiet  evenings 
only  among  my  books." 

She  could,  she  really  meant,  if  she  would 
remember  to  get  some  books. 

"It  used  to  be  a  reproach  to  call  a  screen 
player  'beautiful  but  dumb,'  but  now,  to  me, 
it  is  the  highest  tribute.  I'll  never  like  these 
talking  movies.  I  can't,  because  there  is 
only  one  Lionel  Barrymore.  Except  when 
he's  speaking,  I,  always  want  to  plug  my 
ears." 

Fanny's  "but-thev-will-never-supplant-the- 
horse"  attitude  toward  talking  pictures  isn't 
going  to  help  her  a  bit.  The  whole  mo- 
tion-picture industry  has  gone  crazy  on  the 
subject  of  filming  noises,  and  even  the  Con- 
stitution is  on  their  side.  It  says  something 
or  other  about  guaranteeing  free  speech. 
But,  try  as  I  will  to  be  open-minded  about 
this    new    development,    I    can't    be,  if 


(ftander 


producers  insist  on  digging  up  all  the  forgotten  relics  of 
vaudeville  to  feature  on  their  sound  programs.  Almost 
any  day  now,  I  expect  to  go  f  into  a  motion-picture  palace 
and  hear  "Uncle  Josh  at  the  Dentist's." 

"One  lucky  feature  about  living  in  Los  Angeles,"  Fanny 
suggested — and  .the  Chamber  of  Commerce  will  please  note 
—"is-  that  you  can  sometimes  see  previews  of  pictures  be- 
fore the  noise  is  recorded.  None  of  the  companies,  except 
Warner's,  are  committed  to  making  dialogue  pictures.  The 
others  are  just  picking  the  pictures  that  look  like  big  win- 
ners and  adding  sound  effects  and  music.  And,  if  they 
already  look  like  winners,  I  can't  see  the  necessity. 

"The  obvious  candidates  for  stardom  in  talking  pictures 
are  Helen  Ferguson,  Mae  Busch,  and  Lois  Wilson,  because 
they  have  made  hits  on  the  Hollywood  stage.  And  Shannon 
Day.  Particularly  Shannon  Day,  because  her  voice  was 
glorious  when  she  did  'Kongo'  on  the  stage.  Lois  has 
already  made  one  Vitaphone  playlet,  but  let's  not  go  into 
that  any  further. 

"Incidentally,  what  do  you  want  to  bet  that  Estelle  Taylor 
and  Jack  Dempsey  get„an  offer  to  do  a  talking- picture,  if 
their  stage  play  is  a  success  in  New  York  this  -fall?" 

As  though  any  one  would  be  so  foolish  as  to  bet  against 
a  foregone  conclusion  like  that ! 

"If  any  of  Estelle's  fears  for  the  first  night  of  the  show 
come  true,  it  would  be  well  worth  a  trip  across  the  country 
to  see  it.  Estelle  says  that  when  she  gets  nervous,  her 
voice,  which  is  naturally  low,  gets  lower.  When  Jack  gets 
rattled,  his  voice  slides  up  to  a  giddy  falsetto.    The  only 

way  out,  that  I 


Photo  by  Seely 


can  see,  is  for 
them  to  study 
ventriloquism  and 
speak  each  other's 
lines ! 

"Two  more  can- 
didates for  talk- 
ing-movie honors 
are  Winston  Mil- 
ler and  his  sister, 
Patsy  Ruth.  They 
have  gone  in  vio- 
lently for  com- 
munity spirit,  and 
have  joined  the 
Beverly  Hills" 
Community  Play- 
ers. They  played 
t  he  leads  in 
'Kempy*  the  other 
night,  and  covered 
themselves  with 
glory.  I'll  never 
be  really  satisfied, 

Jacqueline  Logan's 
new  contract  with 
DeMille  eliminates 
the  possibility  of  her 
being  lent  to  others. 


45 


Fanny  the  Fan  unburdens  herself 
of  a  few  harsh  words  on  the  sub- 
ject of  talking  movies,  and  elects 
her  favorites  for  the  coming  year. 


though,  until  I  see  Winston  and  Pat  in  a 
show  where  they  do  their  burlesque  Apache 
dance,  which  is  the  main  feature  of  the 
nightly  after-dinner  vaudeville  at  the  Miller 
home." 

"For  one  who  refuses  to  take  any  interest 
in  talking  pictures,"  I  chided  her  mildly,  "it 
seems  to  me  that  you  are  showing  a  lot  of 
interest  in  digging  up  candidates  for  them." 

"Oh,  well,  who  ani  I  against  the  whole  in- 
dustry?" Fanny  granted  generously. 

"I  suppose  you  have  heard  that  Alma 
Rubens  has  been  signed  by  Universal  for 
'Show  Boat'?  They  are  still  looking  for  a 
juvenile  team  for  it,  but  they  grabbed  Alma 
and  signed  her  to  a  contract,  so  as  to  be  sure 
of  one  player  they  wanted.  While  waiting 
for  production  to  start,  she  is  taking  vocal 
lessons.  So  are  a  lot  of  other  people.  It 
may  be  hard  on  us,  but  it  is  a  banner  year 
for  teachers  of  singing  and  elocution. 

"Of  course,  Dolores  del  Rio  has  stolen  a 
march  on  all  the  other  stars  by  becoming  a 
singer  of  recognized  ability.  Her  phonograph 
records  of  'Ramona,'  and  a  little  Mexican 
song,  have  had  a  tremendous 
sale.  Even  if  the  picture 
'Ramona'  hadn't  been  a  hit — 
it  wasn't  with  me,  but  I  seem 
to  be  a  minority  of  one — the 
royalties  from  the  song  and 
the  record  would  have  pulled 
it  out  of  the  debit  ledgers. 

"And  while  we  are  on  the 
subject  of  singing — Milton 
Sills  and  Doris  Kenyon  should 
have  been  teamed  in  a  talking 
picture  that  gave  them  both  a 
chance  to  sing.  I  say  'should 
have  been,'  because  it  is  a  lit- 
tle late,  now.  Doris'  contract 
with  First  National  has  ex- 
pired, and  she  has  announced 
that  she  will  not  renew  it. 
They  didn't  seem  to  have  any- 
thing for  her  to  do  out  at  the 
First  National  lot,  except  play 
opposite  her  husband,  and  her 
salary  was  so  big  that  it  left 
little  for  story,  direction,  and 
what  not.  Also,  it  meant  little 
glory  for  Doris." 

brought  up 
how  Doris 
free  lance. 


Virginia  Valli  will  appear  in  a  Reginald 
Barker  special. 

Photo  by  Hesser 


Naturally,  that 
the  question  of 
would  fare  as  a 
You  never  can  tell,  when  a  girl 
steps  out  of  a  long  and  lucra- 
tive contract,  whether  she  is 
just  around  the  corner  from 


Photo  by  Autrey 


Olive  Borden 
is  making  a 
picture  for 
Columbia. 


fame  and  glory,  or  oblivion. 
Virginia  Valli  holds  the  long- 
est and  most  consistent  record 
of  good  engagements  for  a 
free-lance  player,  and  Mar- 
garet Livingston  holds  the 
nonstop  record  for  the  greatest 
number  of  films.  Patsy  Ruth 
Miller  can  hardly  be  classed  as 
a  free-lance  player,  because 
she  has  an  agreement  to  be 
featured  in  a  number  of  Tif- 
fany-Stahl  features  in  the  next 
two  years ;  and  as  fast  as  she 
finishes  a  picture  there,  she 
rushes  over  to  Universal  to 
make  a  costarring  comedy  with 
Glenn  Tryon,  or  a  Universal 
special.  Olive  Borden  is  the 
horrible  example  of  how  com- 
pletely a  former  star  can  be 
ignored  by  producers. 

"Olive's  working  now," 
Fanny   announced,    "so  her 


46 


Over  the  Teacups 


jinx  may  have  'been  routed.  She's  not  up  to  anything 
grand  and  glorious,  from  all  accounts.  Just  a  picture 
for  Columbia,  but  that  is  better  than  resting  between 
film  tests. 

"The  very  newest  free-lance  player  is  starting  out 
auspiciously.  Marian  Nixon  got  a  release  from  her 
contract  with  Universal,  and  was  signed  right  away  to 
play  opposite  Richard  Barthelmess  in  'Out  of  the  Ruins.' 
She  is  a  lovely  child.  Every  time  I  see  her  I  like  her 
better,  even  if  it  is  a  shock  to  hear  such  a  fragile  child 
talk  so  knowingly  about  the  stock  market. 


Photo  by  Hesser 

Lupe  Velez  is  Fanny's  favorite  for  the  coming  year. 

"Marian  is  one  of  those  lucky  individuals  who  doesn't 
have  to  work  any  more  unless  she  wants  to.  She  has 
invested  very  wisely  and  has  a  good,,  steady  income 
from  her  coupons. 

"The  old  criticism  that  motion-picture  players  could 
talk  about  nothing  but  movies  can  now  be  disposed  of. 
On  sets  nowadays  they  talk  about  nothing  -but  the  stock 
market.  Tickers  will  have  to  be  installed  in  studios  soon, 
in  order  to  keep  players  on  the  set.  Some  day,  when 
there  is  a  terrific  drop  in  the  market,  great  reputations 
will  be  made  for  tragic  performances." 

While  Fanny's  mind  was  apparently  on  serious  things, 
her  eyes  were  not.  They  were  roving  around  Mont- 
martre,  taking  in  the  details  of  the  costumes  there.  Evelyn 
Brent,  just  returned  from  a  trip  to  New  York,  looked 
even  smarter  than  usual,  and  Pauline  Garon  was  a 
childish  figure  in  a  shell-pink  sports  outfit.  Estelle 
Taylor  was  hostess  at  a  large  luncheon — and  dominated 
it  by  virtue  of  a  huge  pansy-colored  hat,  bought,  no 
doubt,  to  match  the  new  Rolls-Royce  touring  car  which 
was  a  present  from  her  husband.    Or  perhaps  she  got 


Photo  by  Kichee 

Lois  Moran  will  costar  with  Edmund  Lowe,  in  "Making 
the  Grade." 

the  car  to  match  the  hat.  Carmelita  Geraghty  was 
there  in  a  chic  sports  outfit,  Hedda  Hopper  in  one  of 
those  perishable,  summery  dresses  with  a  big  hat,  and 
Julanne  Johnstone  looking  more  like  New  York  than 
a  New  Yorker. 

"Julanne  has  a  big  part  in  Colleen  Moore's  new  pic- 
ture, 'Oh  Kay,'  "  Fanny  fairly  burst  with  enthusiasm. 
"She  is  going  to  be  utterly  lovely  in  it.  She  has  some 
charming  costumes.  And  speaking  of  costumes — who 
do  you  suppose  designed  Colleen's  ?" 

Knowing  Colleen's  charitable  tendencies,  I  was  pre- 
pared to  suspect  any  one  from  the  night  watchman  to 
some  fan  in  Timbuktu.  But  this,  it  appears,  was  not 
one  of  her  charitable  impulses,  but  a  lucky  break  for 
Colleen. 

"Diana  Kane  Fitzmaurice  designed  them.  You  know, 
long  ago,  before  Diana  went  into  pictures,  she  used  to 
design  her  own  clothes.  Well,  since  she  married  George 
Fitzmaurice,  she  has  had  nothing  to  do  but  run  a  big 
house,  entertain  a  lot  of  guests,  and  play  tennis  four  or 
five  hours  a  day.  So,  when' Colleen  started  wailing  about 
her  difficulties  in  getting  original  costumes  for  'Oh  Kay,' 
Diana  sat  down  and  designed  some  for  her.  Colleen 
spends  all  her  spare  time,  if  any,  visiting  other  sets  in 
the  studio,  proudly  displaying  Diana's  creations. 

"Incidentally,  Colleen  appeared  at  the  studio  the  other 
day  in  an  authentic  Russian  costume  that  was  so  ador- 
able, it  will  have  to  be  written  into  one  of  her  pictures. 
It  was  brought  to  her  by  Lucita  Squier,  who  used  to 
write  some  of  Mickey  Neilan's  scenarios,  but  who  has 
been  living  in  Russia  the  last  few  years." 

In  Hollywood,  any  mention  of  Russia  brings  to  mind 
a  disaster  that  hit  all  our  hearts,  to  say  nothing  of  the 
less  romantic  portions  of  our  anatomy.    The  Russian 


Over  the  Teacups 


oo 


49 


Sea  Hawk.'    'The  Divine  Lady'  is  bound  to  bk 
in  Hollywood,  even  if  only  the  people  who  appv. 
go  to  see  it. 

"I've  got  my  mind  all  made  up  over  my  favorite 
star  for  next  year.  It  is  Lupe  Velez.  That  girl  fascinates 
me.  Even  if  she  weren't  going  to  have  Sam  Taylor 
direct  her  first  starring  picture  for  United  Artists,  I'd 
expect  her  to  be  good. 

''She  is  always  interesting-looking,  and  I  am  con- 
stantly hearing  nice  things  about  her.  Only  the  other  day 
I  ran  into  a  girl  who  works  for  United  Artists,  and  I 


Photo  by  Spurr 

Margaret  Livingston  wins  the  nonstop  film  player's  prize. 

Eagle,  our  new  cafe  that  was  the  joy  of  the  colony,  was 
set  on  fire  a  few  weeks  ago.  Lots  of  picture  people 
were  dining  there  that  night,  as  usual,  but  several  of 
them  had  gone  home  before  the  fire  broke  out.  The 
heroes  of  the  fire  were  Charlie  Chaplain,  Eddie  Suther- 
land, and  Harry  Crocker,  who  sought  to  prevent  a  gas 
explosion,  and  who  got  a  garden  hose  from  near  by, 
and  fought  the  fire  until  the  engines  arrived. 

"Chaplin  threatens  to  start  a  new  picture  almost  any 
day  now,"  Fanny  announced,  "but  that  doesn't  mean 
that  we  will  get  to  see  it  before  we  are  old  and  gray. 
I  wish  somebody  could  interest  him  in  making  quickies, 
for  a  while.  I'm  sure  they  would  be  good.  In 'fact,  I 
had  the  feeling  all  the  while  I  was  watching  'The  Circus,' 
that  it  would  have  been  better  if  he  had  spent  less  time 
pondering  over  every  move  in  it. 

"But  one  blessing  is  all  you  can  expect  in  a  year. 
And  we  have  that  one.  Von  Stroheim  has  signed  a 
contract  with  Gloria  Swanson,  whereby  he  promises  to 
direct  her  in  a  picture  to  be  made  within  a  few  months ! 
You  couldn't  possibly  think  of  a  greater  combination 
than  Von  Stroheim  and  Gloria!" 

"Not  without  adding  John  Gilbert,"  I  offered  feebly. 

"Mickey  Neilan  is  going  to  direct  Bebe  Daniels.  That 
is  worth  waiting  for.  In  fact,  I  think  I'll  begin  saving 
my  pennies  for  future  pictures.  There's  nothing  on  the 
immediate  horizon. 

"Corinne  Griffith's  'The  Divine  Lady'  promises  to  be 
magnificent.  The  company  is  over  on  the  Isthmus,  at 
Catalina,  filming  the  Battle  of  Trafalgar.  Some  ex- 
travagant sum,  over  the  hundred-thousand  mark,  was 
spent  just  on  building  the  superstructure  on  the  boats  that 
participate  in  the  battle.  When  those  gorgeous  boats 
come  streaming  up  toward  the  Isthmus,  it  will  remind 
one  of  the  prodigal  days  when  Frank  Lloyd  made  'The 


Photo  by  Chidnoff 

Bessie  Love  is  winning  ovations  for  a  song-and-dance  act 
she  is  doing. 


found  that  she  was  hurrying  home  because  Lupe  had 
offered  to  come  over  and  make  a  dress  for  her.  It 
appears  that  Lupe  is  quite  a  dressmaker,  and  that  she 
is  always  willing  to  spend  a  quiet  evening  basting  and 
pinning  her  friends  into  clothes.  I  don't  want  to  detract 
from  her  violent  reputation  as  a  siren,  but  that  does  make 
the  girl  human  and  ingratiating. 

"Another  picture  I  want  to  see" — the  tide  of  Fanny's 
ramblings  could  never  be  stemmed,  now,  though  I  did 
want  to  ask  her  a  question — "is  Madge  Bellamy  in 
'Mother  Knows  Best.'  She  has  never  been  a  favorite 
of  mine — quite  far  from  it,  in  fact — but  that  is  a  gor- 
geous story,  and  I  hear  the  most  glowing  reports  of  the 
picture.  Madge  does  a  series  of  impersonations  in  it, 
and  I  hear  that  she  is  amazingly  clever  in  them.  If  she 
can  stand  comparison  with  Marion  Davies  in  'The 
Patsy,'  she  will  have  to  be  good!" 

"Is  it  really  true  " 

At  least,  I  got  that  far  before  she  interrupted  me. 
"Yes,  evidently  you  have  heard  about  Jetta  Goudal," 
Continued  on  page  114 


46 


Over  the  Teacups 


jinx  may  have  teen  routed.  She's  not  up  to  anything 
grand  and  glorious,  from  all  accounts.  Just  a  picture 
for  Columbia,  but  that  is  better  than  resting  between 
film  tests. 

"The  very  newest  free-lance  player  is  starting  out 
auspiciously.  Marian  Nixon  got  a  release  from  her 
contract  with  Universal,  and  was  signed  right  away  to 
play  opposite  Richard  Barthelmess  in  'Out  of  the  Ruins.' 
She  is  a  lovely  child.  Every  time  I  see  her  I  like  her 
better,  even  if  it  is  a  shock  to  hear  such  a  fragile  child 
talk  so  knowingly  about  the  stock  market. 


Photo  by  Hesser 

Lupe  Velez  is  Fanny's  favorite  for  the  coming  year. 

"Marian  is  one  of  those  lucky  individuals  who  doesn't 
have  to  work  any  more  unless  she  wants  to.  She  has 
invested  very  wisely  and  has  a  good,  steady  income 
from  her  coupons. 

"The  old  criticism  that  motion-picture  players  could 
talk  about  nothing  but  movies  can  now  be  disposed  of. 
On  sets  nowadays  they  talk  about  nothing  -but  the  stock 
market.  Tickers  will  have  to  be  installed  in  studios  soon, 
in  order  to  keep  players  on  the  set.  Some  day,  when 
there  is  a  terrific  drop  in  the  market,  great  reputations 
will  be  made  for  tragic  performances." 

While  Fanny's  mind  was  apparently  on  serious  things, 
her  eyes  were  not.  They  were  roving  around  Mont- 
martre,  taking  in  the  details  of  the  costumes  there.  Evelyn 
Brent,  just  returned  from  a  trip  to  New  York,  looked 
even  smarter  than  usual,  and  Pauline  Garon  was  a 
childish  figure  in  a  shell-pink  sports  outfit.  Estelle 
Taylor  was  hostess  at  a  large  luncheon — and  dominated 
it  by  virtue  of  a  huge  pansy-colored  hat,  bought,  no 
doubt,  to  match  the  new  Rolls-Royce  touring  car  which 
was  a  present  from  her  husband.    Or  perhaps  she  got 


Photo  by  Bichee 

Lois  Moran  will  costar  with  Edmund  Lowe,  in  "Making 
the  Grade." 

the  car  to  match  the  hat.  Carmelita  Geraghty  was 
there  in  a  chic  sports  outfit,  Hedda  Hopper  in  one  of 
those  perishable,  summery  dresses  with  a  big  hat,  and 
Julanne  Johnstone  looking  more  like  New  York  than 
a  New  Yorker. 

"Julanne  has  a  big  part  in  Colleen  Moore's  new  pic- 
ture, 'Oh  Kay,'  "  Fanny  fairly  burst  with  enthusiasm. 
"She  is  going  to  be  utterly  lovely  in  it.  She  has  some 
charming  costumes.  And  speaking  of  costumes — who 
do  you  suppose  designed  Colleen's?" 

Knowing  Colleen's  charitable  tendencies,  I  was  pre- 
pared to  suspect  any  one  from  the  night  watchman  to 
some  fan  in  Timbuktu.  But  this,  it  appears,  was  not 
one  of  her  charitable  impulses,  but  a  lucky  break  for 
Colleen. 

"Diana  Kane  Fitzmaurice  designed  them.  You  know, 
long  ago,  before  Diana  went  into  pictures,  she  used  to 
design  her  own  clothes.  Well,  since  she  married  George 
Fitzmaurice,  she  has  had  nothing  to  do  but  run  a  big 
house,  entertain  a  lot  of  guests,  and  play  tennis  four  or 
five  hours  a  day.  So,  when'  Colleen  started  wailing  about 
her  difficulties  in  getting  original  costumes  for  'Oh  Kay,' 
Diana  sat  down  and  designed  some  for  her.  Colleen 
spends  all  her  spare  time,  if  any,  visiting  other  sets  in 
the  studio,  proudly  displaying  Diana's  creations. 

"Incidentally,  Colleen  appeared  at  the  studio  the  other 
day  in  an  authentic  Russian  costume  that  was  so  ador- 
able, it  will  have  to  be  written  into  one  of  her  pictures. 
It  was  brought  to  her  by  Lucita  Squier,  who  used  to 
write  some  of  Mickey  Neilan's  scenarios,  but  who  has 
been  living  in  Russia  the  last  few  years." 

In  Hollywood,  any  mention  of  Russia  brings  to  mind 
a  disaster  that  hit  all  our  hearts,  to  say  nothing  of  the 
less  romantic  portions  of  our  anatomy.    The  Russian 


Over  the  Teacups 


47 


Sea  Hawk.'  'The  Divine  Lady'  is  bound  to  be  a  success 
in  Hollywood,  even  if  only  the  people  who  appear  in  it 
go  to  see  it. 

"I've  got  my  mind  all  made  up  over  my  favorite  new 
star  for  next  year.  It  is  Lupe  Velez.  That  girl  fascinates 
me.  Even  if  she  weren't  going  to  have  Sam  Taylor 
direct  her  first  starring  picture  for  United  Artists,  I'd 
expect  her  to  be  good. 

''She  is  always  interesting-looking,  and  I  am  con- 
stantly hearing  nice  things  about  her.  Only  the  other  day 
I  ran  into  a  girl  who  works  for  United  Artists,  and  I 


Photo  by  Spun 

Margaret  Livingston  wins  the  nonstop  film  player's  prize. 


Eagle,  our  new  cafe  that  was  the  joy  of  the  colony,  was 
set  on  fire  a  few  weeks  ago.  Lots  of  picture  people 
were  dining  there  that  night,  as  usual,  but  several  of 
them  had  gone  home  before  the  fire  broke  out.  The 
heroes  of  the  fire  were  Charlie  Chaplain,  Eddie  Suther- 
land, and  Harry  Crocker,  who  sought  to  prevent  a  gas 
explosion,  and  who  got  a  garden  hose  from  near  by, 
and  fought  the  fire  until  the  engines  arrived. 

"Chaplin  threatens  to  start  a  new  picture  almost  any 
day  now,"  Fanny  announced,  "but  that  doesn't  mean 
that  we  will  get  to  see  it  before  we  are  old  and  gray. 
I  wish  somebody  could  interest  him  in  making  quickies, 
for  a  while.  I'm  sure  they  would  be  good.  In  fact,  I 
had  the  feeling  all  the  while  I  was  watching  'The  Circus,' 
that  it  would  have  been  better  if  he  had  spent  less  time 
pondering  over  every  move  in  it. 

"But  one  blessing  is  all  you  can  expect  in  a  year. 
And  we  have  that  one.  Von  Stroheim  has  signed  a 
contract  with  Gloria  Swanson,  whereby  he  promises  to 
direct  her  in  a  picture  to  be  made  within  a  few  months ! 
You  couldn't  possibly  think  of  a  greater  combination 
than  Von  Stroheim  and  Gloria!" 

"Not  without  adding  John  Gilbert,"  I  offered  feebly. 

"Mickey  Neilan  is  going  to  direct  Bebe  Daniels.  That 
is  worth  waiting  for.  In  fact,  I  think  I'll  begin  saving 
my  pennies  for  future  pictures.  There's  nothing  on  the 
immediate  horizon. 

"Corinne  Griffith's  'The  Divine  Lady'  promises  to  be 
magnificent.  The  company  is  over  on  the  Isthmus,  at 
Catalina,  filming  the  Battle  of  Trafalgar.  Some  ex- 
travagant sum,  over  the  hundred- thousand  mark,  was 
spent  just  on  building  the  superstructure  on  the  boats  that 
participate  in  the  battle.  When  those  gorgeous  boats 
come  streaming  up  toward  the  Isthmus,  it  will  remind 
one  of  the  prodigal  days  when  Frank  Lloyd  made  'The 


Photo  by  Cludnoff 

Bessie  Love  is  winning  ovations  for  a  song-and-dance  act 
she  is  doing, 

found  that  she  was  hurrying  home  because  Lupe  had 
offered  to  come  over  and  make  a  dress  for  her.  It 
appears  that  Lupe  is  quite  a  dressmaker,  and  that  she 
is  always  willing  to  spend  a  quiet  evening  basting  and 
pinning  her  friends  into  clothes.  I  don't  want  to  detract 
from  her  violent  reputation  as  a  siren,  but  that  does  make 
the  girl  human  and  ingratiating. 

"Another  picture  I  want  to  see" — the  tide  of  Fanny's 
ramblings  could  never  be  stemmed,  now,  though  I  did 
want  to  ask  her  a  question — "is  Madge  Bellamy  in 
'Mother  Knows  Best.'  She  has  never  been  a  favorite 
of  mine — quite  far  from  it,  in  fact — but  that  is  a  gor- 
geous story,  and  I  hear  the  most  glowing  reports  of  the 
picture.  Madge  does  a  series  of  impersonations  in  it, 
and  I  hear  that  she  is  amazingly  clever  in  them.  If  she 
can  stand  comparison  with  Marion  Davies  in  'The 
Patsy,'  she  will  have  to  be  good!" 

"Is  it  really  true  " 

At  least,  I  got  that  far  before  she  interrupted  me. 
"Yes,  evidently  you  have  heard  about  Jetta  Goudal," 
Continued  on  page  114 


48 


The  World  is  Upside 

But  then  you  can't  expect  these  stars  to  be 


Marceline   Day,   left,  looks 
as  though  she  might  be  go- 
through   the    paces  at 
Atlanta  or  Ossining. 


Nancy  Carroll,  below,  indulges  in 
some  pretty  difficult  exercises  in 
order    to    work   off   her  surplus 
enthusiasm. 


Sally  Blane,  above,  seems  entirely 
satisfied  with  her  position!  Watch 
out !    Stars  have  been  known  to  fall. 


The  secret  of  Esther 
Ralston's  slimness  is 
revealed,  above,  but 
just  you  try  the  bicy- 
cle exercise  and  see 
what  happens ! 


Doris  Hill,  right,  has 
placed  herself  in  this 
position,  and  what 
we're  wondering  is, 
how  she  intends  to  set 


Down  to  Them 


serious  and  dignified  all  the  time,  can  you? 


Come,  come,  Janet 
Gaynor,  left,  that's 
no  way  for  Diana, 
or  Angela,  to  act 
in  public. 


Frankie  Darro,  be- 
low, was  born  in  a 
circus  tent,  and  so 
being  upside  down 
means  nothing  in 
his  young  life. 


Don't  be   frightened,  little  girl.  It 
won't  bite.    It's  just  Raymond  Hat- 
ton,  above,  looking  at  the  world  from 
a  new  angle. 


50 


Photo  by  Louise 

Why  does  Lillian  Gish,  though  a  great  actress,  appeal  less  than 
some  of  her  untalented  rivals  ? 

THE  editor  of  Picture  Play  sat  at  his  desk,  reading. 
It  was  the  fan-mail  hour,  and  the  top  of  his  head 
could  just  be  seen  from  behind  a  barricade  of  let- 
ters.   He  was  feeling  the  pulse  of  the  people,  finding  out 
what  enthusiastic  followers  of  the  screen  had  to  say. 

The  familiar  song  with  variations.  The  wording  dif- 
ferent, the  opinions  expressed  with  emphasis  or  not,  but 
usually  with  the  inevitable  refrain. 

"Buddy  Rogers  is  a  marvelous  actor." 
"I  think  Janet  Gaynor's  acting  is  simply  wonderful." 
"Oh,  boy,  how  Greta  Garbo  can  act!" 
"Ramon  Novarro  is  my  favorite  actor,"  "Clara  Bow 
is  the  greatest  actress  on  the  screen  to-day,"  "Why  doesn't 
William  Haines  get  dramatic  roles,,  he's  such  a  fine 
actor?"  "John  Gilbert  is  a  much  better  actor  than  John 
Barrymore."    Or  it  might  be  Richard  Barthelmess,  Rich- 
ard Dix,  or  somebody  else. 
Acting — acting — acting ! 
What  do  they  mean,  these  fans? 

What  is  this  word  they  toss  so  lightly,  as  incense  to- 
ward chosen  shrines  ?  Once  the  words  "marvelous  actor" 
were  sacred  syllables,  to  be  chosen  with  great  care. 

Is  Buddy  Rogers  a  marvelous  actor,  or  just  a  charming 
personality?  This  youngster,  just  out  of  school,  whose 
smile  and  "I-think-you're-just-wonderful"  expression 
has  given  the  whole  fan-world  writer's  cramp  in  its 
earnest  effort  to  express  unqualified  admiration 
for  him. 


Is  Baddy 
Rogers  an 
actor,  or  a 
personality? 


Just  What  is  Act 

Once  a  player  becomes  a  favorite,  the 
actor.  Do  they  really  mean  it,  or  is  it  per 
article  presents  interesting  speculations  on 

By  Kath 


It  isn't  his  eyes,  his  curly  hair,  or  his  smile 
they  write  about — it's  his  acting.  "He's  great 
— that  boy  can  act,"  they  say.  A  few  years 
ago,  Buddy  wouldn't  have  been  proclaimed  an 
actor  after  so  short  a  career.  He  would  simply 
have  been  considered  an  engaging  youngster 
with  a  high-powered  personality,  who  showed 
promise  of  great  things  to  come. 

There  seemed  to  be  nothing  for  me  to  do, 
in  order  to  get  at  the  secret  of 
acting,  but  to  question  some  of 
those  who  are  accused  of  it.  So, 
presently,  I  was  cross-examining 
Buddy  himself. 

He    squirmed    in    his  chair. 
"Gee,  I  don't  know !    I  used  to 
think  it  meant  something  wonder- 
ful— great  dramatic  ability,  long 
years  of  training.  But  now — well, 
you  see,  they  say  /  can  act,  and 
that  isn't  true,  is  it?    I  haven't 
been  on  the  screen  long  enough. 
Everything    has  been 
handed    to    me — stardom 
and  everything.  Then,  too, 
they    are   always  saying 
that  girls  like  Clara  Bow 
and  Greta  Garbo  are  great 
actresses,  but  I  can't  see 
them  at  all.     But  Billie 
Dove — why,  she's  a  real 
actress.    The  whole  thing 
confuses  me." 

Not  a  meaty  explana- 
tion! He  was  as  uncertain 
as  I.  So  was  Janet 
Gaynor,  the  lovely  little 
Janet  whom  the  fans  re- 
gard with  almost  reveren- 
tial awe.  Stopping  work 
for  a  day  on  "The  Four 
Devils,"  she  had  time  to 
say  "Hello  !"  Frowning  in 
deep  thought  she  finally 
admitted  she  "didn't 
know." 

"I  really  think  acting  is 
a  fine  ability  which  is  de- 
veloped by  training,  study 
and  hard  work ;  but  things 
seem  to  work  otherwise 
in  pictures  nowadays,  don't 
they  ?" 

To  Clara  Bow,  the  ques- 
tion evoked  an  expressive 
shrug  of  the  shoulders, 
and,  "Why,  I  guess  it's 
just  having  the  stuff,  isn't 
it?  But  I  think  it's  a 
funny  question  to  ask  a 
star." 

With  the  same  question 


51 


ing,  Anyhow? 

fans  take  for  granted  that  he  is  a  great 
sonality  that  influences  them  most?  This 
the  subject,  by  people  who  should  know. 

erine  Lipke 


on  my  lips,  I  made  the  rounds  of  the  studios 
without  a  real  answer,  until  I  found  Jack  Gil- 
bert on  location  in  Laurel  Canyon,  for  "The 
Cossacks."  His  fuzzy  headgear  was  on  one 
side,  and  his  face  was  hot  and  ruddy  and 
gleamed  with  vitality.  Jack  stepped  into  my 
picture  with  a  bang,  for  he  was,  as  usual, 
brimming  with  opinions. 

"Acting  on  the  screen  to-day  means  being 
vital.  Success  seems  to  rest  entirely  on  whether 
you  are  positive  or  negative.  The  half-positive 
boys  and  girls  get  so  far,  and  then  stop,  and 
the  negative  players  are  soon  out — that's  all. 

"I've  thought  a  lot  about  it.  Take  those 
who  had  big  names  a  few  years  ago.  We 
thought  them  great  actors,  but  many  of  them 
are  deadwood  at  the  box  office  to-day.  Some- 
thing else  is  required  now.  They  may  be  the 
world's  handsomest  men,  and  the  sweetest, 
loveliest  girls  the  camera  ever  turned  on,  but 
if  they  don't  'click'  the  public  won't  have  them. 

"Wallie  Reid,  if  he  were  alive  to-day,  would 
be  as  great  a  success  as  he  was  years  ago. 
He  was  so  vivid,  vital.  Every  boy  in  pic- 
tures, who  is  said  to  look  like  Wallie,  has 
tried,  and  failed,  to  imitate  him.  But  it  wasn't 
Ms  good  looks  or  his  pleasing  smile  alone — it 
was  the  whole  dynamic  something  which  made 
him  'click'  inside  you,  whenever  you  saw  him. 
No  wonder  he  was  popu- 
lar— no  wonder  his 
memory  lived.  In  a  half- 
positive  age  in  pictures, 
he  was  old  man  positivity 
himself. 

"Janet  Gaynor  is  the 
screen  sensation  of  to- 
day. One  of  the  finest, 
natural-born  actresses  I 
have  ever  seen.  Her 
curls  and  big  eyes  aren't 
a  third  of  it.  She's  vital 
— that's  -the  thing. 

"When  she  cries,  you 
feel  as  if  something  were 
tearing  inside  you.  Her 
appeal  isn't  insipid — it's 
strong.  She  does  natu- 
rally, without  knowing 
it,  all  the  things  the  rest 
of  us  sweat  for,  and 
then  don't  get.  She  has 
just  about  everything 
any  one  needs  for  suc- 
cess on  the  screen,  but 
the  main  thing  which 
gets  over  with  me  is  her 
vitality. 

"The  other  day  I  saw 


Acting  depends  on  individual 
vitality,  says  John  Gilbert. 


Alice  White  clicks  like  castanets,  but 
can  she  act? 


a  picture  which  introduced  a 
girl  very  much  of  Miss  Gay- 
nor's  type.  It  was  a  rotten 
picture — didn't  give  her  a  de- 
cent break — but  somehow  I 
kept  thinking  that  if  Janet  had 
been  in  that  picture,  something, 
somewhere,  would  have 
'clicked' ;  her  appeal  would  have 
filtered  through,  at  least  for  a 
moment,  and  would  have  been 
stronger  than  the  picture.  As 
it  was,  this  girl  went  down  for 
the  third  time.  Only  half- 
positive. 

"Take  Garbo,"  announced 
Jack,  gathering  momentum, 
"take  Garbo,  for  instance.  It 
doesn't  make  a  bit  of  differ- 
ence whether  you  like  her  on 
the  screen  or  whether  you  don't 
— you  know  she's  there.  You 
don't  forget  her,  and  that's  the 
main  thing.  She  never  lets  you 
down.  She  is  never  half-vital. 
You  can  get  out  all  your  rules 
for  an  actress,  and  she  may 
break  them  all,  but  what  of  it? 
You  feel  her,  go  away  and  re- 


52 


Just  What  is  Acting,  Anyhow? 


Photo  by  Autrey 

Acting  can  be  acquired  gradually,  when  a  personality  as  positive  as  Nick 
Stuart's  has  been  accepted  by  the  fans. 


member  her,  and  come  back  in  order  to  feel  her  personality 
again.    Do  you  get  what  I  mean?" 

It  was  easy  to  see  what  he  meant,  for  Jack  had  apparently 
figured  out  the  logical  answer.  Himself  the  keynote  of  every- 
thing that  is  positive  on  the  screen  and  off,  Gilbert  was  about 
the  only  person  I  met  who  could  tell  me  much  about  acting — 
or  screen  personality,  if  you  prefer. 

In  supplementing  what  he  said,  I  remembered  a  conversation 
with  Clarence  Brown,  a  director.  "A  positive,  interesting  per- 
sonality is  practically  the  whole  thing  in  acting  for  the  screen," 
said  he,  "for  it  is  almost  certain  that  the  player  with  a  definite, 
pleasing  personality,  will  speedily  learn  to  act. 

"A  positive  personality  means  an  Phct0  h?  Bowiey 

alert  brain,  and  so  before  the  public     Nancy  Carroll  is  doubly  for- 
has  had  time  to  get  over  its  enthusiasm 
for  a  new  and  arresting  player,  and 
can  settle  down  to  be  coldly  critical, 
that  person  has  had  time  to  absorb  technique,  and  learn 
how  to  act. 

"Greta  Garbo  is  an  excellent  example  of  this.  She 
couldn't  act  at  all  when  she  first  came  to  America. 
Everything  she  did  was  wrong — she  was  ignorant  of 
the  first  rudiments  of  the  art.  But  her  personality 
hit  the  public  between  the  eyes,  and  while  they  were 
exclaiming  over  her  magnetic  appeal,  Greta  learned  how 
to  act. 

"That  seems  to  me  the  reason  why  the  fans  talk  so 
carelessly  about  the  marvelous  ability  of  this  star  or  that 
player.  They  can't  analyze  the  moment  when  a  per- 
sonality ceases  to  be  just  that,  and  becomes  a  real  actor 
or  actress.  They  get  the  effect — that's  all — and  to  them 
personality  means  acting." 


tunate  in  having  personality 
and  acting  ability. 


Given  a  vital,  interesting  personality — plus 
a  break  in  pictures — and  the  result  seems  to 
be  immediate.  It  is  the  positive  personality 
which  counts.  The  names  which  recur  most 
often  in  the  fan  mail  are  a  proof  of  this.  Greta 
Garbo,  Clara  Bow,  Janet  Gaynor,  Vilma  Banky, 
Dolores  del  Rio,  John  Gilbert,  Ramon  Novarro, 
Charles  Farrell,  Bill  Haines,  Richard  Dix, 
Richard  Barthelmess — and  apparently  above, 
about,  and  between  all  the  others,  at  this  writ- 
ing, Buddy  Rogers ! 

Buddy  seems  now  in  the  formative  stage, 
between  being  merely  an  interesting  personality 
and  an  interesting  actor.  In  "Wings"  he  was 
immensely  popular — partly  because  of  the  pic- 
ture, but  a  great  deal  because  of  Buddy.  After 


"Wings"  came  "My  Best  Girl,"  with  Mary  Pickford, 
and  then  "Abie's  Irish  Rose."  With  three  splendid 
breaks  like  these,  and  a  personality  like  his,  Buddy's 
resultant  stardom  was  to  be  expected.  The  fans  wanted 
it,  and  their  shouts  brought  it  about. 

Buddy  thinks  it  is  too  soon  to  star,  but  that  means 
he  is  going  to  dig  in  just  a  little  harder,  so  that  the 
world  won't  echo  with  his  fall — so  that  he  won't  hear, 
read,  and  feel  that  "Buddy  Rogers  was  just  a  flash  in 
the  pan,  a  personality,  but  not  an  actor."  The  result 
will  be  worth  watching,  for  he  is  vital  to  the  ends  of  his 
devilishly  tempting,  curly  hair. 

With  him,  in  "Wings,"  was  Richard  Arlen,  an  entirely 
different  type.    Dick  is  vital,  too,  but  seems  destined  to 
Continued  on  page  112 


A  Girl  Comes  to  Hollywood 

The  latest  installment  of  our  fascinating  serial  finds  Malcolm  Allen  still  unable  to  penetrate  the 
mystery  of  "Miss  Smith,"  and  Lady  Gates  entangled  in  the  plot  of  Marco  Lopez  and  his  confederate. 

By  Alice  M.  Williamson  Illustrated  by  Modest  Stein 


CHAPTER  VII. 

THE  VEILED  PROPHETESS. 

MALCOLM  remembered 
the  look  in  Lady  Gates' 
eyes  when  she  had  first 
seen  Marco  Lopez.  This  look 
of  Miss  Smith's  was  different. 
There  had  been  open  admiration 
in  the  old  woman's  eyes.  There 
was  something  suggestive  of  hate 
in  those  of  the  young  woman. 
Yet — was  it  hate  ?  Well,  anyhow, 
it  was  a  strong  emotion,  which 
she  wished  to  hide. 

Suddenly  Malcolm  asked  him- 
self— or  rather  he  heard  the 
question  as  if  spoken  aloud  in 
his  brain — -"Is  this  the  reason  she 
was  so  bent  on  working  at  Mont- 
parnasse  ?  Has  she  come  to  be 
near  Lopez?" 

The  thought  was  disquieting, 
even  humiliating.  He  couldn't 
get  it  out  of  his  mind,  though 
Lopez  apparently  paid  no  atten- 
tion at  all  to  the  presence  of  a 
new  cigarette  girl  in  the  restau- 
rant. So  little  interest  did  the 
professional  dancer  seem  to  feel 
in  the  new  beauty  that  he  got 
leave  from  Pierre  to  quit  a  few 
minutes  before  his  usual  hour. 

As  he  started  for  the  Ambas- 
sador, the  Latin  smiled  to  think 
how  little  Malcolm  Allen  guessed  where  he  was  going. 
Could  he  suspect  already  how  deep  was  the  old  lady's 
interest  in  her  Marco? 

He  had  noticed  the  new  girl  in  the  green-gold  em- 
broidered satin  and  spangled  gauze.  Her  beauty  and 
the  glory  of  her  red  hair  had  attracted  his  eyes  and 
vaguely  stirred  his  curiosity,  but  not  his  heart.  He 
hadn't  missed  seeing  that  the  new  vender  of  cigarettes 
appeared  to  be  intrigued  by  him,  and  if  she  had  been  a 
client  of  the  restaurant  he  would  certainly  have  invited 
her  to  dance.  That  would  have  been  business.  But 
j  Miss  Smith's  face  was  not  familiar  to  Lopez,  and  it  did 
not  occur  to  him  that  his  might  have  another  attraction 
for  her  than  the  usual  one  with  women — his  good  looks. 

He  had  not  deceived  himself  when  he  pictured  Lady 
Gates  offering  him  tea.  "Ask  him  to  come  straight  up 
to  my  suite,"  was  the  message  when  her  telephone  an- 
nounced that  Mr.  Marco  Lopez  had  arrived.  And  there 
sat  her  ladyship,  rather  terrible  to  behold,  her  bulk  lightly 
draped  in  orchid  georgette.  She  reclined  among  rain- 
bow cushions  on  a  sofa  faced  by  an  elaborate  tea-table, 
and  Lopez,  ushered  in  by  a  bell  boy,  hurried  to  save 
his  large  hostess  from  struggling  up  to  give  him  welcome. 

"Dear  lady,  do  .not  rise  for  me!"  he  said  in  the  husky 
voice  Katherine  Gates  had  found  so  alluring. 

She  invited  him  to  sit  beside  her,  and  rang  for  tea. 
They  chatted  of  Montparnasse ;  of  Hollywood  in  gen- 

*  Copyright,  1928,  by  Alice  M.  Williamson. 


eral,  and  of  Mr.  Marco  Lopez  in 
particular,  a  subject  always  wel- 
come to  the  gentleman  concerned, 
when  able  to  keep  it  free  from, 
too  much  questioning.  Lady 
Gates  waited  until  tea  was  over, 
and  Lopez  was  smoking  one  of 
the  best  brands  of  cigarettes  ob- 
tainable at  the  Ambassador,  be- 
fore she  mentioned  the  dancing 
lesson. 

Lady  Gates  did  not  smoke. 
"I'm  afraid  I'm  old-fashioned," 
she  said,  "and  that  makes  me  a 
little  sad.  I  didn't  realize  how 
sad,  until  I  came  here,  though 
I'd  begun  to  be  a  bit  restless 
about  myself  in  Paris  and  Lon- 
don. I'm  telling  you  all  this,  be- 
cause I  have  to  explain  why  I 
feel  as  I  do  about  the  dancing 
lessons.  When  you  came  up  and 
asked  me  to  dance  that  night  I 
wanted  to  do  it — yes,  almost 
more  for  a  minute,  than  I  can 
remember  ever  wanting  any- 
thing! But  the  next  minute  I 
knew  I  mustn't  make  myself  a 
laughingstock.  I  had,  to  refuse. 
I  haven't  danced  for  many  years. 
But  where  could  I  ever  dance 
nowadays,  except  here,  in  this 
drawing-room  maybe — a  woman 
of — my  age  and  size  ?  What's  the 
good  of  learning  an — an  art 
that  I  can  never  have  an  opportunity  to  use?" 

Some  men  might  have  been  touched  by  so  piteous 
a  confession  from  an  elderly  lady,  who  had  everything 
in  the  world  except  the  three  things  most  important 
to  women ;  looks,  love,  and  youth.  But  the  Argentinean's 
emotion  was  not  pity. 

"Dear,  charming  lady!"  he  soothed  her.  "You  judge 
yourself  cruelly.  I  do  understand — I  sympathize.  But 
you  are  wrong.  You  may  not  be  a  young  girl,  yet 
there  are  many  women  of  your  years  in  Hollywood 
who  pass  as  beauties,  and  look  like  flappers,  or  not  much 
older.  Why,  you  can't  be  more  than  fifty,  if  that,  and 
there  are  stars  still  on  the  screen  who  have  reached  that 
age,  though  few  know  it  except  themselves!" 

Katherine  Gates  was  vaguely  comforted.  "Still,  I'm 
afraid  /  could  never  pass  for  a  beauty !"  she  sighed. 

"Yet  that  is  not  impossible — in  Hollywood,"  Lopez 
gently  ventured. 

"What  do  you  mean — in  Hollywood?"  she  questioned, 
hope  and  curiosity  rising  together.  "Why  in  Hollywood 
of  all  places,  where  every  one  is  so  dazzlingly  young  and 
handsome  ?" 

"May  I  make  a  suggestion,  madame?"  Lopez  asked. 
"Do,  please!" 

"It  is  this :  a  very  wonderful  lady  has  her  studio  at- 
tached to  my  little  bungalow.  She  uses  it  on  certain 
afternoons  and  evenings.  To-morrow  is  one  of  her 
days.    I  should  like  to  advise  that  you  consult  her." 


Synopsis  of  Previous  Chapters. 

Malcolm  Allen,  a  young  English  novelist,  has 
been  brought  to  Hollywood  by  Peerless  Pic- 
tures to  write  a  scenario.  At  the  Restaurant 
Montparnasse,  his  attention  is  attracted  to  a 
beautiful  girl  who,  after  dining  expensively 
and  alone,  attempts  to  escape  without  paying 
her  check.  Malcolm  goes  to  her  rescue,  pre- 
tends to  the  proprietor  that  it  was  a  bet  which 
he  has  lost  and  "Miss  Smith"  has  won,  and  is 
dumfounded  to  learn  that  the  girl  wishes  to 
be  employed  as  a  cigarette  vender,  in  prefer- 
ence to  the  chance  he  is  willing  to  give  her 
in  the  movies. 

Fault  is  found  with  Malcolm's  work  by  his 
employers,  and  eventually  his  contract  proves 
to  be  nothing  but  a  scrap  of  paper.  Lady 
Gates,  Malcolm's  rich  aunt  from  Leeds,  Eng- 
land, appears  almost  without  warning  for  a 
visit.  Dazzled  by  the  youth  and  beauty  in 
Hollywood,  Lady  Gates  deplores  her  double 
chin  and  unwieldy  figure.  Her  vanity  and 
wealth  make  it  clear  that  she  will  go  to  almost 
any  ends  to  make  a  place  for  herself  in  the 
glittering  procession  of  youth.  Dining  at 
Montparnasse,  she  is  attracted  by  Marco  Lopez, 
a  professional  dancer,  whose  eyes  meet  hers, 
lingeringly,  significantly,  but  when  he  asks  her 
to  dance,  self-consciousness  compels  her  to  re- 
fuse. He  suggests  private  lessons,  and  Lady 
Gates  is  enchanted  Marco  describes  Lady 
Gates,  with  emphasis  on  her  pearls  and  dia- 
monds, to  a  woman  accomplice  who  is  in  love 
with  him,  and  according  to  a  plan  familiar  to 
both,  she  arranges  to  receive  Lady  Gates  as 
the  first  step  in  a  plot  to  despoil  her. 

Meanwhile,  Miss  Smith  is  a  great  success 
as  a  cigarette  girl.  Watching  her  pass  from 
table  to  table,  Malcolm  is  startled  to  see  her 
smile  give  way  to  a  strange,  fixed  expression. 
He  follows  her  eyes  and  sees  them  riveted  on 
Marco  Lopez. 


54 


A  Girl  Comes  to  Hollywood 


"What  about?"  inquired.  Lady  Gates,  puzzled  but  in- 
terested. 

"The  lady  is  a  very  accomplished  astrologer  and 
scientific  palmist.  She  also  reads  the  crystal,"  explained 
Lopez.  "She  is  not  strong  in  health,  or  she  would  make 
a  fortune,  for  she  could  have  all  Hollywood  as  her 
clients.  As  it  is,  she  refuses  most  people.  And  I  must 
ask  you  to  mention  her  to  no  one.  But  I  am  privileged 
to  become  her  friend  since  she  took  my  studio,  and  those 
I  beg  her  as  a  favor  to  see,  she  sees." 

"What  is  her  name?"  Lady  Gates  wanted  to  know. 

Lopez  smiled  and  let  lowered  lids  give  him  an  air. of 
secr.etiveness,  or  mystery.  "If  I  could  tell  you  that,  you 
would  know  she  is  very  famous,", he  said.  "But  I  am 
not  allowed  to  speak  out.  The  lady  names  herself  here, 
Madame  Blank.  And  because  she  always  wears  a  veil 
when  she  receives  clients,  people  sometimes  call  her  the 
'Veiled  Prophetess.'  You 
see,  she  truly  is  a  proph- 
etess !  And  not  only  does 
she  foretell  what  is  likely 
to  happen,  but  she  gives 
advice  how  to  avoid  the  - 


"Oh,  do!" 

After  Lopez  had  bowed  himself  out,  the  fat  woman 
in  the  orchid  tea-frock  stood  gazing  pensively  at  the 
dimpled,  much-ringed  hand  which  the  "wonderful  man" 
had  respectfully  kissed. 

She  was  dazed  by  rose-colored  dreams  of  youth  and 
beauty  in  Hollywood.  Foolish  dreams  for  her,  she  told 
herself,  since  they  couldn't  become  realities.  And  yet — 
and  yet — how  strangely  Marco  Lopez  had  talked — and 
hinted ! 

She  could  hardly  tear  her  thoughts  from  to-morrow 
at  five  o'clock — and  the  Veiled  Prophetess.  But  what 
remained  of  to-day  had  to  be  lived  through.  Luckily 
she  would  have  the  interest,  to-night,  of  looking  over 
that  cigarette  seller  at  Montparnasse.  An  awful  cre- 
ature, Lady  Gates  was  almost  sure,  but  she  would  see 
and  talk  to  her — for  Malcolm's  sake. 


bad  happenings  which  hover 
over  the  future  like  dark  birds 
of  prey;  she  counsels  how  to 
fight  them  off." 

"Nobody   can   change  the 
future!"  spoke  the  sensible  side  of  Lady  Gates  from 
Leeds. 

"All  I  suggest  is  that  you  let  me  make  an  appoint- 
ment for  you  to  talk  with  Madame  Blank,"  persisted 
Lopez.  "She  may  be  able  to  help  you  in  ways  of  which 
•  you  would  not  dream.  As  for  the  dancing  lessons,  do 
not  even  think  of  them  again  till  you  have  been  advised 
by  this  lady.  It  has  been  a  pleasure  for  me  and  an 
honor  to  come  here.  I  am  a  man  before  I  am  a  profes- 
sional !  Would  you  like  an  appointment,  if  I  can  arrange 
it,  for  to-morrow  afternoon — say  at  this  hour?" 

"I  would,"  exclaimed  Lady  Gates,  her  eyes  tearful  no 
more,  but  sparkling  with  vague,  mysterious  hopes  and  a 
very  definite  excitement.  "I  think  you  are  a  zvonderful 
man!" 

"You  will  find  Madame  Blank  wonderful,"  amended 
Lopez.    "May  I  call  and  take  you  to  her?" 


"Oh,  if  it  could  come  true!"  breathed  Lady  Gates,  with  the 
almost  agonized  earnestness  of  prayer,  as  she  saw  herself  slim, 
young  and  in  love. 

CHAPTER  VIII. 
"the  crystal  never  lies." 

"My  only  friend  in  Hollywood — the  only  one  in  all 
the  West!"  the  girl  called  "Miss  Smith"  spoke  in  her 
heart  of  Malcolm  Allen,,  as  from  across  the  room  she 
looked  at  him  under  her  eyelashes. 

She  yearned  toward.  Allen,  for  she  was  more  lonely 
than  she  had  expected  to  be  in  this  place  of  light,  and 
if  it  were  not  for  the  thought  of  his  friendly  protection 
she  would  have  been  afraid,  of  Pierre. 

Not  afraid  physically !  The  girl  would  not  have  come 
to  Hollywood  at  all,  and  especially  on  the  errand  which 


A  Girl  Comes  to  Hollywood 


55 


had  brought  her,  if  she'd  been  any- 
thing like  a  coward. 

"What  is  your  name  besides  Smith, 
mademoiselle?"  Pierre  had  asked, 
after  her  arrival  to  take  up  her  new 
duties,  while  the  restaurant  was  still 
empty  of  clienrs. 

"That  is  my  Hollywood  name — 
Miss  Smith,"  the  girl  insisted  firmly 
but  gently.  "Or  Mary  Smith,  if  you 
wish,  Monsieur  Pierre."  And  Pierre 
hadn't  looked  pleased. 

But  to-night  she  longed  to  tell  Mal- 
colm Allen  all  the  details  of  her 
strange  story,  watching  his  face  to 
see  if  he  believed  she  spoke  the  truth. 
She  wanted  to  say  to  him :  "I  am 
Madeleine  Standish.  Did  you  ever 
read  that  name  in  the  newspapers, 
and  do  you  remember 
in  what  connection  ?" 

Malcolm  Allen  had 
been  chivalrous  to  her 


mild.  What  do  you  recom- 
mend ?" 

Madeleine  suggested, 
something  mentholated ;  and 
as  he  paid,  Malcolm  said: 
"I've  been  talking  to 
Lady  Gates  about 
you,  Miss  Smith.  At 
least,  I've  been  tell- 
ing her  you're  a  prin- 
cess in  disguise,  and 
that  interests  her 
very  much.  Doesn't 
it,  Aunt  Kate?" 


as  men  are  in  books  and  plays 
and,  she  had  been  warned,  very 
seldom  are  in  real  life.  Yes,  he 
was  her  one  friend;  but  she 
must  do  without  his  advice  and 
keep  her  secret  for  a  time,  at 
least. 

Besides,    she   was  probably 
doomed  to  lose  his  friendship,  because 
here   was   this   stout,   old  lady,  "all 
dolled  up,"  as  Nora  Casey  put  it;  his 
aunt,  it  seemed.    She  had  the  air  of 
being  "rich,  and  fond  of  her  nephew. 
As  she  had  followed  him  to  Holly- 
wood, she  was  most  likely  alone  in  the 
world,  and  intended  to  leave  him  heaps  of  money  when 
she  died.    Madeleine  Standish,  alias  Mary  Smith,  was 
still  so  young — not  quite  twenty-two — that  if  a  woman 
were  fifty,  she  might  as  well  be  seventy-five  and  have 
done  with  it.    So  Madeleine  thought  of  Lady  Gates  as 
a  doddering  old  thing,  who  might  be  of  any  age  up  to 
eighty,  and  old  enough  to  drop  dead  to-morrow. 

When  Malcolm  had  seated  Lady  Gates  facing  all  the 
"human  interest"  of  the  softly  lighted,  attractive  room, 
Madeleine  didn't  glide  in  her  Moorish  slippers  to  his 
table,  smiling  her  lovely,  friendly  smile,  and  proffering 
her  tray  of  cigarettes.  If  Mr.  Allen  wanted  her,  he 
could  beckon,  or  ask. 

But  Malcolm  did  beckon.    He  took  pains  to  catch 
Miss  Smith's  glance  when  it  wandered  in  his  direction, 
and  eye  and  hand  both  invited  the  girl  to  serve  him. 
"Cigarettes,  Mr.  Allen?"  she  asked. 
"Yes,  thanks,"  he  replied.    "Egyptians  for  me,  and 
I'm  going  to  teach  my  aunt  to  smoke  something  very 


"Yes,  of 
course,"  re- 
turned Lady 
Gates,  s  m  i  1- 
ing  pleasantly, 
though  she 
was  not  de- 
void of  inte- 
rior cattiness. 

"I'm  quite 
i  n  t  e  r  e  sted, 
and    I'd  like 
to  see  something  of  you.  But 
I  suppose  we  mustn't  keep  you 
talking  too  long  here,  or  the 
proprietor     will    be  vexed. 
Maybe  he'd  be  disagreeable  to 
So  I've  been  thinking. 
Let's  see.  what  times  of  the  day  or  evening  are  you 
off  duty?" 

"I  come  on  at  half  past  ten  in  the  morning,"  Made- 
leine told  her.  "At  least,  I  have  to  be  here  then,  to 
get  into  this  dress.  And  every  other  night  I'll  be  off 
at  nine.  To-night's  one  of  them,  because  they  don't 
have  dancing.  The  other  girl,  Miss  Casey,  will  be  on 
to-night  till  twelve.  To-morrow,  I'll  be  here  till  mid- 
night." 

"Dear  me !"  exclaimed  Lady  Gates, 
sound  like  what  they  call  union  hours." 

"I  don't  belong  to  any  union,"  said  Madeleine.  "And 
I'm  only  too  glad  to  work  at  Montparnasse,  no  matter 
how  late  I  have  to  stay." 

Malcolm  wondered  if  she'd  asked  Pierre  to  let  her 
stay  on  dancing  nights,  for  the  sake  of  Lopez,  at  whom 
he  had  seen  her  stare  with — with  that  almost  greedy 
look !  Another  stab  of  jealousy  and  dislike  of  the  pro- 
fessional gave  him  a  sharp  pang. 

"Well,  I'm  going  to  the  opening  of  a  picture  with 
my  nephew  tonight,  as  soon  as  we  finish  dinner,"  said 
Lady  Gates.  "He  has  excited  me,  telling  about  the 
crowd  that  collects  to  see  the  stars  get  out  of  their 
grand  limousines  in  front  of  the  theater,  and  how  the 
photographers  turn  on  floods  of  calcium  or  something, 
to  take  their  pictures.  Why,  Malcolm  is  such  a  celeb- 
rity, I'm  afraid  they  may  snap  me  along  with  him. 
That's  the  one  reason  I'm  scared  to  go !" 

Madeleine  imagined  that  "scared"  ought  to  read  "I 
hope."  But  in  this  she  misjudged  Katherine  Gates.  The 
stout,  elderly  woman  was  scared.  If  there  were  indeed 
a  chance  of  reducing  her  size,  and  improving  her  elderly 
self,  in  any  desperate  way  in  this  clever  Hollywood, 
Continued  on  page  92 


'That  doesn't 


Photo  by  Wide  World  Studio 


Greta  Nissen  will  be  starred 
in  a  stage  play  this  fall. 


Pola  Negri  arrived  in  town 
with  a  retinae  nearly  as  large 
and  impressive  as   that  of 
Queen  Marie. 


Photo  by  Bichee 


No  self-respecting  steamer  leaves  New  York  for 
Europe  these  days  without  a  stellar  passenger,  so 
New  Yorkers  are  seeing  Hollywood's  children  more  frequently. 


POLA  NEGRI  passed  through  New  York,  on  her  way  to  Europe,  in 
what  might  be  called  regal  splendor.    In  fact,  I'll  be  big,  I  shall  call 
it  regal  splendor !    And  after  all,  why  not,  Pola  being  a  princess  ? 
She  traveled  with  her  husband,  Prince  Serge  Mdivani,  and  one  of  those 
royal  retinues  that  we  read  about  in  books— a  secretary,  a  maid,  a  valet 
for  the  prince,  a  police  dog,  a  motor  car,  six  trunks  and  ten  pieces  of  hand 
uggage.    How  glad  I  am  that  the  He  dc  France,  on  which  she  sailed,  is 
such  a  large  boat ! 

Pola  was  just  as  beautiful,,  and  as  charming,  as  ever.  She  has  left 
Paramount,  of  course,  and  from  now  on  intends  to  have  a  great  deal  to 
say  about  the  stories  she  films.  She  will  make  two  pictures  a  year — two 
good  ones,  she  emphasizes — one  costume,  one  modern.  She  wants  to  film 
some  of  the  classics  which  so  far  have  been  left  comparatively  untouched 
by  producers. 

Miss  Negri  did  not  know  at  the  time  of  her  sailing  whether  she  would 
work  in  Europe  or  America.  She  had,  she  said,  two  American  offers  from 
big  companies,  and  two  European — English  and  French.    If  she  worked 

in  Europe  she  would 
bring  over  her  own 
camera  men  and  elec- 
tricians from  America. 
Her  lawyer,  Nathan 
Burkan,  is  to  follow 
her  to  Paris  shortly, 
with  a  contract,  after  he 
has  investigated  and 
determined  which  of 
her  four  offers  she  had 
best  accept. 

In  the  meanwhile, 
Pola  has  been  having 
her  first  vacation  in 
three  years.  In  her 
spare  moments  she  has 
been  writing  her  mem- 
oires,  in  French,  which, 
she  says,  will  tell  every- 
thing !  We're  to  know 
the  real  Pola  Negri  at 
last.  It  is  really  her 
second  book;  the  first 
one,  also  written  in 
French,  was  translated 
into  half  a  dozen  lan- 
guages. 

Speaking  of  lan- 
guages, those  of  you 
with  linguistic  ambi- 
tions can  sit  back  and 
envy  Pola.  She  speaks 
six,  one  as  fluently  as 
another.  Polish,  of 
course,  her  native 
tongue ;  Russian,  Ger- 
man, French,  Italian, 
and  English.  I  don't 
know  how  that  im- 
presses you,  but  as  for 
me,    I'm  impressed 


something  awful. 


57 


d/eV 


^znima  TalleS  t 

Think,  in  these  aviating"  days,  what  fun  it  would  be  just  dropping 
down  into  any  old  country,  knowing  the  language,  and  starting  right 
out  as  one  of  the  girls.  Though  of  course  it  would  be  just  our  luck, 
yours  or  mine,  if  we  knew  so  many  languages,  to  find  that  our 
parachutes  had  fallen  right  among  the  Eskimos. 

Does  Lon  Chaney  Like  Interviewers?  No! 

Lon  Chaney  slipped  into  New  York  with  his  usual  air  of  mystery 
and  discreet  privacy.    Lon  is  very  shy  of  interviewers. 

"Would  you  like  to  see  Lon  Chaney  when  he  arrives?"  the  Metro- 
Goldwyn  publicity  department  asked  interviewers.  To  a  man — and 
to  a  woman,  too,  for  that  matter — they  answered,  "Yes ;  but  would 
he  like  to  see  us?  No!" 

They  guessed  right.    Metro-Goldwyn's  representatives,  going  to 
the  train  to  welcome  Lon  in  a  big  and  noble  fashion,  discovered  no 
Mr.  Chaney.    They  could  not  find  him  at  any  of  the  hotels  later, 
and  they  don't  know  yet  how  he  managed  to  elude  them  in  getting 
off  the  Twentieth  Century.    That  man's  so  full  of  disguises  he 
probably   came  in 
as  his  maiden  aunt, 
or  his  young  niece 
from  the  convent, 
or  even  wearing  a 
set  of  bushy  whis- 
kers,   like  Trader 
Horn. 

Despite  all  his 
efforts  to  keep  him- 
self a  dark  secret, 
however,  Lon  was 
recognized  in  New 
York.  It  happened 
one  day  while  he 
was  riding  some- 
where, in  a  taxicab. 
They  were  stopped 
by  the  traffic,  when 
the  driver  of  an  ad- 
jacent cab  leaned 
over  and  recog- 
nized the  actor. 
"Well,"  he  said  to 
Lon's  chauffeur,  as 
the  traffic  started 
again,  "better  step 
on  it.  It  is  Lon 
Chaney !" 

Janet  Gaynor  Is 
Feted. 

Janet  Gaynor, 
with  a  new  shade 
of  hair — she  has 
now  joined  the  as- 
sociation of  cinema 
redheads  — -made 
her   first    visit  to 

Janet  Gaynor  had  a 
wonderful  time  in  New 
York.         Photo  by  Autrey 


When  Adolphe  Menjou,  and  his  bride, 
Kathryn  Carver,  arrived  in  London,  they 
were  called  on  by  George  Bernard  Shaw. 

New  York.  It  was  just  a  vacation; 
she  came  from  California  by  way 
of  the  Panama  Canal,  a  seventeen- 
day  trip. 

She  had  a  beautiful  time  in  the 
big  city,  going  to  the  theater,  being- 
feted.  Fox  gave  a  large  party  for 
her  at  the  studio  of  Emil  Fuchs,  the 
artist.  It  was  a  tea,  buffet  supper, 
and  dance,  all  combined,  and  a  good 
time  was  had  by  all,  as  they  say  in 
the  social  notes. 

Janet  attended  the  New  York 
opening  of  Charlie  Farrell's  new 
picture,  "Fazil,"  and  what  a  fuss 
was  made  over  her!  Just  before  the 
performance  began  a  man  stopped 
at  Janet's  seat  to  say  hello.  "Ah," 
he  said  in  a  very  loud  voice,  "my 
favorite  star."  All  the  audience 
looked  around  to  see  who  the  star 
was,  and  the  rush  for  autographs 
began. 

Such  is  the  life  of  a  film  ce- 
lebrity ! 


58 


Manhattan  Medley 


Photo  by  Louise 

Marie  Dressier  has  friends  everywhere  on  earth,  that  she  can  visit  when  her 
roving  disposition  gets  the  better  of  her. 


Tom's  "Tony"  Doesn't  Care  for  Travel. 

Tom  Mix,  in  all  his  glory  and  his  diamond  belt 
buckle,  had  a  triumphant  fling 
at  vaudeville  before  settling 
down  to  more  picture  making 
for  F.  B.  O.  Everywhere  he 
went  there  was  a  gala  reception. 
Isn't  it  fun  to  be  so  popular ! 

On  his  arrival  in  New  York, 
he  was  met  at  the  train  by  thou- 
sands of  adoring  kids.  F.  B. 
O.'s  publicity  department  ar- 
ranged that,  and  most  cleverly, 
too,  if  you're  asking  me — which 
of  course  you're  not.  Before 
Tom's  arrival,  thousands  and 
thousands  of  buttons  were 
passed  around  among  the  school 
children :  "This  entitles  the 
wearer  to  serve  on  the  Tom 
Mix  welcoming  committee." 
Well,  you  can  just  imagine  how 
the  kids  felt  about  that.  It  was 
just  like  being  invited  to  shake 
the  hand  of  President  Coolidge. 
So  they  poured  into  Grand  Cen- 
tral Station,  wearing  their  but- 
tons, and  there  was  an  excited,  squealing,  tumultuous 
reception  when  the  cowboy  star  got  off  the  train. 

A  luncheon  was  given  for  him  at  the  Hotel  Astor, 
with  newspaper  writers  and  exhibitors  much  in  evidence. 


Never  say  that  Tom  doesn't  know  how  to 
make  a  dramatic  entrance.  He  came  in  wear- 
ing his  usual  eccentric  costume — cafe-au-lait- 
colored  suit,  big,  white  sombrero — and  rid- 
ing Tony  right  into  the  hotel  dining 
room.  Tony,  I  might  add,  has  been  in  all 
the  best  hotels ! 

That  horse  is  getting  spoiled,  too,  from 
too  much  attention.  Tom  had  quite  a  time 
with  him,  on  this  hectic  vaudeville  tour. 
Perhaps  Tony  doesn't  care  for  traveling. 
And  I'm  quite  sure  he  cares  even  less  for 
the  quaint  custom  of  the  souvenir  hunters 
who  pull  hairs  out  of  his  tail.  After  all, 
even  the  best-tempered  horse  might  think  that 
was  carrying  affection  just  a  little  too  far. 
I'd  like  to  know,  boys  and  girls,  just  what 
you  could  do  with  a  hair  from  a  horse's  tail 
after  you  had  it? 

Tony  would  like  to  know  too,  probably. 
He  was  very  cro^s  about  it,  and  cross  at  Tom, 
who  really  wasn't  the  guilty  party  at  all.  The 
result  was  that,  during  their  "turn"  on  the 
stage,  Tony  was  always  trying  to  bite  his 
beloved  master.  And  much  of  the  time  dur- 
ing the  vaudeville  act,  Tom  had  to  pry  the 
horse's  jaws  open  with  his  fist.  And  what  fun 
is  that,  doing  an  act  on  the  stage,  with  your 
fist  in  a  horse's  mouth  ?  Tom  received  crowds 
of  interviewers  and  others  every  day  back-stage 
at  the  Hippodrome  in  his  dressing  room. 

Greta  Nissen  Deserts  Hollywood — 
Temporarily. 

Perhaps  you  wonder  where  Greta  Nissen 
has  been  hiding  these  past  two  years.  She 
recently  played  the  heroine  in  "Fazil,"  and 
in  "Hell's  Angels,"  but  even  the  slowest  worker 
can't  keep  very  busy  for  two  years,  making 
only  two  pictures !  Greta,  she  says,  has  turned 
down  innumerable  roles,  because  she  didn't  like  them. 
She  thinks  that  poor  roles  are  even  worse  for  her,  in 

the  eyes  of  the  public,  than 
no  roles  at  all. 

But  it  turns  out  that  she 
hasn't  been  so  idle  all  this 
time,  after  all.  She's  been 
learning  English,  really  learn- 
ing it.  She  knew  a  little  Eng- 
lish before,  but  her  accent  in- 
cluded the  Scandinavian  so 
thoroughly,  you  couldn't  un- 
derstand a  word  she  said.  But 
now!  Well,  she  speaks  our 
language  so  clearly  that  she 
has  even  been  engaged  for  a 
role  in  a  Broadway  stage  play 
this  fall. 

"Double  Exposure"  it  is 
called,  at  this  writing,  but 
don't  you  blame  me  if  the  pas- 
sion for  changing  titles  gets 
hold  of  that  one.  There 
couldn't  have  been  a  better 
role  for  Greta,  if  the  play  had 


Raymond  Hatton  came  East  to  collect  antique  furniture.  '  been  written  for  her  especial 

benefit.  She  plays  a  Nor- 
wegian girl  in  America,  or  maybe  it's  in  England.  And 
there's  a  Norwegian  man  in  the  play  also.  Every  time 
he  and  Greta  are  alone  on  the  stage  together  they  burst 
into  their  native  tongue,  and  let  the  audience  wonder 


Manhattan  Medley 


59 


just  what  it's  all  about.  Unless,  of  course, 
you're  luck}'  enough  to  be  a  Norwegian.  So 
"few  of  us  are.  Anyhow,  you  suspect  all  the 
time  that  the  man  is  her  lover,  but  you  get 
fooled  in  the  end.    He's  really  her  father. 

It's  one  of  those  trick  ideas  that  may  work 
out  very  cleverly,  or  may  turn  out  to  be  just 
terrible,  and  we  won't  know  until  we  see  the 
play. 

Miss  Nissen  herself  is  all  enthusiasm.  The 
one  thing  that  worries  her,  though,  is  that  she 
has  to  sign  a  run-of-the-play  contract.  Sup- 
pose the  play  runs  a  year  ?  Where  will  her 
movie  career  be  then,  poor  thing?  She's  been 
off  the  screen  so  much  lately,  she's  afraid  that 
in  another  year  the  public  will  have  forgotten 
her  entirely. 

But  if  you'd  ever  met  her,  with  her  blond 
beauty  and  charm,  you  can  just  take  my  word 
for  it  that  you,  who  are,  after  all,  her  public, 
would  never,  never  forget  her ! 

Mr.  Henry  Ford  Obliges. 

Raymond  Hatton  and  his  wife  were  in  New 
York  only  four  days,  seeing  shows.  Shows 
every  performance.  Mr.  Hatton  has  left  Para- 
mount, and  his  sigh  of  relief  at  not  having  to 
play  in  any  more  team  pictures  quite  drowned 
out  the  noise  of  the  riveting  in  the  big  city. 

He  was  all  excited — as  who  in  movies  isn't 
these  days? — at  the  idea  of  talking  pictures  be- 
ing taken  up  in  a  big  way.  Mr.  Hatton  is  one 
of  those  who  might  be  said  to  be  sitting  pretty. 
He  has  stage  training  and  a  stage  voice.  But 
where  are  the  poor  little  beauty-contest  win- 
ners going  to  come  in,  now  that  every  word 
they  say  may  be  used  against  them  ? 

The  Hattons  had  just  come  from  Boston, 
where  they  had  been  searching  for  early  Amer- 
ican antiques.  They  went  there  very  quietly, 
just  as  sight-seers,  and  told  no  one  they  were 
coming.  But  how  these  things  do  get  about !  Hardly 
had  they  got  their  luggage  in  at  the  Ritz  when  the  place 
was  filled  with  reporters  yelling, 

"Surprise,  surprise,"  or  words  7~ 
to  that  effect. 

The  Hattons  had  a  lovely 
time  in  Boston.  At  least  they 
enjoyed  it,  though  it's  not  my 
idea  of  a  really  eventful  week. 
They  looked  at  old  tombstones, 
and  historic  spots  marked  "Here 
is  about  where  the  Battle  of 
Such-and-Such  was  fought." 
Sorry,  I  don't  remember  what 
battle  was  fought  where  they 
looked. 

Mr.  Henry  Ford  gave  them  a 
big  surprise.  He  sent  a  car,  with 
a  chauffeur,  for  their  disposal, 
to  take  them  around  the  city. 

"Oh,  you  know  Mr.  Ford?" 
I  asked  Raymond  Hatton.  Very 
foolishly,  perhaps ;  plenty  of 
people  do  know  Mr.  Ford. 

"Well,  I've  met  him,  and  I've 
bought  several  cars  from  him." 

Now  I  call  that  discrimina- 
tion. If  it  comes  down  to  it,  who 
hasn't  bought  cars  from  Mr.  Ford?  But  does  he  send 
limousines  and  chauffeurs  around  to  all  the  rest  of  us 
who  have  helped  support  his  company?    He  does  not! 


Photo  by  Freulich 


Jean  Hersholt,  his  wife  and  thirteen-year-old  boy  visited  New  York  for  the 

first  time. 


Phoning  from  Hollywood  to  England  about  a  "Green  Hat." 

Blanche  Sweet  was  on  her  way  back  to  Hollywood 

from  England.    She  had  been 
England   several  months, 


m 


Photo  by  Alberts 

Tom  Mix  was  given  a  royal  welcome  at  the  station 
by  thousands  of  school  children. 


making  a  film  called  "The 
Lady  in  White"  for  Herbert 
Wilcox,  the  best-known  pro- 
ducer there.  And,  on  her  re- 
turn to  California,  she  was  to 
start  work  with  her  husband, 
Marshall  Neilan,  on  "The 
Green  Hat."  Of  course  that 
was  banned  once  by  Will 
Hays,  along  with  "Rain"  and 
several  other  stories,  wherein 
the  heroine  wasn't  really  what 
is  known  as  a  "nice  girl." 

But  the  ban  has  evidently 
been  managed  somehow,  and 
Marshall  Neilan  and  Blanche 
are  going  ahead  on  the  picture. 
In    fact,    she   hurried  home 
from  England  in  her  eagerness 
to  do  her  best  by  Iris  March. 
She  wasn't  very  sure  about  all 
the  plans  as  yet.  because  all 
the  negotiations  had  been  con- 
ducted by  cable  and  telephone. 
Yes,  by  telephone.   You  know  all  the  trouble  the  poor 
phone  company  has  been  having  to  make  that  trans- 
Continued  on  page  98 


60 


High-hatting  the  Fans 

But  who  would  object  to  being  high-hatted 
by  any  one  of  the  six  charming  ladies  below? 


Nancy  Carroll,  above,  is  a 
big  "ad"  for  her  new  fad 
of  carrying  a  cane  and  sporting  a 
high  hat  for  dancing 


61 


Mothers  Boy  Grows  Up 


Barry  Norton,  whom  the  fans  remember  for 
his  bit  in  "What  Price  Glory?"  is  now  being 
given  roles  in  keeping  with  his  sophistication. 


A 


By  William  H.  McKegg 

YOUNG  English  aviator,  with  a  somewhat  angelic 
expression  on  his  erstwhile  sophisticated  face,  stood 
before  a  German  firing  squad.    He  gazed  at  a 
bird  wheeling  aloft.    The  command  was  given.    He  fell. 

There  were  more  sniffles  during  this  pathetic  episode 
in  "The  Legion  of  the  Condemned,"  than  any  other  part 
of  the  picture.  In  fact,  Barry  Norton's  performance  was 
the  high  light  of  the  production. 

Maybe  you  saw,  and  shed  a  tear  or  two,  over  the 
death  scene  of  Mother's  Boy,  in  "What  Price  Glory?" 
It  will  not  be  held  against  you  if  you  did,  for  the  scene 
was  meant  to  have  that  effect.  A  smaller  picture,  "The 
Canyon  of  Light, "  presented  Barry  Norton  once  again 
in  a  sentimental  role.  And,  sure  enough,  to  stress  the 
sentimentality,  he  was  forced  to  repeat  his  death  scene. 
It  seems  that,  at  this  moment,  no  one  can  die  on  the 
screen  like  Barry. 

Paramount  realized  this  when  they  borrowed  him  from 
Fox  for  "The  Legion  of  the  Condemned." 

If  you  ha've  not  seen  this  picture  you  should,  if  only 
to  see  how  pathetically  Barry  can  expire.  Besides  this  sen- 
timental attribute,  he  achieves  some  excellent  acting,  too. 

"My  luck  has 
changed,"  he  ex- 
claimed recently,  as 
if  freed  from  slav- 
ery. "In  nearly  every 
picture  I've  played 
in,  I've  had  to  die. 
I'm  killed  off  before 
I  can  see  the  girl,  let 
alone  stay  alive  long- 
enough  to  get  her. 
Now,  in  'The  Four 

Devils'  " 

This  change  of 
luck  occurred  when 
Barry  was  cast  in 
"Fleetwing."  It  is 
about  the  desert,  and 
in  it  Barry  is  a 
young  Arabian 
prince,  or  what  not. 

Sentimental  roles 
are  O.  K.,"  Barry 
admitted.  "I  hope 
it  means  I  am  ver- 
satile when  I  put 
them  over  all  right, 
but  to-day  I  have  a 
chance  to  branch  out 
into  other  parts. 
Now  in  'The  Four 

Devils'  " 

Three  years  ago 
Barry  came  to  Hol- 
lywood, after  a  two 
years'  stay  in  New 

Alfredo  de  Biraben — the  name  he  was 


Barry  Norton,  right,  with  his  brother,  Marcel,  in  the  breakfast 
room  of  their  childhood  home  in  the  Argentine. 


No,  not  Barry  in  the  role  of  Lord  Faunt- 
leroy,  but  Barry  at  six  years  of  age. 

is  still  energetically  fulfilling  it. 
His  real  name  was  never  meant 
for  electric  lights,  so  Fox  changed 
their  newcomer  to  Barry  Reid.  No 
sooner  had  this  appeared  on  the  bill 
boards  outside  the  studio,  than  it 
was  altered  to  Barry  Norton.  As 
such  you  know  him  to-day. 

For  five  years  Barry  has  been  in 
America. 

"My  life  in  the  Argentine  helped 
me  a  terrific  lot  in  pictures,  do  you' 
know,"  he  has  explained  more  than 
once,  sounding  very  English.  "My 
constant  riding,  in  the  country  down 
there,  made  me  a  good  rider.  I 
can  fence" — one  has  but  to  regard 
his  thick  wrists  to  know  it — "and 
twice  I  went  by  airplane  from 
Buenos  Aires  across  the  Plata  to 
Uruguay,  to  attend  the  national 
football  match.  So  one  might  say 
I  had  good  training  for  pictures,  in 
my  native  land.  Now  in  'The  Four 
Devils,'  for  instance- 


York.    He  was  then 


known  as 
en  at  his 


christening,  in  his  native  Argentina.  Several  months 
in  the  film  Mecca  finally  earned  him  a  sudden  break  of 
surprising  luck.     Fox  gave  him  a  contract,  and  he 


Until  his  seventeenth  year  he  did 
have  good  training.  He  went  to  an 
English  school  down  there  and 
naturally,  speaks  English  as  fluently  as  Spanish  and 
French.  At  seventeen,  he  sailed  with  some  friends  for 
New  York,  but  failed  to  return  when  they  did. 

His  adolescence  was  spent  in  absorbing  the  wisdom 
of  the  Great  White  Way.    So  it  really  is  a  remarkable 


62 


Mothe?~'s  Boy  Grows  Up 


Photo  by  Ball 

Barry  never  alters  his  regard  for  the  few,  intimate  friends, 
though  acquaintances  come  and  go. 

test  of  versatility  to  see  Barry  dying,  on  the  screen, 
like  a  St.  Sebastian. 

He  is  now  going  on  twenty-four,  and  is  being 
groomed  for  romantic  leads.  Notice  how  sophisti- 
cated and  romantic  he  really  is. 

It  seems  to  me,  as  I  look  back  to  his  advent  to 
Hollywood,  that  Barry  came  with  the  fixed  idea  of 
rising  to  the  top.  His  chance  with  Fox  did  not  drop 
out  of  the  sky,  as  one  interview  stated.  It  had  to 
be  worked  for,  and  Barry  was  not  picked  out  of  the 
street.    Nevertheless,  it  was  a  most  propitious  event. 

When  working  in  his  first  role,  in  "The  Lily," 
Barry  would  drive  around  to  our  place,  in  make-up 
and  tuxedo,  at  something  like  seven  in  the  morning. 
While  partaking  of  breakfast  at  my  bedside,  he  would 
discourse  on  all  the  interesting  topics  of  studio  life. 
Then,  still  eating  a  last  mouthful,  he  would  dash  away 
from  the  levee  in  a  whirlwind  of  speed,  to  be  on  the 
set  at  eight  thirty. 

Acquaintances  are  always  necessary  to  Barry's  peace 
of  mind ;  yet  they  all  fade  away,  one  after  the  other. 
Photographs  lie  in  stacks  on  a  table  in  his  room.  Scrawl- 
ing signatures  from  such  as  "Annabelle,"  "Sybil,"'  or 
"Rita,"  each  have  their  turn  on  top  of  the  heap.  Grad- 
ually they  disappear,  their  place  taken  by  new  ones. 

Barry  knows  all  the  tricks  of  the  trade,  and  how  to 
add  fuel  to  a  girl's  admiration.  He  never  keeps  ap- 
pointments, never  answers  telephone  messages  left  by 
ardent  devotees  and,  if  he  does  arrive  at  all,  turns  up 
an  hour  or  two  late. 

Boys  wishing  to  follow  this  course  may  do  so  at  their 
own  risk.    Girls  may  also  try  it. 


At  times,  Barry  believes  he  should  read  something  good. 
Pierre  Louys  does  pale  the  senses,  when  overdone. 

"Have  you  ever  read  this?"  he  once  asked,  handing  me 
a  French  edition  of  "Anna  Karenina." 

"Just  about  half.  You  won't  finish  it,  either.  You 
would,  though,  had  you  lived  forty  years  ago." 

"Don't  be  silly.  It's  a  wonderful  book.  One  of  the 
greatest."  Whereupon  Barry  started  to  tell  me  about 
Tolstoy.  But  even  poor  Anna's  history  failed,  like  his 
many  acquaintances,  to  hold  him. 

Music  is  one  thing  that  does  arrest  Barry.  He  has  a 
genuine  liking  for  certain  operatic  compositions.  "La 
Boheme"  is  the  favorite.  Puccini  scores  have  to  be  locked 
up  when  Mr.  Norton  calls.  For  even  kind-hearted  friends 
tire  of  "Butterfly,"  "Tosca,"'  and  "The  Girl  of  the  Golden 
West,"  when  heard  too  often.  Though  they  cannot  pre- 
vent records  from  being  played. 

He  has  achieved  tremendous  popularity  down  in  his 
native  country.  He  is  well  known  up  here,  getting  quite 
famous,  really;  but  nowhere  do  his  pictures  arouse  so 
much  excitement  as  in  the  Argentine. 

Barry's  father  and.  I  correspond  regularly.  In  fact,  I 
would  make  a  more  dutiful  son  than  Barry,  when  it  comes 
to  letter  writing.  Letters  are  something  Barry  regards 
as  fetters. 

It  rests  with  me,  occasionally,  to  rouse  him  out  of  his 
Hollywood  self-sufficiency,  and  force  him  to  write  a  letter 

to  prove  that  he 
still  lives  on  earth. 
This  he  will  do,  as- 
suring his  father 
that  he  is  still  "su 
hijo  que  t'ania  mas 
que  aver.'1' 

In  his  many  epis- 
tles, Mr.  De  Bira- 
ben  has  expounded 
upon  the  great  no- 
tice his  famous  son 
— "who  loves  him 
more  than  yester- 
day "  —  attracts, 
whenever  he  ap- 
pears in  a  film 
down  there. 

Such  leading 
newspapers  as  La 
Nation,  La  Prcnsa, 
and  La  Critica,  all 
went  into  raptures 
over  "The  Lily," 
"The  Heart  of  Sa- 
of  Light,"  just  because  a 

is  the  first  Argentinian  to 


In  the  uniform  he  wears  as  a  Russian 
officer  in  "The  Red  Dance." 


lome,"  and  "The  Canyon 
native  son  was  in  the  cast. 

Barry,  be  it  understood, 
attain  prominence  in  American  pictures. 

"What  Price  Glory,"  rocked  all  Buenos  Aires.  What 
will  happen  when  his  latest  films,  in  which  he  plays 
leads,  get  there  ? 

On  the  strength  of  this  present  furore,  enthusiastic 
shopkeepers  have  capitalized  on-  our  hero's  name.  One 
insistent  merchant  patriotically  urges  his  fellow  citizens 
to  patronize  his  store,  by  displaying  a  sign  written : 
"Use  Camisas  Barry  Norton" — "Wear  Barry  Norton 
Shirts." 

"The  Legion  of  the  Condemned,"  "Fleetwing,"  and 
'The  Four  Devils"  will  probably  cause  cigarettes,  choco- 
lates, and  drug-store  articles  to  be  named  after  him.  On 
the  street  cars  Argentinians  become  further  acquainted 
with  their  young  genius,  as  they  gaze  at  "Barry  Norton," 
looking  down  at  them  "en  una  de  sus  mas  carateristicas 
Continued  on  page  108 


63 


Hollywood  High  Lights 

Relaying  the  news  and  gossip  of  the  studio  world  and  .its  active  personalities. 

By  Edwin  and  Elza  Schallert 


MICHAEL  ARLEN'S  celebrated  apothegm— if  we 
may  be  permitted  to  use  this  word — to  the  effect 
that  he  had  come  to  Hollywood,  as  the  home  of 
the  silent  drama,  and  found  it  a  place  dedicated  primarily 
to  talk,  is  apparently  about  to  experience  a  new  and 
different  realization  from  that  which  the  famous  author's 
bon  mot  inferred,  when  originally  made  in  that  city. 

We  speak  decidedly  in  the 
present  tense.  There  is  a  terrific 
hullabaloo  about  the  pictures 
synchronized  with  sound,  some- 
times known  as  "speakies."  The 
old-time  stage  actors  have  given 
three  rousing  cheers,  while  the 
rest  of  the  colony,  with  a  few 
exceptions,  has  emitted  one 
short— "Oh,  heck!"  The  war 
is  on,  so  to  say. 

It  is  asserted  rather  generally 
that  the  movies  are  on  the  verge 
of  an  upheaval.  How  great  it 
wall  be,  nobody  seems  willing  to 
conjecture.  Some  people  still 
don't  believe  in  talking  pictures. 
They  say  "talkies"  are  merely 
a  passing  fad  and  fancy,  and 
that  the  silent  film  is  too  well 
established,  as  an  art  and  en- 
tertainment, ever  to  be  dis- 
placed by  this  hybrid  efferves- 
cence. 

Nevertheless,  there  is  this 
much  to  be  remarked — namely, 
that  practically  every  large  com- 
pany in  the  business  is  now 
definitely  interested  in  sound 
devices.  A  majority  of  them 
are  already  building  noise-proof 
stages,  and  will  have  these  in 
operation  before  the  end  of 
summer.  Various  actors  and 
actresses  have  admitted  their 
concern  over  the  new  develop- 
ment to  such  an  extent  that 
there  is  almost  a  panic  in  some 
quarters. 

Speaking  likenesses  of  every- 
body, who  is  anybody,  in  the 
films,  will  probably  be  seen  all 
over  the  country  within  the 
next  twelve  months.  Some  of 
our  favorite  stars  may  soon 
chortle,  if  they  do  not  also  sing, 
and  there  is  no  question  that 
the  elocutionary  powers  of 
every  one  will  soon  be  called  to  account — whether  in 
English,  broken  English,  cinemese,  Holly woodese,  or 
any  of  the  other  well-known  dialects  that  prevail  in  the 
land  of  permanent  wave  and  the  home  of  the  Kleig. 

Emil  Will  "Speakie." 

One  of  the  first  of  the  foreign  players,  whose  voice 
will  come  forth  from  the  silence,  is  Emil  Jannings. 
Plans  to  this  end  have  been  made  in  conjunction  with 


Marjorie   Beebe's  potentialities  as  a  comedienne 
have  so  intrigued  Fox — and  with  good  cause— 
that  she  is  to  vbe  starred  in  "The  Farmer's 
Daughter." 


the  showing  of  "The  Patriot,"  which  Ernst  Lubitsch 
directed.  Jannings  will  have  only  one  word  to  say,  and 
it  is  a  Russian  name.  So,  unfortunately,'  Emil  will  have 
no  chance  to  exercise  his  recently  acquired  English  for 
the  delectation  of  the  fans.  Emil  had  a  hard  time  learning 
the  language,  but  he  lias  it  now,  with  an  occasional 
"nein,"  and  "dock"  for  emphasis.    "I  make  some  time 

a  comedy,  with  a  German  try- 
ing first  time  to  sprcch  Eng- 
leesh,"  he  told  an  interviewer 
recently.  "It  will  be  good,"  he 
assured. 

"The  Patriot"  will  be  ex- 
hibited with  numerous  sound 
effects — galloping  of  horses, 
ringing  of  bells,  firing  of  shots 
—and,  of  course,  incidental 
musical  effects.  This  will  be  one 
of  the  largest  Paramount  pro- 
ductions of  the  year  to  be 
shown  with  their  new  device, 
which  in  an  early  form  was  in- 
troduced in  "Wings." 

More  Come  Out  of  Silence. 

The  curiosity  to  hear  some 
people's  voices  should  be  enor- 
mous— especially  in  the  case  of 
stars  who  have  been  on  the 
screen  for  years.  No  definite 
plans  have  been  announced  by 
most  of  these,  but  it  is  pre- 
sumed that  Douglas  Fairbanks 
and  Mary  Pickford  cut  short 
their  stay  in  Europe,  because  of 
the  unsettled  condition  which 
the  new  era,  so-called,  has 
brought  about. 

The  United  Artists  studio, 
where  they  work,  is  erecting  a 
sound  stage,  and  the  first  trial, 
with  effects  and  with  dialogue, 
is  to  be  made  in  Vilma  Banky's 
"The  Awakening."  Vilma  her- 
self may  speak  in  this,  and 
Ronald  Colman's  voice  will 
probably  be  heard  in  "The  Res- 
cue," in  which  he  is  starring. 
Colman  should  register  exceed- 
ingly well  in  "the  talkies." 
Strangely  enough,  he  is  not 
especially  enthusiastic  about 
them. 

He  told  us  he  always  felt 
that  the  charm  of  the  screen 
was  its  silence,  and  always  would  be. 


Kathleen  Also  Has  a  Voice. 

Sound  films  are  seemingly  going  to  bring  the  return 
of  many  players,  who  have  been  overlooked  by  producers 
in  casting  their  features,  of  late.  Two  who  took  part 
in  a  short  Movietone  subject  recently  were  Raymond 
McKee  and  Kathleen  Key.  They  did  unusually  well, 
and  scored  a  hit  at  the  premiere  given  at  the  Carthay 


64 


Hollywood  High  Lights 


Circle  Theater.  McKee  was  not  in  attendance,  but 
Kathleen  won  a  big  hand  when  she  was  brought  on 
the  stage  after  the  evening's  performance,  which  had 
included  the  dull  and  stupid  "Fazil." 

We  met  Kathleen  during  the  intermission,  and  had 
to  profess  we  hardly  knew  her,  it  was  so  long  since 
we  had  seen  her  in  a  picture.  "Heavens,  have  a  heart ! 
I  haven't  grown  as  old  as  all  that,  have  I  ?"  Kathleen 
exclaimed,  with  her  delightfully  peppery  accent.  We 
noticed  that  she  received  congratulations  from  everybody 
present,  indicative  of  her  personal  popularity. 

War's  Alarms  Abate. 

The  unbelievable  has  happened.  Dolores  del  Rio  and 
Lupe  Velez  met,  talked,  and  were  photographed  together 
— and,   strangely   enough,   there    were  no   casualties ! 

These  two  girls  look  so  much  alike  that 
some  people  have  chosen  to  nominate 
them  rivals,  and  that  is  far  from  the 
surest  way  to  induce  two  players  to  be- 
come friendly.  Naturally  Dolores  is  far 
more  famous  than  Lupe,  and  can  afford 
to  be  gracious.  And  it  is  said  that  she 
extended  the  hand  of  greeting  more  than 
befittingly,  when  they  were  first  intro- 
duced to  each  other. 

The  occasion  of  their  encounter  was  a 
Spanish  celebration,  with  which  they 
were  both  identified.  Lupe  sang  and 
danced,  which  she  does  exceptionally 
well,  and  Dolores  gave  an  impromptu  talk, 
in  her  native  language. 

Lupe,  the  Irrepressible. 

Lupe  still  affords  no  end  of  mirth  for 
everybody.  She  is  always  up  to  some 
new  trick  that  sets  the  studio  agog. 

Before  she  learned  English  as  well  as 
she  knows  it  now,  she  was  an  endless  joy 
to  prop  men.  They  had  fun  teaching  her 
slang,  and,  incidentally,  a  few  rather 
lively  expressions  somewhat 
than  slang. 

The  studio  executives  became  rather 
excited  about  this,  because  Lupe,  in  her 
innocence,  used  the  expressions  at  rather 
inauspicious  times,  occasionally  when  vis- 
itors were  on  the  set.  Finally  one  of  the 
executives  called  her  into  his  office  to  give 
her  some  kindly  advice  about  it.  Lupe 
listened  and  was  duly  contrite  and  under- 
standing. Then  she  started  out  of  the 
studio,  and  accidentally  tripped  over  the 


stronger 


rug.  ''Oh,  bing-bing,"  she  said,  before 
she  realized  it.  She  looked  up  shyly  at  the 
studio  executive,  and  a  bit  shamefacedly. 
But  though  he  tried  hard  to  conceal  a 
smile,  he  was  unable  to,  and  Lupe  ex- 
claimed triumphantly : 

"You  see,  I  bad  girl,  but  even  you 
laugh  at  me  !   You  not  so  good  yourself  !" 

Lupe,  by  the  way,  has  had  as  her  escort  to  various 
functions  lately  none  other  than  George  Jessel,  who  is 
starring  in  Tiffany-Stahl  pictures.  We  should  mention, 
too,  that  she  scored  an  enormous  success  not  long  ago, 
when  she  appeared  on  the  stage  at  the  United  Artists 
Theater.  Her  singing  and  impersonations  were  com- 
pared with  those  of  Raquel  Meller. 

Not  Up  on  Classic  Art. 

Al  Jolson  always  entertains  us,  and  he  invariably 
vouchsafes  some  clever  bit  of  patter. 


No,  George  O'Brien  is  not  play- 
ing the  role  of  Little  Jack 
Horner,  who  for  no  reason 
cried,  "What  a  good  boy  am 
— he  is  just  throw  'ng  out  per- 
sonality for  everybody 's  good. 


"These  girls  in  Hollywood  are  smart,"  said  Al, 
"they're  smart  as  can  be.  Just  the  other  day  there  was 
one  of  these  fellows — an  art  director,  very  much  on 
the  up-and-up,  very — oh,  very  highbrow.  He  was  out 
on  the  set,  and  his  eyes  rested: — rested,  that's  the  word — 
on  one  of  those  very,  very  beautiful  girls,  and  he  went 
up  to  her  and  he  said: 

"  'Do  you  know,  my  dear,  do  you  know  what  you 
remind  me  of  ?  Why,'  he  said,  'you  remind  me  of  an 
old  Rembrandt.' 

"  'Well,'  she  answered,  'dog-gone  it,  you're  not  so 
young  yourself  !'  " 

All  in  the  Family,  Anyway. 

Norma  Shearer  and  Mary  Astor  are  now  related — 
only  it's  by  marriage! 

You  see,  it's  this  way.  Some  months 
ago,  Mary  espoused  a  scenarist  and  super- 
visor by  the  name  of  Kenneth  Hawks,  and 
just  recently  Norma's  sister,  Mrs.  Athole 
Ward,  was  wed  to  Hawks'  brother,  How- 
ard. We  don't  know  just  what  relationship 
that  creates  between  Norma  and  Mary,  but 
there  must  be  some  sort. 

Norma  Shearer  was  matron  of  honor 
for  her  sister.  Douglas  Shearer,  her 
I  brother,  Howard  Hawks,  and  another 
brother  of  the  bridegroom,  were  best  men. 
Norma's  sister  was  divorced  from  her  first 
husband,  and  has  been  living  in  Hollywood 
for  more  than  a  year. 


Fan  Mail  Competition. 

The  fan  mail  score  grows  more  and 
more  interesting  from  month  to  month,  be- 
cause of  the  quick  rise  of  certain  newer 
stars. 

Clara  Bow  reputedly  still  leads  the  field, 
with  a  total  of  nearly  thirty-four  thousand 
letters  a  month. 

Billie  Dove  is  now  reported  to  be  high 
on  the  list,  with  approximately  twenty 
thousand. 

Buddy  Rogers  is  one  of  the  oncoming 
favorites,  with  a  total  of  nearly  the  same 
number,  by  actual  count.  He  is  now  sup- 
posed to  be  ahead  of  even  Jack  Gilbert. 

This  all  reveals  a  remarkable  change 
from  a  few  years  ago,  when  Rudolph  Va- 
lentino, then  the  reigning  favorite,  was 
happy,  with  twelve  thousand  five  hun- 
dred. 

The  amount  of  mail  received  by  stars 
has  increased  enormously  in  a  few  years. 
We  thought  movies  weren't  doing  so  well 
lately,  but  this  demonstrates  the  contrary. 


Another  Vamp  Divine. 

We  hear  the  most  enthusiastic  comments 
about  Mary  Duncan's  portrayal  of  a  vamp- 
[ish  role  in  "The  Four  Devil's,"  the  F.  W. 
Murnau  picture.  Miss  Duncan,  we  should  say,  is  not 
one  of  the  "devils,"  they  all  being  acrobats.  She  acts, 
instead,  as  the  seductress  who  casts  her  lure  over  Charles 
Morton,  one  of  the  members  of  this  happy  professional 
family,  much  to  the  discomfiture  of  Janet  Gaynor. 

The  film  will  be  both  spectacular  and  tragic.  Miss 
Gaynor  and  Morton  are  both  killed,  in  a  fall  from  a 
trapeze,  at  the  finish.  It  occurs  because  Janet  happens 
to  see  her  rival  in  the  circus  audience. 

There  is  something  both  peculiarly  elusive  and  pecu- 
liarly ecstatic  about  Miss  Duncan.  She  is  a  stage  actress, 


(Hollywood  High  Lights 


65 


who  played  the  terrific  role  of  the  Eurasian  girl  in  "The 
Shanghai  Gesture."  Fox  had  her  under  contract  for 
nearly  a  year  before  she  was  given  anything  of  con- 
sequence to  do,  and  now  they  have  her  slated  for  fea- 
tured roles  in  a  series  of  new  pictures,  the  first  of  which 
will  be  "The  River,"  with  Charles  Farrell. 

May  Be  Pola's  Successor. 

These  new  dramatic  actresses  the  studios  are  discover- 
ing prove  more  than  interesting.  For  instance,  the  lethal 
and  sinister  Olga  Baclanova.  Have  you  seen  her  in 
"The  Man  Who  Laughs,"  "The  Street' of  Sin,"'  or  any 
of  her  other  appearances? 

Paramount  has  evoked  decided  attention  by  letting  it 
be  noised  about  that  they  expect  Olga  to  fill  the  place 
vacated  on  their  program  by  Pola.    We  can't  see  any 
resemblance   between   their  work,  though 
they  are  both  great  actresses. 


Lois  Gets  the  Applause. 

Lois  Wilson  has  been  working  sixteen 
hours  a  day  lately.  She  has  been  playing 
the  role  of  a  princess  in  "The  Queen's  Hus- 
band" at  the  Vine  Street  Theater;  and  at 
one  of  the  studios  she  lias  been  portraying 
a  sedate  village  miss,  in  a  picture.  Lois' 
friends  have  all  been  congratulating  her  on 
her  success  as  a  stage  actress,  and  Edward 
Everett  Horton,  who  is  starred,  had  this 
impressed  on  him  not  long  ago. 

He  drove  Lois  to  the  theater  one  evening,  I 
and  for  fun  thought  he  would  ask  the. 
garage  man,  where  he  parked  his  car,  what  = 
others  who  left  their  cars  there  thought  of 
the  performance.  t* 

"What  do  you  hear  about  our  show?"  he 
asked  the  man. 

"Oh,  everybody  likes  it,"  was  the  answer. 

"Do  they  talk  about  it  much?"  queried 
Eddie. 

"Oh  yes,"  was  the  reply,  "they  certainly 
do."  - 

"I  don't  suppose  they  say  very  much  about  Miss 
Wilson,"  ventured  Eddie. 

"Oh,  don't  they?"  sniffed  the  garage  man. 
"Huh,  they  talk  about  her  more  than  they  do 
about  you."  Whereupon  Eddie  stepped  right  out 
of  the  picture,  and  Lois  vowed  that  never  would 
she  park  her  car  any  place  else,  when  she  came 
to  the  theater,  except  at  this  particular  station. 


fortable,  particularly  when  in  her  dressing  room,  by 
resurrecting  some  old  dress  of  inconspicuous  aspect. 

But  the  other  day  she  dropped  in,  wearing  a  brand- 
new  outfit  of  very  modish  design.  "The  effect  was  most 
dismaying,"  Norma  told  us.    "Everybody  stopped  me, 


and  said :   'What's  the  matter? 
Who  died?    You  must  be 
funeral.'  " 


Who's  getting  married  ? 
ing  to  a  wedding  or  a 


Lina  and  June  Chums. 

First  prize  for  being  the  most  devoted  friends 
in  Hollywood  goes  this  month  to  Lina  Bas- 
quette  and  June  Collyer.    They  seem  to  go 
everywhere  together. 

Lina  and  June  didn't  know  each  other 
before  they  became  Wampas  stars  a  few 
months  ago,  but  their  liking  for  each  other  developed 
almost  immediately.  They  have  a  common  interest  in 
that  they  both  spent  much  time  in  New  York.  June, 
of  course,  was  born  there,  and  Lina  lived  there  for  sev- 
eral years,  following  her  marriage  to  the  late  Sam 
Wrarner. 

Wherever  June  goes  she  seems  to  win  admirers.  Not 
long  ago,  she  was  introduced  at  a  circus  benefit,  and 
everybody  chanted  her  praises.  She  is  a  tall,  willowy 
type,  with  just  a  slight  resemblance  to  Julanne  Johnston. 

Norma  Disturbs  Studio. 

Norma  Talmadge  simply  can't  dress  up  around  the 
studio.    It  is  her  habit,  you  know,  to  make  herself  com- 


A  Hermitage  De  Luxe. 

William  S.  Hart  may  live  in  solitude  and  isolation, 
but  it  is  a  solitude  and  isolation  of  grandeur.  We  hear 
more  about  Bill's  place  in  the  country  than  about  any 
other,  and  we  are  going  up  to  visit  him  very  soon,  on 
his  express  invitation,  and  will  tell  you  about  it  when 
we  manage  to  make  the  hegira. 

.  Meanwhile,  we  hear  that  Bill  has 
a  gorgeous  Spanish-Aztec  living 
room,  fifty-five  by  thirty  feet,  :and  a 
swimming  pool  encircled  by  Roman 
columns.  The  house  is  built  with 
wooden  pegs  instead  of  nails,  in  true 
primitive  style,  and  is  filled  with 
huge  bear-rugs,  choice  Navajos,  and 
other  inspiring  suggestions  of  the  old 
wild  and  woolly,  rather  than  the  new, 
effete  West. 


A  Fashionable  Equipage. 

We  haven't,  seen  it  yet.  But  it 
must  be  a  sight.  Jack  Gilbert  and 
Greta  Garbo  ensconced  in  the  extra 
rear  seat  of  a  new  Ford  coupe,  while 
a  chauffeur  drives  them ! 

This  is  occasionally  their  means  of 
locomotion  about  the  Metro-Goldwyn 
lot,  when  they  are  in  a  particularly 
larkish  mood.  The  Ford,  by  the  way, 
belongs  to  Jack. 


Casting  "The  Bridge." 

The  literary  plum  of  the  season 
has  been  captured  by  Metro-Goldwyn.  Natu- 
rally, it  is  "The  Bridge  of  San  Luis  Rey,"  by 
Thornton  Wilder.  Who'll  play  Uncle  Pio? 
Who'll  be  the  Abbess?  Who  the  two  brothers? 
Who  the  old  Peruvian  solitary — the  mother,  un- 
loved of  the  girl  who  goes  to  Spain  to  be  mar- 
ried ?    Who  the  actress  ? 

It  may  be  strange,  but  we  can  hardly  visualize 
anybody  now  on  the  screen,  in  these  .  various 
roles.  Dolores  del  Rio  or  Lupe  Velez — perhaps 
the  latter — might  be  able  to  impersonate  the 
actress.  Possibly  Alice  Joyce  could 
be  the  Abbess.  The  two  brothers  are 
less  easy  to  visualize,  although  there 
are  a  number  of  actors  who  might 
qualify,  by  virtue  of  their  Latin- 
American  antecedents.  It  will  take  a  skillful  actor  to 
portray  Uncle  Pio. 

The  book  contains  one  item  of  striking  pictorial  in- 
terest— the  falling  of  the  bridge.  It  would  seem  to  be 
a  film  for  a  Victor  Seastrom  to  direct — although  again, 
Fred  Niblo  might  do  it  with  just  the  right  touch. 

Joan  Herself  Again. 

After  experimenting  with  various  extravagances  in 
the  matter  of  coiffure,  Joan  Crawford  finally  decided  to 
go  back  to  her  own  hair.  She  seized  the  occasion  of  an 
illness  to  allow  it  to  grow  out  naturally.  Most  of  her 
friends  expressed:  satisfaction  over  the  fact  that  she 
finally  eliminated  the  rather  feverish  blond-red  that  she 


Alberta  Vaughn  is  up  to  her  old 
tricks  again,  for  F.  0.  B.,  after 
naughtily  playing  hooky  in  a  yearn 
for  great,  big  serious  roles. 


66 


Hollywood  High  Lights 


affected  for  a  while.  Lest  it  might  be  forgotten,  the 
natural  color  is  inclined  to  auburn,  and  all  in  all  we  feel 
that  it  suits  her  best. 

Joan  seems  to  have  no  end  of  trouble  lately  over  being 
named,  by  wives,  in  divorce  complaints.  "If  I  have  just 
the  merest  speaking  acquaintance  with  a  man,  it  appears 
to  be  justifiable  cause,  in  the  minds  of  their  spouses,  for 
accusing  me  of  disturbing  their  marital  happiness,"  she 
said  warmly.  "I  am  tired  of  being  made  a  target  for 
discontented  ladies,  who  are  at  odds  with  their  husbands. 
It's  getting  to  be  a  regular  habit." 

Amazing  Professional  Union. 

Eric  Von  Stroheim  and  Gloria  Swanson !  A  strange 
companionship  assuredly!  "Von,"  you  know,  will  direct 
Miss  Swanson  in  "The  Swamp."  He  is  also  writing 
the  story  for  the  screen. 

Von  expects  to  make  this  film  in  ten  weeks.  What 
if  he  should  surprise  everybody  and  do  it  ?  "The  Wed- 
ding March"  is  now  two  years  old,  and  not  released 
yet.  It's  been  in  the  cutting  room  for  months.  -  It  was 
still  there  when  we  last  asked  about  it,  and  before  he 
started  work  on  Gloria's  picture,  Von  had  to  do  a  few 
more  scenes  in  the  hope  of  bringing  it  to  completion. 

A  Crime  Rewarded. 

She  stole  too  many  scenes  when  she  played  with  stars 
on  the  Fox  lot.  That's  why  the  name  of  Marjorie  Beebe 
will  go  up  in  the  bright  lights  when  "A  Farmer's 
Daughter"  is  shown.  Marjorie  is  a  somewhat  roly-poly 
comedienne,  with  hair  of  flaming,  bricklike  hue.  Not 
her  own  natural  shade,  of  course,  but  becoming  enough. 
She  has  a  snappy  personality  to  accompany  the  acquired 
hue.  She's  a  little  like  Mabel  Normand,  though  not  so 
attractive. 

If  you  want  a  glimpse  of  her,  she's  in  "Love  Hun- 
gry," featuring  Lois  Moran  and  Lawrence  Gray. 


A  Fortunate  Investor 

A  picture  costing  more  than  a  mi 
supreme  rarity  this  season.  There  is 
know  of,  which 
exceeds  that 
sum,  and  it  is 
"Hell's  An- 
gels." The "an- 
gels"  are — 
guess  who  ? 
Well,  to  be 
sure,  war  avi- 
ators.  Ben 
Lyon  is  the 
hero,  and  Greta 
Nissen  the 
heroine. 

There  is  an 
interesting 


llion  dollars  is  a 
only  one  that  we 


Tut,  tut!  this  is  no 
way  for  an  under- 
world queen  like 
Evelyn  Brent  to 
spend  her  time, 
but  it  does  show 
you  a  brilliant 
actress  au  naturel. 


story  behind 
this  picture,  for 
the  chap  who 
is  making  it  is 
reputedly  very 
wealthy.  He 
only  ventured 


into  the  films  about  a  year  or  so  ago,  and  the  first  produc- 
tion with  which  he  was  concerned  was  "Two  Arabian 
Knights" — one  of  the  best  money-makers  of  the  year. 

The  chap's  name  is  Howard  Hughes,  and  he  is  appar- 
ently due  to  become  very  active  in  the  picture  game. 
He  has  produced  one  Thomas  Meighan  starring  feature, 
called  "The  Racket,"  and  is  to  make  another,  "The 
Mating  Call,"  from  the  Rex  Beach  novel.  "Hell's 
Angels"  discloses  his  biggest  investment,  for  it  is  said 
to  run  close  to  $2,000,000  in  cost. 

If  he  is  as  lucky  with  these  as  with  his  first,  he'll  only 
augment,  rather  than  reduce,  his  personal  fortune,  by 
his  venture  into  Hollywood.  And  that  doesn't  happen 
every  day,  in  the  case  of  an  independent  producer ! 

Censorship  Less  Awesome. 

We  listened, to  the  story  of  "A  Woman  of  Affairs" 
not  long  ago,  in  which  Greta  Garbo  may  be  starred,  and 
from  all  we  could  gather,  it  sounded  very  much  like 
"The  Green  Hat."  This  is  further  borne  out  by  the 
rumor  that  Michael  Aden  is  the  author. 

"The  Green  Hat"  was  at  one  time  banned  by  Will 
H.  Hays,  but  since  Gloria  Swanson  discovered  a  loop- 
hole for  the  filming  of  "Sadie  Thompson,"  producers 
are  possibly  growing  less  fearsome  about  bans  on  books 
and  plays. 

Skill  in  treatment  of  stories  has  evaded  censorship  in 
several  instances  lately,  and  besides  some  censorship  re- 
strictions do  not  seem  to  be  as  severe  as  formerly. 
Whether  for  good  or  ill  is  another  question. 

Chaplin  Plays  Fireman. 

A  vision  of  Charlie  Chaplin  fighting  a  cafe  fire  with 
a  garden  hose  must  have  been  a  rare  treat,  and  we  are 
sorry  not  to  have  been  on  hand  to  see  it. 

It  happened  when  the  Russian  Eagle,  a  favorite  resort, 
was  destroyed  by  flames  of  reputed  incendiary  origin. 
The  establishment  was  subsequently  completely  destroyed 
by  an  explosion,  caused  by  an  accumulation  of  illuminat- 
ing gas,  which  had  leaked  between  the  walls  and  about 
the  foundation. 

Chaplin,  the  Marquis  de  la  Falaise,  Lili  Damita, 
Estelle  Taylor,  Colleen  Moore,  Richard  Dix,  Renee 
Adoree,  and  Marceline  Day  were  among  those  in  the 
cafe  when  the  blaze  started,  but  they  all  escaped  before 
the  explosion  occurred.  Chaplin  and  his  companions 
attempted  to  conquer  the  flames,  until  the  arrival  of  the 
fire  department. 

The  only  person  seriously  injured  was  a  former  Rus- 
sian general,  proprietor  of  the  cafe,  who  has  occasionally 
appeared  in  pictures. 

Prognosticator  Required. 

Wanted — an  astrologer!     Somebody  to  foretell  the 
future  brightness  of  newer  stars  for  the  benefit  of  the 
picture-maker ! 

Producers  seem  frequently  to  lack  this 
prophetic  faculty,  and  occasionally  let  a 
player,  just  on  the  verge  of  a  hit,  slip 
away  from  their  studios. 

There  is  Paramount,  for  instance,  in 
the  case  of  Josephine  Dunn.    Her  con- 
tract was  allowed  to  lapse  a  few  months 
ago,  which  indicated  that  the  com- 
pany did  not  look  sanguinely  upon 
her  talents.      [Continued  on  page  100] 


67 


A  Confidential  Guide  to  Current  Releases 


WHAT  EVERY  FAN  SHOULD  SEE. 

"Trail  of  '98,  The"— Metro-Goldwyn. 
Magnificent  glorification  of  the  historic 
gold  rush  to  Alaska,  directed  with  great 
care  and  skill.  Effective  performances 
given  by  Dolores  del  Rio,  Ralph  Forbes, 
and  Harry  Carey. 

"Street  Angel"  —  Fox.  Beautifully 
done,  but  lacking  the  vitality  of  the  sis- 
ter film,  "Seventh  Heaven."  Yet  Janet 
Gaynor  and  Charles  Farrell  reach 
heights  of  great  appeal. 

"Speedy"  —  Paramount.  Rollicking 
comedy  with  kaleidoscopic  New  York 
as  locale.  Harold  Lloyd  expertly 
comic  and  sympathetic  performance. 

"Circus,  The"  —  United  Artists. 
Charles  Chaplin  reverts  to  slapstick. 
While  inspiration  of  his  last  film  is 
lacking,  this  should  be  seen.  Because 
his  ladylove  likes  a  tight-rope  walker, 
Charlie  decides  to  learn.  The  humor 
and  pathos  of  this  episode  are  inimita- 
ble.   Merna  Kennedy. 

"Crowd,  The"— Metro-Goldwyn.  An 
epic  of  the  middle  classes.  You  share 
the  joys  and  sorrows  of  John  and 
Mary  from  their  first  meeting,  through 
marriage,  parentage,  failure  and  suc- 
cess. Eleanor  Boardman  and  James 
Murray. 

"Four  Sons" — Fox.  A  simple  and  su- 
perbly told  tale  of  the  effects  of  the 
war  on  a  German  mother  and  her  four 
sons — three  of  whom  are  killed,  the 
other  migrating  to  America.  Margaret 
Mann,  James  Hall,  Francis  X.  Bush- 
man, Jr.,  and  June  Collyer. 

"Last  Command,  The" — Paramount. 
Emil  Jannings  does  some  magnificent 
work  as  a  Russian  grand  duke,  who  is 
stripped  of  his  power  and  ends  his 
life  as  an  extra  in  Hollywood.  Wil- 
liam Powell  and  Evelyn  Brent. 

"Sadie  Thompson" — United  Artists. 
Gloria  Swanson  stages  a  triumphant 
comeback  in  the  role  of  an  outcast, 
who  is  temporarily  reformed  by  a  fa- 
natic. Lionel  Barrymore  shares  hon- 
ors with  Miss  Swanson. 

"Sunrise" — Fox.  One  of  the  best  of 
the  season.  Skillfully  directed  tale  of 
a  farmer,  his  wife  and  a  city  vamp. 
George  O'Brien,  Janet  Gaynor,  and 
Margaret  Livingston. 

"Two  Lovers" — United  Artists.  Tale 
of  a  sixteenth-century  maiden  whose 
treacherous  uncle  negotiates  a  mar- 
riage for  reasons  of  state,  and  her 
eventual  love  for  her  husband.  Vilma 
Banky  and  Ronald  Colman. 

"Tempest,  The"— United  Artists.  A 
story  of  the  Russian  Revolution.  Mo- 
ments of  great  pictorial  beauty.  John 
Barrymore  excellent.  Camilla  Horn, 
Boris  De  Fas,  and  Louis  Wolheim. 

"Blue  Danube,  The"— Pathe-DeMille. 
Leatrice  Joy  splendid  and  Nils  Asther 
does  really  fine  work.  Settings  are 
beautiful  and  true.  Joseph  Schildkraut 
will  amaze  those  who  have  never  seen 
him  in  a  character  role. 


"King  of  Kings,  The"— Producers  Dis- 
tributing. Sincere  and  reverent  visual- 
ization of  the  last  three  years  in  the 
life  of  Christ.  H.  B.  Warner  digni- 
fied and  restrained  in  central  role. 
Cast  includes  Jacqueline  Logan,  Joseph 
Schildkraut,  Victor  Varconi,  and  Ru- 
dolph Schildkraut. 

"Man  Who  Laughs,  The"— Universal. 
No  one  should  fail  to  be  engrossed  by 
its  strange  story,  or  fascinated  by  its 
weird  beauty.  Conrad  Veidt's  character- 
ization is  magnificent,  Mary  Philbin 
pleasing,  and  Olga  Baclanova  gives  dis- 
tinctive performance.  Brandon  Hurst, 
Josephine  Crowell,  Sam  De  Grasse,  Stu- 
art Holmes,  Cesare  Gravina,  and  George 
Siegmann. 

FOR  SECOND  CHOICE. 

"Legion  of  the  Condemned,  The" — 

Paramount.  Exciting  story  of  five  avi- 
ators who  court  death  with  romantic 
recklessness.  Fay  Wray,  Gary  Cooper, 
Barry  Norton,  and  Lane  Chandler. 

"We  Americans"  —  Universal.  A 
Ghetto  heroine,  in  love  with  a  blue- 
blooded  hero,  scorns  the  family  hearth 
for  a  studio.  But  the  old  people  go  to 
night  school  and  blossom  forth  as  true 
Americans,  with  nothing  for  the  hero- 
ine to  be  ashamed  of.  Patsy  Ruth  Mil- 
ler, George  Sidney,  and  John  Boles. 

"Skyscraper"— Pathe-DeMille.  Gust- 
ily humorous  chronicle  of  two  steel  riv- 
eters, a  chorus  girl  and  a  visit  to  Coney 
Island.  William  Boyd,  Alan  Hale,  and 
Sue  Carol  are  all  good. 

"Red  Hair" — Paramount.  Pleasing 
film  of  Clara  Bow  as  a  manicurist,  who 
wins  the  heart  of  a  millionaire,  only  to 
find  that  her  three  "papas"  are  her 
fiance's  guardians.  Climax  comes  when 
they  object  to  her  marriage,  where- 
upon she  strips  herself  of  the  "bor- 
rowed clothes." 

"Ladies'  Night  in  a  Turkish  Bath"— 

First  National.  Humorous  and  wise- 
cracking film,  with  the  Turkish  bath  as 
a  climax.  Jack  Mulhall,  Dorothy 
Mackaill,  Guinn  Williams  and  Sylvia 
Ashton  give  excellent  characterizations. 

"Love  Hungry" — Fox.  Pleasant  little 
comedy  of  chorus  girl  who  brings  chum 
to  mother's  boarding  house,  who,  in 
mother's  absence,  is  treated  as  pros- 
pective roomer  by  a  boarder.  Lois 
Moran,  Lawrence  Gray,  and  Marjorie 
Beebe. 

"Cheating  Cheaters" — Universal.  Ex- 
cellent and  amusing  tale  of  crooks 
masquerading  as  idle  rich  to  loot  their 
supposedly  rich  neighbors — who  turn 
out  to  be  crooks,  too.  Betty  Compson 
at  her  best;  others  are  Kenneth  Har- 
lan, Lucien  Littlefield,  and  Sylvia  Ash- 
ton. 

"Chicago"— Pathe-DeMille.  The  play, 
which  was  a  clever  satire  on  a  murder 
trial,  is  made  into  a  sentimental  melo- 
drama. While  there  ?.re  some  clever 
bits  of  acting  by  Phyllis  Haver  and 
Victor  Varconi,  the  film  fails  to  click. 


"Cohens  and  Kellys  in  Paris,  The"— 

Universal.  Boisterous  adventures  of 
the  now  famous  movie  family  abroad, 
with  actors  who  could  have  utilized 
their  talents  to  better  advantage.  Far- 
rell MacDonald,  George  Sidney,  and 
Vera  Gordon. 

"Dove,  The"— United  Artists.  A  tame 
version  of  the  play.  Norma  Talmadge 
makes  an  elegant  prima  donna  out  of 
what  should  have  been  a  cheap  cabaret 
singer.  Noah  Beery's  best  role  since 
"Beau  Geste."    Gilbert  Roland  the  hero. 

"Dressed  to  Kill"— Fox.  Unusual 
and  exciting  crook  film,  with  Edmund 
Lowe  as  the  crook,  and  a  girl  who  is 
seeking  to  recover  bonds  for  which 
her  sweetheart  is  in  prison.  The  crook 
dies  defending  her  from  his  confeder- 
ates. 

"Drums  of  Love" — United  Artists. 
Not  up  to  the  usual  D.  W.  Griffith 
standard.  Tale  of  two  brothers  and 
the  tragic  love  of  one  for  the  other's 
wife.  Mary  Philbin,  Lionel  Barry- 
more, and  Don  Alvarado. 

"Enemy,  The"  —  Metro-  Goldwyn. 
Moderately  interesting  story  of  the 
Austrian  side  of  the  late  war.  Lillian 
Gish  is  excellent,  but  hasn't  nearly 
enough  to  do.  Ralph  Forbes,  Frank 
Currier,  and  George  Fawcett. 

"Finders  Keepers" — Universal.  Laura 
La  Plante,  an  excellent  comedienne, 
who  attempts  to  disguise  herself  as  a 
soldier  to  be  near  her  sweetheart,  and 
her  discovery  ty  her  father,  who  is  the 
colonel.    John  Harron. 

"Girl  in  Every  Port,  A" — Fox.  Lively 
tale  of  a  sailor  who  sets  out  to  "get" 
his  rival,  but  both  men  discover  the 
unworthiness  of  the  girl  and  end  by 
swearing  eternal  friendship.  Victor 
McLaglen  excellent  in  his  first  star- 
ring film — Robert  Armstrong  and  Lou- 
ise Brooks. 

"High  School  Hero,  The"— Fox.  Gay 
comedy  of  high-school  life,  featuring 
youngsters  who  really  look  like  high- 
school  girls  and  boys.  Nick  Stuart  and 
Sally  Phipps. 

"Love" — Metro-Goldwyn.  Superficial 
and  unsatisfying.  However,  the  beauti- 
ful sets  and  romantic  situations  will 
make  it  a  box-office  attraction.  The 
principals  are  John  Gilbert,  Greta 
Garbo,  George  Fawcett,  and  Brandon 
Hurst. 

"Love  and  Learn"  —  Paramount. 
Esther  Ralston  clever  in  the  role  of 
a  girl  who  gets  into  amusing  situations 
to  distract  her  parents  sufficiently  to 
avoid  a  divorce.  Lane  Chandler  is  the 
hero. 

"Love  Me  and  the  World  Is  Mine"— 

Universal.  Moderately  interesting  pic- 
ture of  Vienna  before  the  war.  Mary 
Philbin,  Norman  Kerry  and  Betty 
Compson. 

"Man  Power" — Paramount.  Richard 
Dix  in  implausible  but  interesting  tale 
of  a  tramp  who  arrives  in  a  small  town, 
wins  an  heiress — Mary  Brian — and 
saves  the  town  from  a  bursting  dam. 

(Continued  on  page  120) 


68 


Charles  Farrell  and  Greta  Nissen  are  the  principals  in  "Fazil," 
tragic  story  of  an  Arab's  love  for  a  European. 

IF  you  are  so  constituted  that  whatever  you  see  on 
the  screen  is  real  and  true  because  it  is  there,  then 
"Fazil"  will  please  you  mightily.  If,  alas,  your  mind 
functions  as  well  as  your  eye,  there  will  be  an  aching- 
void  in  your  intelligence  as  you  view  this  highly  pic- 
torial but  hollow  attempt  to  revive  interest  in  the  love  life 
of  a  sheik.  The  sands  of  the  desert  have  long  been  cold, 
I  fear,  and  there  is  not  enough  hot  air  even  in  Holly- 
wood to  warm  them  back  to  life,  now  that  sheiks  have 
become  comic,  instead  of  romantic  figures  by  reason 
of  too  much  kidding.  And  though  Charles  Farrell  is 
earnest  and  sincere  in  any  role,  and  convincing  enough 
as  a  Frenchman  or  an  Italian,  his  Prince  Fazil  is  hardly 
more  than  what  you  would  expect  a  new  Englander  to 
be,  when  he  dons  dark  make-up  and  submits  his  locks  to 
the  curling  iron.  It  is,  therefore,  too  much  to  expect 
him  to  be  mysterious,  inscrutable,  and  terrifying.  And 
he  isn't,  though  his  eyes  are  supposed  to  frighten  the 
heroine  by  their  intensity. 

Prince  Fazil  is  a  Europeanized  sheik,  who  is  able  to 
wear  tweeds  and  turbans  with  equal  style.  In  Venice 
he  meets  Fabienne,  who  is  described  by  a  subtitle  as 
"a  child  of  caprice."  To  the  knowing  this  paves  the 
way  for  her  romance  with  the  Arab.  And  because  the 
locale  is  Venice,  gondola  scenes  must  of  necessity  be  a 
hectic  detail  in  the  courtship  that  follows  their  meeting 
at  a  Hollywood — no,  Venetian — ball.  And  because  the 
picture  is  a  confection  and  not  a  drama,  there  must  be 
scenes  in  Paris,  where  they  spend  their  honeymoon — 
and  where  both  the  sheik  and  the  society  girl  spend 
far  more  time  in  changing  their  clothes  than  in  learn- 
ing to  know  each  other.  That  is,  except  by  straining 
embraces,  and  what  are  vulgarly  described  as  "tonsil 
kisses."  No  one  so  describes  them  on  the  screen.  Far 
from  it.  The  kisses,  embraces,  and  carnal  manifestations 
are  committed  in  the  name  of  love.  A  great,  great  love. 
Have  you  ever  noticed  how  rarely  real  love  finds  its 


the 


way  to  the  screen,  and  how  often  liaisons  are 
offered  in  place  of  tenderness,  sympathy,  sacri- 
fice? Be  this  as  it  may,  Fazil  and  Fabienne 
quarrel.  It  is  inevitable.  A  surfeit  of  kisses  al- 
ways brings  about  mental  illness,  just  as  too 
much  candy  sickens  a  Pomeranian.  Fazil  returns 
to  his  native  sands  and — oh,  horrors! — his  harem, 
from  which  he  remains  coldly  aloof,  because  he 
is  the  hero  of  the  picture  and  must  not  be  sullied, 
and  thus  lose  that  distorted  thing  known  in 
Hollywood  as  "sympathy."  These  harem  scenes 
warrant  another  chapter,  but  as  they  are.  the  old, 
familiar  version  of  what  a  director  thinks  goes 
on  in  a  seraglio — or  perhaps  only  what  he  thinks 
the  public  thinks  goes  on  in  such  places — it  is  as 
well  to  forgive  them — and  him.  But  some  day, 
somewhere,  somehow  a  director  will  brave  the 
conventions  by  forgetting  this,  and  actually  em- 
ploy some  one  who  has  been  inside  a  harem, 
to  show  picturegoers  that  the  Mohammedan  re- 
ligion does  not  tolerate  the  looseness  of  burlesque 
shows.  Fabienne  comes  in  upon  all  this,  and 
ensuing  events  end  in  an  attempted  Romeo  and 
Juliet  tragedy  when  both  die,  thanks — I  said  thanks — 
to  a  poison  ring. 

Mr.  Farrell  is  a  thoroughly  nice  young  man,  no  matter 
what  role  he  essays,  and  Greta  Nissen  is  capricious 
enough  to  warrant  the  subtitle.  Being  capricious — 
prettily — is  no  small  art.  John  Boles  and  Mae  Busch 
play  minor  characters,  and  there  is  faint,  though  dis- 
tressing, comedy  from  Tyler  Brooke.  All  this  being  the 
inspiration  for  an  expensive  and  beautiful  production. 

The  Tragedy  of  a  Clown. 

There  is  nobility,  and  beauty  of  thought  and  feeling, 
in  "Laugh,  Clown,  Laugh,"  even  though  the  spectacle 
of  a  punchinello  who  must  caper  while  his  heart  breaks, 
is  not  among  the  season's  novelties.  But  vividly  sincere 
acting  is  a  novelty  in  any  season,  and  here  we  see  a 
great  deal  of  it,  combined  with  exquisite  photography, 
vigorous  yet  sympathetic  direction,  and  a  fascinating 
study  of  character.  The  result  is  a  notable  picture,  and 
one  of  Lon  Chaney's  finest  portrayals.  It  is  dependent 
on  no  disguise,  save  that  of  the  traditional  white-faced 
clown,  and  many  of  the  most  effective  moments  come 
when  Tito,  away  from  the  circus,  is  without  any  make-up 
at  all. 

The  story  begins  with  Tito's  adoption  of  a  foundling 
while  he  and  his  partner,  Simon,  are  strolling  players. 
As  the  little  girl,  Simonetta,  grows  up,  success  comes  to 
the  two,  and  presently  she  attracts  the  attention  of 
Luigi,  a  profligate  young  nobleman,  almost  at  the  mo- 
ment Tito  discovers  that  he  loves  her.  The  two  men 
meet  in  the  reception  room  of  a  nerve  specialist,  from 
whom  each  seeks  a  cure  for  his  malady.  Tito's  manifests 
itself  in  uncontrollable  tears  when  he  is  under  any  emo- 
tional strain,  while  Luigi  gives  way  to  paroxysms  of  wild 
laughter  under  similar  conditions.  The  doctor  shrewdly 
surmises  that  each  suffers  from  suppressed  love.  With- 
out knowing  they  are  in  love  with  the  same  girl,  count 


69 


Lon 

Lau° 


A  critical  eye  is  turned  on  the  new 
films,  with  the  result  that  some  excel- 
lent pictures  are  discovered  and  some 
brilliant    performances   are  praised. 


and  clown  become  friends,  united  in  the  desire  to 
be  of  help  to  each  other.  In  the  end  Tito,  aware 
that  he  is  standing  in  the  way  of  Simonetta's 
happiness,  performs  for  the  last  time  the  stunt  that 
has  brought  him  fame,  with  intentionally  fatal  re- 
sults, as  a  group  of  children  look  on,  laughing 
gleefully  at  what  they  think  is  their  idol's  comic 
simulation  of  death. 

The  above  is  scarcely  more  than  an  inkling  of 
the  story,  but  it  is  enough  for  the  imaginative 
reader  to  realize  that  Mr.  Chaney  and  Herbert 
Brenon,  the  director,  find  in  it  material  to  inspire 
them  to  do  their  best — which  past  performances 
testify  is.  superlative.  Mr.  Chaney's  performance 
is  tender,  true,  and  appealing.  His  Tito  is  a  real 
Italian,  which  means  that  he  does  not  resort  to 
gestural  excesses  or  grimaces  to  make  him  so,  and 
the  inherent  simplicity  of  the  character  is  never 
lost  sight  of.  Loretta  Young,  who  I  am  told  is 
but  fifteen  years  old,  plays  Simonctta  with  a  heart- 
breaking quality  which  could  only  come  from  an 
actress  unconscious- of  her  youth,  and  never  from 
one  who  tried  .to  achieve  adolescence  by  any  expe- 
dient of  the  actor's  craft.  Perhaps  even  more 
surprising. is  .Nils  Asther,  as  Luigi,  especially  to  those 
who  have  not  seen  him  in  "The  Blue  Danube."  Here 
is  a  young  man  who  is  quite  alone  in  playing  young 
aristocrats  with  sinister  or  cynical  overtones,  but  who 
contrives  to  awaken  and  hold  one's  sympathy  neverthe- 
less. To  me  his  Luigi  is  arresting,  perfect.  Nor  must 
Bernard  Siegel,  as  old  Simon,  be  dismissed  with  slight 
praise.    He,  too,  is  a  perfect  gem  in  a  perfect  cast. 

The  Vitaphone  Improves. 

The  future  of  the  sound  or  talking  picture  is  so  great, 
that  the  latest  example  must  be  considered  more  seriously 
than  if  it  were  but  a  stray  experiment.  "The  Lion  and 
the  Mouse,"  then,  though  far  from  an  artistic  milestone, 
or  satisfying  entertainment,  is  the  best  picture  with 
dialogue  yet  screened.  Yet  it  is  neither  a  good  picture, 
nor  anything  but  an  inkling  of  the  part  sound  will 
eventually  play  in  the  production  of  films.  But  it  is 
important,  in  view  of  improvements  yet  to  come.  For 
one  thing,  there  is  more  dialogue  than  in  any  previous 
attempt,  and  the  material  is  in  better  taste  and  is  more 
credible.  So  far  as  I  am  concerned,  dramatic  interest 
slumps  when  in  long  sequences  the  characters  stand  still 
and  talk ;  whereas  it  is  my  contention  that  the  drama 
of  Shirley  Rossmore's  conflict  with  John  Ryder,  and 
their  counteraccusations,  would  have  been  far  more 
dynamic  had  they  acted  only  to  the  accompaniment  of 
the  usual  subtitles.  But  the  elements  of  curiosity  and 
novelty  hold  the  spectator  in  spite  of  this,  even  though 
the  reappearance  of  the  old-time  soliloquy  causes  one 
to  fear  if  this  long-outmoded  means  of  setting  forth 
the  plot  is  to  become  a  permanent  feature  of  the  "talkies." 
Let  us  pray  not. 

"The  Lion  and  the  Mouse"  is  a  rather  old-fashioned 
story  of  a  great,  grasping  capitalist,  who  brings  financial 
ruin  to  others  for  the  sheer  joy  of  it.    One  of  his 


Chaney  has  one  of  his  most  effective  roles  in  "Laugh,  Clown, 
h,"  and  Loretta   Young  is  established  as  a  newcomer  of  dis- 
tinction. 

victims  is  Judge  Rossmorc,  whose  daughter,  Shirley, 
falls  in  love  with  the  capitalist's  son  without  being  aware 
of  his  identity,  and  who  becomes  a  member  of  Ryder's 
household — she  is,  conveniently  enough,  a  sculptress — 
for  the  purpose  of  possessing  the  inevitable  papers  which 
shall  prove  Judge  Rossmorc  guiltless  of  unlawful  stock 
manipulations.  Out  of  this  come  Ryder's  discovery  not 
only  of  her  identity,  but  of  what  he  calls  her  thievery, 
his  pact  with  her  to  give  up  his  son  if  he  will  withdraw 
his  charges  against  her  father,  and  so  on  until  the  col- 
lapse of  all  in  the  face  of  the  happy  ending. 

Lionel  Barrymore,  as  Ryder,  gives  the  outstanding 
performance,  and  his  is  the  voice  most  interesting  to 
listen  to.  Though  not  always  distinct,  it  has  "color," 
range,  and  eloquence,  which  is  more  than  can  be  said 
of  May  McAvoy  and  William  Collier,  Jr.  The  latter's 
voice  as  recorded  does  not  coincide  with  his  sensitive, 
"fine"  personality,  and  Miss  McAvoy's  tones  are  flat, 
commonplace,  and  uncultivated — a  complete  disillusion- 
ment. Alec  B.  Francis,  as  the  Judge,  is  as  effective  in 
speech  as  in  silence.  There's  no  denying  it,  a  revolution 
impends  in  Hollywood,  and  players  must  somehow 
acquire  a  voice  that  harmonizes  with  their  visual  present- 
ment, in  order  to  keep  their  places — or  any  place  at  all 
— in  the  new  technique  of  acting,  and  the  new  screen 
personality,  which  is  about  to  supplant  the  old. 

Better  Than  "Underworld." 

For  a  rattling,  gatling  melodrama  of  the  underworld, 
"The  Dragnet"  is  recommended  with  enthusiasm.  It 
moves  swiftly,  its  characters  are  interesting,  and  it  holds 
the  spectator  tense.  Perhaps  it  is  not  so  unusual  as 
its  predecessor,  "Underworld,"  but  by  any  count  it  is 
far  from  ordinary  and  should  be  seen,  if  you  have  a 
flair  for  the  gang  pictures  which  are  now  popular.  This 
time  George  Bancroft  stands  for  the  law  instead  of 


70 


The  Screen  in  Review 


against  it.  He  is  Two-gun 
Nolan,  chief  of  detectives,  and 
his  consuming  purpose  is  to 
bring  to  justice  the  malefactors 
headed  by  William  Powell,  as 
Dapper  Frank  Trent.  He  is 
spurred  to  renewed  action  when 
Trent  is  on  trial  for  murder, 
and  a  stool  pigeon  who  is  tes- 
tifying against  him  is  killed  on 
the  witness  stand-  The  shot  is 
fired  by  a  gunman  stationed  in 
a  hotel  window  opposite.  This 
man,  however,  known  as  "The 
Sniper,"  is  admirably  played  by 
Francis  McDonald,  who  is 
quite  as  effective  in  his  way  as 
any  member  of  the  cast.  He  is 
a  laughing  gunman  to  whom 
everything  is  a  joke,  even  his 
own  eventual  murder  by  Trent 
for  talking  too  much.  Evelyn 
Brent,  without  whom  no  picture 
of  underworld  life  would  be 
complete,  is  present  as  The 
Magpie,  Trent's  girl.  She  and 
Nolan  are  attracted  to  each 
other  in  spite  of  mutual  de- 
fiance, but  not  until  Nolan  is 
"framed"  by  the  gunmen  for 
the  murder  of  a  young  detective 
is  a  crisis  reached.  Nolan  re- 
signs from  the  force  and,  tor- 
tured by  conscience,  goes  from 
bad  to  worse  until  he  is  reduced 
to  the  gutter.  To  humiliate 
Nolan  and  flaunt  his  own  vic- 
tory, Trent  exhibits  the  former 
detective  at  a  celebration  at- 
tended by  the  underworld,  and 
from  The  Sniper  The  Magpie 
learns  that  Nolan  is  innocent. 
She  brings  about  his  regenera- 
tion, and  it  is  needless  to  say 
what  Nolan  himself  brings  about. 

Conspicuous  among  the  ex- 
cellent actors  is  Leslie  Fenton, 
as  the  young  detective,  and  with 
the  addition  of  Fred  Kohler,  the 
cast  leaves  nothing  to  be  de- 
sired. 

The  Dregs  of  Humanity. 

After  "The  Way  of  All 
Flesh"  and  "The  Last  Com- 
mand," Emil  Jannings  disap- 
points in  "The  Street  of  Sin." 
Good  though  his  performance 
of  "Basher"  Bill  is,  it  is  with- 
out the  brilliant  hidi  lights 
found  in  his  previous  roles,  and 
^he  picture  itself  is  uncompro- 
misingly sordid  and  sentimental. 
Bill  is  a  Limehouse  bully,  a 
crook,  and — er — worse.  Part 
of  his  livelihood  comes  from 
Annie,  who  spends  most  of  her 
time  on  <he  streets.  Their  do- 
mestic sc^es  are  startlingly 
frank,  but  one  recognizes  the 
honesty  of  them  at  least.  As 
much  cannot  be  said  of  Bill's 


The  Street  of  Sin. " 


'The  News  Parade  " 


Fools  for  Luck." 


infatuation  for  Sister  Elisabeth, 
a  spirituelle  Salvation  Army 
lassie.  With  no  good  intentions 
he  breaks  into  her  room,  but 
Elizabeth  is  equal  to  the  emer- 
gency. She  prays  him  out  of 
his  evil  mood,  whereupon  Bill 
"gets  religion"  and  one  is 
treated  to  the  doubtful  spectacle 
of  the  burly  tough  bathing  the 
slum  babies  left  in  Elizabeth's 
care.  But  this  cannot  go  on. 
With  her  discovery  of  Bill's 
reformation,  Annie  betrays  him 
to  the  police,  and  in  the  ensu- 
ing gunplay  Bill  is  mortally 
wounded.  Dying,  he  consigns 
Annie  to  Elizabeth's  care  and 
guidance  and  mournfully  ad- 
monishes her  to  go  straight. 

All  this  is,  of  course,  splen- 
didly acted,  and  the  direction 
yields  the  maximum  of  sus- 
pense, particularly  in  Annie's 
treachery  and  Bill's  efforts  to 
warn  his  pals  of  the  onrushing 
police;  but  the  role  is  not 
worthy  of  the  great  Jannings, 
nor,  for  that  matter,  is  the  story, 
with  its  unrelieved  squalor,  de- 
pravity, and  ugliness.  How- 
ever, there  is  Olga  Baclanova. 

In  this  simple  statement  is  a 
torrent  of  admiration.  Behind 
that  name  is  a  torrential  per- 
sonality and  a  gift  for  acting  so 
great  that  I  fear  it  must  be 
called  art,  if  not  genius.  Annie, 
in  her  hands,  becomes  a  marvel- 
ous creation,  with  more  shift- 
ing moods,  piercing  thoughts 
and  electrifying  action  than 
most  players  manage  to  convey 
in  a  laborious  lifetime  of  acting 
under  frantic  direction.  And 
this,  mind  you.  is  only  her  third 
role  in  Hollywood.  If  you 
withhold  your  verdict  of  Bacla- 
nova until  the  last  scene,  it  is 
sure  to  agree  with  mine.  You 
will  see  Annie  repentant,  as  Bill 
counsels  her  to  mend  her  ways. 
But  though  you  see  her  chas- 
tened and  sorrowful,  willing 
enough  to  let  Elizabeth,  her 
rival,  stand  ready  to  reform  her, 
the  glorious  Baclanova  tells  the 
knowing  spectator  that  she  has 
no  lasting  thought  of  reform. 
As  well  expect  a  tigress  to  be 
domesticated  by  a  mouse.  Annie 
will  be  herself  always! 

Starring  the  Younger  Generation. 

Almost  the  best  picture  of  the 
month  is  "Walking  Back."  As 
often  happens,  it  is  one  of  the 
most  unpretentious.  Another 
arraignment  of  the  younger 
generation,  with  a  title  that 
means  neither  that  nor  anything 
else ;  but  if  the  younger  genera- 


The  Screen  in  Review 


71 


tion  will  please  stand  by  and 
let  more  good  pictures  like  this 
be  made  at  the  expense  of  its 
failings,  then  I  am  all  in  favor 
of  the  jazz  age  and  its  iniquities 
— the  more  deep-dyed  the  bet- 
ter. But  think  of  some  of  the 
awful  pictures  of  youthful  pec- 
cadilloes we've  had  to  look  at 
before  "Walking  Back"  came 
along !  So  it's  better,  I  suppose, 
for  the  flappers  to  reform  and 
become  uninteresting,  so  there 
will  be  no  chance  of  lessening 
our  pleasant  memories  of  this 
film. 

The  story,  though  simple, 
conveys  considerable  suspense, 
and  the  admirable  acting  of 
Richard  Walling  supplies  pro- 
nounced human  interest  which 
might  otherwise  be  missing. 
"Smoke"  Thatcher,  still  at 
school,,  is  infatuated  with  Patsy 
Schuyler — an  entirely  believable 
circumstance,  because  she  is  Sue 
Carol.  Against  his  father's  or- 
ders, he  takes  out  the  family 
car,  and  at  a  party  quarrels  with 
"Pet"  Masters  over  Patsy.  The 
boys  fight  it  out  in  a  surprising 
manner,  by  chasing  and  bump- 
ing into  each  other  in  their  cars. 
,  This  is  exciting  and  novel. 
Smok'e  drives  away  with  Patsy, 
his  father's  car  virtually  demol- 
ished. Eager  to  get  money  for 
repairs,  he  consents  to  drive  a 
party  of  crooks  without  asking 
questions.  In  the  bank  robbery 
which  ensues,  Smoke's  father  is 
shot  and— but  that's  enough. 
The  end  will  surprise  you. 

All  this  is  set  forth  most  in- 
terestingly to  the  accompani- 
ment of  excellent  direction  and 
first-rate  acting.  In  fact,  young 
Mr.  Walling  does  more  than 
that,  as  Smoke.  He  is  boyish, 
spontaneous,  but  restrained,  and 
is  a  composite  of  a  hundred 
thousand  youths  of  to-day.  In 
fact,  his  is  the  best  performance 
by  a  juvenile  that  I  have  seen  in 
months.  Arthur  Rankin,  as 
Pet,  is  likewise  conspicuously 
good,  and  so  are  Robert  Edeson 
and  Ivan  Lebedeff,  while  Sue 
Carol  stifles  all  attempt  at  crit- 
icism by  her  magnetic  and 
piquant  beauty. 

Pep,  Personality  and  Push. 

"The  News  Parade"  is  the 
first  of  what  promises  to  be  a 
minor  epidemic  of  films  glorify- 
ing the  exploits  of  news-reel 
camera  men.  It  is  an  agreeable 
comedy,  made  more  so  by  Nick 
Stuart,  as  Nick  Naylor,  and  or- 
namented by  Sally  Phipps,  who 
has  far  too  little  to  do  to  suit 


'Chicken  a  la  King." 


'Walking  Back." 


most  of  us.  A  prettier  and  less 
obvious  ingenue  would  be  hard 
to  find,  therefore  her  meager 
role  approaches  a  calamity.  No 
such  fault  can  be  found  with 
the  opportunities  given  Mr. 
Stuart,  who,  you  may  remem- 
ber, fared  none  too  well  in 
"Why  Sailors  Go  Wrong."  So 
there  is  some  justice  in  the 
world  of  the  cinema  after  all. 
He  gives  thoroughly  ingratiat- 
ing and  naive  performance  of  a 
youth  who  forces  himself  into  a 
job,  and  is  assigned  to  photo- 
graph a  millionaire  whose  vio- 
lent antipathy  for  cameras  is  a 
tradition  in  the  "profession." 
Nick's  pursuit  takes  him  to 
Lake  Placid,  Palm  Beach,  and 
Havana  before  he  gets  the 
photograph — and  the  million- 
aire's daughter,  to  the  accom- 
paniment of  much  liveliness, 
some  laughs,  and  at  least  one 
thrill,  when  Nick  perches  high 
above  New  York's  traffic  and 
proceeds  to  be  informal  about 
it.  Brandon  Hurst,  as  the  mil- 
lionaire, is  especially  amusing  as 
a  skater  at  Lake  Placid,  and 
Earle  Foxe  is  a  subordinate  vil- 
lain. But  it  is  really  Nick 
Stuart's  picture. 

Blithe  and  Gay. 

Inconsequential  and  obvi- 
ously designed  as  pastime, 
"Don't  Marry"  nevertheless  has 
moments  of  charm  and  fun,  as 
well  as  deft  performances  by 
Lois  Moran  and  Neil  Hamilton. 
This  I  think  is  enough  to  rec- 
ommend it  to  those  with  a  care- 
free hour  at  their  disposal,  or 
those  in  quest  of  one.  For 
charm  and  fun  and  deftness  are 
all  too  rare  on  the  screen.  The 
picture  gives  Lois  Moran  what 
might  be  called  a  twofold  op- 
portunity, for  it  enables  her  to 
be  an  old-fashioned  girl  as  well 
as  a  modern  flapper.  Now,  there 
is  no  one  more  exquisite  than 
Miss  Moran  when  she  dons 
trailing  skirts  and  assumes  a 
shocked  expression.  And  when 
she  seats  herself  at  a  harp  and 
twangs  silent  strings,  the  im- 
aginary music  is  more  grateful 
to  the  ear  than  a  symphonic  out- 
burst from  Movietone  and,  Vita- 
phone  combined.  Her  role  is 
that  of  Louise  Bowen,  a  mod- 
ern girl  who  masquerades  as 
her  sedate  cousin  in  order  to 
win  Henry  Willoughby,  who 
has  been  repelled  by  flapper 
tactics.  The  plot  is  simplicity 
itself,  and  some  of  the  complica- 
tions are  hardly  more,  but  the 
Continued  on  page  94 


We've  Heard  of 


And  these  stars  demonstrate  the  vogue  in  parasols 


Norma    Shearer,    left,    uses  her 
parasol    to    artistic   advantage  in 
"The  Actress." 


w 


Sally     O'Neil,  above, 
goes  down  to  the  sea 
to    swim,    taking  her 
parasol  with  her. 

Loretta    Young,  upper 
right,  succeeds  in  look- 
ing very  decorative, 

and  Karl  Dane,  right, 
is  about  to  protect  his 
fatal  beauty   from  the 
sun's  rays. 


Gwen   Lee,  left,  has 
forty  ribs  in  her  para- 
sol—count 'em. 


California  Sunshine 


which  keep  the  sun's  heat  from  being  too  unbearable 


Louise  Lorraine,  right,  seems  to  possess 
only  a  parasol  and  a  smile. 


74 


Money,  But  No  Airs 

Estelle  Taylor  has  plenty  of  the  former  and  none  of  the  latter,  as  you  will  agree 
when  you  read  this  somewhat  rambling,  but  intimately  pleasant  impression  of  her. 

By  Myrtle  Gebhart 


F 


OUR  days'  vacation!    I'm  getting  worried." 


Thus  spoke  last  year's  lady  of  leisure,  and  this 
year's  maid-of -all- work,  Estelle  Taylor.  No 
sooner  had  the  New  .Year's  bells  chimed  her  release 
from  the  United  Artists'  contract — -which  held  her  to  a 
salaried,  but  worthless  engagement  for  a  futile  year — 
than  she  plunged  into  a  round  of  labors. 

"The  roles  I  am  ambitious  to  play?"  A  sharp  glance 
out  of  the  corners  of  brown  eyes — eyes  that  can  be  so 
shrewd,  fiery,  humorous,  or  disgusted — rebuked  me. 
"Have  a  heart.  You  know  I  never  get  'em.  Didn't  I 
long  to  play  the  role  in  'The  Barker'  that  Betty  Compson 
got?  Am  I  not  wild  to  portray  Iris  March,  in  'The 
■Green  Hat'  ?  'The  Mud  Turtle'  is  a  cherished  dream — 
to-day.  But  it  is  likely  that  another  actress  will  get  it. 
It's  a  tempestuous  role.  She  starts  a  family  revolution, 
and  sees  it  through,  winning  out  determinedly  in  the  end. 

Estelle  would  do  just  that. 
Fight  to  the  last  scratch,  get  the 
last  word — and  then  turn  sud- 
denly tender  and  tearful.  To 
know  her  is  to  know  her,  with  no 
half  measures,  and  either  to  like 
her  superlatively,  or  to  dislike 
her  strongly.  Most  of  the  ones 
who  don't  like  her  are  the  flat- 
terers, the  very  artificial  ac- 
tresses, or  the  gossips  whom  her 
sarcasm  has  flayed.  I  would  pre- 
fer to  face  a  whole  regiment  of 
soldiers,  bent  on  execution,  than 
face  Estelle  in  an  angry  mood. 

A  few  days  after  our  luncheon 
together,  Estelle  went  to  New 
York,  that  she  might  be  with 
Jack,  and  have  a  long-delayed 
honeymoon  at  Niagara — just  be- 
cause her  mother  and  grand- 
mother had  had  their  honeymoons 
there.  While  in  the  East,  David 
Belasco  offered  her  costardom 
with  Jack  in  a  stage  play  to  be 
produced  this  fall,  "The  Big 
Fight."  Though  they  have  ac- 
cepted, Estelle  will  have  a  sum- 
mer of  picture  work. 

No  one,  with  any  sense,  attempts  to  "interview"  her. 
It  can't  be  done.  You  lunch  with  her  at  Montmartre. 
She  wears  a  soft,  black  frock,  a  purple  hat,  and  a  huge 
shoulder-corsage  of  wax  flowers.  She  is  the  essential 
feminine,  in  rouged  lips  and  lambent  eyes,  and  trailing, 
mysterious  scent.  A  luxurious,  almost  sensuous,  at- 
mosphere surrounds  her.  In  ceremonious  manner  you 
are  seated.  Thereafter  she  holds  court,  having  such  a 
good  time  herself,  that  she  scarcely  realizes  she  is  the 
center  of  attention. 

You  talk  in  snatches.  "Like  these  gloves?  Dirt 
cheap.  Isn't  Billie  Dove  the  most  beautiful  creature? 
If  I  had  a  face  like  that,  I'd  stand  and  look  at  myself 
in  the  mirror  all  day." 

Carl  Van  Vechten  talked  with  her  for  a  few  mo- 
ments, mere  chitchat,  and  called  her  the  most  clever 
and  interesting  woman  in  Hollywood.  It  isn't  brilliance 
so  much  as  quickness  of  repartee. 


Estelle  is  one  of  our  fashion  plates.  I  wondered, 
audibly,  where  she  had  acquired  the  nicety  of  distinction 
which  characterizes  the  clothes  she  wears. 

"By  window  shopping,"  she  flashed.  "Even  as  a  child 
I  window  shopped  for  candy.  The  kind  I  liked  cost 
thirty  cents;  I  couldn't  have  it  then,  because.  I  didn't 
have  the  thirty  cents;  I  can't  have  it  now  because  I'm 
always  reducing. 

"I  spent  hours,  week  after  week,  with  my  nose  stuck 
against  the  shop  windows  of  New  York,  wondering 
why  the  things  at  the  more  expensive  places  were  sim- 
pler. I  began  to  study  them — line,  cut,  everything.  At 
first,  my  idea  of  an  elegant  lady  was  that  of  one  dressed 
in  silk  flounces,  plumed  headgear,  and  strung  with  many 
necklaces.  The  instinct  for  correctness  was  developed 
by  window  shopping,  until  finally — even  before  I  could 
afford  the  paste  pearls — I  knew  why  I  wanted  the  tailored 

frock,  or  the  tiny  bit  of  jade." 

New  York,  to  Estelle,  means 
rhythm.  "I  went  there  from 
Wilmington,  Delaware,  to  study 
at  the  Sargent  dramatic  school," 
she  said,  as  we  drove,  after 
luncheon,  to  a  shop  where 
she  was  to  have  fittings.  The 
four  idle  days  had  been  spent 
sleeping,  shopping,  and  enter- 
taining. That  is,  the  afternoons 
and  evenings.  When  she  isn't 
working,  getting  Estelle  up  be- 
fore noon  is  almost  impossible. 

Perhaps  you  can  picture  the 
home  of  a  prize  fighter,  and  a 
high-spirited  vamp  actress,  who 
delights  in  hard-boiled  roles? 
Lurid,  red  posters ;  maybe  a  yel- 
low davenport,  or  a  gold  deco- 
rated and  hand-painted  piano, 
such  as  another  Hollywood  star 
is  proud  of  ? 

The  red-brick  house,  set  back 
amid  sunken  gardens,  might  be 
the  country  home  of  an  English 
gentleman.  You  may  search  it 
from  basement  to  attic,  and  find 
not  one  thing  to  indicate  that 
You  see  no  pictures  of  movie 
Their  business  affairs  are  con- 
ducted at  the  hotel  which  Jack  owns. 

Most  of  the  furniture  is  English  Chippendale,  which 
indicates  gentility.  One  of  the  rarest  pieces  of  orna- 
mentation is  a  sixteenth-century  cope.  The  draperies  are 
all  hand-blocked  linens  of  quiet,  English  patterns.  On 
one  side  of  the  grounds  is  an  ostentatious  "lodge,"  for 
entertainments.  Roses  spill  their  fragrance  everywhere. 
Estelle  takes  pride  in  her  garden,  and  particularly  in 
her  roses.  No,  she  doesn't  spade  it  herself,  but  she 
bosses  every  bit  of  it. 

Her  bedroom  is  Venetian,  of  blue,  ivory,  and  rose, 
with  a  touch  of  gold  leaf  on  the  furniture.  The  mirrors 
and  the  candlesticks  were  imported,  of  delicate  design. 
This  room  seems,  at  first  glance,  a  trifle  florid,  but  it  is 
beautiful,  and  it  bears  the  imprint  of  a  contradictory 
Continued  on  page  110 


In  Hollywood,  Jack  and  Estelle  are  loved  for  their 
geniality,  humor  and  sincerity. 


professionals  live  there, 
stars,  nor  of  pugilists. 


83 


Gimme  a  Lift?" 


This  is  the  cry  that  assails  the  Hollywood  motorist,  whose  experiences  in  giving  rides  to  strangers  are 
many  and  varied. 

men  who  have  cars,  and  extras,  likewise,  often 
get  rides  from  other  extras. 

Occasionally  a  pedestrian  gets  a  ride  from  a 
well-known  player,  without  realizing  the  iden- 
tity of  his  benefactor.  A  theater 
usher  was  picked  up  by  a  certain 
rather  conceited  actor,  and  soon 
got  to  talking  about  actors.  He 
fell  to  criticizing  his  actor-host. 
"That  fellow  can't  act — he  gives 
me  a  pain — they  ought  to  keep 


By 

H.A.Woodmansee 


Illustrated  by 

Lui  Trugo 


DECENTRALIZED  Hollywood,  with  its  studios 
sprawling  out  all  over  the  map,  is  a  town  of  mag- 
nificent' distances — magnificent  to  those  who  have 
automobiles  to  get  them  around.  To  the  pedestrian 
dependent  on  trolleys,  buses,  and  his  own  feet,  the  dis- 
tances from  studio  to  studio  and  from  the  Boulevard  to 
many  a  lodging,  are  appalling. 

Consequently  the  countrywide  pastime  of  begging 
lifts  from  motorists,  flourishes  in  Hollywood  as  it  does 
nowhere  else.  The  huge  number  of  automobiles  and 
the  genial,  free-and-easy  attitude  of  most  of  their 
drivers,  makes  it  a  simple  matter  for  the  earless  one  to 
get  a  free  ride.  Pedestrians  wait  at  the  intersections  of 
many  an  important  Hollywood  thoroughfare,  waiting 
for  a  "catch"  as  patiently  as  fishermen  on  the  edge  of  a 
stream. 

A  favorite  fishing  ground  is  Cahuenga  Avenue,  the 
highroad  to  the  studios  of  the  San  Fernando  Valley,  and 
the  thoroughfares  leading  to  the  production  centers  of 
Culver  City.  Early  every  morning  scores  of  studio 
workmen  and  extras  line  these  roads,  waiting  for  a  free 
ride  to  work.  Young  and  old,  dressed  in  working 
clothes  and  in  immaculate  attire,  wait  under  the  over- 
hanging pepper  trees. 

"Going  over  the  pass?  Gimme  a  lift?"  they  say  in 
pantomime,  for  this  is  the  town  of  pantomime.  Sooner 
or  later  they  get  their  rides. 

Every  free  ride  means  a  bus  fare  saved,  and  bus 
fare  is  high  in  Hollywood.  Many  studio  workers  who 
ride  around  a  good  deal  on  other  people's  gasoline  save 
enough  to  pay  for  their  tobacco,  their  laundry,  and  a 
substantial  part  of  their  rent.  Others  do  not  consider 
the  money,  and  ask  free  rides  because  they  find  the  bus 
schedules  inconvenient,  or  merely  for  the  sake  of  so- 
ciability. 

Often  the  driver  as  well  as  the  volunteer  passenger 
benefits,  for  the  latter  is  usually  a  voluble  source  of 
information  and  will  sometimes  reveal  interesting  facts 
and  rumors  that  are  flying  about  the  studios. 

Usually  those  asking  for  rides  use  judgment  in  the 
selection  of  their  cars.  They  get  more  rides  in  Fords 
than  in  Rolls-Royces,  and  with  lone  drivers  -than  with 
drivers  who  have  their  girl  friends  to  keep  them  com- 
pany.  Workmen  frequently  get  rides  from  other  work- 


him  off  the  screen !"  he  declared,  while  the  player  got 
red  in  the  face  but  didn't  reveal  his  identity.  When  the 
car  arrived  at  the  studio  the  usher  suddenly  realized 
his  blunder.    Imagine  his  confusion! 

Usually,  however,  the  big  actor  or  director  is  rec- 
ognized at  once.  A  certain  easy-going  director,  in  a 
misguided  moment,  picked  up  a  bright-looking  young 
man  on  his  way  to  the  studio.  The  young  man  promptly 
informed  him  that  he  was  an  extra  working  in  the  very 
picture  that  the  director  was  then  making.  He  wanted 
a  big  part !  Yes,  he  deserved  it,  and  nothing  else  would 
do !  The  poor  director  couldn't  break  loose  without 
throwing  his  passenger  out  in  the  road,  and  so  the  am- 
bitious extra  talked  his  ear  off  all  the  way  to  the  studio, 
begging — demanding— a  big  role  in  the  next  picture. 
It  was  the  only  time  the  young  player  had  succeeded  in 
getting  a  director  where  he  couldn't  ignore  him,  and 
he  made  the  most  of  it!  It  was  a  proud  moment  when 
he  drove  into  the  studio  yard  before  the  other  extras, 
and  a  prouder  one  when  he  assured  them,  one  by  one, 
that  now  he  was  riding  around  with  the  director,  big 
things  were  in  store  for  him.  To  the  director,  however, 
it  meant  just  another  pest  to  bother  him. 

Occasionally  salesmen,  promoters,  and  others  whom 
players  and  directors  are  trying  to  dodge,  will  "acci- 
dentally" happen  to  be  at  the  corner  where  their  cars 
pass.  They  know  it  is  hard  for  a  prospect  to  get  away 
from  them  under  such  circumstances.  That  is  one  of 
the  reasons  why  producers,  stars,  and  directors  are  very 
skeptical  about  giving  lifts  to  strangers — and  seldom  do. 

Often  it  is  the  driver,  and  not  the  pedestrian,  who 
broaches  the  subject  of  a  lift.  Hollywood  has  more 
than  its  quota  of  flivver  sheiks,  who  urge  the  girls  to 
save  their  French  heels  and  take  a  little  ride.  Many 
an  extra  who  has  a  car  but  no  job  whiles  away  his  idle 
hours  in  this  fashion.  Usually  he  draws  upon  his  imagi- 
nation and  assures  his  fair  passenger  that  he  is  a  big, 
important  figure  in  some  studio.  Sometimes  the  sheik, 
who  is  fond  of  telling  how  he  put  across  "The  Big 
Parade"  or  "Wings,"  has  never  been  inside  a  studio. 

One  girl,  who  sells  box  lunches  to  passing  motorists, 
was  repeatedly  accosted  by  one  of  these  sheiks.  He 
told  her  that  he  was  a  camera  man  at  one  of  the  big 
Continued  from  page  109 


84 


Dorothy  Dwan's  earliest  memory  is  that  of  being  set 
upon  the  back  of  a  horse  to  watch  it  eat. 

WHAT  is  your  first  memory? 
Mine,  a  roly-poly  towhead  whose 
shady  nook  on  the  lawn  was  invaded 
by  the  sun — stubbornly  insisting  that  the  sun 
should  move,  because  "I  dot  here  fust" — 
sticking  it  out  all  afternoon  until  the  sun  did 
move — and  getting  tanned,  two  ways. 

As  our  thoughts  trail  back  across  the  shad- 
ows, ecstasies  and  dull  monotonies  of  those 
misty,  childhood  days,  what  happenings  fling 
themselves  across  memory's  path?  We 
smile,  now,  at  hurts  that  seemed  quite  tragic 
— those  embarrassments  of  childhood  dig- 
nity. The  time  I  saved  my  pennies  to  buy 
the  little  rich  girl  a  Christmas  present,  and 
she  said  she  had  one  for  me,  and  I  waited 
breathlessly  every  morning  at  school  for 
weeks — but  she  never  brought  it. 

The  stars,  too,  look  backward  to  experi- 
ences that  conjure  a  chuckle  now.  Perhaps 
in  some  we  see  the  embryonic  characters  of 
to-day. 

Certainly  Estelle  Taylor  evinced  a  dra- 
matic spirit  in  the  first  event  of  her  life 
that  she  can  recall.  She  got  mad,  and  was 
bent  on  suicide. 

"My  mother  had  placed  a  bottle  of  iodine 
on  a  shelf,  cautioning  me  never  to  touch  it," 
her  reply  to  my  question  flashed  instantly. 
"One  day  she  had  to  punish  me,  and  as  I 


Far  Away 

The  stars  look  back  upon  their 
some  of  them  poignant,  some  of 

By  Myrtle 


went  crying  downstairs  I  thought  of  the  iodine. 
I  got  a  chair  and  clambered  up  to  the  shelf  to  get 
the  bottle.  Climbing  down,  I  spilled  it  all  on  the 
floor.  Just  then  mother  came  downstairs.  I  held 
up  the  empty  bottle  and  said,  'Now  you'll  be  sorry. 
I've  killed  myself  !'  " 

Louise  Fazenda's  earliest  memory  is  of  adven- 
ture. It  was  an  experiment  in  rapid  locomotion. 
She  lived  on  a  steep  hill,  now  in  the  center  of  the 
Los  Angeles  business  district.  She  made  a  con- 
veyance out  of  a  soap  box  and,  with  a  neighbor 
boy  as  passenger  and  herself  as  pilot,  started  down 
to  see  the  world.  The  nails  holding  the  improvised 
brake  pulled  out,  the  rear  wheels  came  off,  the  boy 
bounced  out,  but  Louise  was  too  busy  steering  to 
notice.  Miraculously  missing  passing  vehicles,  she 
slid  across  the  street  at  the  bottom  of  the  hill  and 
hit  a  wagon.  She  was  thrown  under  the  horse's 
hoofs,  but  he  was  too  busy  sleeping  to  notice.  So 
her  only  marks  were  skinned  knees  and  a  few 
bruises — until  she  got  home. 


The  setting  was  one  of 


the  Vatican  chapels 
where  the  laity  is 
admitted  for  the 
Easter  services. 
The  altars  were 
beautiful  with  lilies 
— white  flowers  ev- 
erywhere- — and 
from  some  hidden 
place  music  swelled 
from  soft  tones  in- 
to a  paean  of  song. 
Kneeling,  a  tiny, 
dark-haired  three- 
year-old,  her  reason 
developed  by  home 
training  to  the 
point  of  under- 
standing, bowed 
her  head  in  rever- 
ential awe.  And 
when  the  Pope  ap- 
peared in  his  beau- 
tiful white  robe, 
her  heart  filled  with 
an  ecstasy  of  hap- 
piness. The  little 
child  was  Dolores 
Asunsolo,  now  Do- 
lores del  Rio. 

Douglas  Fair- 
banks' earliest 
memory  would  be 
of  a  stunt,  his  first. 
And  a  failure,  too. 
He  was  about  four 

Milton  Sills'  studious 
habits  were  fully  devel- 
oped at  thirteen  years. 


85 


and  Long  Ago 

childhood  and  recall  their  first  memories, 
them  gay,  and  all  of  them  intensely  real. 


Gebhart 


when  he  conceived  the  idea  of  climbing  onto  the  roof  of  a 
shed.  The  feat  was  achieved.  After  satisfying  his  curi- 
osity, he  decided  to  jump  down.  This  also  was  accom- 
plished— but  his  expectations  of  landing  on  his  feet  were 
not.  He  lit  on  his  head,  which  bears  the  scar  of  his  first 
stunt  to  this  day. 

Norma  Shearer's  first  definite  memory  is  of  a  perform- 
ance of  "Lohengrin."  That  afternoon  her  mother  had  no 
one  with  whom  to  leave  her  and,  though  she  was  only  four, 
took  her  along,  thinking  she  might  go  to  sleep.  But  she 
was  completely  enthralled,  not  by  the  music  but  by  the 
beauty  of  it  all. 

"I  remember  almost  every  detail  of  the  swan's  entrance," 
Norma  said.  "For  days  afterward  it  seemed  that  the 
world  was  all  wrong.  I  wanted  my  mother  and  her  friends 
to  wear  clothes  like  Elsa  had  worn.  I  wanted  swans  to 
float  down  rivers,  drawing  boats  with  princes  in  them." 

No  wonder  Pola  Negri  is  such  a  tragic  lady.  Her  first 
meeting  with  life  was  one  to  disturb  any  child's  equilib- 
rium. It  was  a  wild  ride 
on  a  pony.  As  she  was  be- 
ing led  around  a  farm  in 
Poland,  the  pony  jerked 
the  reins  from  the  attend- 
ant's hand  and  deposited 
the  future  dramatic  queen 
on  a  wheat  stack,  with  a 
long  gash  over  her  right 


Elinor  Fair's  enjoyment  of  stick 
candy  was  always  spoiled  when 
her  father  took  it  away  from  her. 


The  return  of  Blanche  Mehaffey's  mother 
from  the  road  stands  out  in  her  memory 
to-day. 

eye.  Pola  still  carries  the  scar  of 
that  joy  ride. 

Curled  hair !  A  starched  dress ! 
Best  little  black  slippers !  Of 
course,  that  means  only  one  thing 
— having  one's  picture  taken.  Joan 
Crawford  was  a  very  small  per- 
son then,  but  quite  an  actress. 

"The  light  fascinated  me.  When 
I  saw  how  purple  my  mother's 
lips  looked,  I  began  to  cry,  be- 
cause I  thought  she  had  changed 
permanently.  Then  I  became  en- 
grossed in  posing.  It  was  all  very 
wonderful,  and  I  talked  and 
thought  about  it  for  weeks." 

Little  Eva  flying  to  heaven,  is 
Colleen  Moore's  earliest  memory. 
The  illusion  of  the  scene  made  so 
deep  an  impression  on  the  four- 
year-old  that  she  was  led  shriek- 
ing from  the  theater.  The  man- 
ager and  her  mother  led  her  back- 
stage to  meet  the  actress,  to  prove 
to  her  that  Eva  was  only  playing,  but  still  she  was  neither  con- 
vinced nor  consoled. 

Every  Saturday  an  Italian  organ-grinder  used  to  come  to  the 
neighborhood  in  which  Lina  Basquette  resided.  The  monkey 
would  perch  on  her  shoulder  to  chatter  and  collect  coins. 
One  day  a  passing  automobile  back-fired.  The  monkey 
scurried  up  a  tall  scaffolding.  Lina,  being  a  tomboy,  vol- 
unteered to  capture  him,  and  shinned  up  to  where  he 
clung.    Suddenly  glancing  down,  she  saw  the  ground  far 


Colleen  Moore,  here  seen  with 
her  brother,  left,  remembers 
little  Eva  flying  to  heaven. 


86 


Far  Away  and  Long  Ago 


Estelle  Taylor  pretended 
to  commit  suicide  for 
the  sake  of  dramatic 
effect. 


carried  her  at  least  ten  feet  in  the  air — so  her  elders  said— 
and  landed  her  gently  on  the  ground. 

When  he  was  about  six,  Reginald  Denny,  then  living  in  a 
suburb  of  London,  decided  to  disobey  his  parents  and  go 
swimming  in  a  small  tributary  of  the  River  Thames.  As  he 
stood  in  shallow  water,  one  of  the  boys  gave  him  a  shove  into 
water  fifteen  feet  deep.  Another  lad  hauled  him  back  to  safety. 

Constance  Talmadge's  curiosity !  A  saga  could  be  written 
around  that  theme.  One  Christmas  a  beautiful,  blond  doll 
with  eyes  that  opened  and  shut,  and  a  red  tongue  protruding 
from  its  little  mouth,  fascinated  her.  She  was  filled  with  the 
enthusiasm  of  the  investigator.  So  she  pulled  off  the  wig, 
poked  in  the  eyes  and  succeeded  in  yanking  the  tongue  out. 
Frightened  then,  she  began  to  yell.  Her  mother  put  the  doll 
where  she  would  see  it  constantly,  so  that  she  was  less  de- 
structive with  the  next  one. 

Virginia  Valli  was  the  proud  owner  of  a  two-room  play- 
house, the  envy  of  her  companions.  It  pleased  her  particu- 
larly that  a  little  boy  "crush"  should  find  it  so  attractive.  -But 
one  day  Edward  looked  to  the  future  and  decided  to  burn  some 
papers  in  the  playhouse,  in  order  to  start  his  training  as  a 
fireman.  He  would  arrive  with  his  wagon  and  the  garden" 
hose  and  prove  the  gallant  hero,  rescuing' the  dolls  and  putting 
out  the  blaze.  But  before  the  junior  fire  department  appeared, 
the  house  was  in  flames.  And  Edward  proved  a  disappoint- 
ment as  a  fireman — he  was  afraid'  to"  go  in  after  the  dolls. 
Virginia  lost  her  playhouse,  her  dolls  and  her  faith  in  gentlemen.' 

A  man  figures  in  Lilyan  Tashman's  earliest  memory.  And 
clothes.  '  And  bills.  And  excitement.  Lilyan'  had  seen  an 
itinerant  photographer  taking,  pictures  of  people 
in  the  neighborhood,- and  longed  to  pose;  ~  She 
took  the  matter  up  with  him.  /'Sure,"  he  said, 
"I'll  take  your  picture  for  nothing.    Dress  up 


below  and  was  rather 
fearful  of  starting- 
down.  They  sent  for 
a  ladder.  It  proved 
too  short,  and  it 
wasn't  until  the  fire 
company  reached 
the  scene  that  she 
was  rescued.  ■ 

Two  girls  remem- 
ber when  they  were 
great  actresses  — 
Janet  Gaynor  and 
Sue  Carol,  who 
played  together  in 
Chicago  ten  years 
ago.  The  basement 
of  Sue's  home  was 
their  theater.  Aided 
by  her  mother's 
chauffeur,  they  lined 
up  two  dozen  chairs. 
"Supported"  by  a 
couple  of  boys  and 

by  the  chauffeur,  who  played  a  harmonica,  they  staged  their 
gala  performance,  Sue  and  Janet  doing  a  black-face  act. 
Afterward  they  couldn't  get  the  charcoal  off  their  faces  in 
time  for  dinner.   You  can  imagine  the  sequel. 

Thanksgiving  Day  always  brings  back  to  Norma  Talmadge 
a  memory  of  her  grandfather's  farm  in  Connecticut,  and  of 
a  small  girl  proud  of  her  bright-red  stockings.  Going  out  to 
feed  the  chickens,  ducks  and  turkeys  one  memorable  day,  a 
gobbler  sighted  the  red-clad  legs  and  headed  for  them,  followed 
by  an  exciting  race  when  Norma  barely  got  through  the  kitchen 
door  in  time  to  avoid  a  peck. 

May  McAvoy  flew  high  in  the  first  event  to  limn  itself  on 
her  mind.  When  playing  "jacks"  with  other  children,  a  ter- 
rific wind  suddenly  blew  up,  lifted  her  from  the  ground  and 


Arthur  Stone,  at  four,  discovered  an  unusual  way  to 
ruin  his  new  drum. 


Billie  Dove  was  fascinated  by  the  mystery 
of  a  music  box. 


Far  Away  and  Long  Ago 


87 


while  I  get  ready."  Lilyan  donned  her  big  sister's  best  dress 
and  slippers,  and  posed.  She  kept  the  matter  secret,  intending 
to  surprise  the  family.  The  surprise  came  from  another 
quarter.  With  the  pictures,  the  photographer  also  brought  a 
bill,  and  dad  had  to  pay  it.  And  the  experience  that  followed 
— with  dad — was  heart-rending. 

Clara  Bow's  tresses  caused  not-  the  slightest  ruffle  in  her 
harum-scarum  childhood  until  the  advent  of  a  doll  with  bright- 
red  hair.  She  hadn't  had  a  doll  before,  and  wasn't  keen  about 
it  anyhow,  much  preferring  to  play  baseball  with  the  boys,  but 
dutifully  took  it  out  for  its  airing.  The  boys'  jeers,  and  the 
smiles  of  passers-by,  ruined  her  day  and  turned  her  into  more 
of  a  doll-hater  than  ever. 

Evelyn  Brent — like  Estelle  Taylor — had  malicious  inten- 
tions in  the  first  event  to  impress  her  child  mind.  Having  been 
reprimanded,  she  decided  to  run  away — her  parents  would 
miss  her  and  be  sorry.  Surprisingly,  her  mother  agreed  to  the 
plan  and  even  helped  her  pack  the  little  suit  case,  put  her  coat 
and  hat  on  her  and  bade  her  good-by.  Evelyn  got  as  far  as 
the  corner,  and  then  reconsidered. 

John  Barrymore's  childhood  was  spent  in  dark  and  mys- 
terious caverns,  peopled  with  grotesque  figures  that  emerged 
and  disappeared  as  if  by  magic.    Everything  was  very  ex- 
citing, and  he  never  knew  just  what  to  expect. 
Gradually. it. alL  became  familiar,  and  resolved 
into  backstage  life  in  the  theater. 

Esther  Ralston,  too,  was  almost  born  in  the 
wings  of  a  theater.    The  first  object  that  im- 
pressed her  was  a  glittering  costume  that  her 
mother  wore.    It  fascinated  the  three-year- 
and  she  would  play  with  it  and  fondle  it 
and  pick  sequins  off. 

George  Bancroft's  mother  told  him  so 
often,  "Don't  play  near  the  lake,"  that  his 
interest  in  the  lagoon  was  aroused.  So  ^ 
many  were  the  threats,  that  he  ventured 
forth  to  find  out  about  this  forbidden  ter- 
ritory. He  found  the  mud  banks  delight- 
ful to  dig  in,  and  stole  closer.  The  water 
didn't  reach  out  to  hurt  him.    Some  chil- 


Vera  Reynolds  remembers  nothing  more  distinctly 
than  constantly  being  told  to  "pick  things  up." 


Louise  Fazenda  has  good  cause 
to  remember  the  exciting  end 
of  a  soap-box  ride. 


dren  were  wading  in  the 
shallow  water.  He 
waded.  He  became 
braver  and  went  in  to 
his  waist,  then  to  his 
neck.  A  shriek  from 
shore — his  mother  there, 
frightened — caused  him 
to  step  backward  into 
water  over  his  head. 
When  he  awoke  he  was 
in  his  mother's  arms. 
But  instead  of  punish- 
ment, he  got  only  kisses. 
It  was  all  very  bewilder- 
ing. 

A  doting  aunt  brought 
Charles  Rogers  a  huge 
egg  one  Easter  morning. 
White,  with  flowers  and 
writing  in  candy  on  it, 
and  at  one  end  a  tiny 
glass  through  which  one  eye  could  see  a  Biblical  scene  in  colors. 
For  hours  the  boy  thought  them  real  people.  He  even  got  to 
telling  the  people  in  the  egg  his  worries  and  joys,  until  they 
became  closer  than  his  own  family,  so  vivid  was  the  child's 
imagination.  One  day  a  playmate  grabbed  it — and  the  fas- 
cinating egg  became  glittering  debris  on  the  floor.  He  was 
horror-stricken.  His  "fairy  people"  would  be  hurt.  Scram- 
bling among  the  pieces,  he  found  a  penny  picture  with  his 
"people"  just  painted  on.    Disillusioned,  he  wept  bitterly. 

In  his  fourth  year,  Emil  Jannings  was  given  a  glass  of 
Pilsener  beer  by  his  good-humored  father,  as  a  joke.  Little 
Emil  sputtered  and  cried,  and  thought  it  was  medicine.  How- 
ever, he  assures  us  that  his  dislike  for  beer  was  overcome  in 
later  years. 

Jobyna  Ralston  had  never  seen  a  goose,  though  she  was 
well  acquainted  with  chickens.  On  a  visit  to  her  uncle,  she 
obtained  permission  to  go  out  to  the  barnyard  to  see  a  new 

Contioued  on  page  104 


Dolores  Costello's 
mosf.vivid  memory 
is  her  visit  to  Bom- 
bay, India. 


88 


Reverting  to  Type 


The  dauntless  Christie  girls  show 
why  it  is  much  more  fun  to  dig 
gold  from  Mother  Earth  than  from 
gentlemen's  pockets,  and  apparently 
there  is  far  less  suspense. 


Helen  Fairweather,  at  top  of 
page,  chooses  her  own  way  to 
make  Marie  Francis,  Betty 
Whitmore,  and  Anne  Cornwall 
work. 

So  Anne  Cornwall,  left,  center, 
sharpens  her  pick,  the  better  to 
dig,  while  Marie  Francis  and 
Betty  Whitmore,  above,  break  the 
rules  by  resting  some  more. 

Marie  Francis,  Betty  Whitmore, 
and  Helen  Fairweather,  left,  be- 
gin the  long  struggle  in  earnest. 


89 


There  Are  Styles 
in  Stars,  Too 

You  have  only  to  read  this  interesting 
article  to  recall  the  enormous  influence 
exerted  by  popular  types  of  the  past, 
and  to  wonder  what  the  next  will  be. 


F 


By  Ann  Sylvester 

ASHIONS  in  stars  change  as  often 
and  almost  as  seasonally  as  styles  in 
gowns,  skirt  lengths,  and  bobs.  First 
it  is  one  thing  and  then  another.  Or  per- 
haps it  would  be  more  to  the  point  to  say, 
'first  one  type  and  then  another. 

Those  boys  and  girls  who  have  fol- 
lowed the  screen  for  years  will  have  little 
difficulty  in  remembering  the  curly-headed 
ingenues,  who  reigned  supreme  in  the  in- 
fancy of  the  silent  drama.    And  they  will 
have  even  less  difficulty  in  remembering 
how  quickly  they  were  succeeded  by  the 
Theda  Bara  vamps,  who  in  turn  were  re- 
placed by  the  Norma  Talmadge-Blanche 
Sweet  dramatic 
waves.  So  on  down 
through  movie  his- 
tory it  has  been. 
Each  queen  of  the 
screen,  during  her 
brief  reign,  has  not 
only    swayed  the 
destiny  of  the  in- 
dustry, but  has  also 
set  the  personality 
style   for  flappers 
of   every  country. 
They  led — and  the 
rest  copied  as  best 
they    could,  until 
another  charmer 
came  along. 

Just  for  the  fun 
of  it,  we  might 
start  at  the  begin- 
ning and  review  a 
few  of  the  ladies 
of  the  screen  who 
have  been  most 
outstanding  in  de- 
termining a  popu- 
lar type. 

Mary  Pickford — 
she  was  the  first. 
The  first  lady  of 
the  screen,  and  the 
first  idol  to  be  imi- 
tated in  its  sincerest  form  of  flat 
tery.    When  Mary  was  actively 
queen    of    the    screen,  schoolrooms 
throughout  the   country   were  dotted 
with   Pickford   curls.     Ladies  every- 
where made  a  point  of  looking  as  sweet 
and  wistful  as  possible,  and  rather  like 
little  girls  all  alone 

in  the  world.  In  Norma  Talmadge pop- 
keeping  with  this  ularized  sweet  sad- 
tyPe>   gowns   were       ness  for  a  while. 


Photo  by  Spurr 


Photo  by  Richee 

Pola  Negri  started  the  vogue  for  dead-white  make- 
up and  crimson  lips. 

simple — and  organdie  and  ruffles  were  in 
their  heyday.  The  girl  who  sold  you  per- 
fume did  so  with  a  Pickford  pout.  The 
sweet  girl  graduate  who  won  the  elocution 
medal,  spoke  in  a  husky,  childish  tone,  be- 
cause she  had  heard  that  Mary's  voice  was 
like  that.  Hair  was  long  and  curly  and 
blond — if  possible — and  often  where  it 
wasn't.  Speaking  as  a  popular  type,  every- 
thing was  as  sweet  and  romantic  as  a  lace 
valentine  when  Mary  set  the  style.  No  one 
had  even  heard  of  companionate  marriage. 

Next  in  importance  to  Mary  on  the  screen 
was  Norma  Talmadge,  but  Norma  was 
never  a  particularly  outstanding  personality- 
setter,  for  the  chief  reason  that  her  greatest 
appeal  lay  in  her  humanness,  and  she  was 
not  sufficiently  typed  to  start  an  individual 
vogue.  Norma  was  loved,  but  not  imitated 
nearly  to  the  extent  of  Mary  Pickford. 
Theda  Bara,  another  outstanding  figure  of 
that  day,  had  a  few  spit-curl,  beaded-eyed 
followers,  but  her  type  was  too  exotic  and 
her  reign  too  brief,  to  set  her  down  as  an 
influence. 


90 


There  Are  Styles  in  Stars,  Too 


Mary  Pickford's  curls  and  organdies  were  not  only  copied  by  girls  every- 
where, but  she  set  the  style  for  screen  heroines. 

Irene  Castle  was  something  else  again !    Irene  was  the  styLe- 
setter  de  luxe,  whose  vogue  had  not  been  equaled  before  or 
since.    Consider  what  Irene  started — bobbed  hair,  sway  backs, 
Pekingese  dogs,  Dutch  caps,  and  dancing  contests !    She  was 
the  last  word — and  the  first.    Her  slightest  preferences  were 
fashion  mandates.    Quick  to  follow  her  lead  in  everything, 
the  ladies  cashed  in  sweetness  for  chic  as  a  popular  motif. 
The  village  queen  of  every  town  was  the  girl  who  dressed  as 
Irene  dressed,  walked  as  Irene  walked,  danced  as  Irene  danced. 
In  place  of  the  cute-little-girl  type,  the  tall,  slender  brunette 
mounted  the  pedestal  as  queen  of  the  hour.    It  was  a  Castle 
year.    In  fact,  several  Castle  years.    Following  Irene's  long  and 
brilliant  reign,  there  was  more  or  less  of  a  lull  in  screen  style-setting. 
True,  popular  ladies  came  and  went,  but  few  of  them  were  re- 
sponsible for  a  vogue  until  along  came  Gloria  Swanson. 

As  a  feminine  idol  Gloria  became  the  rage.  Even  more  so  than 
Pickford,  and  almost  equal  to  Irene.  If  nine  tenths  of  the  women 
had  had  any  choice  in  the  matter,  they  would  have  had  themselves 
done  over  in  exact  duplication  of  the  Swanson  mold.  Tilted  noses, 
previously  despised,  became  the  profile  outline  supreme.  Bizarre 
coiffures  were  the  mode.  If  Gloria  wore  her  hair  frizzy  and  curled, 
so  did  eveiy  shopgirl  in  the  country.  If  she  slicked  it  down  in  a 
nice,  smooth  bob,  so  did  the  rest  of  femininity.  Pink-and-white 
skin  went  out  of   style   and  sun-burned 

brown  replaced  it  with  a  vengeance.  Girls  Then  came  the  flapper,  in- 
who  weren't  naturally  dusky  went  in  for     troduced  by  Colleen  Moore. 


deep-ocher  powder,  and  some  even  took' 
dye  baths  to  tint  themselves  the  popular 
shade.  Where  Irene  had  introduced  chic, 
Gloria  sponsored  sophistication.  Little 
girls  around  sixteen  spoke  in  blase  drawls, 
and  looked  on  the  world  with  unsurprised 
eyes.  Ladies  with  "pasts"  became  inter- 
esting and  popular.  Ladies  who  had  no 
"pasts"  invented  one  or  two.  Some  one 
once  asked  Mack  Sennett  when  bobbed 
hair  would  go  out  of  style.  "When  Gloria 
Swanson  decides  to  let  hers  grow,"  he  re- 
plied. And  Mack  was  right.  When 
Gloria  decided  to  let  hers  nestle  in  a  low 
knot  on  the  back  of  her  neck,  so  did  a  lot 
of  other  women  in  Hollywood  and  points 
north,  south,  east,  and  west. 

Gloria's  chief  rival  in  her  heyday  was 
Pola  Negri,  and  while  Pola  never  equaled 
Gloria's  vogue  as  a  personality,  she  was 
responsible  for  the  dead-white  make-up 
that  swept  the  country  for  a  few  months. 
The  smart  color  scheme  of  the  moment 
was  to  drain  one's  face  of  all  natural  color, 
blanket  it  with  dead-white  lotions  and  pow- 
ders, and  carmine  the  lips.  The  whole 
effect  was  of  a  slash  in  a  white  mask — ■ 
but  it  got  over,  thanks  to  Pola.  She  wore 
her  face  that  way. 

The  style  set  by  Gloria 
and  Pola  was  so  extreme 
that  a  lot  of  girls  could 
not  follow  it,  so  F.  Scott 
Fitzgerald   and  Colleen 
Moore  got  together  and 
introduced 
the  raging 
type  of  a  few 
years  ago — 
the  flapper. 
She  was  cute, 
was  the  flap- 
per. That  was 
all  that  was 
necessary, 
She   did  not 
have   to  be 
pretty,  or  exotic,  or 
extreme.      All  she 
needed  to  do  was  to 
show  her  knees,  tip 
|     her  hat  back  on  her 
I     head,  smoke  a  ciga- 
rette,  cart  a  flask, 
and  talk  back  to  her 
parents.  All  the  kids 
tried    to'    look  like 
Colleen  and  talk  like 
Fitzgerald  heroine. 
Necking  became  the  pop- 
ular pastime,  supplant- 
ing  any   form   of  ro- 
mance.   Clara  Bow  was 
a  runner-up  on  Colleen 
as  queen  of  the  flappers, 
and  between  the  two  of 
them  they  kept  the  style 
in  fashion  for  a  much 
longer  time  than  it  de- 
served.   But  everybody 
got  a  lot  of  fun  out  of 
Continued  on  page  107 


"We  can  get  seats  for  that  picture  across  the  street" 
"I'D  RATHER  STAND  ON  LINE  AND  SEE  THIS 
METRO -GOLDWYN- MAYER   PICTURE  — 
THEY'RE  ALWAYS  GOOD." 


ISN'T  IT 


1  _1_ ,  iiSM.  J 

JOHN  GILBERT 

in 

"The  Cossacks" 


MARION  DAVIES 

in 

"Her  Cardboard 
Lover" 


JOHN  GILBERT 

in 

"Four  Walls" 


THE 
TRUTH! 

YOU'RE  always  sure 
OF  seeing 
THE  biggest  stars 
THE  finest  stories 
WHEN  your  theatre 
SHOWS  you 
M-G-M  pictures 


WILLIAM  HAINES 


"Telling  the  World" 


rip 


is  \ 


WHITE  SHADOWS 
IN  THE  SOUTH  SEAS 
WITH 
MONTE  BLUE  and 
RAQUEL  TORRES 


METRO-G 

"More  Stars  than  there  are  in  Heaven'* 


LEO'S 

QUESTION 

CONTEST 


Leo,  the  Metro  -  Goldwyn  -  Mayer  Lion,  is 
staging  a  question  contest  of  his  own.  He 
offers  two  $50  prizes  —  one  to  the  cleverest 
man,  one  to  the  cleverest  woman,  for 
the  best  answers  to  his  questions.  ^ 
And  furthermore  Leo  will  present  JP™| 
autographed  photographs  of  him- 
self for  the  fifty  next  best  sets  of 
answers. 


Leo, 
his  mark 

LEO'S  QUESTIONS 

Name  three  famous  animals  in  Metro-Goldwyn- 
Mayer  pictures  and  Hal  Roach  comedies. 
What  popular  song  bears  the  same  name  as  a 
current  M-G-M  picture? 

Which  M-G-M  fearured  player,  not  yet  starred, 
do  you  consider  most  worthy  of  stardom?  Tell 
why  in  not  more  than  75  words. 

Name  three  famous  M-G-M  "teams"  of  actors. 


5  What  are  five  of  Bill  Haines1  picture  successes? 
Write  your  answers  on  one  side  of  a  single  sheet  of 
paper  and  mail  to  Question  Contest,  3rd  Floor, 
1540  Broadway,  New  York.  All  answers  must  be 
received  by  September  15th.  Winners'  names  will  be 
published  in  a  later  issue  of  this  magazine. 
Note:  If  you  do  not  attend  the  pictures  yourself  you 
may  question  your  friends  or  consult  motion  picture 
magazines.  In  event  of  ties,  each  tying  contestant 
will  be  awarded  a  prize  identical  in  character  with 
that  tied  for. 

Winners  of  Contest  of  June,  1928 
Mrs.  John  D.  Jesk,  214  E.  51st  Street,  New  York  City 

Charles  Churchill,  P.  O.  Box  316 
Carson  City,  Nevada 


N-MAYER 


i 


/?ic/i  or  Poor? 

"\V7HEN  George  lost  all  his  money,  the  frivolous  "debs" 
*    who  had  vied  for  his  favor  did  not  desert  him.  He 
became  a  guide  on  a  sight-seeing  bus  and  all  the  girls 
fought  for  the  seat  beside  him. 


§l!IIIIIllllllllllll!illl^ 


This  fascinating  serial 


"George,  Who  Believed  in  Allah" 

By  RUBY  M.  AYRES 


will  begin  soon  in 


LOVE  STORY  MAGAZINE 


Ask  your  news  dealer 


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HllllllllllllllllilllllllllllllllllllllllllllllllllllllllllllllllH 


]  Co 


91 


Second  Fiddle 

Though  relatives  of  certain  screen  celeb- 
rities have  decided  abilities  the  fans 
seldom,  if  ever,  hear  of  them.  Introducing — 


Jack  Stone,  left, 
is  a  good-look- 
ing fellow,  as 
well  as  cousin 
to  Colleen 
Moore. 


Beth    Laemmle,    right,    is    a  popular 
dancer,  and  Uncle  Carl  Laemmle  is 
proud  of  her. 


Eleanor   Ames,    below,    who  appears 
in  "The  Battle  of  the  Sexes,"  is  really 
the  sister  of  Betty  Bronson. 


Nancy  Kenyon,  above,  in  "The  Butter  and 
Egg  Man,"  won  nice  comment,  though  few 
know  she  is  Doris  Kenyon's  niece. 

You'd    probably    not    guess    that  David 
Tearle,  below,  in  "Celebrity,"  is  cousin  to 
Conway  Tearle,  but  he  is. 


92 


A  Girl  Comes  to  Hollywood 


Continued  from  page  55 

where  all  women  not  beauties  stayed 
out  of  sight,  she  would  have  liked 
to  lie  low  till  after  the  metamor- 
phosis. Still,  she  couldn't  resist  ac- 
cepting Malcolm's  invitation  to  the 
preview,  one  of  the  season's  best, 
with  a  long-run  film  at  a  gorgeous 
new  theater. 

"In  a  day  or  two,"  she  went  on, 
"I'll  ask  you  to  come  on  one  of  your 
early  nights  and  have  supper  in  my 
drawing-room  at  the  Ambassador, 
with  Malcolm  and  me.  Then  you 
can  tell  me  about  yourself !" 

Malcolm  frowned  at  this,  but  didn't 
speak;  and  the  girl,  thanking  Lady 
Gates  politely,  inwardly  resolved  to 
reveal  less  than  nothing  of  her  own 
affairs. 

"I  wonder  what  he  has  said  to  her 
about  me?"  the  girl  asked  herself. 
She  knew  in  her  heart  that  Malcolm 
admired  her,  but  she  hadn't  gone 
quite  so  far  as  to  dwell  on  the  thought 
of  love.  She  was  hardly  aware  that 
some  such  emotion  for  him  was  hov- 
ering, like  a  butterfly  over  a  flower 
in  a  strange  garden,  in  the  region  of 
her  heart. 

If  she  had  known,  she  would  have 
scolded  herself  for  a  fool,  because 
her  errand  in  Hollywood  was  the  one 
important  thing  in  her  life,  and  it 
would  perhaps  prevent  her  from 
dreaming  of  happy  love — ever. 

The  next  afternoon  was  that  of 
Lady  Gates'  appointment  with  the 
Prophetess. 

Lopez  was  prompt  in  arriving  at 
the  Ambassador,  and  Lady  Gates, 
who  had  hardly  slept  for  thinking  of 
what  she  might  be  told,  was  ready 
and  waiting.  Her  car  carried  the 
two  smoothly  to  that  "wrong  side" 
of  Hollywood,  where  the  professional 
dancer  lived.  But  even  the  wrong 
side  of  Hollywood  has  charm.  The 
bungalow  which  Lopez  had  rented,  as 
the  best  he  could  afford,  was  in  a 
gay  little  street  of  many  other  bunga- 
lows, each  utterly  different  from  its 
neighbor,  all  shaded  by  palms  or 
pepper  trees  and  possessing  unfenced 
lawns.  Lopez's  dwelling — not  so 
near  his  neighbor's  as  to  hear  them 
brushing  their  teeth,  or  taking  a  bath 
— was  the  best  in  the  street.  It  was 
larger  than  the  rest;  that  is,  it  must 
have  contained  at  least  five  fair-sized 
rooms ;  and  it  had  the  semidetached 
studio  which  he  had  described  to 
Lady  Gates.  The  architecture  was 
Spanish  Mexican,  as  he  explained 
now. 

"We  .are  expected,"  Lopez  said, 
"so  I  can  take  you  straight  in  to 
Madame  Blank.  She  will  receive  no 
one  else  this  afternoon.  Your  car 
will  have  to  wait  for  you  perhaps  an 
hour." 

He  opened  the  door  with  a  key, 


and  they  entered  a  vestibule  hung 
with  brocades,  and  a  mirror  with 
a  carved  frame. 

A  knock  at  an  inner  door  brought 
the  answer,  "Come  in !"  spoken  in  a 
low  and  somehow  impressive  voice. 

Katherine  Gates'  heart  began  to 
thump,  she  hardly  knew  why.  Even 
in  the  vestibule  there  was  a  faint 
fragrance  of  incense.  As  Lopez 
gently  opened  the  door,  a  wave  of 
amber-scented  smoke  poured  out 
from  a  mysterious  region  of  blue 
dusk. 

For  a  moment  the  lady  from  Leeds 
felt  that  she  was  half  blind  and  com- 
pletely dazed  in  this  perfumed  twi- 
light; but  presently  a  few  pieces  of 
furniture  took  shape,  and  she  saw 
a  reclining  form  swathed,  rather  than 
draped,  in  white ;  a  long,  lazy,  grace- 
ful shape  on  a  divan  of  deep  purple 
or  black.  Behind  its  head  were  piled 
dark,  velvety  cushions,  on  which  eyes, 
accustoming  themselves  to  dimness, 
caught  here  and  there  a  gleam  of  gold 
and  silver  embroidery. 

Over  the  face  of  the  woman  in 
white  was  fastened  a  white  veil  which 
left  her  eyes  uncovered,  and  was 
draped  over  the  head,  completely 
covering  the  hair. 

The  eyes  that  looked  up  to  hers, 
thought  Lady  Gates,  were  wells  of 
ink ;  and  the  hand,  half  revealed  un- 
der a  flowing  sleeve,  as  it  reached  for 
her  own  plump,  gloved  fingers,  was 
white  as  the  sleeve  itself ;  long,  thin 
rather  than  slender,  and  with  polished 
nails  that  were  like  pale  coral  on 
ivory. 

Lopez  invited  the  guest  to  be  seated 
in  a  chair  already  placed  in  front  of 
the  divan. 

"This  is  Lady  Gates,  of  whom  you 
have  told  me,  Marco,"  announced  the 
low,  contralto  voice.  "I  do  not  ask 
you  the  question,  for  I  know  from 
the  touch  of  her  hand  it  is  so.  Now, 
Lady  Gates,  take  off  your  gloves — 
both  gloves.  I  wish  to  read  not  one, 
but  the  two  hands.  Each  tells  some- 
thing different." 

"Don't — won't — you  need  more 
light?"  stammered  her  ladyship. 

"No,"  answered  the  voice ;  "this 
place  is  light  for  me." 

The  figure  on  the  divan  sat  up,  bent 
over  the  extended  hands — first  one, 
then  the  other,  and  studied  them. 

Lady  Gates  was  informed  that  she 
had  "never  known  love ;  never  known 
real  happiness,"  and  that  a  message  to 
her  soul  from  beyond  had  brought 
her  here  to  the  sunshine  to  find  both." 

"It's  too  late  for  me  to  have  love, 
or  the  kind  of  happiness  that  goes 
with  it,  Madame  Blank,"  she  sighed, 
more  freely  than  she  might  have 
spoken  had  not  Lopez  slipped  dis- 
creetly out  of  the  room. 


"No,"  replied  the  Veiled  Proph- 
etess. "What  you  have  come  to  find, 
you  can  find,  if  you  know  how." 

But  I  don't  know  how!"  expostu- 
lated Lady  Gates.  "Can  you  tell  me 
how  to  perform  miracles  ?" 

"Let  us  see,"  said  Madame  Blank. 
"The  time  has  come  to  consult  my 
crystal.  You  will  give  me,  before 
you  leave,  the  date  of  your  birth  and 
other  details,  so  that  I  can  consult 
the  stars  for  you.  But  to-day  it  shall 
be  the  crystal." 

She  did  not  rise  from  the  divan, 
but  pressing  a  buttonlike  ornament  on 
the  wall,  a  small  door  opened,  and 
she  drew  out  a  swinging  shelf.  This 
was  covered  with  black,  and  throw- 
ing aside  a  piece  of  black-velvet 
drapery,  a  crystal  ball  on  a  black 
stand  was  revealed.  Into  the  gleam- 
ing globe  she  gazed,  her  eyes  above 
the  veil  more  like  wells  of  ink  than 
ever,  in  their  concentration. 

"I  see  you,"  she  almost  whispered. 
"Yes,  it  is  you !  But  the  image 
is  different  from  you  as  you  are  now. 
I  see  a  figure,  not  slight  as  a  girls's, 
no,  yet  shapely  and  slender  enough 
to  be  attractive.  You  are  dressed  for 
a  dance.  It  must  be  a  dance,  for  you 
tap  your  foot  as  if  keeping  time  to 
music  !  You  have  on  a  peach-colored 
gown  patterned  with  brilliants.  A 
princess  might  wear  it !  You  have 
on  beautiful  jewels.  Your  hair  is  cut 
short  and  waved  " 

"Gray  hair  like  mine — short?'" 
groaned  Lady  Gates. 

"Hush!  Do  not  speak.  It  breaks 
the  continuity.  Your  hair,  in  the 
crystal,  is  not  gray.  It  is  the  color 
of  copper — beautiful.  Your  eyebrows 
and  lashes  are  black,  your  eyes  large 
and  bright.  You  have  not  a  line  on 
your  face.  You  have  a  full  chin,  but 
it  is  young.  You  seem  not  more  than 
thirty,  or  thirty-five  at  most.  Men 
ask  you  for  dances.  You  are  very 
happy.  One  man  comes — dark,  hand- 
some, like  Marco  Lopez.  You  trust 
him,  as  well  you  may,  for  I  feel  that 
he  is  fine  and  noble,  though  not  un- 
derstood or  appreciated  by  many 
men,  because  of  his  profession.  You 
go  with  him.  You  dance  lightly  and 
beautifully.  He  is  much  interested  in 
you.  His  eyes  show  it.  He  speaks. 
You  listen.  You  are  so  gay  !  Ah,  now 
the  crystal  is  clouded.  That  means 
nothing  of  unhappiness.  But  the  pic- 
ture is  complete." 

"Oh!  If  it  could  be  a  true  one!" 
breathed  Lady  Gates,  with  the  almost 
agonied  earnestness  of  prayer. 

"Of  course  it  can  be  a  true  picture. 
The  crystal  never  lies,"  said  Madame 
Blank.  "I  can  tell  you  precisely  what 
to  do,  so  that  what  seems  like  magic 
illusion  may  become  real." 

TO  BE  CONTINUED. 


93 


"Talking"  Bathing  Outfits 


Marceline   Day,    above,   achieves  an 
odd.  effect  with  a  striped-flannel  bath- 
ing-suit ensemble,   with  plain  jersey 
jumper. 


Mary  Brian,  right,  goes  in  for  the 
latest  in  modernistic  design,  done  in- 
brilliant  colors. 


Agnes  Franey,  top,  has  an  attractive 
wrap    of    Terry    cloth,  distinctively 
colored  with  orange  and  blue. 


Polly    Ann    Young,    center  above, 
glories  in  wearing  a  red-and-white- 
striped  suit,  with  a  red  plaid  cape  and 
head  scarf. 


1 


94 


The  Screen  in  Review 


Continued  from  page  71 

general  effect  is  piquant.  Neil  Hamil- 
ton, as  Henry  Willoughby,  is  quietly 
droll,  and  again  proves  himself  an 
engaging  light  comedian  whose 
humor  has  the  saving  grace  of  re- 
ticence. 

A  Bilious  Blossom. 

"The  Yellow  Lily"  is  the  name  of 
a  Hungarian  waltz,  to  the  strains  of 
which  Billie  Dove  and  Clive  Brook 
dance  in  the  picture  of  that  name. 
He  is  a  naughty  archduke  and  she  is 
a  girl  of  the  people  who,  first  repuls- 
ing his  crude  advances,  later  learns 
to  love  him.  He  pursues  her  with 
such  inpetuosity  that  her  brother 
shoots  him,  for  which  he  goes  with 
his  sister  to  prison.  Whereupon  the 
archduke,  suddenly  become  ennobled, 
defies  parental  authority  and  marries 
the  girl  he  insulted.  Most  of  this  is 
played  at  a  lethargic  tempo,  with  a 
superfluity  of  lingering  looks  in  or- 
der, I  suppose,  to  show  the  develop- 
ment of  hate  into  love.  Neither  ex- 
treme is,  however,  convincing,  and 
the  proceedings  are  vaguely  unpleas- 
ant through  the  studied  efforts  of 
every  one  to  be  passionate,  yet  remain 
within  the  law. 

A  Date  with  a  Duchess. 

"His  Tiger  Lady"  is  more  amusing 
in  theory  than  in  fact.  That  is,  the 
possibilities  of  the  picture  are  more 
interesting  than  the  performance, 
though  Adolphe  Menjou  has  set  such 
a  high  standard  in  recent  films,  it 
would  be  next  to  impossible  to  main- 
tain it  without  an  occasional  lapse. 
Certainly  he  is  as  excellent  in  this  as 
in  any  picture,  and  Evelyn  Brent  is 
glamorous  and  magnetic,  but  the 
story  wanders  a  bit  after  the  first 
part.  Mr.  Menjou  is  Henri,  a  super 
at  the  Folies  Bergeres  in  Paris,  whose 
sole  duty  it  is  to  ride  in  on  an  ele- 
phant. Night  after  night  he  gazes 
from  his  perch  at  The  Duchess  in  a 
box,  until  he  falls  in  love.  Finally, 
in  his  resplendent  costume  of  a  maha- 
rajah,  he  stalks  The  Duchess  to  a  res- 
taurant where  she  is  dining  with 
wealthy  admirers,  and  his  magnificent 
deportment  leaves  no  doubt  in  the 
minds  of  the  quartet  that  he  is  a  real 
potentate.  Furthermore,  he  captivates 
The  Duchess  to  such  an  extent  that 
she  takes  him  home  with  her.  And  so 
it  goes  until  his  deception  is  exposed, 
but  The  Duchess  has  lost  her  heart 
in  the  meanwhile.  Backstage  life  is 
amusingly  pictured,  and  Mr.  Men- 
jou's  bluff  is  acted  with  his  usual 
finesse. 

An  Epic  of  the  Peanut. 

The  silly  season  opens  appropriately 
v/ith  "How  to  Handle  Women,"  a 
farce  of  the  kind  called  goofy  in 


Hollywood,  or  quite,  quite  mad  in 
more  sedate  communities.  Which  is 
to  say  it  is  a  concoction  of  absurdity, 
implausibility,  and  harmless  lunacy, 
with  the  willing  sacrifice  of  every- 
thing for  a  laugh.  But  the  sacrifice 
does  not  bring  the  laugh  as  often  as 
ic  is  made,  and  in  spite  of  a  robust 
attempt  to  be  funny,  the  picture  is 
too  often  dull.  Then  again  it  is  not, 
especially  when  Bull  Montana  gives 
Glenn  Tryon  a  "royal"  message.  Mr. 
Tryon,  in  his  usual  role  of  irrepres- 
sibly  bumptious  youth,  impersonates 
a  visiting  prince  and  restores  pros- 
perity to  the  royal  domain  by  exploit- 
ing its  only  resource,  the  peanut.  This 
he  does  by  means  of  a  publicity  cam- 
paign which  takes  many  forms,  all 
of  them  unconventional  and  some  of 
them  amusing.  Mr.  Tryon's  popu- 
larity, which  is  probably  enormous 
on  the  other  side  of  my  horizon,  will 
insure  his  success  in  this  role,  and 
there  are  also  Marian  Nixon,  Ray- 
mond Keane,  and  others  to  be  reck- 
oned with. 

Soup  Meat. 

If  you  concentrate  and  invoke  the 
gods  of  the  cinema,  you  may  discover 
what  "Chicken  a  la  King"  is  about. 
It  isn't  a  lesson  in  cooking,  that's  cer- 
tain, and  as  there  are  two  chorus  girls 
in  it,  you  will  infer  that  the  humor 
is  not  Barriesque,  but  Sennettian. 
After  some  research,  I  learn  that  it 
involves  a  comedian  named  Horace 
Trundle,  who  discovers  that  his 
brother-in-law  is  about  to  marry  a 
gold-digger.  So  Horace  goes  to  warn 
the  girl  of  her  mistake,  and  is-  clas- 
sified as  a  sap  by  the  girl  and  her 
side  kick — they  always  operate  in 
pairs,  you  know — with  the  result  that 
they  decide  to  trim  him.  His  wife, 
who  has  been  unsuccessful  in  extract- 
ing money  from  her  husband,  is  de- 
lighted by  the  fleecing,  and  even  joins 
in  the  conspiracy  and  shares  the  prof- 
its. Arthur  Stone,  an  excellent  co- 
median, is  the  brother-in-law.  His 
role  is  given  some  claim  to  novelty 
by  his  habit  of  having  dizzy  spells,  in 
which  he  speaks  what  is  on  his  mind. 
Ford  Sterling,  as  Horace,  is  Mr. 
Eisman  of  "Gentlemen  Prefer 
Blondes,"  with  a  different  name. 
Nancy  Carroll  and  Frances  Lee  are 
the  girls.  The  most  generous  esti- 
mate is  that  the  picture  is  passably 
amusing,  the  most  critical  is  that  it 
is  cold  storage. 

Mr.  Fields  and  Mr.  Conklin. 

"Fools  for  Luck"  is  another 
"team"  picture,  the  comedians  being 
W.  C.  Fields  and  Chester  Conklin.  1 
found  it  quite  amusing,  without  being 
of  the  button-bursting  variety.  But 
who  wants  noisy  mirth  in  this  hot 
weather,  anyway?     Highly  skillful 


performances  are  given  by  the  co- 
stars,  as  usual,  Mr.  Fields  as  a  com- 
ically unscrupulous  oil  promoter  and 
Mr.  Conklin  as  his  small-town  victim. 
The  promoter  first  beats  his  victim, 
the  local  champion  at  that,  at  pool. 
Then,  on  being  invited  to  his  home 
by  the  irate  victim's  family,  the  crook 
is  assigned  to  his  host's  room.  This 
paves  the  way  for  a  merry  scene, 
when  Mr.  Conklin  discovers  Mr. 
Fields  in  his  bed.  The  slight  love 
story  is  carried  by  Jack  Luden  and 
Sally  Blane,  and  the  distinguished 
Mary  Alden  is  the  wife.  The  whole 
is  made  amusing  by  the  cleverness  of 
individual  performances,  rather  than 
by  the  picture  itself. 

A  Vestal's  Sacrifice. 

Hark  ye,  Ramon  Novarro  fans ! 
Your  idol  appears  in  a  sentimental 
farce  called  "A  Certain  Young  Man," 
of  which  the  more  knowing  in  the 
legion  have  already  heard.  For  it  is 
the  picture  filmed  some  time  ago  un- 
der the  title  of  "Bellamy  the  Mag- 
nificent," and  as  editor  of  Picture 
Play,  many  is  the  letter  that  has  come 
to  me  protesting  against  the  injustice 
done  Ramon  in  so  long  delaying  its 
release.  But  now  I  wonder.  Truly 
I  wonder.  But  ever  eager  to  discern 
a  silver  lining  in  the  darkest  cloud,  I 
am  quick  to  grant  that  the  more  rev- 
erential followers  of  Mr.  Novarro 
will  find  addedi  proof  of  his  versatil- 
ity in  the  role  of  Lord  Gerald  Brins- 
ley — and  not  hold  the  picture  against 
him.  Lord  Gerald,  you  see,  is  a  gay 
philanderer.  Henrietta,  the  wife  of 
his  valet,  and  Mrs.  Crutchley,  of 
Mayfair,  are  his,  with  all  femininity 
between  the  two  extremes  apparently 
eager  to  be  loved  and  then  cast  aside. 
All  but  Phyllis,  as  ingenue.  And  one 
is  not  so  sure  that  Phyllis  would  have 
waited  for  a  wedding  ring,  if  Lord 
Gerald  had  not  been  made  polite  by 
his  great  love.  The  pursuit  of  Lord 
Gerald  by  Mrs.  Crutchley  brings 
about  a  climax  that  would  have  been 
perfectly  shocking  in  1883.  Mr. 
Crutchley  finds  Mrs.  Crutchley's 
beaded  bag  in  Lord  Gerald's  rooms, 
and  is  about  to  search  the  innermost 
chamber,  when  dear  little  Phyllis  un- 
expectedly appears  and  claims  it,  to 
save  Lord  Gerald— -from  what  I  do 
not  know.  Certainly  not  scandal,  for 
he  lived  for  liaisons.  Anyhow,  every- 
thing's lovely  after  that.  Marceline 
Day,  Carmel  Myers,  and  Renee 
Adoree  are  the  ladies. 

Strange,  But  Not  True. 

"The  Strange  Case  of  Captain 
Ramper"  is  a  German  film,  uneven, 
indifferently  directed,  and  only  pas- 
sably acted,  but  with  the  merit  of 
an  unusual  story.    The  whole  thing 

Continued  on  page  96 


95 


Painless  Scars 


The  studio  make-up  man  is  a  thorough 
artist,  and  can  mold  the  characters 
of  men  in  an  incredibly  short  time. 


Richard     Barthelmess,  above, 
utilizes  an  ugly  scar  to  heighten 
the  contrast  in  the  dual  role  he 
plays  in  "Wheel  of  Chance." 


All  good  gang 
leaders  should  have 
scars,  so  Robert 
Armstrong,  left, 
provides  himself 
with  one  in  "The 
Cop." 


We  suspect  that  the  scar  on 
Lane  Chandler's  forehead, 
lower  left,  isn't  detracting 
from  his  happiness  in  "The 
Legion  of  the  Condemned." 

Monte  Montague,  below,  dis- 
plays a  barroom  scar  in  a  pic- 
ture entitled  "Silks  and  Sad- 
dles." 


96 


The  Screen  in  Review 


Continued  from  page  94 

might  have  been  sensationally  good, 
but  it  is  only  mediocre.  Captain 
Romper,  a  middle-aged  explorer,  is 
marooned  in  the  Arctic  seas  when  his 
airplane  crashes.  There  he  remains 
ten  years,  time  and  the  elements  turn- 
ing him  into  a  monster,  half  man  and 
half  animal,  his  mind  only  dimly 
functioning,  his  memory  of  civiliza- 
tion gone.  Eventually  he  is  captured 
and  brought  back  to  Germany,  where 
he  becomes  a  freak  in  a  side  show, 
loved,  if  you  will  believe  it,  by  Tony, 
the  sister  of  his  owner,  who  seems  to 
be  a  girl  of  sixteen  or  less.  This 
role  is  rather  charmingly  played  by 
Mary  Johnson,  the  Swedish  actress. 
A  great  physician  becomes  interested 
in  the  case,  and  restores  the  mon- 
ster's mind.  With  it  returns  his  nor- 
mal appearance  and  his  disgust  for 
the  baseness  of  human  nature.  A  sub- 
title tells  us  he  longs  to  return  to  the 
"nobility  and  purity  of  the  animals." 
Toriy  is  willing  enough  to  forsake  her 
sweetheart  and  go  with  him  to  per- 
manent exile  in  the  North,  but  Cap- 
tain Romper  will  not  permit  her  to 
sacrifice  herself,  so  he  turns  over  to 
her  sweetheart,  as  a  wedding  present, 
the  fund  that  had  been  subscribed  for 
himself,  and  Tony  presumably  finds 
compensation  in  cash.  Now  I  ask 
you  

Eve  Southern  Reappears. 

Eve  Southern  is  too  strange  and 
illusive  a  personality  to  be  found  in 
a  picture  reminiscent  of  another's  suc- 
cess, but  that,  unfortunately  is  what 
happens  in  "Clothes  Make  the 
Woman,"  plainly  inspired  by  Emil 
Tannings'  "The  Last  Command."  In- 
stead of  a  Russian  general  discov- 
ered in  Hollywood  as  an  extra,  we 
have  none  other  than  Princess  Anas- 
tasia, daughter  of  the  czar.  It  seems 
that  a  peasant  saved  her  when  the 
imperial  family  was  murdered,  and 
migrating  to  Hollywood  and  success 
as  a  star  in  the  movies,  he  is  casting 
about  for  a  suitable  leading  woman 
for  his  next  picture,  a  story  of  his 
experience  in  Russia.  What  more 
natural,  then,  that  he  should  find 
among  the  group  of  eager  extras,  the 
very  type  he  desires  ?  And  think  what 
his  surprise  is  when  he  finds  the  type 
to  be  Anastasia  herself !  They  repeat 
for  the  camera  much  of  what  they 
went  through  before,  until  Anastasia 
is  accidentally  shot  in  the  execution 
scenes.  This  serves  the  purpose  of 
making  them  sure  they  love  each 
other,  and  so  endeth  the  picture.  It 
is  slow  and  dull  in  spots  and  fairly 
interesting  in  others,  but  the  standard 
of  mediocrity  is  valiantly  maintained. 
Eve  Southern  is  very  interesting  in 
a  role  unworthy  of  her,  and  Walter 


Pidgeon,  though  given  to  histrionics, 
is,  as  always,  pleasing. 

Pity  the  Romonoffs. 

"The  End  of  St.  Petersburg"  was 
made  by  the  Russian  Soviet  govern- 
ment, therefore  it  is  scarcely  surpris- 
ing to  find  it  is  propaganda.  It  is, 
however,  startling  to  find  its  mes- 
sage so  frankly  and  boldly  set  forth, 
in  spite  of  all  the  hullabaloo  of  pro- 
test preceding  its  opening.  From 
many  of  the  New  York  critics  it  has 
elicited  almost  hysterical  praise,  but 
I  do  not  think  this  enthusiasm  will 
be  shared  by  those  who  may  con- 
ceivably have  harkened  to  Picture 
Play's  reviewer  in  the  past.  The 
Russian  picture  does  not  concern  it- 
self with  individual  characters  so 
much  as  with  mass  effects  and  sym- 
bols, hence  the  spectator  is  asked  to 
follow  the  beginning  of  the  revolu- 
tion by  means  of  revolving  wheels  in 
a  munitions  factory,  smokestacks, 
whistles,  half-plowed  fields,  distorted 
views  of  statuary,  et  cetera,  rather 
than -by  human  interest  as  a  com- 
mon denominator.  The  overthrow 
of  the  czar  is  not  shown,  but  the  suc- 
cess of  the  revolution  is  nevertheless 
made  perfectly  clear,  by  the  symbolic 
figure  of  a  peasant  woman  ascending 
the  steps  of  the  former  imperial  pal- 
ace, bearing  a  pail  of  beer.  "The 
End  of  St.  Petersburg"  is  for  those 
who  prefer  pictures  made  as  far  away 
from  Hollywood  as  possible,  and  who 
think  the  camera  is  a  better  actor 
than  the  stars. 

Interesting,  But  Not  Inflammatory. 

Bitter  controversy  preceded  the 
opening  of  "Dawn,"  the  film  record 
of  the  execution  of  Edith  Cavell,  the 
English  nurse,  during  the  war.  Those 
opposed  to  the  showing  of  the  film 
contended  that  it  would  rekindle  old 
hatreds  and  bare  wounds  now  hap- 
pily healed.  But  if  the  opening  in 
New  York  is  any  criterion  of  what 
will  occur  when  the  picture  is  shown 
elsewhere,  there  is  no  cause  for  alarm. 
Outwardly  all  was  harmony  among 
the  spectators  who  followed  a  care- 
ful, impartial,  and  reverent  attempt 
to  depict  the  events  which  culminated 
in  the  death  of  Miss  Cavell.  The  pic- 
ture has  a  documentary  quality  which 
precludes  its  acceptance  from-  any 
other  standpoint.  So  the  question  of 
story  need  not  be  considered.  Enough 
to  say  that  Nurse  Cavell  is  seen  in 
charge  of  her  hospital  in  Brussels, 
with  the  Germans  in  possession  of 
the  city.  Touched  by  the  plight  of 
an  escaped  Belgian  prisoner,  she  aids 
him  to  return  to  his  lines  and,  as 
further  demands  are  made  upon  her, 
she  enables  other  unhappy  soldiers 
to  do  likewise,  until  she  has  restored 


two  hundred  and  ten  men  to  the  Al- 
lied armies.  She  is  arrested,  tried 
for  treason,  according  to  military 
rules,  and  is  sentenced  to  death.  Sybil 
Thorndike,  the  eminent  British 
actress,  plays  Nurse  Cavell  with  what 
one  feels  is  reverent  exactitude.  It 
is  scarcely  acting,  but  consecration 
to  a  cause.  Marie  Ault,  Micky  Brant- 
ford,  and  Maurice  Braddell  give  fine 
performances. 

Confectionery. 

Picture  based  on  musical  comedies 
are  apt  to  be  unsubstantial  at  best, 
but  skillful  treatment  can  sometimes 
make  them  agreeably  entertaining. 
"Lady,  Be  Good"  is  a  case  in  point. 
Of  gossamer  lightness,  it  neverthe- 
less moves  along  brightly  enough  to 
make  one  forget  its  cream-puff  con- 
sistency, so  why  worry?  Dorothy 
Mackaill  and  Jack  Mulhall  are  excel- 
lent as  the  vaudeville  magician  and 
his  partner,  who  separate  to  go  their 
respective  ways  professionally,  only 
to  unite  again  when  their  high  hopes 
have  collapsed.  Surely  not  much  on 
which  to  build  a  picture,  but  the 
building — the  characterizations,  direc- 
tion, and  subtitles — is  far  more  im- 
portant than  the  foundation.  Such 
incidents  as  occur  when  Dorothy 
Mackaill  dines  with  a  man  she  doesn't 
like,  and  conceals  in  the  folds  of  her 
cloak  a  full-course  dinner  for  the 
hungry  Mr.  Mulhall,  are  replete  with 
comic  values,  and  Miss  Mackaill,  by 
the  way,  has  never  looked  lovelier. 

No  One  Like  Our  Clara. 

It's  a  serious  Clara  Bow  you  will 
see  in  "Ladies  of  the  Mob,"  a  crook 
story  which  enables  our  Clara  to  give 
her  finest  performance  since  "Man- 
trap," and  incidentally  gives  Richard 
Arlen  the  best  role  he  has  ever  had. 
Detailing  the  plot  is  not  necessary, 
for  the  story  is  hardly  an  involved 
one ;  it  is  the  suspense  that  counts, 
and  the  clever  direction.  Clara  is 
Yvonne,  who  knows  her  underworld 
as  well  as  George  Bancroft,  and  Mr. 
Arlen  is  "Red,"  her  sweetheart.  They 
are  partners  in  crime,  and  glad  of 
it,  until  Yvonne  is  convinced  of  the 
error  of  their  ways  and  resolves  to 
convince  Red,  too.  In  the  end  they 
are  caught  and  sentenced  to  prison, 
but  Yvo-nne  is  far  from  downcast, 
because  she  looks  to  the  future  when 
they  shall  be  free.  Sounds  Pollyan- 
naish,  and  actually  is,  but  Clara  and 
Mr.  Arlen  make  it  real.  Quite  worth 
your  while,  I  assure  you,  and  if  there 
is  any  doubt  in  your  mind  of  Clara's 
depth  of  feeling,  it  will  vanish. 


97 


They're  Molls 


If  you  don't  know  what  a  moll  is,  your 
underworld  dictionary  will  tell  you 
it  means  the  sweetheart  of  a  crook. 


98 


Manhattan  Medley 


Continued  from  page  59 

atlantic  service  pay?  It's  so  expen- 
sive that  no  one,  apparently,  no  mat- 
ter how  he  likes  to  talk,  feels  that 
anything  he  has  to  say  is  that .  im- 
portant ! 

But  this  "Green  Hat-'  thing  came 
up,  so  Marshall  Neilan  phoned 
Blanche  all  the  way  from  California 
to  England.  It  was  probably  the 
most  expensive  phone  call  ever 
known  in  all  these  years  since  we've 
been  talking  for  a  nickel.  He  phoned 
her  several  times,  in  fact,  and  that 
gives  me  a  great  idea  for  the  tele- 
phone company. 

Why  not  just  pay  Blanche's  ex- 
penses to  England,  on  condition  her 
husband  stays  at  home,  and  then  just 
drop  in  on  him  now  and  then,  with 
suggestions  for  stories  that  she  could 
play  in? 

Temperament  Again. 

Jean  Hersholt  and  his  wife,  and 
their  thirteen-year-old  son,  made  their 
very  first  visit  to  New  York.  Their 
very  first,  despite  the  fact  that  Jean 
came  over  here  from  Denmark.  But 
it  seems  that  he  came  originally  by 
way  of  Canada,  where  his  wife  had 
relatives.  So  it  was  the  first  time  he 
had  ever  been  in  our  metropolis. 

What  a  thrill  they  were  having. 
Theaters,  and  skyscrapers — oh,  you 
know  how  people  are  when  they  first 
get  to  New  York.  They  go  to  see 
the  Woolworth  Building,  the  Aqua- 
rium and  the  Statue  of  Liberty,  which 
most  residents  just  take  for  granted. 

Mary  Philbin  was  originally  sched- 
uled for  the  title  role  in  "The 
Girl  on  the  Barge,"  but  she  and 
Jean  Hersholt  both  got  tempera- 
mental. They're  both  stars,  but  the 
question  was,  who  was  the  bigger 


star?  Each  of  them  wanted  first 
mention  in  the  billing.  The  way  these 
actors  do  carry  on  ! 

"Not  that  I  really  care  very  much," 
explained  Jean  Hersholt,  in  his 
slightly  accented  English.  "No  mat- 
ter what  we  decided,  exhibitors  would 
go  ahead  and  feature  whomever  they 
felt  like.  But  you  know  how  it  is 
with  producers.  If  you  don't  hold 
out  for  your  rights,  they  think  you're 
not  important.  When  they  think 
that,  it  all  comes  out  in  the  pay 
check." 

What  a  business  1 

Anyhow,  it  was  finally  decided 
that  Jean  Hersholt  should  play  in 
"The  Girl  on  the  Barge,"  .and  Mary 
Philbin  should  be  put  to  work  on 
something  else. 

The  girl-  who  is  playing  her  erst- 
while role,  by  the  way,  is  a  little  new- 
comer to  the  screen,  Beatrice  Blinn. 
She  is  said  to  be  Holbrook  Blinn's 
cousin,  and  has  played  on  the  stage 
in  New  York  for  several  seasons.  A 
petite  brunette,  not  more  than  five 
feet  tall,  her  movie  possibilities  seem 
very  good.  But  she  won't  interfere 
with  Jean  Hersholt  in  this  very  seri- 
ous business  of  being  a  star. 

The  Gypsy  Trail  for  Marie  Dressier. 

Marie  Dressier  stopped  in  New 
York  on  her  way  to  Europe.  And 
talk  about  your  lucky  ladies!  Marie 
has  friends  in  New  York,  friends 
in  Europe,  friends  in  California,  and 
all  points  between.  For  all  I  know, 
she  has  a  couple  of  friends  among 
the  Eskimos.  Anywhere  she  goes, 
there  is  some  one  she  can  visit. 

That's  why  she  doesn't  sign  a 
movie  contract.  She  is  always  having 


dotted  lines  thrust  upon  her,  and  is 
pleaded  with  to  sign,  but  Marie  says 
no,  not  with  her  roving  disposition. 
When  she  wakes  up  in  the  morning, 
wishing  she  were  in  Paris,  she  runs 
right  out  and,  leaps  on  the  next  boat. 
Or,  if  she  feels  like  lunching  at  the 
Ritz  in  New  York,  when  she's  in 
California,  she  says :  "All  right,  I'll 
have  lunch  there  a  week  from  Tues- 
day." 

Marie  is  a  very  friendly  person, 
and  very  proud  of  her  large  acquaint- 
ance. It  seems  that,  years  ago,  when 
she  was  on  the  stage,  she  was  taken 
up  generally  by  New  York's  "Four 
Hundred."  You  didn't  know,  did 
you,  in  watching  Miss  Dressler's 
antics  on  the  screen,  that  there  be- 
fore your  very  eyes  is  a  leaping- 
about  lady  of  society? 

Adolphe's  Big  Moment. 

Adolphe  Menjou  and  his  bride, 
Kathryn  Carver,  returned  from  their 
European  honeymoon.  And,  outside 
of  his  marriage,  the  greatest  thing 
that  ever  happened  to  Menjou  was 
the  big  moment  when  Bernard  Shaw 
came  to  call  on  him,  in  London. 

Shaw,  who  has  been  against  sell- 
ing the  screen  rights  to  any  of  his 
plays,  even  suggested  that  he  would 
like  to  see  Merjjou  make  his  "Arms 
and  the  Man."  Those  of  you  who 
don't  know  your  Shaw  might-  know 
this  story  as  "The  Chocolate  Soldier." 

Shaw  and»MenjoU'talked  of  movies 
and  of  Charlie  Chaplin,  whom  both 
consider  the  greatest  genius  on  the 
screen — I  think  they  said,  the  only 
genius.  And  all  the  time,  Menjou 
pinched  himself  to  see*  if  he  was 
awake,  and  Shaw-  had  really  called 
upon  him.  And,  of  course,  he  feels 
that  at  last  he  has  achieved  fame. 


How  I 

Pauline  Garon. 

A  squirrel  coat ! 

They  had  always  looked  so  gor- 
geous on  the  screen.  So  when  I 
landed  in  New  York,  fresh— and 
cold — from  Canada,  it  was  with  the 
dream  of  making  good  so  that  I 
might  buy  a  squirrel  coat.  It  was 
some  time  before  the  dream  came 
true,  but  I  can  tell  you,  nothing  else 
has  even  given  me  the  same  thrill 
that  wrapping  myself  snugly  in  that 
soft  fur  did. 

Eugenia  Gilbert. 

Always  I  have  been  fond  of  statu- 
ary, and  I  used  to  haunt  a  certain 
corner  of  an  art  shop  in  New  York, 


Spent  My  First  Pay 

where  there  was  an  adorable  bisque 
Pandora.  I  thought  that  if  I  owned 
that  treasure,  my  .happiness  would 
be  complete. 

Yes,  I  have  the  bisque.  No,  my 
happiness  isn't  complete.  Is  it  ever? 
Aren't  there  always  things  we  want  ? 
But,  just  as  time  and  hard  work 
brought  me  my  Pandora,  so  'will  they 
bring  me  these  other  things,  I  hope. 

Louis  Natheaux. 

I  had  made  a  promise  to  myself 
that,  when  I  "landed,"  I  would  grip 
my  first  big  check  in  both  fists  and 
invade  a  clothing  store  for  a  pur- 
chasing spree. 

I  did.    And  in  my  enthusiasm,  I 


Check 

let  a  slick  salesman  unload  a  lot  of 
truck  on  me  that  I've  never  had  an 
opportunity  to  wear  in  pictures  and 
that  I  now  wouldn't  wear  on  the 
street  to  pay  an  election  bet. 

Jobyna  Ralston. 

I  was  reared  in  a  real  home  down 
in  Tennessee,  and  never  could  get 
used  to  being  cramped  in  an  apart- 
ment. I  like  big  rooms  and  lots  of 
closets  to  put  things  in,  and  a  yard. 
Cubby-holes  and  I  quarrel  all  the 
time.  So  my  first  big  check  made  a 
Hollywood  home  possible.  It  didn't 
buy  the  house,  but  it  made  a  start, 
and  we  moved  right  in  and  enjoyed 
it  while  still  paying  for  it. 


Red-headed — By  Preference 


Because  of  its  photographic  qualities,  auburn  hair  is  rapidly 
displacing  the  God-given  hues  of  many  heads  in  Hollywood. 


Ethlyne  Clair,  left,  once 
had    dark-brown  hair, 
but  it's  now  unmistak- 
ably red. 


Joan  Crawford,  right, 
has  undergone  many 
changes,  but  none  is 
more  startling  than  her 
dazzling  red  locks  for 
"Our  Dancing  Daugh- 
ters." 


Clara  Bow,  right,  tried  every 
shade  before  adopting  the 
color  of  pink  lemonade,  and 
has  gained  in  beauty  by  it. 


Audrey  Ferris,  below,  thinks 
a  bit  sadly  of  the  days  when 
her  hair  was  a  dark,  dark 
brown  instead  of  her  present 
red  tresses. 


Janet  Gaynor,  left, 
decided  she  needed 
light-red  hair  in 
preference  to  her 
own  chestnut  - 


100 


Hollywood  High  Lights 


Continued  from  page  66 

Now  Miss  Dunn  is  rated  a  great 
success  in  "Excess  Baggage,"  and  has 
;been  signed  on  a  five-year  contract  by 
Metro-Goldwyn. 

The  same  thing  has  happened  to 
various  others  within  the  past  year 
or  two.  Warner  Brothers  once  con- 
trolled the  destiny  of  Charlie  Farrell, 
but  allowed  him  to  get  away.  Now 
Fox  has  him,  and  wouldn't  allow  him 
to  escape  for  anything. 

Alice  White  almost  was  lost  to 
First  National  at  one  time — just 
when  she  was  beginning  to  click — 
but  they  succeeded  in  reengaging  her. 

This  sort  of  ping-pong  game  with 
new  talent,  seems  to  go  on  all  the 
time,  and  shows,  indirectly  perhaps, 
the  old  adage  is  still  true  that  the 
public  choses  the  favorites. 

Jolson  Cheers  Josephine. 

Miss  Dunn  is  one  of  the  slenderest 
girls  in  pictures.  She  seems  the  tall- 
est, too,  on  this  account,  though  her 
height  is  perhaps  not  much  greater 
than  the  average. 

We  saw  her  on  Al  Jolson's  set.  She 
plays  the  lead  in  "The  Singing  Fool" 
— a  vampish  lead.  Betty  Bronson 
impersonates  the  sympathetic  char- 
acter 

The  peculiar  tilt  to  her  eyes  is  one 
of  Miss  Dunn's  most  striking  fea- 
tures. There  are  times  when  they 
resemble  those  of  Ethel  Barrymore. 

Jolson  extolled  her  talents  with 
spirited  superlatives.  Al  is  always  a 
wonderful  enthusiast,  and  he  makes 
you  believe  his  enthusiasm.  Wherein 
he  sometimes  seems  a  rather  rare  in- 
dividual. 

May  Continue  Her  Studies. 

Lili  Damita  provided  one  bit  of 
repartee  that  was  received  with  in- 
terest upon  her  arrival  in  Hollywood, 
whither  she  came  to  play  opposite 
Ronald  Colman. 

Lili  is  a  linguist.  She  can  talk 
both  gayly  and  glibly  in  French,  Ger- 
man, Italian,  and  Spanish,  and  she 
speaks  English,  too. 

Somebody  asked  her  whether  she 
also  spoke  Yiddish. 

"No,  not  yet,  but  I  theenk  maybe 
I  have  come  to  good  place  to  learn — 
not  so?" 

Sartorial  Jottings. 

Billie  Dove  now  goes  stockingless. 
It's  getting  to  be  the  fashion  at  eve- 
ning parties.  Billie  has  never  been 
a  follower  of  the  fad,  but  she  did 
attend  a  soiree  not  long  ago  at  the 
residence  of  Mr.  and  Mrs.  Finis  Fox, 
sans  hosiery.  The  innovation  blended 
in  pleasantly,  though  not  unnotice- 
ably,  with  the  black  gown  she  wore, 


ornamented  with  a  gorgeous,  crystal 
peacock. 

At  the  same  affair  Dolores  del  Rio 
was  remarked  for  her  wavy  hairdress. 
She  has  departed  from  tradition  in 
this,  for  she  nearly  always  affects  a 
severe  arrangement  of  her  dark 
tresses,  drawing  them  tightly  over  the 
top  of  her  head,  and  winding  them 
in  braided  knots  about  her  ears.  The 
new  hairdress  gives  much  softer  lines 
to  her  countenance. 

Leatrice  Joy,  who  was  there,  still 
remains  true  to  period  gowns.  It  is 
a  style  that  she  has  identified  with 
her  personality  off  the  screen. 

Many  girls  have  been  wearing  ten- 
nis socks,  lopping  over  their  shoe 
tops.  But  then  these  are  a  universal 
fashion,  and  the  film  colony  naturally 
won't  rest  long  until  it  finds  some- 
thing more  outre. 

Rin-Tin-Tin  Will  Speak. 

John  Miljan  recently  burst  into  the 
Warner  Brothers'  scenario  office  in 
great  haste,  and  with  a  worried  look 
on  his  face,  cried: 

"Can  you  give  me  the  script  of 
'The  Land  of  the  Silver  Fox,'  Vita- 
phone  version,  so  I  can  find  out  when 
Rin-Tin-Tin  is  supposed  to  bark, 
what  it's  supposed  to  mean,  and  how 
I'm  to  answer  him?" 

Whereat  the  scenario  writer  fell 
unconscious  into  the  wastebasket,  and 
John  went  forth  on  the  lot,  with  a 
smile  of  satisfaction  over  the  up- 
heaval he  had  produced. 

Nevertheless,  Rin-Tin-Tin  will 
"speak"  for  the  Vitaphone. 

"Hamlet"  Then  and  Now. 

John  Barrymore  will  play  Hamlet. 
This  is  interesting  news,  to  say  the 
least. 

The  Hollywood  cynic,  of  course, 
asks:  "Will  they  do  it  with  a  happy 
ending?" 

Who  knows,  but  it  might  be  quite 
exciting  to  behold  the  melancholy 
Prince  of  Denmark  riding  out  into 
the  dawn  upon  his  gallant  charger, 
while  the  fair  Ophelia-  clings  ecstati- 
cally to  the  pommel  of  the  saddle? 

A  few  years  ago  you  would  have 
seen  just  such  a  finish.  To-day,  how- 
ever, producers  are  willing  to  take  a 
chance  on  tragedy. 

"Hamlet,"  with  Barrymore,  should 
be  a  sensation.  It  was  his  most 
thrilling  stage  role. 

Promising  for  the  Talkies. 

Belle  Bennett's  voice  is  one  of  the 
loveliest  in  Hollywood.  We  enjoyed 
its  velvety  cadences  not  long  ago  at  a 
premiere.  Belle  made  a  personal  ap- 
pearance, recited  some  inspirational 
verses,  and  then  gave  an  intimate  lit- 
tle talk  to  her  audience.    We  didn't 


realize  how  great  a  favorite  she  was 
with  the  public.  The  applause  for 
her  was  rapturous.  She  had  to  bow 
twice  from  her  place  amid  the  audi- 
ence, while  the  spotlight  was  flashed 
on  her,  and  then  finally  went  on  the 
stage  to  address  the  people. 

The  show  she  attended  was  a  com- 
bination of  motion  picture  and  stage 
play — both  on  the  same  program. 
Los  Angeles  seems  never  satisfied 
with  anything  short  of  a  marathon  of 
entertainment.  It  was  amazing  how 
rich  and  musical  Miss  Bennett's  voice 
sounded  in  contrast  to  the  voices  of 
the  players  in  the  stage  piece,  which 
followed  immediately  after  her 
speech. 

A  Nipponese  Excursion. 

"The  Darling  of  the  Gods"  will  be 
made  in  Japan  during  the  cherry- 
blossom  season.  And  it  will  be  filmed 
with  a  Japanese  star.  She  will  prob- 
ably be  engaged  from  the  Imperial 
Theater  at  Tokyo. 

David  Belasco  produced  "The  Dar- 
ling of  the  Gods"  years  ago  on  the 
stage,  with  Blanche  Bates  as  the  star, 
and  George  Arliss  in  the  role  of  the 
■villain.  It  was  a  poetic  and  spectacu- 
lar affair — one  of  the  sensations  of 
the  period. 

It  is  very  much  of  a  question  how 
many  people  will  remember  the  stage 
version,  but  there  is  no  doubt  but 
that  it  should  make  a  film  literally 
abounding  in  photographic  beauty. 

Norma  Talmadge  was  desired  for 
the  stellar  role,  but  declined  to  accept 
it,  since  she  felt  it  demanded  a  genu- 
ine Nipponese,  and  not  a  make-believe 
type. 

Colleen  Avers  Silence  is  Golden. 

Colleen  Moore  has  spoken  deci- 
sively against  talking  pictures.  She 
has  asserted  that,  as  far  as  she  her- 
self is  concerned,  she  will  remain 
loyal  to  silence.  "If  I  can't  achieve 
success  in  that  form,  I  will  leave  the 
screen,"  she  averred  recently. 

We  suspect  a  much  divided  movie 
camp  a  little  later  on,  when  stars  are 
face  to  face. with  the  problem  of  voice 
recordings.  There  will  undoubtedly 
be  a  number  who  will  line  up  with 
Colleen  in  her  attitude. 

Secretly,  we  do  believe  that  the  si- 
lent motion  picture  won't  expire  com- 
pletely for  many  years,  despite  the 
fsct  that  many  authorities  predict 
otherwise.  We  imagine  that  many 
films  will  be  made  in  which  music — 
and  especially  song — will  have  an  im- 
portant place.  This  means,  naturally, 
musical  comedies,  light  operas,  and 
maybe  a  few  grand.  Then  will  come 
the  real  perplexities  over  pronouncing 
the  names  of  the  stars  correctly. 


101 


Crazy  Over  Horses! 

President  Coolidge  didn't  know 
what  he  was  starting  when  he 
ordered  a  mechanical  riding-horse! 


102 


Information,  Please 


DIZZY. — And  just  because  you're  dizzy, 
you  want  to  make  me  dizzy,  too,  with 
all  those  questions.  Yes,  you're  right,  I 
probably  will  look  tired  when  I  finish ;  but 
I  did  before  I  started.  These  late  par- 
ties !  Edmund  Goulding  directed  "Love." 
I  imagine  Buddy  Rogers  and  Clara  Bow 
get  more  fan  mail  than  any  of  the  other 
stars.  Yes,  Buddy  played  in  "So's  Your 
Old  Man.'-  The  young  girl  in  that  was 
Kittens  Reichert.  Katherine  MacDonald 
is  the  tallest  actress  I  can  think  of — five 
feet  eight.  Of  course  she  no  longer  plays. 
Alma  Rubens,  Betty  Blythe,  and  Jane  No- 
vak are  all  five  feet  seven.  No,  I  don't 
know  of  any  stars  with  birthdays  Decem- 
ber 6th.  Virginia  Lee  Corbin's  is  the 
5th.  William  Boyd  was  born  in  Cam- 
bridge, Ohio ;  Warner  Baxter  in  Colum- 
bus ;  Dorothy  and  Lillian  Gish  in  Dayton 
and  Springfield;  Gertrude  Astor  in  Lima; 
Ralph  Graves  and  Alice  Calhoun  in 
Cleveland;  Earle  Foxe  in  Oxford. 

Rex  Lease  Admirer. — It  took  me  quite 
a  while  to  obtain  information  about  Rex 
Lease.  He  free  lances,  and  therefore  no 
company  keeps  a  record  of  his  biography. 
Hence  the  delay  with  your  answer.  How- 
ever, I  found  out  this :  He  was  born  in 
Central  City,  Virginia,  February  11,  1903. 
He  was  on  the  stage  since  he  was  six 
years  old,  except  for  an  interlude  at  Ohio 
Wesleyan  College.  In  movies  since  1924. 
Married  to  Charlotte  Merriam,  but  a 
divorce  is  pending. 

Hay. — My  life  is  blighted  with  disap- 
pointment, because  I  cannot  add  to  your . 
knowledge  of  Voya  George.  All  I  know 
about  him  are  the  facts  given  in  June 
Picture  Play  in  the  item  to  which  you 
referred.  He  is  a  minor  player  and  I 
have  no  way  of  looking  up  his  next  pic- 
ture. Ann  Little  retired  from  the  screen 
years  ago  and,  I  assume,  is  leading  a  quiet 
life,  as  no  one  hears  of  her  any  more. 

Dorothy  Helgren. — One  more  letter 
added  to  my  collection  is  like  throwing  a 
bucket  of  water  into  the  ocean.  So — 
now  that  we're  acquainted — James  Hall  is 
still  married,  I  think,  to  Renee  Hamilton, 
though  they  have  been  separated  for  sev- 
eral years.  I  believe  she  still  lives  in  New 
York.  And,  since  his  marriage  is  all 
spoiled  anyway,  you  surely  couldn't  expect 
Jimmie  not  to  go  out  at  night,  could  you? 
It  takes  about  four  months  to  see  your 


answer  in  print  in  this  department.  Pic- 
ture Play  had  to  stop  announcing  new 
fan  clubs,  because  so  many  fans  organ- 
ized them  on  an  impulse,  and  asked  to  be 
announced,  that  they  began  to  fill  up  the 
entire  answer  department.  However,  I'll 
keep  a  Tecordi  of  your  name,  and  when 
some  one  asks  about  a  Bebe  Daniels  club, 
I'll  refer  them  to  you. 

Ivan  Granvill. — You  put  me  in  quite 
a  quandary ;  all  the  players,  whose  ad- 
dresses you  ask  for,  play  first  at  one 
studio  and  then  another,  so  that  it's  im- 
possible to  keep  track  of  them.  Percy 
Marmont  has  been  making  pictures  for 
Gotham  at  Universal  City,  California.  He 
is  in  his  late  thirties  or  early  forties — he 
doesn't  give  his  age.  He  is  married  and 
has  two  little  daughters,  Pamela  and  Pa- 
tricia. Susan  Fleming  left  the  screen  after 
only  one  picture,  "The  Ace  of  Cads,"  and 
has  dropped  out  of  sight.  Viola  Dana 
and  Lillian  Rich  can  both  be  addressed 
just  "Hollywood,  California."  In  fact,  I 
have  been  assured  by  stars  themselves 
that  that  address   always   reached  them. 

Frank. — Martha  Sleeper  is  easy  to 
reach.  Write  her  at  F.  B.  O. — address  in 
the  list  at  end  of  this  department.  Caryl 
Lincoln  works  at  the  Fox  studio;  her  next 
picture  is  "Hello,  Cheyenne." 

Marion  Elizabeth  of  Washington, 
D.  C. — By  all  means,  write  again,  though 
how  will  you  have  any  questions  left  to  ask, 
after  this  present  carload?  James  Hall's 
new  picture  is  "Hell's  Angels."  See 
Dorothy  Helgren..  'William  Powell  was 
born  in  Pittsburgh,  July  29,  1892,  Emil 
Jannings  in  New  York  City,  in  1886. 
Louise  Brooks  was  born  in  Wichita,  Kan- 
sas, about  twenty  years  ago.  She  is  five 
feet  two,  and  weighs  120.  I  think  that  is 
her  real  name.  Florence  Vidor  is  five  feet 
four  and  weighs  120.  Carmelita  Geraghty 
was  born  in  Rushville,  Indiana.  Lina 
Basquette  was  born  in  San  Mateo,  Cali- 
fornia, and  is  twenty  years  old.  .  Ruth 
Taylor  is  twenty  and  was  born  in  Grand 
Rapids,  Michigan. 

Mullan,  Bombay.! — You  certainly  do 
keep  up  with  all  the  stars,  way  out  there 
in  Bombay!  Laurette  Taylor  is  married  to 
J.  Hartley  Manners,  playwright.  I 
haven't  her  personal  description,  as  she 
is  really  an  actress  of  the  stage,  rather 


than  the  screen.  Lilyan  Tashman  was 
born  in  New  York — she  doesn't  say  when 
— and  is  a  blue-eyed  blonde.  Height,  five 
feet  five  and  a  half,  weight  116.  She  is 
Mrs.  Edmund  Lowe.  Louise  Lovely  was 
born  in  Sydney,  Australia,  in  1896.  She 
is  a  blonde,  five  feet  two.  Divorced  from 
William  Welch.  Louise  Lorraine  was 
born  in  San  Francisco,  October  1,  1901. 
Brunette,  five  feet  one.  A  divorce  from 
Art  Acord  is  now  pending.  Lupe  Velez 
was  born  in  Mexico  City,  July  18,  1908. 
She  is  a  brunette  and  unmarried.  Larry 
Semon  was  born  in  Mississippi,  in  1880; 
he  is  married  to  Dorothy  Dwan.  Lee 
Moran  is  married  to  Bernice  Sibeck.  He 
was  born  in  Chicago,  is  five  feet  ten  and 
blond.  Lowell  Sherman  is  in  his  forties, 
is  being  divorced'  from  Pauline  Garon,  and 
was  once  married  to  Evelyn  Booth.  Leon 
Bary  was  born  in  Paris,  and  is  divorced 
from  Marie  Francoise.  Leah  Baird — not 
Mr.  Leah  Baird — is  Mrs.  Arthur  Beck. 
She's  a  brunette,  born  in  Chicago.  Is  this 
a  gag,  or  do  you  really  only  have  favorites 
whose  first  names  begin  with  the  let- 
ter L.? 

Dorothy. — Probably  you  feel  a  little 
better,  after  getting  all  those  questions  off 
your  mind !  Olive  Borden  was  born  in 
Norfolk,  Virginia.  No,  I  don't  think  Nor- 
bert  Lusk  is  prejudiced  against  her  in  his 
reviews.  Olive  has  many  admirers,  be- 
cause of  her  looks,  but  few  of  them  think 
she  can  act.  Sorry,  I  don't  know  whether 
Harrison  Ford  is  a  good  dancer.  I  do 
know  that  he's  very  shy  with  women ;  his 
conversations  with  them  are  usually  limited 
to  "Yes,  ma'am,"  and  "No,  ma'am."  Regi- 
nald Denny  and  his  wife  procured  an  inter- 
locutory decree  of  divorce,  which  becomes 
final  a  few  months  from  now.  Charlie 
Farrell  is  very  much  alive,  and  Leatrice 
Joy  recently  finished  in  "The  Bellamy 
Trial."  I  hadn't  heard  she  was  ill,  but 
obviously  it  couldn't  have  been  serious.  I 
don't  know  Billie  Dove's  salary.  Stars' 
salaries,  when  made  public,  are  so  exagger- 
ated, that  I  don't  attempt  to  keep  a  record 
of  them.  The  record  would  be  too  inac- 
curate. I  think  Gloria  Swanson's  father 
is  dead ;  it's  my  impression  that  he  was  a 
major  in  the  army.  Conrad  Nagel  is 
American,  born  in  Iowa.  H.  B.  Warner 
is  English  and  played  on  the  stage,  in  New 
York,  and  on  tour,  before  going  into  mov- 
Continued  on  page  111 


Advertising  Section 


103 


To  end  all  fear  of  offending:  others 


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104 


Far  Away  and  Long  Ago 


Continued  from  page  87 
calf.  She  expected  to  "shoo"  away 
easily  what  she  thought  were  long- 
necked  chickens  in  her  path.  But 
the  geese  refused  to  be  "shooed,"  and 
started  for  her  with  wings  aflap  and 
hisses  from  their  open  beaks.  Howl- 
ing at  the  top  of  her  voice,  Joby 
sought  refuge  on  a  fence. 

Her  mother  took  advantage  of 
this  fear  to  inculcate  in  her  young 
mind  that  a  goose  feather  meant  as 
much  as  a  real  gander.  Leading  from 
the  rear  porch  to  an  upper  story  was 
a  long  flight  of  stairs,  and  her  mother 
was  fearful  that  Joby  would  tumble 
down  them.  So  she  stuck  two  feath- 
ers at  the  top,  and  two  feathers  at  the 
bottom,  and  Joby  vows  she  was  ten 
years  old  before  she  ever  ascended 
those  steps. 

To  be  chosen  as  a  fairy  in  a  kin- 
dergarten entertainment — what  more 
could  a  child  ask?  Mary  Brian  was 
elated.  She  would  dance  with  wand 
in  hand  and  glittering  star  on  her 
head.  She  had  rehearsed  and  knew 
her  steps.  Alas,  when  she  suddenly 
looked  down  and  saw  all  those  faces 
she  got  stage  fright,  and  stood  still 
and  wailed  in  a  very  loud  voice  until 
some  one  picked  her  up  and  carried 
her  out. 

A  Swiss  music-box  was  the  first 
thing  which  greatly  concerned  Billie 
Dove.  A  monkey  being  invariably 
associated  in  her  mind  with  the  or- 
gan-grinder's music,  she  did  her  best 
to  wreck  the  box  and  find  the  "mon- 
key" inside. 

This  isn't  a  first  memory,  but  it 
is  a  poignant  one.  Marian  Nixon's 
childhood  urge  for  a  stage  career  was 
not  approved  by  her  parents.  At 
twelve  she  had  saved  enough  out  of 
her  allowance  to  pay  for  dancing  les- 
sons. Without  her  parents'  knowl- 
edge she  studied,  and  danced  at  after- 
noon home  affairs,  earning  the  money 
for  her  ballet  costume  and  slippers. 
Her  teacher  offered  an  opportunity 
to  dance  in  a  theater  prologue.  The 
first  night  of  the  engagement  she 
reached  home  at  eleven  o'clock,  car- 
rying her  costume  and  slippers,  in- 
tending to  sneak  in.     Her  parents 


were  awaiting  her,  however,  and 
tossed  the  dancing  finery  into  the  fire. 

Richard  Arlen's  first  prank  was 
dropping  a  bullfrog  down  the  neck  of 
an  old  negro,  who  had  imbued  him 
with  a  fear  of  frogs  until  the  boys, 
after  gibing  Dick,  taught  him  they 
were  not  dangerous.  Uncle  Ben  dis- 
appeared in  a  cloud  of  dust,  and 
Richard  had  a  session  with  dad  in 
the  woodshed. 

The  most  vivid  memory  of  Do- 
lores Costello's  childhood  was  a  visit 
to  the  Royal  Zoological  Gardens  in 
Bombay,  India,  as  the  guest  of  a 
rajah.  She  and  Helene  drank  tea 
for  the  first  time  that  afternoon  and 
met  a  bear  cub. 

"My  first  memory  is  of  a  great 
monster  swooping  down  upon  me, 
snorting  like  a  dragon,  with  smoke 
curling  from  it,"  Betty  Bronson 
laughed.  "I  could  not  stop  crying, 
even  when  my  mother  told  me  this 
was  the  train  that  I  had  heard  about 
and  had  longed  to  ride  on." 

Among  the  toys  about  a  Christmas 
tree  was  a  wonderful  doll.  It  was 
Alice  White's  first,  and  Alice  held  it 
tightly.  Her  mother  demanding  that 
Alice  give  up  the  doll  as  punishment 
for  some  infraction  of  family  rules, 
she  ran  panic-stricken  into  the  back 
yard  and,  unable  to  find  a  hiding 
place,  buried  the  doll  in  some  newly 
spaded  ground.  Only  after  two  days 
of  threats  and  persuasion  would  she 
tell  where  she  had  put  the  doll. 

"My  first  memory  isn't  dramatic, 
because  it  was  a  scene  often  repeated, 
much  to  my  annoyance,"  Vera  Rey- 
nolds smiled.  "Father  would  come 
in  and  always  greet  me  with  the  same 
remark,  'Pick  those  things  up.'  " 

Elinor  Fair  recalls  old  "Uncle" 
Johnnie  Frymeyer  and  his  little  store 
up  a  hill  near  their  home  in  Rich- 
mond, Virginia,  and  how  she  used  to 
run  away  up  there,  and  Uncle  John- 
nie would  give  her  stick  candy.  And 
as  soon  as  she  got  the  candy,  father 
would  happen  along  and  take  it  away 
from  her. 

"My  grandfather  did  not  trust  auto- 
mobiles, so  he  had  mother  drive  me 
around  in  an  old-fashioned  phaeton," 


Dorothy  Dwan  reminisced.  "On  my 
third  birthday,  grandfather  set  me 
on  the  horse's  back  to  watch  it  eat 
out  of  the  square  feed-box." 

The  absences  of  Blanche  Mehaf- 
fey's  graceful,  lovely  mother  on  con- 
cert engagements  were  dull  times. 
But  there  was  the  fun  of  her  re- 
turns, and  the  gift  of  a  pet  if  Blanche 
had  been  a  good  girl.  It  was  a  source 
of  wonder  to  her  how  her  mother 
knew  so  much  about  her  behavior. 
Once,  when  she  had  been  exception- 
ally proper,  the  reward  was  a  long, 
slim  box,  out  of  which  wriggled  a 
mysterious  thing — a  baby  alligator. 
It  frightened  her,  but  they  soon  be- 
came friends. 

Dorothy  Mackaill's  first  impres- 
sion was  the  spectacle  and  glamour  of 
a  circus — followed  by  three  days' 
illness  from  too  much  pink  lemonade. 

Running  a  nail  in  his  foot  while  at 
play  is  Jack  Mulhall's  first,  and  most 
poignant,  recollection.  The  three- 
year-old  set  up  quite  a  clamor  and  it 
required  many  solicitous  relatives  to 
soothe  him. 

At  four,  Arthur  Stone  was  occu- 
pied with  pounding  on  a  new  drum, 
when  he  discovered  that  a  red-hot 
poker  from  the  fireplace  would  burn 
large  holes  in  the  calfskin  head  of 
the  drum. 

On  summer  evenings  during  her 
childhood  Florence  Vidor  was  taken 
for  a  walk  on  the  main  road  of  the 
small  Texas  town,  and  always  passed 
a  negro  church  whence  emanated 
weird  chants  and  yells.  She  believed 
that  dragons  must  inhabit  the  build- 
ing- >        v-  . 

I  have  often  noticed  the  preference 
of  Bess  Meredyth,  the  scenarist,  for 
blue.  Perhaps  this  explains  it :  When 
she  was  three,  having  learned  to  rec- 
ognize blue  by  a  frock  she  particu- 
larly liked,  she  suddenly  discovered 
that  away  up  overhead  was  some- 
thing all  blue.  Her  mother  explained 
that  it  was  the  sky,  and  that  the  sky 
had  different  dresses  to  wear,  just 
as  she  had,  but  that  blue  was  its 
favorite,  too. 

Thus  the  stars  reminisce. 


And  Now  the  Deluge! 


Continued  from  page  26 
"Noah's  Ark"  will  be  distinctive, 
by  reason  of  the  fact  that  its  "atmos- 
phere" players  will  be  drawn  from 
every  corner  of  the  globe.  These 
will  be  the  birds,  beasts,  and  rep- 
tiles. While  it  would  be  impossible, 
of  course,  to  obtain  and  photograph 
every  creature  which  existed,  ar- 
rangements were  made  to  picture 
more  than  five  hundred  pairs — a  male 
and  female  of  each  species,  as  de- 


scribed in  the  modern  Bible.  These 
will  include  specimens  of  nearly 
every  species  now  in  captivity,  and 
all  domestic  animals,  together  with 
birds,  some  of  which  seldom  have 
been  seen. 

This  was  the  picture  conceived  in 
a  room,  high  above  Broadway,  in 
New  York,  on  a  rainy  afternoon  two 
years  ago.    It  will  carry  its  biblical 


lesson,  and,  while  not  entirely  re- 
ligious in  vein,  will  likely  assume  a 
niche  by  the  side  of  "The  Ten  Com- 
mandments," and  "The  King  of 
Kings,"  as  a  biblical  production.  Its 
cost  will  run  well  over  a  million  dol- 
lars and,  in  its  production,  every 
camera  trick  and  improvement  will 
be  employed. 

"Noah's  Ark"  is  expected  by  its 
producers  to  be  a  sensation. 


Advertising  Section 

Reginald's  Lament 

Continued  from  page  33 


I  asked  how  long  he  had  been  with 
Universal. 

"Too  long,"  he  replied.  "Five 
years.  No  actor  should  remain  with 
one  company  more  than  two  or  three 
years.  He  becomes  a  fixture.  They 
regard  him  too  much  as  'home  folks,' 
and  give  him  the  hash  to  eat.  And, 
if  an  actor  doesn't  watch  his  work 
closely,  he  will  fall  into  a  rut.  Cir- 
culation keeps  up  vitality. 

"The  actor's  motive  in  quarreling 
is  good.  He  demands  this  aid  not 
so  much  to  promote  himself  and  aug- 
ment his  own  fame,  as  to  give  his 
best,  and  he  can  only  accomplish  that 
under  good  working  circumstances." 

I  have  known  Reg  for  four  years. 
I  know  his  aptitude  for  sports,  par- 
ticularly prize  fighting.  I  knew  him 
to  be  well  read,  and  an  interesting 
conversationalist,  in  a  bright  and 
breezy  way. 

But  I  hadn't  seen  his  den.  The 
den  taught  me  a  lot  of  things  about 
Reg  that  somehow  you  do  not  con- 
nect with  him  in  professional  or  so- 
cial meetings.  It's  an  "Englishy" 
den.  This  nook  has  a  very  mascu- 
line air.  On  the  walls  are  pictures 
of  English  hunting  scenes.  Three 
walls  are  covered  with  book  shelves, 
well  stocked. 

Was  I  interested  in  wood  blocks? 


He  had  some  ships  for  Hobart  Bos- 
worth — no  ?  Engravings  ?  In  three 
very  old  books,  which  he  had  been 
running  down  for  ages,  we  found 
the  most  exquisite  and  quaint  old 
things,  of  perfect  workmanship.  For 
the  next  half  hour  the  conversation 
went  something  like  this :  "Look  at 
that  detail — Rouen  Cathedral — all  by 
the  eye,  mind  you — crazy  about  his 
bridges — this  group  of  peasants, 
through  the  microscope  you  can  see 
that  each  is  doing  something,  work- 
ing, talking." 

A  cultured  Reg — and  Reg  the 
sportsman.  Besides  flying,  until  he 
has  the  insurance  companies  in  a 
panic,  he  has  a  flock  of  planes  which 
he  rents  to  the  studios  for  air  epics. 
He  has  his  eye  on  young  pugilists, 
whom  he  might  some  day  back.  The 
ring  is  his  favorite  sport,  I  believe, 
though  he  is  an  enthusiastic  yachts- 
man. No,  he  isn't  racing  horses, 
though  he  might  be,  by  to-morrow. 
He's  building  onto  his  mountain 
cabin,  and  designing  another  lodge 
farther  up,  and  more  inaccessible. 

To  all  of  these  activities  he  gives 
an  objective  energy.  They  are  hob- 
bies, but  he  tackles  each  in  a  con- 
structive way.  A  healthy,  husky  fel- 
low, idleness  does  not  appeal  to  him. 
Every  hour  is  filled. 


105 


with  these  delightful  cleansing 
tissues  . .  so  dainty,  so  economical 

T"\0  you  realize  it's  extravagant  to  use 
JL/  towels  for  removing  cold  cream?  Do 
you  know  old  cloths  are  dangerous,  because 
they  rub  dirt  and  germs  back  into  the  skin? 
As  a  matter  of  fact,  towels— too— usually  rub 
the  cream  in,  instead  of  off.  They  aren't  ab- 
sorbent enough. 

Try  Kleenex!  It's  the  new  way,  the  approved 
way  to  absorb  cream,  make-up,  dirt  from  the 
surface  of  the  skin.  It  comes  in  soft,  snowy- 
white,  tissue-thin  sheets.  You  use  it  once,  then 
discard  it,  with  all  the  impurities  that  might 
mar  the  loveliness  of  your  complexion. 

Beautiful  actresses  consider  it  the  last  word 
in  make-up  assets.  Beauty  experts  use  it  in 
their  shops  and  recommend  it  to  patrons. 
Send  right  now  for  a  generous  trial  package 
and  discover  the  delights  of  Kleenex. 

Kleenex 

Kleenex  Company,  Lake-Michigan  Building, 
Chicago,  111.  Please  send  sample  of  Kleenex  to 

P.P.-9 

Name  

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City  State  


Portrait  of  a  Wow 

Continued  from  page  34 


ducers,  who  happen  into  New  York 
for  a  little  clean  fun.  Dozens  have 
been  signed  on  what  Hollywood 
naively  calls  long-term  contracts. 
Dozens  have  tobogganed.  The  rea- 
sons have  been  many.  Some  girls 
have  photographed  disappointingly. 
Some  did  not  have  the  patience  to 
wait  for  the  long-delayed  break  that 
might  never  have  come  anyway. 
Some  attempted  to  drown  their  sor- 
rows, and  lost  their  figures  instead. 
_^  The  Crawford  girl  was  different. 
She  didn't  pity  herself  when  her  ca- 
reer seemed  eternally  gripped  by  in- 
ertia. She  failed  to  cave  in,  sag  de- 
spondently, or  despair. 

Regardless  of  the  outlook,  Joan 
kept  up  her  confidence,  insisted 
on  putting  her  best  foot  forward, 
maintained  appearances  at  any  cost. 
When  there  was  a  dance,  Joan  was 
there  in  a  new,  dazzling  creation, 
with  an  escort  who  would  look  well 
on  the  floor.  When  there  was  a  first 
night  Joan  was  present,  not  incon- 
spicuously. At  parties  she  was  in 
demand — a  demand  she  always  sup- 
plied.   She  sold  herself  to  the  pic- 


ture crowd  before  she  was  even  seri- 
ously considered  for  the  screen. 

This  is  not  a  simple  system,  nor  is 
it  to  be  recommended  to  the  rank 
and  file.  For  the  average  girl,  it 
would  prove  an  avenue  lined  with 
manifold  difficulties.  Instead  of  a 
short  cut,  it  would  be  a  detour.  But 
Joan  got  away  with  it.  She  is  not 
backward. 

Quotation  marks  have  been  notice- 
able, perhaps,  by  their  absence. 
The  answer  is  that  Joan  said  nothing 
that  was  particularly  memorable. 
She  was  feeling  high.  She  was  rea- 
sonably certain  that  she  could  make 
the  grade,  if  given  the  chance. 

"I  can  do  some  real  acting,  if 
they'll  let  me,"  she  said.  "They've 
been  dishing  out  some  grand  and 
glorious  opportunities.  Here's  hop- 
ing the  good  work  goes  on !" 

Joan  hasn't  what  the  technical 
boys  term  beauty,  perhaps,  but  she 
has  almost  everything  else  in  their 
encyclopedia.  Then,  too,  there  is 
her  car,  her  house  in  Beverly,  her 
collection  of  dolls,  and  a  waiting  list 
of  admirers,  swains,  and  boy  friends. 


Remove 
cold  cream 

the  right  way 


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You  Can't  Do  That! 

Continued  from  page  18 


Pretty  wasteful,  to   say  the 
for  having;  the 


fire, 
least. 

The  reason  for  having  the  hus- 
band exhibit  such  "willful"  ten- 
dencies in  "Chicago,"  was  natu- 
rally to  show  that  he  stood  by  his 
wife  in  the  crisis,  and  thus  arouse 
sympathy  for  him.  It  was  a  rather 
illogical  expedient,  and  very  differ- 
ent from  the  stage  play.  In  that, 
the  husband  was  just  a  simp,  and 
Roxie  Hart  was  perfectly  capable  of 
looking  after  herself,  without  any 
assistance  from  anybody.  At  least, 
in  the  stage  play;  both  were  con- 
sistent, and  not  given  to  any  imita- 
tion virtue  and  false  sentiment.  The 
husband  did  not  steal,  and  if  he  had, 
there  was  no  attempt  engaged  in  to 
make  him  sympathetic.  The  play 
was  an  out-and-out  satire  against  the 
cheap  notoriety  often  given  criminals 
through  the  politics  of  office  seekers, 
and  the  columns  of  the  yellow  jour- 
nals. Much  of  this  flavor  was  lost  in 
a  screen  version  that  was  obviously 
and  mechanically  motivated. 

A  year  or  two  ago  Clara  Bow  ap- 
peared in  a  picture  called  "Mantrap." 
She  was  separately  made  love  to  by 
Ernest  Torrence  and  Percy  Mar- 
mont,  both  of  whom  are  sufficiently 
mature  to  be  identified  as  character 
actors.  The  roles  that  they  played 
were  hardly  youngish.  Yet  at  the 
finish,  of  this  picture,  to  be  sure  that 
no  offense  would  be  suffered  by  any 
puritans,  and  perhaps  also  to  pro- 
vide a  happy  ending,  Clara  returned 
to  Torrence,  with  the  evident  inten- 
tion of  being  "his  darling"  for  life. 
She  was  married  to  him,  but  it  was 
a  preposterous  union.  I  can  remem- 
ber the  final  scene,  of  Clara  running 
up  to  him  and  kissing  him,  as  one 
that  aroused  a  pretty  feeble  response. 
The  screen  version,  I  might  men- 
tion, was  in  this  respect  a  complete 
departure  from  the  original  story, 
for  in  that  it  was  shown  that  the  girl 
was  simply  selfish  and  self-seeking 
in  her  purported  affection  for  a  man 
much  older  than  herself.  That  is 
more  intelligent  and  more  logical. 

Regulations  regarding  marriage 
are  sometimes  peculiarly  complicated 
in  different  countries.  Foreign  na- 
tions do  not  understand  our  domes- 
tic problems  at  all,  and  what  we  con- 
sider very  daring  situations  often 
pass  them  by  as  meaningless. 

At  the  same  time,  some  foreign 
rules  are  very  restrictive,  say  particu- 
larly in  a  country  like  Canada.  Here, 
marriage  for  instance  is  hardly 
"companionate."  In  fact,  it  is,  as  it 
should  unquestionably  be,  a  very 
sacred  institution.  The  showing  of 
a  divorce  on  the  screen  is  forbidden. 


A  few  years  ago  "The  Snob"  was 
shown  there.  Jack  Gilbert  and  Nor- 
ma Shearer  were  in  it,  cast  as  man 
and  wife.  Miss  Shearer,  as  the  wife, 
after  a  long  siege  of  vicissitudes, 
found  living  with  her  husband  in- 
tolerable. The  inference,  toward  the 
close  of  the  picture,  was  that  they 
separated.  When  the  picture  was 
screened  in  Canada — though  they  had 
a  child — they  were  portrayed  as  not 
married. 

In  another  film,  spoken  titles  had 
to  be  changed  as  follows : 

American  version :  "I  congratulate 
you  on  your  very  successful  mar- 
riage." 

Canadian  version :  "I  congratulate 
you  on  your  very  successful  affair." 

American  version :  "I  am  her  hus- 
band of  yesterday." 

Canadian  version :  "You  are  her 
sweetheart  of  yesterday." 

Occasionally  marriage,  or  the  sug- 
gestion of  marital  happiness,  is  used 
to  patch  up  the  finish  of  a  picture, 
when  it  has  no  place  in  it.  Most  of 
the  time  this  is  just  catering  to  what 
the  producer  believes  the  public 
wants — a  felicitous  fade-out.  The 
ending  of  "Lovers,"  a-  ludicrous 
adaptation  of  "The  Great  Galeoto," 
was  a  case  in  point,  and  more  re- 
cently "Sadie  Thompson."  In  both, 
the  way  in  which  the  closing  scene 
was  enacted  amounted  to  "dancing 
on' a  dead  man's  grave." 

The  peculiarities  of  censorship 
laws,  internationally,  and  their  effect 
on  production,  are  perhaps  the  most 
interesting  phase  of  restrictions 
placed  on  pictures.  However,  it 
might  be  rather  dreary  to  go  into 
these  extensively.  One  might  note, 
in  passing,  that  in  Turkey  all  films 
are  banned  that  show  men  wearing 
the  fez.  Heaven  help  our  news  reels 
of  a  Shrine  convention !  In  Great 
Britain,  no  picture  can  have  a  scene 
laid  in  a  "lunatic  asylum."  But  after 
all,  is  that  really  necessary?  In  Chile 
all  films  are  divided  into  three 
classes:  (1)  Those  for  "adults  over 
fifteen  years  of  age";  (2)  pictures 
for  those  under  and  over  fifteen  ;  (3) 
pictures  for  those  over  fifteen,  but — 
to  quote  directly — "not  advisable  for 
young  ladies." 

This  great  variety  of  restrictions, 
in  a  world  market,  have  at  times  un- 
doubtedly exerted  a  deterring  influ- 
ence on  pictures,  but  simultaneously 
they  demand  an  increased  ingenuity 
in  discovering  ways  and  meanings  of 
avoiding  conflict  with  them.  It  is 
becoming  more  and  more  difficult, 
naturally,  to  make  pictures  that  will 
please  everywhere. 


Advertising  Section 


107 


There  Are  Styles  in  Stars,  Too 

Continued  from  page  90 

the  flapper  day  at  that.  The  re- 
formers spouted  off,  and  preachers 
made  her  the  subject  of  Sunday  ser- 
mons. She  flourished  as  long  as  she 
held  the  spotlight,  and  when  popu- 
lar interest  in  her  activities  ceased  to 
shock,  she  called  it  a  day  and  set- 
tled back,  to  be  replaced  by  the  "re- 
fined" type. 

Florence  Vidor  and  Corinne  Grif- 
fith were  the  greatest  exponents  of 
this  particular  personality  on  the 
screen.  After  a  couple  of  years  of 
sophistication  and  flapperdom,  "la- 
dies" became  the  mode.  It  is  true 
that  the  reign  of  the  ladies  has  not 
been  so  conspicuous  or  sensational 
as  the  previously  mentioned  styles, 
but  nevertheless  conservatism  was 
not  without  its  day.  It  was  smart  to 
talk  in  soft,  gentle  voices  and  to  re- 
strain one's  humor.  Black  and  dark- 
blues  were  the  popular  shades,  and 
the  up-to-date  girl  tried  to  copy  Flor- 
ence and  Corinne  as  closely  as  pos- 
sible. 

That  gets  us  down  to  the  present 
time — and  whom  do  we  find  hold- 
ing down  the  pedestal  of  the  hour? 

Not  the  ingenue.  Not  the  vamp. 
Not  the  sophisticate.  Not  the  flap- 
per. And  while  "ladies"  are  always 
good,  I  think  it  would  be  safe  to  say 
that  they  have  been  overtaken  by  a 
type  known  as  "the  bachelor  girl." 
Evelyn  Brent,  Greta  Nissen,  and 
Louise  Brooks  portray  her  in  per- 
sonality, though  they  are  widely  di- 
vergent individually.  However,  they 
have  a  mutual  breeziness,  sane  inde- 
pendence, that  is  the  popular  motif  of 
the  hour.  Just  at  present  it  is  smart 
to  look  on  matrimony  as  no  longer 
the  aim  of  every  woman's  life,  and 
careers  are  becoming  more  and  more 
important.  The  woman  who  hasn't 
an  interest  outside  her  home  is  de- 
cidedly quaint  and  old-fashioned.  To 
be  in  the  current  style  one  must  have 
a  mission  as  well  as  a  marcel,  and  a 
couple  of  intelligent  opinions  along 
with  two  brilliant  orbs. 

Next  season  it  may  be  different. 
Perhaps  little  Janet  Gaynor,  Fay 
[Wray,  and  Virginia  Bradford,  who 
are  beginning  to  make  their  influ- 
ence felt  on  the  screen,  will  have  re- 
instated the  ruffles  of  the  old-fash- 
ioned girl.  Or  perhaps  Greta  Garbo 
will  have  led  us  into  a  seductive,  pas- 
sionate hour.  Or  maybe  Marion  Da- 
vies  will  start  us  on  a  wave  of  good 
humor,  laughter,  and  wise  cracks. 

You  never  can  tell.  Fashions  in 
movie  stars  change  as  often  as  styles 
in  dress. 


Why  Folks  Get  Fat 

and  how  they  lose  it 


Science,  some  years  ago, 
found  a  cause  of  excess  fat 
which  is  easy  to  correct. 
Scientists  proved  it  on  thou- 
sands of  test  animals,  then 
on  human  beings.  The 
results  were  reported  in 
medical  journals,  and  the  use 
of  this  method  has  spread 
the  world  over. 

Then  a  great  medical  lab- 
oratory embodied  this  method 
in  Marmola  prescription  tab- 
lets. They  have  now  been 
used  for  20  years — millions 
of  boxes  of  them.  The  use 
has  grown  to  vast  proportions  through  users 
telling  others. 

The  results  are  seen  in  every  circle.  Slender- 
ness  prevails.  Excess  fat  is  much  less  com- 
mon than  it  was.  Now  physicians  everywhere 
are  prescribing  for  obesity  the  chief  factor 
in  Marmola. 


Abnormal  exercise  or  diet 
is  not  required,  not  advised. 
One  simply  takes  four  tablets 
daily  until  weight  comes 
down  to  normal. 

The  prescription  is  not 
secret.  A  book  in  every  box 
gives  the  formula  complete. 
It  explains  the  results  so  you 
may  know  they  are  natural 
and  helpful. 

Learn  how  easy  it  is  to 
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them.  New  beauty,  new  health 
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more  joys  to  men  and  women  than  reduction 
by  Marmola. 

Go  get  a  box  and  watch  effects.  You  will 
be  delighted. 

Marmola  prescription  tablets  are  sold  by 
all  druggists  at  $1.00  a  box.  Any  drug- 
gist who  is  out  will  order  from  his  jobber. 


li/l  A  I?  A  Prescription  Tablets 

JLW  l/jLl\l7l  The  Pleasant  Way  to  Reduce 


,    PARTED  IN  ANGER 

He  was  a  skilled  surgeon,  renowned  for  his  daring  feats  in 
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of  kindness,  doubted  his  love  of  humanity.  So 
they  parted.    Watch  the  man's  struggle 
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The  Altar  of  Innocence 


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Continued  from  page  62 


posas" — that  is  to  say,  looking-  very 
sophisticated  beneath  the  turned- 
down  brim  of  a  Fedora,  and  holding 
a  cigarette. 

The  women  down  in  the  Argentine 
will  possibly  form  clubs  bearing  his 
name.  Greatly  affected  by  his  good 
looks,  they  swamp  the  theaters  where 
his  picture  is  being  shown. 

When  death  scene  after  death 
scene  showed  Barry  in  the  act  of 
passing  on,  his  father  got  so  worried 
that  he  began  to  believe  his  taking 
eyes  more  than  his  mind.  The  cry- 
ing- and  emotion  expressed  up  here 
is  merely  intensified  a  dozen  times  in 
the  Argentine. 

"Mais,  sapristi!  How  painful  it 
is  to  have  to  see  him  always  dying," 
moaned  Mr.  De  Biraben  on  this  topic. 

Barry  has  given  Fox  pictures 
greater  standing  in  South  America 
than  was  ever  theirs  before  he  was 
with  them.  If  Fox  pictures  arrive 
at  Buenos  Aires  without  the  presence 
of  Barry  Norton,  the  citizens  believe 
that  Mr.  Fox  is  depriving  them  of 
the  real  talent  and  art.  They  may  be 
right,  too. 

After  the  showing  of  "Seventh 
Heaven"  down  there,  Mr.  De  Bira- 
ben's  letters  were  full  of  praise  for 
Janet  Gaynor  and  Charlie  Farrell. 

"I  should  like  to  see  Barry  play 
opposite  the  little  Gaynor,  the  mar- 


velous child,"  was  one  of  his  con- 
fidences. The  news  that  Barry  will 
be  at  least  near  La  Gaynor  in  "The 
Four  Devils"  has  caused  a  wave  of 
enthusiasm  to  spread  over  the  Ar- 
gentine beforehand.  Probably  the 
Colon  Opera  House  will  have  to  be 
hired,  in  order  to  accommodate  those 
who  will  wish  to  see  the  film. 

The  De  Biraben  household  in  Bel- 
grano  is  constantly  a  shrine  for  all 
the  Argentine  movie  reporters  who 
wish  to  learn  past  and  present  details 
of  Barry  Norton's  career. 

Ortiz  Nestor,  a  young  reporter  and 
answer  man  for  the  Mnndo-  Argen- 
tina, has  become  a  friend  of  the 
family.  He  declares  that  he  gets 
more  questions,  and  gives  out  more 
information  about  Barry  than  any 
other  player. 

When  not  working,  Barry  gets  up 
about  lunch  time — one  or  two  o'clock 
— and  goes  to  bed  the  next  morning 
around  breakfast.  But  this  is  only 
occasionally,  for  he  is  mostly  always 
in  the  midst  of  a  picture.  And,  re- 
member, he  is  a  sophisticate  of  the 
first  water,  "a  man  of  the  world." 

Winfield  Sheehan,  general  manager 
of  Fox,  told  me  that  Barry  was  one 
of  their  best  bets. 

"Why,  the  Argentine  knew  that 
from  the  beginning ,"  was  all  I  said. 


There's  No  Place  Like  Home 


Continued  fr 

windows    and   arch,    of  cherry-red 
velvet. 

Back  of  the  dining  room  is  a 
bright,  cheery  breakfast  room  in  pale 
yellow  and  green.  The  furniture  and 
walls  are  gayly  painted,  the  little 
French  chandelier  is  an  intricate  mass 
of  gold  vines  and  porcelain  birds; 
even  the  china  in  the  green  chest  is 
in  the  same  frivolous  manner. 

Beyond  are  the  pantries  and 
kitchen,  painted  yellow  and  yellow 
tiled,  leading,  in  turn,  to  additional 
servants'  rooms. 

Returning  to  the  entrance  hall,  we 
ascend  the  carpeted  staircase  that  en- 
circles the  hall.  At  intervals  along 
its  ascent,  stained-glass  windows 
break  the  round  hall.  At  the  top  is 
a  short  gallery,  on  the  floor  of  which 
are  several  small  prayer  rugs,  which 
were  Mr.  Webb's  mother's. 

"It  has  been  marvelous  luck  for 
me,"  Esther  says,  "that  I  could  have 
so  many  of  her  things.  She  had  a 
beautiful  home,  filled  with  charming 
treasures,  and  a  great  many  of  them 
are  now  here.  I  like  it  for  Mr.  Webb, 
too.    It  is  nice  for  him  to  have  the 


om  page  31 

things  about  that  were  familiar  to 
his  boyhood." 

To  the  left,  at  the  end  of  the  gal- 
lery, and  above  the  living  room,  is 
Esther's  bedroom.  This  long  room 
is  French,  and  distractingly  feminine. 
The  color  scheme  is  Esther's  favorite, 
orchid  and  pale  green.  At  the  French 
windows  are  voluminous  taffeta  cur- 
tains of  orchid  and  green.  The  bed 
covering  is  green  quilted  taffeta.  Un- 
der this,  the  comforter  is  a  heavenly, 
solid  mass  of  alternating  orchid-and- 
green-satin  roses.  The  satin-wool 
blankets  are  pale  green,  and  the  sheets 
are  orchid.  Slipper  chairs,  cushions, 
chaise  longnes,  carpet,  and  walls  are 
in  the  same  colors..  The  furniture 
proper  is  in  satinwood  and  rosewood, 
combined  in  inlays.  The  set  was 
copied  for  Esther  from  a  famous 
French  original.  On  the  dressers  are 
fascinating  arrays  of  perfume  lamps, 
and  perfume  bottles  of  blown  glass, 
in  the  form  of  flowers. 

In  the  wall,  to  the  right  of  the 
entrance,  a  door  opens  into  a  green- 
and-orchid    dressing    room,  which 


Advertising  Section 


109 


gives  onto  a  green-and-orchid  bath- 
room. 

At  the  far  end  of  the  bedroom,  a 
curtained  door  leads  into  Mr.  Webb's 
study. 

The  gallery  at  the  head  of  the 
stairs,  leads,  on  the  right,  along  a 
hallway.  Off  this,  a  door  opens  onto 
a  semicircular  veranda  above  the  sun 
room.  This  overlooks  the  garden  and 
swimming  pool,  is  covered  by  an 
awning,  and  furnished  in  upholstered 
wicker,  with  a  bright,  straw  rug  on 
the  floor. 

Opening  off  the  hall,  on  the  right, 
is  the  room  which  affords  Esther  and 
her  husband  keen,  childish  pleasure  in 
displaying  to  guests.  It  is  Chinese, 
from  the  lacquered  twin  beds  and 
dressers,  to  the  last  tiny  perfume  bot- 
tle. The  carpet  is  black,  the  walls 
are  papered  in  gilt  buckram,  the 
woodwork  is  black.  The  lamp,  hung 
from  the  ceiling,  is  pagoda  shaped, 
of  glazed  Chinese  prints.  The  win- 
dow curtains  are  tomato-red  on  the 


outside,  and  inside  are  black  moire. 
The  covers  on  the  beds  are  tomato- 
red  moire.  The  black-and-red  dress- 
ing room  is  just  as  complete  in  Chi- 
nese detail,  the  walls  and  carpet  be- 
ing the  same  as  in  the  bedroom.  The 
bathroom,  however,  is  American,  and 
modern  in  its  smart  tiling. 

To  the  left,  at  the  end  of  the  hall, 
is  the  bedroom,  dressing  room,  and 
bathroom  of  Mr.  Webb's  two  little 
girls.  Here,  Esther  chose  simple, 
English  furniture.  The  twin  beds, 
the  low  dressers  and  chairs,  the  table 
and  bookcases  are  plain  in  line.  There 
are  roomy  chests  for  dolls  and  toys. 
At  the  windows,  chintz  curtains  color 
the  sunlight. 

It  all  goes  to  show  you,  that,  with 
a  degree  of  skill  in  the  planning  of 
it.  a  house  may  be  heterogeneous  and 
charming  at  the  same  time.  But  it 
requires  an  instinctive  taste,  like  that 
apparent  in  the  Webb  home,  to  in- 
sure a  successful  result. 


"Gimme  a  Lift?'" 

Continued  from  page  83 


studios,  and  that  she  was  just  the 
type  they  needed  in  the  next  picture. 
Would  she  let  him  drive  her  over  to 
the  studio  and  introduce  her  to  the 
casting  director?  Would  she!  But 
the  bland  young  man  drove  nowhere 
near  any  studio,  and  finally  the  in- 
dignant girl  was  forced  to  get  out 
and  walk  home. 

An  amusing  story  is  told  of  an  ac- 
tor who  picked  up  a  girl  in  his  car. 
A  traffic  officer  stopped  him  for 
speeding.  "But  I  was  hurrying  to 
get  the  girl  to  the  hospital,"  the 
driver  blandly  explained.  The  po- 
liceman took  a  searching  look  at  the 
girl — who  was  trying  to  hide  her 
face — and  explained,  "My  wife  !" 
Ever  after,  it  is  said,  this  particular 
sheik  examined  every  girl's  hand  for 
a  wedding  or  engagement  ring  before 
giving  her  a  lift. 

The  police  are  always  issuing 
warnings  about  the  danger  of  giving 
lifts  to  strangers,  but  it  is  only  after 
dark,  or  on  lonely  roads,  that  the 
average  motorist  fears  to  pick  up  a 
pedestrian.  The  free  riders,  being 
aware  of  this  apprehension,  seldom 
ask  for  a  lift  after  dark.  Reports 
of  strangers  who  have  blackjacked 
and  robbed  motorists  are  often  heard. 
Recently  an  escaping  murderer 
robbed  a  motorist  and  stole  his  car 
in  the  heart  of  Hollywood. 

Some  motorists  never  stop  for  pe- 
destrians asking  a  lift,  and  wish  that 
the  whole  tribe  of  "ride  bummers" 
would  quit  pestering  them.  But 
there  are  some  people  whom  no 
driver  can  turn  down.   As  the  writer 


was  driving  studioward  one  day,  an 
old  lady,  dressed  in  the  quaint  fash- 
ion of  years  ago,  hobbled  out  into 
the  street,  frantically  signaling  for  a 
ride.  She  climbed  in,  relief  and  sat- 
isfaction expressed  in  her  beaming 
smile.  She  immediately  began  to 
talk  in  the  unbroken  stream  of  the 
old  person  who  is  starved  for  com- 
panionship. She  was  on  her  way  to 
the  studio,  she  said.  They  were 
making  a  sequence  in  an  old  country 
town,  and  she  was  going  to  be  in  the 
scenes.  An  assistant  director,  a 
friend,  had  summoned  her  for  a 
day's  work  as  an  extra.  She  was  to 
get  five  dollars  for  it.  Wasn't  that 
wonderful  ?  It  was  so  much  better 
than  sitting  around  her  daughter's 
house  with  nothing  to  do.  Every 
once  in  a  while  she  would  get  simi- 
lar jobs  in  the  studios,  and  she  al- 
ways got  five  dollars.  That  was  a 
lot  of  money,  she  avowed.  It  made 
her  feel  as  if  she  were  still  of  -some 
use  in  the  world.  Yes,  she  liked  rid- 
ing in  a  private  car.  It  seemed  a 
shame  to  spend  some  of  that  five 
dollars  for  bus  fare,  and  so  she  had 
decided  to  follow  the  example  of  the 
young  folks  she  had  seen  asking  free 
rides.  It  was  more  than  that,  though. 
She  preferred  riding  in  a  private  car, 
because  the  people  in  the  bus  didn't 
seem  to  want  to  talk. 

Only  the  traffic  officer's  signal  gets 
more  attention  than  hers.  And  so, 
of  all  the  fishermen  who  angle  for 
rides  along  Hollywood's  boulevards, 
only  she  and  her  kind  never  miss  a 
bite! 


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Money,  But  No  Airs 

Continued  from  page  74 


personality,  who  is  two,  or  five,  or 
a  dozen  things  at  once. 

What  divers  types  of  people  you 
meet  there !  I  recall  one  candle-lit 
evening,  Norma  Talmadge,  sheathed 
in  golden  cloth,  on  a  low  'bench,  looked 
with  enrapt  attention  at  some  one 
who  interested  her — bevies  of  lovely 
girls — a  cauliflower-eared  "comer," 
shifting  nervously  on  a  high-backed 
Chippendale  armchair,  sensing  him- 
self in  a  strange  and  "elegant"  en- 
vironment, and  not  knowing  just  ex- 
actly what  to  do  about  it.  His 
frightened  eyes  seeking  Jack,  Estelle 
slips  into  a  seat  beside  the  boy,  and  in 
a  twinkling  puts  him  at  ease,  grinning 
happily.  Perhaps  she  talked  his  lingo. 
Goodness  knows  what  she  said ! 
Thin-nosed  Pasadena  ladies,  with 
lorgnettes,  their  smiling  eyes  follow- 
ing Estelle — executives  relaxed  over 
the  card  tables. 

Their  art  of  hospitality  is  quite 
simple:  they  enjoy  themselves.  That's 
contrary  to  etiquette,  but  it  assures 
the  guests  a  good  time.  Jack,  the 
fighter,  at  home  becomes  a  big,  hum- 
ble boy,  who  follows  her  around  with 
cushions  and  bowls  of  broth. 

"I  so  want  to  make  good  as  Estelle 
Taylor,  but  sometimes  I  wonder  if 
I  did  wrong  in  objecting  when  they 
tried  to  bill  me  as  'Mrs.  Jack  Demp- 
sey,' "'  she  mused  one  day.  "I'd 
throw  the  whole  thing,  rather  than 
hurt  Jack.  And,  though  he  never 
says  anything,  he  beams  over  the  no- 
tices that  call  me  'Mrs.  Dempsey.' " 

Estelle  has  gone  through  her  fan 
mail  to  cull  out  any  uncomplimentary 
references  to  Jack,  and  she  has  found 
in  wastebaskets,  comments  from  his 
mail,  which  he  had  meant  to  destroy 
lest  they  hurt  her.  As  long  as  they 
continue  thus  each  to  shield  the  other, 
their  marriage  is  safe. 

"Jack  is  boss.  It's  pretty  good  to 
sit  back,  and  let  somebody  big  and 
protecting,  like  my  boy,  decide  things. 
But  the  times  that  have  meant  most 
to  me  have  been  those  when  his  big 
strength  gave  way,  and  he  needed  me. 
As  when  he  said,  'Honey,  I  forgot  to 
duck!'  I  feel  so  old,  then,  and  so 


strong.  Precious  few  though  they've 
been,  they  are  my  hours." 

She  "takes  herself  off"  with  glori- 
ous mimicry.  Jack,  with  his  custom- 
ary prodigality,  having  told  an  in- 
terior decorator  to  get  Mrs.  Dempsey 
whatever  she  wanted,  many  days  were 
spent  in  making  selections.  Estelle 
is  exacting,  though  pleasant. 

Besides  her  coupe,  and  the  luxuri- 
ous town  car,  there's  Jack's  roadster 
in  which  they  whiz  to  Tiajuana,  with 
a  grinning  motor  cop  to  clear  the  way. 

Once,  as  they  walked  down  the  lane 
of  light  at  a  glamorous  premiere,  with 
another  actress,  a  newsboy  presented 
a  handful  of  wilted  violets,  asking 
which  was  Mrs.  Dempsey.  "She  is," 
Estelle  pointed  to  the  other,  "I'm 
Pola  Negri."  The  boy  gave  her  a 
look  of  disgust,  and  got  all  red  in  the 
face  as  he  gave  the  violets  to  the 
other  woman. 

Crowds  of  kids  materialize,  appar- 
ently from  nowhere,  the  minute  Jack 
appears,  surrounding  him,  climbing 
all  over  him,  grinning  at  Estelle,  and 
including  her  in  their  adulation,  be- 
cause they've  learned  she  hasn't  any 
airs. 

At  times,  she  flaunts  a  surprising 
inferiority  complex.  A  particular 
friend  is  the  wife  of  a  famous  di- 
rector. Estelle's  name  had  been  men- 
tioned for  his  new  picture.  She  hesi- 
tated to  ask  his  wife  to  luncheon. 
"She  might  think  I  was  trying  to  play 
politics,"  was  her  quandary.  "I 
wouldn't  care  what  others  think — let 
them  yap — but  I  wouldn't  want  her 
to  get  notions."  As  a  result,  she  hurt 
her  friend's  feelings  by  ignoring  her, 
and  was  in  a  worse  panic  than  ever, 
airs. 

To  some  who  don't  know  them, 
Jack  may  be  merely  a  dethroned 
champ,  and  Estelle  "one  of  those 
movie  queens."  To  Hollywood  they 
are  Estelle  and  Jack,  one  of  the  col- 
ony's most  popular  couples,  loved  for 
their  geniality,  their  humor,  and  their 
sincerity.  And  if  you  think  the  home 
town  isn't  rooting  for  Estelle,  and 
expecting  big  achievements,  drop  in 
some  day. 


Oyez !      Oyez ! 

Continued  from  page  20 


Barrymore  is  so  patently  and  thor- 
oughly of  the  theater.  By  tradition, 
training,  and  temperament  he  is  un- 
questionably the  actor.  One  won- 
ders a  little  at  his  cheerful  acceptance 
of  the  roles  he  receives  in  pictures, 
and  at  his  amusing  and  contented 
patter  about  happy  endings  and  pop- 
ular types. 


One  grieves  a  little  for  the  artist 
of  "Dr.  Jekyll  and  Mr.  Hyde"  and 
"The  Sea  Beast."  Is  it  the  Califor- 
nia sunshine,  or  is  it  some  insidious, 
deadening  element  in  the  picture  busi- 
ness, that  lulls  such  men  to  lethargy? 

Let  us  hope  John  Barrymore  never 
discovers  a  "popular  type"  to  play 
upon  the  screen ! 


Advertising  Section 


111 


Information,  Please 

Continued  from  page  102 


ies.  Batouche,  in  "The  Garden  of  Allah," 
was  played  by  Gerald  Fielding,  and  what 
a  hit  that  young  man  made  in  one  pic- 
ture! He  is  English,  born  in  Darjeeling, 
British  India,  July  6,  1906.  He  is  not  quite 
six  feet  and  is  a  brunette.  He  was  edu- 
cated at  Stonehurst  College,  and  at  Cam- 
bridge, and  his  family  lives  at  Chateau 
Fielding,  Nice,  France.  By  the  way,  Mo- 
dest Stein,  our  cover  artist,  is  a  man.  Pro- 
nounced Mode — with  long  e — est. 

M.  E.  G. — Despite  your  admiration  for 
Joseph  Schildkraut,  I'm  afraid  he  would 
feel  slightly  insulted  at  your  prediction 
that  some  day  he  will  be  famous.  He 
and  his  father,  Rudolph  Schildkraut,  were 
important  actors  on  the  stage,  before  they 
played  in  movies  at  all.  They  are  both 
Hungarians.  Rudolph  was  a  star  in  the 
Yiddish  Theater  in  New  York,  before 
playing  in  English.  Joseph  is  about  thirty 
and  is  married  to  Elise  Bartlett.  He 
has  very  dark  hair  and  eyes.  His  first 
film  role  was  in  D.  W.  Griffith's  "Orphans 
of  the  Storm,"  and  he  is  now  under  con- 
tract to  DeMille.  Between  pictures  he 
produces  play  at  the  Hollywood  Play- 
house ;  either  address  would  reach  him. 
•  Bert  Lytell  and  Anita  Stewart  were  the 
principals  in  "Never  the  Twain  Shall 
Meet" ;  Edmund  Burns  was  not  in  that 
picture. 

Jimmy  and  Jake. — So  you  think  Fanny 
the  Fan  is  an  old  cat,  for  not  liking 
Mary  Brian?  Well,  there's  no  account- 
ing for  tastes,  as  the  old  lady  said  when 
she  kissed  the  cow.  Mary  Brian  was  born 
in  Corsicana,  Texas,  February  17,  1908, 
and  her  real  name  is  Mary  Louise  Dant- 
zler.  Her  more  important  films  include : 
"Peter  Pan,"  "The  Little  French  Girl," 
"The  Street  of  Forgotten  Men,"  "Brown 
of  Harvard,"  "Beau  Geste,"  "The  Prince 
of  Tempters,"  "Paris  at  Midnight," 
"Knock-out  Riley,"  "Man  Power," 
"Shanghai  Bound."  I'm  afraid  Mary  could 
never  be  a  Janet  Gaynor.  She's  prettier 
than  Janet,  but  her  face  is  less  expressive, 
and  she  hasn't  that  tear-wringing  quality 
which  Janet  has. 

W.  P.  A. — il  should  be  just  as  sorry  as 
you,  to  see  Leatrice  Joy  leave  the  screen, 
but  I  assure  you  she  has  no  intention  of 
doing  so.  Her  new  film  is  "The  Bellamy 
Trial."  She  has  been  in  pictures  about 
eight  years.  Her  photograph  was  on  the 
cover  of  Picture  Play  for  June,  1927. 

Fritz  the  Fan. — So  you  think  that's  an 
easy  one — asking  me  the  age  of  Belle 
Bennett?  Not  that  she's  old,  but  whenever 
an  actress  gets  out  of  her  twenties,  she 
usually  stops  giving  her  age.  Sometimes 
she  stops  even  before  then.  Bessie  Love 
is  still  in  her  twenties,  but  I  don't  know 
her  exact  age.  Alice  Joyce  was  born  in 
Kansas  City,  Missouri;  Olive  Borden, 
Norfolk,  Virginia;  Louise  Fazenda,  La- 
fayette, Indiana;  Eleanor  Boardman, 
Philadelphia;  James  Murray,  New  York 
City;  Aileen  Pringle,  San  Francisco; 
Louise  Brooks,  Wichita,  Kansas;  Evelyn 
Brent,  Tampa,  Florida.  Myrna  Loy  was 
born  in  Helena,  Montana,  and  Fay  Wray 
comes  from  Los  Angeles. 

Redhead. — You  have  lots  of  imitators ! 
Many  girls  on  the  screen  would  so  like  to 
had  red  hair;  the}-  go  out  and  acquire  it 
John  Bowers  played  opposite  Madge  Bel- 
lamy in  "Lorna  Doone."  J.  Warren  Ker- 
rigan has  completely  retired  from  movies, 
but  "Hollywood,  California,"  will  reach 
him.    Yes,  Richard  Barthelmess  married 


Jessica  Sargeant  last  April  21st.  No,  I 
really  don't  know  of  any  stars  born  on 
June  6th.  Gilbert  Roland  is  twenty-two  ; 
Johnnie  Walker,  Norma  Talmadge,  Alice 
Joyce,  Eve  Southern  do  not  give  their 
ages.  Charlie  Farrell  was  born  in  Onset 
Bay,  Massachusetts.  He  is  five  feet  ten. 
Johnnie  Walker  has  been  working  most 
of  the  time  since  "Old  Ironsides,"  but 
usually  in  quickies,  which  are  not  shown 
at  the  bigger  theaters.  "Matinee  Idols" 
for  Columbia,  is  his  latest  release,  at  this 
writing.  Ricardo  Cortez  went  to  Europe, 
and  while  there  made  "The  Orchid 
Dancer."    He  returned  recently. 

Estelle. — Paul  Ellis  seems  to  flit  in  and 
out  of  pictures.  He  is  five  feet  eleven, 
and  of  course  very  dark  in  complexion. 
He  was  born  in  Buenos  Aires,  November 
6,  1896,  and  first  appeared  on  the  screen- 
horizon  in  1924,  when  he  played  the  lead 
in  a  Metro  film,  "The  Bandelero,"  under 
his  real  name,  Manuel  Granada.  He  also 
played  in  "The  Dancer  of  Paris,"  "Pretty 
Ladies,"  and,  "Bitter  Apples." 

Mike. — I'm  always  so  troubled  when 
fans  ask  how  they  can  break  into  the 
movies !  It  can't  be  done !  The  Central 
Casting  Agency  on  Hollywood  Boulevard 
supplies  all  the  extras  to  the  studios,  but 
they  no  longer  register  newcomers.  Flor- 
ence Vidor  is  the  divorced  wife  of  King 
Vidor.  Reginald  Denny  was  formerly 
married  to  Irene  Haisman,  Roy  d'Arcy 
to  Laura  Rhinock  Duffy.  Roy  was  born 
February  10,  1894.  Norman  Kerry  doesn't 
give  his  age.  He  was  married  years  ago, 
and  has  a  daughter,  but  I  don't  know  what 
his  wife's  name  was. 

Don  Catarino. — I  can  see  the  kind  of 
young  man  you  are !  Once  you  like  a  guy 
you  keep  on  liking  him.  Elmo  Lincoln 
and  William  Duncan  retired  from  the 
screen  years  ago,  and  if  I  were  to  be 
shot  for  not  telling,  I  still  couldn't  say 
where  they  are  now.  Eddie  Polo,  at  last 
accounts  was  taking  a  trip  around  the 
world  and  had  no  intention  of  returning 
to  the  screen.  Perhaps  Universal  would 
send  you  his  photograph.  George  Lewis 
was  born  in  Mexico  City  twenty-odd  years 
ago;  he  doesn't  give  his  exact  age. 

Maria  of  Medford. — Is  that  a  good  Boy 
Scout  deed,  to  take  a  lot  off  your  mind, 
and  put  it  on  mine?  Such  hot  weather, 
too !  Thanks  for  the  cheers.  I  do  love 
cheers,  especially  on  a  rainy  day.  Ramon 
Novarro's  family  is  Spanish,  on  his  fa- 
ther's side — and,  I  think,  French  on  his 
mother's.  No  Italian  blood,  as  far  as  I 
know.  Yes,  Ted  MacNamara  was  killed 
in  an  accident  last  February.  I've  a  vague 
idea  I  heard  that  Dolores  del  Rio  and 
Ramon  Novarro  were  distantly  related, 
but  I'm  not  sure.  Most  modern  picture 
theaters  have  at  least  two  projection  ma- 
chines, in  case  one  gets  out  of  order.  I'll 
add  your  Unique  Fan  Club  to  my  list, 
but  you  don't  tell  me  what  stars  your  club 
honors.  Yes,  I  was  quite  interested  in  the 
information  that  James  Hall's  Paramount 
contract  forbids  fan  clubs  in  his  honor. 
I  wonder  why? 

Joe. — I  enjoyed  your  interesting  letter. 
It  must  have  been  great  fun  for  you  to 
watch  the  shooting  of  "The  Volga  Boat- 
man." As  to  why  some  people  "knock" 
actresses  and  actors,  I  suppose  that's  a 
hangover  of  the  Victorian  spirit,  and  also 
of  the  days  when  the  stage  was  looked 
down  upon,  as  being  very  wicked. 

Continued  on  page  118 


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Just  What  Is  Acting,  Anyhow? 


Continued  from  page  52 


step  ahead  a  little  slower.  He  lacks 
something  of  the  hero's  air,  which 
Buddy  has  to  an  exceptional  degree. 
He  is  a  two-fisted  type,  with  no  non- 
sense in  his  ideas  and  his  personality. 

Nancy  Carroll,  who  came  into 
popularity  with  "Abie's  Irish  Rose," 
is  a  girl  who  has  an  unusual  per- 
sonality, which  pleases  fans  and 
critics  alike.  Nancy  looks  like  all 
the  wide-eyed  baby-dolls  in  the  world, 
but,  unlike  most  of  them,  she  is  a 
vital  person,  and  Paramount  is  plan- 
ning far  ahead  for  her. 

Then  there  is  Sue  Carol,  who  has 
swept  like  a  fire  through  Hollywood 
and  beyond.  Much  has  been  said 
about  Sue's  wealth,  her  social  position 
and  her  education,  but  she  has  some- 
thing else  that  is  twice  as  important. 
I  saw  her  during  the  filming  of  "The 
Air  Circus,"  and  thought  her  the 
most  vital  girl  I  had  ever  seen.  With 
hair  which  had  been  cut  wind-blown, 
but  was  blown  by  the  wind  into  a 
standing-on-edge  mass,  with  eyes  that 
were  alive  with  enthusiasm,  feet 
which  were  always  doing  something, 
and  a  smile  which  broke  out  in  all 
sorts  of  unexpected  places,  Sue  radi- 
ated everything  which  was  vital,  in- 
teresting and  charming  in  youth.  She 
generates  energy  like  a 'dynamo. 

There  is  one  personality  on  the 
screen,  who  is  to  me  the  most  fas- 
cinating, but  who  repeatedly  has  had 
bad  breaks.  Leatrice  Joy  has  gone 
through  various  stages  of  vitality  and 
negativity,  and  from  it  all  she  has 
emerged  as  vivid  as  a  violet  ray. 
She  has  been  able  to  project  her 
charm  and  personality  in  a  series  of 
undistinguished  pictures.  Her  fans 
have  remained  amazingly  loyal  to  her, 
and  have  shouted  for  better  pictures 
for  Leatrice.  If  she  is  the  success 
in  "The  Bellamy  Trial"  we  expect, 
she  will  step  into  popularity  which 
has  been  waiting  for  her  for  a  long 
time.  A  magnetic,  vital  personality, 
Leatrice ! 

It  is  a  fast  age  we're  moving  in. 
The  tempo  of  living  is  so  rapid  that 
by  the  time  night  comes  our  own 
dynamos  have  run  down.  The  vau- 
deville houses  used  to  be  crowded 
with  tired  business  men,  and  their 
feminine  counterparts.  Now  they  go 
to  the  movies  to  see  girls  like  Clara 
Bow.  to  feel  the  thrill  of  their  per- 
sonalities— to  get  a  sort  of  mental 
pick-me-up. 

Lillian  Gish,  splendid  actress 
though  she  is  acknowledged  to  be, 
does  not  prove  the  drawing  card  that 
Clara  and  Greta  and  others  do.  For 
Lillian  is  fragile,  tired  and  exhausted ; 
she  lets  you  down  mentally.  A  quiv- 
ering smile,  a  flutter  of  hands,  a 


tremble  of  lips,  may  be  art  to  the 
critics,  but  a  stab  between  the  eyes 
and  a  throb  to  the  pulse  are  more 
in  demand  by  the  public. 

Mary  Philbin  is  undeniably  a  good 
actress,  and  yet  Mary  hasn't  the 
widespread  popularity  of  others,  be- 
cause her  energy  never  seems  to  be 
centralized.  Now  and  then  a  director 
has  seemed  to  magnetize  her,  and  the 
result  has  been  notable.  Fay  Wray 
still  seems  to  be  half-positive. 

There  are  many  players  who  are 
positive,  dynamic  personalities  when 
they  are  playing  in  that  type  of  pic- 
ture, but  who  drop  down  otherwise. 
Joan  Crawford,  given  an  interesting 
role,  can  sweep  you  like  flame,  but 
she  is  seldom  able  to  rise  above  an 
ordinary  type. 

Ruth  Taylor  came  from  Sennett's, 
with  all  the  famed  Sennett  training, 
to  play  Lorelei  in  "Gentlemen  Prefer 
Blondes."  On  the  strength  of  her 
performance,  she  was  given  a  con- 
tract. Yet,  although  Ruth  was  at- 
tractive in  the  role,  little  Alice  White, 
as  Dorothy,  walked  away  with  what 
honors  the  picture  afforded.  Ruth 
had  had  twice  the  training,  but  Alice 
clicked  like  castanets. 

Strangely,  in  spite  of  ability,  an 
interesting  personality  and  splendid 
pictures,  Dolores  del  Rio  has  never 
swept  the  fans  off  their  feet.  They 
give  her  admiration,  and  she  is  popu- 
lar, but  warm,  personal,  glowing  in- 
terest in  her  seems  to  be  lacking. 

Madge  Bellamy,  after  years  of 
half-positive  performances,  has  be- 
come amazingly  popular,  since  she 
set  about  to  change  her  personality 
and  become  vital. 

Charles  Farrell  is  dynamically  pop- 
ular with  the  fans,  because  of  his 
eager,  boyish  personality,  and  now 
Barry  Norton,  also  with  Fox,  has 
seemed  to  catch  hold  also.  He  plays 
with  Janet  Gaynor  in  "The  Four 
Devils."  Nick  Stuart  is  another 
comparative  newcomer  who  "arrived" 
quickly  by  means  of  an  irresistible 
personality. 

It  all  seems  to  be  a  matter  of 
chemistry.  The  positive  currents 
magnetize  everything  about  them  and 
generate  power ;  the  negative  currents 
sink  into  nothingness.  Given  a  posi- 
tive personality,  plus  an  opportunity 
to  reveal  it,  and  stardom  seems  to 
result.  Stardom  and  bulky  fan  mail ! 
Jack  Gilbert's  idea  does  work  out. 
Just  go  through  the  card  index  of 
your  favorite  players,  and  do  a  little 
figuring. 

Two  plus  two  equals  four,  even 
though  everything  else  in  this  world 
may  be  subject  to  change. 


Advertising  Section  113 


CLASSIFIED  ADVERTISING 


Agents  and  Help  Wanted 

Male  Help — Instructions 

Art,  Books,  etc. 

AGENTS — 90c.  an  hour  to  advertise  our 
goods  and  distribute  Free  samples  to  con- 
sumers. Write  quick  for  territory  and  par- 
ticulars. American  Products  Co.,  1951, 
Monmouth,  Cincinnati,  0. 

MEN  QUALIFY  FOR  RAILWAY  POSTAL 
clerk,  internal  revenue,  mail  carrier  and  out- 
door positions  ;  steady  work,  particulars  free. 
Write  Mokane  Inst.,  Dept.  B-16,  Denver,  Colo. 

ART  PUBLICATIONS;  Books,  Magazines, 
in  French,  Spanish,  English.  Photo  novel- 
ties, samples,  lists,  etc.,  20  cents  stamps. 
Villaverde  Co.,  Dept.  214,  Box  1329,  Havana, 
Cuba. 

EARN  $120  to  $250  monthly,  expenses 
paid  as  railway  traffic  inspector ;  we  assist 
you  to  a  position  after  completion  of  three 
months'  spare  time  home  study  course  or 
refund  your  money.  Write  for  free  book- 
let CM-28,  Standard  Business  Training 
Inst.,  Buffalo,  N.  Y. 

AMERICA'S  GREATEST  TAILORING 
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Chicago. 

Detectives  Wanted 

MEN — Experience  unnecessary  ;  travel ; 
make  secret  investigations  ;  reports  ;  salaries  ; 
expenses.  Write  American  Foreign  Detective 
Institute,  114,   St.  Louis,  Mo. 

WE  START  YOU  WITHOUT  A  DOLLAR, 
Soaps,  Extracts,  Perfumes,  Toilet  Goods. 
Experience  unnecessary.  Carnation  Co.,  Dept. 
2860,  St.  Louis,  Mo. 

AGENTS,  make  your  own  products.  Toilet 
articles,  Household  Specialties,  etc.  500% 
profit.  Valuable  booklet  free.  National  Sci- 
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Patents  and  Lawyers 

PATENTS.  Send  sketch  or  model  for  pre- 
liminary examination.  Booklet  free.  Highest 
references.  Best  results.  Promptness  as- 
sured. Watson  E.  Coleman,  Patent  Lawyer, 
724  Ninth  St.,  Washington,  D.  C. 

BECOME  A  SEA  CAPTAIN  OR  MARINE 
Engineer.  Write  Cook's  Nautical  Informa- 
tion Bureau,  Box  256,  San  Pedro,  California. 

DETECTIVES  EARN  BIG  MONEY.  Great 
demand.  Excellent  opportunity.  Experience 
unnecessary.    Particulars  free.    Write,  George 

Wnfnpr    ^IQft  Rrnfldwnv    T*Jpw  Vorlc 

MEN  18-35.  $1900  year.  Railway  Postal 
Clerks.  Steady.  Sample  coaching  Free. 
Write  immediately.  Franklin  Institute, 
Dept.  F2,  Rochester,  N.  Y. 

Salesmen 

THE  GREATEST  OPPORTUNITY  IN 
Selling  Field.  Here  are  simple  facts :  A 
Tailoring  Line.  All  Wool  Goods.  Made- 
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est book  of  selling  helps  ever  put  out.  Write 
at  once  to  Dept.  513,  Madison  Brothers,  131 
South  Peoria,  Chicago. 

MEN,  enter  U.  S.  Mail  Service;  $142-$225 
month  ;  steady ;  paid  vacations  ;  experience 
unnecessary.  For  details,  write  Norton  Inst., 
1545  Temple  Court,  Denver,  Colo. 

LET  MR.  OZMENT  HELP  YOU  GET  A 
Government  Job,  $95-$250  Month.  Write 
Ozment  Inst.,  308,  St.  Louis,  Mo. 

Salesmen  Wanted 

INVENTIONS  COMMERCIALIZED.  Pat- 
ented or  unpatented.  Write  Adam  Fisher 
Mfg.  Co.,  223    Enright,  St.  Louis,  Mo. 

MEN— BIG  PAY.  SOUTH  AMERICAN 
work.  Companies  pay*  fare,  expenses.  South 
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$10  TO  $20  DAILY  easily  earned  selling 
shoes  for  the  largest  direct  to  wearer  con- 
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some  good  protected  territory  still  open. 
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PIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIM 


Sell  Us  Your 
Spare 

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I 


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79-89  Seventh  Ave.,  New  York,  N.  Y. 

Please  show  me  how  I  can  profitably  sell  you  my  spare 
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NAME  

STREET   

CITY   STATE 


Advertising  Section 

Over  the  Teacups 

Continued  from  page  47 


114 


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Fanny  cut  in.  "She  is  playing  in 
Marion's  support,  in  'Her  Card- 
board Lover.'  I  am  glad  she  is 
going  to  work  in  pictures  again,  and 
I  am  sure  that  she  will  get  along 
beautifully  in  Marion's  company. 
Nobody  could  possibly  avoid  develop- 
ing camaraderie,  and  a  sense  of 
humor,  when  working  around 
Marion.  If  Jetta  is  a  good  girl,  and 
doesn't  talk  back  to  the  director,  she 
will  probably  get  lots  of  breaks  from 
Metro-Goldwyn.  And,  however  dif- 
ficult she  may  be  for  directors,  you'll 
have  to  admit  she  is  a  welcome  sight 
to  audiences. 

"Jetta  Goudal  is  really  very  young 
but,  because  of  the  many  roles  she 
played,  she  always  seems  like  one  of 
the  old  guard.  And  nowadays  any 
girl  over  seventeen  has  to  grab  what 
roles  she  can,  because  of  the  mere 
children  who  are  leaping  on  toward 
stardom.  Even  Lois  Moran  is  likely 
to  be  relegated  to  the  older  set,  now 
that  infants  like  Loretta  Young — 
she'll  be  sixteen  next  January — are 
developing  into  troupers. 

"Lois  is  going  to  costar  with  Ed- 
mund Lowe,  in  'Making  the  Grade.' 
I  think  Eddie's  sudden  rush  of  suc- 
cess is  one  of  the  most  gratifying  in 


Frank  Lloyd,  William  A.  Eeiter,  John 
McCormick,  Al  Rockett,  the  studio 
manager  of  First  National,  and 
George  Fitzmaurice,  are  just  a  few 
of  the  leading  lights  of  Hollywood  I 
have  seen  driving  them. 

Colleen  Moore,  after  finishing  her 
latest  picture,  decided  to  make  a  fly- 
ing trip  to  Honolulu,  all  by  herself, 
her  husband,  in  the  press  of  business 
matters,  being  unable  to  go. 

She  went  to  San  Francisco  to 
board  the  ship,  only  to  discover,  to 
her  dismay,  that  Richard  Barthelmess 
had  also  booked  passage  on  that  boat. 

Fearing  that  public  gossip  might 
seize  the  coincidence  as  a  brewing 
romance,  inasmuch  as  they  were 
from  .the  same  studio,  she  veiled  her- 
self heavily,  crept  aboard  as  unosten- 
tatiously as  possible. 

She  heard  a  great  deal  of  noise  and 
confusion  outside,  but  had  no  idea 
what  was  going  on.  What  the  noise 
was  all  about  was  the  fact  that  Mr. 
Barthelmess  had  just  been  married, 
and  a  crowd  of  ten  thousand  were 
coming  down  to  see  the  star  and  his 
bride  depart. 

Hollywood  has  finally  grown  up 
to  the  extent  of  acquiring  a  Little 


pictures.  For  years,  producers  rel- 
egated him  to  handsome  heroes — 
which  he  filled  nicely,  goodness 
knows — but  he  never  made  a  really 
great  success  until  he  won  his  argu- 
ment and  started  playing  roughnecks. 
Fox  realizes  how  popular  he  has  be- 
come ;  they  took  up  the  option  on 
his  services  for  the  coming  year, 
seven  weeks  before  it  was  due. 

"That's  enough  glory  for  one 
family,  but  the  wife  is  not  exactly 
idle,  neither.  Lilyan  is  playing  in 
'Craig's  Wife'  for  DeMille. 

"You  know,  I  really  feel  disloyal. 
I  saw  Bessie  Love  only  twice  when 
she  was  appearing  on  the  stage  here. 
And  she  is  cunning  as  can  be  in  her 
song  and  dance.  What  do  you  say 
we  get  an  airplane  and  fly  to  San 
Diego,  or  wherever  she  is  playing  this 
week  ?" 

As  I  seemed  to  hesitate,  she  of- 
fered an  added  inducement  with  an 
air  of  "now-you-can't-refuse." 

"And  on  the  way,  we  may  see 
them  taking  some  scenes  for  'Hell's 
Angels.'  That  company  is  still  up 
in  the  air." 

But  I  decided  that  I  could  wait 
for  both  Bessie  and  "Hell's  Angels" 
to  come  nearer  home. 


Theater,  for  the  showing  of  artistic, 
and  consequently  unsalable,  motion 
pictures  to  interested  and  exclusive 
audiences. 

The  first  picture  was  a  Swedish 
production  called  "The  Golden 
Clown,"  which,  I  understand,  was 
quite  bad.  The  next  was  "Surrender," 
a  Universal  picture  with  Mary  Phil- 
bin  and  Ivan  Mosjoukine,  the  Rus- 
sian actor. 

In  fact,  Hollywood  has  gone  "arty" 
in  quite  a  few  ways.  I  got  a  letter 
the  other  day — believe  it  or  not — 
from  Charlie  Chaplin,  Joseph  M. 
Schenck,  Sid  Grauman,  and  Cecil 
DeMille,  bearing  an  invitation  to  at- 
tend a  presentation  of  "Ken-Geki,"  a 
Japanese  "sword  play,"  with  Mitsuri 
Toyama  and  Madame  Koharu  Ohara 
— can  that  be  an  Irish  name  ? — in  the 
starring  roles. 

I  didn't  go,  principally  because  the 
tickets  were  five  dollars  a  throw,  but 
I  wanted  to,  particularly  because  the 
invitation  said  that  Mr.  Charles 
Chaplin  would  act  as  "interpretive 
entrepreneur."  I  have  no  idea  of  the 
duties  of  an  interpretive  entrepre- 
neur. I'll  bet  Sam  Goldwyn  didn't 
either,  until  he  saw  the  play. 


The  Stroller 

Continued  from  page  23 


Advertising  Section 


115 


What  the  Fans  Think 


Continued  from  page  12 


tainly  surprised  while  viewing  "Tillie  the 
Toiler,"  that  upon  the  introductory  flash 
of  George  in  this  picture,  the  theater  was 
swept  by  a  storm  of  applause.  I  was 
really  glad  to  see  how  much  other  people 
liked  George  and,  believe  me,  I  helped  ap- 
plaud. 

Was  delighted  to  note  Faye  Bush's  ad- 
miration for  Leatrice  Joy.  I  am  completely 
captivated  by  that  famous  dimple  of  hers 
and  think  she  is  just  perfect  with  the  boy- 
ish coiffure.  I  make  it  my  business  to  see 
every  one  of  her  pictures.  However,  due 
to  a  cinder  in  my  eye,  I  had  to  miss  one 
of  her  latest,  and  I  cannot  remember  when 
I  ever  missed  anything  so  much. 

Rose  Boris. 

104  Waldorf  Avenue,  Bridgeport,  Conn. 
Who  Is  the  Greatest  Actress? 

After  seven  years'  experience  as  a  fan, 
I  have  come  to  the  conclusion  that  Adela 
Rogers  St.  Johns  is  right  in  her  opinion 
that  Norma  Talmadge  is  the  greatest  ac- 
tress on  the  screen.  Pauline  Frederick 
might  once  have  held  this  place,  hut  she 
has  been  so  long  snowed  under  in  obscure 
pictures  that,  notwithstanding  the  general 
excellence  of  her  latest  release,  "The 
Nest,"  she  should  now  resign  her  claim  to 
the  one  and  only  Norma. 

Lillian  Gish  is  reckoned  by  popular  ac- 
claim a  great  actress,  but  "The  Wind" 
and  perhaps  "Annie  Laurie"  are  the  only 
ones  worth  mentioning  of  recent  efforts. 
Vilma  Banky  and  Gloria  Swanson  are  ex- 
tremely talented,  but  neither  is  versatile, 
though  Gloria  grows  more  worthy  of  fame 
in  every  picture,  and  is  a  distinct  person- 
ality. 

There  is  a  difference  of  opinion  con- 
cerning Greta  Garbo.  Some,  mainly  of 
the  masculine  gender,  fall  for  her  charms 
and  fascinating  beauty,  but  there  are  many 
others  who  do  not  agree.  Personally,  I 
believe  that  her  great  popularity  is  due  to 
her  magnetism  and  dynamic,  mysterious 
beauty.  I  would  not  compare  her  with 
Norma  in  acting  a'bility. 

Now  that  I  have  disposed  of  all  possi- 
ble intruders,  I  will  turn  my  attention  to 
the  object  of  my  admiration.  Think  back 
over  all  the  Norma  films  and  try  to  dis- 
cover a  single  disappointing  performance 
by  the  star.  Ever  since  the  days  of  the 
old  Vitagraph,  she  has  been  delighting 
audiences.  Even  in  "Graustark,"  the  least 
commendable  of  her  pictures,  she  endowed 
the  Princess  with  a  charm  all  her  own  and 
imparted  a  glamour  to  the  whole  film. 
"Camille"  had  rather  an  old-fashioned 
story,  but  that  was  no  handicap  to  our 
Norma.  She  put  her  entire  self  into  her 
acting,  and,  with  the  aid  of  Gilbert  Roland, 
the  film  is  extremely  popular.  Besides, 
Norma  is  not  only  our  greatest  dramatic 
actress,  but  an  exceedingly  clever  come- 
dienne as  well.  Recall  "Kiki,"  the  fasci- 
nating story  of  a  Parisian  waif  of  the 
streets. 

All  others  who  have  prospective  candi- 
dates please  bring  them  on,  and  let  the 
fans  be  the  judge  of  the  question. 

Helen  Beal. 

Delaware,  Ohio. 

The  Battle  Goes  On. 

Malcolm  H.  Oettinger's  interview  on 
Greta  Garbo  was  all  that  I  knew  it  would 
be.  Why  should  Malcolm  pan  Greta  after 
John  Gilbert  had  lauded  her  to  the  skies? 
Surely,  if  a  sophisticated  matinee  idol 
took  the  trouble  to  praise  her,  and  even 
fall  in  love  with  her,  there  must  be  some- 
thing to  her.     Malcolm,   therefore,  ap- 


proached her  with  a  rosy  eye  shade 
clapped  to  his  brow.  He  couldn't  have 
criticized  her  if  his  life  had  depended  on 
it.  Any  one  can  see  that  Greta  was  no 
different  from  Pola.  Both  posed  and 
melted  from  one  gesture  into  another. 

If  Pola's  "The  Queen  Receives"  atti- 
tude was  insincere  and  failed  to  impress 
the  interviewer,  why  did  Greta's  drowsy 
eyes  and  cigarette-between-slender-fingers 
gesture  impress  him?  Prejudice.  He 
went  to  interview  Pola  prepared  to  dis- 
like her.  He  went  to  Greta  with  Gilbert's 
praises  ringing  in  his  ears,  expecting  to 
like  her.  All  unfair  prejudice.  No  mat- 
ter how  I  try,  I  cannot  respect  Mr.  Oet- 
tinger's opinion;  he  has  shown  himself  up 
so  many  times.  Sister  Clara. 

Hibbing,  Minnesota. 

An  Intelligent  Analysis  of  Valentino. 

Not  even  death  annuls  the  power  of 
that  composite  of  diverse  and  contradic- 
tory characteristics — Rudolph  Valentino. 
In  life,  indifference  was  seldom  his  por- 
tion— people  either  liked  or  disliked  him. 

We  know  he  was  a  delight  to  watch 
on  the  screen,  even  in  a  poor  picture.  We 
took  an  entirely  different  interest  in  pic- 
tures from  the  day  we  first  saw  him ;  we 
saw  each  Valentino  film  not  once,  but  sev- 
eral times;  and  those  shown  since  his 
death  take  precedence  with  us  over  any 
other.  The  picture  itself  grows  weari- 
some, certainly,  but  he  never  does.  Sen- 
timentalists? Not  at  all.  Valentino  had 
a  unique  power  to  attract  and  hold  the  in- 
terest of  people  of  quiet  tastes  and  few 
enthusiasms. 

Naturally,  since  his  death,  it  is  impos- 
sible, somehow,  not  to  resent  unkindness 
shown  toward  the  naive  and  lovable  lit- 
tle boy  who  often  looked  out  of  Valen- 
tino's eyes.  It  was  part  of  his  strangely 
complex  charm  that,  while  he  personified 
romance,  smoldering,  sullen  anger,  even 
cruelty  of  a  sort,  he  could  also  give  les- 
sons in  wistfulness  to  those  to  whom  wist- 
fulness  is  their  only  stock  in  trade. 

His  acting  was  distinguished  by  quiet- 
ness and  restraint,  mingled  with  a  power- 
ful suggestion  of  fire  and  dynamic  force 
underlying  his  calm.  It  is  this,  and  the 
fact  that  he  was  never  hurried  or  abrupt, 
which  gave  his  love-making  such  perfec- 
tion. M.  F.  F. 

Cleveland,  Ohio. 

Greta  Put  on  a  Better  Act. 

In  the  April  issue  of  Picture  Play 
Malcolm  H.  Oettinger  goes  into  raptures 
over  the  great  Garbo,  which  many  will 
consider  an  insult  to  Pola  Negri.  If 
Greta  can  put  herself  over  better  than 
Pola,  why  should  not  the  fellow  be  candid 
and  say  so? 

Norbert  Lusk  reviewed  "The  Patent 
Leather  Kid,"  rating  it  a  good  picture,  and 
I  agree  with  him;  but  he  ridiculed  the 
ending.  The  film  was  shown  at  one  of 
the  leading  theaters  in  my  city,  the  audi- 
ence consisting  of  intelligent  adults,  not 
youngsters ;  and  at  the  close  of  the  pic- 
ture when  Mr.  Barthelmess,  as  the 
wounded  soldier,  struggles  to  his  feet  to 
salute  Old  Glory,  the  audience  applauded 
and  cheered  as  I  have  never  known  them  to 
do  before  in  this  city.         Helen  Noel. 

3554  North  Capitol  Avenue, 
Indianapolis,  Indiana. 

Miss  Vidor  Vindicated. 

I  have  kept  quiet "  when  they  argued 
over  Gilbert  and  Novarro,  panned  the  glo- 


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rious  Pola,  sung  praises  over  the  one  and 
only  Valentino,  raved  over  the  fascinat- 
ing Garbo,  but  when  V.  Keith  Sutton 
dares  attack  the  charmingly  sophisticated 
Florence  Vidor,  then  I  begin  to  bristle ! 
If  that  is  a  sample  of  your  judgment,  Mr. 
Sutton,  never  aspire  to  be  a  movie  critic. 

Do  you  want  to  know  why,  contrary  to 
your  opinion,  people  think  it  natural  for 
Miss  Vidor  to  win  the  hero  from  her 
younger  and,  in  some  cases,  more  beauti- 
ful rivals?  Because  she  possesses  an  elu- 
sive and  very  desirable  quality — womanly 
charm!  Alice  Joyce,  Lillian  Gish,  Irene 
Rich,  Vilma  Banky,  and  Miss  Vidor  are 
among  the  few  who  do  possess  it.  It  is 
something  every  woman  strives  for,  but 
very  few  attain.  In  addition  to  this,  Miss 
Vidor  possesses  an  aristocratic  type  of 
beauty  that  is  very  rare  indeed. 

I  have  been  reading  Picture  Play  for 
three  years  and  I  have  never  read  such  a 
prejudiced  interview  as  the  one  with  Pola 
Negri  by  Malcolm  H.  Oettinger.  Evidently 
Miss  Negri  did  not  care  to  fawn  over 
Mr.  Oettinger  in  the  hope  of  receiving  a 
flattering  write-up.  There  is  a  myth  that 
women  are  catty  and  spiteful,  but  could 
anything  be  more  so  than  the  Negri  inter- 
view, by  a  man  about  a  woman?    E.  H. 

Trenton,  New  Jersey. 

What  Of  It? 

What  if  Mary  Nolan  is  Imogene  Wil- 
son, and  what  if  she  did  get  into  a  mess? 
Does  that  affect  her  screen  work?  She 
may  have  changed  her  name,  but,  under 
the  same  circumstances,  wouldn't  any  one 
else,  in  order  to  make  a  livelihood?  Do 
you,  F.  S.  Thorn,  judge  players  by  their 
acting  or  their  character?  Shirley. 

Texas. 

A  Polite  Disagreement. 

I  disagree  with  Margaret  Reid  in  her 
article  "The  Two-a-day  Racket,"  in  which 
she  said  Francis  X.  Bushman  surprised 
his  fans  by  the  slightly  inferior  quality  of 
his  speaking  voice.  I  saw  him  about  two 
months  ago,  and  his  voice  was  anything 
but  insignificant..  His  sketch,  "The  Code 
of  the  Sea,"  was  very  dramatic,  and  he 
gave  his  role  a  wonderful  interpretation, 
his  voice  playing  no  little  part  in  the  por- 
trayal of  it.  He  made  a  curtain  speech 
in  which  his  voice  was  rich  and  deep 
toned. 

Mae  Murray  made  a  personal  appear- 
ance at  our  local  theater,  too.  She  has 
certainly  kept  her  age,  but  the  artificial- 
ity of  her  smile  and  the  doll-like  blank- 
ness  of  her  face,  together  with  the  af- 
fected manner  in  which  she  spoke,  were 
very  evident.  Margery  Heffron. 

4228  Raymond  Street, 
Seattle,  Washington. 

Why  Forget  Valentino? 

In  a  recent  issue  of  Picture  Play  a 
letter  by  Hope  Barahm  advises  the  fans  to 
stop  raving  over  Rudolph  Valentino.  I  think 
that  Miss  Barahm  is  cold  and  calculating, 
for  I  do  not  think  that  any  one  with  any 
feeling  could  talk  a'bout  a  man  who  has 
been  dead  not  quite  two  years  in  the  tone 
which  she  assumes.  Why  should  we  for- 
get Valentino?  Why  should  he  not  al- 
ways remain  a  blessed  memory  to  us? 

Another  fan  asks,  what  do  you  see  in 
Ramon  Novarro?  I  might  ask  the  same 
question  about  Joseph  Schildkraut.  Per- 
sonally, I  like  him  very  much,  but  why 
criticize  Ramon  merely  because  you  hap- 
pen to  prefer  Joseph?  Every  fan  to  his 
tastes,  you  know. 

Why  doesn't  Paramount  stop  adopting 
"Buddy"  Rogers  and  other  well-meaning 
but  not-very-inspiring  actors,  and  get  Cul- 


len  Landis  back?  He  is  the  best  actor 
that  ever  appeared  in  a  Paramount  pic- 
ture. Who  could  ever  forget  the  "Fight- 
ing Coward"? 

I  want  to  thank  Mary  Howard  Gwynne 
for  her  lovely  and  inspiring  letter  about 
Rudy.  I  am  glad  that  there  is  at  least 
one  American  with  a  feeling  of  reverence 
toward  the  dead ;  so  far,  the  English  seem 
to  have  the  monopoly  on  it.  But,  thanks 
to  Miss  Gwynne,  it  can  be  said  that  all 
Americans  are  not  cold  and  without  emo- 
tions. Eve  J.  Robinson. 

Wilmington,  Delaware. 

LWhy  All  the  Fuming? 

I  want  to  hand  a  large  bouquet  to  all 
my  fellow  fans  who  have  so  nobly  de- 
fended John  Gilbert  and  Greta  Garbo.  If 
a  fan  doesn't  like  a  certain  star,  for 
Heaven's  sake  why  does  he  take  the  trou- 
ble to  see  that  star's  picture  and  then 
make  a  big  fuss  over  it? 

How  any  one  can  say  such  mean  things 
about  that  splendid  artist,  Greta  Garbo, 
is  beyond  my  comprehension.  One  writer 
says  Greta  is  a  "false  alarm,"  and  still 
another  calls  her  an  "eye-rolling"  actress. 
Well,  if  these  things  are  true,  I'll  wager 
both  those  fans  would  give  anything  to  be 
"false  alarms"  or  "eye  rollers"  if  they 
could  draw  the  salary  Greta  rightly  re- 
ceives. 

And  as  for  Gilbert — well,  Jack  doesn't 
really  need  little  me  to  shout  for  him.  He 
is  on  the  very  top,  has  been  for  over  two 
years,  and  will  be  for  several  years  to 
come.  Some  one  said  Gilbert  would  be  a 
"flat  tire"  if  he  weren't  swamped  with 
"necking"  scenes.  If  M.  A.  T.  calls  "The 
Big  Parade"  a  "flat  tire,"  then  that  fan 
just  doesn't  know  what  he  is  talking 
about.  The  only  Gilbert  picture  which 
has  had  more  "necking"  scenes  than  any 
ordinary  photoplay  was  "Flesh  and  the 
Devil,"  and  the  continuity  of  the  picture 
made  such  scenes  necessary. 

Eve  Robinson  says  that  Jack  is  "the 
materialistic  type  and  the  pawing  lover," 
and  that  she  prefers  ''the  spiritual,  whim- 
sical type."  Miss  Robinson  is  a  very  un-~ 
usual  person.  The  truth  of  the  matter  is 
that  in  real  life  nine  tenths  of  the  femi- 
nine sex  admire  the  spiritual  type,  but 
when  it  comes  down  to  brass  tacks  the 
materialistic  lover  and  the  swaggering, 
passionate  hero  is  the  fellow  the  girls  fall 
for. 

I  have  only  bouquets  for  Malcolm  H. 
Oettinger,  Helen  Louise  Walker,  and 
Myrtle  Gebhart.  Their  interviews  are 
among  the  most  fascinating  features  of 
your  splendid  magazine. 

Richard  E.  Passmore. 

Media,  Delaware  County,  Pennsylvania. 

Ask  Us  Another! 

I  don't  understand  why  some  players  of 
excellent  ability,  good  looks,  and  person- 
ality are  overlooked  and  put  into  the  back- 
ground. 

Why  isn't  Ricardo  Cortez  ranking  with 
Gilbert  and  Colman?  He  is  handsome, 
has  personality,  can  act.  Remember  "The 
Sorrows  of  Satan"? 

Why  is  Leslie  Fenton  given  "weak 
brother"  roles?  He  should  be  leading 
man  for  Marion  Davies,  Clara  Bow,  Janet 
Gaynor. 

And,  once  upon  a  time,  I  noticed  and 
liked  a  talented  and  charming  young  man 
named  Pierre  Gendron.  What  has  hap- 
pened to  him? 

I  hope  that  Ricardo  Cortez  will  soon 
be  a  star,  that  Leslie  Fenton  will  be  given 
roles  worthy  of  his  ability,  and  that  Pierre 
Gendron  will  be  rediscovered  and  given 
back  to  the  screen.  Ada  B.  Oates. 

Charleston,  West  Virginia. 


Advertising  Section 


117 


Technique  or  Youth? 

I  wish  to  register  a  protest  against 
"Gloria  Swanson's  Disillusionment."  This 
was  a  very  excellent  article,  and  lives  up 
to  Gloria's  reputation  for  always  being 
frank  and  interesting.  There  is  nothing 
stereotyped  about  Gloria.  You  can  always 
depend  on  her  for  a  thrill,  or  a  jolt,  to 
get  you  out  of  the  old  rut,  whether  on  the 
screen  or  in  print. 

But,  as  I  said  at  the  start,  I  have  a 
complaint.  It  is  at  Miss  Swanson's  state- 
ment that  she  felt  like  "an  old  shoe"  when 
she  saw  Janet  Gaynor  in  "Seventh  Heav- 
en." Now,  I  admired  "Seventh  Heaven" 
very  much,  and  especially  enjoyed  the 
beautiful  acting  of  Janet  and  Charles  Far- 
rell.  But  little  Miss  Gaynor,  talented  as 
she  is,  has  far  to  go  before  she  can  attain 
the  prestige  of  a  Gloria  Swanson.  It  was 
very  generous  and  sporting  of  Miss  Swan- 
son  to  say  such  a  thing,  and  it  serves  as 
one  more  proof  of  her  intriguing  and 
startling  personality. 

As  for  her  not  having  furnished  any- 
thing of  lasting  worth  to  the  screen,  I  can 
only  say  that  the  movies  would  have  been 
very  dull  to  me  many  times  without  Gloria. 

I  agree  with  the  fan  whose  letter  ap- 
peared in  your  columns  not  long  ago — that 
Gloria  Swanson  has  been  the  greatest 
feminine  influence  for  reality  and  true-to- 
life  characterization  in  motion  pictures. 
Selah. 

I  saw  "Sadie  Thompson"  recently,  and 
was  impressed  anew  with  the  technique, 
vitality,  and  the  philosophy  of  this  actress, 
all  combining  to  make  a  perfect  whole. 

And  so  I  say,  let  the  languorous  Garbo 
seduce,  the  flaming  Bow  throw  out  her 
"It,"  Del  Rio  dynamite  the  works,  and 
the  little  Gaynor  ply  her  gentle  art.  But 
— stand  back !  give  me  air !  Vive  La 
Swanson.  _  Oriana  Kimler. 

St.  Louis,  Missouri. 

Wake  Up,  Lion! 

What  has  Ramon  Novarro  done  for  the 
screen  since  "Ben-Hur"?  Only  "The 
Student  Prince"  has  been  noteworthy.  For 
two  years  he  has  been  submerged  in  ordi- 
nary films.  Who  is  to  blame?  Certainly 
not  Ramon. 

He  has  been  treated  most  unjustly — has 
been  given  poor  films  while  other  stars  in 
the  Metro  fold  received  the  gems.  If  they 
have  any  difficulty  in  finding  suitable  ma- 
terial for  Novarro,  why  not  give  him 
Sir  Walter  Scott's  historical  romance 
"Ivanhoe" ? 

If  a  quick  resuscitating  measure  isn't 
taken,  he  will  soon  slide  down  to  eternal 
oblivion.  Gopal  S.  Vadivel. 

Colombo,  Ceylon. 

Again  Novarro  is  Defended. 

So  the  fan  who  wrote  a  letter  in  the 
April  issue  of  Picture  Play  thinks  Ra- 
mon Novarro  is  a  "sugar-coated  pill,"  and 
is  glad  that  her  particular  idol,  John  Gil- 
bert, is  a  "real"  person,  not  merely  a  pub- 
licized personality.  Well,  so  am  I.  I 
have  always  admired  Mr.  Gilbert.  His 
pictures  never  fail  to  have  the  verve  and 
beauty  of  Gilbert  himself. 

But  if  she  will  consider  a  moment,  I 
think  she  will  realize  that  our  Ramon  is 
also  genuine  and  not  a  bit  stereotyped. 
There  are  many  types  in  this  old  world 
of  ours.  Gilbert  is,  and  always  has  been, 
swaggering,  hot-blooded,  impetuous,  brood- 
ing, seeming  to  hold  his  restive  spirit  in 
reserve  only  by  the  greatest  effort. 

On  the  other  hand,  Ramon  is  a  spirit- 
ual type.  He  not  only  claims  to  be,  but 
is  deeply  religious.  He  does  not  create  a 
personality  for  his  reviewers.  He  is  al- 
ways himself — a  tall,  dark,  and  handsome 


youth,  with  the  joy  and  freedom  of  right 
living  shining  from  his  black  eyes. 

Ramon  has  steadfastly — but  with  no 
show — lived  up  to  the  ideals  which  he  has 
taken  for  his  own.  In  all  his  career  not 
one  flaw  can  be  found  in  his  morale.  Of 
what  other  star  can  this  be  said?' 

Thomas  G.  Stockwell. 

43  Summer  Street, 
Montpelier,  Vermont. 

Garbo  Versus  Negri. 

Congratulations  to  Melville  Albert  and 
J.  K.  Hopkins  for  their  letters.  They 
were  honest  and  to  the  point.  Also  some 
lovely  remarks  addressed  to  Malcolm  H. 
Oettinger  to  be  swallowed  like  medicine. 
It  will  certainly  do  him  good,  and  might 
keep  him  from  attempting  to  interview 
another  star  like  Pola,  who  is  so  far 
above  him  in  every  respect. 

Pola  Negri  is  beyond  criticism,  and  her 
private  life  is  nobody's  business.  How  is 
it  that  she  has  survived  all  her  poor  pic- 
tures? Any  one  who  has  read  "Anna 
Karenina"  knows  how  ridiculous  it  was 
to  put  the  blond  Garbo  in  the  role,  in 
"Love."  Pola  Negri  was  the  only  logical 
one  to  play  it. 

A  few  words  about  Jetta  Goudal.  Her 
real  name  is  Henrietta  Goudeket  and  she 
was  born  in  Amsterdam,  Holland.  Most 
people  insist  that  all  Hollanders  wear 
wooden  shoes,  wide  trousers,  and  have 
blond  hair  and  blue  eyes.  This  is  prob- 
ably the  reason  why  she  keeps  her  nation- 
ality a  secret. 

Mejufpouw  Van  Deventer. 

New  York. 

Lest  Old  Acquaintance  Be  Forgot. 

Now  that  all  of  Europe  seems  to  be 
flocking  to  Hollywood  by  boatloads,  and 
most  of  young  American  by  trainloads,  I 
think  it  is  time  for  the  fans  to  rise  in 
defense  of  those  who  have  brought  the 
screen  from  nothing  up  to  the  finest  and 
most  popular  entertainment. 

Will  the  fans  allow  our  many  old  fa- 
vorites, who  have  devoted  their  lives  to 
the  screen,  to  be  put  on  the  shelf,  while 
they  madly  rush  for  the  theaters  showing 
stars  from  across  the  sea? 

Only  a  few  of  the  older  stars  have  been 
able  to  retain  their  positions  among  the 
heights  where  they  belong.  Mary  Pick- 
ford  has  forgotten  more  about  screen  act- 
ing than  some  of  them  will  ever  know. 
To  show  my  appreciation  of  the  many 
hours  of  enjoyment  she  has  given  me,  I 
wouldn't  think  of  missing  one  of  her  pic- 
tures. That  is  the  only  way  I  have  of 
repaying  her  for  the  great  influence  for 
good,  wholesome  entertainment  she  has 
sponsored.  Remember,  I  love  the  screen 
and  those  who  strive  to  improve  it.  Mary 
has  done  this  by  her  very  presence.  Could 
the  same  be  applied  to  Greta  Garbo  or 
Clara  Bow?    I  think  not. 

Comparing  pictures  from  the  standpoint 
of  entertainment,  wasn't  Mary  Pickford's 
"My  Best  Girl"  superior  to  Clara  Bow's 
"It"?  Did  you  like  Greta  Garbo's  "Flesh 
and  the  Devil"  as  well  as  Norma  Tal- 
madge's  "Camille"? 

Let  us  not  pass  by  the  old-timers,  the 
very  backbone  of  the  movie  industry.  Let 
us  give  the  following  a  place  on  the 
screen:  Conway  Tearle,  Priscilla  Dean, 
Bryant  Washburn,  Mary  Miles  Minter, 
Betty  Compson,  Mabel  Norman,  Charles 
Raj',  William  Russell,  Ethel  Clayton, 
Gladys  Hulette,  and  many  others,  and  let 
us  not  desert  the  old-timers  who  are  still 
playing.  J.  E.  Bailey. 

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118 


Advertising  Section 


A  Volume  of  a 
Thousand  Wonders 

The  Marvel 
Cook  Book 

by 

Georgette  MacMillan 


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Information,  Please 

Continued  from  page  111 


Miss  Mabel  Bacon. — I  am  very  grate- 
ful for  your  information — so  specific,  too 
— about  Gerald  Fielding.  Many  fans 
would  envy  you  for  having  been  script  girl 
with  "The  Garden  of  Allah"  picture. 

Helena  B. — I'm  afraid  Yona  Lanslow- 
ska,  who  used  to  dance  in  pictures,  has 
just  passed  out  of  sight,  so  far  as  the  pub- 
lice  is  concerned.  You  say  the  last  time 
you  saw  her  was  with  Harold  Lockwood 
and  May  Allison  in  "Mr.  44."  Of  course 
Lockwood  has  been  dead  for  ten  years 
— and  you  see,  I  should  have  to  be  a  men- 
tal giant  to  keep  track  of  all  the  small- 
part  players  of  as  long  ago  as  ten  years. 

M.  E.  S.- — I  agree  with  you  that  James 
Murray  is  one  of  the  pleasantest  of  our 
new  film  juveniles.  He  was  born  in  New 
York,  February  9,  1901,  and  is,  I  think, 
unmarried.  He  was  formerly  a  doorman 
at  the  Capitol  Theater  on  Broadway,  and 
then  he  took  a  chance  and  went  to  Holly- 
wood. He  was  having  quite  a  struggle 
there,  as  an  extra,  when  King  Vidor  saw 
him  outside  the  Metro-Goldwyn  Studios 
and  said,  "Ah,  there's  my  leading  man  for 
'The  Crowd'!"  A  screen  test  clinched  it. 
Besides  that  film  and  "The  Big  City,"  he 
has  played  in  "In  Old  Kentucky,"  "Love- 
lorn," "Rose-Marie,"  and  his  new  one, 
"Tide  of  Empire."  He  is  under  contract 
to  Metro-Goldwyn. 

Joan  Morgan. — I  am  answering  your 
letter  at  the  soonest  possible  moment,  but 
I  have  a  waiting  list  and  have  to  take  each 
letter  in  its  turn.  You  ask  about  John  de 
Roche,  so  I  am  not  sure  whether  you  mean 
Charles  de  Roche  or  John  Roche.  Charles' 
film  career  was  quite  brief ;  he  may  have 
returned  to  his  native  France.  John  Roche 
is  still  active  on  the  screen.  His  latest 
picture  was  "Uncle  Tom's  Cabin."  Just 
"Hollywood,  California,"  will  reach  him. 
Yes,  two  endings  were  made  for  "Love" ; 
the  original,  unhappy  ending  is  used  in  the 
big  cities,  as  a  rule,  and  the  box-office 
ending  in  smaller  theaters,  where  audi- 
ences seem  to  demand  happy  endings.  I 
believe  each  theater  owner  is  given  his 
choice  of  the  two  versions., 

Clarence  Lonto. — I  can  see  that  you 
like  Western  pictures.  No,  Richard  Tal- 
madge  is  not  related  to  Norma  and  Con- 
stance; he  just  took  their  name  when  he 
dropped  his  own — Metzetti.  No,  he  is  not 
on  the  screen  any  more.  He  had  some  sort 
of  legal  dispute  with  his  producer,  and  I 
suppose  it  has  never  been  settled.  The 
leads  in  "The  Scarlet  West"  were  played 
by  Clara  Bow  and  Johnnie  Walker.  In 
"Sundown,"  by  Bessie  Love  and  Roy 
Stewart.  In  "Speeding  Through,"  by 
Judy  King  and  Creighton  Hale.  Mildred 
Harris  played  opposite  Rod  La  Rocque,  in 
"The  Cruise  of  the  Jasper  B,"  and  Joan 
Meredith  opposite  Bob  Custer,  in  "The 
Fighting  Boob." 

May  McAvoy  Admirer. — So  far  as  I 
know,  May  McAvoy  really  did  the  danc- 
ing she  was  supposed  to  be  doing  in  "The 
Jazz  Singer."  Philippe  de  Lacey  is  eleven 
years  old,  Dolores  Costello  about  twenty- 
three.     Blanche  Sweet  doesn't  give  her  age. 

Lucille  Carlson. — No,  indeed,  I'm  not 
sure  about  Joan  Crawford's  having  brown 
hair.  From  day  to  day,  one  can't  be  sure 
of  any  star's  hair  coloring.  Joan's  used  to 
be  brown,  so  my  answer  to  that  question 
some  months  ago  was  in  all  good  faith. 
But  you  should  see  her  hair  now.  Red  is 
a  mild  description.    I  am  told,  however, 


that  she  dyed  it  for  "Rose-Marie" — since 
red  hair  photographs  much  blacker  and 
glossier  than  black  itself — and  that  she 
is  letting  it  go  back  to  natural,  now.  At 
the  time  of  her  marriage,  Pola  Negri  gave 
her  birthday  on  the  marriage  license,  ac- 
cording to  the  newspapers,  as  December 
30,  1897.  Your  story  may  be  quite  true, 
that  Valentino's  double  said  Rudy  was 
blind  in  one  eye,  though  no  one  knew  it. 
It's  the  first  I'd  heard  of  it,  and  I  had 
several  conversations  with  Rudy,  and  his 
eyes  looked  quite  normal.  Sue  Carol  was 
born  in  1908 — I  don't  know  the  month.  She 
is  about  five  feet  two,  and  brunette.  Greta 
Garbo :  Born,  Stockholm,  in  1906.  Blue- 
eyed  blonde,  height  five  feet  six  Greta 
Nissen :  Born  about  1905 ;  blue-eyed 
blonde.  See  Marion  Elizabeth.  Yes, 
Buddy  Rogers  is  an  only  child. 

Thalia. — Now  that's  what  I  call  quick 
devotion.  You're  devoted  to  Ivan  Petro- 
vitch,  whose  American  screen  career  has 
been  limited,  I  believe,  to  two  Alice  Terry 
pictures  made  in  Europe — -"The  Magician" 
and  "The  Garden  of  Allah."  I  doubt  if 
he  has  ever  been  in  America.  He  was  born 
in  Novi  Sad,  Serbia.  The  only  address  I 
can  suggest  for  him  is  Rex  Ingram  Produc- 
tions, Franco  Film  Studio,  St.  Augustin 
du  Var,  Nice,  France.  I'm  afraid  there 
is  not  enough  demand  for  a  story  about 
William  Farnum. 

George  Hackathorne  Admirer. — You'll 
be  happy  to  know  that  George  is  return- 
ing to  the  screen  in  Universal's  series 
of  underworld  pictures.  George  was  seri- 
ously ill  for  several  years,  but  has  recov- 
ered. 

M.  B. — If  all  handwriting  were  as  easy 
to  read  as  yours  is,  it  would  certainly 
make  my  life's  work  easier!  There  is 
only  one  Dorothy  Gulliver.  As  to  her 
hair  looking  brunet  in  one  "Collegians  ' 
film,  and  blond  in  another,  that  doesn't 
necessarily  mean  that  she  changed  the 
color.  It's  quite  likely  to  be  due  to  a 
difference  in  lighting.  Blond  hair  fre- 
quently photographs  dark  under  certain 
lights.  Greta  Garbo  was  born  in  1906 ; 
Alice  Joyce,  about  1890.  No,  Ruth  and 
Estelle  Taylor  are  not  related.  Harry- 
Myers  appeared  in  "The  Dove,"  released 
last  December ;  I  believe  he  is  now  com- 
edy supervisor  for  Tiffany-Stahl. 

Frankie. — No,  Frankie,  I  don't  mind  if 
fans  "take  up  my  time  with  other  things 
besides  questions."  You  see,  all  questions 
and  no  wise  cracks  would  make  this  a  very 
dull  department.  Norma  Talmadge  says 
she  was  born  in  1897.  She  is  five  feet  two 
and  weighs  one  hundred  and  ten.  Her 
new  picture  is  "The  Woman  Disputed." 
Gloria  Swanson  was  born  March  27,  1899. 
She  is  five  feet  three  and  weighs  one  hun- 
dred and  twelve.  Her  next  picture  is  an- 
nounced, at  this  writing,  as  "La  Paiva." 
Evelyn  Brent  is  twenty-nine,  five  feet 
four,  weight  one  hundred  and  twelve.  She 
will  next  be  seen  with  George  Bancroft 
in  "Swag."  Of  course,  these  titles  are 
always  being  changed  before  the  films  are 
released. 

Carol  Van. — Now,  why  should  I  not 
be  good  natured  about  answering  ques- 
tions? Just  suppose  I  were  mining  coal 
for  a  living,  instead.  How  would  I  like 
that?  How  would  you  like  that?  Barry 
Norton  was  born  in  Buenos  Aires — real 
name  Alfredo  de  Bairben,  Jr.  With  eleven 
other  members  of  an  exclusive  interna- 
tional club,  he  came  to  America  to  see  the 


I 


Advertising  Section 


119 


Dempsey-Firpo  fight,  and  while  he  was 
here  decided  to  see  the  country.  When  he 
reached  Hollywood  he  became  fascinated 
with  movies  and  worked  as  an  extra.  His 
first  real  role  was  in  "The  Lily,"  followed 
bv  "What  Price  Glory,"  "The  Canyon  of 
Light,"  "The  Heart  of  Salome,"  "The 
Wizard,"  "Legion  of  the  Condemned," 
"Four  Devils,"  and  "Fleetwing." 

Dot. — "Yours  till  the  tea  leaves !"  Ha- 
ha  !  And  how  about  when  the  lettuce  leaves 
or  the  cargoes?  Nils  Asther  is  twenty- 
eight  years  old;  Barry  Norton,  about 
twenty-five.  Both  unmarried.  There  was 
a  story  about  Barry  Norton  in  Picture 
Play  for  October,  1926.  See  S.  C.  H. 
Is  love  mostly  an  illusion?  Well,  now, 
I'm  not  a  love  expert,  but  I  should  say 
just  be  careful  whom  you  fall  in  love 
with.    N'est-ce  pas?    Or  what  have  you? 

R.  M.  C.  B. — Your  parents  seem  to  have 
been  rather  generous  with  you  in  the  mat- 
ter of  names !  Don't  you  worry  about 
my  getting  paid  for  answering  questions ; 
Picture  Play  pays  me,  and  this  is  part  of 
the  service  fans  get  in  buying  the  maga- 
zine. All  right,  now  let's  go !  The  rest 
of  the  cast  in  "Stage  Madness"  were : 
Virginia  Bradford,  Tullio  Carmanati, 
Tyler  Brooke,  Lillian  Knight,  and  Bodil 
Rosing.  In  "The  Silent  Accuser,"  Eleanor 
Boardman,  Raymond  McKee,  Earl  Met- 
calfe, Paul  Weigel,  and  Edna  Tichenor. 
No,  Lillian  Rich  is  not  Irene's  sister. 
Lillian  was  born  in  London,  about  1902, 
and  was  on  the  stage  there  before  playing 
in  pictures.  She  has  been  appearing  lately 
in  quickies,  films  made  by  the  small,  in- 


dependent companies — "Woman's  Law," 
"Wanted— A  Coward,"  "The  Web  of 
Fate,"  and,  for  Universal,  "Mile-a-Minute 
Love"  and  "That's  My  Daddy."  H.  B. 
Warner  was  not  in  "The  Temptress."  As 
no  surnames  are  given  in  the  cast,  I'm  not 
sure  just  who  Greta  Garbo's  husband  was; 
probably  Roy  d'Arcy,  or  perhaps  Armand 
Kaliz. 

Lyn. — I'm  sorry,  Lyn,  but  so  far  no 
clubs  have  been  organized  in  honor  of 
Sue  Carol  or  of  Ken  Maynard. 

Pearl  McLaughlin. — Considering  all 
the  fan  interest  in  Paddy  O'Flynn,  it 
seems  too  bad  he  doesn't  get  better  treat- 
ment from  the  movies.  He  was  born  in 
Pittsburgh  and  reared  in  Canada.  He 
doesn't  give  his  age.  He  played  in  the 
serial,  "Scotty  of  the  Scouts."  Most  of 
his  role  in  "Sweet  Rosie  O'Grady"  was 
cut  out,  and  in  "Heroes  of  the  Night"  his 
role  was  entirely  cut.  Otherwise  he  has 
played  only  in  comedies ;  you  can  reach 
him  through  his  secretary,  Ladye  Horton, 
1354  North  Curson  Avenue,  Hollywood. 

Paddy. — Yes,  indeed,  I  get  lots  of  let- 
ters about  Ramon  Novarro.  I  learned 
just  recently  that  his  only  given  name  is 
Ramon.  You  see,  when  he  first  went  into 
pictures  he  was  called  Ramon  Sameniegos, 
and  then  Jose  Ramon,  and  I  understood 
he  was  christened  with  all  three  names. 
Excuse  it,  please !  There  was  a  full-page 
picture  of  Ramon,  in  his  "Student  Prince" 
costume,  in  Picture  Play  for  May,  1927. 
There  have  been  no  interviews  with  him 
recently  in  Picture  Play. 


The  Interviewers'  Waterloo 

Continued  from  page  43 


denials.  When  the  storm  had  sub- 
sided, he  delivered  a  short  lecture  on 
the  beauty  of  following  the  Golden 
Rule,  which,  unfortunately,  he  had 
not  been  doing ;  then  offered  me  a 
drink  of  something.  I  must  say  I 
needed  it !  Later  he  showed  me 
about  his  home,  introduced  me  to  his 
lovely  little  daughter,  and  acted  as 
if  nothing  unusual  had  happened. 
Perhaps  nothing  unusual  had. 

It  goes  without  saying  that  I  was 
thoroughly  cured  of  idolatry.  For  a 
long  time  afterward,  I  could  not  bear 
to  attend  one  of  his  pictures.  Still  I 
can,  in  a  measure,  understand  his 
point  of  view,  and  excuse  his  rude- 
ness. My  article  came  at  a  time 
when  he  was  in  the  throes  of  domes- 
tic and  professional  difficulties.  Ex- 
cessively sensitive,  he  doubtless  was 
stung  to  the  quick  by  what  he  con- 
sidered unjust  censure. 

Home-loving,  exclusive,  and  de- 
votedly parental,  Barthelmess  resents 
published  comment  on  his  personal 
affairs.  In  this  respect  he  has  been 
far  more  fortunate  than  many  of 
the  stars.  It  was  reported  that  his 
fan  mail  doubled  in  volume  when  his 
divorce  was  granted,  but  this  he  em- 
phatically denied. 

"I  wouldn't  do  anything  that 
would  reflect  on  her,"  said  he,  nod- 
ding toward  his  exquisite  offspring, 


who  was  chinning  herself  on  the 
table  beside  him,  "but  I  want  to  live 
my  own  life,  and  die  in  my  own 
bed." 

The  past  year  has  been  a  fortunate 
one  for  him,  and  the  future  looks 
bright  and  fair.  There  is  a  rumor 
that  Paramount  wants  him  for  the 
role  of  Clyde  Griffiths,  in  "An  Amer- 
ican Tragedy."  What  a  marvelous 
opportunity  that  would  be !  And 
how  splendidly  Barthelmess  would 
portray  that  ill-fated  hero !  With 
the  exception  of  Leslie  Fenton,  who 
was  bom  to  play  the  role,  no  one 
could  do  it  as  well  as  Dick.  Still,  let 
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Advertising  Section 


CHELSEA 
HOUSE 

Popular  Copyrights 


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George  Gilbert 
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Paul  Bailey 
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THE  VALLEY  OF  THE  MONQUIS  Arthur  Preston 
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THORNTON  THE  WOLFER  George  Gilbert 

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A  Confidential  Guide  to  Current  Releases 


Continued  from  page  67 


"Mockery" — Metro-Goldwyn.  Lon 
Chaney  in  realistic  film  of  dull-witted 
Russian  peasant  whose  doglike  devo- 
tion to  a  countess  leads  to  his  death 
at  the  hands  of  the  bolsheviks.  Bar- 
bara Bedford  and  Ricardo  Cortez. 

"Mother  Machree" — Fox.  Maudlin 
film  of  a  sacrificing  Irish  mother  who 
does  all  for  her  son.  Belle  Bennett, 
Neil  Hamilton,  and  Constance  Howard. 

"On  Your  Toes" — Universal.  Spar- 
kling. Reginald  Denny  as  a  prize 
fighter,  whose  grandmother  thinks  he 
is  an  aesthetic  dancing  teacher.  High 
spot  in  film  when  grandma  pays  him 
an  unexpected  call.  Barbara  Worth 
and  Mary  Carr. 

"Patent  Leather  Kid,  The"— First  Na- 
tional. Richard  Barthelmess  in  unusu- 
ally good  film  of  conceited  little  prize 
fighter  who  tries  to  evade  the  war,  is 
drafted,  proved  a  coward,  but  finally 
redeemed  by  an  heroic  act. 

"Serenade" — Paramount.  Delightful 
light  comedy  with  Adolphe  Menjou  at 
his  best.  Story  of  a  musician  who,  on 
becoming  famous  as  a  composer,  de- 
serts his  home  only  to  be  deftly 
brought  back  by  his  clever  wife. 
Kathryn  Carver,  Lina  Basquette,  and 
Lawrence  Grant. 

"Show  Down,  The"  —  Paramount. 
Convincing  and  well-acted  film  of  two 
oil  prospectors  in  the  tropics,  both  lov- 
ing the  same  girl.  All  ends  happily. 
George  Bancroft,  Neil  Hamilton,  Eve- 
lyn Brent,  Leslie  Fenton,  and  Fred 
Kohlcr. 

"Silver  Slave,  The" — Warner.  Irene 
Rich  gives  sincere  performance  of 
mother  who  sacrifices  the  man  she 
loves  to  give  her  daughter  wealth. 
When  daughter  encourages  an  adven- 
turer, mother  pretends  to  be  interested 
in  him.  Everything  ends  happily. 
Audrey  Ferris,  Holmes  Herbert/  and 
John  Miljan. 

"Soft  Living"— Fox.  Madge  Bellamy 
skillfully  portrays  a  girl  who  declines 
to  go  in  for  the  heavy  alimony  racket, 
and  what  happens  when  her  husband 
sees  through  her  scheme.  She  comes 
to  her  senses  in  time  for  a  happy  end- 
ing.   John  Mack  Brown. 

"Smart  Set,  The"— Metro-Goldwyn. 
Not  up  to  the  usual  William  Haines 
standard.  Smart  Aleck  polo  player  is 
barred  from  final  game,  only  to  rush 
in  at  crucial  moment  and  thus  save  the 
day,  incidentally  winning  the  girl.  Alice 
Day  and  Jack  Holt. 

"Sorrell  and  Son"— United  Artists. 
Adapted  from  the  novel.  Story  of  the 
devotion  between  a  father  and  son, 
reaching  climax  when  son  gives  father 
death-dealing  drug  to  end  his  suffering. 
H.  B.  Warner,  Anna  Q.  Nilsson  and 
Nils  Asther. 

"Sporting  Goods" — Paramount.  Ex- 
cellent film  with  Richard  Dix  his  best 
as  a  salesman  for  a  sporting-goods 
concern.  Gertrude  Olmsted,  Ford 
Sterling,  and  Myrtle  Stedman. 

"Spring  Fever"  -  -  Metro-Goldwyn. 
Very  amusing  golf-fiend  farce.  Wil- 
liam Haines  delightful  as  young  office 
clerk  who  SLtddenly  finds  himself  hob- 
nobbing with  a  wealthy  country-club 
set,  including  a  rich  heiress — Joan 
Crawford. 


"Tenderloin" — Warner.  Full  of  sus- 
pense spoiled  only  by  the  noisy  Vita- 
phone.  The  love  of  a  girl  for  a  crook 
and  his  reform — but  not  until  he  goes 
to  jail  for  five  years.  All  ends  happily. 
Dolores  Costello  and  Conrad  Nagel. 

"Rose  =  Marie"  — ■  Metro-Goldwyn. 
Flimsy,  though  beautifully  produced, 
yarn  of  an  Indian  maiden  who  loves  a 
man  suspected  of  murder,  marrying 
some  one  else  to  save  him  from  cap- 
ture. Joan  Crawford,  James  Murray, 
and  House  Peters. 

"Texas  Steer,  A"— First  National.. 
Will  Rogers  a  cow-puncher  elected  to 
Congress  as  a  result  of  his  wife's  so- 
cial ambitions.  His  wife  and  daughter 
attempt  to  crash  society  with  disas- 
trous results.  Louise  Fazenda  and  Ann 
Rork. 

"Thirteenth  Juror,  The" — Universal. 
Interesting  yarn  of  an  unscrupulous 
criminal  lawyer  accused  of  murder, 
who  can  save  himself  only  by  com- 
promising the  woman  he  loves.  Fran- 
cis X.  Bushman  is  unique  as  the  law- 
yer and  Anna  Q.  Nilsson  and  Walter 
Pidgeon  capably  assist  him. 

"Spotlight,  The"— Paramount.  Un- 
convincing, slow  picture.  Producer 
trains  an  unknown  girl,  giving  her  a 
Russian  name  and  announcing  her  as 
a  sensation  from  Europe.  Esther  Ral- 
ston, Neil  Hamilton,  and  Nicholas 
Soussanin  are  excellent. 

"Three's  a  Crowd" — First  National. 
Harry  Langdon  is  his  usual  plaintive 
self  in  monotonous  film  of  a  boy  who 
rescues  a  runaway  wife  in  a  snowstorm 
and  develops  a  dumb  devotion  for  her, 
only  to  be  deserted  in  the  end. 

"My  Best  Girl"— United  Artists.  Mary 
Pickford's  latest,  and  one  of  her  best. 
Tale  of  stock  girl  in  the  5-and-10  who 
falls  in  love  with  a  new  clerk — Buddy 

Rogers — without  knowing  he's  the 
owner's  son. 

"Night  Flyer,  The"— Pathe-DeMille. 
Simple,  human  railroad  story  of  1894, 
having  to  do  with  struggles  of  the 
president  of  a  Western  road  to  save 
his  company  from  bankruptcy.  William 
Boyd  and  Jobyna  Ralston. 

"Noose,  The"—First  National.  Thrill- 
ing story  of  Richard  Barthelmess  as  a 
bootlegger  who  commits  murder  to 
save  his  mother's  name,  though  he 
doesn't  know  her.  He  is  acquitted  with 
the  aid  of  his  mother — with  neither  of 
them  declaring  their  relationship. 
Alice  Joyce  is  the  mother. 

"Vanity"  —  Producers  Distributing. 
Leatrice  Joy  in  absurd  film  of  high-hat 
society  girl  who  snubs  a  sailor  and  suf- 
fers for  it  by  being  kidnaped  by  him  on 
the  eve  of  her  marriage.  Charles  Ray 
and  Alan  Hale. 

"Wizard,  The"— Fox.  Unskillful  mys- 
tery film.  A  "professor"  grafts  a  man's 
head  on  body  of  a  chimpanzee,  training 
him  to  kill.  Edmund  Lowe,  a  reporter, 
solves  the  mystery,  with  the  help  of 
beast. 

"13  Washington  Square" — Universal. 
A  story  with  an  original  twist.  The 
outcome  of  the  efforts  of  an  aristo- 
cratic mother  to  save  her  son  from 
marrying  the  girl  of  his  choice.  Jean 
Hersholt,  Alice  Joyce,  and  Zasu  Pitts. 

"Wings" — Paramount.  Spectacular 
picture  of  the  heroism  of  the  aviators 


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Address 


in  the  World  War.  Marred  only  by  a 
weak  story.  "Buddy"  Rogers,  Clara 
Bow,  Richard  Arlen,  and  Jobyna 
Ralston. 

"Uncle  Tom's  Cabin"  — Universal. 
Exciting  screen  version  of  this  old-time 
favorite.  Full  of  thrills,  horrors, 
laughter  and  tears.  Arthur  Edmund  Ca- 
rewe,  Margarita  Fischer  and  George 
Siegmann. 

"Underworld" — Paramount.  Exciting 
melodrama  of  master  crook  who  kills 
for  the  sake  of  his  girl,  is  sentenced 
to  death,  and  makes  a  thrilling  escape 
only  to  find  the  girl  in  love  with  an- 
other. George  Bancroft,  Evelyn  Brent, 
and  Give  Brook. 

"We're  All  Gamblers"— Paramount. 
Thomas  Meighan  in  swift  film  of  prize 
fighter  who,  after  being  incapacitated 
in  an  automobile  accident,  opens  a 
night  club,  with  romantic  results. 

"Abie's  Irish  Rose" — Paramount. 
Good  acting  and  sincere  direction.  No 
emotional  thrills.  Charles  Rogers  is 
good,  as  Abie.  Nancy  Carroll  perfect, 
as  Rosemary,  Jean  Hersholt,  Bernard 
Gorcey,  and  Ida  Kramer. 

"Glorious  Betsy"— Warner.  A  nice 
picture,  tearful,  charming,  lingering. 
Vitaphone  dialogue  unpleasant,  but  Do- 
lores Costello  and  Conrad  Nagel  are 
charming  and  agreeable  in  their  roles. 
John  Miljan  and  Marc  McDermott. 

"Hangman's  House" — Fox.  Common- 
place story,  with  exceptionally  beauti- 
ful atmosphere,  a  tribute  to  the  skill 
and  imagination  of  the  director.  June 
Collyer  is  an  aristocratic  beauty,  but 
not  an  emotional  one.  Larry  Kent, 
Victor  McLaglen,  and  Earle  Foxe. 

"Ramona"— United  Artists.  Another 
beautifully  scenic  picture.  Mild  story. 
Dolores  del  Rio  is  picturesque  in  title 
role.  Warner  Baxter  is  vital  and 
Roland  Drew  proves  languishingly  ro- 
mantic. 

"Kentucky  Courage" — First  National. 
Based  on  "The  Little  Shepherd  of  King- 
dom Come."  Richard  Barthelmess  plays 
Chad  with  surprising  skill.  An  impres- 
sive cast  including  Molly  O'Day,  Claude 
Gillingwater,  and  Doris  Dawson. 

"Big  Noise,  The"— First  National.  _  A 
shrewd  and  unusual  political  satire. 
Fine  performances.  Chester  Conklin, 
Bodil  Rosing,  Alice  White,  Sam  Hardy, 
Ned  Sparks,  and  Jack  Egan. 

"Circus  Rookies" —  Metro-Goldwyn. 
Lively  and  rather  clever.  Will  please 
admirers  of  Karl  Dane  and  George  K. 
Arthur.  Louise  Lorraine  is  good,  and 
Fred  Humes  is  appropriately  terrify- 
ing. 

RECOMMENDED— WITH 

RESERVATIONS. 

"Bringing  Up  Father"  —  Metro- 
Goldwyn.  Rowdy  but  human  slapstick 
comedy,  based  on  the  comic  strip  of 
same  name.  Polly  Moran,  Farrell 
MacDonald,  and  Marie  Dressier. 

"Chinese  Parrot,  The"— Universal.  A 
mystery  picture  without  suspense  and 
very  little  mystery.  Story  of  a  string 
of  evil-cursed  pearls  and  their  many 
travels.  Marian  Nixon,  Edmund  Burns, 
and  Anna  May  Wong. 

"Divine  Woman,  The"— Metro-Gold- 
wyn. Not  so  divine.  Greta  Garbo  mis- 
cast as  an  actress  who  will  not  ac- 
knowledge her  soldier-sweetheart  after 
she  becomes  a  star,  attempts  suicide 


and  is  saved,  of  course,  by  the  hero. 
They  live  happily,  et  cetera.  Lars 
Hanson  is  the  boy  friend. 

"Dress  Parade"  —  Pathe-DeMille. 
William  Boyd  miscast  as  smart-aleck 
cadet  at  West  Point  who  is  taken  down 
a  peg  or  two.  Bessie  Love  is  the  com- 
mandant's daughter. 

"Fast  and  Furious" — Universal.  Typi- 
cal Reginald  Denny  film,  but  not  up  to 
his  usual  mark.  Story  of  a  young  man 
afraid  of  automobiles  who  is  forced 
into  a  race  in  order  to  win  his  girl. 

"Figures  Don't  Lie" — Paramount. 
Trivial,  uninteresting  tale  of  a  stenog- 
rapher, a  go-getter  salesman  who  is 
jealous  of  her  employer,  and  the  em- 
ployer's wife,  who  is  jealous  of  the 
stenog.  Esther  Ralston  and  Richard 
Arlen. 


Addresses  of  Players. 

Richard  Arlen,  Raymond  Hatton,  Pola 
Negri,  Esther  Ralston,  Mary  Brian,  Neil 
Hamilton,  Richard  Dix,  Adolphe  Men.iou, 
Kathryn  Carver,  Wallace  Beery,  Florence 
Vidor,  Clara  Bow,  Chester  Conklin,  Clive 
Brook,  Charles  ("Buddy")  Rogers,  Fred 
Thomson,-  Gary  Cooper,  James  Hall,  Doug- 
las MacLean,  William  Powell,  Bebe  Dan- 
iels, Louise  Brooks,  Noah  Beery,  Emil  Jan- 
nings,  Evelyn  Brent,  Doris  Hill,  Ruth  Taylor, 
Nancy  Carroll,  at  the  Paramount  Studio, 
Hollywood,  California. 

Gwen  Lee,  Ramon  Novarro,  Norma  Shear- 
er, John  Gilbert,  William  Haines,  Lon  Cha- 
ney,  Renee  Adoree,  Marion  Davies,  Lillian 
Gish,  Eleanor  Boardman,  Karl  Dane,  Dorothy 
Sebastian,  Lionel  Barrymore,  Tim  McCoy, 
George  K.  Arthur,  Joan  Crawford,  Ralph 
Forbes,  Buster  Keaton,  Johnny  Mack  Brown, 
Marceline  Day,  at  the  Metro-Goldwyn  Studio, 
Culver  City,  California. 

Vilma  Banky,  Ronald  Colman,  Douglas 
Fairbanks,  Mary  Pickford,  Norma  Talmadge, 


Constance  Talmadge,  Gilbert  Roland,  Don 
Alvarado,  and  John  Barrymore,  at  the 
United  Artists  Studio,  7100  Santa  Monica 
Boulevard,  Los  Angeles,  California. 

Colleen  Moore,  Jack  Mulhall.  Doris  Ken- 
yon,  Milton  Sills,  Billie  Dove,  Ken  Maynard, 
Richard  Barthelmess,  Dorothy  Mackaill, 
Harry  Langdon,  Mary  Astor,  Larry  Kent, 
Corinne  Griffith,  Donald  Reed,  and  Molly 
O'Day,  at  the  First  National  Studio,  Bur- 
bank,  California. 

Reginald  Denny,  Hoot  Gibson,  Mary  Phil- 
bin,  Laura  La  Plante,  Marian  Nixon,  Art 
Acord,  Barbara  Kent,  Barbara  Worth,  Eth- 
lyn  Claire,  William  Desmond,  Edmund  Cobb, 
|Jack  Daugherty,  George  Lewis,  Raymond 
Keane,  at  the  Universal  Studio,  Universal 
City,  California. 

William  Boyd,  Rod  La  Rocque,  Leatrice 
Joy,  Edmund  Burns,  Vera  Reynolds,  H.  B. 
Warner,  Victor  Varconi,  Elinor  Fair,  Jacque- 
line Logan,  Kenneth  Thomson,  Joseph  Strik- 
er, Joseph  Schildkraut,  Virginia  Bradford, 
and  Lina  Basquette,  Marie  Prevost,  Harrison 
Ford,  Phyllis  Haver,  at  the  Cecil  DeMille 
Studio,  Culver  City,  California.  Also  Julia 
Faye. 

George  O'Brien,  Edmund  Lowe,  Earle  Foxe, 
Janet  Gaynor,  Richard  Walling,  Barry  Nor- 
ton, Charles  Farrell,  Madge  Bellamy,  Victor 
McLaglen,  Lois  Moran,  Nick  Stuart,  Virginia 
Valli,  Sally  Phipps,  Farrell  MacDonald, 
Charles  Morton,  Ben  Bard,  Sammy  Cohen, 
Warren  Burke,  Davis  Rollins,  George  Meeker, 
Marjorie  Beebe,  Margaret  Mann,  Nancy 
Drexel,  June  Collyer,  and  Mary  Duncan,  at 
the  Fox  Studio,  Western  Avenue,  Hollywood, 
California. 

Audrey  Ferris,  Dolores  Costello,  Louise  Fa- 
zenda,  Monte  Blue,  May  McAvoy,  Leila  Hy- 
ams,  at  the  Warner  Studios,  Sunset  and 
Bronson,  Los  Angeles,  California. 

Tom  Tyler,  Bob  Steele,  Frankie  Darro, 
Buzz  Barton,  Tom  Mix,  Martha  Sleeper,  at 
the  F.  B.  O.  Studio,  780  Gower  Street,  Holly- 
wood. California. 

Bill  Codv,  Buddy  Roosevelt,  Walter  Miller, 
at  the  Associated  Studios,  Mission  Road, 
Hollywood,  California. 

Allene  Ray,  6912  Hollywood  Boulevard, 
Hollywood,  California. 

Robert  Frazer,  6356  La  Mirada  Avenue, 
Los  Angeles,  California. 

Patsy  Ruth  Miller,  808  Crescent  Drive, 
Beverly  Hills,  California. 


122 


Advertising  Section 


Who  Else  Wants  to  Reduce 
29  Pounds  in  6  Weeks? 

Melt  Fat  Away  by  New  Oxygen  Method 


Dt.  Emil  Sauer,  Practicing 
New  England  physician,  and 
graduate  of  a  prominent  Ger- 
man university  says: 

"Viaderma  will  take  off  fat 
on  any  part  of  the  body.  Thi3 
Is  brought,  about  by  the  re- 
lease of  oxygen  contained  in 
the  cream,  which  combines 
with  fat,  melting  it  down  so 
that  the  resultant  by-products 
are  thrown  off  by  the  body 
through  the  natural  organs  of 
elimination.  Most  cases  begin 
to  respond  to  the  treatment  in 
four  or  five  days.  Stubborn 
cases  show'  results  in  fifteen 
Or  sixteen  days,  with  very 
rapid  reduction  thereafter. 
"Viaderma  is  safe  and  abso- 
lutely harmless.  Its  principal 
ingredient,  has  a  slight  tonic 
effect  and  cannot  possibly 
produce  any  harmful  results." 


A  prominent  Madison  Avenue 
physician,  who  has  long  spe- 
cialized in  the  use  of  colloids, 
6ays  of  the  chief  fat-reducing 
ingredient  of  Viaderma: 

"It  gives  up  its  loosely  com- 
bined oxygen  readily — to  the 
body  tissues. .From  the  action 
of  this  liberated  oxygen  to 
the  fatty  tissues,  obesity  can 
be  successfully  treated  with- 
out danger  to  the  subject." 


Measurements  Before  and 
After  Using  Viaderma 

"You  can  see  that  I  have  got  re- 
sults. Here  are  my  measurements 
before  and  after  using  Viaderma." 


WAS 

ins. 

Left  Knee  21  M 
Right  Knee21  yi 
Waist         43  H 
Hips  ■  54 
Abdomen  44 


NOW 

ins. 

Left  Knee  17  ,. 
Right  Kneel7  \i 
Waist  41 
Hips  50  "4 

Abdomen   42  H 


"It's  Wonderful" 

"I  am  glad  indeed  that  I  took  the  Via- 
derma treatment  for  reduction.  To  be  fat 
is  both  distasteful  and  ungraceful  and  I 
most  certainly  was  over  weight.  At  the 
end  of  eighteen  applications  I  had  lost  over 
three  inches  waist  measurement  and  more 
than  four  inches  around  hips.  I  notice 
that  after  using  Viaderma  that  the  flesh 
becomes  firmer  and  of  better  texture.  I 
am  going  to-recommend  Viaderma  when- 
ever I  get  a  chance.    It's  wonderful. 

Yours  very  truly,'! 


Reduce  Where  You  Want  to  Reduce — Banish  Double  Chin—' 
Thick  Neck,  Fat  Arms,  Legs,  Ankles— Large  Busts,  Waists  and  Hips 
Quickly,  Safely.  No  Starvation  Diets,  No  Punishing  Exercises, 
No  Dangerous  Drugs.  Results  Positively  Guaranteed  or  You 
Do  Not  Pay  a  Penny. 

Think  of  it!  Without  drugs,  without  starvation  diets,  without 
dangerous  exercises,  but  with  a  new  method,  safe,  harmless,  en- 
dorsed by  physicians  and  scientists,  enthusiastic  users  have  re- 
duced 29  pounds  in  six  weeks.  You,  too,  can  get  amazing  results 
— or  no  cost  to  you. 


Through  a  remarkable  new  scientific  discovery, 
it  is  now  possible  to  reduce  exactly  where  you 
want  to  reduce — easily,  quickly  and  safely. 
Double  chins  that  make  you  look  ten  years 
older  vanish  in  a  few  days'  time.  Large  busts, 
thick  waists,  big  hips,  fat  arms  and  legs  that 
fashion  frowns  on  respond  readily  to  the  new 
treatment. 

In  the  past  thousands  have  done  themselves 
serious  bodily  harm  by  too  strenuous  exercises. 


dangerous  starvation  diets,  weakening  baths 
and  powerful  drugs.  Doctors  everywhere  are 
warning  women  against  these  wrong  methods. 
Today  they  are  entirely  unnecessary.  For  hosts 
of  women,  whose  appearance  was  ruined  by  ex- 
cess fat  on  various  parts  of  the  body,  many  of 
whom  had  given  up  all  hope  of  finding  a  sure 
and  safe  reduction  method,  have  quickly  re- 
gained youthful  slendemess  and  litheness  of 
line  throjigh  the  discovery  of  Viaderma. 


Accidental  Discovery  of  Famous  Chemists 


This  discovery  of  Viaderma  was  purely  acciden- 
tals An  eminent  New  York  doctor,  specializing 
in  skin  diseases,  asked  a  group  of  colloidal 
chemists,  who,  for  years  had  enjoyed  the  high- 
est professional  standing  with  physicians,  and 
whose  products  were  sold  only  to  physicans,  to 
try  to  find  a  remedy  for  chronic  skin  troubles. 
(Colloidal  chemistry  is  one  of  the  latest  devel- 
opments in  chemical  science.) 
After  a  number  of  experiments  these  chemists 
prepared  a  cream  which  would  liberate  oxygen 
freely  when  absorbed  through  the  skin.  And 
then  came  the  amazing  surprise! 


They  discovered  that  whenever  Uie  part'  being 
treated  was  fat,  this  excess  weight  quickly  dis- 
appeared. 

Exhaustive  clinical  tests  were  then  made  to  re- 
duce excess  fat  on  every  part  of  the  body.  Re- 
sults were  obtained  with  a  uniformity  that  was 
amazing.  So  convincing  have  been  these  tests 
that  these  specialists  unhesitatingly  say  that 
there  is  no  question  about  the  power  of  Via- 
derma to  remove  fat.  And  it  is  so  safe  and  harm- 
less that  it  has  received  the  endorsement  and 
approval  of  chemists  and  physicians  of  high 
standing. 


What  It  Is  What  It  Does 

Viaderma  is  a  colloidal,  infiltrating  cream  con-  As  Viaderma  filters  through  the  skin  and  into 

taining  double  oxygen.  It  is  golden  brown  in  the  fat  layers  it  immediately  begins  to  give  off 

color,  and  when  rubbed  on  any  part  of  the  body  §gg«?^fi2*£  e^^»*?*S& 

disappears  at  once,  leaving  a  clean  white  foam.  manner  as  in  exercise.  When  you  exercise  you 

You  don't  have  to  guess— you  see  it  vanish  be-  ^tj,a¥',.deep,  brKiatlif'  a£g?rbing  increased 

,  .     .       ....    u     .  j  oxygen  into  your  blood.    This  oxygen  is  the 

fore  your  very  eyes,  proving  how  it  is  absorbed  means  whereby  the  fat  is  disintegrated.  With 

and  penetrates  right  into  the  fat  layers,  where  Viaderma  you  accomplish  the  same  and  even 

the  oxygen  (like  the  oxygen  in  the  air  you  ^^^g^^™^^ 

breathe)  gradually  melts  away  excess  fat.  wish. 

How  You  May  Try  Viaderma  Without  Risking  a  Single 

Penny 

Just  mail  the  coupon  at  the  right  and  we  will  send  you,  without  any  obligation  on  your  part,  freS 
booklet  on  "How  to  Reduce  Where  You  Want  to  Reduce."  We  will  also  send  you  our  guarantee 
order  blank  telling  how  you  can  order  Viaderma  on  trial  with  the  strongest  and  most  liberal  guar- 
antee you  can  imagine.  You  must  be  satisfied  or  it  does  not  cost  one  penny.  When  you  consider 
that  you  take  not  the  slightest  risk  sending  for  this  booklet  and  full  information  about  Viaderma 
— not  even  a  financial  risk — there  is  no  longer  the  slightest  excuse  for  excess  fat.  There  is  cer- 
tainly no  reason  when  others  stouter  than  yourself  have  easily-gotten  rid  of  their  unsightly  fat  and 
surprised  and  delighted  their  friends  with  youthful  and  attractive  appearance  regained.  Mail  the 
coupon  today. 

What  Women  Say  Who  Have  Used  Viaderma 

You  have  read  what  scientists  and  specialists  say  about  Viaderma.  You  have  seen  howthey.endorse 
and  approve  it.  These  scientific  opinions  prove  that  it  is  sure,  "safe  and  harmless. 
But  more  convincing  than  anything  else  to  most  people  who  want  to  reduce  is  the  actual  expert* 
ence  of  folks  who  had  bought  and  used  Viaderma.  Day  by  day  letters  come  to  us  from  grateful 
men  and  women  telling  of  remarkable  results.  There  is  space  here  to  print  only  a  few.  . 
Read  what  these  people  say.  For  obvious -reasons  we  do-not  give  their  names  in  print;  but  -/ 
these  signed  letters  are  on  file  at  our  office: — ■  f  ( 

•'Remarkable  Reduction"  / 

"I  want  you  to  know  of  how  much  benefit  Viaderma  has  been  to  ✓ 
me.  I  have  used  it  on  my  legs  and  the  reduction  has  been  remark-  » 
able — about  three-quarters  of  an  inch  in  six  weeks'  time.    I  shall  jf 
otrtainly  continue  to  use  it  and  expect  further  results.  Jr. 

Yours  very  truly."  /  Colloidal 

♦'Surprised  at  Results"  jr  Chemists* 

"The  cream  is  quite  remarkable  and  although  I'.ve  only  Deot  128A 

recently  given  it  any  kind  of  a  fair  test,  I  am  surprised  at  „  tu  ohft,  c» 

the  results.    One  inch  off  my  neck  and  that's  going  some.  ^         '  ,  ** 

I  shall  certainly  recommend  Viaderma  whenever  I  can.  ^         INew  York  City* 

"Thanking  you  again  I  am 

Cordially  yours."  Please  send  me,  with. 

O    out   obligation    on  my 
f.     part,    your    free  bookies 
•'Has  Lost  29  Pounds  and  Feels  So  "How    to    Reduce  Where 

Mnrh  Better"  f     You  Want  to  Reduce."  and 

Biucn  oeiar  j,    complete  information  telling  me 

"After  about  six  weeks'  treatment  with  /    how  I  can  get  Viaderma  oa  trial 

Viaderma,  I  feel  that  I  must  let  you  know  ✓     without  any  financial  risk, 

how  wonderfully  it  has  helped  me.   I  have  f 
reduced  from  one  inch  to  two  and  one-half  jr 

inches  over  arms  and  legs,  and  over  two  f     Name-  -   .. 

inches  in  the  heck.    During  this  period  I  jf 

lost  29  pounds  and  feel  ever  so  much  bet-  f  Adttre33 

ter  in  general  health.  Viaderma  is  truly         ✓     rtuureso  -   

the  solution  of  safe  and  sane  fat  reduction.  J 

Very  truly  yours,"       /    City  and  State  


All  the  World 
Loves  a  Good 
Love  Story 

It's  the  most  popular  kind  of  story  there  is. 
The  greatest  novels  of  all  time  are  love  stories. 
Romantic  love  never  loses  its  appeal.  The 
delights  and  heartbreaks,  the  tenderness  and 
bitterness  incidental  to  courtship  and  marriage 
furnish  a  never-failing  fund  of  material  for 
the  writer  of  romantic  fiction. 

That   is  why,   in   selecting  titles    for  the 
Chelsea  House  line  of  books,  it  was  thought 
well  to  include  several  love  stories.    These  books  areitnown  as  the 

CHELSEA  HOUSE  POPULAR  COPYRIGHTS 

They  are  bound  in  cloth  with  gold  stamping,  printed  on  good  paper  from  new,  clear  type, 
and  in  general  appearance  are  the  equal  of  mos,.  books  made  to  sell  at  $2.00.  They  are  all  new 
stories  that  have  neveY  before  appeared  in  book  form,  not  reprints  of  old  editions.  They  are 
sold  for 

75  Cents  a  Copy 

Some  of  the  Love  Stories  in  the  Chelsea  House  Popular  Copyrights  are  described  below 


The  Bayou  Shrine 
By  PERLEY  POORE  SHEEHAN 

The  story  of  a  pure  love  that  rose  above  con- 
ventions. A  romance  that  will  have  a  particu- 
lar appeal  to  the  modern  woman. 


The  Love  Bridge 
By  MARY  IMLAY  TAYLOR 

How  the  destinies  ,of  two  women  and  a  man 
were  vitally  influenced  by  a  bridge  across  a 
Western  canyon.  A  splendid  love  story  of  the 
outdoors. 


The  Awakening  of  Romola 
By  ANNE  O'HAGAN 

Romola  was  thirty-two.  She  had  a  husband 
and  two  children.  But  romance  insisted  on 
coming  into  her  life  again. 


Her  Wedding  Ring 

By  MARC1A  MONTAIGNE 

The  call  of  youth  to  youth  and  a  love  that 
sought  to  override  obstacles  instead  of  finding 
a  way  around  them,  are  the  dominant  themes  of 
this  romance  of  the  younger  generation. 


Quicksands 

By  VICTOR  THORN E 

How  a  girl  reared  in  poverty  staged  a  cam- 
paign to  win  a  wealthy  husband.  A  story 
that  deals  with  many  of  the  vital  problems  of 
modern  life. 


Wanda  of  the  White  Sage 
By  ROY  ULRICH 

Marrying  a  girl  he'd  never  seen  before  and 
taking  her  out  West  was  a  pretty  experience 
for  Dan  Chadwick,  but  it  was  only  the  start 
of  his  romantic  adventures. 


Ask  Your  Bookseller  for  Chelsea  House  Popular  Copyrights 

There  are  also  Detective  and  Mystery  Stories,  Western  Stories,  and  Adventure  Stories — 
all  the  most  popular  types  of  fiction— included  in  the  CHELSEA  HOUSE  POPULAR  COPY- 
RIGHTS.   WRITE  FOR  A  COMPLETE  LIST. 


I 


Complete  Beauty  Outfit,  50c 

Containing  Every  Beauty  Need 

Mail  this  special  offer 
coupon  at  once  to  Edna 
Wallace  Hopper,536Lake 
Shore  Drive,  Chicago — 
enclosing  50c  (stamps 
accepted)  for  liberal  trial 
sizes  of  all  seven  of  these 
beauty  aids,  Miss  Hop- 
per's own  beauty  book, 
also  Free  certificate 
good  for  50c  tube  of 
Quindent  toothpaste. 


oAn  Invitation 

By  Edna  Wallace  Hopper 

You've  heard  of  this  woman  who  has  been  a  stage  beauty 
over  forty  years,  and  of  the  French  beauty  formulas 
that  have  kept  her  beautiful  for  a  lifetime.  But  you  never 
have  had  so  wonderful  an  offer  as  she  makes  you  here. 

This  is  your  golden  opportunity  to  have  your  own 
beauty  box  of  Edna  Wallace  Hopper's  own  beauty 
requisites.  Not  just  a  collection  of  stingy  samples  of 
commercial  cosmetics,  but  liberal  quantities  of  seven 
scientific  aids  to  beauty  culture;  the  self-same  things 
this  famous  beauty  spent  years  in  searching  out;  the 
secrets  once  known  only  in  France. 

Look  at  the  photograph  of  Miss  Hopper — taken  this 
year.  At  a  grandmother's  age,  she  still  looks  like  a 
flapper.  That's  what  the  right  beauty  aids  can  do;  what 
ordinary  tallow  creams  and  crude  clays  and  starchy 
powders  can  never  accomplish.  Try  these  seven  aids, 
in  generous  quantities;  enough  powder  for  six  weeks, 
all  in  decorative  box  suitable  for  travel  or  home  use, 
for  coupon  and  only  50c. 

Full-sized  packages  would  cost  you  over  four  dollars  ! 

THRFF  *  Certificate  for  full  fifty-cent  tube 
•*■  *  of  exquisite  Quindent  toothpaste 

will  be  included,  so  this  week-end  beauty 
case  really  costs  you  nothing  ! 

All  toilet  counters  sell  Miss  Hopper's  Eeauty  Aids 


\\7     i  (  • 


1, 


More  time  to  play 


You  can  always  find  people  to  tell  you  that  the  coun- 
try is  going  to  the  dogs  because  we're  doing  so  much 
playing. 

"When  did  your  grandmother  find  any  time  to  play? 
There  was  a  woman  for  you!" 

No  doubt. 

Just  the  same,  we'd  like  to  have  given  her  a  vacuum 
cleaner,  a  washing  machine,  electric  lights,  running 
hot  water,  a  telephone,  baker's  bread,  delicious 
canned  foods,  an  automobile  and  a  set  of  golf  clubs. 

Can  you  picture  grandfather's  face?  .  .  .  "Gone  to 
the  country  club.  Look  in  the  ice-box." 

Through  advertising,  science  is  giving  us  more  and 
more  time  to  play.  Advertising  is  knocking  minutes 
off  every  phase  of  household  work  from  cooking  to 
shopping,  to  give  us  leisure  hours. 

.  .  .  and  we're  just  using  them  as  grandmother 
would  have  if  she'd  had  the  chance. 

/       /  / 


Read  the  advertising.  It  will  bring  you 
more  time  to  play 


Advertising  Section 


^evn  Movie  jX. 


^JSV       WILLIAM  FOX  presents^ 


TV 


IT'S  coming  your  way!  Another  Fox 
Masterpiece— FAZIL!  A  picture  with  an  enthralling 
story  dramatically  narrated  by  Howard  Hawks. 

East  loves  West  and  West  loves  East..  Greta  Nissen 
and  Charles  Farrell.  See  these  two  daring  lovers, 
who  first  find  themselves  through  the  song  of  a 
Venetian  gondolier  and  then  lose  themselves  in  the 
maze  of  reckless  romance.  Follow  them  through  the 
gay  Western  World — the  mysterious  East.  See  Her 
conquer  over  His  harem.  See  Him  undecided  be- 
tween breaking  Her  heart  and  breaking  His  laws! 
Then  one  of  the  greatest  climaxes  in  moving  picture 
history  —  the  final  scene  beside  a  desert  oasis  — 
where  Greta  Nissen  will  make  you  forget  Cleopatra! 


FAZIL  is  indeed  an  amazing  picture  to  see!  And 
— it  is  also  an  amazing  picture  to  HEAR!  In  FAZIL 
you  will  hear  that  astonishing  movie  miracle — FOX 
MOVIETONE.  It  puts  SOUND  into  movies— real- 
istic,  true-to-life  sovind!  In  FAZIL  you  hear  the  gon- 
dolier sing  his  Venetian  Song  of  Love.  You  hear  the 
voices  of  the  desert.  You  hear  a  full  symphony  or- 
chestra, as  though  you  were  silting  in  a  great  mov- 
ing picture  cathedral  on  Broadway.  Fox  Movietone 
doubles  your  movie  fun.  You  won't  believe  your  own 
ears!  It's  as  true  to  your  ears  as  it  is  to  your  eyes 
—because  the  SOUND,  like  the  scene,  is  PHOTO- 
GRAPHED. Watch  for  Fox  Movietone  in  your  town 
—See  a  Fox  Movietone,  you'll  hear  a  great  show! 


F#X  M®VIET®SK-Tfo  Sound  and  Siant  Sensation 


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Picture  Play 

VolumeXXlX  CONTENTS    FOR   NOVEMBER,    1928  Number  3 

The  entire  contents  of  this  magazine  are  protected  by  copyright,  and  must  not  be  reprinted  without  the  publishers '  consent. 

What  the  Fans  Think       .       .       .       ....       .       .       .  8 

An  open  forum  conducted  for  and  by  our  readers. 

Standing  Room  Only  .       .       .       .....       .       .  .15 

That's  what  is  predicted  for  Ronald  Colman  and  Lily  Damita,  in  their  first  picture 
together. 

All  That  Is  Mortal  of  Valentino  Lies  in  a 

Borrowed  Tomb  .    .    .       .       .       .       .    A.  L.  Wooldridge       .  16 

A  startling  revelation  that  should  be  a  reproach  to  all  Valentino  fans. 

Mammy's  Boy  Makes  Whoopee  in  Hollywood    Margaret  Reid     .       .  18 

Al  Jolson  has  at  last  found  a  haven  for  his  ever-changing  interests. 

Gasping,  Breathless    .       .       .       .       ....       .       .  .  20 

In  which  some  movie  folk  seem  very  much  upset. 

Three  Young  Gals      .       .       .       .       .       .    Alma  Talley  .       .  .21 

An  interesting  story  about  one  of  the  luckiest  families  in  the  country. 

What's  a  Chap  to  Do?     .       .       .       .       .    William  H.  McKegg    .  23 

James  Hall  has  experienced  both  loneliness  and  too  much  popularity,  and  isn't  sure 
which  evil  he  prefers. 

The  Stroller   Carroll  Graham    .       .  24 

Hollywood  is  an  open  book  to  our  perennial  news-finder,  who  lets  you  in  on  a  bit  o£ 
the  latest  gossip. 

"Good  Shepherd,  What  Fair  Swain  Is  This 

Who  Dances  With  Your  Daughter?"  .26 

Joan  Crawford  and  Edward  Nugent  give  an  exhibition  of  the  very  latest  thing  in 
dance  steps. 

Do  Fan  Dreams  Come  True?    ....    Laura  Ellsworth  Fitch  .  28 

The  story  of  a  fan  who  felt  that  her  disillusionment  opened  the  door  to  a  finer 
happiness. 

Over  the  Teacups      ......    The  Bystander     .       .  30 

Fanny  the  Fan  gives  voice  to  her  ever-constant  observations. 

Little  Sister  or  Lucrezia  Borgia       .       .       .    Malcolm  H.  Oettinger  .  34 

The  author  is  at  his  best  in  this  interview  with  Kathleen  Key. 

Favorites  of  the  Fans       .........  .35 

Full-page  portraits  in  rotogravure  of  eight  popular  players. 

Too  Good  to  Be  Romantic       ....    Alma  Talley  .       .  .43 

That's  what  many  think,  but  Conrad  Nagel  has  something  to  say  on  the  subject. 


Manhattan  Medley  

Entertaining  chat  of  movie  doings  in  the  metropolis. 

The  Saga  of  the  Hobo       .....    Myrtle  Gebhart 

There's  an  interesting  story  behind  the  filming  of  "Beggars  of  Life." 

Her  Strange  Interlude  William  H.  McKegg 

The  producers  are  censured  for  failing  to  appreciate  Greta  Nissen. 

Continued  on  the  Second  Page  Following 


.    Aileen  St.  John-Brenon  44 

49 
51 


Monthly  publication  issued  by  Street  &  Smith"  Corporation.  79-S9  Seventh  Avenue,  New  York  City.  Ormond  G.  Smith,  President;  George  C.  Smith,  Vice 
President  and  Treasurer;  George  C.  Smith,  Jr.,  Vice  President;  Ormond  V.  Gould,  Secretary.  Copyright,  1928,  by  Street  &  Smith  Corporation,  Nen 
York.  Copyright,  1928,  by  Street  &  Smith  Corporation,  Great  Britain.  Entered  as  Second-class  Matter,  March  6,  1916,  at  the  Post  Office  at  New  York, 
N.  Y.,  under  Act  of  Congress  of  March  3.  1879.    Canadian  subscription,  S2.86.    Foreign,  $3.22. 


YEARLY  SUBSCRIPTION,  $2.50 


SINGLE  COPIES,  25  CENTS 


ALL   MANUSCRIPTS    MVS!    BE    ADDRESSED    TO    THE  EDITORS 

We  do  not  hold  ourselves  responsible  for  the  return  of  unsolicited  manuscripts. 

]|l!lllllllll!lllllllllllllllllll!llllllllll!l!llllllllllllllllllllllllllll 


Advertising  Section 


T 


EE  a  Paramount  Picture  tonight!  See  the 
most  popular  stars  of  the  day!  See  them  in  these  new  pictures  attuned  to  these 
changing  times,  these  fast-paced  days!  Ask  your  Theatre  Manager  for  the  dates! 


"THE  WEDDIIO  MARCH" 

Directed  by  and  starring  Erich  von  Stroheim, 
with  Fay  Wray  and  ZaSu  Pitts.  Many  of  the 
scenes  are  in  Technicolor. 

'FORftOTTEN  FACES" 

With  Clive  Brook,  Mary  Brian,  William 
Powell,  Baclanova,  Fred  Kohler,  Jack  Luden. 
Victor  Schertzinger  Production. 

"DOCKS  OF  IEW  YORK" 

Starring  the  popular  favorite  George  Bancroft, 
with  Betty  Compson  and  Baclanova.  Josef  von 
Sternberg  Production. 

"THE  WATER  HOLE" 

From  a  story  by  Zane  Grey.  With  Jack  Holt 
and  Nancy  Carroll.  F.  Bichard  Jones  Pro- 
duction. Many  of  the  scenes  in  Technicolor. 

"SAWDUST  PARADISE" 

Starring  Esther  Balston,  the  Blonde  Goddess 
of  the  screen.  With  Hobart  Bosworth  and 
Reed  Howes.  ■  Luther  Reed  Production. 


"THE    FLEET'S    I  W»' 

Starring  Clara  Bow,  the  most  popular  girl 
on  the  screen,  with  James  Hall.  Malcolm  St. 
Clair  Production. 

"BEGGARS  OF  LIFE" 

With  Wallace  Beery,  Louise  Brooks,  Richard 
Arlen.  William  Wellman  Production,  from 
Jim  Tully's  saga  of  Hobohemia. 

"THE    n  A  T  I  \  U    CAE  E" 

By  Rex  Beach.  Starring  Thomas  Meighan,  with 
Evelyn  Brent  and  Renee  Adoree.  Directed  by 
James  Cruze.  Produced  by  Caddo  Co. 

"THE   FIRST  KISS" 

Starring  Paramount's  Glorious  Young  Lovers, 
Fay  Wray  and  Gary  Cooper.  With  Lane 
Chandler.  Rowland  V.  Lee  Production. 

"JUST  MARRIED" 

From  a  story  by  Anne  Nichols,  author  of 
"Abie's  Irish  Rose."  Co-starring  Ruth  Taylor 
and  James  Hall.  Frank  Strayer  Production. 


EAR! 


See  and  hear  a  Paramount  Picture  tonight!  In  theatres  equipped  to  show 
"sound"  pictures  Paramount  now  presents  the  first  quality  "sound"  pro- 
gram. Paramount  Features,  Paramount  News,  Paramount-Christie  Comedies. 
Stage  Shows  on  the  Screen — all  in  sound,  all  Paramount!  Watch  the  news- 
papers for  theatre  announcements  of  Paramount  Pictures  in  sound.  Silent 
or  with  sound— "if  it's  a  Paramount  Picture  it's  the  best  show  in  town!" 

^^^^^^  TKADE^,j(Jnhf  ^MARK 


PRODUCED  BY  PARAMOUNT  FAMOUS  LASKY  CORPORATION, 


ADOLPH  ZUKOR,  PRES.,  PARAMOUNT  BLDG.,  NEW  YORK 


miiiiiiiiiiiiiiiiiiiiiiiiii  ii  iiiii  iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiim      Contents  Con/muec/ lll,,lllllll,llllin 


It's  the  Breaks  That  Make  'Em       .       .       .    Houston  Branch  .  .52 

Hollywood  is  saturated  with  talent,  but  it  takes  a  break  to  give  it  a  chance. 

He  Doesn't  Look  Like  an  Actor      .       .       .    Myrtle  Gebhart    .       .  55 

Roben  Armstrong  is  found  to  be  a  "regular  fellow." 

A  Girl  Comes  to  Hollywood     ....    Alice  M.  Williamson  .  57 

A  generous  installment  toward  the  solution  of  this  fascinating  mystery. 

The  Stepson  of  the  Movies  61 

In  which  PICTURE  PLAY  accedes  to  the  request  of  the  Paddy  O'Flynn  fans. 

Hollywood  High  Lights  .       .       .       .    Edwin  and  Elza  Schallert  62 

Amusing  and  timely  news  of  the  movie  colony. 

The  Fleet  Must  Be  In!     .       .       .      '.'      ...       .       .       .  .66 

The  tendency  toward  marine  pictures  seems  on  the  increase. 

The  Screen  in  Review       .       .       ...     .    Norbert  Lusk       .       .  68 

The  fans  are  given  the  low-down  on  the  pictures  of  the  month. 

A  Confidential  Guide  to  Current  Releases      ...       .       .       .  .72 

Timely  tips  on  pictures  now  being  shown. 

An  Interview  Enters  His  Life  .  .  .       .    William  H.  McKegg    .  73 

William  Bakewell  gives  his  first  "message"  to  his  beloved  public. 

Eleanor— As  She  Is   .  :  .       .       .       .    Margaret  Reid      .  .74 

A  literary  portrait  of  Eleanor  Boardman. 

"Katsudoshashin"        .       .       .       .       .       .    Kimpei  Sheba       .  .83 

An  interesting  article  about  the  movies  in  Japan. 

The  High  Cost  of  Popularity  ....    Caroline   Bell       .       .  86 

Wherein  Richard  Dix  has  something  pertinent  to  say  about  the  things  stars  are 
asked  to  do. 

Stars  at  Auction       .       .       .       .       .       .    Ann  Sylvester      .       .  89 

A  story  about  the  manner  in  which  stars  are  sold  and  traded  in  Hollywood. 

Information,  Please    ......    The  Picture  Oracle      .  102 

Answers  to  readers'  questions. 


IS  LOVE  DYING  ON  THE  SCREEN? 


KKSXM 


IT  seems  to  be.  Just  hark  back  to  "Beau  Geste,"  "The  Way  of 
All  Flesh,"  and  "Sorrell  and  Son,"  and  then  consider  "The 
Racket,"  "A  Girl  in  Every  Port,"  and  "The  Barker."  In  them  all 
love,  as  we  have  come  to  know  it  on  the  screen,  was  subordinated 
to  paternal,  filial  or  fraternal  devotion.  In  some  instances  the  love 
of  man  and  maid  was  entirely  missing.  Why?  Does  modern  life 
smile  at  the  "mushy"  love-making  which  is  still  seen  on  the  screen, 
because  it  is  so  far  removed  from  reality  that  it  is  ridiculous?  Did 
the  absence  of  this  sort  of  amorousness  from  the  above-mentioned 
pictures  increase  their  appeal,  or  "was  it  just  novelty  that  made  them 
successful? 

This  interesting,  unusual  topic  will  be  discussed  by  Edwin 
Schallert  in  December  PICTURE  PLAY,  with  his  customary  au- 
thority and  thoroughness.  Unless  we  are  mistaken,  the  fans  will 
take  pen  in  hand  and  contribute  some  vehement  letters  in  an- 
swer to  it. 

NILS  ASTHER,  FAY  WRAY,  GRETA  GARBO,  RICHARD 
ARLEN,  AND  MADGE  BELLAMY 

Star  interviews  will  abound  in  next  month's  PICTURE  PLAY, 
even  more  so  than  usual,  and  it  is  an  exacting  fan  indeed  who  will 
not  find  at  least  one  of  his  favorites  represented.  Nils  Asther,  whose 
fans  have  besought  and  besieged  us  for  news  of  him,  will  be  the  star 
chosen  by  Myrtle  Gebhart  for  one  of  her  most  heart-searching  inter- 
views. And  if  you  don't  vote  Margaret  Reid's  pen  portrait  of  Greta 
Garbo  the  best  you  have  ever  read,  then  PICTURE  PLAY  will 
admit  that  Mary  Ann  Jackson  will  be  the  siren  of  to-morrow.  Next 
month's  letters  in  "What  the  Fans  Think"  will  also  be  unusually 
entertaining  and  diversified,  and  we  shall  make  every  effort  to  pub- 
lish more  than  the  usual  number  to  satisfy  the  demand.  With  the 
beginning  of  winter,  PICTURE  PLAY  offers  itself  as  the  ideal 
guide,  philosopher  and  friend  to  those  who  enjoy  their  movies  intel- 
ligently, and  who  regard  the  stars  with  affection  and  gratitude. 


tllllll!  Illllllllllllllllllllllllllllllllllllllllllllllllllllllll  Illllllllllllllllllllllll  lllll!lllllllll!!llllllll!lllllll]!!llilll!l!lllllll!ll!U   :<i|illll!llllllllllllllll!!lllll  Illlll  UUIIHMI  Mill 


Advertising  Section 


These  photographs  show  Miss  Peggy  Sidway,  before  the  Marvelous  Marcel 
Molds  were  adjusted  to  her  perfectly  straight  long  hair.  .  .  .  Mme.  Sylva's 
molds— easily  and  comfortably  adjusted  to  Miss  Sldway's  brunette'  tresses. 

When  the  molds  came  out  of  the  hair,  she  exclaimed  with  delight,  "That's 
the  loveliest  wave  I  ever  had.  From  now  on,  I'm  going  to  use  these  molds 
myself.  You  can't  imagine  the  time  and  money  we  models  must  expend  on 
our  hair,  for  we  must  always  look  well." 


Here  is  a  manufacturer  with 
such  pride  in  his  product — 
such  confidence  in  its  excel- 
lence— that  in  photographing 
a  demonstration  of  this  prod- 
uct for  publication,  he  in- 
vited these  representatives  of 
great  papers  to  be  present, 
that  readers  may  be  assured 
of  complete  truthfulness  and 
entire  sincerity  in  every  phase 
of  this  advertisement.  Such 
is  the  straightforward,  clean- 
cut  policy  of  ARCADY 
HOUSE. 


Marvelous  Nev?  Marcel  Molds 
Make  Any  Hair  Gloriously  Wavty 


In  20  Minutes — At  Home — Your  hair  will  look  just  wonderful! 

Beauty  Specialist  Discovers  Secret  of  Successful 
Home  Marcelling 


And  now  the  Beauty  Parlor  brought 
to  your  own  room ! 

No  more  expensive  treatments. 

No  more  "appointments,"  delays,  dis- 
appointments. 

No  more  tedious  "processes"  —  no 
more  danger  from  hot  irons. 

For  here  Science  combines  with  the  Art  of 
the  Professional  Beauty  Specialist  to  give 
you  what  every  feminine  heart  and  head  has 
longed  for — the  perfect  waver. 

So  simple  a  girl  of  ten  can  use  it  with 
perfect  results. 

So  speedy  that  20  minutes  span  the  gap 
between  straggly,  unkempt  hair  and  the  glo- 
rious waves  of  your  favorite  style. 

So  sure  that  you  can  hold  any  wave  you 
have,  or  reproduce  it  perfectly,  or  create 
something  wholly  new. 

In  your  own  room — without  work  of  prep- 
aration— without  electricity  or  hot  irons — 
free  from  danger  of  drying  out  or  searing 
your  hair. 

There  has  never  been  a  waver  like  this 
before.  Never  anything  so  simple  and  effect- 
ive. It  is  the  scientific  result  of  long,  intel- 
ligent and  ingenious  invention  on  the  part 
of  an  American  Beauty  Specialist  of  high  re- 
pute and  established  success. 

The  great  difference  between  this  and 
all  other  wavers. 

This  waver  slips  into  the  hair  as  easily 
as  you  pass  your  fingers  through.  But  it 
does  something  no  other  waver  ever  does : 
it  locks  in!  By  a  simple  clip,  it  holds  in 
place — stays  where  you  put  it — and  locks  the 
ivave  in,  MOLDING  every  contour  firmly, 
gracefully,  lastingly. 

It  makes  a  soft,  undulating  wave  that  lasts 
from  one  shampoo  to  another. 

If  you  see  your  wave  becoming  faint  and 
loose,  all  you  have  to  do  is  slip  these  mar- 
velous molds  into  your  hair,  lock  them  in 
place  over  the  wave,  remove  them  in  20  min- 
utes, and,  lo !  there's  your  fresh  new  wave 
again ! 


Can  such  good  news  for  womankind  be 
true  ?  We  refer  you  to  every  woman  who 
has  so  far  had  the  opportunity  to  try  out, 
test  and  use  this  marvelous  new  device.  Read 
what  just  one  of  them  says  : 

I  think  the  Marcel  Molds  are  wonderful.  My 
girl  friends  could  hardly  believe  I  had  done  it 
all  myself,  yet  it  is  true  that  I  got  a  delightful, 
soft  marcel  wave  in  so  short  a  time  it  surprised 
me.  Will  you  please  send  another  set  for  my 
chum?  (Signed)       B.  M.  T. 

The  Art  of  Beauty,  the  Sureness  of 
Science,  Create  this  Marvelous 
New  Molder. 

One  of  America's  finest  Beauty  Specialists 
brought  this  waver  to  us.  It  is  the  result  of 
her  work  and  hopes  and  dreams  over  many 
years  of  professional  hair  dressing,  plus  the 
skill  and  science  we  placed  at  her  command 
with  our  expert  manufacturing  facilities. 

Margaret  Beynon  Sylva,  of  Illinois,  in  her 
17  years  of  Beauty  Parlor  proprietorship, 
with  women's  hair  as  her  personal  specialty, 
learned  all  the  longing  that  women  have  for 
a  successful  home  marceller.  She  knew  as 
keenly  as  you  do  the  expense,  the  trials,  the 
disappointments — the  dangers,  even — of  the 
beauty  parlor  method,  with  its  rush,  its  new 
help,  its  hot  irons. 

Mine.  Sylva  helped  to  make  many  other 
wavers  before  this  final  success  arrived. 
They  slipped  out  of  hair.  They  were  hard 
to  set  in — "tricky."  She  found  at  last  the 
touchstone  of  triumph  : 

"Make  It  SIMPLE !" 

And  with  that  great  idea  she  came  to  us. 
We  worked  it  out.  But  not  so  swiftly  or 
easily  as  these  words  imply.  It  took  months 
of  the  costly  time  of  precision  experts  to 
fashion  into  these  few  strands  of  metal  that 
priceless  ingredient  of  simplicity.  When  you 
first  hold  these  molders  in  your  hand,  you, 
seeing  nothing  but  some  simple  frames,  may 
wonder  what  there  was  so  difficult  to  make. 
But  when  you  remove  them  from  your  hair 
and  see  the  glorious  results  so  easily  achieved 
for  you,  you  will  know  and  say,  with  us, 
they  are  worth  a  hundred  times  the  money! 


Priced  Far  Below  Real  Value— at  only 

$2.97  per  set— complete 

You  have  the  opportunity  to  obtain  and  possess  a 
set  of  these  marvelous  new  molders  at  ANNOUNCE- 
MENT cost. 

We  want  to  celebrate  with  the  women  of  America 
this  genuine  advance  in  the  home  dressing  of  "woman's 
crowning  glory."  We  want  you  to  have  a  set  of  these 
perfect  marcellers.  So  we  set  the  price  at  a  nominal 
figure — less  than  the  average  cost  of  a  single  visit  to 
the  Beauty  Parlor. 

And  for  it,  you  get  a  Beauty  Parlor  of  your  own, 
so  far  as  hair  waving  is  concerned,   to  be  yours  for- 
ever.    Because   these   marvelous   molders   will   last   for  ■ 
hundreds — yes,  we  know  by  tests,  for  thousands  of  leaves. 

Send  No  Money— Just  Mail  the  Coupon 
Trial  Certificate— Liberal  Offer- 
Money  Back  Guarantee 

Give  these  marvelous  molders  a  thorough  and  complete 
trial  when  you  get  your  set.  Then,  if  for  any  reason  you 
can  bring  yourself  to  part  with  them,  and  admit  that  you 
can  not  get  a  perfect  result,  you  will  have  your  money 
returned  promptly.  So  far,  we  haven't  found  anyone  who 
doesn't  enthuse  after  20  minutes'  use.  Remember,  a  girl 
of  ten  saw  immediately  how  to  use  her  set,  put  them  in 
her  hair,  and  got  a  beautiful  marcel  in  20  minutes. 
Surely  you  can  do  the  same. 

You  need  not  risk  a  penny.  Just  sign  and  mail  the 
coupon  Trial  Certificate.  Note  that  our  announcement 
cost  is  only  $2.97.  We  can  not  afford  to  carry  a  book- 
keeping charge  at  this  figure,  so  we  ask  you  to  deposit 
with  the  postman  the  sum  of  $2.97,  plus  a  few  cents' 
postage,  when  he  brings  your  set.  Order  now,  so  we  can 
serve  you  immediately  out  of  our  yet  limited  production. 
Get  yours  now  and  be  first  to  astonish  your  friends  with 
the  glorious,  enviable  waves  these  molders  fashion.  Fill 
in  and  mail  the  Coupon  Trial  Certificate  this  minute. 

ARCADY  HOUSE 
7  W.  Austin  Ave.  Chicago,  111. 

:  COUPON  .  -_ 


TRIAL  CERTIFICATE 


P.  P.  43 


ARCADY  HOUSE 
7  W.  Austin  Ave.,  Chicago,  III. 

Gentlemen:  I  want  a  set  of  your  marvelous 
molders.  I  agree  to  deposit  $2.97  (plus  postage) 
with  the  postman  when  he  makes  delivery.  If 
results  are  not  to  my  entire  satisfaction,  I  will 
return  the  marvelous  molders  within  five  days 
and  you  are  to  refund  the  purchase  price. 


Name 


Address   

NOTE — If  you  expect  to  be  out  when  the  post- 
man comes,  enclose  $3.15  with  your  order  and 
the  marvelous  molders  outfit  will  be  sent  post- 
paid. 


8 


Wkat  tke  Fans  Think 


Is  Talent  Ignored  for  Youth? 

THE  Strange  Case  of  Conway  Tearle"  moves  me 
to  take  my  typewriter  in  hand  and  give  ex- 
pression to  a  conviction  that  has  been  growing 
in  my  mind  for  some  time — that  genuine  acting  ability 
in  moving  pictures  is  being  consistently  sacrificed  to 
youth,  beauty,  and  publicity.  So  many  of  the  real  actors 
and  actresses  of  yesterday  are  missing  from  present  casts, 
that  our  pictures  are  taking  on  the  air  of  amateur  per- 
formances. Lately  I  have  seen  at  least  three  pictures 
reduced  to  mediocrity  by  the  acting  of  "baby  stars" 
who  should  still  be  doing  bits.  In  each  case  the  real 
star — an  actor  of  well-established  prominence — suffered 
by  being  cast  with  a  beginner,  whose  only  claim  to  at- 
tention was  the  ability  to  pose  in  studied  fashion,  indulge 
in  self-conscious  mannerisms  and  express  emotion  by 
a  series  of  grimaces.  In  many  instances,  capable  actors 
and  actresses  are  being  used  simply  as  props  to  maintain 
youth  in  the  spotlight.  This  gives  an  unbalanced  picture 
that  is  anything  but  pleasing.  The  audience,  not  know- 
ing just  why  the  story  is  not  more  appealing,  goes  away 
with  a  feeling  of  dissatisfaction. 

We  have  a  few — a  very  few — really  clever  and  capable 
young  actors  and  actresses,  who  seem  to  possess  the 
natural  aptitude,  understanding  and  poise  that  con- 
tributes to  a  smooth  performance.  There  is  Janet 
Gaynor,  for  instance,  whose  delineation  of  character  is 
equal  to  that  of  an  experienced  trouper.  With  the  added 
charm  of  youth  and  beauty,  she  is  irresistible.  Witness 
the  success  of  her  pictures !  Esther  Ralston,  a  come- 
dienne of  unsurpassed  charm,  is  a  popular  favorite. 
Mary  Brian  and1  Betty  Bronson  are  dependably  good 
actresses,  and  of  course  Greta  Garbo  draws  an  audience 
like  a  pop-corn  stand  at  a  Sunday-school  picnic.  The 
rest  of  the  Mollys,  Sallys,  and  Nancys — in  my  opinion 
— are  washouts. 

Among  the  newer  male  stars  are  several  whose  rise 
to  stardom  seems  based  upon  merit.  Others  are  appar- 
ently shoved  into  the  spotlight  to  fill  places  left  vacant 
by  such  actors  as  Conway  Tearle,  Jack  Holt,  Eugene 
O'Brien,  and  others.  They  are  pretty  good  collar  ads, 
but  it  requires  the  assistance  of  actors  and  actresses  of 
long  experience  and  considerable  popularity  to  put  them 
across. 

Poor  stories  are  undoubtedly  a  detriment  to  moving 
pictures,  but  crude  acting — which  is  increasingly  preva- 
lent— is  even  more  certain  to  cool  the  enthusiasm  of 


audiences.  Youth  and  beauty  have  a  potent  appeal,  but 
why  not  let  these  youngsters  grow  into  stardom  as  the 
result  of  actual  experience,  rather  than  to  shove  them 
forward,  bolstered  up  with  a  publicity  campaign — only  to 
fail  in  the  actual  test  of  ability? 

Mary  Randall. 

3029  Humboldt  Ave.  S., 
Minneapolis,  Minnesota. 

Talking  Down  the  Talkies. 

I  am  not  a  fan,  if  raving  over  screen  personalities 
comprises  the  term,  but  I  am  deeply  interested  in  all 
which  pertains  to  the  cinema,  and  now  have  a  keen 
curiosity  concerning  the  verdict  of  the  fan  public  with 
reference  to  the  Vitaphone. 

Some  years  ago  I  was  connected  with  a  scenario  de- 
partment, and  later  was  a  writer  under  one  of  the  most 
prominent  directors.  The  new,  illusive,  and  so  richly 
promising  technique  of  the  cinema  was  drilled  into  every 
fiber  of  my  being,  and  it  has  been  with  great  satisfaction 
that  I  have  noted  the  increasingly  high  quality  in  pro- 
duction, action,  et  cetera.  Finally,  it  seemed  to  me,  the 
cinema  was  coming  into  its  own,  was  developing  fine 
traditions  and  a  technical  and  dramatic  standard  very 
nearly  on  a  par  with  the  best  of  the  stage,  its  rival,  and 
yet  not  paralleling  that  form  of  entertainment. 

After  three  years  in  Italy,  I' looked  forward  to  a  real 
motion-picture  .fest  on  my  return  to  New  York.  But 
what  did  I  find  ?  The  Movietone — the  Vitaphone,  with 
the  production  companies  and  the  actors  in  a  state  of 
feverish  excitement  and  fear,  and  with  a  complete  change 
contemplated  concerning  all  which  we  have  associated 
with  motion  pictures  and  grown  to  love.  It  would 
appear  that  the  producers,  recognizing  the  rivalry  of  the 
theater,  think  to  conquer  by  imitating  the  stage.  The 
weakness  of  the  cinema  has  always  been  centered  in  this 
absolute  lack  of  creative  initiative,  and  its  greatest  weak- 
ness has  been  that  it  has  failed  to  develop  creative  writers 
on  a  par  with  the  creative  actors  who  have  learned  all 
they  know1  of  acting  through  the  technique  of  tlie  cinema. 
For  example,  Charlie  Chaplin,  Jack  Gilbert,  Janet 
Gaynor,  to  select  different  types.  Now  their  imitative 
act  is  so  gross  as  to  be  comic,  if  the  final  accounting  did 
not  promise  to  be  so  devastating.  These  stupid,  fearful 
producers  do  not  seem  to  realize  how  far  they  have 
progressed  nor  the  whys  and  wherefores  of  their  achieve- 

Continued  on  page  12 


Advertising  Section 


9 


<4 


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10 


Advertising  Section 


Cecil  B.W 

7  De  Milk's 


at  Popular 


/^ECIL  B.  DeMILLE'S  masterpiece,  "The  King 
V-^  of  Kings,"  will  be  exhibited  simultaneously, 
beginning  the  week  of  October  1st,  in  an  extensive 
list  of  popular  motion  picture  theatres. 

Sixteen  stars  of  first  brilliance  in  the  cast,  five 
thousand  characters,  backgrounds  of  majestic 
beauty  and  pageantry  and  the  most  soul-stirring 
story  of  all  time.  In  sheer  drama  and  pictorial 
magnificence,  it  will  hold  you  spellbound. 

As  an  attraction  playing  in  theatres  usually  de- 
voted to  the  legitimate  drama,  "The  King  of 
Kings,"  showing  at  advanced  prices  during  the 
past  year,  established  box-office  records  and  was 
called  back  two  and  even  three  times  for  repeat 
engagements. 

Now  Pathe  releases  it  to  all  picture  theatres.  The 
entire  family  should  see  it.  It  provides  gripping 
entertainment  for  all  ages,  all  creeds,  all  classes. 
The  experience  of  seeing  this  immortal,  emotional 
drama  will  leave  a  cherished  memory. 


Among  the  thousands  of  theatres  which  will 
seasonf  these  beautiful  houses  will  show  it 


ARKANSAS 

HotSpiings  Royal&.Spa 
Fort  Smith  Palace 
Fayetteville  Palace 
El  Dorado  Mission 
CALIFORNIA 
Los  Angeles  Criterion 
Long  Beach  State 
Santa  Barbara 

California 
Sacramento  Alhambra 
Fittsburg  California 
COLORADO 
Denver  State 
Pueblo  Majestic 
Greeley  New  Tenth  St. 
Steiling  Rialtc 
Montrose  Dreamland 
Delta  Colonial 
CONNECTICUT 
Hartford  Allyn 
Norwalk 

Regent  &  Palace 
Waterbury  Strand 
New  Britain  Strand 
Middletown  Capitol 
Danbury  Empress 
Ansonia  Capitol 
Willimantic  Gem 
ILLINOIS 
Springfield 
Champaign 
Danville 
DeKalb 
Kewanee 
Lincoln 
Belvidere 
Princeton 
Morris 
Watseka 
Hillsboro 
Pana 
Paris 

INDIANA 

South  Bend 
Fort  Wayne 
Evansville 
Terre  Haute 
Elkhart 
La  Porte 


Indiana 
Conley 
De  Luxe 
Indiana 
Temple 

Pastime 
Cecil 
Rivoli 
Beardsley 
Empress 
Grand 

Cosy 
Tackett 
Regent 
Strand 
Whiteway 


Lyric 
Orpheum 
Terrace 
DeKalb 
Rialto 
Lincoln 
Apollo 
Apollo 
Royal 
Star 
Grand 
Palace 
Paris 

Granada 
Jefferson 
Coliseum 
Indiana 
Orpheum 
La  Porte 


INDIANA 

Bloomington 
Frankfort 
Hammond 
Kokomo 
Mishawaka 
IOWA 
Iowa  City 
Mason  City 
Oskaloosa 
Red  Oak 
Shenandoah 
Decorah 

KANSAS 

Topeka 
Coffevville 
Winfield 
Emporia 
Concordia 

Leavenworth  Strand 
Dodge  City  Crown 
Newton  Regent 

KENTUCKY 

Louisville 

Mary  Anderson 
Lexington  Strand 
Henderson  Grand 
MAINE 

Augusta  Opera  House 
Lewiston  Empire 
Brunswick 

Cumberland 
Rumford  Strand 

MARYLAND 

Baltimore  Rivoli 
Annapolis 

Circle  Playhouse 
Federalsburg  Temple 
Salisbury  Opera  House 

MASSACHUSETTS 

Lawrence  Empire 
Lowell  Strand 
Brockton  Colonial 
Haverhill  Academy 
New  Bedford  State 
Salem  Plaza 
Fitchburg  Shea's 
Greenfield  Lawler 
Maiden  Strand 


MASSACHUSETTS 

Milford  State 

MICHIGAN 

Detroit  State 
Grand  Rapids  Regent 
Battle  Creek  Pose 
Lansing  Capitol 
Kalamazoo  Capitol 
Saginaw  Franklin 
Bay  City  Orpheum 
Flint  Regent 
Jackson  Rex 
Ann  Arbor  Wuerth 
Port  Huron  Desmond 
Pontiac  _  Oakland 
Ypsilanti 

MarthaWashington 


Alligan 
Albion 
Ironwood 
Calumet 
Hancock 


Regent 
Censor 
Rex 
Calumet 
Kerredge 


MISSOURI 

St.  Louis 

New  Grand  Central 
Kansas  City  Globe 
Columbia  Columbia 


Hannibal 
Clinton 
Kirksville 
Trenton 


Star 
Lee 
Kennedy 
Hubbell 


MONTANA 

Billings  Babcock 
Bozeman  Ellen 
Miles  City  Liberty 
Livingston  Orpheum 

NEBRASKA 
Beatrice  Ritz 
York  Opera  House 
Holdredge  Sun 
Wayne  Crystal 
Falls  City  Rivoli 
Scotts  Bluff  Egyptian 

NEW  HAMPSHIRE 

Rochester  Scenic 
Keene  Scenic 
Berlin  Princess 
Concord  Capitol 
Portsmouth  Colonial 


1/  your  favorite  picture  theatre  is  not  listed  here,  ask  the 


Advertising  Section 


11 


The  Last  Supper 


KINGS 


byjeanie  Macphersori 


Picture  Ever  Produced  r 

can  now  be  seen  in  every 
motion  picture  theatre  -  - 


exhibit  "THE  KING  OF  KINGS" 
within  the  next  few  weeks 


this 


NEW  JERSEY 

Newark  Mosque 
Jersey  City  Stanley 
Paterson  Fabian 
Newton  Newton 

NEW  MEXICO 

Albuquerque  Kimo 
Carlsbad  Crawford 
Portales  Majestic 

NEW  YORK 

New  York  City 

All  Keith-Albee  & 
Proctor's  Theatres  in 
Metropolitan  District 
Buffalo  Lafayette 
Albany  Strand 
Troy  Troy 
Schenectady  State 
Haverstraw  Capitol 

NORTH  CAROLINA 

Winston-Salem 

Colonial 
New  Bern  Show  Shop 
Statesville  Playhouse 
Wilson  Lyric 
Concord  Concord 
Elizabeth  City  Carolina 

NORTH  DAKOTA 

Grand  Forks 

Metropolitan 
Bismark  Capitol 
Minot  Strand 

OHIO 

Cincinnati  Lyric 
Cleveland  Hippodrome 
Columbus  Southern 
Toledo 

Princess- Paramount 
Dayton  Colonial 
Hamilton  Palace 
Chillicothe  Sherman 
Troy  Mayflower 
Greenville  Wayne 

OKLAHOMA  > 
Hobart  Oklahoman 
Sapulpa  Empress 
Clinton  Family 
Picher  Mystic 


OREGON 
Portland 

Salem 

La  Grande 

The  Dalles 

Eugene 

Corvallis 


Oriental 
Elsinore 
Arcade 
Empress 
McDonald 
Whiteside 


PENNSYLVANIA 

Philadelphia  Stanton 
Pittsburgh 


Stanley 
Strand 
Capitol 
Cameo 


Gem 
Strand 


Erie 

Lancaster 
Allentown 
Harrisburg 

Loew's  Regent 
Williamsport  Keystone 
Shenandoah  Capitol 
Bethlehem  Savoy 
Shamokin  Capitol 
Lebanon  Jackson 
New  Castle  Cathedral 
Auditorium 
McKeesport  J.P.Harris 
Pottsville  Hollywood 
E.  Stroudsburg  Plaza 
Washington 

Harris- State 
Greenville  Strand 
Lehighton  Park 
Milton  Legionaire 
Beaver  Falls  Rialto 

RHODE  ISLAND 

Pawtucket  Leroy 
Woonsocket  Rialto 

SOUTH  CAROLINA 

Charleston  Academy 

SOUTH  DAKOTA 

Yankton  Dakota 
Red  field  Lyric 
Lead  Homestake 

TENNESSEE 

Nashville 

Loew's  Vendome 
Knoxsville  Booth 
Johnson  City  Liberty 
Jackson  Gem 

TEXAS 

Dallas  Capitol 


TEXAS 

San  Antonio  Aztec 

Austin  Hancock 

Galveston  Martini 

Lubbock  Palace 

Brownwood  Lyric 
Mineral  Wells  Grand 

UTAH 

Salt  Lake  City 
Provo 

VERMONT 

Burlington  Majestic 
Montpelier  Playhouse 
St.  Johnsbury  Palace 
Bellows  Falls 

Opera  House 

VIRGINIA 

Richmond  Loew's  State 
Roanoke  American 
Norfolk  Norva 
Danville  Rialto 

WASHINGTON 

Seattle  Columbia 


Spokane 

Bellinghara 

Olympia 


Clemmer 
Avalon 
Avalon 


WEST  VIRGINIA 

Wheeling  Court 
Charleston  Capitol 
Clarksburg  Ritz 
Huntington  Lyric 
Morgantown 

Metropolitan 
Fairmount  Virginia 

WISCONSIN 

Milwaukee  Alhambra 
Racine  Rex 
Kenosha  Kenosha 
Beaver  Dam  Odeon 
Superior  Princess 
Two  Rivers  Rivoli 
Waupun  Waupun 
Sheboygan  Sheboygan 

WYOMING 

Casper  America 
Laramie  Crown 
Torrington  Wyoming 
Rawlins  Strand 


*  —  S3» 


Raising  of  Lazarus 


Exchange,  Inc. 

Offices  in  32  American  Cities 


Manager  when  he  is  going  to  show  "The  King  of  Kings. 


12 


What  the  Fans  Think 


Continued  from  page  8 
ment.  By  continuing  with  creative  direc- 
tors, developing  creative  writers  for  the 
screen,  who  would  be  on  a  par  with  the 
creative  writers  of  fiction  and  the  stage, 
thus  giving  their  fine,  creative  artists  still 
greater  opportunity,  the  cinema  would,  in 
a  relatively  short  time,  not  be  subservient 
to  any  other  art  or  form  of  entertain- 
ment. 

The  Vitaphone,  if  universally  adopted, 
as  seems  contemplated,  must  and  will  de- 
veloped a  technique,  a  form  of  entertain- 
ment as  alien  and  distinct  from  that  now 
associated  with  the  cinema,  as  in  the  past 
the  cinema-has  been  differentiated  from  the 
stage.  By  means  of  great  directors  and 
great  actors,  the  cinema  has  at  times 
reached  the  best  and  finest  in  dramatic 
art,  has  laid  the  heart  of  life  bare,  and 
this  solely  by  silent  drama. 

With  the  coming  of,  the  accursed  Vita- 
phone,  all  the  art  and  achievement  of 
the  past  is  seriously  jeopardized.  With 
the  Vitaphone  the  smooth  effect  of  varied 
action  must  be  cut  and  always  subordi- 
nated to  the  voice,  to.  words,  thus  strik- 
ing at  the  very  heart  of  all  that  motion 
pictures  have  come  to  represent. 

With  the- Vitaphone,  one  has  a  feeling 
of  discord  within,  or  a  sensation  like  a 
tug-of-war.  That  part  of  one's  receiving 
set  which  the  cinema  has  developed  is  led 
to  expect  one  thing,  and  before  this  is 
completed,  the  mind  must  be  focused  on 
the  voice.  .  .It  is  a  case  of  oil  and  water 
mixing,  in  my  humble  estimation.  Now 
the  producers,  tinder  the  spell  of  the  Vita- 
phone, demand  that  the  great  cinema  pub- 
lic shall  unlearn  all  that  has  been  learned, 
and  which  has  developed  such  capable  crit- 
ics. They  make  indirect  apology  for  past 
performances,  and  affirm  that  what  the 
cinema  has  lacked  was  the  human  voice; 
now  there  will  be  great  entertainment. 

Do  not  think  I  am  indifferent  to  the 
unlimited  possibilities  of  the  Movietone 
and  ,  Vitaphone.  It  will  prove  beneficent 
to  isolated  districts.  The  news  reels,  the 
actual  recording  of  the  voices  of  eminent 
people,  the  possibilities  for  comedy  of  the 
Sennett  and  Christie  types,  and  most  of 
all  the  actually  thrilling  effect  of  listen- 
ing to  the  rendition  of  operatic  selec- 
tions by  our  greatest  singers,  may  be  noted 
among  the  present  advantages  of  the  Vita- 
phone. But  an  opera  in  its  entirety — no ! 
Drama — never ! 

Incidentally,  I  am  curious  to  know  how 
this  Vitaphone  innovation  is  going  to  af- 
fect the  exportation  of  films.  Jealous 
England,  France,  Germany,  and  Italy  must 
be  chortling.  In  Italy  I  became  so  accus- 
tomed to  the  language  and  the  foreign  titles 
that  it  seemed  Leatrice  Joy,  Mary  Pick- 
ford,  Gloria  Swanson  and  all  the  rest, 
were  speaking  Italian.  With  the  Vita- 
phone, how  will  this  be  managed? 

I  shall  haunt  the  common  variety  known 
as  silent  drama  as  long  as  it  exists,  and 
shall  probably  be  drawn  more  and  more  to 
my  first  love,  the  stage.  From  indica- 
tions throughout  the  country,  it  seems  to 
be  already  taking  on  new  life. 

Patricia  Leigh. 
Hotel  Pasadena,  New  York  City. 

Young  Men  for  Old! 

Of  the  fans  who  write  to  this  depart- 
ment, the  letter  by  E.  V.  W.  in  the  July 
issue  impressed  me  as  the  most  outspoken 
I  have  read  in  a  long  time.  I  say  this 
because  not  even  Malcolm  H.  Oettinger 
would  dare  to  write  such  a  letter  without 
feeling  qualms  of  mis  judgment.  E.  V. 
W.'s  letter  is  the  kind  every  producer 
and  star  should  bear  in  mind,  especially 
the  older  stars. 


Considering,  however,  why  so  many  of 
the  older  stars  prefer  male  leads  who  are 
younger  than  themselves,  is  a  matter  of 
interest.  I  believe  in  keeping  many  of 
these  older  stars  from  vanishing  entirely. 
Miss  Talmadge's  pictures  have  proved  the 
possibility  of  that  of  late,  and  so  have 
Miss  Negri's.  The  Only  older  star  who 
really  can  choose  younger  leading  men 
is  Mary  Pickford.  She  is  always  youth- 
ful. In  fact,  she  looks  no  older  to-day 
than  she  did  years  and  years  ago.  An- 
other star,  who  chooses  her  heroes  with 
judgment,  is,  Jetta  Goudal.  Also,  Gloria 
Swanson  is  by  no  means  caught  napping. 
In  fact,  Miss  Swanson's  pictures  are  per- 
fection.   So  much  for  that. 

Now  for  Myrtle  Gebhart's  article, 
"Voices  Are  Tested  for  the  Movies, 
Now."  Right  here  let  me  say  that  I  am 
one  who  prefers  movies  silent.  Sitting 
through  a  film  with  numerous  players 
trying,  to  do  a  lot  of  pretty  talk,  or 
else  screeching  at  the  top  of  their  voices, 
is  apt  to  be  monotonous.  I  know  this  to 
be  true,  for  I  have  seen  quite  a  few 
talking  pictures.  The  first  of  these,  "The 
Jazz  Singer,"  had  its  good  points,  of 
course,  but  the  dialogue  was  bad.  Irene 
Rich,  in  a  playlet,  caused  giggles  because 
she  tried  to  do  too  much  with  her  lim- 
ited voice. 

I  have  noticed  that  the  Vitaphone  never 
conveys  the  sound  of  the  actual  voice. 
The  sound  is  always  artificial,  affected, 
unreal.  As  for  the  threatened  deluge  of 
talking  pictures,  I  can't  imagine  any  one 
wanting  to  listen  to  Lilyan  Tashman's 
coarse,  husky  tones,  or  to  Ronald  Colman 
playing  an  American  hero  with  a  perfect 
English  accent.  Me  for  the  silent  mov- 
ies, comfort  and  ease  always.  I  agree 
with  Norbert  Lusk  that  "there  is  too 
much  unnecessary  noise  in  the  world  as 
it  is,  not  a  little  of  it  coming  from  human 
throats."     How  true,  Mr.  Lusk. 

N.  G.  S. 

Welcome,  Carmencita  and  Lolita. 

Our  fingers  itched  so  much  to  scribble 
our  opinions  concerning  the  stars  that 
finally  we  took  pen  and  paper.  We  hope 
very  much  that  our  statements  will  not 
ruffle  the  explosive  loyalty  of  other  fans. 

Greta  Garbo  has  won  the  admiration  of 
Manila  moviegoers  as  has  no  other  ac- 
tress. There  is  really  something  about  her 
that  fascinates  and  delights  the  eyes  of  the 
audience. 

Constance  Talmadge  and  Mae  Murray 
are  positively  disgusting,  with  the  silly 
mimicry  they  call  comedy.  We  are  glad 
we  are  gradually  seeing  less  of  them. 

Olive  Borden's  stupid  acting  forces  us 
to  join  the  crowd  of  fans  who  shout,  "Stop 
posing.    Do  some  real  acting." 

As  to  Julanne  Johnston  and  Carmelita 
Geraghty,  we  are  tired  of  reading  about 
them  in  "Over  the  Teacups."  They  have 
done  nothing  really  worth  while  as  yet, 
but  Fanny  the  Fan  is  sure  to  tell  some 
nonsense  about  them,  and  ignore  better 
actresses,  such  as,  for  instance,  Dolores 
del  Rio  and  Doris  Kenyon.  Dolores  has 
justified  her  emotional  talent  in  such  pic- 
tures are  "What  Price  Glory,"  "Resur- 
rection," "Loves  of  Carmen,"  "Ramona," 
and  "The  Trail  of  '98."  Dramatic  critics 
awarded  her  the  silver  trophy  of  the 
Wampas  ball,  and  thousands  of  fans  ac- 
claim her,  and  yet  Fanny  the  Fan  never 
has  anything  but  something  mean  to  say 
about  her. 

We  congratulate  H.  B.  Warner  for  his 
portrayal  of  Christ.  We  felt  we  came 
nearer  to  Him.  We  also  thank  Cecil  De 
Mille  for  his  direction  of  "The  King  of 
Kings."    He  made  us  realize  the  beauty 


of  Christ's  life,  far  more  than  all  the 
Bible  verses  we  ever  memorized. 

Carmencita  and  Lolita. 
Manila,  Philippine  Islands. 

Only  the  Second  Greatest  Actress? 

There  is  a  beautiful  lady,  a  recent  arrival 
in  the  realms  of  the  silver  screen,  whom  I 
have  only  seen  once,  but  who,  in  that  sin- 
gle performance,  has  established  herself,  in 
my  estimation,  as  the  second  greatest  ac- 
tress on  the  screen.  The  first  is,  of  course, 
the  incomparable  Garbo. 

This  lady  of  whom  I  am  speaking,  in 
her  portrayal  of  a  wicked  and  worldly 
wise  woman,  completely  entranced  me.  Al- 
though she  was  supposed  to  inspire  my 
wrath,  she  intrigued  me  instead.  Her 
name  is  Olga  Baclanova,  and  to  me  she  is 
a  real  addition  to  the  ever-fascinating 
world  of  motion  pictures.  Her  interpre- 
tation of  the  seductive  Duchess,  in  "The 
Man  Who  Laughs,"  was  a  performance 
which  ranked  beside  Conrad  Veidt's  in  its 
horrible  attraction.  Compared  with  the 
lifeless  Mary  Philbin  as  the  sentimental 
heroine,  Dea,  Miss  Baclanova's  perform- 
ance stood  out  as  black  does  against  white. 
Who  can  ever  forget  how,  with  lips  curved 
in  disdain  and  eyes  glittering  with  fan- 
tastic hate,  she  denounced  the  Laughing 
Man  before  the  Queen ? 

A  lady  deserving  of  all  the  flattering  ad- 
jectives at  one's  command  is  worth  the  at- 
tention of  all.  Recently  Paramount  has 
considered  her  fine  enough  to  bless  with  a 
five-year  contract.  They  intend  to  make 
her  a  second  Pola  Negri.  Anne. 

Woodstock,  New  York. 

Love  Me,  Love  My  Dog! 

A  fan  writing  in  the  June  issue  re- 
marked that  her  favorite  players  reminded 
her  of  various  composers  and  their  mel- 
odies. My  favorites  prompt  me  to  com- 
pare them  with  dogs.  I  don't  know  why, 
except  that  I  like  dogs,  having  owned 
quite  a  number,  and  I  like  movie  actors, 
having  seen  so  many  on  the  screen.  _  I 
don't  intend  the  similes  to  be  offensive, 
and  hope  they  will  not  be  considered  so. 
I  have  never  been  able  to  understand 
why  a  certain  fan  made  such  a  fuss  be- 
cause Maria  Corda  was  supposed  to  have 
named  one  of  her  collies  "Miss  Banky." 
Said  fan  seemed  to  think  it  was  an  in- 
sult, and  loudly  proclaimed  her  allegiance 
to  Vilma.  I  know  nothing  of  the  truth 
of  the  incident  in  question,  but  I  really 
cannot  see  why  being  compared  to  a  collie 
is  not  a  tremendous  compliment.  /  would 
consider  it  so — unless,  of  course,  the  dog 
was  cross-eyed !  Here  are  the  different 
dogs  which  my  favorites  make  me  think  of : 

Phyllis  Haver  cannot  be  compared  to 
one,  unless  it  be  a  white  poodle,  and 
there  is  so  much  more  depth  to  Phyllis 
than  there  is  to  a  poodle.  Begging  per- 
mission to  make  an  exception  to  the 
animal  mentioned  above,  Phyllis  makes  me 
think  of  an  animated  white  kitten  with 
a  huge,  pink  bow — and  claws  under  fur 
which  covers  seemingly  innocent  paws. 

Karl  Dane — A  great  Dane,  naturally, 
with  an  unexpected  streak  of  grave  humor. 

Charles  Farrell — A  mischievous,  di- 
sheveled Kerry-blue  terrier,  immediately 
after  he  has  destroyed  half  the  hall  rug, 
and  immediately  before  he  knows  that 
you  have  discovered  the  damage. 

John  Gilbert — A  glossy,  black  cocker 
spaniel  after  his  daily  brushing. 

Lina  Basquette — A  dark-furred  Pom- 
eranian, with  silver  harness  hidden  in 
silky,  smoky  fur. 

Leatrice  Joy — A  sleek  Doberman  Pin- 
scher  on  promenade. 

Billie  Dove— A  frivolous-looking  chow! 


Advertising  Section 


Conrad  Nagel — A  serious,  gentlemanly, 
well-groomed,  thoroughbred  Airedale. 
_  Clara  Bow — An  impudent  Boston  ter- 
rier puppy. 

A  Newfoundland  pup' is  Wallace  Beery, 
rather  clumsy  and  unintentionally  rough, 
but  good-natured  and  likable. 

Eddie  Lowe — A  Skyc  terrier. 
_  George  Fawcett — An  old  English  mas- 
tiff, a  champion  of  the  ring. 

Jetta  Goudal — The  dog  which  is  so 
graceful  in  its  movements  and  so  aristo- 
cratic in  its  appearance  that  no  words  can 
fittingly  describe  it — the  Russian  wolf- 
hound ! 

George  K.  Arthur — A  Dalmatian. 
Sue  Carol — A  Pekingese  puppy. 
Audrey    Ferris — A    toy  black-and-tan 
terrier. 

And  finally,  as  a  fitting  conclusion  to 
all,  Bill  Haines — Hot  Dog!  This  isn't  a 
comparison,  but  merely  an  involuntary  ex- 
clamation that  escaped  my  typewriter.  And 
I'll  tell  the  world  I  mean  it ! 

Helen  Blaisdell. 

Columbus,  Ohio. 

Aren't  You  Ashamed  of  Yourself? 

Listen,  you  anti-Novarro  fans,  aren't 
you  ashamed  to  admit  that  you  cannot  see 
the  beauty  of  Ramon's  personality? 
Aren't  you  ashamed  to  own  that  you  can- 
not recognized  some  fine  thing  in  life, 
some  ideal  to  line  up  with? 

Ramon  is  not  merely  a  splendid  actor 
and  a  true  artist — he  is  more,  far  more 
than  the  average  stars  or  persons  in  pri- 
vate life.    He  is  an  inspiration! 

The  wonderful  letters  your  criticism 
has  evoked  prove  that.  Coming  away 
from  his  films,  I  always  have  a  wistful 
longing  to  do  something  worth  while  with 
my  life.  I  think  a  great  number  of  Ra- 
mon's friends  feel  the  same.  They  are 
trying  to  find  an  ideal — one  of  Keats' 
"things  of  beauty." 

Now,  I  ask  you  again,  aren't  you 
ashamed  of  writing  such  things  against 
Ramon?  Or  are  you  so  narrow  that  you 
cannot  see  what  you  are  missing? 

At  one  period  of  my  love  for,  and 
loyalty  to,  Ramon,  I  used  to  be  furi- 
ous if  any  one  said  or  wrote  the  slightest 
thing  against  him;  but  now  I  think  of 
them  as  poor,  benighted  souls,  and  what 
they  write  as  so  much  sickly  piffle. 

They  can't  hurt  Ramon,  or  any  one 
else,  except  themselves.  You,  anti- 
Novarro  fans,  why  write  unkind  things 
about  him  or  any  other  star?  You  are 
not  here  to  criticize.  Can't  you  find  the 
goodness  and  beauty  in  life  instead  of 
harping  on  disagreeable  things? 

Myrna  Dickey. 

Sydney,  N.  S.  W.,  Australia. 

|  Why  Should  She  Struggle  Along? 

Can  you  tell  me  why  Renee  Adoree 
has  never  been  elevated  to  stardom  after 
the  marvelous  performances  she  gave  in 
"The  Big  Parade,"  "Mr.  Wu,"  and  "The 
Cossacks"?  Many  of  us  think  that  she  is 
by  far  the  greatest  actress  on  the  screen, 
and  we  went  to  see  "The  Cossacks"  be- 
cause she  was  in  it,  and  not  because  of 
Gilbert,  of  whom  we  are  heartily  sick. 
Some  blah-blah  girl,  just  out  of  high 
school,  comes  along,  trips  over  her  own 
feet  in  a  couple  of  scenes,  is  made  the 
subject  of  a  great  ballyhoo,  and,  lo !  the 
next  day  she  is  a  star.  Yet  a  finished 
artist  like  Miss  Adoree  struggles  along 
month  after  month,  continues  to  acquit 
herself  gloriously  in  every  role  handed 
her,  but  still  is  classed  as  a  featured 
player.  I  can't  understand  their  reason- 
ing in  Hollywood.      Gerald  Claxton. 

Charlotte,  North  Carolina. 


ME 

8ft%IN  A  PIRMIZIE 

Do  You  Like  to  Draw? 

Copy  this  dancing  girl  and  send  us  your  drawing — perhaps  you'll  win  first 
prize.  This  contest  is  for  amateurs  only  (17  years  of  age  or  more),  so 
do  not  hesitate  to  enter,  even  if  you  haven't  had  much  practice. 


1st  Prize  •  • 
2nd  Prize  • 

3rd  Prize  .  •  •  •  •  $25.00 
4th  Prize  •   •   •   •   .  $15.00 


.  $100.00 
$50.00 

5th  Prize  

6th  to  15th  Prizes,  ea. 


$10.00 
$5.00 


To  the  Next  50  Best  Drawings— A  Fountain  Pen 


C"  1>  17  C"  f    Everyone  entering  a 

*^  •    drawing  in  this  con- 

test may  have  his  or  her  art  abil- 
ity tested  free  !  When  your  contest 
drawing  is  received,  we  will  mail  you 
our  Art  Ability  Questionnaire.  Fill 
this  in  and  return  it,  and  you  will 
receive  our  critic's  frank  report  of 
your  natural  sense  of  design,  pro- 
portion, color,  perspective,  etc. — and 
with  it  our  book  "YOUR  FUTURE," 
showing  work  of  Federal  Students 
and  telling  you  all  about  the  Federal 
home-study  course.  This  is  free  and 
places  you  under  no  obligation  what- 
ever. 

This  interesting  analysis  has  been 
the  start  for  many  Federal  students, 
who  through  proper  training  of  their 
ability,  are  now  commercial  artists 
earning  $2,000,  $4,000,  $5,000  and 
$6,000  yearly — some  even  more.  The 
Federal  School  has  won  a  reputation 
as  "the  School  famous  for  success- 
ful students."  Read  the  rules  care- 
fully and  enter  this  contest — see 
what  you  can  do. 

Federal  School  of 
Commercial  Designing 
63  Federal  Schools  Bide.. 
Minneapolis,  Minn, 


Rules  for  Contestants 

This  contest  open  only  to  amateurs, 
17  years  old  or  more.  Professional 
commercial  artists  and  Federal  stu- 
dents are  not  eligible. 

Note  these  rules  carefully: 

1.  Make  your  drawing  of  a  girl  and 
shadow  exactly  6  inches  high,  on 
paper  5  inches  wide  by  7  inches 
high.  Draw  only  the  girl  and 
shadow,  not  the  lettering. 

2.  Use  only  pencil  or  pen. 

3.  No  drawings  will  be  returned. 

4.  Write  your  name,  address,  age, 
and  occupation  on  the  back  of 
your  drawing. 

5.  AH  drawings  must  be  received 
In  Minneapolis  by  Nov.  1st,  1928. 
Prizes  will  be  awarded  for  draw- 
ings best  in  proportion  and 
neatness  by  Faculty  members  of 
the  Federal  Schools,  Inc.  All 
contestants  will  be  notified  of 
the  prize  winners.  Make  your 
drawing  of  the  girl  now  and 
send  it  to  the  address  given  in 
this  ad. 


14 


Advertising  Section 


You  '11  gasp 
when  you  see— 

Famous  sailing  vessels 
reconstructed  into  real 
righting  frigates  at  a 
cost  of  $250,000. 

A  cast  so  huge  it  con- 
sumed 5290  pounds  of 
rations  daily: 

Sea  battle  scenes  so 
realistic  that  the  play- 
ers received  360  minor 
wounds 

Corinne  Griffith  in  48 
different  sumptuous 
costumes. 

Thrilling  scenes  with 
synchronized  sound 
accompaniment. 


THE  MOST  GIGANTIC  SEA  SPECTACLE  THE  SCREEN  HAS  EVER  KNOWN 


FLAMING   FRIGATES   FREIGHTED  WITH  CARGOES  OF  DEATH 


A  CAST  OF  THOUSANDS  IN  BREATHLESS  BATTLE  ACTION 


With  H.  B.Warner, 
Victor  Varconi,  Ian 
Keith,  Marie 
Dressier.  Produced 
by  Frank  Lloyd, 
who  made  "The 
Sea  Hawk."  Pre- 
sented by  Richard 
A.  Rowland. 


A  LOVE  SO  MIGHTY  IT  SWAYED  THE  FATE  OF  NATIONS 


A  FAMOUS  BEST  SELLER  NOW  LIVED  UPON  THE  SCREEN 


A  FORTUNE  SPENT  TO  MAKE  FILM  HISTORY  WITH 

»»-»•>■■>■>->•>■>  >■>■>■>•■>->">•>->•>"»">•>•>•>•»<  <•<<<<<<<<<■<<<<<<<■<■■<■<.■<<<<<<  <-<  -C<  <' 

CORINNE    GRIFFITH  i» 

"THE  DIVINE  LADY" 

A     FIR  S  T     NATIONAL     P  I  C  T  U  R  E 

Takes  the  Guesswork  Out  of  "Going  to  the  Movies" 


15 

PICTURE  PLAY,  November,  1938  V%^S* 


Photo  by  Edwin  Bower  Hesser 

Lily  Damita  and  Ronald  Colman  pause  between  scenes  of  "The  Rescue,"  to  show  the  fans  what  manner  of 
loving  will  be  revealed  in  the  picture,  which  will  provide  Mr.  Colman  with  an  unusual  role,  and  a 
vibrant,  appealing  heroine  for  Miss  Damita.    He  will  be  the  English  master  of  a  vessel  in  the  waters  of 
Java,  and  she  the  wife  of  the  British  owner  of  a  yacht.    The  resentment  of  the  natives  precipitates 
the  complications  which  make  difficult  and  dramatic  the  love  of  Tom  Lingard  and  Mrs.  Travcrs. 


16 


Photo  by  "Wasman 

Thousands  of  letters  and  poems  have  been  written  deploring  the 
death  of  Valentino,  but  little  else  has  been  contributed  to  his 

memory. 

RAYS  from  the  California  sun,  filtering  through  a 
stained-glass  window,  fall  in  checkered  design 
upon  the  crypt  which  holds  the  body  of  Rudolph 
V alentino,  in  the  mausoleum  of  a  Hollywood  cemetery. 
Throughout  the  day.  and  night  fresh  flowers  exude  their 
fragrance  before  his  bier.  Through  the  marble  corri- 
dors little  groups  of  visitors  occasionally  tread,  to  pause 
before  the  plaque  which  reads :  "Rudolfo  Guglielmi 
Valentino,  1895-1926." 

Wayfarers  and  tourists  peep  in  to  see  where  lie  the 
remains  of  one  of  the  greatest  celebrities  of  our  time. 
A  few,  faithful  friends  still  come,  bringing  blossoms. 
But  the  numbers  rapidly  are  diminishing,  and  the  fact 
remains  that  all  that  is  nwrtal  of  Valentino  lies  in  a 
borrowed  Uftnb.  Once,  already,  his  casket  has  been 
moved.  Again,  some  time,  it  must  be  taken  from  its 
present  sepulcher,  in  order  to  make  way  for  the  one 
to  whom  it  rightfully  belongs.  Where  it  will  go  no  one 
knows.    Its  final  resting  place  has  not  been  determined. 

Has  the  beloved  Rudy  been  forgotten  by  the  world 
in  the  span  of  two  short  years? 

When  news  was  flashed  from  New  York  in  mid- 
August,  1926,  that  Valentino  was  dead,  all  the  world 
stood  aghast.    It  seemed  unbelievable.    Strong,  clear- 


All  That  is  Mortal 
Lies  in  a  Borrovstecl 

Despite  the  adoration  and  admiration 
of  Rudy  lies  in  a  crypt  reserved 

By  A.  L. 

eyed,  athletic,  imbued  with  the  fire  of  youth, 
he  was  the  idol  of  millions.  Throngs  gathered 
outside  the  hospital  in  New  York  where  his 
body  lay.  Newspapers  issued  extra  editions. 
Telegrams  arrived  in  sheaves.  When  the  cas- 
ket was  transported  to  the  funeral  train,  more 
than  a  thousand  policemen  acted  as  escort  to 
keep  back  the  multitudes.  All  the  way  from 
the  Atlantic  to  the  Pacific  coast,  in  cities,  vil- 
lages and  hamlets  crowds  gathered  to  watch 
the  black-draped  cars  pass  on  their  way  to  the 
West.  Flowers  were  massed  in  the  Pullmans 
in  every  conceivable  place.  The  spectacle  sel- 
dom, if  ever,  has  been  equaled  or  surpassed. 

Following  the  funeral  service,  the  casket 
was  placed  temporarily  in  the  crypt  reserved 
for  June  Mathis,  famous  scenarist,  in  the 
mausoleum  of  the  Hollywood  Cemetery,  and 
a  movement  was  started  for  the  erection  of  a 
worthy  memorial.  Five  hundred  thousand 
dollars  was  set  as  the  goal. 

"Make  the  memorial  something  that  will  be 
everlasting!"  women  admirers,  in  particular, 
urged.  "Let's  build  a  beautiful  mausoleum  of 
marble,  set  in  a  garden  of  flowers,  and  estab- 
lish a  fund  which  will  care  for  it  perpetually." 

"Let  us  establish  hospital  beds,  nurseries  and 
erect  art  galleries  in  his  memory,"  said  others. 

"Dedicate  a  granite  monument  which  will 
last  throughout  the  ages,"  suggested  a  third. 
What  a  glorious  tribute  ! 
S.  George  Ullman,  executor  of  the  Valentino 
estate,   acting  in  conjunction   with  friends, 
named  Joseph  M.  Schenck  chairman  of  a  com- 
mittee  to    handle   the    proposed  Valentino 
Memorial  Fund,  as  it  was  to  be  called.   With  him  were 
such  other  producers  as  Carl  Laemmle,  M.  C  Levee, 
and  John  W.  Considine,  Jr.   A  magazine  made  an  appeal 
to  its  readers  for  one  dollar  each  to  help  swell  the  fund. 
Memorial  societies  were  organized  in  New  York  and 
Chicago,  whose  ramifications  were  to  extend  to  other 
cities  throughout  the  land.    Admirers  in  England,  Ger- 
many, Italy,  France,  and  India  joined  in  the  movement 
to  raise  a  huge  sum.    Mr.  Ullman  sent  out  a  thousand 
letters  to  members  of  the  motion-picture  industry,  in 
which  he  said : 

My  personal  feeling  is  that  the  success  of  the  memorial  will 
be  a  tribute  not  oniy  to  Rudolph  Valentino,  but  to  the  motion- 
picture  industry  as  a  whole.  Monuments  have  been  erected  to 
leaders  in  almost  every  field  except  ours,  and  I  believe  that  this 
is  an  opportunity  to  show  the  world  that  the  motion-picture  in- 
dustry has  a  heart  as  well  as  a  purse.  It  is  not  necessary  to  con- 
tribute more  than  you  wish.  Only,  please  send  in  some  sub- 
scription, so  that  your  name  may  be  added  to  those  who  wish  to 
show  their  respect  for  the  things  that  Rudolph  Valentino  accom- 
plished. 

The  outlook  appeared  to  be  splendid.  Letters  de- 
ploring the  death  of  the  actor  poured  in  by  the  thou- 
sands. Assured  that  sufficient  contributions  would  be 
forthcoming,  the  committee  authorized  publication  of 


17 


of  Valentino 
Tomb ! 


of  millions  the  body 
for  some  one  else. 

Wooldridge 

the  following  in  a  Los  An- 
geles newspaper : 

Architects,  designers  and  all 
others  engaged  in  similar  work, 
are  requested  to  send  in  their 
plans  or  ideas  for  a  mausoleum 
for  Rudolph  Valentino. 

Members  of  the  family  will 
make  a  selection,  the  best  of 
which  will  be  adopted  and  used. 
According  to  S.  George  Ull- 
man,  executor  of  the  estate,  a 
simple,  unostentatious  style  is 
preferred.  It  is  to  be  of  ordi- 
nary dimensions  with  scant  or- 
namentation. 

That  is  the  notice  which 
went  out.   What  happened  ? 

A  check  for  $500  came 
from  a  woman  member  of 
the  English  nobility.  An- 
other for  $100  came  from 
Ernest  Torrence,  and  a 
second,  for  a  similar 
amount,  from  William  S. 
Hart.  From  the  one  thou- 
sand letters  sent  to  mem- 
bers of  the  motion-picture  industry,  fewer  than  a  half 
dozen  replies  were  received. 

The  magazine  which  asked  for  contributions  to  the 
fund  collected  a 
bare  $200,  and  the 
editor,  in  disgust, 
eventually  returned 
the  money  to  the 
donors. 

The  committee 
delegated  to  handle 
the  fund  got  a  few 
contributions,  none 
of  which  would 
nick  a  healthy 
bank  account  per- 
ceptibly. The  com- 
mittee sat  with 
waiting  hands.  It 
still  is  waiting. 

As  a  residt  of  all 
the  appeals  made, 
in  virtually  every 
civilised  country,  a 
total  of  approxi- 
mately $2,500  was 
contributed,  half  of  _ 

which  came  from  America.  The  major  part  of  the 
balance  was  from  England,  Germany,  Italy,  India,  and 
South  America. 

In  the  meantime,  June  Mathis,  one  of  Valentino's 
closest  friends,  died  July  26,  1927,  while  visiting  in 
New  York.    She  had  said,  when  the  actor's  body  was 


Strong,  clear-eyed  and  athletic,  Rudy  was  an  idol 
wherever  motion  pictures  are  known. 


Where  Rudy's  remains  lie,  through  the  generosity  of  the  late 

June  Mathis. 


placed  in  her  mausoleum 
crypt,  "You  may  sleep  here, 
Rudy,  until  I  die."  That 
time  had  come.  The  body 
of  Rudy  must  be  removed. 
It  was  placed  in  the  ad- 
joining crypt,  which  had 
been  reserved  for  Miss 
Mathis'  husband,  Sylvano 
Balboni.  There  it  rests  to- 
day, and  there  it  will  stay 
until  its  owner  has  need  for 
the  tomb,  or  until  some 
provision  is  made  for  the 
burial  of  Valentino  in  a 
crypt  or  a  grave  of  his  own. 

Where  are  all  the  women 
with  aching  hearts,  who 
professed  devotion  to  the 
screen's  great  lover  ?  From 
many  countries  letters  have 
come,  principally  from  in- 
dividuals able  to  contribute 
little  more  than  a  widow's 
mite.  Sums  from  persons 
of  wealth  were  strangely 
missing.  The  wonderful 
Valentino,  whose  "fan" 
mail  ran  as  high  as  five 
thousand  letters  a  week 
scarcely  more  than  twenty- 
four  months  ago,  appears 
to  be  almost  forgotten ! 
Sometimes  a  slip  of  a  girl 
creeps  into  the  mausoleum 
and  lays  a  blossom  before 
his  sepulcher.  No  one 
knows  who  she  is.  Thfice 
each  week  a  lone  Italian  woman  supplies  fresh  flowers. 
Occasionally  Rudy's  brother  comes  and  lingers  in 
meditation.    Sometimes  strangers  appear  to  bow  their 

heads  in  prayer. 

A  few  weeks  ago 
a  sculptor  filed  a 
suit  against  the  es- 
tate, to  recover 
$950  which  he  as- 
serted he  had  ex- 
pended in  prepar- 
ing sketches  for  a 
memorial,  and  in 
traveling  to  Barce- 
lona and  to  Italy  in 
search  of  marbles 
suitable  for  a  Val- 
entino tomb.  His 
claim  is  to  be  con- 
tested,  on  the 
ground  that  his  ac- 
tivities were  not 
authorized.  Not 
long  ago  a  marble 
pedestal  before  the 
crypt  was  over- 
turned and  broken 
to  bits.  Some  of  the  pieces  were  carried  away  by 
souvenir  hunters.  Tourists  come,  gaze  at  the  sarcopha- 
gus, then  break  flowers  from  the  baskets  and  hide  them 
in  their  clothing,  as  keepsakes.  In  London,  last  May, 
a  roof  garden  at  the  Italian  Hospital  was  opened  and 
Continued  on  page  117 


18 


Though  not  particularly  handsome,  Al  Jolson  possesses 
marked  physical  magnetism. 

AL  JOLSON  has  happened  to  Hollywood 
in  a  large  way.  He  is  in  it  and  already 
of  it.  He  is  part  of  the  business.  At 
Warner  Brothers  he  is  practically  one  of  the 
brothers.  Nor  do  I  mean  a  stepbrother.  His 
first  picture,  "The  Jazz  Singer,"  cleaned  up. 
He  is  making  a  second.  But  there  is  more 
than  just  that  to  his  adoption  of  the  movies. 
It  is  not  the  usual  case  of  a  stage  luminary 
lending  his  face  to  the  camera,  and  then  col- 
lecting his  pay  check.  There  is  nothing  of 
gracious  condescension  in  Al  Jolson's  visit  to 
Hollywood. 

His  first  film,  a  coup  for  the  Warners,  was, 
for  him,  an  experiment,  interesting  mainly  for 
its  novelty.  His  second,  and  the  four  which 
will  follow,  are  in  dead  earnest.  Finding  the 
business  a  profitable  venture,  he  has  concen- 
trated on  it  with  the  vigor  typical  of  him, 
until  in  a  year's  study  he  knows  more  of  its 
intricacies  than  many  veterans. 

Hollywood,  itself  a  trifle  lackadaisical  under  the  Cali- 
fornia sun,  has  found  him  stimulating.  His  famous 
wit,  his  sophistication  that  is  essentially  of  Broadway, 
and  his  driving  energy,  are  refreshing.  Inevitably,  he 
has  become  the  lion  of  the  moment,  the  pet  raconteur, 
the  ace  master  of  ceremonies.  Natives  steeped  in  po- 
litical caution  shiver  delightedly  when  Jolson,  presiding 
at  an  opening,  kids  his  employers  and  aims  pointed 
barbs  at  the  industry  in  general,  and  individuals  in 
particular.  He  is  always  so  funny  that  he  gets  away 
with  it.    Even  the  victims  rock  with  helpless  laughter. 

There  is  a  glamour  about  Jolson  that  is  indefinable. 
It  has  something,  of  course,  to  do  with  his  spectacular 


Mammy's  Boy 
in  Hollywood 

By  Margaret 


success  in  the  past,  with  his  never-failing  skill,  even 
in  the  recounting  of  a  joke.  A  further  explanation 
of  it  would,  I  think,  reveal  a  quality  not  to  be  ex- 
pected of  a  blackface  artist.  For  this  not  especially 
handsome  young  man  possesses,  to  a  marked  degree, 
great  physical  magnetism.  It  is  this,  underlying  his 
talent,'  that  makes  his  personality  behind  the  foot- 
lights such  an  electric  one.  It  is  this,  back  of  his 
''blue"  songs,  that  sets  rapt  audiences  swaying  with 
him — and  stamping  and  yelling  for  encores.  Whether 
or  not  this  quality  can  be  transferred  to  the  screen 
is  still  open  to  question,  "The  Jazz  Singer"  being 
more  or  less  experimental,  and  an  inadequate  cri- 
terion. ■ 

A  raconteur  and  wit  nonpareil,  it  would  be  ex- 
pected that  he  provide  generous,  fast-moving  copy 
for  an  interviewer.  Yeh,  that's  what  I  thought.  But 
a  girl  could  make  a  mistake;  couldn't  she?'  Not  only 
could,  but  did.  For  Mister  Jolson  can  go  down  on 
the  list  of  players  known  among  re- 
porters as  "tough  babies,"  a  term  indi- 
cating the  hopelessness  of  wresting  a 
story  from  them. 

I   have  always  been  a  particularly 
rabid  devotee  of  the  art  of  Al  Jolson. 
On  more  than  one  occasion  I  have  em- 
barrassed escorts  by  my  noisy  enthusi- 
asm  for  the  Jolson  capers,  the 
faintly  ribald  stories,  the  broad 
comedy,  the  lachrymose  ballads. 
"Mammy,"  moaned  and  shouted 
by  Al,  kneeling  and  swaying  and 
tearing  his  collar  off  in  the  glare 
of  the  spotlight,  still  leaves 
me  on  the  verge  of  collapse. 
I   admire   him — you  get  it? 
Several  years  of  interviewing 
\  \  and  reinterviewing  cin- 

\  ema  celebs  have  worn  my 

§^    interest  to  what  I  like  to 
!!^v^>     call  ennui.    But  it  must 
be    admitted    that  the 
prospect  of  interviewing  Al  Jolson 
was  fraught  with  unaccustomed  palpi- 
tation. 

I  found  him  on  the  set,  the  second 
day  of  production  on  "The  Singing  Fool." 
A  dapper  figure,  slightly  below  average 
height.  Black  hair  and  black  eyes — eyes 
famous  for  that  knowing  roll  which  punctu- 
ates his  jokes.  His  smile  is  wide  and  in- 
fectious, his  manner  brusque  but  amiable. 
Chairs  were  brought  and,  back  of  the  con- 
fusion and  noise  of  the  cabaret  where  the 

Singing  Fowl,  as  a 
Josephine  Dunn,  as  waiter,  begins  his 
she  appears  in  Jol-  career,  we  tried  to 
son's  latest  picture,  talk.  I  mean  I  did. 
"The  Singing  Fool."     Al  didn't  bother. 


19 


Makes  Whoopee 

When  not  working  in  his  new  picture  "The  Singing 
Fool",  Al  Jolson  devotes  his  Broadway  sophistica- 
tion, ready  wit  and  dynamic  energy  to  satisfy  Holly- 
wood's demand  for  his  presence  at  all  functions. 

Reid 


Don't  get  the  impression  that  he  is  blase,  or  dif- 
fident, or  at  a  loss  for  words.  He  is  none  of  these, 
and  he  is  pleasantly  affable.  Not  cagy,  not  bored, 
not  high-hat — just  uninterested. 

In  a  brief  burst  of  garrulity  he  described  the 
story  of  "The  Singing  Fool."  It  is  a  melodramatic 
story,  strongly  spiced  with  the  sentiment  which 
Jolson  frankly  enjoys.  Supplying  much  of  the 
pathos  in  the  picture,  is  the  love  of  the  singing 
waiter  for  his  baby  son.  Jolson  himself  discov- 
ered the  child  who  plays  this  role,  and  displays 
marked  affection  for  his  small  choice.  With  no 
children  of  his  own,  it  is  obvious  that  he  adores 
this  one. 

Side  by  side  with  his  kidding  and  sophistication, 
gentleness  tempers  these  qualities  and  makes  him 
a  good  trouper.  For  it  was  apparent,  even  under 
,the  inevitable  moments  of  awkwardness  in  his  first 
picture,  that  he  is  that.  He  has  an  in- 
stinctive "feel"  for  the  elements  that 
reach  beyond  the  eye,  past  the  mind, 
down  into  the  emotions.  The  accurate 
perspective  he  keeps  on  this  ability,  is 
what  saves  his  ballads  from  being  lu- 
gubrious, and  the  pathos  in  his  pictures 
from  becoming  bathos. 

I  spoke  of  the  appeal  to  the  heart  of 
"The  Jazz  Singer,"  and  he  admitted 
that  that  is  the  sort  of  thing  he  prefers. 
He  is  a  propagandist  for  the  emotions, 
the  human  touch. 

"I  don't  know  if  'Jazz  Singer'  was  a 
good  picture,"  he  remarked.  "In  fact, 
I  have  serious  doubts.  But  I  do  know 
that  its  idea  got  under  the  skin  of  the 
audience.  It  even  got  me,  when  I  saw 
the  opening  in  New  York.  My  wife 
was  with  me — that  is,  my  ex-wife. 
We've  been  divorced  several  years,  but 
we're  very  dear  friends.  When  it  came 
to  the  climax — you  remember  where  I 
come  back  home  to  sing/Kol  Nidre' 
for  my  father? — she  cried  and  cried, 
'It's  so  beautiful.  You  couldn't  be  bad, 
and  act  like  that.  You  just  couldn't. 
Why,  I'll  marry  you  again  to-morrow !' 
But  I  was  too  excited  to  answer." 

The  anecdote  finished  with  the  know- 
ing, sidelong  glance  and  wicked  grin. 

And  that  was  all  of  the  interview  for 
then.  Irving  Berlin  dropped  in  to  say, 
''Hello,"  and  to  see  how  Al  was  get- 
ting on.  When  he  had  left,  what  "few 
threads  of  conversation  had  been  woven 
were  out  of  hand  again.  In  despera- 
tion,   I  resorted 

to  bromides,  hop-     ^g^fSj  Kraney'«Ji?~ 
'      *       cruited   from  Rio 

mg  that  he  would     Rita»  for  «The  Sing. 
follow.  ing  Fool." 


Josephine  Dunn,  Jolson,  and  Betty  Bron- 
son  take  instructions  from  director  Lloyd 
Bacon  during  the  filming  of  the  picture. 

"How,  Mr.  Jolson,  do  you  like  Holly- 
wood ?" 

"Great.    I  live  in  Beverly  Hills." 

Silence,  broken  by  polite,  but  quite  ir- 
relevant, remarks  from  Al. 

"What  decided  you  to  continue  in  pic- 
tures ?" 

"Money — lots  of  it,"  he  grinned. 

After  another  silence  I  hauled  out  the 
old  reliable,  the  starter  guaranteed  to 
make  any  one  talk — any  one  but  Al  Jol- 
son. In  a  nice  way,  I  asked  for  the 
"story  of  his  life."  And  what  did  I  get? 
Not  even  a  synopsis.  It  had  been  printed 
so  often,  he  objected — too  often.  Every- 
body had  read  it.  I  explained  that  the 
motion-picture  public  is  a  mass  quite 
apart  from  that  of  the  theater,  that  to 
them  he  is  an  entirely  new  face,  but  to 
no  avail. 

"Your  people  "  I  insisted. 

"Well,  my  mother  came  from  St.  Pe- 
tersburg— and  I  don't  mean  in  Florida." 

"You  were  born  in  " 

"I  was  born  " 

He  jumped  up  to  greet  George  Jessel, 
the  original  Jazz  Singer  of  the  stage, 
and  now  doing  a  picture  or  two.  George 
had  stopped  by  from  his  studio  to  make 
a  dinner  date  with  Al  for  that  night. 

"How's  the  picture  going,  Al?" 

"Who  can  tell  ?   How's  your  own  ?" 

"Finished  already.  Started  shooting 
Monday — finished  Tuesday — titled  and 
shipped  this  afternoon — in  New  York 
to-morrow."  [Continued  on  page  119] 


20 


(gasping, 
Breathl 


Fright  and  terror  are  everyday 
emotions  in  the  life  of  the  actor. 


The  terror  of  Anita 
Page,  above,  is  so  intense 
that  Wheeler  Oakman,  as 
the  villain  in  "The  Big 
City,"  claps  his  dirty  hand 
on  her  mouth. 


Dolores   del  Rio,  right, 
looks  as  if  her  conscience 
were  terrorizing  her,  in 
"Revenge." 


Polly  Moran  and  Sylvia 
Beecher,  below,  would  a 
lot  rather  scream  than 
rush  to  the  aid  of  their 
fighting  boy  friends,  in 
"West  of  the  Sierras." 


Ramon  Novarro  and  Carmel 
Myers,  above,  experience  a  breath- 
less fright  on  being  discovered  to- 
gether, in  "A  Certain  Young 
Man." 


George  K.  Arthur  and  Marceline 
Day,  below,  are  evidently  being 
pursued  by  a  pair  of  wild  tonsils 
in  this  hospital  scene  from  "Detec- 
tives." 


Three  Young  Gals 

Loretta,  Polly  Ann  Young,  and  Sally  Blane  are  the  most  unalike  sisters 
you  could  expect  to  find,  yet  all  three  are  becoming  well  known  to  the  fans. 


21 


Photo  by  I 


By  Alma 

WITH  an  am- 
bitious movie 
aspirant  in.  at 
least  every  second 
household  in  the 
country,  the  Young 
family,  of  Los  An- 
geles, is  really  to  be 
envied.  How  very 
proud  they  must  be, 
with  three  beautiful 
daughters  in  the 
movies  !  All  are  un- 
der contract  to  dif- 
ferent film  c  o  m  - 
panies,  with  promis- 
ing careers  ahead  of 
them. 

Each  of  the  sis- 
ters is  considered  a 
beauty,  with  great 
screen  possibilities, 
yet  each  is  quite  un- 
like the  other  two. 

There's  Polly  Ann, 
the  eldest,  under 
contract  to  Metro- 
Goldwyn.  Polly  Ann 
is  nineteen,  very 
slim,  with  dark  hair 
and  eyes,  and  a 
slight  resemblance  to 
Norm. a  Talmadge. 
She  is  the  shyest  and 
quietest  of  the  three 
sisters. 

Sally  Blane,  who 
was  christened  Betty 
Jane  Young,  is  sev- 
enteen. She  is  less 
of  a  beauty  than  her 
sisters  —  inclined, 
perhaps,  to  be  almost 
too  plump.  But,  if 
she  is  the  least  beau- 
tiful, she  makes  up 
for  it  by  having  the 

most  personality.  She  is  roly-poly,  jolly,  full  of  fun  and 
pep;  the  friendliest  of  the  three,  the  easiest  to  know. 
Sally  is  under  contract  to  Paramount,  and  her  career,  so 
far,  has  been  more  extensive  than-  that  of  her  sisters. 

Then  there's  Loretta,  nicknamed  "Gretchen"  by  her 
family.  Loretta  is  only  fifteen,  the  youngest  full-fledged 
ingenue  on  the  screen,  who  still  must  apply  herself  to 
her  schoolbooks,  between  scenes  of  a  picture.  Loretta 
is  the  coming  pride  of  First  National.  There's  none  of 
the  giggly  schoolgirl  about  her,  despite  her  youth.  Re- 
served, soft  spoken,  she  has  all  the  .poise  and  dignity  of 
a  woman  twice  her  age.  Blonde,  with  gray  eyes,  and  a 
mouth  like  Dolores  Costello's.  Loretta  and  Sally  are 
frequently  mistaken  for  one  another,  though,  seeing  them 
together,  you  can't  imagine  how  they  could  be.  Loretta 
is  slim,  almost  to  the  point  of  thinness,  weighing  only 
ninety-eight  pounds.  She  says  scarcely  a  word,  just  smiles 


Talle? 


Loretta,  nicknamed  "Gretchen"  by  her  family,  is  the  youngest,  full 
fledged  ingenue  on  the  screen. 


quietly,  while  Sally 
talks  all  the  time.  ■ 
Loretta  shows  the 
most  promise  of  a 
really  spectacular 
success  in  the  fu- 
ture. ,; 

All  the  girls  were 
practically  cata- 
pulted into  the 
movies.  Their  first 
bit  of  luck — besides 
the  fact  that  they 
were  born  beautiful 
— came  when  their 
mother  and  step- 
father moved  the 
family  to  Los  An- 
geles. Apparently 
they  were  a  migra- 
tory household,  for 
each  of  the  girls 
was  born  in  a  dif- 
ferent place :  Polly 
Ann,  in  Denver ; 
Sally,  in  Salida, 
Colorado ;  Loretta, 
in  Salt  Lake  City. 

Sally  was  the  first 
to  take  up  a  film 
career  and  her  start 
constituted  one  of 
those  lucky  acci- 
dents which  would 
never  happen  to 
any  of  us — you  or 
me,  dear  reader. 
She  met  Wesley 
Ruggles,  the  direc- 
tor. Wesley  said, 
"You've  very  good 
screen  features. 
Why  not  come  over 
to  Universal  and 
let  me  have  screen 
tests  taken  of  you  ?" 
Why  not,  indeed! 
What  girl  would  turn  down  a  chance  like  that? 

Not  Sally,  at  any  rate.  So  she  was  given  her  first 
film  work  in  one  of  "The  Collegians"  series.  Scarcely 
had  she  finished  her  engagement  with  Universal  when, 
at  a  party,  she  met  an  executive  of  Paramount.  He  said, 
"You've  got  good  screen  features.  Why  don't  you 
come  to  the  studio'  and'  let  me  have  tests  taken  ?" 

It  might  seem  more  logical,  to  you  or  to  me,  for  the 
studio  authorities  to  have  seen  what  she  looked  like  in 
"The  Collegians."  But  studios  don't  work  that  way. 
Taking  screen  tests  is  the  way  they  have  their  fun. 
Actors  with  years  of  experience  are  constantly  dashing 
about  having  screen  tests,,  just  as  if  no  one  had  any 
idea  how  they  looked  «before  a  camera. 

So  Sally — at  that  time  still  Betty  Jane — had  her  tests. 
She  was  given  not  only  a  contract,  but  a  new  name  as 
well.  "From  now  on,"  they  told  her,  "you're  Sally  Blane." 


22 


Three  Young  Gals 


Photo  by  Hesser 

Sally  Blane,  christened  Betty  Jane  Young,  is  not  the  most 
beautiful,  but  she  has  more  personality  than  her  two  sisters. 


She  doesn't  yet  know  why  she  became  Sally  Blane, 
when  Betty  Jane  Young  seemed,  to  her,  a  much  better 
name.  But  one  doesn't  quibble  over  a  little  thing  like 
•that,  with  a  contract  sitting  around  waiting  to  be  signed. 

She  was  given  plenty  to  do — a  role  in  "Casey  at  the 
Bat,"  and  another  in  "Shooting  Irons."  In  "Wife 
Savers,"  "Fools  for  Luck,"  and  in  "The  Vanishing 
Pioneer,"  Jack  Holt's  new  picture.  Between  times  she 
was  lent  to  F.  B.  O.,  and  to  Fox. 

Sally  obtained  a  good  start  for  Polly  Ann,  her  older 
sister,  as  well.  Having  made  the  Young  family  what 
an  ad  writer  would  call  "movie  minded,"  Sally  per- 
suaded Polly  Ann  to  try  for  extra  work.  She  per- 
suaded her  to  the  extent  of  almost  dragging  her  into 
casting  offices.  As  I  said,  Polly  Ann  is  shy;  left  to  her- 
self, she  would  never  have  had  the  aggressiveness  to  go 
about  asking  for  jobs.  But  Sally  would  say,  "Now  come 
along,"  and  shove  her  before  the  casting  director's 
window.  Polly  Ann  would  stand  there  tongue-tied. 
"Well?"  the  casting"  man  would  ask  impatiently,  and 
Polly  Ann  would  be  forced  to  speak  up. 

It  was  good  training,  and  Polly  Ann  had  the  looks, 
so  she  managed  to  get  extra  roles  quite  often.  She  was 
called  upon  frequently  to  double  for  stars,  in  long  shots 
— Joan  Crawford,  the  two  Dolores:  'Costello  and  Del 
Rio. 

"But  how,"  I  demanded,  "could  she  possibly  look 
like  both  Del  Rio  and  Costello?" 

It  does  seem  amazing,  Polly  Ann  being  a  brunette,  but 
they  say_that  with  a  blond  wig  one  could  scarcely  tell 


her  from  Dolores  Costello.  She  and  Loretta  have 
the  Costello  mouth. 

Gradually  Polly  Ann  got  bigger  and  better  bits, 
until  she  was  given  a  good  part  in  "The  Bellamy 
Trial,"  and  a  contract  with  Metro-Goldwyn. 

Loretta,  really  just  a  child,  had  a  movie  career 
thrust  upon  her.  A  call  came  for  Polly  Ann  for 
extra  work,  but  she  was  away  on  location.  I  can 
almost  hear  Sally,  the  aggressive  member  of  the 
family,  urging  Loretta,  "Why  don't  you  take  it  in- 
stead ?"_  So  Loretta  did.  The  picture  was  "Naughty 
But  Nice,"  and  Colleen  Moore  noticed  Loretta 
among  the  extras. 

"That's  a  cute  girl,"  Colleen  told  John  McCor- 
mick,  her  husband  and  supervisor.  Mr.  McCormick 
arranged  for  a  screen  test,  which  came  out  beauti- 
fully. There  was  quite  a  little  argument.  After 
all,  Loretta  was  only  thirteen  at  the  time,  and  that 
seemed  really  a  bit  too  young  for  an  ingenue,  and 


Photo  by  Hesser 

Polly  Ann  Young  is  the  shyest  and  quietest  of  the 
three  sisters,  and  was  practically  pushed  into  pictures 

by  Sally. 


too  old  for  a  child  actress.  But  her  screen  tests  were 
really  lovely.  "If  we  don't  sign  her,"  said  John  Mc- 
Cormick, "some  one  else  will."'  So  Loretta  was  proffered 
a  contract.  Even  though  it  was  necessary  for  First  Na- 
tional to  wait  several  years  before  she  grew  up  enough 
to  be  useful,  the  company  decided  she  was  worth  it. 
Really,  could  a  girl  ask  for  better  luck  than  that  ? 

Apparently  the  Moore-McCormick  judgment  proved 
sound.  Loretta  played  tiny  parts  from  time  to  time, 
then  a  small  role  in  "The  Whip  Woman,"  and.  then  she 
was  borrowed  by  Metro-Goldwyn  for  "Laugh,  Clown, 
Laugh !"  in  which  she  created  quite  an  impression.  Now 
she  is  back  on  her  home  lot,  and  recently  finished  an 
ingenue  lead  in  Charlie  Murray's  new  film,  "The  Head 
Continued  on  page  108 


23 


What's  a  Chap  to  Do? 

James  Hall's  career  is  the  least  of  his  worries. 
It  is  the  social  problems  caused  by  his  suc- 
cess which  bother  him — and  do  you  wonder? 

By  Will  iam 

WHAT  would  you  do,  if  you  came  to  Hollywood 
from  comparative  obscurity  and  attracted  na- 
tional notice?  What  would  you  do  if,  to  your 
surprise,  your  least  important  actions  were  blazoned  far 
and  wide,  with  fancy  trimmings  and  exaggerations  ? 
What  would  you  do  if  you  found  yourself  being  im- 
posed upon  by  sycophants  ?  What  would  you  do  if  cir- 
cumstances were  holding  you  back,   when  you  were 

eager  to  spring  ahead?    What  would  

Well,  in  any  case,  having  to  face  these  few  questions 
is  enough  to  drive  any  one 
back  to  obscurity.  Being 
famous,  and  drawing  in- 
creasing fame  to  yourself, 
is  all  right  so  far  as  it 
takes  you,  but  with  all 
these  irritating  facts  at 
hand,  what's  a  chap  to  do  ? 
•  For  the  past  year,  James 
Hall  has  been  racking  his 
mind  for  a  solution.  He 
believes  he  has  found  one, 
now — in  fact,  he  is  fol- 
lowing it — but  he  is  not 
quite  sure.  One  never 
can  be  sure,  in  pictures. 

When  I  first  made  Jim- 
mie's  acquaintance,  he  was 
quite  new  to  the  colony. 
All  he  could  do  was  to 
be  thankful  for  his  good 
break  in  pictures,  and 
praise  Bebe  Daniels  for 
being  the  brick  she  is. 

To-day,  since  his  advent 
in  Hollywood,  Jimmie  still 
stresses  these  two  facts, 
but  he  has  also  several 
other  topics  to  discuss, 
which  prompts  the  ques- 
tion at  the  top  of  the  page. 

"When  I  first  came  to 
work  out  here,  from  New 
York,"  Mr.  Hall  stated,  "I 
thought  the  entire  colony 
would  take  me  up.  I  got 
my  first  disillusion  on  find- 
ing that  the  picture  people 
are  very  hard  to  know. 
Of  course,  I  knew  one  or 
two.  But  the  colony,  as  a  whole,  seemed  closed  against 
me.  It  appeared  as  if  they  all  said:  'Well,  let  us  see 
what  you  really  can  do.  Prove  that  you  are  one  of  us. 
We'll  find  out  if  you  are  worthy  of  our  notice.' 

"I  might  have  been  wrong  to  think  that,  but  that's 
how  it  struck  me  at  the  time. 

"The  next  thing  that  confused  me,  was  the  great  im- 
portance they  placed  on  the  slightest  move  I  made.  Now, 
taking  a  young  lady  to  the  theater,  or  to  a  cafe,  is  not 
a  very  uncommon  thing  to  do.  I  knew  Joan  Crawford, 
and  took  her  to  several  places.  You  see,  I  had  very  few 
friends  out  here,  then. 


He  fled  from  his  beautiful 
home   to   escape  uninvited 
guests. 


Photo  by  Richee 

James  Hall  is  only  too  willing  to  get  the  moon  for  you — 
but  you'd  have  to  shoot  him  up  to  it  with  a  cannon. 

"The  next  thing  I  heard  was  that  we  were  engaged. 
No  denials  on  either  side  did:  any  good.  The  fact  that 
we  had  dined  in  each  other's  company  sealed  our  be- 
trothal. To-day,  Fairbanks,  Jr.,  and  Joan,  just  be- 
cause they  go  about  together,  are  reported  engaged." 

I  was  one  of  the  many  who  believed  Joan  and  Jimmie 
to  be  in  love  with  each  other.  Jimmie  certainly  let  me 
believe  it,  and  they  did  go  about  a  lot  together.  Since 
then,  knowing  Joan's  taking  ways,  and  Jimmie's  early 
quest  for  companionship,  I  realize  how  the  mistake  was 
made.    Yet,  what's  an  observing  interviewer  to>  do  ? 

But,  hang  it  all  ! — to  a  dashing  go-getter  these  false 
reports  must  be  annoying,  and  no  nonsense.  A  per- 
sonable young  man,  with  pleasing  ways,  can  hardly  be 
expected  to  conduct  himself  like  a  cenobite.  He  must 
go  out  occasionally  with  some  one  and  at  least  speak 
to  others.  Yet.  if  these  diversions  are  misconstrued, 
what's  a  chap  to  do? 

Recently  Jimmie  has  been  reported  engaged  to  Merna 
Kennedy,  Charlie  Chaplin's  leading  lady.  Yet  you  can 
bet  your  sweet  life  that  a  lot  of  old  meanies  are  going 
to  disturb  another  good  friendship,  if  they  can,  so  keep 
in  mind  what  Jimmie  has  explained,  in  the  summer  of 
1928. 

"Miss  Kennedy  is  a  charming  girl,"  the  harassed 
young  man  confessed,  "and  is  a  dear  friend  of  mine. 
She  was  sympathetic  and  encouraging,  when  I  first  came 
to  Hollywood.    I  shall  never  forget  that." 

Gratitude.  That's  what  Jimmie  believes  in  handing 
out. 

Now  imagine,  if  you  can,  how  Hollywood  misinter- 
prets gratitude.    Just  plain,  simple  friendship  is  looked 
at  through  Calypso's  magic  mirror.    A  jolly  cup  of  tea 
Continued  on  page  111 


24 


The  Stroll 


er 


By   Carroll  Graham 

Illustrated     by    Lui  Trugo 


Confidential  morsels  of  Hollywood  gossip  of  interest  to  the  fans. 


IT  is  an  office — one  of  a  thousand  offices — in  a  mo- 
tion-picture studio.     Moreover,  it  is  early  morn, 
and  the  day's  work  is  about  to  start. 
That  strangest  of  all  natural  phenomena — a  con- 
ference of  the  gag  men  is  about  to  occur  in  our  office. 

The  workers  file  in  slowly,  as  the  hand  of  the  clock 
nears  nine.  Gag  men  are  funny  by  the  hour — from 
nine  until  twelve,  from  one  until  five.  Sometimes  they 
stay  funny  until  five  thirty,  or,  on  rare  occasions,  even 
until  six. 

All  six  gag  men  having  arrived,  they  drape  them- 
selves in  various  positions  about  the  office,  originally 
designed  for  a  maximum  of  four  persons.  Behind  the 
desk  sits  the  head  gag  man.  He  bears  various  titles. 
Sometimes  he  is  the  director,  sometimes  the  supervisor, 
and  sometimes  the  producer  himself. 

"Well,"  says  the  straw  boss  of  the  gag  men,  "we 
gotta  get  a  story  by  Friday.  Al  wants  we  should  start 
shooting  by  Monday  morning.  Let's  see  what  we  can 
dope  out." 

There  is  a  silence  of  several  moments. 

"Anybody  go  to  the  fights  last  night  ?"  asks  gag  man 
No.  1. 

"Yeh,"  says  the  man  on  his  immediate  right,  "a  lousy 
program.    I  coulda  licked  the  guy  myself." 

This  subject  provides  entertainment  for  ten  minutes. 
The  local  boxing  situation,  its  national  aspects,  the  pros- 
pect of  Dempsey  returning  to  the  ring,  are  argued  out 
completely. 

"Well,"  says  the  straw  boss,  "how  about  this  com- 
edy?  We  gotta  get  a  story  by  Friday." 

"I  seen  a  funny  picture  the  other  night,"  pipes  the 
gag  man  who  has  been  sitting  on  the  back  of  his  neck, 
in  complete  silence,  watching  the  cars  go  down  Sunset 
Boulevard.  "It  was  about  a  guy  that  ran  a  bakery 
shop,  and  got  some  concrete  mixed  up  in  the  dough." 
There  is  a  chorus  of  protest. 

"I  did  that  six  years  ago  at  Sennett's,"  cried  one 
outraged  humorist.  "What  bum  stole  my  stuff?"  There 
is  a  general  babel. 

"Let's  make  a  picture  about  a  bakery. 
How  about  a  sequence  in  a  girls'  boarding 
school?  Harold  Lloyd  had  a  funny  idea,  in 
his  last  picture,  about  a  guy  driving  a  taxi. 
Why  not  do  something  like  that?  I  caught 
Buster  Keaton's  last  picture  the  other  night, 
and  I  thought  of  a  swell  sequence  we  could 
lift  from  it  " 

At  this  point  a  gag  man,  who  until  now 
had  been  comparatively  silent,  leaps  to  his 
feet  in  a  spasm  of  enthusiasm  somewhat  akin 
to  an  apoplectic  stroke. 

"I  got  it!  I  got  it!  An  absolute  wow!" 
he  cries,  beating  his  breast  with  both  his 


clenched  fists.  "Let's  make  our  comic  a  guy  who  is 
afraid  of  dogs,  and  he's  out  of  a  job — so,  to  eat,  he  has 
to  take  work  as  a  dog  catcher." 

There  is  a  silence.  The  entire  circle  is  struck  dumb 
by  the  man's  genius.  Then  the  straw  boss  of  the  gag 
men  speaks  oracularly. 

"Nope,"  he  solemnly  passes  judgment.  "Costs  too 
much  to  fool  with  all  them  trained  dogs.  Dogs  is  too 
much  grief." 

The  gag  man  who  submitted  the  idea  sinks  into  his 
chair,  gasping  for  breath.  Another  silence  follows. 
All  the  sad  young  gag  men  fall  into  extremely  heavy 
thought.  They  denote  heavy  thought  by  various  man- 
nerisms, so  that  there  is  no  doubt  of  what  they  are 
doing. 

One  sits  with  elbows  on  his  knees,  face  buried  in  his 
hands,  rocking  back  and  forth,  and  moaning  softly  to 
himself.  Another  curls  up  in  his  chair  and  gnaws  at 
the  upholstery.  A  third  rests  his  forehead  on  the  edge 
of  the  desk,  his  arms  curled  about  his  head,  like  a 
sobbing  bride. 

These  poses  are  held  for  some  time.  The  straw  boss 
watches  them  happily.  He  knows  they  are  thinking 
now.  He  glances  at  his  wrist  watch.  It  is  ten  minutes 
to  twelve. 

He  rises,  and  addresses  the  gathering. 

"Well,  boys,  we've  done  a  lot  of  good  work  this 
morning.  I'm  playing  golf  with  the  general  manager 
this  afternoon.  There  is  a  new  comedy  playing  down 
at  the  Capitol  this  week.  Suppose  you  all  go  down  and 
take  a  look  at  it  to-day,  and  see  if  there  is  anything  in 
it  we  can  use.    See  you  to-morrow  morning." 

Eddie  Cline,  the  director,  who  has  been  making  a 
picture  at  the  First  National  cannery  in  Burbank,  had 
never  met  the  new  head  of  the  organization  who,  at 
that  time,  was  due  to  arrive  at  the  studio  and  assume 
complete  control. 

"When  this  guy  comes  on  my  set  for  his  tour  of 


Gag  men  choose  divers  means 
make  known  the  fact  that  they 
are  in  deep  thought. 


The  Stroller 


25 


inspection,"  he  told  his  company. 
"I'm  going  to  yell  and  tear  my 
hair,  and  bawl  out  everybody  in 
the  troupe,  just  to  impress  him." 

Shortly  thereafter  one  of  the 
members  of  the  company  saw  a 
party  of  visitors  approaching  the 
set,  and  ran  to  tell  the  director. 

The  party  happened  to  be  a 
group  of  distinguished  rabbis, 
who  were  visiting 
Hollywood.  When 
they  came  on  the  set, 
Eddie  decided  one  of 
them  must  be  an  offi- 
cial of  the  company, 
and'  so  he  put  on  his 
act  accordingly. 


Bozo's  master  is  never  seen  except  in  the  company  of 
his  trained  goose. 


Over  at  the  William  Fox  studio  they  have  an  athletic 
instructor — a  former  professional  boxer — whose  duty 
it  is  .to  keep  all  the  masculine  stars  in  physical  trim. 

Every  star  on  the  lot  is  required  to  report  to  him 
daily,  and  the  instructor  fills  out  a  statement  on  the 
condition  of  each  one. 

My  spy  at  that  studio  informs  me  that  the  following 
report  was  filed  regarding  the  condition  of  Barry  Nor- 
ton, the  lilylike  lad  who  was  introduced  to  the  screen 
as  the  aesthetic  young  Mother's  Boy,  in  "What  Price 
Glory." 

"Mr.  Norton,"  so  ran  the  report,  "showed  up  for 
inspection  this  morning  swith  a  set  of  badly  bruised 
knuckles.  He  said  he  got  them-  from  hitting  some  one 
in  the  mouth — but  I  doubt  it." 

Aviation,  which  has  always  been  of  more  or  less 
interest  to  the  movie  colony,  is  becoming  increasingly 
popular,  particularly  since — according  to  newspaper  re- 
ports— the  producers  have  decided  to  strike  out*  the 
clause  in  stars'  contracts  forbidding  them  to  fly. 

Dozens  of  persons  who  can  afford  it — and  quite  a 
few,  no  doubt,  who  cannot — own  their  own  planes,  and 
man\-  others  are  learning  to  fly,  in  the  hope  that  Lady 
Luck  will  some  time  make  them  rich. 

The  possibilities  in  having  one's  private  airplane  were 
never  clearly  pointed  out  to  me  until  the  other  day.  A 
friend  of  mine  is  taking  instruction  at  one  of  the  air- 
ports near  Hollywood,  and  he  told  me  that  Wallace 
Beery  arrived  at  the  field  one  morning,  in  his  private 
ship,  and  proudly  exhibited  a  string  of  trout  he  had 
just  caught. 

"Caught  'em  in  Silver  Lake  this  morning,"  he  said. 

Silver  Lake  is  a  remote  mountain  stream,  near  the 
Utah-California  border,  some  hundreds  of  miles  from 
the  studio,  yet  Beery  could  fish  for  an  hour  in  the 
morning,  and  be  back  in  time  for  work  at  noon. 


I  wonder  if  the  editor  of  Picture  Play  would  head 
a  subscription  to  help  buy  me  an  airplane. 

With  all  the  profundities  that  have  been  and  are  be- 
ing uttered  about  the  rapid  growth  of  talking  pictures, 

I  don't  believe  any  one 
has  stated  in  print  what 
I  regard  as  the  real 
reason  for  Hollywood's 
sudden  enthusiasm  for 
the  talkies. 

Los  Angeles  is  in  the 
midst  of  a  theater  de- 
pression^  All  the  down- 
town show  houses  are 
losing   money,  Grau- 
man's   Chinese  Theater 
is  closed,  and  managers 
are  in  a  mighty  despair. 
Yet  the  new  Warner  Brothers  Theater  in  Hollywood 
is  playing  to  a  capacity  house  at  every  performance, 
with  long  lines  of  customers  patiently  waiting  for  the 
next  show  to  start. 

Producers  who  own  theaters  that  are  losing  money, 
and  who  ride  down  Hollywood  Boulevard  in  their  pa- 
latial limousines,  cannot  fail  to  be  impressed  by  the 
crowds  in  front  of  the  new  theater.- 

Incidentally,  the  new  show  house  is  becoming  a 
terrific  annoyance  to  those  Hollywoodians  who  reside 
in  the  neighborhood,  the  theater  being  situated  in  an 
apartment-house  district.  Starting  at  noon,  or  shortly 
thereafter,  the  inhabitants  of  the  district  cannot  park 
their  cars  within  blocks  of  their  own  fireside.  All  of 
which,  doubtless,  does  not  concern  the  Brothers  Warner 
in  the  slightest. 

Roland  Asher,  a  scenarist  and  comedy  director,  has 
conceived  a  plot  for  a  Hollywood  tragedy  all  his  own. 
I  am  stealing  it  from  him  for  these  pages. 

A  director — so  his  sad  story  goes — was  out  of  work 
for  months.  Finally  he  was  given  a  chance.  Jubilant, 
he  worked  night  and  day  preparing  his  picture,  con- 
vinced that  his  great  chance  had  come. 

The  story  he  was  to  film  concerned  a  dog — a  large 
and  vicious  dog.  The  morning  that  the  picture  started, 
the  beast  was  led  to  the  set.  Immediately  he  broke  his 
leash  and  took  after  the  director,  snarling  and  snap- 
ping. The  dog's  trainer  finally  subdued  the  animal,  and 
the  director  crawled  down  out  of  the  rafters. 

"Does  he  act  that  way  toward  everybody?"  the  di- 
rector asked. 

"Nope,"  said  the  trainer,  "it's  a  funny  thing.  This 
dog  instantly  takes  strong  likes  and  dislikes.  If  he 
dislikes  a  man,  there,  is  no  being  around  him  after  that." 

The  producer  at  that  moment  came  upon  the  set,  and 
the  director  explained  the  situation. 

"The  dog  doesn't  like  me,"  said  the  director.  "I'll 
have  to  get  another  dog." 

Continued  on  page  114 


A  canine  star 
forms  an  in- 
stant aversion 
to  an  aspiring 
director. 


„  \  f  ..'  /  l<  t 


26 


"Good  Shepherd,  What  Fair 


Said  William  Shakespeare, 
with  Joan  Crawford,  and 


Photo  by  Clarence  Sinclair  Bull 


Then,  right,  you  jump  up,  inject  a  little  Stockholm  stomp  into 
the  routine,  and  add  some  side  steps  for  good  measure. 


27 


Sxtfain  is  This  Who  Dances  Wi 


years  ago.  Well,  it's  Edward  Nugent  that's  dancing 
they're  showing  the  world  how  to  do  "The  Romp." 


Edward  Nugent, 
above,  doing  h  i  s 
share  of  the  sixth 
part  of  "The  Romp." 


The  fifth  movement, 
right,  includes,  after 
executing  the  side 
steps,  suddenly  switch- 
ing to  the  same  line 
of  motion  and  bump- 
ing the  hips. 


After  executing  the 
seventh  movement, 
and  making  the  cir- 
cular balance,  you 
stop  short,  break 
apart,  and  whirl 
sharply,  as  Joan 
and  Eddie  are  do- 
ing, left. 


After  the  sixth  movement,  you  swing  around 
together,  hand  on  hand,  and  spiral  in  a  com- 
plete circle,  as  shown  at  the  left. 


'JBm 


In  the  concluding  step,  above,  you  hold  each  other's  shoulders 
for   support,  and  then  execute   a   stomp  kick,   alternating  the 
position  of  the  hands  and  feet. 


28 


From  the  ashes  of  a  past  worship,  "Connie"  now  enjoys 
a  very  real  friendship  with  Norma  Talmadge. 

YOUTH  sits  wide-eyed  in  a  darkened  theater." 
Thus  I  began  an  interview,  just  two  years  ago, 
with  Constance  Riquer,  a  young  fan  who  had  he- 
come  surprisingly  well  known  among  fans  the  world 
over,  through  her  adoration  of  Norma  Talmadge  and 
her  activities  as  head  of  a  fan  club  in  her  name.  The 
child  was  so  dramatically  and  pathetically  in  love  with  a 
dream,  and  bubbling  with  enthusiasm  over  her  efforts  to 
"serve  Miss  Norma  in  the  only  way  she  knew."  The 
sincerity  of  her  devotion  was  marvelous,  but  I  wondered 
how  and  when  her  disillusionment  would  come.  Such 
dreams  haunted  her !  They  could  not  possibly  come 
true.  Would  she  even  so  much  as  meet  her  idol,  I 
wondered  at  the  time. 

In  two  years  many  things  are  forgotten.  I  am  now 
in  Hollywood,  and  one  day  while  lunching  at  the  Mont- 
martre,  my  eye  turned  from  admiration  of  Norma  Tal- 
madge's  smart  chapeau  to  surprised  recognition  of  the 
complacent  young  person  opposite  her.  It  was  Con- 
stance Riquer — yet  how  could  it  be  the  same  girl  whose 
eyes  had  filled  with  emotion  at  the  bare  mention  of 
Norma  Talmadge's  name,  and  who  had  clapped  her 
hands  over  her  mouth  to  restrain  her  excitement  when 
speaking  of  Hollywood,  which  she  hoped  some  day  to 
see. 

"Come  over  to  the  studio  and  I'll  tell  you  all  about 
it,"  she  invited. 

"The  studio."    So  casually,  just  like  that. 

"Yes,  isn't  it  glorious  ?  I  walked  right  onto  the  United 
Artists  lot  the  day  after  my  breathless  arrival  in  Holly- 
wood, and  I  never  walked  off!  Sounds  Cinderellaish, 
doesn't  it?  But  the  truth  of  the  matter  is,  they  just 
couldn't  get  rid  of  me!" 


DoFanD 


reams 


Constance  Riquer  went  to  Hollywood 
madge,  and  found  it  very  easy  to  be 
bitter.    But  read  this  story  and  find  out 


B?  L 


aura 


Ell« 


"But  you've  changed,"  I  exclaimed,  after  Norma  had 
motored  off  to  an  appointment,  and  Miss  Riquer  and  I 
were  ensconced  in  an  office.  "You  were  so  thrilled,  so 
dreaming  and  gushing,  and  now  that  you  are  here  you 
seem  very  calm  about  it  all.  Have  you  been  disillu- 
sioned in  your  ideal  and  in  the  profession?" 

"Disillusioned?  Not  at  all.  None  of  my  frantic 
dreams  came  true,  of  course.  But  it  is  not  necessary 
for  dreams  and  ambitions  to  be  realized.  Instead  of 
that,  very  frequently  they  change.  Just  at  first,  there 
was  the  thrill  of  stepping  from  the  train  in  Hollywood 
— Hollywood ! — the  dazzling  novelty  of  it  all,  the  thrill 
of  seeing  studio  walls  and  catching  glimpses  of  stars 
Rolls-Roycing  around  corners !  But  now  I  realize  how 
ridiculous  my  fan  attitude  was,  how  petty  were  my 
small  ambitions.  For  years  I  had  adored  Norma  Tal- 
madge madly.  She  will  never  know  what  her  influence 
meant  in  those  years  of — dare  I  say  'adolescence,'  with- 
out your  thinking  I  am  trying  to  pose  as  being  very 
grown  up  now?  But  a  year  in  Hollywood  does  change 
one's  perspective  a  great  deal !  Just  think,  after  a  life- 
time of  nearly  worshiping  Norma  Talmadge,  after  long- 
ing and  praying  all  those  years  to  meet  her — even  just 
to  sec  her ! — I  reached  Hollywood,  one  day  after  she  had 
left  for  a  trip  abroad. 


29 


Come  True? 


in  order  to  meet  Norma  Tal- 
dramatically  disillusioned  and 
how  her  dreams  did  come  true. 

\\torth  Fitch 


"It  was  a  tragedy — then.  Now  I  realize 
what  a  blessing  the  situation  was,  for  a  trust- 
ing fan's  first  month  in  Hollywood,  in  an  ac- 
tive studio,  is  not  conducive  to  rationality  of 
conduct  or  tranquillity  of  outlook.  To  some, 
the  experience  must  be  dreadfully  disillusion- 
ing, but  I  was  too  interested  in  basic  facts — 
too  intrigued  by  the  colorful,  truthful  pa- 
rade. 

"You  see,  my  ambition  is  to  be  a  press 
agent,  so  perhaps  at  heart  I  really  loved  the 
lessons  I  learned.  It  isn't  the  fans  do  not 
know  in  advance  that  movie  castles  are  backed 
by  wooden  props,  that  there  is  a  publicity  ■ 
department  in  every  studio,  and  that  the 
stars  receive  such  quantities  of  fan  mail  that 
if  they  read  it  all,  they  would  have  no  time 
left  in  which  to  face  a  camera.  I  knew  these 
things,  but  you'd  be  surprised  how  jarring  it 
can  be  to  encounter  the  genuine  thing,  to 
learn  in  reality  what  you  have  steeled  your- 
self against  in  theory! 

It  was  different  to  see  A"  unusual  picture  of 
the  bags  full  of  mail  Miss  Talmadge  on  the 
delivered  to  the  stu-     sands  near  her  beach  home 


Norma  Talmadge  dislikes  diffusion,  be- 
cause she  receives  so  much  of  it  insin- 
cerely,   and   is   bored   by  emotional 
demonstration. 

dio,  and  watch  it  being  sorted  by  dis- 
interested workers,  often  running 
across  trusting  letters  from  familiar 
fans  in  the  daily  collection  of  Nor- 
ma's  mail.  But  to  me,  at  first,  the 
awakening  was  only  fascinating. 
The  pain  was  far  surpassed  by  the 
thrill  of  contact  with  things  pertain- 
ing to  Miss  Talmadge. 

"That  first  day  at  the  studio,  gazing  emo- 
tionally at  the  spot  which  my  guide  pointed 
out  as  the  scene  of  her  latest  dramatic  epi- 
sode— the  thrill  of  going  through  her  bun- 
galow, sitting  in  her  chair,  peeking  into  her 
clothes  closet — you  can't  imagine  how  won- 
derful it  all  seemed !  That  is  why  I  say  it 
is  best  not  to  have  met  her  during  those  first 
months  of  excitement  and  adjustment. 
There  would  have  been  a  scene.  Emotion 
and  embarrassment  on  my  part,  with  im- 
patient tolerance,  no  doubt,  on  hers.  But 
at  the  time  I  could  not  realize  this.  The 
dreadful  shock  of  disappointment  was  fol- 
lowed by  weeks  of  longing,  during  which 
my  name  was  placed  on  the  studio  pay  roll 
and  the  return  half  of  my  round-trip  ticket 
stored  away  in  a  trunk  with  various  other 
souvenirs.  Then — her  return  from  abroad, 
and  those  days  of  nervous  tension  passed  in 
the  fear  that  she  might  walk  into  the  office 
any  minute.  I  need  not  have  worried  so 
Continued  on  page  110 


30 


f/he  3 


A  location  trip  to  Honolulu  is  one  of  the 
delights  o£  Dorothy  Mackaill's  new  picture. 

THERE  really  ought  to  be  a  closed  season 
on  newcomers  in  films,"  Fanny  the  Fan 
announced,  with  that  air  of  importance 
that  always  characterizes  her  most  idiotic  sug- 
gestions.   "They're  coming  so  fast  that  if  you 
try  to  keep  up  with  all  of  them  you  quite  ig- 
nore the  old  favorites.    And  you  just 
have  a  chance  to  make  a  one-picture  ac- 
quaintance with   some   personality  that 
looks  interesting  enough  to  make  you  a 
regular  attendant  at  her  films,  when  along 
come  a  lot  of  tales  about  some  newcomer 
who  wouldn't  be  missed. 

"Here  we  are  just  getting  used  to  the 
idea  that  Lupe  Velez  is  the  great  dis- 
covery of  the  age,  when  along  comes 
Raquel  Torres.    And  coming  soon  are 
Mary  Duncan,  Lily  Damita,  Ruth  Chat- 
terton,  and  Eva  von  Berne." 
1  Oh,  well,  luckily  for  us,  and  unluckily 
for  the  theater  owners,  we  aren't  all  en- 
dowed with  the  avid  curiosity  that  makes 
Fanny  feel  that  she  must  see  every- 
thing in  pictures.   We  can  just  stand 
by  and  take  her  word  for  it  when 
something  really  good  hits  the  screen. 
Though  I  wouldn't  wait  for  any  one 
to    recommend    "White  Shadows" 
and  Raquel  Torres. 

"Isn't  it  amazing  to  find  out  how 
great  an  influence  a  girl  can  become, 
just  by  a  one-picture  success?" 

If  Raquel  Torres  and  her  unas- 
suming, sensitive  charm  had  a  sweep- 
ing effect  on  all  the  pert  young  things 
in  America,  as  well  as  those  on  the 
screen,  it  would  be  all  right  with  me, 
but  Fanny  probably  wasn't  thinking 
of  anything  so  drastic.    She  wasn't. 

"Sid  Grauman  ought  to  thank  her. 
She's  ennobled  the  job  of  usherette, 
and  sent  a  lot  of  film-struck  girls 
over  to  his  theater  with  the  idea  that 


ushering  there  is  getting  one  step  across  the  threshold  to  fame.  Just 
a  year  ago  she  was  saying  'This  way,  please,'  to  the  customers  at 
his  Chinese  Theater  here  in  Hollywood,  and  now  her  name  is  across 
the  theater  in  lights,  and  audiences  are  raving  about  her. 

"Furthermore  she  is  responsible  for  a  new  fashion  in  beach 
clothes.  There  was  a  crying  need  for  something  new  to  put  on  after 
shedding  a  wet  bathing  suit.  Deauville  pajamas  may  be  all  right  in 
Deauville,  but  not  out  here  where  every  one  is  trying  to  get  tanned 
a  deep  mahogany  shade." 

"Do  you  suppose  you'll  ever  get  around  to  tell  us  what  the  new 
fashion  is?" 

"Seems  as  though  any  one  could  guess.    It's  tapa  cloths.  You 
just  take  one  of  those  wide  scarfs  and  start  winding  it  around  your 
chest,  wind  it  down  around  your  hips  and  when  you  come  to  the 
end,  tuck  it  under  the  last  fold  and  you  have  a  perfectly  good  South 
Sea  Island  dress.   Of  course,  it  requires  a  skilled  acrobat  to  sit  down 
and  get  up  in  one  of  those  things,  without  shed- 
ding it.    Patsy  Ruth  Miller  wears  one  with  great 
success.    She  looks  stunning  in  it. 

"Maybe  she  got  the  idea  from  the  picture  she 
is  making,  and  not  from  Raquel  Torres  at  all. 
It's  a  South  Sea  Island  story,  with  pearl  divers, 
beach  combers,  and  all  the  rest  of  the  expected 
props.    Elmer  Clifton  made  some  of  the 
scenes  for  it  a  couple  of  years  ago,  on  his 
trip  around  the  world." 

"I  suppose  we're  in  for  a  lot  of  South 
1        Sea  Island  pictures,  now  that  'White  Shad- 
ows' is  such  a  success,"  I  suggested. 

"Haven't  heard  of  many,"  Fanny  ad- 
mitted, "but  that  may  mean  just  a  slight  de- 
lay. Most  of  the  companies  are  busy  catch- 
ing up  with  the  parade  of  pictures  laid  in 
Singapore.  Since  'Across  to  Singapore,' 
'Singapore  Sal'  and  'Singapore  Mutiny' 
have  been  started.  However,  there  is  one 
big  South  Sea  Island  picture  promised. 
George  Fitzmaurice  is  going  to  Honolulu 
to  film  'The  Changelings,'  with  Dorothy 
Mackaill  in  the  leading  role. 

"And  what  do  you  suppose  the  story  of 
'The  Changelings'  is?  None  other  than  an 
old  friend  of  the  Triangle  days,  the  title  of 
which  I  don't  recall,  but  I  do  remember 
Seena  Owen's  wonderful  acting  as  the  star. 
And  that  reminds  me,  we're  in  for  a  big 
season  of  revivals.  I'd  rather  see  an  old 
story  that  I  love  than  a  new  one  that  is 
not  so  good. 

_  "Vilma  Banky  is  going  to  star  in  a  re- 
vival of  'Romance.'  Doris  Keane  made  it 
years  ago,  but  she  wasn't  as  good  on  the 
screen  as  she  was  on  the  stage.  Vilma 
ought  to  be  exquisite — and  she  has  the 
great  advantage  of  having  Al  Santell  direct 
her.  Another  revival  that  is  coming  is  'The 
Admirable  Crichton.'  De- 

^"£iche?  .„  .  ,  Mille  made  it  with 
Ruth  Taylor  will  play      „,  ,     .  ,  , 

a  chorus  girl  in  "The  Thomas  Meighan  and 
Canary  Murder  Case."     Gloria  Swanson  and  called 


31 


vacups 

Fanny  the  Fan  tells  of  the  influx 
of  new  favorites  and .  film  revivals, 
of  Hollywood's  biggest  party,  and 
a  blow  to  studio  visitors. 


it  'Male  and  Female.'  Now  it  is  to  be  called 
'Conquest,'  and  Richard  Dix  and  Florence  Vi- 
dor  are  going  to  play  the  leading  roles. 

"But  going  back  to  Dorothy  Mackaill,  there"s 
an  auld-lang-syne  touch  about  this  production 
that  shouldn't  be  overlooked.  Rod  La  Rocque 
is  her  leading  man,  and  while  that  may  mean 
nothing  to  you,  it  brings  back  a  lot  of  mem- 
ories to  them.  Dorothy  and  Rod  knew  each 
other  years  ago.  She  was  a  chorus  girl — in 
'Good  Morning,  Judge,'  I  think  it  was — and  she 
had  been  forbidden  to  work  in  pictures,  because 
the  company  manager  didn't  like  his  chorines 
showing  up  at  the  theater  all  tired  out  from  a 
day's  work.'  Nevertheless,  Dorothy  went  right 
on  working  in  pictures.  Just  try  to  keep  her 
from  doing  anything  she  wants  to.  One  day 
they  worked  way  down  on 
Long  Island,  and  didn't  get 
through  until  late,  and  Dor- 
othy was  panicky  for  fear 
she  couldn't  get  to  the  thea- 
ter on  time.  Rod  noticed 
how  worried  she  was  and 
grandly  summoned  a  taxi. 
Taxi  fare  in  those  days  was 
more  of  an  extravagance  for 
him  than  the  upkeep 
of  a  fleet  of  Rolls- 
Royces  is  now,  but 
Rod  was  never  one 
for  penny  pinching 
when  a  friend  was  in 
need.  He  rushed  her 
over  to  the  theater — 
even  stopped  to  blow 
her  to  a  hot  dog  on 
the  way — and  got  her 
there  in  plenty  of 
time.  Dorothy  will 
always  be  grate- 
ful to  him. 

"Of  course,  it 
may    not  have 
been    worth  the 
sacrifice  of  all  his 
spare  cash  to  save 
Dorothy's  job  for 
her,  because  she 
left  the   show  a 
few    days  later, 
anyway.    She  was 
making   good  in 
pictures,  and  wanted  to  de- 
vote all  her  time  to  them. 
.Incidentally,  when  she  left 
the   show,   her   place  was 
taken  by   Josephine  Dunn, 
who  is  also  in  pictures  now 
and  doing  very  well.  She  has 


Photo  by  Hommel 

To  Evelyn  Brent  falls  the  honor  of  playing  the  lead  in  Somerset 
Maugham's  "The  Letter." 

just  finished  'The  Singing  Fool,'  with  Al  Jolson,  and  'Excess 
Baggage,'  with  William  Haines.  She  is  to  play  opposite  Tim 
McCoy  next." 

It  seemed  to  me  something  of  a  record  that  Fanny  could 
talk  that  long  without  once  mentioning  sound  pictures.    I  was 
just  wondering  how  to  keep  her  off  the  subject — it  is  such  a 
relief  to  hear  some  one  talk  about  something  else — when  she  launched 
forth  excitedly. 

"Have  you  heard  that  Harold  Lloyd  is  having  the  theater  in  his 
house  wired  for  sound  pictures?  He's  the  very  first  to  do  it.  It 
must  have  taken  a  lot  of  influence,  because  the  electric  companies 
that  are  wiring  theaters  have  orders  so  far  ahead  that  they  can't 
promise  installations  in  less  than  two  years." 

One  feature  of  sound  pictures  that  hasn't  apparently  occurred-  to 
any  one,  including  Fanny,  is  that  they  have  brought  about  a  millen- 
nium in  their  own  little  way.  At  last  directors  are  making  pictures 
for  the  few,  instead  of  for  the  many.  But  don't  be  too  encouraged, 
it  doesn't  mean  that  they  have  gone  artistic.  It  merely  means  that 
they  are  concentrating  on  making  pictures  for  the  thousand  theaters 
that  will  be  wired  by  next  January,  instead  of  the  sixteen  thousand 
that  will  still  be  silent-screened.  Of  course,  there  will  be  silent 
versions  of  the  same  pictures  for  the  old-fashioned  houses,  but 
calling  these  pictures  hybrids  is  flattery  of  the  highest  order.  AU 
the  enthusiasm  and  experimenting  goes  into  developing  the  new 
medium. 

"What  I  mind  most  about  the  sound  pictures,"  Fanny  rambled 
on,  "is  the  epidemic  of  feeble  jokes  that  they  have 
Laura  La  inspired.  Of  course,  it  was  inevitable  that  the 
Plante  is  deep  taikies  would  be  called  the  'squawkies,'  particularly 
t  i  o'ns6  P  Yo  r  ^  Vitaphone  process  is  the  only  one  you  have 
"Show  Boat."    heard.    Then  there  is  the  one  about  the  supervisor 


32 


Over  the  Teacups 


r 


Photo  by  Ball 

Dorothy  Revier  has  been  borrowed  from  Columbia  for 
Douglas  Fairbanks'  "The  Iron  Mask." 


who  ordered  a  retake  of  a  scene  be- 
cause he  couldn't  hear  the  'k'  in  'swim- 
ming.' And  naturally,  when  it  was 
announced  that  Rin-Tin-Tin  was  to 
star  in  a  sound  picture,  everybody  said 
it  was  a  pity  Warner's  hadn't  bought 
the  screen  rights  to  'The  Barker.' 

"There  are  bound  to  be  a  lot  of  sur- 
prises and  reversals  of  public  opinion, 
when  players  are  judged  by  their 
voices  as  well  as  their  appearance.  So 
far,  the  big  sensation  of  the  talking 
films  is  Gladys  Brockwell.  She  is  re- 
gaining some  of  the  glory  she  knew 
as  a  Fox  star  years  ago.  And,  of  all 
the  tests  made  at  Paramount  the  best 
one  so  far  is  Chester  Conklin's.  His 
voice  is  said  to  record  marvelously. 
They  are  also  tremendously  enthusi- 
astic about  Nancy  Carroll.  She  was 
very  good  on  the  stage,  you  know,  be- 
fore she  went  into  pictures.  Speak- 
ing of  Nancy  Carroll,  I'll  never  be  quite  satisfied  until 
she  puts  her  little  daughter  in  pictures.  She  is  a  minia- 
ture edition  of  Nancy — and  one  of  those  youngsters 
who  is  awfully  fresh  and  smart  without  being  offensive. 

"I  expect  Evelyn  Brent  to  be  marvelous  in  talking 


Photo  by  Freulich 


films.  The  volume  of  the  voice  doesn't  matter,  you 
know;  just  the  quality.  And  Evelyn's  voice  has  a 
lovely,  soft,  musical  tone. 

"Evelyn  is  working  so  hard  that  she  hardly  ever 
has  a  chance  to  go  down  to  her  beach  house,  but  she 
can't  complain,  because  she  is  getting  awfully  good 
stories.  She  has  just  finished  'Interference,'  and  now 
she  is  going  to  do  Somerset  Maugham's  'The  Letter.'  If 
Evelyn  were  a  newcomer  in  films,  we  would  probably 
be  throwing  superlatives  in  the  air,  but  just  because 
she  has  always  been  good  and  keeps  right  on  getting 
better,  she  doesn't  get  half  the  attention  she  deserves. 
With  the  right  vehicles,  I  think  Evelyn  would  be  one 
of  the  four  or  five  dominant  personalities  on  the 
screen,  and  even  if  she  gets  only  second-rate  stories  she 
is  bound  to  be  a  great  favorite." 

Surely  no  one  could  put  up  an  argument  about  any 
prophecy  as  obvious  as  that. 

"Have  you  seen  Leatrice?"  Of  course,  I  supposed 
she  had,  because  even  with  half  of  the  girls  in  Holly- 
wood going  on  the  stage,  Fanny  wouldn't  miss  the 
first  night  of  an  old  favorite  like  Leatrice  Joy,  in  a 
favorite  old  play  like  "Clarence." 

"Yes,"  she  said  hesitantly,  "and  I  am  going  to  see 
her  again.  She  was  charming,  but  she  was  so  nervous 
her  voice  wasn't  at  its  best  the  first  night.  I  suffered 
agonies  for  her,  she  seemed  to  be  so  panic-stricken 
when  she  came  out  on  the  stage.  She  should  have 
felt  perfectly  at  home.  The  theater  was  packed  with 
friends  for  whom  she  has  often  recited,  without  a 
trace  of  nervousness. 

"Pauline  Frederick  is  going  to  do  a  talking  picture 
for  Warner's,  and  if  that  doesn't  give  you  a  tremen- 
dous thrill,  you  must  have  amnesia,  or  a  heart  of  stone. 
Fond  as  I  am  of  some  of  the  newcomers,  I'd  trade 
them  all  in  and  throw  in  a  few  established  stars  for 
good  measure  just  to  have  Polly  back  on  the  screen. 
If  the  companies  keep  on  signing  experienced  stage 
stars  for  talkies,  this  won't  be  such  a  golden  year  for 
vocal  teachers  in  California  after  all.  A  few  girls  are 
contributing  generously  to  their  support,  though. 

"What  few  shekels  Jane 
Winton  had  left  after  her  trip 
to  Europe  are  rapidly  going 
to  elocution  experts. 
Jane  had  an  idea 
that  when  she  came 
home  she  would 
have  to  spend  a  few 
weeks  job  hunting 
and  showing  off  her 
Paris  clothes,  but  in- 
stead of  that  she  got 
rushed  right  into  a 
talking  picture.  And 
was  she  nervous  ? 
She  longed  to  have 
a  crying  scene  in  her 
first  day's  work. 

"Edna  Murphy  is 
now  a  veteran  of  the 
sound  films.  She's 
been  put  under  con- 
tract at  Warner's. 
But  her  most  star- 
tling scene  in  'My 
Man'  will  never  be 
seen  on  the  screen.  Fanny  Brice  was  supposed  to  slap 
her,  and  it  was  one  of  those  jinx  scenes  in  which  some- 
thing always  went  wrong.  They  made  it  over  and  over 
and  finally  Miss  Brice  hit  her  so  hard  she  was  knocked 
out.    Edna  staggered  to  the  floor  quite  unconscious, 


Jane  Winton  began  work  immediately  on  her  return 
from  Europe. 


Over  the  Teacups 


33 


and  work  had  to  be  called  off  for  the  rest  of  the 
day. 

"Ruth  Taylor  will  burst  into  speech  for  the  first 
time  in  'The  Canary  Murder  Case,'  and  she  is  more 
terrified  than  she  was  when  she  was  chosen  for  Lorelei, 
and  emerged  from  obscurity  overnight.  Laura  La 
Plante  is  so  busy  getting-  ready  for  'Show  Boat'  that 
she  has  simply  dropped  out  of  sight.  But  Laura 
shouldn't  worry.  She  had  an  offer  to  go  on  the  stage 
two  years  ago,  so  her  voice  must  be  all  right. 

"Practically  the  only  stars  who  haven't  announced 
talking  pictures  are  Mary  Pickford  and  Douglas  Fair- 
banks, and  probably  they  will  catch  the  fever  before 
they  get  well  under  way  with  their  new  productions. 
And  that  reminds  me,  I  suppose  you  have  heard  that 
Fairbanks  has  borrowed  Dorothy  Revier  from  Co- 
lumbia for  the  wicked-siren  role  of  his  new  picture. 
Dorothy  has  been  working  night  and  day  to  finish  a 
picture  at  Columbia  in  time  to  start  with  him. 

"Working  nights  is  only  to  -be  expected  of  girls 
who  are  working  in  sound  pictures.  Atmospheric  con- 
ditions are  supposed  to  be  better  then  for  recording." 

Fanny  had  been  talking  so  intently  that  she  hadn't 
even  noticed  the  mob  of  tourists  who  were  crowding 
in  at  the  door  of  Montmartre,  demanding  to  -know 
if  there  were  any  stars  there,  before  they  committed 
themselves  to  being  paying  guests. 

"Poor  darlings,"  Fanny  remarked  patronizingly, 
when  at  length  she  did  notice  them,  "their  chances  of 
seeing  film  stars  in  person  are  getting  more  remote 
every  day.  It  used  to  be  hard  enough  to  get  in  a 
studio  to  visit,  but  now  it  is  practically  impossible. 
The  sound-recording  apparatus  is  so  sensitive  that 
simply  no  one  who  isn't  actually  engaged  in  making 
the  picture  is  allowed  around  nowadays. 

"But  at  least  the  tourists  who  were  here  last  week 
saw  one  mammoth  party  that  they  will  never  forget. 
The  Wasps — otherwise  the  Women's  Association  of 
Screen  Publicists — gave  a  tre- 
mendous party  at  the  LJnited 
Artists  studio,  and  over  a  thou- 
sand people  came.  It 
was  a  bridge  party, 
fashion  show,  and  re- 
ception, to  raise  funds 
for  the  Crippled  Chil- 
dren's Fund,  and 
practically^  every 
young  girl  in  pictures 
acted  as  hostess  at 
one  of  the  bridge 
tables.  Such  an  out- 
burst of  organdie-and- 
lace  creations  you 
never  have  seen.  Sally 
Blane  succeeded  in 
looking  distinctive,  by 
coming  right  from  the 
studio  in  riding  habit 
and  make-up.  The 
affair  was  so  huge, 
that  it  was  something 
of  a  blow  to  the  visi- 
tors who  had  expected 

to  spend  a  quiet  afternoon  confiding  to  Mary  Pickford 
that  she  was  their  favorite  star,  but,  after  all,  it  did 
give  them  a  chance  to  get  at  least  a  fleeting  glimpse  of 
dozens  of  players. 

"One  woman  there — who,  alas,  is  unknown  to  me — 
will  always  be  my  ideal.  One  of  the  press  agents  had 
been  piloting  Esther  Ralston  and  Eva  von  Berne  around 
all  afternoon,  introducing  them  at  the  various  tables. 


Photo  by  Spun- 


Edna  Murphy's  most  dramatic  scene  in  "My  Man 
will  not  appear  on  the  screen. 


Talking  pictures  are  bringing  Gladys  Brockwell 
back  to  eminence. 


The  second  time  she  paused  by  my 
heroine's  table  and  started  introduc- 
ing them,  the  lady  remarked  wearily, 
'Yes,  we're  all  thoroughly  impressed 
now  by  who  they  are;  possibly  they 
would  like  to  know  who  we  are.' 
And  thereupon  she  introduced  Mrs. 
Smith,  Mrs.  Jones,  and  Mrs.  Doakes, 
or  whoever  they  were. 

"I'll  probably  never  find  out  who 
she  was,  but  there  will  be  moments 
at  every  Hollywood  party  when  I 
am  going  to  wish  that  she  was  with 
me. 

With  a  sudden  and  characteristic 
change  of  subject  Fanny  said,  "It's 
months  since  I've  seen  or  heard  of 
Anna  Q.  Nilsson — not  since  she  met 
with  an  accident  while  horseback  rid- 
ing, though  I've  been  told  she  is  al- 
most completely  recovered.  But  I 
don't  imagine  her  convalescence  has 
been  helped  by  having  two  splendid  roles  given  to  an- 
other star  after  she  had  expected  to  play  them."  Fanny 
looked  mysterious. 

"No,  I  won't  tell  you  what  parts  they  were,  because 
one  just  couldn't  help  making  comparisons,  and  that 
wouldn't  be  quite  fair. 

Fanny  steadfastly  refused  to  divulge  any  of  this  secret 
information,  and  thereby  broke  a  record. 


34 


Little  Sister  to  Lucrezia  Borgia 

Kathleen  Key,  the  first  Movietone  player  to  visit  New  York,  shares 
a  new  addition  to  her  public,  and  tells  about  talking  pictures. 

Malcolm  H.  Oettinger 

AS  the  First  Lady  of  the  Movietone,  Kathleen  Key  joyed  looking  at  her  for  an  hour,  without  let  or  hin- 

was  bound  to  be  interesting.    Even  if  Movietone  drance. 

had  never  been  invented,  Kathleen  would  still  be  The  Key  eyes  are  large  and  melting,  the  Key  nose 

interesting.    But  that  point  will  be  reached  with  proper  pointed  and  sensitive,  the  Key  lips  artfully  curved  and 

regard  for  coherent  climax.                                        ^  prettily  tinted.    Here  is  a  subject  for  the  spectacular 

In  Hollywood  she  was  a  hit  in  "The  Family  Picnic"  Mr.  Zuloaga,  in  one  of  his  most  riotously  colorful 

on  the  same  program  with  her  fellow  countryman,  Mr.  moods.     Here  is  a  black-haired,  brown-eyed  beauty, 

Bernard  Shaw — such  a  hit,  indeed,  that  the  astute  Mr.  lush,  dominant,  intriguing.     A  Ziegfeld  graduate  at 

Fox  shipped  her  East  to  make  a  personal  appearance  Sforza  Castella.    Circe's  daughter  at  the  age  of  twenty. 


with  the  picture  when  it 
opened  on  Broadway. 

Thus  she  was  in  New 
York,  and  not  unhappy  at  the 
thought.  There  were  the  lions 
at  the  Public  Library  to  be 
fed,  trolling  at  the  Aquarium, 
and  seeing  Grant's  Tomb 
again.  Good  old  Grant!  It 
had  been  years,  it  seems,  since 
Manhattan  had  swum  into  her 
ken,  and  her  ken  enjoyed 
nothing  better. 

Miss  Key,  who  is  one  of 
the  six  most  pictorial  bru- 
nettes in  Hollywood — or  out, 
for  that  matter — received  me 
calmly,  but  cordially,  in  her 
suite  at  one  of  the  unostenta- 
tiously elegant  apartment  ho- 
tels abutting  Central  Park. 

"The  last  time  I  was  in 
this  great  metropolis,"  she 
said,  "I  was  on  my  way  home 
from  a  two-year  party  with 
'Ben-Hur.'  Surely  you,  as  an 
expert,  will  remember  that 
'Ben-Hur'  was  a  picture  with 
a  chariot  race,  a  galley  scene, 
and  a  few  thousand  actors 
who  were  eventually  discov- 
ered on  the  cutting-room 
floor.  But  it  was  a  swell  trip. 
You  see,  I  went  for  the  ride." 
She  paused  to  light  a  cig- 
arette. "Artistically  speaking, 
I  had  to  walk  back.  My  part 
was  a  shadow  in  the  final  film- 
ing." 

The  Key  beauty  is  of  high 
sex-voltage,  reminding  one  of 
a  youthful  fusion  of  Alma 
Rubens  and  Evelyn  Brent.  As 
a  result,  producers  have  seen 
fit  consistently  to  deploy  her 
for  ingenues.  If  these  for- 
ward-looking gentlemen  will 
pardon  my  pointing,  it  will  be 
noted  that  the  Key  talents 
would  gleam  most  successfully 
in  a  torrid,  sultry  role.  This, 
at  least,  is  the  wide-eyed  sus- 
picion of  one  who  has  en- 


Photo  by  Brown 


Kathleen  Key,  a  black-haired,  brown-eyed  beauty, 
lush,  dominant,  intriguing. 


A  little  sister  to  Lucrezia 
Borgia. 

Whether  she  admits  it  or 
not,  Kate  Key  must  spring 
from  the  bold,  bad  Borgias. 
Her  extravagant,  renaissance 
beauty  is  decidedly  suggestive 
of  the  wicked  Lucrezia,  al- 
though her  sparkling  wit  is  of 
the  variety  most  often  asso- 
ciated with  the  Irish.  Kate  is 
Irish,  she  will  tell  you.  But 
she  is  not  for  Smith.  As  a 
native  daughter  of  California, 
she  is  all  Hoover,  and  mili- 
tant about  it. 

Speaking,  as  we  just  were, 
of  native  daughters,  Mrs. 
Key's  daughter  is  one  of  the 
few  luminaries  in  Hollywood 
who  boasts  a  California  birth. 
Before  she  was  out  of  high 
school  she  was  in  films,  mak- 
ing an  auspicious  debut  in 
"The  Three  Musketeers,"  in 
which  she  played  A  Fright- 
ened Peasant;  and  had  a  de- 
lightful time  in  the  company 
of  the  Messrs.  Fairbanks, 
Niblo,  and  Menjou,  then  just 
climbing  the  ladder. 

Following  extra  bits  in  a 
few  other  productions,  Kate 
did  a  very  artistic  and  equally 
unsuccessful  picture  for  Fer- 
dinand Pinney  Earle.  The 
best  part  of  that  venture,  ac- 
cording to  the  enthusiastic 
Miss  Key,  was  the  leading 
man,  one  Ramon  Novarro. 
The  name  is  familiar  to  most 
readers  of  the  magazines  of 
the  celluloid  spaces.  In  addi- 
tion to  acting,  it  seems  Mr. 
Novarro  played  the  guitar, 
told  funny  stories,  and  sang 
sad  songs. 

"I'd  love  to  be  original," 
said  Kate,  "knowing  how 
you  admire  originality,  but 
New  York  is  so  warm.  It 
melts  one's  best  intentions." 
Continued  on  page  118 


35 


Photo  by  Lansing  Brown 


KATHLEEN  KE"V  has  a  vivid,  ex- 
travagant, renaissance  beauty  that 
is  suggestive  of  the  bold,  bad  Borgias; 
but  her  wit  is  of  the  sparkling,  au- 
dacious variety  distinctly  associated 
with  the  Irish,"  says  Malcolm  H. 
Oettinger,  whose  interview  opposite 
throws  new  light  on  the  timely  sub- 
ject of  a  player's  experiences  with 
talking  pictures. 


SCARCELY  two  years  have  passed  since  Gary  Cooper  first 
strode  upon  the  scene,  and  now  he  is  as  deeply  rooted  in  the 
regard  of  the  fans  as  the  trees  of  his  native  Montana,  nor  will 
the  strongest  blast  of  popularity  sway  his  balance. 


37 


Photo  by  Ernest  A.  Bachrach 


AFTER  her  magnificent  success  as  Sadie  Thompson,  every  fol- 
•  lower  of  the  movies  joins  in  hoping  Gloria  Swanson  will  sur- 
pass herself  under  Von  Stroheim's  direction  in  "The  Swamp," 
which,  whatever  its  final  title,  will  reveal  Gloria  surprisingly. 


38 


Photo  by  Harold  Dean  Carsey 

I  F  you  are  looking  for  Lloyd  Hughes  as  a  great  lover,  or  the 
»  sheik  of  sheiks,  you  may  as  well  give  up.  But  if  you  admire 
him  because  of  his  wholesomeness,  you  can  prepare  to  do  so  until 
the  sands  of  the  desert  grow  cold. 


39 


ALICE  JOYCE,  in  the 
•  serenity  of  her  har- 
monious home,  is  seem- 
ingly oblivious  to  the  call 
of  the  fans  to  return  to 
the  screen.  This,  after 
all  the  pleasure  she  has 
given  them,  is  incredible. 
Picture  Play  herewith 
adds  its  voice  and  begs 
her  not  to  be  domestic, 
but  altruistic. 


Photo  l>y  F.  L.  Roya 


41 


BEING  pretty  and 
pertly  provocative  is 
far  from  Nancy  Carroll's 
only  stock  in  trade,  for 
she  is  a  skillful  and 
piquant  comedienne  as 
well,  and  has  never  given 
an  indifferent  perform- 
ance. Her  Irish  eyes 
will  next  twinkle  as  the 
vis-a-vis  of  Richard  Ar- 
len,  in  "The  Upstart 
Gentleman." 


Pholo  by  Hendrickson 


TOO  long  Conrad  Nagel  has  been  misjudged  by  those  who 
insist  that  he  play  role's  in  keeping  with  his  exemplary  char- 
acter off  the  screen.  This  is  the  gist  of  Alma  Talley's  story 
opposite,  in  which  the  popular  leading  man  explains  himself. 


43 


Too  Good  to  Be  Romantic 

That's  what  producers  and  the  fans  have  been  thinking  about 
Conrad  Nagel,  but  Conrad  has  some  ideas  on  the  subject 


By  Alma  Talle? 


IT  can't  be  true  that  there's  such  a  thing  as  having 
too  spotless  a  reputation!  That,  despite  what  all 
the  copy-book  maxims  tell  us,  there  might  be  times 
when  it  doesn't  pay  to  be  too  good — when  goodness  is 
a  handicap. 

Look  at  Conrad  Nagel.  Indeed,  he's  very  nice  to 
look  at — Conrad,  of  the  irreproachable  reputation.  In 
fact,  that's  the  trouble,  that  irreproachable  reputation, 
Not,  of  course,  that  he  regrets  his  quiet,  domestic  life, 
and  the  absence  of  any  scandal  in  his  career.  Conrad 
is  not  a  young  man  to  go  around  with  regrets.  A  high 
sense  of  honor  is  inherent  in  him.  He  wouldn't  know 
how  to  go  wrong,  even  if,  by  a  sudden  miracle,  he 
wanted  to.    It  just  isn't  in  him. 

But  virtue,  along  with — no  doubt — its  own  reward, 
has  brought  «him  one  distinct  annoyance.    That  is,  the 
fact  that  .his  private  life  has  been  so  mixed  up 
with  his  career. 

Some  one  once  said  about  Conrad  that  he  went 
to  Christian  Endeavor  meeting  every  Sunday 
night.  Perhaps  he  does,  perhaps  not.  But  the 
fact  that  such  a  story  was  published  about  him 
made  it  as  good  as  true,  so  far  as  the 
public  was  concerned.  It  expressed 
the  popular  conception  of  Mr.  Nagel. 

Well,  that's  all  right  with  Conrad. 
That's  okay  with  him,  as  they  say  on 
Broadway.  But  it  isn't  all  right  that 
the  public  should  label  him  as  that 
type  for  screen  purposes,  that  they 
should  consider  his  screen  personality 
"too  good  to  be  romantic." 

"What  is  an  actor  anyway?"  he  de- 
manded. "Isn't  an  actor  a  man  who 
can  adjust  his  stage  or  screen  per- 
sonality to  the  demands  of  a  role? 
Who,  in  other  words,  can  bury  him- 
self entirely  and  become,  temporarily, 
an  altogether  different  kind  of  per- 
son? 

"Well,  all  these  years  I've  tried  to 
be  an  actor.  I've  played  every  type, 
of  role  in  the  whole  category.  Yet 
the  public  persists  in  cataloguing  me 
as  a  definite  type,  as  the  kind  of  man 
they  imagine  I  am  in  real  life.  What 
have  I  got  to  do — go  out  and  stir  up 
some  sort  of  scandal?" 

This  outburst  was  occasioned  by 
my  comment  that  suddenly,  after 
some  years,  Metro-Goldwyn  thought 
Conrad  romantic  enough  to  play  op- 
posite Greta  Garbo  in  "The  Mysterious  Lady." 

Conrad  has  been  under  contract  to  the  Gold- 
wyn  half  of  Metro-Goldwyn  since  the  days  be- 
fore all  the  big  companies  ran  around  asking 
other  big  companies  to  merge  with  them.  He 
has  played  all  kinds  of  roles,  but  the  illusion  has 
.persisted  that  he  was  the  type  for  the  noble  hero 
oh — such  a  noble  hero. 


After  Conrad's  famous  and  heroic  defense  of  the 
actors,  last  year,  in  the  general  Hollywood  melee  over 
cutting  salaries,  Metro-Goldwyn  became  annoyed  with 
him.  They  had  him  under  contract,  but  they  lent  him*  to 
Warner  Brothers  most  of  the  time. 

He  played  in  one  Warner  picture  after  another  and 
then,  perhaps  because  he  had  a  good  Vitaphone  voice, 
trained  for  the  stage,  he  was  cast  opposite  Dolores  Cos- 
tello,  in  "Tenderloin,"  and  then  in  "Glorious  Betsy." 

Then  it  was  that  the  Metro-Goldwyn  executives  woke 
up  to  Conrad's  possibilities.  They  saw  him  in  'Glori- 
ous Betsy,"  in  which  he  achieved  a  personal  success. 
"Why,"  they  marveled,  "what  a  romantic  screen-lover 
he  is !"  It  was  like  the  sudden  discovery  that  a  piece  of 
furniture  that  has  been  in  the  family  for  years,  and 
relegated  to  the  barn,  is  really  very  valuable. 

Metro-Goldwyn  suddenly  realized  that  this 
young  man,  whom  they  had  been  lending  so 
willingly  to  other  companies,  was  really  quite 
an  asset  to  their  roster  of  romantic  heroes. 

So,  promptly  after  the  release  of  "Glorious 
Betsy,"  Conrad  was  recalled  to  the  home  lot, 
and  was  given  the  prize  roman- 
tic role,  opposite  Greta  Garbo. 

In  his  European  military  cos- 
tume, with  the  high  collar  so  fre- 
quently inflicted  on  John  Gilbert, 
and  with  lots  of  gold  braid,  I 
must  say  that  Conrad  looked 
very  handsome  indeed.  There 
seemed  to  be  no<  reason  at  all 
why  Greta,  on  the  screen, 
shouldn't  fall  heavily  in  love 
with  him. 

I  congratulated  Conrad  on  the 
fact  that  at  last  he  had  been 
found  out.  Here,  all  this  time, 
this  romantic  lover  had  been,  so 
far  as  films  were  concerned, 
smothered  under  that  spotless 
reputation  of  his,  and  now  it  had 
come  to  light.  He  could  sigh 
and  look  as  sultry  as  any  Romeo. 

"But  I've  always  played  ro- 
mantic roles,  off  and  on,  all 
during  my  career,"  he  insisted. 
"And  I  don't  see  why  this  to-do  ; 
why  this  sudden  discovery  that 
I  can  make  love  on  the  screen." 

I  distinctly  got  the  impression 
that,  under  his  quiet  exterior,  his 
always  courteous  manner,  Mr. 
a  little  annoyed.    He  very  much 
disliked  his  belated  acceptance  as  a  romantic 
type.    Well,  what  young  man  wouldn't? 

"The  trouble  is,"  he  complained,  "the  public 
persists  in  fitting  you  into  a  type,  in  identify- 
ing you  with  the  kind  of  person  they  imagine 
you  are  in  real  life.    Now,  take  my  case. 
Continued  on  page  116 


"The  no- 
tion has  got 
about  that 
I'm  a  sort 
of  goody- 
goody." — 
Conrad 
Nagel. 


Nagel  was 


44 


Dolores  del  Rio  feels  that  she  is  now  doing  something 
worth  while,  and  that  her  idle  life  in  Mexico  City  is 
a  thing  of  the  past. 


Ik  T  EW  YORK  is  all  agog  once  more.  The  mov- 
I  ^  ing-picture  studios,  which  for  months  past  have 
been  deader  than  the  proverbial  doornail,  are 
quietly  and  speedily  showing  signs  of  life,  and  one 
by  one,  like  the  Arabs,  are  silently  stealing  into  activ- 
ity. Monta  Bell  has  taken  charge  of  the  Paramount 
studio  on  Long  Island.  A  new  sound-stage  has  been 
erected,  and  an  equipment  of  booths,  cameras,  and 
microphones  expertly  installed,  and  daily  tests  of  stage 
stars  are  being  made.  Plans  are  being  made  for  short 
talkies,  with  no  less  personages  than  Florence  Reed, 
Jeanne  Eagles,  Fay  Painter,  and  Helen  Mencken. 
Eddie  Cantor,  spurred  on  by  the  popularity  of  the 
talkies,  appeared  at  the  studio  for  one  of  the  daily 
try-outs.  In  fact,  Astoria  has  been  converted  into 
Broadway  for  the  nonce,  judging  by  the  long  stream  of 
stars  who  motor  weekly,  in  their  high-powered  auto- 
mobiles, to  the  Long  Island  mecca  of  the  talking  films. 

Metro-Goldwyn  has  taken  possession  of  the  old 
Cosmopolitan  studio  in  Harlem,  and  hereafter  will  re- 
cord the  musical  excursions  of  the  Capitol  Theater 
Orchestra,  and  the  intonations  of  Mary  Eaton,  Louise 
Groody,  and  Oscar  Shaw. 

Universal  has  gone  across  the  river  for  the  scene  of 
its  operations.  The  dust  and  cobwebs  have  been  re- 
moved from  the  old  Fort  Lee  studio,  which  is  being 
equipped  with  every  electrical  device  necessary  for  the 
making  of  "the  squawkies." 

Lillian  Gish  Marks  Time. 

Lillian  Gish  continues  to  keep  her  diminutive  person 
in  the  playgrounds  of  Europe,  but  she  has  her  eye  and 


ankaUan 


Latest  gossip  of  the  comings  and 
glimpsed  in  Manhattan,  and  at  the 

her  mind  on  her  work.  We  learn  that  she  is  deep  in 
the  throes  of  working  on  a  scenario,  written  for  her  by 
Hugo  von  Hoffmanstal  and  Max  Reinhardt.  Upon 
Joseph  Schenck's  recent  arrival  in  Europe,  Professor 
Reinhardt,  who  will  direct  Miss  Gish's  next  production, 
gave  a  dinner  party  for  his  future  star,  at  Schloss 
Leopoldskron,  whereafter  the  wizard  of  Leopoldskron 
took  occasion  to  settle  much  of  the  speculation  as  to  the 
future  plans  of  himself  and  Miss  Gish. 

"I  hope  to  be  able  to  start  on  the  screening  of  Miss 
Gish's   picture  in  Hollywood,   in  the   early  part  of 


Photo  by  Boris 

Gilda  Gray  shook  the  dust  of  America  from  her  feet  and 
sailed  away  for  London  town. 


December,"  said  the  Herr  Direktor.  "While  both  Miss 
Gish  and  myself  would  like  to  make  the  picture,  which 
is  as  yet  unnamed,  on  this  side  of  the  Atlantic,  technical 
considerations  make  American  production  preferable. 

"I  am  going  to  produce  this  one  American  film,  to 
see  whether  I  am  competent  to  remain  in  the  motion- 
picture  field.  If  the  experiment  is  reasonably  success- 
ful, I  shall  embark  upon  production  in  Germany,  with 
the  help,  I  hope,  of  my  American  friends  and  collab- 
orators. Mr.  Schenck  and  I  are  in  complete  accord 
as  to  the  necessity  for  international  cooperation  in 
making  pictures  which  should  have  an  international 


45 


d/eV 


r Eileen  StJohn-Brenon 

goings  of  screen  personalities 
rejuvenated   Eastern  studios. 


appeal.  Both  of  us  want  to  place  the  whole  on 
an  artistic  basis. 

"In  my  opinion,  some  system  of  permittin-g 
players  to  talk  on  the  screen,  in  a  manner  that 
will  prove  satisfactory  throughout  the  world, 
will  be  perfected  before  long.  What  it  will  be, 
and  how  similar  to  existing  devices,  I  cannot  say 
at  present,  but  vocal  pictures  are  here  to  stay. 

''I  want  to  emphasize  that  my  present,  and 
possibly  my  future,  film  plans  do  not  in  any 
sense  mean  I  shall  neglect  European  theaters  in 
general,  and  the  Salzburg  festival  in  particular." 

Lya  Becomes  An  Air  Bird. 

Lya  de  Putti  of  the  raven  tresses  is  no  more! 
An  auburn-haired,  slender  being  has  taken  the 
place  of  the  black  locks  and  plump  figure  of  the 
little  vagabond  who,  a  few  seasons  ago,  appeared 
so  seductively  to  tempt  the  sturdy  trapeze-artist 
to  his  downfall. 

"For,"  explains  the  voluble  De  Putti,  ever  out- 
spoken, "I  find  that  red  hair  photographs  better 
than  black" — only  she  calls  it  "bleck" — "and  that 


■HHBaBB 


Photo  by  Bull 


George  K.  Arthur  would  still  be  in  Paris  if  Metro- Goldwyn  hadn't 
packed  him  back  to  Hollywood. 


America  doesn't  like  fat  girls" — only  she  calls  them 
"fet."  "So,  I  not  only  change  my  hair,  but  I  change 
my  figure,  hoping  the  American  people  will  like  me 
better  so." 


Photo  by  Freulich 

Lya  de  Putti  has  forsaken  her  raven  tresses  and  has 
succumbed  to  the  Hollywood  disease  of  "auburnitis." 

Miss  de  Putti  is  frank  to  admit  that  up  to 
the  present  her  particular  brand  of  European 
allure  has  failed  to  make  its  mark.  "Half  my 
fault,"  she  says,  "and  half  the  producers'. 
They  always  wanted  me  to  roll  my  eyes  and 
wear  sequins,  and  I  did  it.  It  is  very  difficult 
to  adjust  oneself  to  the  different  technique  de- 
manded by  American  audiences.  And  while 
I  was  learning  to  adjust  myself,  producers 
began  to  think  I  mightn't  be  what  they  call 
'a  good  bet.'  But  I've  learned,  while  I  am 
here,  to  better  understand  American  audi- 
ences, and  I  know  that  in  my  new  picture, 
'The  Scarlet  Lady,'  I  shall  win  back  much 
of  the  ground  lost  during  these  few  seasons." 

Equally  cheerfully  the  De  Putti  admits  that 
she  may  not  live  to  see  "The  Scarlet  Lady" 
enjoy  Broadway  sojourn.  Lya  has  become  an 
air  bird,  and  during  her  holiday  in  New  York 
she  arose  each  day  at  seven  o'clock  to  take  her 
morning  spin  in  an  airplane,  at  Curtis  Field. 
She  took  lessons,  determined  to  become  an 
expert. 

"I  love  it  better  than  almost  anything — next 
to  my  work.  My  work  comes  first,  because 
you  may  have  a  place  to  sleep,  and  plenty  to 
eat,  and  lots  of  nice  clothes,  but  what  do  they 
you  are  not  happy  in  your  work?  I  know 
that  I,  for  one,  am  perfectly  miserable  without  work. 
I  find  a  joy  and  a  thrill  in  flying  equal  to  nothing.  It 
is  dangerous,  I  know.    Foolish,  too,  perhaps,  but  I  love 


mean  if 


46 


Manhattan  Medley 


John  Loder  now  possesses  a  five-year  contract  with 
Paramount,  after  the  briefest  interview  on  record  with 
Jesse  L.  Lasky. 

it,  and  what  I  love  I  do.  To  say  I  am  not  frightened 
would  be  untrue.  I  am  scared  to  death  every  time 
I  read  of  an  accident.  Fred  Stone's  fall  was  par- 
ticularly frightening  to  me,  but  I  refused  to  let  my 
mind  dwell  on  the  subject  of  accidents.  I  won't  even 
read  about  them.  'My  friends,  however,  probably 
as  a  caution,  insist  upon  making  me  listen  to  all  their 
gloomy  recitals.  All  my  friends  think  I  am  a  little 
bit  crazy  on  the  subject,  but  since  I  am  determined  to 
enjoy  my  seven-o'clock  spin,  I  do  not  heed  their 
words.  And  once  I  am  in  the  air,  I  forget  every 
foreboding,  and  give  myself  up  to  the  intense  delight 
of  its  freedom  and  joy." 

Gilda  Wriggles  Away. 

Gilda  Gray  shook — as  only  Gilda  can  shake— the 
dust  of  America  from  her  feet  and  sailed  away, 
aboard  the  Aquitania,  for  London  town.  There  she 
will  fulfill  fifteen  weeks'  engagement  with  British 
National  Pictures.  The  first  picture  will  be  "Picca- 
dilly," adapted  from  a  story  by  Arnold  Bennett. 

Marianna  Michaeska,  born  on  a  little  farm  in 
Krakow,  Poland,  schoolmate  of  that  little  girl  across 
the  street  in  Wisconsin,  Lenore  Ulric,  having  wig- 
gled her  way  to  success,  no  longer  wishes  to  be 
known  merely  as  a  dancer.  Ambition  is  stirring  in 
that  little  Polish  heart.    She  has  gone  to  England, 


because  of  all  the  offers  she  received  after  her 
return  from  a  year's  tour  throughout  the 
country  with  her  picture,  "The  Devil  Dancer," 
the  English  producer  alone  offered  her  an  op- 
portunity to  heave  and  stamp  and  register 
emotion — not  merely  shake  a  wicked  shoulder. 
A  unique  figure  in  American  entertainment, 
naughty  Marianna — or,  if  you  insist,  Gilda — ■ 
would  pack  her  straw  petticoats  and  her  string 
of  beads  in  a  matchbox  and  embark  upon  a 
histrionic  career,  merely  because — "I  don't 
want  to  do  the  same  thing  all  the  rest  of  my 
life.  I  have  made  a  reputation  for  myself  as 
a  dancer,  and  now  people  think  I  can  do  noth- 
ing but  dance.  As  a  matter  of  fact,  I  began 
by  singing." 

She  used  to  sing  lugubrious  ballads  in  .a 
cabaret,  jbut  it  was  her  ceaseless  struggle 
against  poverty  and  hardship  which  prompted 
her,  untaught  and  unskilled,  to  shake  and 
shiver  her  way  from  "the  sticks"  to  Broadway, 
where  her  natural  gifts,  though  self-developed, 
placed  her  at  the  top  of  her  profession. 

"In  this  British  picture,  which  is  to  have  the 
directorial  genius  of  E.  A.  Dupont,  I  feel  I 
shall  progress  rather  than  just  cash  in  on  my 
past  experience.  Under  his  guidance  I  can 
foster  my  desire  to  become  a  real  actress.  I 
feel  I  can  learn." 

However,  .Miss  Gray's  dancing,  like  Topsy's 
growth,  "just  come  natural."  She  developed 
a  line  to  the  accompaniment  of  ukuleles,  and 
so  perfected  her  famous  wriggle  that,  as  an 
exponent  of  Hawaiian  terpsichore,  she  has 
been  in  demand  both  on  the  stage  and  screen. 


Photo  by  Binder 


Camilla  Horn  is  back  again,  and  with  a  long-term  contract, 
which  Joseph  M.  Schenck  brought  all  the  way  to  Europe 

for  her. 


Manhattan  Medley 


47 


Since  she  is  eager  to  prove  that  it  is  the  coconut,  not  the  little 
Polish  maiden,  which  is  indigenous  to  Hawaii,  the  ukuleles  are 
silent  while  she  ventures  into  fresh  fields  and  pastures  new. 

Meighan  Wins  Out. 

W  hen  Thomas' 'Meighan  donned  a  uniform  and  a  policeman's 
badge,  he  laid  down  the  law :  "  'The  Racket'  must  prove  success- 
ful, or  I  shall  abandon  the  screen  henceforth  and  forevermore, 
amen !" 

Much  to  the  consternation  of  his  many  admirers,  he  had  al- 
ready announced  his  intention  of  making  only  two  productions 
yearly,  and  his  ultimatum  well-nigh  made  them  tremble  with 
apprehension  and  regret.  Meighan,  emerging  from  a  slough  of 
fifth-rate  program  pictures,  was  adamant.  He  was  suffering 
from  one  of  those  doldrums  common  to  all  Irishmen,  no  matter 
how  jaunty  or  combative  their  exterior.  He  had  a  sneaking  sus- 
picion that  maybe,  as  the  saying  goes,  "he  was  through."  What 
matter  if  his  weekly  stipend  did  equal  an  ordinary  man's  yearly 
income?  What  matter  if  his  fan  mail  did  continue  to  be  de- 
livered by  the  trunkload  at  his  Great  Neck  doorstep?  If  his 
pictures  showed  a  tendency  to  call  for  red  ink,  he  was  not  going 
to  foist  his  manly  countenance  on  an  indifferent  world  until,  in 
1975,  they  presented  him  with  a  wheelchair,  a  pair  of  crutches 
and  a  certificate  for  valiant  conduct  in  the  service  of  the  screen. 

But  "The  Racket"  rescued  Meighan  from  the  celluloid  oblivion 
to  which  he  might 
have  consigned 
himself.  It  vindi- 
cated his  two-a- 
year  policy  b)^ 
proving  to  be  his 
most  successful 
picture  since  "The 
Miracle  Man." 
Business  was  so 
strong  at  the  Para- 
mount Theater  in 
New  York,  where 
it  opened  for  a 
week,  that  it  was 
removed  to  the 
Rialto  Theater  for 
an  extended  run. 
Meighan's  face 
beamed  with  pleas- 
ure as  he  viewed 
the  long  lines  of 
standees  awaiting 
their  turn  to  enter 
the  crowded  por- 
tals, and,  all  doubts 
cast  to  the  winds,- 
he  repaired  to  his 
home  in  Great 
Neck  to  spend 
many  months  pre- 
paring another 
photodrama — with 
spoken  words  and 
music,  they  do  say. 

It  was  foresight 
and  careful  plan- 
ning which  aided 
and  abetted  "The 
Racket"  in  its 
march  to  success. 
Here  is  no  slap- 
dash, hurried  han- 


dling-  of  a  movie 


Thomas  Meighan   determined   to    leave   the    screen  if 
"The  Racket"  wasn't  a  success,  whereas  it  is  one  of 
the  hits  of  the  year. 

plot.    Step  by  step 

"The  Racket"  shows  the  result  of  intelligent  and  ful  and  happy  and 
thoughtful  development.    Each  scene  is  clean-cut,  def-     "Could  any  one  ask 


Estelle  Taylor 
is  rehearsing 
with  Jack 
Dempsey,  un- 
der David  Be- 
lasco,  for 
"The  Big 
Fight,"  a  stage 
play. 


inite,  well  balanced,  and  splen- 
didly acted  from  first  to  last  by 
a  band  of  carefully  selected  play- 
ers, and  an  amusing  and  unhack- 
neyed story  is  dominated  by  the 
winning  and  wholesome  person- 
ality of  the  repressed  hero,  Mr. 
Thomas  Meighan. 

Dolores  del  Rio  Reminisces. 

Bag  and  baggage,  with  her 
mother  and  her  director,  Edwin 
Carewe,  Dolores  del  Rio,  she  of 
the  Spanish  eyes  and  dusky  com- 
plexion, parked  her  jewels  and 
her  trousseau  at  the  Ritz  for  a 
few  days,  en  route  for  Paris, 
Constantinople,  Athens,  and  the 
Balkans. 

Miss  del  Rio  is  frankly  de- 
lighted with  life.    "I  am  success- 
loved,"  she  exclaimed  ecstatically, 
for  more  ?         [Continued  on  page  96j 


48 


"Oh,  Daddy,  Buy  Me  One?' 

Don't  be  a  gold-digger — let  Dorothy  Sebastian 
show  you  how  to  make  a  turban  for  yourself. 


In    the    third    step,    left,  the 
material  is  drawn  tightly  across 
the  head   and   crossed  at  the 
back. 


Right,  the  material  is  then 
brought    forward,  crossed 
over  in  front,  shin}'  side  out, 
and  laid  in  folds. 


Left,  the  ends  are  tucked 
in  at  the  back,  and  the  folds 
neatly  arranged.  The  longer 
you  fuss  with  the  folds,  the 
better  the  effect.  A  pin  is 
stuck  in  the  side. 


49 


The  Saga  of  the  Hobo 

Wallace  Beery  will  relive  many  of  his  own  experi- 
ences in  "Beggars  of  Life,"  a  story  of  "the  road." 

By  Myrtle  Gebhart 

IN  the  Texas  twilight,  which  isn't  twilight  at  all,  but 
a  misty,  slate-gray  envelope  of  gloom,  two  kids  sat 
by  a  water  tank,  just  outside  the  town  of  Gains- 
borough, and  jawed.  It  was  odd,  the  uncommon  lot 
of  things  they  found  to  talk  about,  when  there  was  no 
life  stirring  in  all  that  stretch — either  way.  In  the 
fraternizing  of  the  road,  community  of  interest  usually 
ends  with  such  matters  as  food  and  cops. 

But  "Red"  had;  found  the  arrow  on  the  tank — the 
direction  of  a  pal  who  had  preceded  him  West.  "The 
Fox"  had  made  a  pretense  of  combing  the  shock  of 
matted  hair  above  his  rough-hewn,  big-boned  face. 
Wearied  by  such  effort,  they  had  appraised  each  other 
and  decided  upon  confidence — guardedly. 

"They're  gettin'  horstile  down  here,"  Red  observed. 
"Never  saw  them  Dallas  dicks  stir  their  dogs  so  much 
before."  His  chuckle  carried  a  note  of  appreciative  mem- 
ory. "I'm  headed  for  the  Coast.  Some  day  I'm  goin' 
to  write  books."  His  eyes  indicated  that  sarcasm  would 
be  resented. 

"Yeah?"  The  Fox  shifted  a  leg,  stretched,  and  said: 
"You  and  I  got  ambition,  'bo.  I'm  goin'  to  be  an  actor, 
wear  swell,  silk  tights,  and  play  Rom-eo.  No  more 
moochm'  for  me." 

Just  two  bums,  about  twenty-two  years  ago,  dreaming 
dreams.  Their  keen  ears  picked  up  a  distant  rumble, 
and,  as  it  sang  down  to  them  along  the  shining  rails,  they 
ambled;  into  a  thicket.  When  the  train  had  picked  up 
its  speed  again,  Jim  Tully  and  Edwin  Carewe  slept 
contentedly  on  the  rods,  despite  the  sand  and  stone  that 
was  blown,  like  hail,  against  their  faces. 

About  the  same 
time,  a  roughneck, 
overgrown  boy,  with 
a  widespread  grin 
over  his  spatulate  fea- 
tures, swung  with  the 
lurch  of  the  speeding 
express.  He  was  rid- 
ing, as  an  experienced 
bum  should,  the  blind 
baggage.  His  bulk  did 
not  fit  well  in  the 
lower  berths  used  by 
the  more  slim  and 
wiry  'bos.  Soon,  when 
his  vehicle  slowed  into 
the  yards,  he  would 
make  his  way  to  an 
outgoing  freight  and 
into  a  cattle  car,  un- 
mindful of  the  stench 
that  was  blown  in  his 
face. 

They  called  h  i  m 
"Jumbo,"  because  of 

his  elephantine  hugeness,  and  those  big  hands — like 
hams— that  slapped  the  pachyderms  such  resounding 
smacks. 

At  present,  he  was  making  the  best  of  an  experience 
common  to  all  nomads  of  the  little,  gyp  circuses.  He 


Louise  Brooks,  Richard  Arlen,  and  Wallace  Beery  in  a 
scene  from  "Beggars  of  Life." 


Wally  Beery  hopes   "Beggars  of  Life"  will  be  a 
success,  so  he  will  have  an  opportunity  to  play  more 
roles  of  the  same  type. 


had  been  "red-lighted"  (thrown  off  the  pay  roll  for  a 
minor  offense),  and  forbidden  to  come  on  the  grounds. 
In  that  way  they  wouldn't  have  to  pay  him  his  dollar 

fifty  a  week  "hold- 
back" at  the  end  of 
the  season.  Three 
and  a  half  a  week, 
and  a  dollar  fifty 
hold-back,  if  you  got 
it,  had  looked  grand 
to  him  a  few  months 
before.  So  had  the 
scuffed  brogans  that 
had  hardly  any  soles 
left  now.  All  his 
life  he'd  never  had 
new  clothes  of  his 
own,  nothing  but 
hand-me-downs,  un- 
til the  brogans. 

But  he  was  pro- 
gressin'.    Having,  as 
bull  man,  broken  the 
toughest  elephants 
under   the  painted 
top,  he  was  growing 
ambitious.  Barnum 
didn't  know  what  he 
was  missing.  Why, 
hadn't  he  disciplined  the  stubbornest  elephants?  The 
world  held  possibilities,  all  of  which  he  was  capable  of 
realizing. 

If  anybody  had  told  Jumbo  Beery,  nineteen  and  care- 
free, that  he  would  some  day  be  an  actor,  that  he  would 


50 


The  Saga  of  the  Hobo 


Louise  Brooks  has  the  role  of  a  girl  who  evades  the 
law  by  donning  boy's  clothes  and  mingling  with  hobos. 

live  in  a  mansion,  be  waited  on  and  have  a  beautiful 
wife,  his  hearty  guffaw  would  have  rumbled  down  the 
length  of  cars,  and  shaken  the  scared  schoolmar'm  out 
of  her  berth 


Such  thoughts  never  entered  his  head. 


Years  later,  two 
men  in  ragged 
shirts  and  nonde- 
script pants  swung 
onto  the  rods  of  a 
freight  on  a  siding, 
under  the  Califor- 
nia sunshine.  They 
were  Red  and 
Jumbo.  The  water 
tank  was  there,  and 
the  atmosphere 
seemed  right.  But 
there  were  cameras 
and  mirrors  reflect- 
ing the  light,  and 
the  two  men  had 
grown  heavier  and 
older.  They  were 
filming  "Beggars 
of  Life,"  which 
stars  Wallace 
Beery.  It  is  the 
saga  of  the  hobo. 


"The  kangaroo  court"  is  the  hobo  tribunal  which  meets  in  the 
woods,  and  "tries"  members  of  its  fraternity  according  to  their 

own  code. 


At  nineteen  Wally  Beery  bade  the  family  a  nonchalant 
farewell,  unmindful  of  his  Irish  dad's  storming,  but 
embarrassed  by  his  Swiss  mother's  rare  outburst  of 
tears,  and  got  a  job  with  a  circus.  His  first  week's 
wages  paid  for  a  pair  of  brogans. 

For  five  years  he  ridiculed  steady  employment.  For 


three  years  he  was  with  the  circus,  and  for  two  years  , 
— just  bumming.  He  wore  the  black  satine  "thousand- 
mile"  shirt,  the  bothersome  washing  of  which  could  be 
postponed  indefinitely.  He  sat  down  to  "mulligan" 
with  many  a  likewise  begrimed,  but  happy,  confrere 
of  the  rails  in  many  a  moonlit  "jungle"  in  the  woods — 
the  rendezvous  of  the  leisurely  gents.  Many  a  back 
door  was  slammed  in  his  face,  but  not  every  housewife 
could  resist  his  bland  humor. 

"Couldn't  get  away  with  the  pathetic  stuff.  So  I 
always  asked,  just  to  be  polite,  if  there  was  any  wood 
they  wanted  cut,  but  I  explained  I'd  cut  my  thumb 
at  the  last  place,  or  sprained  my  wrist,  and  if  they  didn't 
insist  on  my  taking  off  the  dirty  bandage  so  they  could 
see,  I'd  get  my  'lump.'  "  "Lump"  being,  in  the  elegant 
parlance  of  the  'bo,  a  handout.  "Or  else  I'd  have  some 
jokes  on  tap,  and  get  'em  laughing. 

"Sure,"  he  replied  to  my  observation,  "you  work 
harder  as  a  hobo  than  you  do  earning  an  honest  living. 
You've  got  to  use  your  brains." 

Curious  how  interesting  it  is  to  find  out  how  the 
other  half  lives.  A  hobo,  to  me,  has  always  been  a 
very  soiled  individual,  to  whom  you  gingerly  held  out 
sandwiches.  That  there  could  be  castes — a  social  and 
ethical  system — among  them,  and  dreams,  talents  and 
ambitions,  was  one  of  the  surprises  Beery  and  Tully 
handed  me,  along  with  memories  of  their  bumming 
days,  and  words  which  my  typewriter  has  not  been 
trained  to  record.  A  lady  of  delicate  sensibilities  is 
instantly  shocked  at  their  language.  I  was  shocked. 
But  it  had  this  to  its  credit :  it  was  different. 

"There  are  classes  of  hobos,"  they  explained.  "The 
road  kid,  in  search  of  adventure,  is  usually  out  only 
a  few  months.    He  gets  his  fill  and  goes  home.  Fellows 
get  tired  of  sedentary  life,  and  want  a  thrill.  Another 
gets  strapped,  and  has  to  ride  the  rods  home  to  the 
wife  and 'kids.    Those  are  the  transients.   The  seasoned 
'bo  just  has  the  wanderlust.    He  can't  stand  the  mo- 
notony of  steady  work.    He  is  visionary,  and-  a  dreamer. 
The  yegg  is  -the  aristocrat.    He  robs  country  banks  and 

always  has 
money ;  he  rides 
at  the  company's 
expense,  because 
it's  against  his 
principles  to  pay 
railroad  fare. 
He  swaggers 
around  the  'jun- 
gle' and  often 
brings  the  mak- 
in's  for  a  'set- 
down'  (a  regu- 
lar meal)  and 
the  treats. 

"H  o  b  o  s  are 
mostly  Irish. 
There  are  no 
Jews.  Few  who 
have  been  on  the 
moo  c-h  for  a 
couple  of  years 
ever  settle  down 
to  commonplace 
life.  Jack  Lon- 
don was  on  the  road.  Jack  Dempsey,  'Kid'  McCoy, 
and  Stanley  Ketchell  were  road  kids.  Many  of  them 
become  pugilists.  William  Wellman,  who  is  directing 
'Beggars  of  Life,'  was  a  road  kid,  beating  his  way  to 
the  lumber  camps.  For  five  years,  intermittently,  James 
Cruze  was  on  the  bum.  He  would  connect  with  a  theater 
Continued  on  page  109 


51 


H 


er  Strange 
Interlude 

Though  popular  in  the  movies,  Greta 
Nissen  has  been  forced  to  make  a 
detour  in  her  march  toward  stardom. 

By  William  H.  McKegg 

IN  Hollywood  you  may  rise  to  the  top  and 
flourish,  or  sink  to  the  -bottom  and  dis- 
appear. The  most  delusive  trail  in  film- 
land is  where  you  start  out  with  wonderful 
prospects,  only  to  find  yourself  between  both 
places,  and  with  no  apparent  means  of  getting 
to  either. 

Stars,  happily,  get  their  opportunities.  The 
bit  players  feel  elated'  when  they  are  offered 
small  roles,  but  a  featured  player,  who  hap- 
pens to  get  caught  in  a  rut  on  her  way  for- 
ward, is  the  one  to  feel  the  incongruity  of  her 
position.  Producers  know  she  is  good,  but 
don't  know  just  what  to  do  with  her.  Con- 
sequently she  remains  in  the  rut. 

That's  where  Greta  Nissen  is  right  now. 

On  February  12th,  1924,  as  «Grete  Ruzt- 
Nissen,  she  flashed  into  notice  for  her  ex- 
quisite dancing  in  a  pantomime  called  "A  Kiss 
in  Xanadu"— an  episode  in  the  play  "Beggar 
On  Horseback."  She  was  eagerly  snatched 
up  by  Paramount,  and-  renamed  Greta  Nissen. 

For  more  than  a  year  the  blond  Nissen  went 
from  film  to  film.  Her  name  was  always  be- 
fore the  public,  and  she  was  always  to  be 
seen.  She  reaped  enthusiastic  approval  from 
the  fans  at  large — especially  the  male  con- 
tingent. Then,  a  couple  of  years  ago,  as  sud- 
denly as  she  had  appeared*  so  did  she  seem  to  disappear. 

Rumors,  via  the  underground  telephone  of  Holly- 
wood, stated  that  Paramount  let  the  Nissen  go,  rather 
than  put  up  with  her  temperament.  Also  that  Madame 
Nissen  meddled  too  much  with  daughter -Greta's  career. 

That  such  a  glittering  personality  should  no  longer 
be  flashing  before  their  gaze  gave  many  youths  much 
troubled  wonderment.  When  the  news  spread  about 
that  Greta  was  to  play  with  Charlie  Farrell  in  "Fazil" 
every  one  took  heart  again. 

So  strong  an  effect  had  these  expectations,  they 
caused  me  to  find  myself  sitting  in  the  vast,  luxurious 
lobby  of  one  of  Hollywood's  most  fashionable  apart- 
ment houses.  An  expensive  radio  was  transmitting 
music  to  charm  my  ears,  so  I  did  not  at  all  mind  the 
absence  of  her  who  was  to  be,  by  previous  appointment, 
my  companion  for  the  next  thirty  or  forty  minutes. 

I  had  come  determined  to  fulfill  my  grim  duty,  and 
to  find  out  from  this  fair  charmer  what  truth  there 
was  in  the  rumors  about  temperamental  breaks  with  her 
employers.  Also  to  discover,  if  possible,  what  was 
keeping  her  in  the  rut  she  is  now  in. 

To  the  harmonies  of  Verdi's  "A'ida"  Greta  appeared. 
She  walked  toward  me,  holding  out  her  hand. 

"I  am  so  sorry  to  have  kept  you  waiting,"  was  her 
first  phrase.  This  is  the  opening  speech  of  most  play- 
ers. It  rather  bores  one  to  hear  it;  but  from  Greta  it 
sounded  beautiful. 

Her  fair  hair  showed,  beneath  a  soft  red-velvet  hat, 
like  sunlight.    Her  eyes,  a  cerulean  blue,  seemed  ex- 


Photo  by  Ball 

Greta  Nissen  is  Norwegian,  not  Swedish,  as  has  been  commonly 

supposed. 

cessively  large  and  disturbing.  Her  very  red  lips  were 
parted,  as  she  smiled  her  welcome,  revealing  strong, 
white,  Scandinavian  teeth. 

I  have  no  idea  what  the  expensive  radio  played  from 
then  on. 

"Never  have  I  known  a  person  so  rushed  as  I  have 
been  to-day,"  Greta  remarked,  still  smiling,  but  with  a 
sigh  to  arouse  compassion.  "I  leave  for  New  York  to- 
morrow. I  should  get  some  one  to  do  everything  for 
me.    Will  you  ?" 

I  wa's  on  the  point  of  offering  my  humble  services, 
but  realized  her  two  last  words  only  invited  me  to  take 
a  cigarette. 

"I  like  New  York,"  she  went  on.  "When  I  first 
landed  there,  four  years  ago,  I  was  the  most  foreign 
of  foreigners.  I  knew  not  a  word  of  the  language.  I 
can  tell  now  that  I  was  terribly  homesick.  Never 
did  I  believe  I  could  stay  in  America.  Though  my 
mother  was  with  me,  I  wanted  my  brother,  too.  He 
is  now  at  Columbia  University.  I  shall  see  him  when 
I  get  to  New  York.  I  have  missed  him  much.  We 
are  great  pals." 

Greta's  accent  is  impossible  to  reproduce.  As  she 
talks,  she  has  a  way  of  tilting  her  head  slightly  on  one 
side,  and  smiling.  She  suggests,  rather  than  states,  her 
comments.  The  picture  business,  viewing  it  from  her 
present  vacillating  position,  is  strange. 

"When  Paramount  signed  me  I  made  nine  pictures  in 
one  year.    Then  we  disagreed.    I  did  not  like  the  roles 
Continued  on  page  108 


52 


It's  the  Breaks  tkat  Make  'Em 

Hardly  a  player  gains  a  foothold  in  the  movies  without  the  aid  of  that 
lucky  chance,  which  is  called  in  Hollywood  "a  break."  Some  of  the  more 
extraordinary  examples  of  luck  are  entertainingly  recounted  in  this  article. 

B))  Houston  Branch 


The  break  of  the  year  was 
that  of  Ruth  Taylor. 

June    Marlowe    owes  her 
break  to  the  fact  that  she 
lived  next  door  to  a  direc- 
tor. 


IN  the  dictionary 
the  word  "break" 
has  a  rather  woe- 
ful definition,  which 
places  it  in  the  class 
of  things  most  per- 
sons wish  to  avoid. 
Webster's  estimation 
of  the  word  is  not 
shared  by  Hollywood. 
In  the  chimerical  land 
of  the  cinema,  nine 
persons  out  of  ten  are 
looking,  hoping,  and 
praying  for  what  they 
call — a  break. 

In  fact,  the  greater  part  of  the  population  of  Hollywood  subsists 
on  the  vague  notion  that  a  'break  will  come,  and  in  one  stroke  set 
them  well  on  the  road  to  fame,  with  a  secretary  to  answer  fan 
mail,  and  a  home  in  Beverly  Hills.  For  a  break,  in  the  vernacular 
of  the  studios,  is  a  strange  quirk  of  circumstance  which  suddenly 
lifts  the  struggling  unknown  from  the  depths  of  obscurity  to  a 
precarious  perch  on  the  portals  of  success,  and  sometimes  cata- 
pults the  lucky  one,  in  a  meteoric  blast,  into  the  brilliant  glare  of 
public  adulation,  where  they  either  wither  under  the  intense  rays, 
or  blossom  into  the  luxuriant  flowerings  of  the  celluloid  bouquet. 

The  odd  thing  about  the  worship  of  this  elusive  word  is  that  it 
can  offer  a  hundred  tangible  miracles  a  year,  and  as  a  result  attract 
disciples  by  the  thousands.  It  keeps  the  apartment  houses  and 
hotels  of  Hollywood  filled  faster  than  the  real-estate  operators 
can  build  them.  Scoff  if  you  will,  but  a  fortnight's  sojourn  in 
Hollywood  will  quickly  convince  you  that  the  whole  structure  of 
filmdom  is  founded  on  breaks. 

The  Klondike  had  its  sour  doughs  who  were  just  about  to  turn 
their  backs  on  fortune,  when  they  tripped  and  uncovered  the  hidden 


pocket  of  the  yellow  mineral.  Hollywood  has  its 
George  Bancroft. 

Bancroft  prospected  in  Hollywood  for  two  years,  and 
didn't  strike  pay  dirt.  He  had  packed  up  and  had 
bought  reservations  on  a  train  to  New  York,  when 
James  Cruze  sent  for  him  to  play  Jack  Slade,  in  "The 

Pony  Express." 

Gwen  Lee,  the  seductive 
blonde  of  Metro-Goldwyn  pic- 
tures, owes  her  present  con- 
tract to  a  fly.  Just  an  ordi- 
nary house  fly  of  the  too-com- 
mon variety.  Gwen  was  just 
a  bit  of  atmosphere  in  "Pretty 
Ladies,"  one  of  several  girls 
supporting  a  human  chande- 
lier in  a  studio  reproduction 
of  a  Ziegfeld  revue,  when  a 
fly  took  upon  itself  to  light  on 
her  bare  and  shapely  limbs. 
Now  Gwen  was  not  in  a  posi- 
tion where  she  could  use  her 
hands  to  brush  the  fly  off  her 
— ahem — knee.  She  wriggled. 
The  fly  didn't  notice  her  wrig- 
gling, but  Monta  Bell,  the  di- 
rector, did.  It  struck  him  as 
a  very  funny  bit  of  business, 
and  Gwen  struck  him  as  a 
very  pretty  girl.  The  result 
was  that  a  fly  was  painted  on 
her  limb  for.  the  rest  of  the 
picture,  and  a  contract  was 
the  ultimate  reward. 

James   Murray  and  Ray- 
Johnny   Mack   Brown's  spec- 
tacular work  in  a  football  game 
won  him  a  contract. 


It's  the  Breaks  that  Make  'Em 


53 


George  Bancroft  was  pre-  joseph  M.  Schenck  told 
paring  to  return  to  New  Reginald  Denny  he  would 
York  when  his  chance  came.      never  succeed  in  pictures. 

mond  Keane  to-day  are  two  very  promising  juvenile 
actors,  possibly  on  their  way  to  stardom.  Yesterday 
they  were  struggling  extras  in  Hollywood's  long  line. 
Their  breaks  were  almost  identical;  and  are  of  the  kind 
that  ever-hopeful  Hollywood  loves  to  nourish.  Ray- 
mond Keane  was  one  of  three  hundred  extras  sum- 
moned by  Dimitri  Buchowetzki  to  play  members  of  the 
Queen's  guard  in  "Graustark."  Buchowetzki,  ever  dra- 
matic, was  passing  down  the  extra  line,  selecting  pros- 
pective guardsmen,  when  his  eyes  lighted  on  young 
Keane. 

"There's  a  thousand-dollar-a-week  juvenile!"  the  ex- 
citable Russian  exclaimed. 

Then  it  was  up  to  Buchowetzki  to  prove  that  he  was 
correct  in  his  assumption,  and  this  he  did  by  selling 
Keane  to  Uncle  Carl  Laemmle  as  the  leading  man  in 
Buchowetzki's  only  Universal  production,  "The  Mid- 
night Sun."  Buchowetzki  has  passed  on  to  less 
lucrative  fields,  but  Keane  still  remains  at  Universal. 

James  Murray  had  a 
less  ostentatious  but 
more  satisfactory  de- 
but under  the  guidance 
of  King  Vidor.  Vidor 
saw  him  in  the  extra 
ranks,  and  immediately 
cast  him  for  the  lead 
in  "The  Crowd."  He 
has  been  favored  with 
other  good  roles  by 
Metro-Goldwyn. 

The  Cocoanut  Grove 
of  the  Ambassador 
Hotel  may  well  be 
called  the  happy  hunt- 
ing ground  of  the 
break,  as  it  is  practiced 
in  Hollywood.  For 
though  break  or  cut-in 
dances  are  banned  at 
the  Grove,  it  is  on  its 
glassy  floor  that  many 
of  screendom's  bright- 
est stars  have  been  dis- 
covered.   Sally  O'Neil 

first  caught  Marshall  Neilan's  eye  during  a  crowded 
Friday,  night  at  the  Cocoanut  Grove,  and  stepped  into  the 
leading  role  in  "Mickey." 

The  Young  sisters,  the  beautiful  trio  that  has  con- 


Tim  McCoy  went  to  a  studio  to  rent  his  ranch  for 
picture  purposes,  and  received  a  contract  instead. 


Raymond  Keane  was  discovered  by  Buchowetzki  from 
among  three  hundred  extras. 

quered  Hollywood's  citadels  in  the  past  six  months, 
probably  owe  the  Cocoanut  Grove  the  largest  debt  of 

gratitude.  Each  of  the 
girls  owes  her  contract 
to  having  been  seen  at 
the  Grove.  Sally  Blane, 
nee  Betty  Jane  Young, 
was  doing  a  mean 
Black  Bottom  when 
Wesley  Ruggles  was 
casting  the  "Collegi- 
ans" series  at  Univer- 
sal. From  Universal  it 
was  but  a  step  to  fea- 
tured roles,  and  a  con- 
tract with  Paramount. 
She  is  now  playing  op- 
posite Jack  Holt. 

Polly  Ann  Young  had 
a  double  break  on  the 
Cocoanut  Grove  floor. 
One  evening  she  was 
dancing    with  Robert 
Agnew,  when  the  cast- 
ing director  of  Metro- 
Goldwyn  was  looking 
for  a  double  for  Do- 
lores del  Rio,  and  the 
next  day  she  was  summoned  to  the  studio  to  understudy 
Miss  Del  Rio  in  "The  Trail  of  '98."  Metro-Goldwyn 
planned  to  do  big  things  for  her,  but  something  went 
Continued  on  page  114 


- 


Mary  Pick- 
ford,  left,  is 
known  the 
world  over 
a  s  "Amer- 
ica's Sweet- 
heart." 


Lillian  Gish, 
right,  has 
often  been 
referred  to 
as  "The 
Duse  of  the 
screen." 


Christened      tke  Fans 

Parentage  and  lineage  are  not  consulted  when  the  fans  choose  to  give  names  to  their  favorites. 


Corinne  Griffith,  above,  manages  to  carry  on  under  the  uncertain 

compliment  of  being  called  "The  Orchid." 
Clara  Bow,  left,  has  never  told  any  one  whether  she  enjoys  being 

known  as  "The  'It'  Girl." 
Florence  Vidor,  right,  is  known  to  the  fans  as  "The  Aristocrat," 
but  some  facetious  wits  have  been  heard  to  call  her,  in  a  whisper, 
"The  Frozen  Dainty  of  the  Movies." 


55 


Robert  Armstrong  says  he's  in  Hollywood  for  good,  and  he's  bought  an  attractive  bungalow  to  prove  it. 

He  Doesn't  Look  Like  An  Actor 

And  he  doesn't  talk  like  one,  but  Robert  Armstrong,  of  "is  Zat  So?"  fame,  is  making  his  way  in  Hollywood. 

Myrtle  Gebhart 


ROBERT  ARMSTRONG,  who  scored  on  the 
stage  as  the  prize  fighter  in  "Is  Zat  So?"  and  for 
whom  screen  success  is  predicted,  doubtlessly 
had  been  interviewed  many  times.  But  probably  never 
before  had  a  lady  interviewer  looked  him  over  squint- 
ingly  the  instant  he  stepped  out  of  the  car  which  brought 
him  from  the  back  lot,  and  remarked,  "You  don't  look 
like  an  actor."  And,  a  bit  later,  "You  don't  talk  like 
an  actor." 

The  young  lady  had  as  her  excuse — not  apology — the 
fact  that  she  had  just  been  engaged  in  spirited  conver- 
sation with  Bill  Boyd,  had  been  called  "peanut"  for  the 
millionth  time,  resented  it  exceedingly,  and  was  now 
hungry  and  ready  to  bite  nails. 

A  tough  prize  fighter  was  just  her  meat,  right  then. 
But  he  happened  to  be  a  gentleman,  which  was  discon- 
certing. He  looked,  not  surprised,  but  blankly  stupe- 
fied.   Then,  he  smiled  and  murmured,  "Thank  you !" 

Later,  after  the  lady  had  been  fed,  and  had  thought 
of  a  suitable  revenge  upon  one  William  Boyd,  and 
therefore  was  mollified  and  willing  to  be  pleasant,  he 
amplified  the  above  response. 

"What  you  said,  acknowledging  our  introduction  in 
such  explosive  fashion,  is  a  compliment.  I  look  like  an 
ordinary  human  being.  Every  actor  is,  but  few  like  to 
seem  so." 

I  knew  right  away — as  soon  as  the  other  two  matters 
were  settled — that  I  would  like  this  Robert  Armstrong. 
Though  I  knew  he  had  achieved  a  reputation  for  fine 
work  on  the  stage,  I  had  never  seen  him.  Only  three 
of  the  six  films  in  which  he  has  appeared  have  been 
released,  and  I  had  missed  them.  So  I  met  him  with 
only  the  idea  that,  being  of  the  stage,  he  would  be  a 
stage  actor.  He  would  let  it  be  understood  that,  through 
some  mysterious  demand,  he  was  fulfilling  his  duty 


by  living  in  the  West,  but  that  the  movie  engagement 
would  be  temporary,  his  heart  being  in  the  Broadway 
theater.  He  would  swagger  and  swank  a  bit,  or  a  lot, 
but  some,  anyhow.  He  would  talk  of  the  ideals  of 
the  theater,  and  use  very  big  words. 

Instead,  he  said  point-blank  that  he  thought  he  was 
in  Hollywood  for  good,  if  he  got  over  with  the  public. 
He  didn't  seem  to  think  the  theater  so  superior  to  the 
little  orphan  movies.  With  a  little  encouragement, 
which  he  didn't  get,  he  would  have  been  cross,  because 
his  golf  was  being  interfered  with.  He  had  worked 
only  two  out  of  five  days  that  week,  but  stayed  around 
the  set,  waiting,  while  a  truck  wrecked  an  armored  car 
properly. 

"Pretty  good,  at  that,"  I  remarked.  "You're  doing 
better  than  most  extras.    May  get  ahead  yet." 

If  you  know  your  Hollywood,  you  know  there  are 
some  people  you  can  talk  to  that  way,  and  some  you 
can't.    He  grinned.    A  regular  guy,  I  decided. 

Instead  of  the  actor's  accent,  he  has  a  slow  drawl. 
It  sort  of  drags  along  a  chuckle,  with  a  quizzical  under- 
tone, as  though  he  was  just  getting  ready  to  talk,  and 
meantime  was  enjoying  you  and  everything  hugely. 
Dressed  for  his  role  in  "The  Cop,"  he  looked  like  the 
sort  of  a  bird  a  respectable  girl  wouldn't  want  to  be 
seen  with.  I  might  have  known  the  scar  over  one  eye 
was  the  movies'  label  of  a  gangster,  but  it  looked  so 
real  that  I  didn't  mention  it  until  he  did.  I  can  be 
polite  and  tactful.  . 

He  ate  bacon  and  eggs,  a  man's  dish.  I'm  not  so  keen 
about  the  salad  men.  He  didn't  start  complaining  about 
anything,  except  missing  golf,  which  is  one  of  the  things 
you  have  to  endure'patiently  from  Hollywood  men. 

Very  browned,  with  strong  features  and  piercing 
eyes,  and  a  face  the  lines  of  which  indicate  experience, 


56 


He  Doesn't  Look  Like  An  Actor 


he  might  be  anywhere  be- 
tween the  ages  twenty-five 
and  forty,  and  your  guess 
would  probably  be  as  wrong 
as  mine. 

"No  place  like  Califor- 
nia."   He  settled  comfort- 
ably. "Guess 
I   ought  to 
stick  up  for 
the  home 
town,  Seat- 
tle, and  it  is 
beautiful  up 
there,  some- 
times." He 
told  about 
the  hills  and 
the  lakes. 
"But  it's  as 
they  say, 
'Two  sea- 
sons: rainy 
and  August.' 
And  New  York's  a 
great   town,   and  I 
wouldn't  mind  see- 
ing some  shows,  and 
dropping  in  to  jaw 
with  the  boys  at  the  club 
And  I  thought,  when  I 
left  there,  I  never  would 
get  transplanted  out  here 
But,  say,  I'm  a  native 
son,  now.    A  trip  would 
interfere  like  the  dickens 
with  my  golf." 

The  difference  in  the 
public's  attitude  toward 
stage  and  movie  actors 
interests  him  immensely. 
During  his  years  on  the 
stage,  he  said, 
hardly  any  publicity.  But 
the  minute  he  went  into 
pictures,  papers  and 
magazines  began  to  print 
such  nice  things  about 
him  that  even  his  family 
sat  up  and  took  notice. 

"Listen,  this  is  good. 
As  a  stage  actor,  I  received  a  few  good 
notices  from  the  critics,  which  meant  a 
great  deal  in  New  York,  but  nothing  to 
which  my  relatives  attached  any  signifi- 
cance. I  had  to  go  into  the  movies  to  win 
their  esteem.  The  theatrical  journals  are 
read  only  by  the  profession ;  the  movie 
magazines  are  for  the  people.  When  my 
relatives  began  to  read  articles  about  me, 
they  suddenly  took  an  interest  in  me. 
Since  my  name  has  been  in  electric  lights," 
he  smiled,  "I've  been  getting  fan  mail  from 
my  second  cousins. 

"Stage  doesn't  mean  a  thing  out  here. 
Right  in  Los  Angeles,  mind  you,  I  played 
the  prize  fighter  in  'Is  Zat  So?'  Yet,  when 
friends  introduced  me,  the  new  acquaint- 
ance looked  at  me  disgustedly  and  said 
behind  his  hand,  'Stop  your  kidding. 
George  O'Brien  played  the  prize  fighter.' 
Never  thinking  of  the  play." 


He  confessed  to  a  deep  admiration  for  Jannings. 
"He's  the  only  movie  actor  that  I  can  say  this  of :  that 
I  have  seen  three  of  his  performances  in  three  consecu- 
tive pictures,  and  consider  them  masterpieces.  Others 
give  flawless  portrayals  in  instances,  but  not  consistently. 
Jannings  has  genius — drama,  power,  clean-cut  gesture, 
gradations  of  expression.    I'd  like  to  watch  him  work. 
Does  he  speak  his  subtitles  aloud?    Rudolph  Schildkraut 
doesn't,  and  he  is  marvelous.    On  the  stage,  it's  the  voice. 
For  a  picture  scene,  it's  the  thought,  and  that  is  better 
expressed  by  whispering  the  words." 

We  talked  of  the  speaking  movies,  of  technique,  and  of 
art,  a  subject  familiar  and  dear  to  him,  as  during  his  child- 
hood he  spent  much  time  with  his  uncle,  Rolf  Armstrong, 
the  artist. 

The  progress  of  the  play,  "Is  Zat  So?"  from  a  poor, 
country  pumpkin  to  a  metropolitan  success,  I  found  absorb- 
ing, though  perhaps  half  the  interest  lay  in  the  manner  in 
which  Armstrong  told  its  history.  When  he  settles  back 
to  relate  an  anecdote,  scarcely  a  flicker  passes  across  his 
rough,  brown  face.  But  his  eyes,  peculiarly  set,  hold  you  ; 
they  are  direct,  piercing ;  you  can't  read  them.  His  graphic 
illustrations  are  a  slight  twist  of  the  mouth,  a  still  further 
narrowing  of  his  eyes. 

"When  I  was  in  stock,  Jimmy  Gleason,  being  manager, 
wrote  the  play.  I  was  a  hero — slick  hair,  mash  notes,  some 
swell.  I'd  never  done  any  dialect  or  real  characterizations, 
but  they  interested  me.  Jimmy  claimed  he  had  a  wide 
acquaintance  with  prize  fighters  and  knew  their  stuff,  so  he 

coached  me  and  it  went  over. 
Mrs.    Armstrong,    shown      "Two  years  later,  he  decided,  with 
with  him  here,  was  known   no  capital  but  enough  nerve  to  weight 
on  the  London  stage  as   his  shoulders  down,  to  put  it  on  in 
Ethel  Kent.  Continued  on  page  106 


57 


A  Girl  Comes  to  Hollywood 

Excitement  grows  apace  in  this  installment  of  our  mystery  serial,  for  Lady  Gates,  rejuvenated  by  science 
and  artifice,  starts  on  a  career  of  pleasure,  and  "Miss  Smith"  makes  a  disturbing  confession  to  Malcolm  Allen. 


CHAPTER  XIII. 

THE  QUARREL. 

MALCOLM  stood  staring, 
bewildered.  It  was  the 
voice  of  his  aunt  that 
greeted  him,  but  the  words  came 
from  the  mouth  of  a  different 
person.  This  woman,  in  a  knee- 
length,  decollete  and  sleeveless 
slip  composed  of  pale-pink  se- 
quins, surely  wasn't  Lady  Gates. 
She  couldn't  be ! 

"Well !"  the  vision  exclaimed, 
joyously.  "What  do  you  think 
of  me?" 

"Why — why,  it  isn't  you, 
Aunt  Kate!"  stammered  Mal- 
colm. "What  has  happened  to 
you  ?" 

"Happened?"  repeated  Lady 
Gates,  with  the  pertness  of  a 
girl  who  knows  she  is  pretty. 
"I've  had  the  clock  of  time 
turned  back  for  me,  that's  all! 
If  you'd  never  seen  me  before, 
and  didn't  know  anything  about 
me,  how  old  would  you  take  me 
for?" 

Malcolm  was  still  confused  in 
the  presence  of  this  new  and 
flapperish  relative.  She  did 
look  younger,  of  course — much 
ycunger.  She  seemed  to  have 
lost  many  pounds  in  weight.  Her 
double  chin  was  gone,  and  her 
face  was  smooth  as 


B$  Alice  M.  Williamson 

Synopsis  of  Preceding  Chapters 

Malcolm  Allen,  a  young  English  novelist  in 
Hollywood,  is  attracted  to  a  beautiful  girl,  who 
attempts  to  leave  the  popular  Restaurant  Mont- 
parnasse without  paying  for  an  expensive  din- 
ner she  has  eaten.  Malcolm  goes  to  her  res- 
cue. Dazzled  by  her  beauty,  'he  later  offers  her 
a  chance  in  pictures,  and  is  dumfounded  when 
she  tells  him  she  prefers  to  be  a  cigarette  girl 
at  Montparnasse.    Malcolrn  gets  her  the  job. 

Lady  Gates,  Malcolm's  wealthy  aunt  from 
Leeds,  England,  arrives  unexpectedly.  Pos- 
sessing a  fortune,  Lady  Gates  is  anxious  to 
participate  in  the  gay  life  of  Hollywood.  Her 
attention  is  attracted  to  Marco  Lopez,  a  pro- 
fessional dancer  at  Montparnasse.  Lopez  is 
attracted  to  Lady  Gates'  diamonds  and  evident 
wealth.  Under  the  pretext  of  arranging  danc- 
ing lessons,  he  later  suggests  that  Lady  Gates 
visit  a  certain  Veiled  Prophetess.  Lady 
Gates,  willing  to  do  anything  to  become  part 
of  the  eternally  youthful  Hollywood  crowd, 
consents.  The  Prophetess  is  actually  a  confed- 
erate'of  Marco  Lopez.  She  tells  Lady  Gates 
she  can  regain,  her  youthful  appearance,  and 
once  more  become  susceptible  to  love,  if  she 
will  but  follow  her  advice. 

Meanwhile,  at  the  insistence  of  Malcolm, 
Lady  Gates  makes  stiff  overtures  to  "Miss 
Smith,"  as  the  cigarette  girl  calls  herself.  Mal- 
colm hopes  to  learn  more  about  her  through 
his  aunt,  and  penetrate  the  secret  of  "Miss 
Smith's"  presence  in  Hollywood  and  her 
guarded,  though  intense,  interest  in  Marco 
Lopez.  At  this  time  Oscar  Sonnenberg,  a  pro- 
ducer, tries  to  persuade  Miss  Smith  to  at- 
tempt motion  pictures,  and  the  girl  maneuvers 
the  proposal  so  skillfully  that  she  gains  his 
promise  to  produce  Malcolm's  scenario. 

Lady  Gates  employs  Miss  Smith  as  her 
companion  during  the  weeks  she  is  in  retire- 
ment undergoing  the  elaborate  and  costly 
beauty  treatment,  from  which  she  emerges  suc- 
cessfully. 


Illustrated  by  Modest  Slein 

eyes  flashed,  and  she  stiffened 
all  over. 

"You  do !"  she  flung  at  him 
furiously.  "I  might  have  known ! 
I  did  hope  you  had  a  little  un- 
selfishness in  your  make-up.  But 
you  haven't.  I'm  your  aunt,  and 
you  thought  of  me  as  old.  You 
wanted  me  to  live  and  die  quietly 
and  leave  you  my  money  and 
jewels,  instead  of  having  a  little 
life  and  fun  of  my  own !  Lots 
of  widows  older  than  I  am 
marry  and  are  happy.  That's 
what  you're  afraid  of — my  mar- 


rying 


!     You   needn't   think  I 


a  billiard 

ball — not  a  wrinkle  to  be  seen,  even  under  her  eyes. 
Her  snub  nose  had  been  changed  to  a  Grecian  effect. 
Her  once-gray  hair  was  a  bright  auburn,  bobbed,  and 
marceled  in  glittering  waves.  The  thickish  eyebrows, 
which  had  given  a  certain  individuality  to  the  face,  were 
gone.  They  had  been  plucked,  and  in  their  place  faint, 
arched  lines  had  been  drawn  according  to  taste.  The 
eyes  themselves  seemed  to  have  been  lengthened,  and 
the  .lashes  were  heavily  blacked. 

The  strange  vision  was  of  a  pink  and  pearly  radiance, 
as  if  it  had  been  carefully  enameled  from  the  roots  of 
its  brilliant  hair  to  the  low  neck-line  of  its  still-more- 
brilliant  dress. 

"Why  don't  you  speak?"  Lady  Gates  urged,  her  new 
.brows  drawing  together.  "Don't  you  think  I  look  nice  ?" 

"You  look — extraordinary,"  Malcolm  managed  to 
ejaculate. 

"Well,  is  that  a  compliment,  or  the  reverse?"  she 
snapped. 

"To  tell  the  truth,  if  I  must,"  he  said,  "you  do  look 
younger,  of  course,  in  a  strange  sort  of  way,  but  I  can't 
help  preferring  you  as  you  were." 

If  Lady  Gates  flushed,  the  color  was  invisible  under 
her  lily  balm  and  smooth  coat  of  pink  rouge;  but  Tier 

*  Copyright,  1928,  by  Alice  M.  Williamson. 


don't  understand !" 

Malcolm  was  startled,  for,  in 
truth,  such  a  fear  had  jumped 
into  his  mind.  It  was  not  for 
himself  that  he  feared.  He 
really  did  exonerate  himself 
there;  but  a  fat,  elderly  woman 
who  would  go  through  weeks  of 
martyrdom  to  make  herself  over 
into  a  cheap,  wax  figure  was  in 
peril  from  the  first  adventurer. 
If  he  said  anything  of  that  sort 
she  wouldn't  believe  a  word,  and 
would  be  angrier  than 'before. 

"You  do  me  an  injustice, 
Aunt  Kate,  I  assure  you,"  he 
tried  to  defend  himself  without 
floundering  into  a  morass  of  in- 
tricate explanations. 

"Injustice !"  she  sneered. 
"That's  nonsense.  There's  only 
one  thing  to  think,  an3  I  think  it !  You're  selfish.  Here 
I  am,  back  here  at  my  comfortable  hotel  after  putting 
in  the  most  awful  three  weeks  of  my  life.  The  surgical 
part  came  first.  That  wasn't  so  bad,  for  I  was  under 
ether  during  the  operations.  But  I've  had  a  rolling 
treatment  to  take  off  flesh  in  a  hurry,  and,  oh,  my  good- 
ness !  Heaven  alone  knows  what  I've  gone  through  be- 
sides. I  told  Miss  Smith  not  to  say  a  word  to  you, 
Malcolm,  for  I  was  so  happy,  looking  forward  to — to 
giving  you  a  grand  surprise.  And  this — this  is  what 
I  get !"  - 

"If  you  are  pleased,  I'm  pleased,  Aunt  Kate*"  said 
Ma-lcolm.  "Anyhow,  it  isn't  my  affair.  You've  no  one 
but  yourself  to  consult.  Only,  you  took  this  long  jour- 
ney half  across  the  world  because  I  was  here,  so  I  feel 
responsible  for  you  in  a  way.  I'd  hate  to  have  any 
trouble  come  to  you." 

"Don't  worry!"  she  snapped.  "I  don't  expect  any 
trouble.  My  troubles  are  all  over  now.  and  my  fun  be- 
gins. I  have  made  one  or  two  good  friends  here,  and 
I  don't  have  to  depend  on  you,  young  man!" 

"Don't  let's  quarrel,  Aunt  Kate,"  Malcolm  said,  sti- 
fling his  own  quick  temper  which  bristled  at  Lady  Gates' 
harsh  words.  "I'm  fond  of  you  for  the  sake  of  the 
past,  and  I'm  afraid  you  may  be  sorry  if  you  throw  me 


58 


A  Girl  Comes  to  Hollywood 


off.  At  least  I'm  sincere.  I've  told  you  the  truth  as 
I  saw  it." 

"The  truth!"  she  threw  back.  "The  truth,  in  my 
experience,  is  mostly  something  disagreeable  about 
somebody  else.  You're  a  gloom,  Malcolm  Allen,  that's 
Avhat  you  are!  I  expected  to  enjoy  such  a  gay  evening 
with  you!  Well,  I'll  enjoy  it  without  you,  that's  all. 
Since  you  don't  like  to  have  an  aunt  young  enough  to 
make  a  new  life  of  her  own,  you  can  run  away  and 
forget  her,  my  boy.    Good-by !" 

Malcolm  stood  still  for  a  moment.  He  hated  to  take 
the  angry  woman  at  her  word,  for  if  he  did,  most  likely 
it  would  mean  a  definite  break  between  them.  Just  be- 
cause he  had  had  an  ax  to  grind,  pride  would  forbid 
his  trying  to  come  back  and  grind  it !    He  was  sharply 


me  to  go  out  with  you  this  evening,  I  had  to  say  I'd 
made  an  engagement  with  my  nephew.  Well,  the  en- 
gagement's off.  Is  your  invitation  still  open?  Then 
do  come  to  the  Ambassador  as  soon  as  you  can.  We'll 
dine  here.    No,  I  don't  mind  waiting  for  you  one  bit!" 

When  his  aunt  hung  up  the  receiver,  Malcolm  stood 
as  he  had  been  standing  when  she  ran  to  the  tele- 
phone. 

"Oh!  Are  you  still  present ?"  she  inquired  coldly.  "I 
thought  you'd  gone." 

"I'm  going,"  said  Malcolm.  "But,  dear  Aunt  Kate, 
before  I  go,  do  let  me  beg  you  for  your  own  best  good 
to  be  careful  about  this  Lopez.  He  may  be  all  right, 
but  he's  only  a  gigolo  at  Montparnasse,  hired  to  dance, 
and  ready  to  accept  tips.    He's  a  foreigner.      No  one 


"Miss    Smith,  I 
can't  help  think- 
ing   that  you've 
fallen     in  love 
with   Mr.  Lopez 
yourself,  and  are 
afraid  I  may  take 
him  away. 
Go!"  cried 
Lady  Gates 
angrily. 


sorry  this  thing  had  happened,  yet,  picking  up  the 
threads  of  the  conversation  he  didn't  see  how  he  could 
have  spoken  differently.  Compliments  upon  this  poor, 
stretched,  painted  face,  dyed  bob,  and  stiff  figure  would 
have  burned  his  lips.  He  couldn't  have  uttered  them 
without  a  sense  of  shame  for  himself. 

Yet  he  hesitated  to  go  and  shut  the  door  between  his 
friendship  and  the  foolish  old  woman  who  might  soon 
be  needing  it.  He  would  have  begged  her  to  think  twice, 
but,  without  glancing  at  him  again,  she  walked  defiantly 
to  the  telephone. 

There  she  called  a  number,  and  got  it  almost  at  once. 

"Hello,  is  that  you,  Mr.  Lopez?"  she  cooed,  her  tones 
and  her  whole  personality  softened.  "Yes,  Lady  Gates 
speaking — Kathy  Gates.    You  know  when  you  invited 


knows  anything  about  him.  You  have  your  dignity  to 
think  of.    People  will  say  the  usual  thing  " 

"Oh,  do  hold  your  tongue!"  Lady  Gates  shrilled. 
"Prig!  You're  terribly  proper  for  me,  but  what  about 
yourself?  What  about  the  pretty  cigarette  girl  you've 
almost  stuffed  down  my  throat  ?  Maybe  she's  a  perfect 
lady !  I've  accepted  her  for  your  sake,  and  I've  been 
nice  to  her.  But  you  don't  give  her  fellow  professional 
at  Montparnasse  even  the  benefit  of  the  doubt.  Down 
with  him!  Heavens,  you're  not  young,  Malcolm. 
You're  older  than  I  am.  You  bore  me.  We'll  speak  to 
each  other  after  this,  not  to  make  gossip,  and  that'll  be 
all:    You  understand?    Good  night  again." 

There  was  nothing  for  Malcolm  to  say  but  to  echo 
her  "Good  night." 


A  Girl  Comes  to  Hollywood 


59 


But  as  he  shot  down  in  the  elevator,  a  voice  seemed  to 
chuckle  in  his  ear:  "You've  cooked  your  goose,  young 
man  !"   Well,  he  had  ! 

There  was  no  chance,  now,  that  Lady  Gates  would  in- 
terest herself  financially  in  getting  "Red.  Velvet"  produced. 
And  not  only  that,  it  was  probable  that  she  was  angry 
enough,  spiteful  enough,  to  change  her  will  and  cut  him 
completely  out  of  it. 

CHAPTER  XIV. 

"i  CAME  TO  HOLLYWOOD  BECAUSE  OF  HIM  !" 

Malcolm's  first  thought,  after  parting  from  Lady  Gates, 
was :  What  about  the  twenty-five  thousand  dollars  Sonnen- 
berg  had  demanded  ?  Would  the  fellow  go  on  with  the 
production,  adding  twenty-five  thousand  of  his  own-  to  the 
suggested  fifty  thousand,  provided  that  the  author  agreed  to 
accept  smaller  profits  ? 

A  short  time  ago  he  had  been  reluctant  to  sell  his  scenario 
to  a  man  like  Sonnenberg.  He  had  thought,  vaguely,  that 
his  aunt  might  possibly  be  interested  enough  in  his  success 
to  put  down  the  whole  sum  needed,  in  which  case  he  could 
have  become  his  own  producer,  and  would  only  have  needed 
to  find  a  good  release.  To  do  that 'hadn't  seemed  impossible, 
for  he  still  had  important  friends  in  the  picture  game,  who 
might  have  been  willing  to  use  their  influence  as  well  as  to 
give  advice.  But  he  had  been  dreaming — counting  his 
chickens  before  they  hatched. 

His  dinner  engagement  with  his  aunt  was  off,  but 
he  was  anxious  for  a  few  words  with  Mary  Smith. 
He  wondered  if  her  disappointment  at  losing  the  .| 
chance  of  a  good  role  would  be  very  severe.  He 
hardly  thought  so,  for  Mary  Smith  was  one  of  the 
few  girls  on  earth  whom  you  might  perhaps  believe  \ 
when  she. said  she  didn't  really  care  about  getting 
into  pictures.  V/' 

In  any  case,  no  matter  how  Miss  Smith  might 
regard  the  news,  the  sooner  she  had  it,  the  better. 

Malcolm  went  to  Montparnasse,  and  had  not  been 
seated  long  at  his  own  table  when  an  imploring  look 
brought  the  sparkling  green  figure  to  him. 

"Cigarettes  ?"  asked  Madeleine,  with  a  less 
"carved  in  marble"  smile  than  she  gave  to  other 
admiring  men. 

"Thanks,  yes,"  said  Malcolm.  "Miss  Smith, 
you've  been  seeing  my  aunt,  so  you  must  know  what 
a  fool  the  poor  dear  has  made  of  herself." 

"I  know  what  you  mean,"  Madeleine  admitted. 
"But  I  don't  know  that  I  quite  agree  with  you  about 
her  being  a  fool.    I  think  she's  pathetic." 

"Pathetic,  but  ludicrous,  too,"  said  Malcolm. 

"Well,  if  she  can  do  it,  she  may  have  a  much 
better  time,"  Madeleine  argued. 

"But  she  can't  do  it." 

"Perhaps  we're  not  fair  judges,"  suggested  the  girl. 
"You've  always  thought  of  her  as  your  nice,  stodgy,  old 
aunt  from  Leeds.  As  for  me,  I've  seen  her  in  the  sani- 
tarium while  she  was  under  treatment,  and  I  can't  get 
the  picture  out  of  my  mind.  But  to  people  who  have 
not  known  her  before,  the  poor  lady  may  look  a  perfect 
thirty-six !" 

"You're  charitable !"  Malcolm  exclaimed.  "She  made 
me  tell  her  what  I  thought  of  the  change,  and — well,  I 
was  like  George  Washington.  With  my  little  hatchet 
of  truth  I  felt  forced  to  strike.  I  hit  where  the  lady 
lived,  and  now  she's  made  up  her  mind  to  shed  her  one 
and  only  nephew." 

"She  has !"  echoed  Madeleine.  "She  won't  help  you 
with  'Red  Velvet'?" 

"I  didn't  even  ask,"  said  Malcolm.  "I  knew,  when 
she  flung  out  hints  about  her  will,  that  she  wasn't  likely 
to  help  finance  me." 


"You  can't  believe  that  of  me!"  exclaimed  Madeleine.  She 
could  do  no  more.    Poor  Lady  Gates  was  in  the  hands  of  fate. 


"Did  she  say  she'd  cut  you  out  of  her  will?"  asked 
the  girl,  distressed. 

"She  accused  me  of  counting  on  her  money  and 
jewels  when  she  died,  and  wanting  her  to  stay  old,  and 
grudging  her  any  fun." 

"I  see,"  said  Madeleine.  "But  surely  she'll  be  sorry, 
and  change  her  mind.  She  came  all  this  distance  just 
to  visit  you." 

"And  to  revel  in  the  joys  of  Hollywood.  She  seems 
to  have  made  at  least  one  friend  here,  whom  she  can 
depend  upon.  Heaven  knows  how  he  may  exploit  her. 
Mr.  Marco  Lopez,  our  handsome,  patent-leather-haired 
gigolo  at  Montparnasse,  for  instance." 

"Marco  Lopez!"  repeated  the  girl,  a  sharp  note  of 
surprise,  and  something  more,  in  her  voice. 

Malcolm  was  startled  by  her  tone.  A  question  came 
to  the  tip  of  his  tongue,  but  before  he  could  speak,  she 
had  gone.  She  had  either  been  called  to  a  table  at  some 
distance,  or  else  she  had  invented  an  excuse  to  escape 
in  a  hurry.    He  could  not  see  the  expression  of  her 


60 


A  Girl  Comes  to  Hollywood 


face,  for  she  stood  with  her  back  turned  to  him ;  and 
-he  wondered  if  even  that  had  a  motive  in  it.  Marco 
Lopes!  This  was  not  the  first  time  she  had  shown — 
no,  betrayed  was  the  word — a  peculiar  interest  in  the 
professional  dancer.  The  way  in  which  she  looked  at 
the  man  .had  disturbed  Malcolm  once.  Now  it  was  the 
stifled  emotion  in  her  voice,  as  she  repeated  the  name, 
which  worried  him. 

What  had  he  said  to  upset  the  girl?  He  tried  to  re- 
call his  own  words,  and  couldn't  exactly.  But  he  had 
hinted  that  Lopez  might  make  an  unscrupulous  use  of 
the  rejuvenated  lady's  favor.  Had  Miss  Smith's  evi- 
dent anxiety  sprung  from  friendship  for  Aunt  Kate,  or 
— from  something  other  than  friendship  for  the  Argen- 
tinean ? 

Luckily,  'Malcolm  had  come  to  the  restaurant  late, 
after  his  scene  with  Lady  Gates  at  the  Ambassador,  so 
that  it  wasn't  difficult  to  pass  the  time  there  until  the 
hour  when  Mary  was  free.  He  had  had  no  further 
chance  to  speak  to  her,  and  of  late  she  no  longer  al- 
lowed him  to  take  her  home.  But  she  couldn't  send 
him  away  without  a  word  if  he  "happened"  to  run 
across  her  at  a  discreet  distance  from  Montparnasse. 

He  contrived  to  do  this,  by  lying  in  wait  in  the 
shadow  of  the  huge  pepper  trees  in  the  street  through 
which  she  must  pass.  But  he  didn't  make  the  mistake 
of  pretending  he  was  there  by  accident. 

"I  know  you  won't  be  pleased  to  see  me,"  he  said, 
"and  that  you  must  have  some  more  or  less  good  reason 
for  wanting  to  go  home  alone  these  days,  but  " 

"I  have  a  very  good  reason,"  ^Madeleine  broke  in. 
"Haven't  you  guessed  what  it  is — you,  a  writer,  sup-' 
posed  to  read  people's  inner  workings,  like  those  of  a 
watch  ?" 

"No,  I  haven't  guessed,"  said  Malcolm.  "I  hope  it 
isn't  because  you  " 

"I'll  save  you  the  trouble  of  guessing,"  the  girl  cut 
him  short  again,  not  crossly,  but  gravely.  "That  is,  I 
will  if  you'll  promise  not  to  misunderstand." 

"I  do  promise,"  he  answered.  They  were  standing 
still  under  drooping  branches  jeweled  with  coral  ber- 
ries, for  Miss  Smith  had  stopped  short  at  his  greeting, 
and  had  not  taken  another  step  since. 

"Well,  frankly  then,  it's  on  account  of  Mr.  Sonnen- 
berg,"  she  said.  "I'd  be  an  idiot  if  I  didn't  know  that 
he  is — what  he  would  probably  call  'gone'  on  me.  That's 
why  he  wants  to  put  me  into  a  picture,  of  course.  I 
suggested  your  picture,  and  instantly  the  man — imagined 
things.  I  told  him  you  had  a  wonderful  part  in  'Red 
Velvet'  that  I'd  love  to  play,  and  so  on  and  so  on. 
But  I'm  sure  he  still  has  ideas  in  his  head  about  us, 
and  I  don't  want  him  to  have  t1'  i.  He  might  be  spite- 
ful enough  to  turn  down  you.,  scenario  after  all,  if  he 
felt  sure  I  was  'stringing  him  along'  for  you." 

"He  will  turn  down  the  scenario,  anyhow,  now  that  I 
can't  put  in  the  money  he  wanted,"  Malcolm  reminded 
her. 

"No,  he  won't,  if  I  play  my  cards  well,"  said  Made- 
leine.   "I'm  almost  sure  that  stuff  about  the  twenty- 
five  thousand  was  bluff.    He  has  loads  of  money.  He 
won't  want  to  give  up  producing  'Red  Velvet,'  now  he's 
gone  as  far  as  he  has." 

"Because  you'll  play  your  cards  in  such  a  way  as  to 
make  him  think  he  will  lose  you  if  he  throws  me  over!" 
Malcolm  exclaimed. 

"Yes.  That's  what  I  mean,"  coolly  agreed  the  girl. 
"But  remember  your  promise  to  me  just  now!  .I'm 
not  afraid  of  him.  I  can  manage  the  man.  Only,  if  he 
is  having  me  watched,  as  he  very  likely  is,  it  will  be 
best  if  you  and  I  are  not  seen  going  about  together  as 
if  we  had  some  secret  understanding  behind  his  back. 
That  would  defeat  our  object." 


"You  don't  realize  the  position  you  place  me  in !" 
broke  out  Malcolm.  "You  are  doing  this  for  me — 
putting  yourself  in  this  fellow's  power  " 

"Pooh!"  laughed  Mary.  "Don't  be  Victorian.  I 
thought  you  were  one  of  the  most  up-to-date  authors !" 

"I'm  a  man!"  Malcolm  defended  himself. 

"And  I'm  a  woman,  old  enough  to  vote,  so  I  ought 
to  be  old  enough  to  take  care  of  myself.  It's  perfectly 
true  I'm  working  for  your  interests,  but  it  may  have 
occurred  to  you  that  I  shan't  be  ignoring  my  own  if  I 
make  a  success  in  a  picture — yours  or  anybody  else's!" 

"It  has  occurred  to  me,"  said  Malcolm.  "Otherwise 
I  couldn't  have  let  you  go  on." 

"You'd  have  had  harder  work  to  stop  me  there  than 
you've  had  to  stop  me  here  in  the  street,"  the  girl 
laughed.  "Now  there's  one  thing  you  must  'let'  me  do : 
go  my  way  home  alone." 

"If  you  insist,"  Malcolm  had  to  agree.  "But  let  me 
ask  you  a  question  first.  I  can't  sleep  unless  I  do.  Why 
did  you  seem  upset  about  Marco  Lopez  and  my  aunt? 
I  know  I  haven't  any  right  to  catechize  you.  But  do 
tell  me.  Once  or  twice  I've  thought  you  seemed  inter- 
ested in  that  'sap'  as  they  call  him  at  Montparnasse. 
I — I've  tortured  myself,  Mary,  wondering  if  you 
wanted  to  work  there  because  of  him.  You  see,  I  love 
you,  dear,  and  " 

"Don't !"  Madeleine  stopped  him.  "I  haven't  any 
right  to  love  and  be  loved.  You've  been  a  wonderful 
friend  to  me.  Oh,  please,  go  on  being  a  friend.  I 
needed  one  the  night  we  met  first,  and  I  need  one  almost 
as  much  now.  Believe  me,  you  are  the  friend  I  want 
and  wish  to  keep,  even  if — I  tell  you  that  I  did  come 
to  Montparnasse  because  of  Marco  Lopez.  I  came  to 
California — I  came  to  Hollywood — because  of  him  !" 

She  spoke  in  a  low  tense  voice,  with  a  bare  hand  on 
Malcolm's  arm.  But  as  she  uttered  the  last  words 
breathlessly,  the  girl  withdrew  her  hand  and  ran  away 
from  him. 

He  knew  that  he  must  not  follow.  She  had  told  him 
why,  and  it  had  not  made  him  too  unhappy.  He  had 
been  very  far  from  losing  hope,  and  even  though  there 
might  be  troubles  ahead,  their  futures  had  seemed  to 
lie  together.  She  was  acting  for  him.  She  cared  for 
him.  But  now,  in  a  second,  everything  was  changed. 
The  mystery  of  her,  which  had  seemed  the  mystery  of 
a  wandering  princess,  was  beautiful  and  romantic  no 
longer.  It  had  become  sordid,  because  it  was  connected 
with  this  swarthy,  smooth-headed  dancer,  Marco  Lopez. 

CHAPTER  XV. 

LADY  GATES  SPURNS  A  FRIENDLY  WARNING. 

Madeleine  Standish  almost  ran  home  to  her  rooming 
house  on  Hawthorne  Avenue.  It  was  not  the  same 
place  in  which  she  had  lived  before  taking  up  work  at 
Montparnasse.  The  first  money  she  earned  from  Lady 
Gates  paid  her  debt  there,  and  thankfully  she  had 
moved  out  of  sordid  disorder  to  comfort  and  cleanli- 
ness. 

It  was  necessary  to  her  plans  that  she  should  save 
money,  for  any  day  she  might  need  a  considerable  sum. 
But  her  room  and  bath  cost  her  only  twelve  dollars  a 
week,  and  she  had  all  her  meals,  save  an  early  cup  of 
coffee  which  she  made  herself,  at  Montparnasse.  Soon, 
too,  she  would  be  receiving  a  good  salary  for  her  work 
in  "Red  Velvet."  Oscar  Sonnenberg  didn't  pay  his 
stars  four  and  five  thousand  dollars  a  week,  as  the  big 
companies  did ;  but,  amateur  that  she  was,  Madeleine 
counted  on  five  or  six  hundred  dollars  a  week  to  begin 
with.  He  wouldn't  dare  offer  less,  for  fear  of  losing 
her.  He  knew  very  well  that  she  wasn't  screen  mad  and 
Continued  on  page  92 


A  Stepson  of  the  Movies 

The  unprecedented  activity  of  the  fans  in  behalf  of  a  newcomer  explains  the  appearance  of 
this  story  of  the  path  that  has  brought  Paddy  O'Flynn  to  the  beginning  of  the  starlit  road. 


61 


HIS   father's  name  was  Patrick  David,  and  his 
mother's  maiden  name  was  Elizabeth  Gordoon. 
Irish!    On  both  sides!    That  same  Elizabeth, 
grown  older  and  gray,  but  with  none  of  the 
twinkle  gone  from  her  eyes  and  her  smile,  wished 
her  son  to  be  an  electrical  engineer.    But  things 
just  didn't  turn  out  that  way.    Her  son  took  the 
name  of  Paddy  O'Flynn,  and  came  to  Hollywood 
instead. 

When  his  parents  first  left  Dublin  they 
settled  in  Canada,  but  it  was  not  until 
after  they  had  moved  to  Pittsburgh  that 
Paddy  was  born. 

When  he  was  seven  the  family  sent  him 
back  to  Toronto  to  attend  school  there. 
He  was  never  a  distinguished  scholar,  but 
he  excelled  in  athletics  throughout  his 
school  years.  Hockey  holds  the  sport 
limelight  in  Canada,  and  Paddy  was  slim 
and  wiry — built  for  speed  on  skates.  He 
was  also  a  piano  student  at  St.  Joseph's, 
and  displayed  considerable  promise  as  a 
musician.  But,  as  with  many  other  things, 
Paddy's  interest  waned. 

That  interest  was  an  elusive 
thing  in  those  days,  and  it  con- 
tinued to  be  fickle  until  he  came 
to  Hollywood.  Good  music,  as 
taught  at  St.  Joseph's  School, 
was  not  for  Paddy. 

A  battered  banjo  came  into  his 
possession,    and   the  half-mad, 
half-dreamy  jazz  he  learned  to 
play  on  it  amused  and  enter- 
tained  him   far  more 
than  his  lessons  at  the 
piano.    Paddy's  buddy, 
Mose  Yokum,  was  also 
a   piano   student,  and 
loved   music,   but  he, 
like   Paddy,  preferred 
jazz  tunes  to  the  melo- 
dies of  the  masters. 

While  the  family  was 
in  consultation  as  to 
the  most  suitable 
school  to  which  Paddy 
might  be  sent  for  his 

training  as  an  engineer,  word  came  that 
Paddy  had  already  returned  to  the  States. 

They  managed,  by  some  hook  or  crook,  to  secure  a 
brief  vaudeville  engagement,  and  considered  themselves 
on  their  way  to  prominence  as  actors.  Both  boys  were 
awkward  and  green,  with  no  theatrical  training  what- 
ever. But  they  played  "hot"  music,  and  the  audience 
responded  to  their  youthful  enthusiasm. 

Vaudeville  knew  Mose  and  Paddy  for  a  number  of 
years.  Mose  managed  to  organize  his  own  orchestra, 
but  Paddy  didn't  relish  being  just  one  of  the  band. 
The  banjo  was  discarded  in  favor  of  a  ukelele,  and  he 
continued  his  act  alone.  He  was  billed  in  vaudeville, 
and  frequently  over  the  radio,  as  "Paddy  O'Flynn  and 


Paddy  O'Flynn's  jinx  has  apparently  taken  flight,  and 
he  has  been  given  a  chance  to  do  some  real  work  in 

pictures. 


Mose  and 


His  Galloping  Ukelele."  During  a  vacation  he  visited 
Hollywood,  and  incidently  played  there  at  KFQZ. 
Hollywood  was  friendly,  and  likedr  Paddy's  Irish  smile. 

^  A  producer  gave  him  a  lead  in  a  serial. 
From  the  first  moment  he  experienced  be- 
fore the  camera,  Paddy  knew  that  his  wan- 
dering fancy  had  found  its  true  love.  At 
first,  of  course,  he  was  camera  shy  and  ig- 
norant of  screen  values.  He 
soon  overcame  this  diffi- 
culty, and  all  through  the 
filming  of  the  picture  he 
was  constantly  being  told 
that  he  was  a  real  "find." 

If  he  thought  his  career 
in  films  would  be  easy  sail- 
ing, after  his  work  in  that 
first  lead,  he  was  doomed 
to  bitter  disillusionment.  In 
the  two  years  which  fol- 
lowed, he  worked  almost 
constantly,  and  was  still 
called  "a  find,"  but  the 
parts  he  appeared  in  never 
seemed  to  get  past  the  cut- 
ting room.  His  bits  were 
always  eliminated  as  either 
not  important  to  the  story, 
or  because  of  some  change 
in  continuity.  But,  during 
all  this  time,  Paddy  studied 
as  he  had  never  studied  be- 
fore, despite  the  disap- 
pointments he  was  contin- 
ually suffering. 

Finally  his  reward  came, 
and  it  was  well  worth 
working  and  waiting  for. 
Henry  Irving  Dodge,  au- 
thor of  "Skinner's  Dress 
Suit,"  and  "Skinner  Puts 
It  Over,"  came  to  Holly- 
wood in  connection  with 
the  production  of  one  of 
his  stories.  He  met  Paddy, 
and  announced  that  he 
"could  write  a  story  every 
hour  for  that  boy."  He 
compliments,  which  Paddy 
was  used  to  praise  by  this 
time,  and  it  never  seemed  to  get  him  anywhere,  so  he 
was  a  bit  cynical.  Mr.  Dodge,  however,  was  actually 
in  earnest.  He  created  the  role  of  Skinner's  son,  and 
called  him  Bill  Skinner,  Jr.,  and  explained  in  no  uncer- 
tain terms  that  Paddy  was  the  one  he  wanted  for  the 
part. 

Thus  Paddy's  jinx  has  taken  flight.  With  his  tem- 
perament, his  famed  Irish  grin,  his  ability,  and  backed 
by  a  loyal  following  of  fans,  Paddy  is  destined  to  write 
some  romantic  chapters  into  the  story  of  his  career.  The 
fan  following  which  he  has  gathered  will  be  back  of  him 
every  inch  of  the  way. 


paid  Paddy  many  other 
didn't  take  seriously.  He 


62 


PAULINE  FREDERICK,  we  predict,  will  be  the 
next  sensation  of  talking  pictures.  It  is  in  the 
cards  that  she  should  be.  She  is  playing  in  the 
emotional,  courtroom  drama,  "On  Trial,"  which  will 
probably  have  some  "Madame  X"  trimmings.  Pauline 
has  a  lovely  voice,  and  she  is  a  wonderful  actress. 

The  speakie  medium  is  very  choosey  about  its  per- 
sonalities, and  seems  to  favor  the  maturer  players.  It 
is  consequently  going  to  mean  a  number  of  come-backs 
for  the  older  favorites — those  who  know  their  screen 
technique,  and  whose  voices  qualify,  because  at  some 
time  or  other  they  have  had  stage  experience. 

Some  of  the  most  attractive  of  the  younger  stars  are 
having  a  frightful  time  trying  to  match  their  voices 
with  their  screen  presences. 

Talkies  or  Squawkies? 

The  recent  outstanding  hit  in  talkies — sometimes 
called  the  squawkies — has  been  scored  by  Gladys  Brock- 
well.  Everybody  seemed  to  like  her  work  in  an  emo- 
tional scene  in  "Lights  of  New  York,"  and  she  was 
engaged  immediately  afterward  for  "The  Home-town- 
ers,"  based  on  a  George  M.  Cohan  play. 

The  cast  includes*  Richard  Bennett,  the  stage  actor, 
Doris  Kenyon,  Robert  McWade,  Robert  Edeson,  Stan- 
ley Taylor,  and  Vera  Lewis.  The  picture  is  all  talkie. 
The  line-up  of  players  doesn't  look  a  bit  like  the  ordi- 
nary cast  of  a  si- 
lent feature.  /' 


Some  Strange 
Newcomers. 

The  Fox  com- 
pany has  launched 
on  their  sound- 
film  era,  with  a 
m i  1  l.i  on-dollar 
plant  and  a  whole 
host  of  talent  re- 
cruited from  the 
spoken  drama 
and  the  musical 
shows. 

Such  names  as 
the  following  will 
certainly  sound 
strange  to  the 
movie  fans :  Gil- 
bert Emery,  Clif- 
ford Dempsey,  Lumsden  Hare, 
McCullough,  Sylvia  Field,  Paul 
Chick   Sale,   Arnold   Lucy,  and 
That's  the  new  Fox  list  of  speakie  stars 


Transmitting  the  latest  news 
and  gossip  from  the  studios. 


Even  pictures  that  have  only  sound  effects,  such  as 
Paramount's  "Warming  Up,"  with  Richard  Dix,  are 
great  drawing  cards.  But  those  that  have  dialogue,  and 
the  most  dialogue,  are  the  biggest  hits  of  all. 

Filmland  in  the  Dumps. 

Aside  from  sound  films,  the  studios  are  inclined  to  be 
terribly  quiet,  and  players  are  not  overly  cheerful.  It 
will  be  two  or  three  months  before  most  of  the  sound 
stages  are  completed,  and  even  then  things  may  move 
very  slowly.  This  is  the  most  severe  period  in  all  film 
history,  and  prophecies  of  a  long,  cold  winter  are  heard 
everywhere. 

More  and  more,  the  smarter  players  are  turning  to 
the  stage  as  an  outlet  for  suppressed  ambitions.  Among 

the  most  recent  is 


rhoto  by  Ball 

The  mutual  love  of  Kenneth  Harlan  and  Marie  Prevost  for  their  police  dog 
opened  the  door,  so  we  hear,  to  the  reawakening  of  their  love  for  each  other. 
Their  difficulties  are  settled,  and  they're  happy  again! 


Robert 
Fung,  Ben 
Helen 


trees  is  an  ingenue 


Clark,  Paul 
Holmes, 
Twelvetrees. 
Miss  Twelve- 
find,"  and  Paul  Fung,  despite  any 
illusions  you  may  have  to  the  contrary,  is  not  a  Chinese 
actor. 

New  Lure  of  Gold. 

The  stock  of  Warner  Brothers,  who  sponsor  Vita- 
phone,  recently  took  a  flight  skyward  on  the  market, 
and  various  stars  and  directors  were  among  the  profit- 
takers.  We  hear  that  Al  Jolson  and  Monte  Blue  were 
among  those  to  strike  it  lucky."  And  there  were  a  score 
of  others. 

A  year  ago  Warner  Brothers  earned  a  meek  little 
$30,000  as  the  annual  recompense  for  their  picture- 
making.  This  year  they  showed  net  returns  of  nearly 
$2,000,000.  This  munificent  increase  was  attributed  to 
the  success  of  "The  Jazz  Singer,"  "The  Lion  and  the 
Mouse,"  "Tenderloin"  and  two  or  three  other  pictures. 
At  every  theater  where  Vitaphone  or  Movietone  is  in- 
stalled, the  audiences  seem  immediately  to  increase. 


Leatrice  Joy.  who 
played  in  a  re- 
vival of  "Clar- 
ence" at  the  Vine 
Street  Theater  in 
Hollywood.  Lois 
Wilson  was  there 
previously,  but  is 
now  quite  busy 
with  sound  pic- 
tures. On  her  de- 
but, Leatrice  was 
literally  over- 
whelmed with 
floral  tokens,  in- 
dicative of  the 
audience's  friend- 
ly admiration  for 
her.  She  garnered 
the  praise  of  ev- 
en-body,  for  the 

pleasing  quality  of  her  voice  and  her  stage  presence. 
Leatrice  is  certain  to  speak  a  piece  on  the  screen  ere 
long. 

Accordion  Infliction  Taboo. 

Helen  Ferguson  is  playing  almost  continuously  be- 
fore the  footlights,  in  the  Henry  Duffy  Coast  Theaters. 
Pier  progress  has  been  remarkable. 

Helen  gave  a  huge  party  to  signalize  her  home-coming 
from  the  Northwest,  where  she  played  a  stage  role  or 
two,  and  told  us,  during  the  evening,  that  she  had  been 
in  communication  with  the  talkie  producers. 

"A  man  from  one  of  the  studios  called  me  up,  and 
asked  me  all  sort  of  questions  over  the  phone,  about 
my  voice  and  my  experience,"  she  related,  "and  when 
he  got  through  with  that,  he  inquired  what  instrument 
I  played. 

"Jokingly,  I  told  him  the  accordion.  Whereupon  he 
hung  up,  and  I  haven't  heard  from  him  since.  At  least, 
I  thought  it  bespoke  a  higher  accomplishment  to  be  able 
to  play  an  accordion  than  a  victrola,  but  seemingly  it 
didn't."  Just  the  same,  it  would  surprise  no  one  if  Helen 
made  a  talkie  debut  before  long. 


63 


T  T  .    .1  "I 

I  1         l/\  I 

■  •  1  ~~ 


j  if        w  mf  mm 


ScLaHert 


Ruth's  Ruddy  Hosiery. 

At  Helen's  party,  Ruth  Roland  dazzled  the  guests  by 
wearing  a  pair  of  short,  red  stockings,  and  was  accused 
by  her  fiance,  Ben  Bard,  of  attempting  to  register  "sox 
appeal." 

Problem  in  Emotion. 

Charles  Delaney  is  one  of  the  newest  good-cheer  am- 
bassadors. He  has  a  blustering  sort  of  naturalness  that 
wins  you  immediately.  Delaney  usually  plays  leads, 
and  will  be  seen  in  Alice  White's  starring  picture,  "Show 
Girl."  Before  working  in  that,  he  had  a  season  in  dog 
films,  often  the  stepping-stone  to  higher  prominence. 

"I  quit  the  dog  pictures,"  Delaney  said,  "because  in 
the  last  one  I  made,  the  canine  star  was  required,  by 
the  script,  to  'look  deliciously'  at  the  hero  and  heroine, 
while  they  were  enacting  a  love  scene.  I  haven't  seen 
the  actor  yet  who  can  'look  deliciously'  at  anything,  so 
I  thought  if  a  dog  could  do  it,  that  was  the  time  for 
me  to  give  up  the  job,  because  it  would  mean  too  much 
competition." 

Murray  Answers  Back. 

Charley  Murray  had  his  troubles  with  a  dog,  during 
a  recent  picture.  The  animal  was  particularly  obstinate 
about  performing  certain  stunts.  Finally,  Charley  broke 
out  in  expostulations  about  it,  and  after  he  had  finished, 
one  of  the  visitors  on  the  set,  impressed  by  the  fact  that 
the  dog  did  not  seem  very  prepossessing  in  appearance, 
asked,  "What's  the  matter,  is  he  a  pick-up?" 

"Pick-up,"  exclaimed  Charlie.  "Pick-up !  Why  he's 
not  even  a  reach-to." 

Pacific  Tendency. 

Here's  a  problem  for  psychologists,  sociologists,  or 
somebody — the  number  of  girl  babies  that  are  born  in 
the  colony.    Three  within  the  space  of  a  few  weeks  was 
the  recent  record.    And  mean- 
while, not  a  single  boy. 

The  new  arrivals  are  Judith 
Niblo,  the  third  child  of  Fred 
Niblo  and  Enid  Bennett;  Mar- 
garet Marsh,  the  third  also  for 
Mae  Marsh,  wife  of  Louis  Lee 
Arms ;  and  Pamela  Novak,  the 
second  daughter  of  Eva  Novak 
and  William  Reed,  a  director. 
The  Niblos  and  Miss  Marsh 
each  have  two  girls  and  a  boy. 

Out  of  forty-odd  film  players 
who  have  children,  we  checked 
up  to  find  more  than  thirty  of 
the  offspring  were  girls,  and 
only  about  twenty  were  boys. 
The  average  probably  runs  about 
three  to  two,  girls  first. 

Bull  Montana,  our  philosophi- 
cal friend,  muses  that  this  high 
percentage  means  that  the  world 
will  not  engage  in  another  war 


for  fifty  years  !  We 
certainly  hope  he's 
correct. 

Film  players, 
who  are  parents  of 
girls,  include  Har- 
old Lloyd,  '  Monte 
Blue,  Jack  Gilbert 
a  n  d  Lea- 
trice  Joy, 
Lina  Bas- 
quette.  Pat 
O'M  alley, 
Eleanor 

Boardman,  Irene  Rich,  Conrad 
Nagel,   Agnes   Ayres,  Conrad 
Veidt,   Gloria   Swanson,  John 
Barrymore,  Tom  Mix,  George 
K.  Arthur  and  others.  Boys 
seem  preferred  -by  Ernest  Tor- 
rence,  Buster  Keaton,  Jean  Her- 
sholt,    Eileen  Percy, 
Mrs.    Wallace  Reid, 
Charles   Chaplin,  Lon 
Chaney,  Lupino  Lane, 
and  Erich   von  Stro- 
heim. 


Millions  will 
now  be  able  to 
see  and  hear  the 
inimitable  and 
beloved  Fanny 
Brice,  in  a 
Vitaphone 
film,  "My 
Man." 


From  Mike  to  Antonia. 

A  name  has  been  de- 
cided on  for  the 
King  Vidor- 
Eleanor  Board- 
man  baby.  She 
is  now  called 
Antonia.  It 
was  under  the 
spell  of  classic 

traditions  abroad,  so  we  hear,  that  this  euphonious  and 
rather  Shakespearean  selection  was  made.  At  one  time, 
you  may  remember,  the  baby  was  temporarily  called 
"Mike."  The  Vidors  believe  in  contrasts,  but,  even  at 
that,  from  Mike  to  Antonia  is  a  large  jump. 


Hayakawa 

Among  actors  whose 
cated  shortly  is  Sessue 
his  first  picture  will  be 
he  himself  is  the  author 


In  "West  of  Zan- 
z  i  b  a  r  ' '  Lon 
Chaney  has  one 
of  the  most 
unique  roles  of 
his  entire  career. 


's  Return  Proposed. 

return  to  the  screen  is  prognosti- 
Hayakawa.  It  is  probable  that 
"The  Bandit  Prince,"  of  which 
.  Sound  and  color  will  be  com- 
bined in  the  making  of  this 
picture. 

There  have  been  rumors, 
which  we  are  inclined  to  dis- 
count, that  Fannie  Ward  might 
be  brought  back  to  do  an  en- 
tirely new,  speaking  version  of 
"The  Cheat"  with  him.  Dear 
old  Fannie !  She'll  be  with  us 
again  some  time.  Make  no  mis- 
take about  it ! 

Josephine  a  Punster. 

The  worst  pun  of  the  season 
is  attributed  to  Josephine  Dunn. 
She  was  guilty  of  it  while  she 
and  Marceline  Day  were  pos- 
ing for  publicity  stills,  in  cos- 
tumes that  were  exact  dupli- 
cates. While  the  photographer 
was  getting  ready  to  take  the 
pictures,  Josephine  surveyed 
Marceline  with  a  critical  eye, 


64 


Hollywood  High  Lights 


and  then  slyly  said,  "Do  you  know  what  the  title  of 
this  photo  ought  to  be?" 
"What?"  queried  Marceline. 

"Why,  we  look  so  much  alike  that  they  should  call  it 
'When  Day  is  Dunn' !" 

Whereupon  the  press  agent  let  out  a  loud  guffaw, 
and  immediately  grabbed  his  notebook.  But  Josephine's 
friends  are  off  her  for  life,  and  she  is  barred  from  the 
Metro-Goldwyn  commissary  as  punishment. 

The  Cowboy's  Version. 

The  effect  of  working  in  Westerns  was  recently  noted 
at  one  of  the  studios,  in  the  conversation  of  a  cowboy 
star,  who  had  been  asked  to  judge  a  beauty  contest. 
His  description  of  the  event  was  as  follows : 

"There  were  about  fifty  head  of  women  there,  and  we 
finally  picked  out  one  of  them,  about  five  hands  high, 
and  weighing  about  110  pounds  on  the  hoof.  We  cut 
her  and  a  couple  of  others  out  of  the  herd,  and  finally 
gave  her  the  blue  ribbon." 

Tim  McCoy  sponsors  this 
story,  and  even  if  we  don't  be- 
lieve it  ever  happened,  it  is  prob- 
ably worth  repeating. 

Caroling  Lights  of  the  Cinema. 

Paramount  has  discovered  two 
singing  stars.  One  is  Wallace 
Beery,  and  the  other  is  Nancy 
Carroll.  The  voice  of  Wallie 
will  be  heard  in  a  tramp  song  in 
"Beggars  of  Life,"  and  Nancy 
will  warble  a  little  ballad  in 
"Abie's  Irish  Rose." 

Wallie  was  on  the  musical- 
comedy  stage  many  years  ago, 
but  the  fact  that  he  was  once  a 
singer  had  almost  been  forgot- 
ten. Miss  Carroll's  vocal  ex- 
perience is  comparatively  recent. 

Buddy  Rogers  is  doing  some 
musical  stunts  in  "Varsity,"  for 
the  "soundies." 

Thou  Shalt  Not  Pass. 

The  rules  regarding  visitors  at 
the  studios  are  becoming  stricter 
again.  A  written  and  much- 
stamped  pass  is  necessary  even 
for  those  whom  business  calls 
to  the  picture  workshops,  but 
who  do  not  actually  labor  there. 

When  sound  stages  are  in 
operation,  practically  nobody  will 
be  admitted  to  see  a  film  in  the 
making.  Every  one  who  is  engaged  on  these  stages 
lives  in  dread  of  somebody  sneezing,  and  spoiling  sev- 
eral hundred  feet  of  film,  not  to  speak  of  a  nice  wax- 
recording  of  the  players'  vocalizations.  Hence  the  visi- 
tor restrictions. 

The  sound  stages  are  tomblike  in  their  quiet,  and  any- 
body who  causes  even  the  slightest  commotion  during 
a  scene  immediately  finds  himself  the  target  for  angry 
and  fiery  glances  from  the  director  and  all  his  various 
assistants. 

Incidentally,  in  hot  weather,  a  Turkish  bath  is  cool, 
by  comparison  with  these  air-tight  structures.  Movie 
life  is  anything  but  what  it  used  to  be. 

Fannie's  Slang  Confuses. 

Al  Jolson  and  Fannie  Brice  have  both  set  a  new  style 
for  studio  hours.    They  make  many  of  their  scenes  at 


night 


They  prefer  this  way  of  working,  because  it  con- 
forms with  the  theatrical  routine  to  which  they  are 
accustomed. 

Fannie  told  us  that  she  was  "all  excited"  about  her 
first  screen  experience.  "It  is  terribly  hard  on  the 
dogs,  though,"  she  said. 

Following  which  comment,  a  tourist  who  happened  to 
be  with  us,  looked  curiously  around  to  see  where  the 
Pomeranians,  collies  or  chows  were,  that  he  thought 
Fannie  was  talking  about. 

"Here  are  the  dogs — right  on  the  floor  in  front  of 
me,"  volunteered  the  zestful  comedienne,  pointing  to 
her  feet.    "A  pair  of  them,  and  they  sure  are  yelping!" 

Connie's  Baffling  Fortunes. 

When  will  Constance  Talmadge  work  again? 
Originally  just  a  plaintive  little  inquiry,  this  has  be- 
come a  crying  question.    Nobody  seems  to  know  the 
answer — least  of  all  Connie  herself. 

It  has  been  said  that  she 
would  soon  make  a  picture  for 
United  Artists,  but  then  abso- 
lutely nothing  has  been  done 
about  this.  "East  of  the  Set- 
ting Sun"  was  mentioned  for 
her  once,  as  a  possibility,  and 
then  "The  Last  of  Mrs.  Chey- 
ney."  But  both  have  been 
dropped,  as  far  as  she  is  con- 
cerned, and  still  nothing  is  in 
sight  for  her. 

When  we  saw  her  last,  Con- 
nie looked  unusually  well  and 
attractive — and  gay,  as  is  her 
wont. 

Buster  Collier  is,  these  days, 
generally  her  escort.  But  then, 
there's,  nothing  startlingly  new 
in  that.  She  and  Buster  have 
been  going  about  together  in- 
termittently from,  it  would  al- 
most seem,  time  immemorial. 

A  Colorful  Excursion. 

Pauline  Starke  has  had  a 
sudden  burst  of  good  luck.  She 
is  the  heroine,  and  in  fact  prac- 
tically the  only  important  fem- 
inine player  in  "The  Thrall  of 
Leif  the  Lucky,"  the  new  color- 
sound  feature.  It  is  a  story  of 
the  vikings. 

Many  girls  wanted  the  role, 
because  the  film  is  bound  to  at- 
tract attention.   Pauline  won  it, 
and  then  had  to  dye  her  hair  a  radiant  blond,  so  that 
she  could  play  it. 

Mary  Becoming  a  Gadabout. 

Mary  Pickford  has  done  the  unprecedented  thing  of 
going  to  several  movie  parties  lately,  and  lunching  at 
the  Montmartre.  She  attended  a  farewell  function 
given  for  Dolores  del  Rio,  and  brought  Dolores  a  hand- 
some leather  diary,  in  which  to  keep  a  record  of  her 
trip  to  Europe.  At  the  Montmartre  she  was  the  guest 
of  Marion  Davies. 

Social  activities  with  Doug  and  Mary  have,  in  the 
past,  mainly  been  confined  to  Pickfair,  and  to  their 
semiprofessional  association  with  affairs  given  by  the 
Academy  of  Motion  Picture  Arts  and  Sciences,  and  a 
few  very  large  and  formal  banquets. 

Mary  also  entertained  the  "Our  Girls"  Club  not  long 


Photo  by  Dyar 

Ruth  Elder  seems  to  be  as  happy  on  the 
ground,  and  in  Hollywood,  as  we  are  led  to 
believe  that  she  was  when  in  the  air,  and  over 
the  Atlantic. 


Hollywood  High  Lights 


65 


ago,  at  her  home.  She  is  honorary  president  of  this 
organization,  which  numbers  among  its  members  Laura 
La  Plante,  Julanne  Johnston,  Virginia  Valli,  Virginia 
Fox,  Ruth  Roland,  Gertrude  Olmsted,  Claire  Windsor, 
Anita  Stewart,  Billie  Dove,  Gloria  Hope,  Carmelita 
Geraghty,  May  McAvoy,  Lois  Wilson,  Mildred  Lloyd, 
Carmel  Myers,  Edna  Murphy,  Patsy  Ruth  Miller,  Helen 
Ferguson,  Leatrice  Joy,  Pauline  Garon,  Marjorie  Daw, 
Colleen  Moore,  and  Clara  Horton. 

"Our  Girls"  Club  is  one  of  the  oldest  organizations  in 
social  film  life,  having  been  formed  fully  five  years  ago. 

A  Duel  Averted. 

And  now  all  Hollywood  can  draw  an  easy  breath 
again.  For  Jetta  Goudal  and  Lupe  Velez  have  played 
their  first  scene  together,  in  "The  Song  of  Love,"  and 
neither  asked  for  pistols  and  seconds. 

Carmines  Her  Coiffure. 

Lya  de  Putti  has  turned  red-headed.  We  didn't  see 
her  before  she  left  for  New  York,  but  we  hear  that  the 
shade  she  has  adopted  is  very  giddy.  Lya's  doll-like, 
raven  bob  has  always  been  distinguishing,  and  it  is  a 
pity  that  she  has  been  caught  by  the  Hollywood  epi- 
demic of  "auburnitis." 

Echoes  "The  Three  Musketeers." 

Doug  Fairbanks'  decision  to  engage  Marguerite  de 
la  Motte  as  leading  lady  of  "The  Iron  Mask"  is  an  echo 
of  past  history.  You  may  remember  that  Marguerite 
played  the  heroine  in  "The  Three  Musketeers."  And, 
of  course,  "The  Iron  Mask"  is  the  sequel. 

Several  other  players  from  the  earlier  D'Artagnan 
tale  are  cast  in  the  new  one,  among  them  the  French 
actor,  Leon  Bary,  and  Nigel  de  Brulier.  The  latter 
will  be  Cardinal  Richelieu  again. 

We  wonder  if  anybody  remembers  now  that  Adolphe 
Menjou  played  the  comparatively  small  part  of  the 
King  of  France  in  "The  Three 
Musketeers,"  when  it  was 
made  six  or  seven  years  ago? 

Buster  Has  a  Good  One. 

Buster  Keaton  has  made 
his  funniest  comedy  in  ages. 
We  saw  it  at  a  preview,  and 
it  should  be  sure-fire  with 
audiences.  The  story  is  about 
a  news-reel  photographer,  who 
gets  mixed  up  in  a  Chinese 
tong  war.  Buster  not  only 
wins  many  laughs,  but  also  achieves  a 
note  of  pathos  in  his  latest  picture. 

Mary  Charms  Collegiates. 

Mary  Brian  may  be  in  love,  but  she 
won't  admit  it.  Anyway,  she  probably 
believes  there  is  safety  in  numbers. 

"Peter  Pan's"  pretty  Wendy,  whose  career 
is  one  of  the  bright  records  of  youth  in  the 
movies,  is  constantly  being  reported  engaged 
to  some  one  or  other.  First  it  was  the  son  of 
a  millionaire  from  San  Francisco — then  Buddy 
Rogers,  and  still  more  re  cently,  "Biff"  Hoff-  L 
man,  football  player  on  the  Stanford  team. 

The  facts  are  that  Mary  isn't  really  affianced 
to  any  of  the  gentlemen  mentioned.  She  told  \ 
us  herself,  so  earnestly  and  sincerely  that  we  \ 
waived  further  third-degree  questioning,  and 
are  now  prepared  to  admit  that  we  really  be- 
lieve her.  But  it  isn't  in  the  game,_  appar- 
ently, for  a  sweet  and  appealing  girl  like  her-  ^ 


self,  with  gentle,  old-fashioned  ways,  not  to  be  admired 
by  the  opposite  sex. 

It  probably  denotes  some  sort  of  renaissance,  that  the 
collegiates  are  in  her  first  line  of  attendants.  Who 
knows,  maybe  our  rah-rah  boys  are  growing  weary 
of  the  flapper  type,  who  has  rendered  such  valiant  serv- 
ice, and  whose  first  direct  claim  to  masculine  attention 
has  been  a  right  arm,  grown  hefty  through  ukulele 
strumming  and  saluting  the  cocktail  brigade? 

Their  Ultimate  Gifts. 

Sad  echoes  come  out  of  the  past  occasionally,  and 
memories  of  stars  whose  names  are  half  forgotten  in 
the  maelstrom  of  Hollywood  life  are  revived  by  some 
chance  word  or  news  item. 

Not  long  ago  we  read  that  Lucille  Ricksen,  the  little 
girl  who  died  a  few  years  ago,  just  as  she  was  growing 
into  a  delicate-featured  ingenue,  left  an  estate  valued  at 
$35,000,  which  is  aiding  her  young  brother  to  go  through 
college. 

The  instance  of  Charlie  Mack,  too.  At  one  time  it 
was  thought  he  had  left  nothing.  But  we  note  that  the 
final  accounting  showed  $15,000,  left  to  his  widow  and 
their  young  son.  Not  much,  but  it  will  help,  because 
Mrs.  Mack  was  having  a  very  difficult  time  of  it  about 
a  year  or  so  ago. 

Mack's  death  occurred  just  when  he  was  getting  on 
his  feet,  you  may  remember,  after  a  long^  bitter  strug- 
gle to  procure  a  foothold  in  the  Western  studios.  That 
was  the  reason  his  estate  was  comparatively  small. 

"Whither  Thou  Goest  " 

Wherever  Cecil  DeMille  goes,  his  museum  follows 
after.  Doubtless  you  have  heard  more  than  once  about 
his  famed  curio  collection.  It  consists  of  everything  in 
the  world,  from  mammoths'  tusks  down  to  a  Phoenician 
thimble.  We  don't  know  whether  the  Phoenicians  used 
thimbles,  but  if  they  did,  DeMille  must  possess  one, 
since  his  assemblage  of  trophies  and  relics  is  sp  com- 
prehensive. 

The  honorable  Cecil  has  always  derived  great  in- 
spiration from  this  celebrated  accumulation  of  memen- 
toes, for  it  has  added  to  the  atmosphere  of  every  office 
which  has  been  the  setting  for  his  labors.  He  has 
moved  the  collection  from  the  Pathe-DeMille  studio, 
where  he  was  formerly  located,  to  the  Metro-Gold,wyn 
lot,  where  he  is  at  present  working  on  a  new  produc- 
tion. 

DeMille  was  variously  reported  as  joining  United 
Artists  and  going  back  to  Paramount,  but  he  finally 
settled  on  M.-G.-M.  This  brings  him  to  the  same  lot 
where  James  Cruze  recently  filmed  "Excess  Baggage." 

It  is  rather  curious  how  the  affairs  of  these  two  men 
progress  along  channels  somewhat  similar.    Both  were 
formerly  with  Paramount;  then  both  were 
connected  with  Pathe,  and  now  they  touch 
hands  in  passing,  so  to  speak,  at  Metro.  At 
the  time  Cruze  made 
  "The    Covered  Wag- 
on," and  DeMille  "The 
*^«-*v  Ten  Commandments," 
\       at   Paramount,  they 
\;    were  considered  rivals. 


Now,  we  honestly 
believe  that  this 
is  no  way  for  a 
real,  he-man  to 
act,  even  if  it 
does  happen  to  be 
Karl  Dane. 


Reunited — Sue  and  Nick! 

The  old  wheeze  about  Mahom- 
et and  the  mountain  may,  with 
modifications,  be  resurrected  to 
fit  the  case  of  Sue  Carol,  who  set 
off  a  month  or  so  ago  on  a  jaunt 
to  Europe  Sue,  while  on  tour 
Continued  on  page  99 


66 


James  Hall,  .left,  does  some  lively 
stepping  in  Paramount's  new  pic- 
ture, "The  Fleet's  In." 


Nobody  loves  a  fat  man — not  even 
when  he's  a  sailor — so  Oliver 
Hardy,  below,  right,  has  a  monkey 
for  a  companion  in  "Two  Tars." 


Trie  Fleet 

No,  you're  wrong — it's  only  the 
querading  as  the  popular  sons 


Gary  Cooper,  above,  in  "Half  a  Bride,"  might  be  known  as 
"a  white-collar  sailor,"  one  of  the  kind  that  owns  a  yacht. 

Olive  Borden,  right,  boarded  "The  Albany  Night  Boat"  about 
noon — to  the  evident  satisfaction  of  Ralph  Emerson. 


67 


Must  Be  In! 


children  of  Hollywood  mas- 
and  daughters  of  Neptune. 


his  own  business,  in 


Stan  Laurel, 
above,  just  a 
capable,  efficient 
sailor,  minding 
Two  Tars." 


Jack  Oakie,  right,  is  James  Hall's 
rival  for  the  love  of  Clara  Bow 
in  "The  Fleet's  In." 


Dorothy   Mackaill,   below,  makes 
the  best-looking  sailor  that  we've 
seen  -in  a  long  while,  in  "Water- 
front." 


Nick  Stuart,  left,  gets 
the  dope  from  Victor 
McLaglen  in  a  scene 
from  "The  River  Pirate." 


Billy  Dooley  and  Mar- 
guerite    Hoffman  give 
their  "It"  to  the  camera 
in  a  Christie  comedy. 


68 


A STUDY  of  madness  that  ends  in  tragedy  is  the 
portrait  Emil  Jannings  gives  us  in  "The  Patriot," 
a  story  of  Russia  in  1801,  when  the  destiny  of 
the  empire  was  tossed  about  like  a  toy  by  the  insane 
Czar  Paul.  It  is  a  magnificent  portrait,  as  inspired  as 
any  the  great  Jannings  has  undertaken.  If  his  pre- 
eminence were  ever  in  doubt  it  is  undisputed  now,  not 
only  because  of  the  sweeping  emphasis  Jannings  gives 
the  darker  aspects  of  the  Czar's  mind,  but  because  in 
spite  of  his  cruelty  on  one  hand  and  his  pettiness  on 
the  other,  the  actor  makes  the  madman  pitiable  and 
sympathetic.  And  so  sure  is  the  hand  of  Ernst  Lu- 
bitsch, the  director,  that  these  extremes  of  character 
remain  in  perfect  balance.  The  Czar  is  a  fiend  and  a 
spoiled  child  at  one  and  the  same,  time — a  menace  and  a 
buffoon.  All  this  dovetails  with  the  motivation  of  the 
story,  which  is  the  assassination  of  the  emperor  that 
Russia  may  be  freed  from  the  yoke  of  the  mad  despot. 
The  murder  is  instigated  by  Count  Pahlen,  the  one  hu- 
man being  the  Czar  trusts  and  loves,  to  save  his  country 
from  ruin.  He  is  The  Patriot.  His  crime  is  made  fo 
seem  the  sublimation  of  patriotism,  for  he  forces  the 
very  man  whom 
he  incited  to  kill 
the  Czar  to  be  his 
own  executioner. 

But,  stark  trag- 
edy though  the 
picture  is,  it  is 
lightened  by 
many  human, 
amusing  touches, 
some  of  them  be- 
ing the  childish, 
sly  antics  of  the 
tragic  figure  of 
the  Czar  himself. 
There  is  little  or 
no  love  story,  if 
the  mild  liaison 
of  Count  Pahlen 
and  the  Countess 
Ostermann  be  ex- 
cepted. Even  this 
is  discounted  by 
the  fact  that 
Pahlen  uses  the 
Countess  as  a 
pawn  in  his  de- 
struction of  the 
Czar.  Because  of 
this  very  lack,  it  is  therefore  deeper  and  more  specialized 
— truly  a  study  of  disintegration. 

Whether  the  appeal  of  "The  Patriot"  will  be  lessened 
because  of  this,  remains  to  be  seen.  But  whatever  the 
final  verdict,  there  can  be  but  one  opinion  of  the  acting  of 
Jannings  and  the  direction  of  Lubitsch.  Likewise  there 
will  be  little  diversity  of  thought  regarding  the  efforts 
of  the  entire  cast — Lewis  Stone,  Florence  Vidor,  Neil 
Hamilton,  Tullio  Carminati,  Harry  Cording,  and  Vera 
Voronina.  Rarely  has  a  more  perfect  ensemble  been 
seen,  Mr.  Stone,  according  to  prevailing  standards,  ap- 
proaching what  many  will  consider  brilliance.  It  is  he 
who  plays  the  final  scene  as  well  as  the  title  role,  surely 
a  state  of  affairs  unusual  enough  to  justify  further 
praise  of  Jannings,  this  time  on  the  score  of  a  star's 
generosity  to  a  supporting  player.  I  dispute  the  degree 
of  brilliance  which  will  probably  be  accorded  Mr.  Stone, 
because  to  me  his  performance  is  only  that  of  a  con- 
summate technician,  an  actor  whose  command  of  the 
resources,  the  tricks,  of  acting  is  so  complete  and  facile 
that  he  employs  them  with  a  fluency  that  robs  his  acting 


of  inner  warmth,  and  reduces  it  to  the  functioning  of  a 
fine  mechanism.  Florence  Vidor,  as  the  Countess,  on 
the  other  hand,  has  never  seemed  less  mechanical.  Not 
only  is  she  delicately  beautiful,  but  her  politely  glacial 
quality  has  melted  into  almost  saucy  provocativeness ! 
This  is  attributable  to  the  directorial  mesmerism  of 
Lubitsch,  as  any  one  -who  saw  "The  Marriage  Circle" 
will  realize.  As  the  Crown  Prince,  Neil  Hamilton  has 
several  eloquent  moments,  notably  that  in  which  he 

pleads  for  his 
father's  love  and 
is  repulsed,  and 
at  all  times  he 
is  sensitive,  and 
conveys  his 
awareness  of  the 
responsibilities 
of  an  emperor's 
son.  The  pic-fc 
ture  has  been 
given  a  superb 
production,  but 
as  much  cannot 
be  said  of  the 
sound  effects, 
which  lend  no 
aid  to  realism 
at  all — u  n  1  e  s  s 
you  demand  that 
the  sound  of  ex- 
pectoration ac- 
company the  ac- 
tion, as  it  does 
in  one  instance. 


Colleen  Moore,  in  "Lilac  Time,"  plays  opposite  Gary  Cooper  who, 
as  her  aviator  sweetheart,  has  more  than  his  share  of  trouble — and 
not  always  in  the  skies. 


Life's  Hardships 
at  Lilac  Farm. 

The  subject  of 

airplane  warfare  has  been  pretty  thoroughly  covered  in 
"Wings,"  "The  Legion  of  the  Condemned,"  and  a  score 
of  lesser  photoplays.  The  war  itself  has  been  given 
memorable  representation  in  "The  Big  Parade"  and 
"What  Price  Glory?"  It  would  seem  that  nothing  new 
could  be  said,  and  that  any  attempt  to  do  so  might  be 
reminiscent  of  what  had  gone  before.  Exactly  this  hap- 
pens in  "Lilac  Time." 

And  as  almost  every  star  has  made  at  least  one  con- 
tribution to  the  staggering  total  of  war  pictures,  it 
should  occasion  no  surprise  to  find  Colleen  Moore  doing 
her  bit  somewhat  belatedly.  It  is  a  pretentious  bit,  with 
all  the  signs  of  having  been  considered  an  epic  by  those 
responsible  for  it. 

Which  means  that  the  first  part  is  a  long-drawn-out 
prelude  to  the  expensive  airplane  sequences  in  the  sec- 
ond half,  and  that  the  production  boasts,  besides  the 
usual  aids,  a  technical  flight  commander,  a  technical  ex- 
pert, a  French  military  expert,  an  ordnance  expert,  and 
a  research  expert.  Perhaps  the  superabundance  of  ex- 
pertness  necessary  to  achieve  realistic  airplane  maneu- 


69 


The  new  season  opens  auspiciously  with  some 
superb  performances  in  memorable  pictures,  but 
the  dregs  of  the  old  season  are  still  with  us. 


vers,  is  why  the  supposed  heart  throbs  of  the  human 
beings  are  distinctly  faint.  But  the  endeavors  of  Miss 
Moore,  as  Jeannine,  to  brighten  the  lives  of  the  seven 
English  aviators  billeted  at  Lilac  Farm,  are  far  from 
faint-hearted.  They  seem  imbued  with  the  energy  of  a 
star  comedienne  with  unlimited  footage  at  her  disposal, 
and  the  entire  cast  the  butt  of  her,  practical  jokes. 

Much  as  I  admire  Miss  Moore's  pantomime  and  her 
spontaneity,  and  her  simplicity  and  sincerity  at  times, 
her  pranks  in  "Lilac  Time"  came  perilously  near  caus- 
ing me  to  forget 
that  I  had  ever 
admired  her.'  I 
wondered  why 
the  aviators  did 
not  do  her  vio- 
lence. Then  I  re- 
membered they 
were  actors  on 
hire,  and  perforce 
gallant  knights  of 
Hollywood,  to 
whom  a  star  is  a 
pay  check. 

Comedy  is  all 
very  well,  and 
Miss  Moore's  can 
be  deft  and  amus- 
ing at  times,  but 
the  high  jinks  at 
Lilac  Farm  are 
of  a  sort  to  make 
one  ask  if  Jean- 
nine  is  only  tact- 
less, or  just  brain- 
less. Comes  Cap- 
tain Philip  Blythc, 

in  the  person  of  Gary  Cooper,  to  be  another  victim  of 
Jcannine's  girlish  high  spirits.  She  gives  him  a  mus- 
tard sandwich,  and  that  the  spectator  may  be  sure  of 
what  she  is  up  to,  a  big  close-up  shows  a  tin  of  English 
mustard'  such.as  no  French  farm  would  have  in  the  larder, 
especially  during  the  war.  But  Jeannine  must  have  her 
way,  and  no  littlest  joke  must  be  overlooked.  Presently 
Jeannine  and  Philip  are  calling  each  other  "dearest"  and 
"beloved"  with  the  suddenness  of  another  joke,  and 
soon  his  father  appears  with  Lady  Iris  in  the  offing, 
and  Jeannine  undergoes  heartbreak  on  the  side  lines, 
because  of  Philip's  aristocratic  fiancee.  The  aviators 
fly  away  to  do  battle  in  the  clouds,  and  Jeannine  is  left 
to  ponder  on  Philip's  farewell :  "I  shall  never  smell  lilac 
blossoms  without  thinking  of  you.  Love  never  dies." 
Philip  is  shot  down,  and  Philip's  father  tells  Jeannine 
that  his  son  is  dead.  She  sends  lilacs  to  be  placed  close 
to  him-,  whereupon  Philip  is  brought  to  his  senses.  Thus 
parental  objections  and  every  other  obstacle  to  a  happy 
ending  dissolve  in  a  whiff  of  lilac. 

Miss  Moore  does  not  succeed  in  giving  Jeannine  that 
wistful  pathos  required  by  the  role  to  realize  its  fullest 


value,  though  when  she  ceases  her  hoydenish  capers 
the  relief  is  so  great  that  her  subsequent  efforts  are 
comparatively  soothing.  Gary  Cooper  will  not,  I  am 
sure,  in  years  to  come  gather  his  grandchildren  around 
his  knee-  and  say;  "That  was  a  part!"  Because,  for 
him,  it  isn't  a  role  at  all.  He  is  agreeable,  for  he  could 
not  be  otherwise,  but  the  fine  tenseness  of  which  he  is 
capable,  and  the  deep  feeling  which  underlies  his  casual 
self-containment,  I  find  not  there.  The  mustard  sand- 
wich is  held  responsible.  He  was  sacrificed  to  it  by  di- 
rection which  failed  to  touch  the  vital  spark  in  him. 

The  Terror  of  Too  Much  Talk. 

The  grip  of  the  talkies  further  tightens  with  the  pro- 
duction of  the  first  feature-length  picture  of  that  sort, 
"The  Terror."  Its  forerunner  was  "Lights  of  New 
York,"  the  story  of  which  was  told  entirely  in  dialogue. 
It  was  only  a  program  offering,  but  the  new  picture  is 
nearly  twice  as  long.  The  elimination  of  the  printed 
word  is  carried  further  by  having  a  masked  speaker 
announce  from  the  screen  the  names  of  the  players,  as 
well  as  all  the  other  credits  that  heretofore  have  been 
lettered  on  the  film.     Ah,  out,  it  is  talkie  with  a 


John  Miljan,  Holmes  Herbert,  May  McAvoy,  Louise  Fazenda,  and 
Alec  B.  Francis  have  much  to  say  in  "The  Terror,"  the  new  picture 
played  entirely  in  dialogue. 


But  this  orgy 
of  speech  is  en- 
joyed, if  enjoyed 
it  is,  at  a  sacri- 
fice of  move- 
ment, of  action.' 
For  a  real  mys- 
tery melodrama, 
"The  Terror"  is 
much  too  slow 
to  realize  its  ul- 
timate chills  and 
thrills.  This  is 
because  the  ex- 
igencies of  the 
recording  proc- 
ess demand-  that 
dialogue  be  car- 
ried on  while  the 
players  remain 
stationary.  Con- 
sequently there 
are   long  se- 


quences that  re- 
semble a  stage 
play  more  than 
a  movie.  Thus  the  story,  which  is  really  one  of  action, 
is  slow  moving  and — to  me  at  least — tiresome.  Yet  it 
is  plainly  seen  that  without  dialogue  and-  sound  effects, 
it  would  have  been  a  corking  thriller  on  the  order  of 
"The  Cat  and  the  Canary,"  which  remains  at  the  high- 
water  mark  among  eerie,  spooky  yarns.  Opportunity  is 
given  the  spectator  to  share  this  opinion  in  the  latter 
part  of  the  picture,  when  the  dialogue  subsides  and  clear 
action  comes  into  its  own.  There  is  the  old,  reliable 
thrill  of  physical  violence  actuated  by  primitive  emo- 
tions. 

The  story  concerns  a  number  of  characters  more  or 
less  expected  in  a  murder  mystery.  They  are  Doctor 
Redmayne,  who  conducts  what  the  English  call  a  "rest 
home";  his  daughter  Olga,  various  guests,  including  a 
toad,  and  some  unexpected  visitors,  among  them  a 
whimsical  fellow,  the  eventual  unmasker  of  The  Terror, 
whose  accomplishments,  besides  murder  and  embezzle- 
ment, include  ghostly  organ-music  which  rumbles  at 
midnight  from  nowhere.  Louise  Fazenda  plays  a  com- 
edy role,  of  course,  but  it  is  a  much  more  restrained 
than  her  usual  eccentrics.    She  is  Mrs.  Elvery,  a  spir- 


70 


The  Screen  in  Review 


"Forgotten  Faces. 


itualistic  "fan,"  given 
to  seances  and  the 
ouija  board.  Her 
make-up  is  subtly 
funny,  and  one  waits 
for  her  voice  with  sus- 
pense. All  the  voices 
are  clear  and  distinct, 
and  every  one  in  the 
cast  gives  a  good,  if 
not  memorable,  per- 
formance. Besides 
Miss  Fazenda,  the 
players  are  May  Mc- 
Avoy,  Edward  Everett 
Horton,  Alec  Francis, 
Mathew  Betz,  Holmes 
Herbert.  John  Mil j an, 
Otto  Hoffman,  Joseph 
Girard,  and  Frank  Austin 
just  lots  to  talk  about. 


Every  one  has 


The  South  Seas  As  They  Really  Are. 

At  least  "White  Shadows  in  the  South 
Seas"  is  authentic  for  the  picture  was  photo- 
graphed on  the  natural  locations,  with  the 
ancient,  native  tribes  of  the  Marquesas  Island, 
save  for  the  three  principal  players  from 
Culver  City — 'Monte  Blue,  Raquel  Torres, 
and  Robert  Anderson.  The  sound  effects 
that  have  been  added  in  a  frantic  effort  to 
give  the  picture  additional  drawing  power 
are  not  of  the  South  Seas,  but  of  the  studio 
with,  it  is  suspected,  the  aid  of  the  ukulele 
players  always  on  tap. 

It  goes  without  saying  the  picture  is  beauti- 
ful— riotously  so.    The  lush  vegetation,  the 

tall,  feathery  palms,  the  vistas  of  sea  and  sky  are  all  pictorial 
poems.  What  there  is  of  story  constitutes  a.  rather  poignant  tract, 
rather  than  a  narrative  steadily  mounting  to  a  climax.  In  fact, 
to  many  the  most  interesting  part  of  the  picture  is  its  introduc- 
tion before  any  story  is  discernible.  This  includes  episodes  of 
pearl  diving,  its  perils  and  the  toll  of  human  life  exacted  in  return 
for  little  or  nothing,  for  the  natives  are  ignorant  of  the  value  of 
the  pearls  they  retrieve  from  the  deep. 

Slight  though  the  story  is,  its  motive  is  strong.  Purporting  to 
show  the  corrupting  influence  of  the  white  man,  it  begins  when 
Sebastian,  a  villainous  storekeeper,  trades  a  dollar  watch  for  a 
magnificent  pearl,  and  urges  the  diver  to  get  more  of  them.  Doc- 
tor Lloyd,  a  drink-sodden  derelict,  upbraids  Sebastian  and  eventu- 
ally is  fashed  to  the  steering  wheel  of  a  vessel  by  the  storekeeper, 
who  expects  never  again  to  see  the  disturber.  A  typhoon  wrecks 
the  ship,  and  Doctor  Lloyd  is  cast  upon  the  shore  of  a  distant  island 


inhabited  by  a  virgin  tribe.  When  he  is  about  to  wed  the  chief's 
daughter,  Sebastian  reappears,  bent  on  exploiting  these  natives  as 
he  has  the  others.  Against  the  entreaties  of  Doctor  Lloyd,  Sebas- 
tian and  his  crew  are  allowed  to  land,  and  in  the  ensuing  melee 
Lloyd  is  killed.  But  Sebastian  gains  his  ends,  for  the  conclusion 
of  the  picture  shows  the  innocent  natives  in  the  throes  of  civiliza- 
tion as  practiced  by  the  whites. 

Monte  Blue  is  capable  as  Lloyd,  Robert  Anderson  is  Sebastian, 
and  a  newcomer  named  Raquel  Torres  makes  Fayaway,  the  chief's 
daughter,  vital,  naive,  and  charming. 

At  Last  a  Story  for  Grown-ups! 

"The  Perfect  Crime"  suffers  from  no  such  complaint  as  is  found 
in  most  pictures — a  feeble,  tenuous  story.  In  this  case  the  plot  is 
marvelous,  full-bodied,  adult.  It  is  somewhat  weakened,  however, 
by  obvious,  moviesque  treatment.  But  even  this  does  not  dim  the 
brilliant  acting  of  Clive  Brook, 'as  Doctor  Benson,  the  detective 
who,  in  despair  of  there  ever  being  a  perfect,  unsolvable  crime, 

commits  one.  The  result  is  only  one  of 
the  most  interesting  pictures  of  the 
month,  when  a  bit  of  polish  would  have 
made  it  the  outstanding  gem.  But  don't 
let  this  deter  you  from  seeing  it,  espe- 
cially if  Clive  Brook  is  a  favorite. 

There's  an  unwritten  law  against  tip- 
ping off  mystery  stories  in  detail,  so  I 
shall  not  break  it,  except  in  general  out- 
line. Doctor  Benson  has  become  es- 
tranged from  his  fiancee,  because  he  will 
not  give  up  his  detective  work.  He  re- 
signs from  the  police  force  when  it  is 
too  late  to  restore  Stella  to  him.  Sub- 
sequent'events  are  caused  by  the  madness 
that  overcomes  him  at  the  loss  of  Stella, 
and  the  great  detective  becomes  a  crimi- 
nal. The  arrest  and  trial  of  an  innocent 
man  are   responsible   for  a  courtroom 

 scene  more  exciting' 

than  any  recent  one. 
This  is  because  it  is 
played  with  spoken 
dialogue,  which  is 
employed  intermit- 
tently throughout  the 
film.  It  is  so  pat- 
ently an  improve- 
ment upon  all  simi- 
lar scenes  that  we 
have  seen  before, 
that  it  is  hoped  si- 
lent proceedings  will 
hereafter  be  a  thing 
of  the  past. 


"The  Mysterious  Lady." 


"Powder  My  Back 


'Forbidden  Hours.' 


The  Screen  in  Review 


71 


Carroll  Nye  and  Ethel  Wales  show  themselves  to  possess  clear, 
modulated  voices,  but  Mr.  Brook,  who  is  similarly  endowed  in  real 
life,  is  not  permitted  to  make  himself  heard  in  any  part  of  the 
him.  Irene  Rich  is  rather  unfoitunately  cast  as  Stella,  because 
the  role  is  a  Pollyanna,  but  the  cast  as  a  whole  is  A-l. 

The  Grandeur  That  Is  Baclanova. 

Baclanova's  is  a  face  you  won't  forget  in  "Forgotten  Faces." 
The  strangely  fascinating  Russian,  and  her  catlike  eyes,  conspire 
to  hold  the  spectator  in  a  hypnotic  spell  throughout  her  iniquitous 
doings.  This  is  one  spectator  under  her  spell,  who  thinks  she  could 
have  played  every  role  in  the  picture,  with  Pollyanna,  Peter  Pan, 
and  Bcn-Hur  thrown  in  for  good  measure  to  test  her  skill  in  idle 
moments.  But  this  happy  state  of  affairs  is  the  pure  fantasy  of  a 
susceptible  critic  who,  too  often  cast  into  lethargy  by  players  who 
cannot  act  at  all,  goes  haywire  when  confronted  by  acting  so 
spacious  and  grand  that  there  seems  enough  of  it  to  vivify  the 
Hollywood  wallflowers,  and  make  them  all  tiger  lilies.  Long  may 
Baclanova  reign,  says  he  with  gratitude  too 
full  for  further  words. 

"Forgotten  Faces"  is  an  underworld  melo- 
drama shrewdly  directed,  interestingly  pho- 
tographed and  well  acted  by  Clive  Brook, 
Mary  Brian,  William  Powell,  Fred  Kohler, 
and  Jack  Luden.  It  is  a  story  of  mother 
hatred,  not  love,  and  because  of  this  you 
won't  find  Baclanova,  as  Lily  Harlow,  the 
parent  of  Mary  Brian,  wasting  any  time  in 
maternal  sentimentalities.  Her  husband, 
"Heliotrope  Harry"  Harlozv,  a  crook,  takes 
their  child  from  her  when  he  discovers 
Lily's  unworthiness,  and  serves  a  life  term 
in  the  penitentiary  for  murder.  Lily  dis- 
covers the  whereabouts  of  the  child,  now 
grown  up  as  the  foster-daughter  of  wealthy 
people,  and  is  bent  on  wrecking  her  life. 
Heliotrope  Harry,  released  on  parole  with 
the  promise  not  to  lay 


"White  Shadows  in  the  South  Seas." 


At  Yale. 


hands  on  his  wife, 
formulates  a  plan  to 
save  his  daughter  by 
terrorizing  Lily.  He 
does  this  largely 
through  the  -  scent  of 
heliotrope,  until  she 
meets  her  death. 
These  sinister  pro- 
ceedings are  not  as 
closely  knit  as  they 
should  have  been,  but 
the  picture  as  a  whole 
is  an  enormously  ef- 
fective movie. 

"Hot  News." 


"Loves  of  An  Actress 


The  Troubles  of  a 
Tragedienne. 

Pola  Negri's  next 
to  the  last  picture  for 
Paramount,  "Loves  of 
An  Actress,"  cannot 
fail  to  please  those 
who  have  remained 
loyal  to  her.  It  is  a 
handsome  and  meticu- 
lous reproduction  of 
life  in  Paris  when 
Rachel  was  the  trag- 
edy queen  of  the  day. 
The  story  which  has 
been  created  to  ex- 
ploit this  personality 
is  pure  fiction — and  it 
has  the  ring  of  nothing  else — but  it  en- 
ables Miss  Negri  to  dominate  situations 
congenial  to  her,  and  to  wear  a  succes- 
sion of  crinolines  and  chignons  such  as  a 
belle  of  the  mid-nineteenth  century  would 
have  envied.  An  attempt  has  been  made 
to  trace  the  life  of  the  actress  from  birth, 
when  as  the  daughter  of  strolling  players, 
she  is  taken  by  her  parents  on  their  hum- 
ble peregrinations  from  one  village  to  the 
next.  The  girl's  career  as  a  street  singer 
leads  to  her  meteoric  rise  to  the  pinnacle 
of  theatrical  fame.  With  its  attainment 
she  achieves  all  the  pomp  and  glamour  of 
a  daughter  of  the  gods,  but  with  wealthy 
admirers  galore,  she  is  not  happy  until  she 
meets  young  Raonl  Duval,  who  promptly 
becomes  the  love  of  her  life.  When 
Rachel  decides  to  marry  him,  the  villain 
threatens  to  publish  her  letters  in  his  newspaper,  and  convinces 
Rachel  that  she  may  pass  through  the  scandal  unscathed,  but 
Raoul's  diplomatic  career  will  be  ruined.  So  the  actress  pretends 
to  the  young  man  that  she  has  only  been  playing  with  his  love, 
and  as  the  game  is  about  up  for  her.  she  dies  operatically.  Scarcely 
a  distinguished  story,  or  even  a  mildly  original  one,  but  the  most 
has  been  wrung  from  it  by  director,  star,  and  cast.  Nils  Asther 
heads  the  support,  which  includes  excellent  work  by  Philip  Strange, 
Paul  Lukas,  Richard  Tucker,  and  Helen  Giere,  as  Rachel's  tire- 
less maid. 

A  Sphinx  Without  a  Secret. 

At  least  Greta  Garbo  has  a  fitting  title  in  "The  Mysterious 
Lady,"  even  though  the  picture  falls  short  of  living  up  to  it.  But 
the  Swedish  actress  contrives  to  invest  the  movements  of  Tania, 

Continued  on  page  98 


72 


A  Confidential  Guide  to  Current  Releases 


WHAT  EVERY  FAN  SHOULD  SEE. 

"Trail  of  '98,  The"— Metro-Goldwyn. 
Magnificent  glorification  of  the  historic 
gold  rush  to  Alaska,  directed  with  great 
care  and  skill.  Effective  performances 
given  by  Dolores  del  Rio,  Ralph  Forbes, 
and  Harry  Carey. 

"Street  Angel"  —  Fox.  Beautifully 
done,  but  lacking  the  vitality  of  the  sis- 
ter film,  "Seventh  Heaven."  Yet  Janet 
Gaynor  and  Charles  Farrell  reach 
heights  of  great  appeal. 

"Speedy"  —  Paramount.  Rollicking 
comedy  with  kaleidoscopic  New  York 
as  locale.  Harold  Lloyd  expertly 
comic  and  sympathetic  performance. 

"Sunrise" — Fox.  One  of  the  best  of 
the  season.  Skillfully  directed  tale  of 
a  farmer,  his  wife  and  a  city  vamp. 
George  O'Brien,  Janet  Gaynor,  and 
Margaret  Livingston. 

"Two  Lovers"— United  Artists.  Tale 
of  a  sixteenth-century  maiden  whose 
treacherous  uncle  negotiates  a  mar- 
riage for  reasons  of  state,  and  her 
eventual  love  for  her  husband.  Vilma 
Banky  and  Ronald  Colman. 

"Tempest,  The"— United  Artists.  A 
story  of  the  Russian  Revolution.  Mo- 
ments of  great  pictorial  beauty.  John 
Barrymore  excellent.  Camilla  Horn, 
Boris  De  Fas,  and  Louis  Wolheim. 

"Blue  Danube,  The"— Pathe-DeMille. 
Leatrice  Joy  splendid  and  Nils  Asther 
does  really  fine  work.  Settings  are 
beautiful  and  true.  Joseph  Schildkraut 
will  amaze  those  who  have  never  seen 
him  in  a  character  role. 

"Four  Sons" — Fox.  A  simple  and  su- 
perbly told  tale  of  the  effects  of  the 
war  on  a  German  mother  and  her  four 
sons — three  of  whom  are  killed,  the 
other  migrating  to  America.  Margaret 
Mann,  James  Hall,  Francis  X.  Bush- 
man, Jr.,  and  June  Collyer. 

"Man  Who  Laughs,  The"— Universal. 
No  one  should  fail  to  be  engrossed  by 
its  strange  story,  or  fascinated  by  its 
weird  beauty.  Conrad  Veidt's  character- 
ization is  magnificent,  Mary  Philbin 
pleasing,  and  Olga  Baclanova  gives  dis- 
tinctive performance.  Brandon  Hurst, 
Josephine  Crowell,  Sam  De  Grasse,  Stu- 
art Holmes,  Cesare  Gravina,  and  George 
Siegmann. 

"King  of  Kings,  The"— Producers  Dis- 
tributing. Sincere  and  reverent  visual- 
ization of  the  last  three  years  in  the 
life  of  Christ.  H.  B.  Warner  digni- 
fied and  restrained  in  central  role. 
Cast  includes  Jacqueline  Logan,  Joseph 
Schildkraut,  Victor  Varconi,  and  Ru- 
dolph Schildkraut. 

"Laugh,  Clown,  Laugh"— Metro-Gold- 
wyn. Lon  Chaney  gives  one  of  his 
finest  portrayals.  Story  inspires  entire 
cast  to  do  their  best.  Loretta  Young 
plays  with  heart-breaking  quality.  Nils 
Asther  is  good,  as  well  as  Bernard 
Siegel. 

"Ladies  of  the  Mob" — Paramount.    A  ■ 
crook  story.     Clara  Bow  gives  finest 
performance   since   "Mantrap."  Rich- 
ard Arlen  also  has  best  role  he  has 
ever  had. 


"Lights  of  New  York"— Warner.  Re- 
gardless of  merits  or  demerits,  picture 
stands  unique  as  the  first  of  its  kind 
ever  made — entirely  in  'spoken  dia- 
logue. Not  much  of  a  story.  A  trust- 
ing country  boy  duped  by  a  couple 
of  bootleggers.  Gladys  Brockwell  ex- 
cellent in  her  part.  Cullen  Landis  is 
effective.  Robert  Eliot  and  Tom  Dugan 
are  fine.  Mary  Carr,  Wheeler  Oak- 
man,  and  Helene  Costello. 

"Happiness  Ahead" — First  National. 
Tense,  dramatic  and  human.  Colleen 
has  exceptional  opportunity  and  avails 
herself  fully  of  its  possibilities.  Story 
of  a  girl's  love  for  a  man  who,  un- 
known to  her,  is  a  crook.  The  inci- 
dent of  the  girl's  discovery  is  played 
with  fine  skill  by  Colleen  Moore  and 
Edmund  Lowe.  Lilyan  Tashman, 
Edythe  Chapman,  Charles  Sellon,*  and 
Diane  Ellis  are  all  good. 

"The  Racket" — Paramount.  Thomas 
Meighan  gives  a  fine  performance  in 
a  fine  picture.  Best  of  recent  under- 
world films.  Louis  Wolheim  is  superb 
in  the  role  of  "Scarsi."  Marie  Prevost, 
now  a  blonde,  is  wholly  convincing. 

FOR  SECOND  CHOICE. 

"We  Americans"  —  Universal.  A 
Ghetto  heroine,  in  love  with  a  blue- 
blooded  hero,  scorns  the  family  hearth 
for  a  studio.  But  the  old  people  go  to 
night  school  and  blossom  forth  as  true 
Americans,  with  nothing  for  the  hero- 
ine to  be  ashamed  of.  Patsy  Ruth  Mil- 
ler, George  Sidney,  and  John  Boles. 

"Red  Hair" — Paramount.  Pleasing 
film  of  Clara  Bow  as  a  manicurist,  who 
wins  the  heart  of  a  millionaire,  only  to 
find  that  her  three  "papas"  are  her 
fiance's  guardians.  Climax  comes  when 
they  object  to  her  marriage,  where- 
upon she  strips  herself  of  the  "bor- 
rowed clothes." 

"Cheating  Cheaters" — Universal.  Ex- 
cellent and  amusing  tale  of  crooks 
masquerading  as  idle  rich  to  loot  their 
supposedly  rich  neighbors — who  turn 
out  to  be  crooks,  too.  Betty  Compson 
at  her  best ;  others  are  Kenneth  Har- 
lan, Lucien  Littlefield,  and  Sylvia  Ash- 
ton. 

"Chicago"— Pathe-DeMille.  The  play, 
which  was  a  clever  satire  on  a  murder 
trial,  is  made  into  a  sentimental  melo- 
drama. While  there  E.re  some  clever 
bits  of  acting  by  Phyllis  Haver  and 
Victor  Varconi,  the  film  fails  to  click. 

"Enemy,  The"  —Metro-  Goldwyn. 
Moderately  interesting  story  of  the 
Austrian  side  of  the  late  war.  Lillian 
Gish  is  excellent,  but  hasn't  nearly 
enough  to  do.  Ralph  Forbes,  Frank 
Currier,  and  George  Fawcett. 

"Finders  Keepers" — Universal.  Laura 
La  Plante,  an  excellent  comedienne, 
who  attempts  to  disguise  herself  as  a 
soldier  to  be  near  her  sweetheart,  and 
her  discovery  by  her  father,  who  is  the 
colonel.    John  Harron. 

"Girl  in  Every  Port,  A" — Fox.  Lively 
tale  of  a  sailor  who  sets  out  to  "get" 


his  rival,  but  both  men  discover  the 
unworthiness  of  the  girl  and  end  by 
swearing  eternal  friendship.  Victor 
McLaglen  excellent  in  his  first  star- 
ring film— Robert  Armstrong  and  Lou- 
ise Brooks. 

"High  School  Hero,  The"— Fox.  Gay 
comedy  of  high-school  life,  featuring 
youngsters  who  really  look  like  high- 
school  girls  and  boys.  Nick  Stuart  and 
Sally  Phipps. 

"Love" — Metro-Goldwyn.  Superficial 
and  unsatisfying.  However,  the  beauti- 
ful sets  and  romantic  situations  will 
make  it  a  box-office  attraction.  The 
principals  are  John  Gilbert,  Greta 
Garbo,  George  Fawcett,  and  Brandon 
Hurst. 

"Love  and  Learn"  —  Paramount. 
Esther  Ralston  clever  in  the  role  of 
a  girl  who  gets  into  amusing  situations 
to  distract  her  parents  sufficiently  to 
avoid  a  divorce.  Lane  Chandler  is  the 
hero. 

"Mockery" — Metro-Goldwyn.  Lon 
Chaney  in  realistic  film  of  dull-witted. 
Russian  peasant  whose  doglike  devo- 
tion to  a  countess  leads  to  his  death 
at  the  hands  of  the  bolsheviks.  Bar- 
bara Bedford  and  Ricardo  Cortez. 

"Mother  Machree"— Fox.  Maudlin 
film  of  a  sacrificing  Irish  mother  who 
does  all  for  her  son.  Belle  Bennett, 
Neil  Hamilton,  and  Constance  Howard. 

"Patent  Leather  Kid,  The"— First  Na- 
tional. Richard  Barthelmess  in  unusu- 
ally good  film  of  conceited  little  prize 
fighter  who  tries  to  evade  the  war,  is 
drafted,  proved  a  coward,  but  finally 
redeemed  by  an  heroic  act. 

"Show  Down,  The"  —  Paramount. 
Convincing  and  well-acted  film  of  two 
oil  prospectors  in  the  tropics,  both  lov- 
ing the  same  girl.  All  ends  happily. 
George  Bancroft,  Neil  Hamilton,  Eve- 
lyn Brent,  Leslie  Fenton,  and  Fred 
Kohler. 

"Thirteenth  Juror,  The" — Universal. 
Interesting  yarn  of  an  unscrupulous 
criminal  lawyer  accused  of  murder, 
who  can  save  himself  only  by  com- 
promising the  woman  he  loves.  Fran- 
cis X.  Bushman  is  unique  as  the  law- 
yer and  Anna  Q.  Nilsson  and  Walter 
Pidgeon  capably  assist  him. 

"Three's  a  Crowd" — First  National. 
Harry  Langdon  is  his  usual  plaintive 
self  in  monotonous  film  of  a  boy  who 
rescues  a  runaway  wife  in  a  snowstorm 
and  develops  a  dumb  devotion  for  her, 
only  to  be  deserted  in  the  end. 

"My  Best  Girl"— United  Artists.  Mary 
Pickford's  latest,  and  one  of  her  best. 
Tale  of  stock  girl  in  the  5-and-lO  who 
falls  in  love  with  a  new  clerk — Buddy 
Rogers — without  knowing  he's  the 
owner's  son. 

"Night  Flyer,  The"— Pathe-DeMille. 
Simple,  human  railroad  story  of  1894, 
having  to  do  with  struggles  of  the 
president  of  a  Western  road  to  save 
his  company  from  bankruptcy.  William 
Boyd  and  Jobyna  Ralston. 

Continued  on  page  120 


73 


An  InterViev?  Enters  His  Life 

You  will  like  William  Bakevvell  all  the  more  for  being  bowled  over  by  the  visit  of  his  first  reportorial  caller. 


B?  William  H.  McKegg 


"What  is  the  angle 
you  are  using?     Have  you 


GETTING  wise  to  film 
fame  takes  time,  at  the 
beginning.  If  an  in- 
terview enters  an  actor's  life, 
he  knows  he  is  getting  to  be 
rather  important.  When  he 
has  had  two  or  three  visits 
from  the  press,  he  becomes 
partially  wise  to  the  game.  He 
learns  that  an  interview  has 
to  be  shaped  out ;  that  it  has 
to  have  a  distinctive  angle  on 
him,  if  possible.  To  talk  good 
copy  and,  by  such  talk,  sug- 
gest good  angles,  are  the  bane 
of  the  actors'  hectic  existence. 

Many  of  the  players  to-day 
are  so  wise  to  this  interview- 
ing game,  and  are  so  very 
anxious  to  be  good  copy — 
they  even  know  the  argot  of 
the  press — that  they  concoct 
angles  for  themselves. 

One  young  player  was  so 
desirous   that   I    should  get 
good  copy  on  him,  that  lie 
frankly  asked,  in  an  imperi 
ous  tone 

•? 

any  in  mind  ?"    When  told  the 
angle  would,  be  either  acute  or 
isosceles,    he    gave    a  weak 
laugh,  not  knowing  whether 
he  was  being  made  fun  of,  or 
whether  I  was  trying  to  be 
funny.    All  the  same,  he  sug- 
gested what  he  thought  was  a  good  angle.    Sad  to  re- 
late, it  was  not  used,  as  the  story  in  which  he  was  be- 
ing mentioned  did  not  need  any  distinctive  angle.  So 
the  helpful  young  player  went  to  press  angleless. 

Coming  face  to  face  with  these  very  knowing  play- 
ers is  rather  a  bore.  Therefore,  it  is  refreshing  to  meet 
one  who  lets  the  interviewer  work  out  his  problems  in 
his  own  way. 

The  refreshing  newcomer,  in  this  case,  is  William 
Bakewell.  You  very  likely  saw  him  in  'West  Point," 
as  Bill  Haines'  hero-worshiping  roommate.  You  will 
also  see  him  in  "Harold  Teen."  He  is  now  playing  in 
D.  W.  Griffith's  new  picture,  "The  Battle  of  the 
Sexes." 

Phoning  the  Bakewell  abode,  I  fully  expected 
the  young  gentleman  would  readily  accept  my  sug- 
gestion of  an  interview,  as  something  quite  comme 
il  fant.  Something  he  had  expected  would  some 
time  happen  to  him.  So  new  is  Bill  to  this  in- 
terviewing game  that,  in  spite  of  his  budding  fame, 
he  first  of  all  firmly  refused  to  believe  he  was  to 
be  interviewed  at  all. 

"Cut  out  your  kidding,  Arth,"  came  back  over 
the  phone.  "I  know  it's  you.  It's  Arthur  Lake, 
isn't  it?" 

Arthur  may  possess  a  cultivated  voice,  but  I 
tried  to  persuade  Mr.  Bakewell  that  Arthur  wasn't 
the  only  one.    Once  more  I  tried  to  get  over  my 


reality.  Where  should  we 
meet?  ("Come,  come,  sir! 
This  is  quite  genuine !  No 
kidding!") 

"Oh,  what  about  New  York, 
Arthur?  Let's  stop  off  half- 
way and  have  the  interview  at 
Chicago." 

This  went  on  and  on.  Fi- 
nally, by  suggesting  that  he 
call  up  some  one  like  Julie 
Lang  of  Paramount,  or  How- 
ard Strickling  of  M.-G.-M.— 
promising  to  produce  my  pass- 
port, and  other  signs  of  iden- 
tification— Bill  commenced  to 
think  there  might  be  some 
truth  in  my  assertions. 

He  dubiously  set  it  for 
ten  o'clock  the  next  morning. 

With  many  laughs  and  guf- 
faws, the  skeptical  Mr.  Bake- 
well  said,  as  a  parting  phrase 
over  the  telephone,  "I  don't 
believe  it  yet,  really — say,  for 
the  last  time,  Arthur — come 
across,  now — be  honest — no 
kidding — who  is  it?  I  know 
it's  you,  Arth." 

"At  ten  to-morrow  morn- 
ing.   Good-by."    I  hung  up.  ' 

Possibly  Mr.  Bakewell  had 
found  out  that  I  was  not 
Arthur  Lake  after  all,  even  if 
I  had  spoken  as  Mr.  Lake 
would  speak  if  disguising  him- 
self as  an  interviewer  to  deceive  a  pal,  for  he  phoned 
me  later  during  that  same  evening. 

Gosh !  He  never  thought  any  one  wanted  to  inter- 
view him.  Listen.  Would  I  have  lunch  at  the  Mont- 
martre?  Say,  wouldn't  I  rather  do  that  than  meet  him 
at  ten? 

No,  I  wouldn't.  At  ten  the  next  morning.  Good-by ! 
The  appointment  was  kept,  as  arranged,  in  the  Bake- 
well  apartment. 
The  meeting  was 
preceded  by  many 
Continued  on  page  112 


Bill  is  entirely  devoid  of 
self-consciousness,  con- 
ceit or  pose. 


Photo  by  Lansing  Brown 

Very  likely  you  remember  Bakewell  as  Bill 
Haines'  hero-worshiping  roommate  in  "West 
Point." 


74 


Photo  by  Louise 

Eleanor  Boardman  can  seldom  be  prevailed  upon  to  voice 
her  personal  opinions  for  publication. 


Eleanor— As  Sne  Is 

An  intelligent  and  comprehensive  portrait  of  one  of 
filmdom's  most  vibrant  but  least-known  personalities. 

By  Margaret  Reid 

OF  any  one  in  pictures,  Eleanor  Boardman  is  at  the 
same  time  the  hardest  to  interview  and  the  most 
entertaining.  She  is  the  despair  of  reporters 
who  are  after  a  story,  and  their  delight  when  all  hope 
of  getting  one  has  been  abandoned.  Not  only  her  well- 
known  frankness,  but  her  disinterest  in  herself,  make 
her  a  difficult  subject.  It  is  impossible  to  write  about 
her  as  an  actress.  She  is  so  much  more  a  person  than  a 
personage.  If,  some  day,  there  is  an  influx  of  fan- 
magazine  reporters  into  the  novelists'  field,  it  will  be 
because  that  is  the  only  medium  of  getting  Eleanor 
Boardman  onto  paper. 

She  is  not  glamorous,  she  is  not  sensational,  she  is 
not  quotable.    She  is  wretched  magazine  copy. 

In  a  few  cases,  reporters  have  dared  to  quote  her 


frankness.  Each  time,  she  has  been  put  on  the  official 
carpet  and  reprimanded  severely.  Two  or  three  times 
it  has  precipitated  her  into  really  unpleasant  jams,  and 
still  she  refuses  to  be  politic.  She  speaks  her  mind 
without  reserve,  and  if  any  one  objects — it's  too  bad, 
of  course,  but  not  important.  Compromise  is  impos- 
sible to  her.  Black  and  white  and  just  that — as  are 
right  and  wrong — with  no  midway  shades. 

She  has  a  rigid  moral  code,  and  could  never  do 
anything,  no  matter  how  trivial,  which  she  felt  to  be 
other  than  right.  This  strict  rule  of  conduct  is  not 
the  result  of  the  fear  of  ultimate  punishment,  upon 
which  most  exemplary  conduct  is  based.  It  is,  instead, 
a  fervent  belief  in  the  intrinsic  beauty  of  living — in- 
stinctive preference. 

She  is  intolerant  of  meanness,  of  dishonesty,  of 
vulgarity,  and  does  not  hesitate  to  denounce  manifesta- 
tions of  them,  no  matter  in  what  quarter.  This  she 
does  so  openly  that  it  is  very  disquieting  to  the  per- 
sons concerned.  She  has  been  accused  of  tactlessness 
and  rudeness — and  calmly  admits  both.  She  is,  as  a 
matter  of  fact,  guilty  of  the  former  but  never  of  the 
latter.  Rudeness  constitutes  an  unwarranted  attack, 
and  Eleanor  has  never  been  guilty  of  that.  Her  sense 
of  fair  play  extends  to  those  whom  she  dislikes,  and 
her  private  prejudices  never  color  her  spoken  opinions. 

Her  opinions  are  all  very  definite,  logically  arrived 
at,  and  not  lightly  changed.  She  can  seldom  be  pre- 
vailed upon  to  voice  them  for  publication. 

"Who  cares,"  she  argues,  "what  I  think  about  a 
thing?  Mine  is  no  expert  judgment.  'Eleanor 
Boardman  considers  Willa  Cather  the  greatest  Ameri- 
can novelist,'  "  she  suggested,  and,  replying  for  the 
public,  "  'Does  she,  indeed !  Well,  that's  just  dandy — • 
and  what  of  it?'  " 

If  you  try  to  interview  her,  you  will  come  away 
with  a  fine  story  on  Greta  Garbo.  Greta  is  one  of 
her  closest  friends— and  Eleanor  would  like  to  look,  act 
and  be  just  like  her.  She  admires  Greta  with  all  the 
fervor  of  a  schoolgirl,  and  never  tires  of  quoting  her. 

Eleanor  is  impulsive  in  the  forming  of  friendships, 
but  her  first  impressions  are  usually  accurate,  and  she 
is  seldom  mistaken  in  people.    She  is  equally  impul- 
sive in  her  dislikes,  and  will  not  go  out  of  her  wav 
to  change  her  first  impressions,  whether  good  or  bad. 
Impatient  of  bigotry  and  stupidity,  she  is  quick  to 
anger  at  them.    Her  cheeks  grow  very  pink  and  her 
eyes  very  wide  and  blue.    She  becomes  voluble  in  her 
indignation,  and  can  argue  any  one  off  the  mat.  After- 
ward, she  is  always  depressed,  and  wonders  if  she  will 
never  be  able  to  improve  her  bad  disposition. 

She  is  intensely  proud,  but  neither  cold  nor  aloof. 
Although  she  shrinks  from  contact  with  people  in  the 
bulk,  her  understanding  of  human  nature  is  deep,  tem- 
pered with  tenderness  and  sympathy  for  its  struggles. 
More  than  ordinarily  courageous  herself,  she  is  in- 
dulgent of  timidity  in  others.  It  is  her  compassionate 
insight  into  the  prisoners  of  the  prosaic  that  made  pos- 
sible her  magnificent,  heart-breaking,  real  performance 
in  "The  Crowd." 

She  is  keenly  interested  in  her  career  only  when 
there  is  the  possibility  of  a  picture  like  "The  Crowd." 
She  hates  doing  mediocre  pictures,  no  matter  how  pro- 
fuse her  close-ups  might  be.  When  a  picture  does 
turn  out  well,  her  gratification  is  not  for  her  own  work, 
but  for  the  production  as  a  complete  work  of  skill. 
She  is  probably  one  of  the  greatest  artists  on  the  screen, 
but  the  first  glimpse  of  her  real  potentialities  did  not 
come  until  "The  Crowd." 

Although  she  has  had  a  generous  share  of  trouble, 
sorrow  and  distress,  she  is  still  avid  of  life.  She 
Continued  on  page  105 


Alice  White,  as  Dixie 
Dugan,  left  and  right, 
depicts  the  modern  idea 
of  a  girl  who  is  bound 
to  succeed. 

Dixie  is  seen,  below,  with 
Donald    Reed,    as  her 
dancing  partner. 

Miss  White,  lower  left 
and  right,  further  illus- 
trates the  evolution  of 
Dixie. 


A  Girl  Shov? 

Who  is  better  able  to  be  the  whole  show 
than  Alice  White,  in  "Show  Girl?" 


82 


Money,  Religion,  LoVe 

Around  these  dominant  impulses 
Rex  Ingram  has  built  his  new 
picture,  "The  Three  Passions " 


Ivan  Petrovich,  whose  reap- 
pearance will  delight  his  fans, 
is  seen,  upper  left  and,  above, 
with  Alice  Terry,  who  is,  of 
course,  the  heroine. 

She  is  seen  again,  left,  with 
Shayle  Gardner,  as  the  ship- 
builder who  believes   he  has 
lost  his  son. 


83 


"  Katsudoshashin" 

What  is  it?  Well,  read  this  article  and 
find  out  for  yourselves.  Here's  a  hint — it 
has  to  do  with  Japan,  and  American  movies. 

By  Kimpei  Sheba 

\  MERICAN  motion  pictures  have,  in  recent 
f\  years,  been  an  influence  greater  than  any 
other  in  altering  the  daily  mode  of  living 
of  the  people  of  Japan. 

The  writer  recently  traveled  three  quarters  of 
the  way  around  the  world,  and  believes  he  can 
safely  say  that  no  other  people  are  being  more 
immensely  impressed  and  rapidly  transformed  by 
the  movies  than  the  Japanese. 

In  Shanghai  and  Singapore;  in  India,  Egypt, 
and  Italy ;  in  France,  Germany,  and  the  British 
Isles,  American  photoplays  are  tremendously  popu- 
lar ;  but  in  these  cities  and  nations  it  cannot  be 
said  that  they  serve  any  purpose  other  than  that 
for  which  they  are  intended.  The  exception  is 
in  Japan. 

In  Nippon  the  customs  of  the  people  have  been, 
in  many  respects,  considerably  altered  since  Amer- 
ican films  were  introduced.  Even  the  national 
psychology  has  been,  to  some  extent,  affected.  The 
attitude  of  the  people  toward,  and  their  knowledge 
of,  the  American  and  European  races  have  im- 
proved to  a  startling  degree. 

Japan's  motion-picture  companies  have  grown  in 
the  last  four  years  from  next  to  nothing,  to  one 
of  the  important  industries  of  the  land  of  cherry 
blossoms,  and  are  producing  to-day  more  feature- 
length  photoplays  than  any  country 
in  the  world,  not  excepting  America. 

Startling,  this  seems,  but  true 
nevertheless.  In  1927  Japan  produced 
more  than  one  thousand  feature- 
length  pictures,  the  United  States  less 
than  six  hundred,  and  Germany  but 
two  hundred. 

And  this  despite  the  fact 
that  but  ten  per  cent  of  the 
films  produced  in  the  far- 
eastern  island  empire  end  with 
a  happy  fade-out.  Japanese 
pictures  almost  never  end  with 
the  hero  and  the  heroine  in 
each  other's  arms.  The  public 
wouldn't  stand  for  such  a  thing 
in  a  native  picture. 

They  demand  unhappy  end- 
ings— fade-outs  in  which  lov- 
ers are  portrayed  leaping  into 
the  bottomless  pit  of  a  water- 
fall, or  the  crater  of  a  volcano, 
"to  live  happily  ever  after- 
ward, in  the  next  world." 

This,  because  the  people  of 
the  Land  of  the  Rising  Sun 
find  eternal  happiness  only  in 
death.  "Until  death  do  us 
part,"  to  them  becomes,  "until 
death  do  us  unite."  As  love 
marriages  still  continue  to  be 
frowned  upon,  though  this 
condition  is  changing  rapidly 
as  a  result  of  the  introduction 


Note  the  "implied"  kiss  on  the  cheek  of  Toyohiko  Okada — a 
clever  way  of  evading  Japanese  censors. 


of  American  movies,  death  is  seen  as  the 
only  happy  ending  of  love. 

Consequently,  the  majority  of  Japanese 
"love"  pictures  end  unhappily.  For  this 
reason,  perhaps,  there  is  almost  always 
crying  in  the  movie  houses — more  crying, 
in  fact,  than  is  to  be  found  anywhere 
outside  of  a  funeral. 

There  are  to-day  thirty-six  Japanese 
motion-picture  studios.  These  companies 
produce  a  picture  on  an  average  of  once  a 
fortnight.  Some  pictures,  however,  have 
been  completed  in  forty-eight  hours.  The 
record  was'  thirty-six  hours.  Seventy-two 
hours  later  the  picture  had  been  cut,  titled 
and  censored  and  was  being  shown  in 
one  of  the  theaters  in  Tokyo. 

American  pictures  naturally  form  the 
bulk  of  imported  productions.  Ardent 
love  scenes  are  clipped,  pictures  of  up- 
risings-— especially  those  in  which  a 
crowned  ruler  is  overthrown — are  barred 
altogether,  and  blood  in  no  form  what- 
ever is  permissible.  Censors  have  re- 
cently prohibited  the  showing  of  "The 
Volga  Boatman."  They  have  scissored 
a  considerable  amount  of  footage  from 
such  pictures  as  "Love"  and  "Flesh  and 
the  Devil." 

This,  however,  is  merely  the  prelimi- 
"Until  death  do  us  narY  censorship, 
unite"  is  the  Japanese  After  the  films 
version  of  the  happy  pass  the  central 
ending.  censorship  board 


84 


"Katsudoshashin" 


Yoshiko   Okada   and   her   leading  man 
were  dismissed  from  a  movie  company 
because  they  eloped. 

in  Tokyo,  they  are  examined  by  the 
prefectural  police.  Besides  this,  every 
theater  in  the  country  is  equipped  with 
a  police  officers'  booth.  One  officer  oc- 
cupies this  booth  at  all  times,  and 
every  picture  shown  is  at  his  mercy. 
This  officer  has  it  in  his  discretion  to 
delete  any  part  of  any  picture. 

As  the  films  are  sent  to  the  various 
provinces,  they  are  examined  by  the 
prefectural  authorities,  and  by  the  time 
a  picture  of  an  amorous  nature  returns 
to  the  capital,  it  is  about  two  thirds  of 
its  original  length,  if  not  less.  In  many 
instances,  in  fact,  a  picture  has  been 
cut  to  such  an  extent  that  it  is  difficult 
to  follow  the  continuity  of  the  story. 

But  here  again  the  Japanese  have  a 
panacea.  This  is  in  the  form  of  sub- 
title readers  or  translators,  who,  with 
their  vivid  descriptions  supply  audi- 
ences with  a  verbal  picture  of  the 
scenes  deleted  by  the  censors. 

The   subtitle   reader   plays  a 
very  important  part  in  Japanese 
theaters.    What  he  says  is  forty 
per  cent  of  the  entertainment. 
He,  moreover,  has  it  in  his  power 
to  make  or  break  a 
picture.    There  are  M 
nearly     ten  I 
thousand  subtitle 
readers    in  Japan 
to-day. 

These  men  have 

Denmei   Suzuki,  the 
handsomest    star  in 
Japan,  with  two  of 
his  leading  ladies. 


established  their  own  schools  of  subtitle  translating,  just 
as  jujutsu  experts  in  olden  Japan  founded  schools  in 
which  their  method  was  taught,  experimented  with,  and 
improved. 

It  may  surprise  movie  fans  of  the  United  States  to 
learn  that  while  most  of  the  subtitle  reading  in  Japan 
is  done  in  theaters,  numerous  phonograph  records  have 
been  produced,  on  which  the  verbal  descriptions  of  sub- 
title readers  have  been  recorded.  Another  source  of  en- 
tertainment is  listening  to  subtitle  readers  over  the  radio. 

So  vivid  are  the  descriptions  provided  by  some  readers, 
over  the  radio  and  phonograph,  that  persons  who  have 
sat  through  one  performance  of  a  good  picture  can  almost 
imagine  seeing  it  over  again,  merely  by  listening  to  the 
subtitle  reader. 

Thus,  instead  of  going  to  a  theater  twice,  or  even 
thrice,  to  yiew  the  same  picture,  a  Japanese  fan  needs 
merely  to  purchase  a  record  and  run  it  in  his  home  and 
be,  figuratively,  transported  into  a  playhouse.  The  phono- 
graph recording  of  an  old  picture,  "The  Sea  Beast," 
starring  John  Barrymore,  was  so  vivid  that  tens  of  thou- 
sands of  records 
have  been  sold. 

Turning  now  to 
the  influence  which 
American  pictures 
have  had  on  Japan. 

Most  people  ac- 
quainted with  the 
Far  East  know  that 
osculation  was 
quite  unknown  to 
the  Japanese  before 
the  introduction  of 
American  motion- 
pictures,  and  that 
kissing  scenes  in 
films  were,  until 
very  recently, 
clipped  by  the  cen- 
sors. It  probably 
will  be  surprising, 
therefore,  to  most 
readers,  to  be  told 
that  kissing  is  to- 
day widely  prac- 
ticed in  Japan,  and 
while  not  yet  in- 
dulged in  publicly, 
is  done  with  con- 
siderable fervor  and 
frequency  in  pri- 
vate. 

Let  us  now  turn 
to   the  matter  of 
The    kimono,  the 
lovely  national  attire  of  the  land 
of  cherry  blossoms,  is  fast  dis- 
appearing, and  in  its  place  one 
finds  to-day  an  array  of  Amer- 
ican apparel.    If  one  were  to 
visit  Japan  to-day,  he 
would   no    doubt  be 
astonished,  during 
even  so  brief  a  stay 
as  a  month,  to  per- 
ceive   the  constantly 
increasing  number  of 
girls  who  are  doffing 
their  native  dress  to 
appear  in  foreign  cos- 
Continued  on  page  107 


Kurishima  Sumiko  is  known  as 
"the  Gloria  Swanson  of  Japan," 
and   is   Nippon's  most  capable 
actress. 

costumes. 


85 


Minus  Nicotine 


Though  none  of  the  pipes  pic- 
tured below  is  in  action,  we  are 
assured  that  they  are  the  favor- 
ites of  their  respective  owners. 


Richard  Barthelmess,  left,  is 
decidedly  prejudiced  in 
favor  of  his  short,  English 
pipe. 


Robert  Armstrong, 
right,  wants  you  to 
know  that  the  lady 
pictured  on  his  pipe  is 
his  wife. 

Richard  Arlen,  below, 
doesn't  smoke  this 
pipe  in  public,  but  he 
likes  his  German  pipe 
in  private. 


Lane  Chandler,  above,  seems  contented — nay, 
very  happy — with  his   long-stemmed,  corn- 
cob-bowl pipe  of  German  make. 


A   French   brier  pipe,   with   a  hand-carved 
bowl,  is  the  reputed  favorite  of  Clive  Brook, 
above. 

A  German  pipe,  of  antique  design,  with  an 
orange-wood  bowl  and  cherry-wood  stem,  is 
most  often  used  by  Gary  Cooper,  left. 


86 


Clara  Bow  is  only  one  of  many  stars  to  have  roses  named 
them,  which  means  that  she  must  pose  with  them. 

RICHARD  DIX  strode  across  the  Paramount  lot 
with  a  determination  that  indicated  he  had  some- 
thing on  his  mind.  His  face  was  another  cue 
that  all  was  not  well.  His  first  remark,  consisting  of 
one  word  and  censored  by  this  recorder,  proved  it. 

"King  of  the  Raisin  Festival !"  he  sang,  in  as  high 
a  pitch  as  he  could  achieve.  "King  of  the  Festival,  tra- 
la-la!  They  want  me  to  be  King  of  the  Raisin  Show, 
ma,  call  me  early— blah!" 
\  It  developed  that  he 
had  received  a  request  to 
perform  just  that  very 
duty.  I  recall  Lew  Cody 
riding  royally  in  the 
float  marked  "Rex"  and 
throwing  out  raisins  to 
the  crowds  ;  but  that  'was 
in  the  days  when  the 
public  gaped  admiringly 
at  anything  a  movie  star 
condescended  to  let  them 
watch  him  do.  Somehow 
Lew  ruled  the  event  with 
dignity.  It's  different 
now.   It's  as  Dix  said  : 

"Anybody  who  has  a 
'name'  is  not  allowed 
time  to  work.  A  boat 
can't  be  launched  any- 
more, an  air  flight  start, 
a  (banker  arrive  from 
New  York,  a  new  car 
come  out,  a  raisin  show 
be  put  on — unless  an 
actor  or  actress  is  there 
to  'grace'  the  event." 
Before  he  related  some 


for 


Do  Wallace 
Beery,  Esther 
Ralston,  and 
Micky  McBan 
appear  enthusi- 
astic about  their 
part  in  the  open- 
ing of  a  new 
street-car  line? 


The  High  Cost 

Do  you  know  many  demands  are  made  upon 
orange  shows  and  grape  harvests,  to  say 
this  and  that?    Well,  Richard  Dix  has  his 

By  Caro 


of  the  peculiar  things  he  has  been  asked  to  do  as 
publicity  stunts,  usually  benefiting  some  one  else 
more  than  himself,  a  highly  intellectual  game  was 
indulged  in.  One  brilliant  director,  one  eight- 
cylinder  author,  one  third-gear  star,  and  one  inter- 
viewer took  part.  You  give  the  first  two  letters  of  a 
word,  each  adding  a  letter — you  know  it.  Soon  the 
brilliant  director  was  out — "framed,"  he  insisted, 
simply  because  he  couldn't  spell  "pneumatic" — the 
author  was  sunk,  and  Richard  and  yours  truly  fought 
it  out  to  a  bitter  finish.  No,  I  will  not  tell.  , 
There's  always  an  atmosphere  of  kidding,  like 
that,  around  Richard  Dix. 

Then  Richard  launched,  'with  many  a  chuckle,  into 
his  tale  of  tribulations.  He  wasn't  cranky  about  it, 
though  these  unceasing  demands  for  a  star's  appear- 
ance at  this  or  that  show,  or  to  support  some 
"cause,"  might  irritate  a  more  volatile  person.  He 
spoke  of  these  stunts  merely  because  he  had  found 
some  of  them  interesting,  many  of  them  amusing, 
and  most  of  them  ridiculous. 

In  spite  of  the  frequency  of  their  appearance,  and 
the  roughening  of  glamour's  sheen,  the  stars,  "in 
person,"  continue  to  be  good  drawing  cards.  Rich- 
ard's situation  is  duplicated  and  tripled  on  every  lot. 
At  each  studio  there  are  two  or  three  stars  who,  because 
of  their  amiability  in  responding,  are  much  in  demand 
to  plant  trees  in  parks,  open  realty  subdivisions,  and — 
but  let  Richard  tell  it. 

"The  actor  is  often  both  exhibit  A  and  exhibitor. 
I've  been  asked  to  preside  at  cat  shows,  the  opening  of 
beauty  parlors,  ball  games,  commencement  exercises,  re- 
vival meetings,  and  what  not.    I  thought  the  limit  had 

arrived  when  they 
sent  me  out  to  be 
exhibited  with  the 
horses.  Sure,  had  to 
take  charge  of  a 
horse  show  not  long 
ago. 

"These  fruit 
shows,  however,  are 
getting  too  frequent 
around  California. 
The  people  who  put 
them  on,  apparently 
think  that  an  actor 
can  stop  work  when- 
ever they  SOS  for 
a  king  or  queen. 

"How  many  kinds 
of  oranges  grow  in 
California?  Bebe 
Daniels,  a  native 
daughter,  asked  me. 
Seems  she  and  I  are 
on  schedule  to  pick 
the  next  crop  —  at 
least,  long  enough  to 
take  publicity  pic- 
tures and  autograph 
a   few.    There  are 


87 


of  Popularity 

the  stars  to  officiate  at  raisin  festivals, 
nothing  of  being  photographed  to  advertise 
say  on  the  subject — and  he  says  plenty. 

line  Bell 


navel  oranges  and  Valencia  oranges,  and  enough 
brands  to  put  on  an  orange  show  every  week.  The 
movie  star  presides,  usually  pressing  a  button  for 
some  reason  or  other,  and  feeling  awkward,  and 
shaking  hands  until  his  mitt  is  numb. 

"No  California  product  can  be  put  on  the  market 
until  somebody  from  Hollywood  has  given  the 
official  O.  K.  There's  the  grape  harvest,  the  walnut 
show,  and  the  almond  show,  but  they'll  never  take 
a  picture  of  Dix  wearing  a  raisin  crown,  or  heading 
the  prune  show,  if  I  have  anything  to  say  about 
itt    I  will  not  pose  as  a  prune,  intentionally!" 

His  ■  declamatory  tone  continued  :  "When  the 
avocados  are  ripe,  they  send  for  an  actress.  When 
the  tomatoes  are  ripe,  they  send  for  an  actor. 
Somebody  from  a  studio  has  to  pick  the  first  dates 
— and  even  the  dates  have  seasons. 

"New  flowers  are  always  being  named  after  peo- 
ple in  pictures.  That  signal  honor  pleases  the  girls, 
but  when  a  florist  asked  permission  to  name  a  new 
rose  'The  Dix,'  I  said  'No.!'  vehemently. 

.  "Somebody  wanted  me  to  pose  with  yeast.  Was 
I  supposed  to  illustrate  how  to  look  like  a  banker 
in  twenty-four  hours?  How  do  /  know  whether 
you  swell  up  and  burst,  or  not?"  He  could  not 
answer  my  question.  "I  didn't  eat  it,  nor  did  I 
pose  for  the  picture. 

"When  I  was  driving  a  flivver,  I  got  a  great  kick 
out  of  posing  with  a  Rolls-Royce.  And  now  the  pub- 
licity stunt  everywhere  is  to  pose  with  the  new  Ford. 

"Just  informally,  I  can  talk  all  day  or  night  without 
hurting  my  vocal  chords  at  all.    But  professionally — ■ 
I'm  as  nervous  as  other  victims" — he  grinned — "who 
get  up  and  stutter  and  twiddle  their 
coat  cuffs.    But  I've  been  asked  to 
talk  on  all  sorts  of  subjects  by  charity 
organizations  and  women's  clubs.  I 
was  asked  why  I  know  spring  had 
come  to  Hollywood  " 

"If  you  were  married,  you'd  know 
by  the  bills  for  new  finery  " 

"Ah,  hut  a  single  man  might  know, 
too  \" 

But  the  object  of  his  devoted  atten- 
tions right  now  has  no  place  in  this 
article. 

"I  like  to  talk  to  the  Boy  Scouts, 
and  to  the  orphaned  kids.  You  see 
those  youngsters  looking  up  at  you ; 
bright  little  faces — gee,  makes  you 
feel  they're  a  kind  of  responsibility 
of  yours,.  Paternal,  you  know.  You 
want  so  much  to  tell  them  something 
helpful. 

"The  only  place  I  haven't  been  asked  to  talk,  is  at 
an  insane  asylum.  And  that" — he  leaned  back,  thumbs 
in  his  vest — "is  the  only  place  where  my  speechmaking 
would  be  appreciated. 

"Toothpaste  ads,  collar  ads,  cigarette  ads,  saxophone 
ads  " 

"Think  of  all  the  free  samples  of  shaving  creams  and 
dental  pastes  you'd  collect." 


Richard  Dix  is  called  upon  to  autograph  everything  from  Easter 

eggs  to  shirts. 


The  idea  didn't  seem  to  appeal  to  him. 
"Judging  contests,"  he  resumed.  "  'A  contest  a  day 
will  keep  the  newcomers  away,'  must  be  the  slogan  here. 
Beauty  contests,  dance  contests,  personality  contests, 
even  'idea'  contests.  Some  of  these  are  worth  doing. 
Now,  when  a  young  man  is  sent  out  on  really  important 
business,  like  judging  a  beauty  contest,  and  all  the  girls 
are  fair  and  sweet,  if  he  is  in  ear- 
nest about  his  work,  he  will  give  his 
full  attention  to  it  and  not  ibe  at  all 
bored. 

"But  when  he  has  to  have  his 
picture  taken  with  every  personage 
who  visits  the  city — or  with  a  prize 
cow  that  won  a  blue  ribbon  in  an 
exhibit — the  young  man  may  lose 
interest  in  his  art.  Last  week  I 
posed  with  a  laundry-tub  king — no, 
not  showing  the  housewife  how  to 
make  the  soap  lather,  but  I  was  once 
asked  to  pose  with  a  vacuum 
cleaner.  I  guess" — he  sighed — "I 
was  to  represent  the  modern  hus- 
band. 

"Location  always  means  a  flood 
of  invitations,  and  the  actor  usually 
accepts,  because  sometimes  he  en- 
joys himself,  and  sometimes  just  because  he's  good- 
natured.  He's  got  to  Ibe.  I  remember  one  country 
dance,  in  a  little  town  miles  from  a  railroad.  We  had 
to  ride  horseback  to  get  there,  yet  crowds  had  come  all 
the  way  from  Canada  and  Mexico,  it  seemed.  A  jolly, 
embarrassed,  red-faced  bunch  of  farm  hands  and  their 
sisters  and  wives.  Babies  were  parked  in  the  hall. 
Sure,  had  to  kiss  all  the  babies,  and  have  my  picture 
Continued  on  page  115 


Richard  has  become  pretty  calloused 
about  officiating  at  contests. 


88 


The  Birds  Give 
Their  All 


And  the  stars  deck  them- 
selves in  gay  plumage, 
that  they  may  follow  the 
fashion  in  helmetlike  hats. 


Lil3'an  Tashman,  above,  a 
ways  a  leader  in  matters  sar- 
torial, combines  white  coq 
feathers  with  black  felt,  in 
"Happiness  Ahead." 


Evelyn  Brent,  below,  in 
"The  Dragnet,"  wears  a  suc- 
cession of  birdlike  hats,  of 
which  this  is  the  most  strik- 
ing. 


Nancy  Carroll,  above,  is  all 
a-twitter,  because  of  her 
mauve-colored  felt  hat  with 
feathers  to  frame  her  merry, 
little  face. 


Myrna  Loy,  below,  with  a 
swirl   of  gray   feathers  on 
one  side  of  her  face,  might 
lure  any  hunter. 


Ethlyne  Clair,  top, 
what  with  feathers 
and  fur,  is  prepared 
for  the  forest  as  well 
as  the  Boulevard. 


Olga  Baclanpva, 
above,  not  only  dons 
a  hat  that  resembles 
the  head  of  a  bird,  but  also  as- 
sumes the  expression  of  a  bird 
of  prey. 


89 


Stars  at  Auction 

Believe  it  or  not,  actors  in  Hollywood  are 
"sold"  in  a  way  to  recall  the  old-time  slave  trade 
— but  they  don't  mind  being  bartered  at  all. 


H 


By  Ann  Sylvester 

OLLYWOOD  has  its  auction  block,  its 
trading  post,  and  its  star  market ! 
Lovely  ladies  are  "sold"  over  mahogany 
desks,  and  handsome  gentlemen  are  "mort- 
gaged" for  a  consideration.  You  must  read 
about  it — it's  terrible. 

There  is  this  difference  from  the  old- 
fashioned  slave  market — the  slaves  were  quite 
menial  people,  and  stars  aren't.  In  place  of 
Old  Black  Joe  the  Hollywood  marts  deal  with 
beautiful  Claire  Windsor,  peppy  Patsy  Ruth 
Miller,  and  others  equally  in  ermine.  How- 
ever, the  distinction  ends  there.  Believe  it  or 
not,  the  practice  of  selling  actors  "up  and  down 
.  the  river,"  is  as  flourishing  in  Hollywood  to- 
day as  it  ever  was  below  the  Mason-Dixon  line. 

"What  am.  I  bid?"  is  the  daily  cry  of  the 
auctioneers  throughout  the  studios.  "What 
am  I  bid  ?"  Only  they  are  not  called  auc- 
tioneers ;  they  call  themselves  agents.  If  they 
are  good  enough,  they  are  called  managers. 

It  is  a  great  and  lucrative  business,  this  star- 
trading,  and  is  probably  the  most  prosperous 
subgrowth  of  the  movie  industry.  "Actors  as 
actors  are  interesting,  Watson,  but  actors  as 
merchandise  are  probably  the  second  largest  in- 
dustry in  Hollywood." 

Ask  the  agents — they  know. 
Before  we  go^  on,  I  hope  I'm  not  giving  the 
impression  that  agents  are  glorified  Simon 
Legrees,  because  that  wouldn't  be  right,  as  most 
of  them  are  amiable, 
popular  people  who 
deal  in  celebrity,  in 
preference    to  the 
cloak  and  suit  busi- 
ness.   It  is  true  that 
actors  are  their  live- 
lihood, but  it  is  also 
true  that  they  are  the 
livelihood  of  actors. 

The  slogan  of 
every  agent  might 
well  be:  "You  fur- 
nish the  talent — we 
get  the  job." 

Agents  came  into 
being  for  the  good 
and  simple  reason 
that  actors,  as  a 
class,  are  notoriously 
poor  business  men. 
I  don't  mean  Harold 
Lloyd,  or  Douglas 
Fairbanks.  These 
two  are  exceptions. 
But  for  the  most 
part  you  will  find  the 
average  actor  an 
easy-going  individ- 
ual, with  little 
thought   of  to-mor- 


John  Boles  inspires  much  lively  b. el- 
ding, hence  his  appearance  in  many 
pictures. 


Photo  by  Spurr 

Claire  Windsor  is  looked  upon  as  valuable  "merchan- 
dise" by  those  whose  business  it  is  to  "sell"  stars. 

row,  or  even  of  to-day.  They  have  been  known 
to  manage  their  contracts  so  badly  as  to  accept  two 
engagements  at  the  same  time,  to  take  salary  cuts 
when  they  did  not  need  to,  or  foolishly  raise  their 
salary  demands  to  such  a  figure  that  weeks  of  idle- 
ness followed. 

That's  why  such  business  firms  as  Rebecca  & 
Sikon,  Edward  Small,  Lamson  &  Collier,  Ben 
Rothwell,  Harry  Lichtig,  Guy  Coburn,  John  Lan- 
caster, Bill  Dunn,  Jack  Gardner,  and  others  came 
into  being.  Needless  to  say,  it  is  the  job  of  these 
manager-agents  to  attend  to  all  those  little  things 
like  salary,  engagements,  renewals  of  contracts, 
canceling  of  contracts,  and  other  details  so  irksome 
to  the  artist.  For  this  little  attention  they  work  on 
a  commission  basis  and,  considering  the  salaries  of 
most  of  the  actors,  it  isn't  a  bad  job. 

Most  people  are  under  the  impression  that  only 
free-lance  players  are  under  contract  to  agents. 
But  that  is  not  always  the  case. 

Take  Phyllis  Haver,  piece  de  resistance  of  Jack 
Gardner's  office.  Phyllis  is  under  contract  to 
DeMille,  but  it  was  Jack  who  negotiated  the  deal 
— for  a  percentage  of  the  salary  involved. 

All  the  time  Olive  Borden  was  a  Fox  star,  a  tidy 
sum  for  commission  was  .sroing  to  Ben  Rothwell, 
who  originally  discovered^  Olive  and  sold  her  to  Fox. 


90 


Stars  at  Auction 


Photo  by  Spurr 

Clever  salesmanship  placed  talented  Georgia  Hale  with 
Paramount  as  a  result  of  her  work  in  one  picture. 


Let's  consider  for  a  minute,  not  the  sex  appeal  of 
some  of  our  favorites,  but  their  selling  value  as  com- 
mercial commodities. 

Claire  Windsor  is  one  of  the  most  beau- 
tiful women  on  the  screen.  She  is  also 
one  of  the  finest  articles  of  merchandise 
in  Hollywood.  The  canny  little  Miss 
Rebecca,  of  Rebecca  &  Silton,  told  me 
this,  and  that  firm  ought  to  know.  They've 
been  selling  Claire  to  producers  for  several 
years  now.  If  Claire  were  placed  on  the 
auction  block  and  sold  to  the  highest  bidder  \ 
among  producers,  she  would  probably 
draw  a  larger  figure  than  almost  any  other 
free-lancing:  lady. 


V*1 


great 


"Claire  has 
beauty,"  observed-  the 
little  agent,  "which 
makes  her  easy  to  sell. 
But  she  has  splendid 
box-office  value,  which 
makes  it  even  easier  to 
get  her  contracts.  Her 
years  with  Metro-Gold- 
wyn  established  her  as 
a 'box-office  hit  through- 
out the  country,  and 
this  makes  her  particu- 
larly desirable  for  con- 
tracts with  companies 
that  produce  for  the 
small  towns.  Although 
Claire  is  not  technically 


a  star,  she  draws  more  money  than  many  ladies 
who  enjoy  that  distinction.  Also,  she  is  easy  to 
manage,  because  she  trusts  our  judgment.  Many 
people  have  advised  Claire  that  she  should  not  ac- 
cept some  of  the  quickie  contracts  we  have  pro- 
cured for  her.  But  she  wisely  realizes  that  not  all 
movie  glory  is  confined  to  a  picture  in  a  million-dol- 
lar temple.  Her  salary,  now,  is  nearly  three  times 
what  it  was  when  she  was  under  contract,  and  she 
works  constantly.  Claire's  engagements  overlap. 
While  she  is  working  on  one  picture,  we  will  have 
several  bids  for  her  to  consider  before  she  finishes. 

"Patsy  Ruth  Miller  is  another  girl  who  is  easier 
to  sell  than  lemonade  in  July.  Everything  I  said 
about  Claire  goes  for  Pat,  too.  Neither  of  these 
girls  has  an  exggerated.  sense  of  her  own  impor- 
tance. They  look  on  the  movies  as  a  business  and 
a  profession,  rather  than  as  a  means  of  fostering 
their  vanity  with  cheap,  starring  contracts  which 
offer  nothing  but  the  name." 

Conway  Tearle  was  formerly  under  contract  to 
Rebecca  &  Silton,  but  he  boosted  his  salary  to 
such  an  exorbitant  figure  that  it  detracted  from  his 
value,  and  he  has  not  worked  much  in  consequence. 

Although  Eugene  O'Brien  is  not  the  big  draw- 
ing card  he  was  several  years  ago,  Rebecca  pauses 
to  speak  of  him  as  one  of  the  most  agreeable  actors 
she  has  ever  managed. 

"Gene  never  complained  because  he  was  not 
working  all  the  time,"  she  says  of  him.  "He  used 
to  say:  'Well,  Rebecca,  I  guess  this  is  the  day  of 
the  younger  fellow.  They  don't  seem  to  want  me.' 
In  spite  of  this,  Gene  worked  a  great  deal.  It  was 
a  pleasure  to  get  him  a  contract.  We  have  sold 
Gene  many  times,  and  never  have  we  had  any  com- 
plaints about  his  temperament,  or  his 
refusal  to  work  overtime,  or  any  of 
the  other  eccentricities  of  artists." 

She  went  on  to  say  that  one  of  their 
most  popular  bets,  now,  is  John  Boles, 
and  they  are  the  discoverers  of  Jeanette 
Loff.  Eddie  Silton  signed  her  under 
personal  contract,  and  later  sold  her  to 
DeMille,  where  she  is  being  featured. 

Jack  Gardner  does  not  allow  his 
managerial  work  to  end  with  studio 
business.  He  attends  to  all  Phyllis 
Haver's  outside  interests  as  well.  This 
leaves  Phyllis  free  from  all  worry 
while  she  is  busy  becoming  a  star. 
Another  important  client  of  Gardner 
is  Jobyna  Ralston,  and  still  another  is 
Priscilla  Bonner.  It  is  Jack's  belief 
that  the 


One  of  the  best  bets  in  the 
star  trade  is  Jobyna  Ral- 
ston. 


'big  names' 
are  not  the  only  lucra- 
tive merchandise  among 
actors.  He  can  prove 
to  you  that  heavies  and 
character  people  are 
just  as  profitable  to  an 
agent  as  a  "big  name." 
Mathew  Betz  is  under 
contract  to  Gardner, 
and  while  he  is  not  a 
star,  he  works  with 
fewer  vacations  than 
Jack  Gilbert. 

It  is  a  great  little 
business — this  auction- 
eering. The  career  of 
no  star  is  complete 
without  it. 


1 


HERE  ARE  THE  FIRST 
OF  THE  NEW  M-G-M 
PICTURES— SUPERB 
ENTERTAINMENT 


(u>mo 


LADY 
LUCK 

TAKES  A 
BACK  SEAT 

Luck! 

Sure!  One  smashing  hit 
that  sets  all  fandom  talking 
might  be  "luck". 

Two  country-wide  suc- 
cesses might  even  be  wished 
onto  Lady  Luck — if  you're 
good  at  wishing — 

But  one  long  unbroken 
parade  of  record-breaking 
wows — that's  something  else 
again! 

Lady  Luck  didn't  make 
Smash  hits  like  "The  Big 
Parade",  "Ben  Hur",  "Tell 
it  to  the  Marines",  "The 
Merry  Widow"  and  "White 
Shadows  in  the  South  Seas". 

More  stars  than  there  are 
in  Heaven,  plus  brilliant 
directors  plus  great  stories 
plus  the  great  resources  of 
the  Metro-Goldwyn-Mayer 
organization  are  some  rea- 
sons for  the  long  and  im 
posing  list  of  M-G-M's 
smash  hits. 

If  you  want  a  guarantee 
for  the  future  it  lies  in  the 
performance  of  the  past. 

When  the  lion  roars — 

M-G-M  sound  or  silent, 
will  always  mean 

More 
Great 
lovies 


METRO 

"Mo 


Broadway  and  Los  Angeles  hailed  this  flaming  romance 
of  the  South  Seas  in  Sound  at  $2  admission.  Sound  or 
Silent  it  will  be  the  year's  picture  sensation. 


LP 


Laughs— tears— thrills— you'll  find  them  all  packed 
into  the  screen  version  of  the  Broadway  success,"Excess 
Baggage."  Bon't  miss  William  Haines'  desperate  slide 
for  life  and  love  in  this  pulsating  comedy-drama.  Sound 
or  Silent — a  hit! 


AUCHTI 


OAN  _ 

RAW  FORD  ,  i~  Hciro 


Flaming  youth  de  luxe — the  epics  of  a  jazz-mad  age — 
youth!  beauty!  luxury!  drama!  You'll  cheer  "Our  Dancing 
Daughters"— Sound  or  Silent. 


tCHANEY 

Wf'te  Qty  Sleeps 

\        H^Hl     -. -a^  *- ,  i~rV  ■  -  -^ANilA PACE'-*  M 

■  — «.  ..  ■•wx£fflw& 


Lon  Chaney  gives  you  another  great  characterization  in  a 
throbbing  tale  of  underworld  intrigue  and  hopeless  love. 
See  him  as  the  fearless  guardian  of  the  public  peace  in 
"While  the  City  Sleeps."  Sound  or  Silent  you'll  be  thrilled. 


for  the 
keenest  eye! 

Test  your  powers  of  obser- 
vation— it  may  bring  you  a 
prize.  See  how  well  you  can 
answer  the  questions  below. 
The  man  sending  the  best 
answers  will  receive  $50.00 
and  the  riding  crop  used  by 
Anita  Page  in  "Our  Danc- 
ing Daughters,"  and  for  the 
best  set  of  answers  from  a 
lady  I  will  give  $50  and  the 
ukulele  I  play  in  the  same 
picture. 

And  I'll  also  send  auto- 
graphed photographs  for  the 
fifty  next  best  answers.  I 
hope  you'll  find  my  ques- 
tions interesting. 


1 —  What  M-G-M  picture  was 
filmed  on  an  atoll? 

2 —  What  M-G-M  picture  has  the 
title  of  a  famous  wartime  ditty? 

3 —  In  what  new  kind  of  part  has 
Marion  Davies  captivated  the 
public's  heart  and  fancy? 

4 —  What  M-G-M  picture  is  based 
on  the  life  of  Sarah  Bernhardt 
and  who  is  its  star? 

5 —  What  M-G-M  picture  with  a 
Canadian  background  was  a 
famous  musical  hit  in  a  long; 
run  on  Broadway? 

6 —  Why  do  you  think  Buster 
Keaton's  "frozen  face"  is  so 
effective  in  comedies?  (Not 
more  than  75  words.) 

Write  your  answers  on  one  side 
of  a  single  sheet  of  paper  and 
mail  to  Question  Contest,  3rd 
Floor,  1540  Broadway,  New 
York.  All  answers  must  be  re- 
ceived by  November  15th.  Win- 
ners' names  will  be  published  in  a 
later  issue  of  this  magazine. 

Note:  If  you  do  not  attend  pic- 
tures yourself  you  may  question 
your  friends  or  consult  motion 
picture  magazines.  In  event  of 
ties,  each  tying  contestant  will  be 
awarded  a  prize  identical  in  char- 
acter with  that  tied  for. 


MAYER 


The  Make-believe  Wife 

cA  netv  serial  by 

RUBY  M.  AYRES 

begins  in  the  September  29th  issue  of 

LOVE  STORY  MAGAZINE 


was  starved  for  love  and  a  man's  attentions 
"   — so  dear  to  a  woman's  heart.    So  she  resolved 
lhat  she  would  pretend  to  be  matried  and  thereby 
secure  happiness.    €|J  Don't  miss  the  first  installment 
of  this  wonderful  love  story. 

LOVE  STORY  MAGAZINE 

Published  Every  Week,  J  5c  per  copy 


91 


Good  is  *Vour  Memory? 


These  players  are  representing  the  names 
of  popular  song  hits  of  a  few  years  ago. 


92 


A  Girl  Comes  to  Hollywood 


Continued  from  page  60 
ready  to  snap  at  anything.  As  for 
his  turning  down  Malcolm  Allen's 
story  for  lack  of  twenty-five  thou- 
sand dollars,  Madeleine  was  not  wor- 
rying. He  wanted  her  too  much! 
But  what  Malcolm  had  said  about 
Lopez  and  Lady  Gates  troubled  the 
girl. 

She  sat  down  in  the  one  com- 
fortable seat  the  little  room  provided, 
a  rocking  chair,  and  thought  over  the 
whole  conversation. 

Had  she  said  too  much  about  Lo- 
pez to  Malcolm?  she  asked  herself. 

She  knew  that  Malcolm  had  fallen 
in  love  with  her,  and  she  was  deeply 
in  love  with  him.  She  thought  he 
was  handsome  and  charming  and  al- 
together perfect.  She  sympathized 
with  him  in  his  Hollywood  disap- 
pointments so  warmly  that  her  heart 
ached.  She  felt  like  his  sweetheart 
and  his  mother.  In  other  words,  she 
adored  him.  But  she  had  spoken  the 
truth  in  saying  that  she  felt  love  was 
not  for  her.  Before  long  she  might 
be  involved  in  a  scandal.  She  might 
be  driven  to  a  deed  that  would  be 
called  a  crime,  if  discovered,  and  she 
mustn't  let  Malcolm  be  involved  with 
her,  as  he  would  be  if  she  admitted 
her  love  for  him.  Even  if  they  were 
not  actually  engaged,  once  he  knew 
that  she  cared  he  would  proclaim 
himself  her  lover  and  fiance  before 
the  world,  in  order  to  protect  her 
from  the  wolves. 

The  girl  looked  round  the  room. 
The  blue-and-white  hangings  and 
chair  covers,  and  the  bright  nastur- 
tiums presented  by  an  admiring  land- 
lady, gave  a  look  of  pleasantness  and 
peace ;  but  Madeleine  Standish  knew 
that  there  was  to  be  little  peace  for 
her.  She  had  not  come  to  Holly- 
wood for  peace,  but  for  a  battle,  and 
each  day  was  bringing  her  nearer  to 
it.  She  had  done  the  only  decent 
thing  in  putting  Malcolm  off,  by  tell- 
ing him  the  truth  about  Lopez — the 
truth,  so  far  as  it  could  be  told  now. 
But,  in  hurting  him,  she  had  hurt 
herself,  and  she  felt  very  sad  to- 
night. 

^  Besides,  there  was  poor  Lady 
Gates  to  be  considered. 

Madeleine  had  grown  fond  of  the 
foolish  old  woman,  who  was  kind 
at  heart  and  stanch  in  her  way  un- 
der all  the  silliness.  Knowing  more 
or  less  what  Marco  Lopez  was,  the 
girl's  fears  ran  ahead  of  Malcolm's 
hints.  She  thought  him  capable  of 
attempting  to  marry  Lady  Gates,  and 
it  was  on  the  cards  that  he  would 
succeed.  Better  for  Katherine  Gates 
to  die  than  become  Lopez's  wife! 
Better  for  herself,  and  better  for 
Malcolm !  Married  to  Lopez,  he 
would  inherit  everything  she  had, 


and  her  nephew  would  be  left  out  in 
the  cold. 

Madeleine  wondered  if  Malcolm's 
thoughts  had  run  ahead  as  far  as 
that  when  he  spoke  of  his  aunt  and 
the  dancer.  She  hardly  imagined 
that  he  had  pictured  Lady  Gates  ac- 
tually married  to  Lopez ;  but  the 
more  she  dwelt  on  the  idea,  the  more 
probable  it  seemed  that  marriage 
with  the  rich,  elderly  woman  had 
been  the  Argentinean's  aim  from  the 
first. 

"It  mustn't  happen !"  the  girl  said 
to  herself,  half  aloud.  "I — I  won't 
allow  it !  I'll  do  something  to  save 
poor  Malcolm's  inheritance  from  go- 
ing to  that  wretch." 

There  were  several  things  she 
could  do,  none  of  them  certain  of 
success  and  none  of  them  wise;  but 
the  easiest  and  best,  Madeleine 
thought,  would  be  to  speak  with 
Lady  Gates. 

She  was  no  longer  in  her  lady- 
ship's employ.  The  odd  engagement 
had  ended  with  the  patient's  release 
from  the  hospital,  but  the  two  were 
on  friendly  terms,  so  there  was  no 
reason  why  Miss  Smith  shouldn't 
call  at  the  Hotel  Ambassador  before 
going  to  work  next  morning. 

It  was  nine  o'clock  when  the  girl 
telephoned  from  one  of  the  hotel 
booths  downstairs,  and  Lady  Gates 
answered,  having  just  ordered  break- 
fast in  bed. 

"My  dear,  I'm  so  happy,"  she  said. 
"This  is  the  first  time  in  about  fif- 
teen years  I  haven't  hated  to  see  my 
own  face  in  the  mirror.  I  used  to 
think  that  every  year  I  was  growing 
to  look  more  and  more  like  a  with- 
ered, baked  apple,  or  a  puffy  muffin. 
But  now — well,  by  the  time  'I've 
learned  to  make  myself  up  accord- 
ing to  expert  instructions,  I  won't  be 
such  a  blot  on  Hollywood.  Yes,  do 
come  up.  It's  nice  of  you  to  call. 
I  shall  be  delighted  to  see  you — and 
to  have  you  see  me !" 

Madeleine  was  touched.  "Poor 
old  dear!"  she  thought.  "If  only  she 
can  be  saved  from  Lopez." 

Lady  Gates  had  already  tried  an 
experiment  in  make-up  for  the  bene- 
fit of  the  waiter  who  had  brought  in 
her  breakfast.  She  had  blackened 
her  plucked  eyebrows  and  short 
lashes,  rouged  her  cheeks,  painted 
her  lips  to  represent  a  crimson  Cu- 
pid's bow,  and  pulled  a  gold-net 
boudoir  cap  over  her  auburn  crop. 

"Well,  my  dear,  what  do  you  think 
of  me?"  she  gayly  inquired.  "Am  I 
a  success?" 

"You're  quite  wonderful,"  was 
Madeleine's  answer,  and  it  was  in- 
deed true.  She  hesitated,  not  know- 
ing how  to  work  up  most  tactfully 
to  what  she  had  come  to  say.  But 


Lady  Gates  unconsciously  gave  the 
opening  she  sought. 

"I'm  so  glad  you  think  so,  because 
I  believe  you  are  sincere,"  she  said. 
"Didn't  my  nephew  mention  me  to 
you  last  night  at  Montparnasse  ?" 

"Yes,"  said  Madeleine.  "He 
knows  we're  very  friendly,  you  see; 
so  he  told  me,  just  in  a  few  words, 
how  sorry  he  was  to  have  offended 
you.  It  was  only  through  his  fond- 
ness for  you,  and  respect." 

"Please  don't  try  to  defend  my 
nephew  to  me,  Miss  Smith,"  said 
Lady  Gates,  her  tone  stiffening  a  lit- 
tle, "though  no  doubt  you  mean  well. 
Did  he  ask  you  to  call  on  me  this 
morning  ?" 

"Certainly  not !"  the  girl  protested.^ 
"He  has  no  idea  I've  come.  I  made 
up  my  mind  in  the  night  that  I'd 
try  to  see  you,  because  of  something 
Mr.  Allen  said — but  not  about  him- 
self." 

"Not  about  himself?"  Katherine 
Gates  repeated.    "What  then?" 

"He  mentioned  that  you  had 
thrown  over  your  dinner  engagement 
with  him  to  dine  with  Marco  Lopez 
at  Montparnasse." 

"Well,  what  if  I  did?"  demanded 
her  ladyship.  "I  suppose  I'm  free  to 
dine  with  any  one  I  like  ?  And,  any- 
how, why  should  you  be  interested, 
my  dear  Miss  Smith?  Are  you  a 
friend  of  Mr.  Lopez?" 

"No,"  said  Madeleine.  "I  never 
even  spoke  to  him  until  a  short  time 
ago.  But,  dear  Lady  Gates,  please 
don't  be  angry!  You've  been  nice 
to  me,  and  I  "like  you  so  much  and 
want  you  to  be  happy.  A  man  like 
Mr.  Lopez  isn't — isn't  a  good  friend 
for  you  to  have." 

"Well,  upon  my  word  !"  exclaimed 
her  ladyship.  "Why  this  sudden 
anxiety  for  me,  my  dear?  You  knew 
that  I'd  made  Mr.  Lopez's  acquaint- 
ance and  that  he'd  been  of  use,  ad- 
vising me  about  this  and  that.  I 
told  you  how  kind  he'd  been,  before 
I  asked  you  to  go  and  see  the  sur- 
geon with  me.  Don't  you  remem- 
ber?" 

"I  do,"  said  Madeleine.  "And  I 
was  a  little  worried  for  you  even 
then.  But  I  didn't  know  you  very 
well.  And,  besides,  it's  rather  differ- 
ent now.  You're  launching  out  on 
a  sort  of  new  career,  as  a  younger 
woman.  You'll  probably  be  dancing 
a  good  deal  with  Mr.  Lopez  at  Mont- 
parnasse, unless  he  " 

"LTnless  he  what?"  Lady  Gates 
echoed  sharply. 

"I  was  going  to  say,  unless  he 
should  decide  to  accept  a  part  in  a 
picture.  I've  heard  that  he's  likely 
to  receive  an  offer.  One  hears  every- 
thing at  Montparnasse.  But  even  if 
Continued  on  page  94 


To  B 


e  m 


Styl 


You  should  have  a  nom  du  cinema  for  the  work 
you  do  in  behalf  of  art,  but  usually  there's 
another  reason  why  players  change  their  names. 


Sally  Blane,  left,  changed 
her  name  from  Betty 
Jane  Young,  because  she 
had  two  sisters  in  pic- 
tures— Loretta,  and  Polly 
Ann  Young. 


Dorothy  Kitchen,  right, 
changed  her  name  to 
Nancy  Drexel,  because 
she  didn't  like  Kitchen 
for  picture  work. 


Molly  O'Day,  above,  comes 
from  the  Clan  Noonan.  Her 
sister  changed  her  name  to 
Sally  O'Neil,  so  Molly,  to 
avoid  confusion,  became 
Molly  O'Day. 

Carol  Mason,  below,  who 
used  to  be  Lola  Todd,  found 
she  was  being  mistaken  for 
Thelma  Todd,  so  she 
changed  her  name. 


Kathryn  McGuire, 
left,  took  the  name 
of  her  husband,  and 
was  known  as  Kath- 
ryn Landy.  The  ex- 
hibitors, however, 
protested,  and  so  she 
changed  back  to  Mc- 
Guire again. 


94 


A  Girl  Comes  to  Hollywood 


Continued  from  page  92 
Mr.  Lopez  gets  this  offer,  and  does 
accept,  he'll  have  enough  time  at  his 
own  disposal  to  be  dangerous  to  you 
if  you're  not  careful,  Lady  Gates. 
Oh,  do  believe  I'm  speaking  for  your 
good !  Though  I  hardly  know  Mr. 
Lopez  personally,  I  do  know  his  rep- 
utation." 

Lady  Gates'  natural  color  now 
more  than  rivaled  her  rouge,  and 
flushed  her  whole  face  darkly  red. 

"Anybody  would  think  I  was  your 
age,  and  you  mine !"  she  said.  "I'm 
trying  my  best  to  be  young,  as  you 
very  well  know,  but  I'm  not  so  young 
as  all  that !  At  least,  I'm  old  enough 
to  judge  for  myself  what  men 
friends  to  make !  I  really  do  wonder 
at  your — your  check,  Miss  Smith.  I 
can't  help  thinking  that  my  nephew 
did  send  you,  or  else — or  else  that 
you've  fallen  in  love  with  Mr.  Lopez 
yourself,  and  are  afraid  I  may  take 
him  away !  Yes,  that's  what  you 
make  me  think — that  you're  jeal- 
ous!"   •  • 

"Oh,  Lady  Gates !"  the  girl  ex- 
claimed, springing  to  her  feet.  "You 
can't  believe  that  of  me." 

"Why  not?"  the  other  snapped. 
"I'm  not  so  old  and  hideous  now, 
that  nobody  can  be  jealous  of  me. 
You  must  have  had  some  strong  mo- 
tive for  daring  to  lecture  me  like 
this.  If  you  come  from  Malcolm, 
tell  him  from  me  that  I'm  going  to 
live  my  own  life.  I  don't  need  him 
in  it,  and  after  last  night  I  don't  want 
him.  If  you  came  on  your  own  ac- 
count, my  answer  to  you  is  the  same. 
I  intend  to  enjoy  myself  here,  and 
in  my  own  way,  with  my  own 
friends.  I'm  afraid  you've  traveled 
quite  a  long  distance  this  morning 
for  nothing.  And  I  suppose  by  this 
time  you  must  be  hurrying  off  to 
your  work  at  Montparnasse." 

Madeleine  resigned  herself  to  the 
inevitable.    She  could  do  no  more. 

CHAPTER  XVI. 

ALL  SET  TO  BEGIN  WORK. 

Madeleine  had  been  right  in  her 
estimate  of  Ossie  Sonnenberg.  She 
had  only  to  hold  him  up,  to  make 
him  see  the  twenty-five  thousand 
dollars  that  hadn't  materialized,  as 
she  saw  twenty-five  cents.  . 

If  she  wanted  to  play  Serena  Rob- 
bins,  in  "Red  Velvet,"  she  was  going 
to  play  it,  Sonnenberg  said.  If  she 
wished  the  part  to  be  turned  into  a 
star  part,  why  Allen  must  turn  it 
into  one.  What?  She  didn't  want 
to  be  a  star  yet?  Well,  then,  Serena 
Robbins  could  stay  as  she  was,  the 
ingenue.  She'd  be  sitting  pretty,  at 
that,  for  all  she  had  to  do  was  to  be 
nice  to  poor  old  Ossie,  and  he'd  buy 
the  next  story  after  "Red  Velvet," 


with  a  wow  of  a  part  in  it — a  reg- 
ular Clara  Bow  part ! — for  little 
Mary  Smith. 

Madeleine  had  no  mid-Victorian 
qualms  about  what  "being  nice"  to 
Ossie  might  entail.  She  knew  what 
he  meant,  and  she  knew  even  better 
what  she  meant.  The  two  meanings 
were  at  opposite  poles.  But  hers 
would  prevail,  and  there  would  be 
no  hitch  in  the  progress  of  the  film, 
or  of  the  maiden. 

Malcolm  was  surprised  when  Mr. 
Sonnenberg  informed  him  that  his 
failure  to  raise  the  sum  suggested 
was  going  to  make  no  difference  at 
all.  Sonnenberg  explained  that,  hav- 
ing read  the  scenario,  he  liked  it  bet- 
ter than  he  had  expected,  and  thought 
it  worth  risking  a  bit  of  money  on. 
But  the  surprise  was  less  agreeable 
tcf  the  author  of  "Black  Sleeves," 
alias  "Red  Velvet,"  than  it  would 
have  been  if  Marco  Lopez  had  not 
been  included  in  the  cast  engaged. 

No  mention  was  made  of  a  sug- 
gestion from  Miss  Smith,  but  after 
her  admission  concerning  Lopez,  Mal- 
colm had  no  doubts  as  to  why  Marco 
Lopez  had  been  selected  by  Sonnen- 
berg to  pla*y  the  dancer  in  the  ball- 
room scene. 

Once  more  Malcolm  was  in  funds. 
Once  more  he  was  a  figure  of  some 
importance,  if  not  of  his  old  im- 
portance, in  Hollywood.  He  had 
been  redeemed  from  the  humiliation 
of  failure. 

He  had  tried  to  convince  himself 
after  that  strange  admission  of  hers, 
that  though  the  dancer  was  im- 
portant in  the  girl's  life,  she  hated 
rather  than  loved  him.  But  this 
■couldn't  be  true,  after  all,  for  a 
woman  couldn't  wish  to  act  in  a  pic- 
ture with  a  man,  if  she  disliked  him. 
Malcolm  knew  that  Mary  had  read 
his  book,  for  he  had  given  it  to  her, 
and  told  her  in  detail  exactly  how 
he  had  changed  the  story  for  the 
film.  She  was  aware  that  Serena 
Robbins  would  have  to  dance  with 
Marco  Lopez  and  try  to  save  his  life 
when  attacked  by  the  indignant  hero 
in  a  garden  overhanging  an  Italian 
lake.  No,  Malcolm  assured  him- 
self again  and  again  if  hope  arose  in 
his  heart,  there  couldn't  be  any  real 
doubt  of  what  the  mysterious  Mary 
Smith's  feelings  were  for  the  equally 
mysterious  Marco  Lopez. 

As  for  Miss  Smith,  so  highly  were 
her  services  valued  by  Pierre,  that 
she  was  invited  to  come  back  to 
Montparnasse  when  her  picture 
work  should  be  finished,  at  a  salary 
of  fifty  dollars  a  week  instead  of 
thirty.  But,  Pierre  and  his  patrons 
asked  each  other,  when  would  the 
girl's  picture  work  be  finished? 

Every  one  who  came  to  Montpar- 


nasse was  so  interested  in  the  future 
career  of  the  green-spangled  harem 
girl  that  the  reappearance  of  Lady 
Gates,  dazzlingly  changed,  took  place 
comparatively  unnoticed. 

"Well,  she  couldn't  have  been 
worse  than  she  was,  so  she  must  be 
better!"  remarked  a  woman  who 
knew  by  experience  just  what  Lad}' 
Gates  had  gone  through,  but  had  not 
made  the  mistake  of  arriving  before- 
hand in  Hollywood.  "And  even  if 
she  is  a  nightmare,  her  new  clothes 
are  dreams !" 

His  aunt  would  have  been  pleased 
could  she  have  known  that  her  too- 
frank  nephew  actually  admired  her 
pluck,  when  he  had  had  time  to  think 
things  over.  But  she  gave  him  no 
opportunity  of  expressing  contrition, 
if  he  had  been  ready  to  do  so.  Though 
she  came  on  every  dance  evening  to 
Montparnasse,  and  sometimes  to 
luncheon,  the  cool  nod  and  "Keep 
your  distance"  look  she  bestowed 
on  Malcolm  was  from  the  first  en- 
counter a  warning  not  to  approach. 
She  sat  at  her  table,  and  Malcolm 
sat  at  his.  The  polite  bows  they 
vouchsafed  each  other  modified  gos- 
sip, but  of  course  those  interested 
saw  that  Malcolm  Allen  and  his  rich 
aunt  must  have  had  some  sort  of 
quarrel. 

"Perhaps  he's  peeved  about  the 
lounge  lizard,"  suggested  a  man  to 
Pierre,  who  merely  shrugged  his 
shoulders  and  knew  nothing. 

But  Pierre  thought  that  the  sug- 
gestion was  probably  correct.  Lady 
Gates  was  evidently  very  rich.  Her 
jewels  had  always  been  remarkable, 
and  now  the  dresses  she  wore  were 
as  beautiful,  as  well  chosen,  as  those 
of  the  most  famous  star.  Even  her 
shoes  were  perfect,  with  real  dia- 
mond buckles  and  heels.  Her  lace- 
clocked  stockings  must  cost  a  hun- 
dred dollars  a  pair. 

Pierre  chuckled  to  himself  when 
Lopez  announced  that  he  had  been 
asked  to  play  the  role  of  a  dancer 
in  Sonnenberg's  picture,  but  that  he 
had  arranged  not  to  do  any  night 
work.  He  could,  he  said,  continue 
to  dance  at  Montparnasse  then,  if 
Monsieur  Pierre  would  find  some 
one  to  fill  his  place  in  the  afternoons. 

"When  he  has  landed  his  goldfish 
and  married  her,  the  two  will  con- 
tinue to  come  here  and  spend  mi- 
lady's money,"  Pierre  told  himself, 
well  content.  It  was  not  surprising 
to  him  that  Mr.  Allen  was  annoyed 
with  his  rich  aunt. 

So  time  passed ;  and  then  one  day, 
when  production  of  "Red  Velvet" 
was  about  to  begin,  Marco  Lopez 
broke  the  news  to  the  lady  in  the 
darkened  room. 

[to  be  continued.] 


95 


Bic^cular  Stars 

Is  there  anything  these  favorites  won't 
do?     Congress  ought  to  pass  a  law! 


Josephine  Dunn,  left,  carries  this  little 
bicycle  with  her  wherever  she  goes, 
so  she  has  yet  to  "walk  home." 


Gertrude  Olmsted,  below,  has  a  two- 
wheeler  'n'  everything  in  the  gym  in 
her  home.    But  that's  a  funny  gym 
outfit  she's  wearing,  isn't  it? 


Can  you  imagine  any  one 
getting  pleasure  from 
riding  the  antiquated 
"bone  shaker,"  below  ? 
However,  Tim  McCoy 
and  Dale  Aus- 


Do  you  wonder  why  people  refer  to 
the  "wild  life"  of  Hollywood,  after 
looking  at  Joan  Crawford,  above, 
"carrying  on"  all  over  the  Metro- 
Goldwyn  lot? 

And  Conrad  Nagel,  below,  deserves 
severe  ridicule  for  his  conduct  in  the 
same   studio.     There   should   be  an 
investigation ! 


96 


Manhattan  Medley 


Continued  from  page  47 

"A  few  years  ago,"  she  continued 
reminiscently,  "I  was  leading  a  pur- 
poseless, futile  existence  as  a  young 
married  woman  in  Mexico  City.  And 
now  every  day  I  am  doing  some- 
thing worth  while.  I  lead  a  rich, 
full  life  in  Hollywood,  where  for 
several  years  I  have  worked  and 
worked  and  worked  to  perfect  my- 
self in  this  gorgeous  art  of  acting. 
I  look  back  upon  the  shallow  pur- 
suits I  indulged  in  in  Mexico  City, 
the  ceaseless  round  of  parties,  the 
long,  empty  days  spent  in  merely 
presiding  over  a  household  and  en- 
joying myself,  and  realize  how  far  I 
have  come  from  that  lazy,  useless  ex- 
istence. It  took  courage,  great  cour- 
age to  break  away,  but  once  I  took 
the  step  I  have  never  faltered." 

"Just  what  do  you  mean  by  doing 
something  worth  while?"  we  queried 
when  we  got  a  chance. 

"Why,  I  am  bringing  pleasure, 
recreation,  and  joy  into  the  lives  of 
thousands  of  people  throughout  the 
world.  Isn't  that  worth  while?  I 
realize  that  my  life  is  not  being  spent 
in  vain.  I  used  to  get  up  each  morn- 
ing, faced  only  with  the  prospect  of 
giving  pleasure  to  myself.  Now  each 
day  brings  the  responsibility  of  giv- 
ing my  best  to  the  world  ! 

"And  I  am  not  blase  about  it.  I 
love  it.  It  thrills  me.  I  love  to  hear 
from  my  fans,  to  know  I  am  giving 
them  happiness,  to  hear  their  com- 
ments, to  answer  their  questions.  I 
am  looking  forward  to  meeting  them 
in  all  parts  of  the  world.  And  as  I 
get  to  know  them  better,  I  shall, 
through  my  pictures,  introduce  them 
to  my  beloved  country.  I  shall  make 
a  picture  embodying  the  struggles, 
ideals,  and  characteristics  of  the 
Mexican  people.  I  shall  open  up 
for  them  not  only  the  cultured  world 
of  ladies  and  gentlemen,  but  the  sim- 
ple life  of  the  peon.  That  is  my  am- 
bition, that  is  my  dream." 

Upon  her  return  from  Europe 
Miss  del  Rio  will  portray  Evange- 
line. 

Another  Britisher  for  Hollywood. 

A  tall  young  Englishman,  late  of 
his  majesty's  service,  has  been 
added  to  the  Paramount  fold.  In  all 
likelihood  he  will  play  what  are  tech- 
nically known  as  semi-Westerns. 
Bringing  with  him  the  traditional 
modesty  of  British  heroes,  John  Lo- 
der  confesses  himself  somewhat  ap- 
palled at  the  step  he  has  taken,  and 
fears  the  rigors  of  Hollywood  and 
a  few  harsh  words.  But  assured  by 
Jesse  L.  Lasky  that  the  forces  of 
the  powerful  organization  will  be 
bent  toward  his  success,  he  wafted 


farewell  to  bally  London,  don't  cher 
know. 

Mr.  Lasky  signed  the  young  Brit- 
isher to  a  five-year  contract,  after 
the  briefest  of  meetings.  Loder  was 
working  in  "The  First  Born,"  at  a 
studio  just  outside  of  London,  when 
he  received  word  that  the  American 
impresario  would  parley  with  the 
young  actor. 

"I  was  told  to  be  at  Mr.  Lasky's 
hotel  at  eleven  o'clock  that  evening," 
said  Mr.  Loder.  "I  returned  home, 
put  on  my  swallowtails  and  dashed 
to  the  hotel,  arriving  at  eleven  o'clock 
on  the  dot.  I  had  a  long  wait,  and 
began  to  feel  that  I  was  just  one  of 
those  of  whom  Mr.  Lasky  had  said, 
'Oh,  well,  send  him  along,'  and  then 
had  forgotten  all  about  it.  Just  as  I 
was  about  to  give  up,  Mr.  Lasky 
came  along,  and  asked  me  to  come 
upstairs.  After  we  had  chatted  a 
bit,  he  asked  me  if  I  would  like  to 
go  to  Hollywood.  Of  course  I  said 
I  would,  so  he  told  me  to  bring  two 
hundred  feet  of  film  to  the  Para- 
mount office  at  ten  o'clock  the  next 
morning,  but  to  be  prompt,  as  he  was 
taking  the  eleven-o'clock  train  for 
Paris.  The  agreement  was  that  if  he 
liked  my  test  he  would  send  me  to 
Hollywood. 

"I  was  up  at  the  crack  of  dawn 
the  next  morning,  and  off  to  the 
studio  to  get  the  test.  But  the  man 
who  had  the  keys  and  was  in  charge 
of  the  film  had  not  arrived.  Time 
was  precious,  and  I  was  on  edge.  At 
nine  o'clock  no  one  was  there.  At 
nine-thirty  the  place  was  still  de- 
serted. At  ten  minutes  to  ten  the 
guardian  of  the  film  put  in  an  ap- 
pearance, but  the  dickens  of  it  was 
we  couldn't  find  the  particular  bit  I 
wanted.  I  was  quite  frantic,  but  it 
finally  showed  up,  and  somehow  or 
other  I  got  it  back  to  the  Paramount 
office  by  twenty  minutes  past  ten. 
Mr.  Lasky  was  waiting  on  the  pave- 
ment, with  his  watch  in  his  hand. 
He  waited  long  enough  to  run  the 
film  through  twice,  and  then  offered 
me  a  contract.  I  asked  for  time  to 
pay  my  taxi,  but  he  said  'No,  we 
have  to  sign  this  now.'  I  signed,  and 
he  was  off." 

Mr.  Loder,  late  of  Eton,  Sand- 
hurst, and  the  World  War,  came  to 
the  films  via  a  financial  failure.  He 
tried  his  luck  first  in  the  German 
studios,  where  bits  were  his  lot.  His 
career  nearly  terminated  when  he 
stepped  on  Maria  Corda's  foot  in  a 
scene,  but  she  failed  to  register  the 
anger  he  anticipated,  and  he  left 
Berlin  with  no  further  mishap.  Plis 
first  big  English  role  was  in  "The 
First  Born,"  which  was  being  made 
when  Mr.  Lasky  captured  our  hero 
and  brought  him  to  America. 


Right  Back  Where  He  Started  From. 

George  K.  Arthur,  the  little  Scots- 
man, who  costars  with  Karl  Dane, 
went  to  Europe  to  visit  his  native 
land — only  he  went  to  Paris  and  got 
stuck.  The  allurements  of  Paris 
proved  so  enticing  that  he  was  un- 
able to  tear  himself  away,  so  he  con- 
tented himself  with  a  visit  to  the 
scenes  of  his  early  youth,  as  it  were, 
improving  the  shining  hour  by  mak- 
ing a  pilgrimage  to  the  battlefields  of 
Flanders,  revisiting  the  spots  where 
he  had  served  with  the  41st  British 
Division  in  France.  Believing  that 
his  holiday  abroad  had  been  suffi- 
cient, upon  his  New  York  arrival  on 
the  Mauretania  Metro-Goldwyn 
whisked  him  right  back  to  the  Coast 
that  he  might  proceed  upon  his  com- 
edy way  with  his  team-mate. 

Mr.  and  Mrs.  Dempsey  Rehearse. 

Estelle  Taylor  and  Dorothy  Gish 
have  taken  to  the  stage,  in  company 
with  their  illustrious  husbands — the 
one,  Jack  Dempsey;  the  other,  James 
Rennie.  Dorothy  Gish's  abandon- 
ment is  a  case,  of  course,  of  discre- 
tion being  the  better  part  of  valor, 
since  her  recent  screen  work  has 
been  poor  and  her  lack  of  interest 
only  too  apparent.  But  Miss  Tay- 
lor's desertion  of  her  first  love  is  the 
result  of  a  determination  to  do  or 
die,  in  an  effort  to  cast  overboard 
the  conventional  vamp — her  allotted 
role  on  the  screen. 

"Give  me  liberty,  or  give  me 
straight  roles,"  she  cried  to  the  pro- 
ducers, at  the  height  of  her  film  ca- 
reer, and  she  has  her  liberty  for  the 
nonce.  Her  theatrical  venture  is  still 
on  the  lap  of  the  gods,  but  time  and 
the  box-office  will  tell.  David  Be- 
lasco  took  the  twain  in  charge,  and 
when  "The  Big  Fight"  opens  on 
Broadway,  the  Manassa  mauler  and 
his  bride  will  have  had  every  histri- 
onic advantage. 

Oh,  Joy— Camilla's  Back! 

Camilla  Horn,  young,  blond,  and 
beautiful,  hobbled  down  the  gang- 
plank of  the  He  de  France  with  a 
sprained  ankle,  the  souvenir  of  a 
game  of  deck  tennis  the  day  before. 
With  the  aid  of  a  cane,  and  the 
thought  of  the  new  long-term  con- 
tract which  Joseph  M.  Schenck 
brought  all  the  way  to  Europe,  she 
managed  to  be  pretty  cheerful.  Her 
trip  abroad  took  her  to  Hamburg, 
where  she  visited  her  mother.  Upon 
her  return  to  Hollywood,  she  will 
start  a  new  picture  with  John  Barry- 
more. 


97 


Tfou'd  Better  Watch  Out! 

Some  of  the  stars  show  the  timepieces 
by  which  they  miss  their  appointments 


98 


The  Screen  in  Review 


Continued  from  page  71 
the  heroine,  who  is  a  Russian  spy, 
with  interest.  This  is  largely  be- 
cause Miss  Garbo  is  herself  mys- 
terious, heavy-lidded,  inscrutable. 
Once  again  it  is  the  triumph  of  per- 
sonality, and  the  glamour  cast  by  the 
camera.  In  the  coldest  analysis, 
Miss  Garbo,  as  an  actress,  is  not 
mysterious  at  all,  and  has  never 
shown  either  the  interest  or  the  abil- 
ity to  characterize  her  roles.  At  the 
risk  of  making  an  unintentionally 
comic  comparison,  I  consider  Jackie 
Coogan  an  infinitely  superior  actor. 
Do  you  care  ? 

At  any  rate,  Tania  is  assigned  to 
get  those  papers  from  Karl,  an  Aus- 
trian officer,  but  falls  in  love  with 
him  instead,  and  he  with  her.  Such 
a  business  for  a  woman  to  be  in ! 
Furthermore,  Karl's  love  turns  to 
hate — movie  hate — when  he  discov- 
ers Tania's  identity  and  is  court- 
martialed  for  his  manly  weakness 
in  succumbing  to  her  wiles.  How- 
ever, he  is  released  and,  disguised  as 
a  musician,  sets  forth  to  recover  the 
papers.  When  there  seems  no  way- 
out,  Tania  solves  the  difficulty  by  the 
simple  expedient  of  shooting  the  vil- 
lain. A  canter  across  the  frontier 
assures  the  reunited  hero  and  hero- 
ine of  that  nebulous  state  of  happi- 
ness expected  of  pictures  where  the 
frontier  is  just  around  the  corner 
from  the  scene  of  anguish. 

A  factory-made  story,  but  rich  in 
polish  and  uniforms,  and  with  much 
Garbo.  Conrad  Nagel,  with  a  ro- 
mantic marcel,  is  quietly  heroic  and 
convincing. 

A  Charming  Frolic. 

For  an  engaging,  amusing,  and 
original  comedy,  consider  "Hot 
News,"  Bebe  Daniels'  latest  contri- 
bution to  the  current  cinema.  I  war- 
rant you  will  find  nothing  better  on 
your  shopping  tour.  Promise  to  see 
it  before  we  go  any  further?  At- 
ta  boy!  It  deals  with  the  rivalry  of 
two  news-reel  camera  men — only 
one  of  them  is  a  girl,  Pat  Clancy, 
played  by  Miss  Daniels.  Her  com- 
petitor is  Neil  Hamilton,  as  "Scoop" 
Morgan,  and  their  opposition  leads 
them  into  all  manner  of  exciting, 
comic  and  daring  stunts.  All  are 
good,  but  the  most  important  se- 
quence is  a  melodramatic  one  in 
which  Pat  and  Scoop  separately  at- 
tend a  garden  party,  with  the  avowed 
intention  of  procuring  a  news  reel 
of  the  guest  of  honor,  a  maharajah, 
whose  antipathy  to  the  camera  is 
history.  Pat  is  disguised  as  an  en- 
tertainer, and  Scoop,  in  order  to  gain 
admittance,  dons  the  costume  of 
Pat's  dancing  partner,  giving  no 
thought  to  the  fateful  moment  when 
he  must  perform  with  her  for  the 


guests.  The  two  do  a  burlesque 
apache  dance  which  is  quite  the  fun- 
niest imaginable.  A  jewel  is  stolen 
from  the  maharajah,  Pat  and  Scoop 
are  spirited  aboard  the  yacht  of  the 
villain,  and  are  eventually  rescued  by 
government  cutters  and  airplanes, 
with  Pat's  photographic  record  of 
the  crime  intact.  It  is  all  very  lively 
and  is  interspersed  with  gags  galore. 
A  wholly  refreshing  performance  is 
contributed  by  Mr.  Hamilton,  whose 
sense  of  humor  has  found  outlet  in 
no  other  role  so  fully  as  in  this,  and 
Paul  Lukas  is  an  admirable  villain. 
All  in  all,  "Hot  News"  crackles  with 
spontaneous  combustion. 

Extra!    Bolshevist  Soubrette  Marries 
Prince! 

As  some  one  has  said,  there  was 
no  reason  to  continue  the  Russian 
upheaval  beyond  1917,  because  an- 
other year  would  have  seen  all  the 
princes  married  to  beautiful  peasants, 
and  nothing  more  to  worry  about. 
That  is,  if  we  may  rely  upon  our 
movies  for  the  truth.  It  happens 
again  in  "The  Scarlet  Lady."  Lya 
de  Putti,  as  a  roguish  little  Bolshe- 
vist, described  by  a  subtitle  as  a 
"weed,  but  unsoiled,"  marries  aris- 
tocratic Prince  Karloff,  and  the 
events  that  bring  about  this  now  fa- 
miliar climax  are  far  from  uninter- 
esting. The  vigor  of  the  direction, 
plotting  and  acting  disarms  the  spec- 
tator who  expects  subtlety,  or  fine- 
ness. The  picture  is  effective  in- 
stead. I,  for  one,  found  it  vastly 
more  entertaining  than  many  similar 
stories  on  which  months  had  been 
spent  in  jockeying  for  camera  angles, 
symbols,  and  refinements.  Suspense 
is  not  lacking  from  "The  Scarlet 
Lady,"  for  you  just  can't  help  won- 
dering what  the  minx  will  do  next. 
Something  happens  all  the  time,  from 
the  moment  Lya  is  discovered  under 
Prince  Karloff's  bed,  until  she  shoots 
Zeneriff,  the  "Red"  leader  with  the 
bullet  intended  for  the  Prince,  and 
they  flee  across  not  one  frontier  but 
lots  of  them. 

Miss  De  Putti  has  a  magnetic  per- 
sonality, but  is  hardly  sympathetic  or 
sincere,  nor  is  she  exactly  convincing 
as  an  innocent.  Still,  she  arrests  the 
eye  and  holds  it.  Don  Alvarado  is 
agreeable,  only  because  of  his  con- 
ventional role  rather  than  any  lack 
within  himself,  and  Warner  Oland 
is  ferociously  villainous. 

A  Polar  Adventure. 

"Lost  in  the  Arctic"  is  a  photo- 
graphic record  of  the  recent  expedi- 
tion to  Herald  Island,  which  resulted 
in  the  revelation  of  the  fate  which  be- 
fell the  eight  members  of  Vilhjalmur 
Steffansson's  party,  who  were  sep- 
arated from  their  companions  and 


lost  during  the  explorer's  1913  expe- 
dition. 

Far  from  being  "just  another 
travel  picture,"  "Lost  in  the  Arctic" 
is  a  continuously  interesting  story  of 
a  magnificent  adventure.  The  scenes 
taken  on  board  the  ship  during  a 
storm  are  as  thrilling  a  sight  as  you 
would  wish  to  see.  Unusual  pictures 
of  a  herd  of  reindeer,  views  of  Seal 
Island,  where  vast  families  of  seal 
are  intimately  glimpsed,  the  dangers 
of  ice  floes,  the  harpooning  of  a  giant 
whale,  the  chase  over  snowy  wastes 
to  capture  a  polar  bear  alive,  and 
other  unusual  experiences  form  a 
constantly  changing  panorama  of  in- 
teresting action,  from  the  start  of 
the  voyage  until  the  American  flag 
is  raised  over  the  spot  which  bore 
tragic,  mute  evidence  of  the  fate  of 
the  eight  men.  The  actual  manner 
in  which  they  met  their  death  is  still 
uncertain,  since  their  bones  were 
found  under  rotted  canvas,  and  near 
by  was  enough  food  supply  to  have 
lasted  them  for  months. 

Credit  for  the  unusual  photo- 
graphic effects  goes  to  H.  A.  and 
Sidney  Snow.  The  picture  has  sound 
effects,  and  a  Movietone  musical 
score  arranged  and  conducted  by 
Roxy. 

Mr.  Gilbert  as  a  Tough  Guy. 

Underworld  gangsters  and  their 
rivalry  form  the  backbone  of  "Four 
Walls,"  John  Gilbert's  new  picture. 
Toward  the  end  quite  a  bit  of  sus- 
pense comes  from  the  uncertainty  of 
Benny's  fate ;  that  is,  will  he  be  ar- 
rested for  the  death  of  his  enemy, 
Monk,  and  serve  another  sentence? 
The  picture  may  be  called  an  intimate 
glimpse  of  gang  affairs,  for  it  is 
broad  in  neither  its  physical  nor  emo- 
tional scope  and,  all  told,  is  only  fair. 
It  hardly  deserves  a  place  with  the 
more  exciting  films  dealing  with 
criminals  that  we  have  lately  seen. 
But  it  has  the  added  attraction  of  the 
popular  Mr.  Gilbert  in  what  is,  for 
him,  an  unusual  role.  Simple  though 
it  is,  he  fails  utterly  to  characterize 
the  young  Jewish  fellow,  and  plays 
instead  just  himself.  Dapper,  well 
dressed,  poised,  he  is  the  self-assured 
star.  Even  after  four  years  in  prison,- 
during  which  he  is  supposed  to  have 
undergone  spiritual  awakening,  Ben- 
ny's face  is  without  a  new  line, 
shadow,  or  expression.  This  is 
strange  after  Mr.  Gilbert's  graphic 
and  moving  characteriza'tion  in  "Man, 
Woman,  and  Sin."  Joan  Crawford  is 
likewise  indifferent  to  the  possibili- 
ties of  Frieda,  the  bone  of  conten- 
tion between  Benny  and  Monk.  She 
is  an  emotional  debutante  given  to 
expensive  gowns.  Perhaps  my  ac 
quaintance  with  gangsters  and  their 
girls  is  too  limited  for  me  to  recog- 


The  Screen  in  Review 


99 


nize  the  verity  of  these  portraits,  but 
I  always  bow  to  familiar  screen  types, 
no  matter  what  names  the  roles  may 
be  called.  Carmel  Myers,  shedding 
her  satins  and  sequins,  is  Bertha,  a 
home  girl  and,  with  Vera  Gordon, 
gives  the  most  authentic  performance 
in  the  picture. 

Collegiate,  But  Funny — Really. 

Unless  you  have  discerned  the 
buoyant  humor  underlying  many  of 
Rod  La  Rocque's  serious  roles,  you 
will  be  vastly  surprised  when  you  see 
him  in  "At  Yale."  Come  to  think 
of  it,  you  will  be  surprised  anyhow. 
First,  that  a  college  comedy  could  be 
so  lively  and  funny  at  this  late  day, 
and,  secondly,  that  Mr.  La  Rocque 
could  play  slapstick  and  yet  retain  his 
inherent  elegance.  He  does  both  su- 
premely well.  The  story  is  barely 
more  than  a  kernel — maybe  but  a 
husk — but  it  is  forgivable.  Mr.  La 
Rocque  is  Jaime  Alvarado  Monies, 
of  the  Argentine's  flaming  youth,  who 
comes  to  New  Haven  to  enroll  as  a 
freshman.  Under  amusing  circum- 
stances he  has  already  met  one  of 
the  professors  and  his  daughter, 
Helen,  and  on  second  sight  he  im- 
pudently announces  that  he  means  to 
marry  her.  There  are  all'  sorts  of 
complications,  such  as  the  befuddled 
pursuit  of  Jaime  by  a  goofy  detective, 
the  South  American's  exploits  as  a 
boxer  and  a  football  player,  and  his 
participation  in  a  road-house  brawl 
on  the  eve  of  the  big  game.  Above 
all  this,  however,  it  is  the  acting  and 
the  direction  that  make  "At  Yale" 
pleasant  entertainment.  Jeanette 
LofF  is  a  "new  face"  and  a  pretty 
one,  with  a  nice  sense  of  comedy  to 
enhance  her  value ;  and  Hugh  Allan 
has  an  agreeably  normal  quality,  as 
her  mildly  wayward  brother.  Tom 
Kennedy  is  the  hard-working  detec- 
tive, whose  mishaps  are  responsible 
for  numerous  chuckles. 

The  Never-never  Land. 

Ramon  Novarro  invades  the  imagi- 


nary kingdom  of  Balanca,  in  "For- 
bidden Hours,"  and  while  he  is  every 
inch  a  king,  the  result  of  his  presence 
is  not  particularly  gratifying.  This 
is  because  the  narrative  is  thin  in  all 
the  elements  that  comprise  a  story. 
In  fact,  there  is  hardly  a  story  at  all. 
Too  bad,  for  Mr.  Novarro  makes  a 
handsome  young  monarch  with  a 
mischievous  sense  of  humor,  the  set- 
tings are  richly  ornate  and  the  cast 
is  impressive.  But  when  a  king  falls 
in  love  with  the  "wrong"  maiden,  re- 
nounces his  throne  that  he  may 
marry  her,  and  when  his  people  tell 
him  to  marry  her  and  keep  the  crown, 
you  will  admit  there  is  little  worth 
bothering  about,  and  nothing  at  all 
of  suspense.  Yet  so  ardent  are  Mr. 
Novarro's  admiring  legions,  that  they- 
cannot  but  find  in  him  compensation 
for  a  tepid  picture,  and  will  prob- 
ably rejoice  that  they  have  seen  him 
as  Michael  IV.  Renee  Adoree's  per- 
formance as  Marie  is  beautifully  ex- 
ecuted, in  spite  of  the  funny  dresses 
she  wears,  and  Dorothy  dimming, 
Edward  Connelly,  Roy  D'Arcy,  and 
Alberta  Vaughn  are  also  to  be  found 
laboring  valiantly. 

Pleasant  Enough  as  Pastime. 

It's  a  frail  farce  they  call  "Powder 
My  Back" — the  name,  by  the  way,  of 
a  musical  comedy — but  it  is  diverting, 
and  Irene  Rich  gives  a  pleasing,  and 
at  times  amusing,  performance.  She 
is  Frit  si  Foy,  star  of  the  show,  who 
is  denounced  during  a  performance 
by  John  Hale,  a  mayoralty  candidate. 
Though  she  does  nothing  more  than 
prance  about  in  a  gaudy  costume,  she 
is  a  menace  to  the  community,  he 
thunders.  But  he  succeeds  in  clos- 
ing the  show.  Why  it  means  that 
the  company  cannot  proceed  to  an- 
other city,  I  do  not  know,  unless  it  is 
that  Frit  si  Foy  must  stay  in  this  par- 
ticular place  for  the  purpose  of  con- 
tinuing the  story.  Continue  it  she 
does,  by  vowing  to  get  even  with  John 
Hale.  A  faked  accident  causes  her 
to  be  taken  into  his  home,  where  she 


succeeds  in  gaining  his  interest  and 
his  son's  love.  She  cures  the  boy  of 
his  infatuation  for  the  sake  of  his 
fiancee,  and  by  that  time  his  father 
has  become  the  suitor.  The  story, 
you  see,  is  riddled  with  improbabili- 
ties, but  in  spite  of  them  the  picture 
holds  one's  attention  because  of  its 
worth-while  moments.  Many  of  them 
are  supplied  by  Andre  Beranger,  who 
gives  another  of  his  precisely  comic 
performances  as  a  pseudo-romantic 
orchestra  leader  given  to  harp  solos 
and  other  characteristic  frailties. 
Anders  Randolf,  Carroll  Nye,  and 
Audrey  Ferris  are  others  in  the  cast. 

Prepare  to  Make  Allowances. 

Two  rather  musty — no,  very  musty 
— situations  inspire  the  picture 
known  as  "Beau  Broadway."  If  you 
can  condone  them,  you  will  find  the 
remainder  of  the  entertainment  fair. 
As  for  myself,  I  cannot  condone. 
When  a  worldly  bachelor  is  asked  to 
look  after  the  granddaughter  of  a 
dying  friend,  promptly  assumes  that 
she  is  a  child  and  discovers  her  to  be 
an  ingenue  with  lots  of  sex  appeal, 
I  recall  two  hundred  and  forty-six 
versions  of  this  in  novels,  plays,  and 
movies.  And  when  the  roue  marries 
the  ingenue  in  the  end,  I  find  the 
conjunction  repellant.  When,  in  ad- 
dition, the  roue,  who  is  a  prize-fight 
promoter,  elaborately  keeps  secret 
his  occupation  from  the  girl,  I  know 
the  circumstance  has  been ,  fabricated 
by  a  tired  mind  just  to  make  a  movie. 
Apart  from  this,  however,  the  pic- 
ture has  bright  moments  and  is  not 
as  dull  as  it  is  absurd.  Lew  Cody, 
as  the  fight  promoter,  gives  a  clever 
and  believable  performance,  and  Sue 
Carol  lifts  her  role  of  the  ingenue  far 
above  what  it  would  have  been  in 
less  pretty  and  appealing  hands.  But 
as  for  pairing  them  off  as  man  and 
wife — well,  when  it  happens  in  real 
life  there  is  a  cry  of  protest.  Aileen 
Pringle,  though  costarred,  has  little 
to  do  except  espouse  the  juvenile 
when  the  other  romance  is  assured. 


Hollywood  High  Lights 


Continued  from  page  65 
of  the  Continent,  will  have  a  chance 
to  see  Nick  Stuart,  the  young  Fox 
leading  man,  who  is  reported  very 
much  devoted  to  her,  and  who  is  at 
present  somewhere  abroad,  with  a 
director  and  camera  man,  making 
scenes  for  his  latest  picture,  "Chas- 
ing Through  Europe,"  a  news-cam- 
era story. 

Other  young  girls  are  being  lured 
by  the  fascination  of  foreign  travel 
— among  them  Sally  O'Neil  and 
Betty  Bronson.  When  Betty  goes  it 
will  be  for  work,  in  all  probability, 


since  she  is  to  play  in  "Peer  Gynt" 
for  Ufa  in  Berlin.  Betty,  by  the 
way,  was  given  numerous  lines  to 
speak  in  "The  Singing  Fool,"  star- 
ring Al  Jolson.  Since  her  natural 
voice  has  a  pleasing,  ringing  quality, 
it  may  register  well  for  Vitaphone. 
Let's  hope  so,  because  the  voices  of 
most  of  the  younger  girls,  as  we 
have  noted  before,  are  consistently 
disappointing. 

Crashing  the  Portals. 

A  joke,  or  something  resembling 
one,  was  recently  perpetrated  on  a 


party  of  visiting  attorneys.  They 
had  come  to  Los  Angeles  for  a  con- 
vention, and  naturally,  having  the 
same  disposition  as  every  one  else 
who  visits  that  fair  city,  the  verv 
first  desire  they  expressed  was  to  see 
the  studios. 

In  some  way  they  were  lured  into 
a'  sight-seeing  bus,  the  driver  of 
which  boldly  proclaimed  that  he 
could  show  them  all  the  sights  of 
movieland,  and  that  he  would  get 
them  right  through  the  studio  gates, 
without  any  obstacles. 

How  he  expected  to  accomplish 


100 


Hollywood  High  Lights 


this,  only  he  himself  knew;  or  maybe 
he  didn't  really  know,  but  was  simply 
taking  a  chance,  like  thousands  of 
other  optimists  Avho  learn  better  after 
their  first  encounter  with  the  wrath 
and  indignation  of  a  studio  gateman. 

Whatever  his  scheme,  his  effort  to 
effect  an  entrance  at  the  first  studio 
the  party  reached  was  duly  repulsed 
by  the  ogre  who  extends  similar 
welcome  to  all  strangers  knocking 
at  the  gates.  The  rubber-neck  im- 
presario decided  to  carry  the  bluff 
through,  and  raged  and  stormed  and 
proclaimed  that  he  had  permission  to 
enter.  The  attorneys,  feeling  that 
they  had  received  unjustifiable  treat- 
ment, also  joined  in  the  fray.  Or 
maybe  it  was  just  instinct  for  them 
to  enlist  in  the  verbal  battle. 

At  any  rate,  the  gateman  eventually 
was  impressed  by  all  the  hubbub  and 
eloquent  phraseology,  so  he  decided 
to  phone  the  publicity  office,  which 
took  the  matter  under  immediate  ad- 
visement, and  after  heated  parley 
concluded  it  would  be  the  better  part 
of  diplomacy  to  show  the  attorneys 
around. 

It  should  be  noted  that  the  bus 
driver  was  allowed  to  languish  out- 
side the  gates,  and  that  the  moral  of 
this  anecdote  is  that  if  you  can't 
crash  into  Hollywood  one  way, 
there  is  always  the  bus-ballyhooer  to 
remember.  His  racket  worked  once 
— maybe  it  will  again. 

On  to  Leningrad. 

A  mild  rage  for  Russian  pictures 
is  on.  "The  Patriot,"  "The  Woman 
from  Moscow,"  "Wheel  of  Chance," 
"The  Mysterious  Lady,"  and  "The 
Cossacks"  are  among  the  releases 
disclosing  this  tendency.  Billie  Dove's 
new  picture  will  have  a  Slav  setting. 

Billie's  latest  film,  "The  Night 
Watch,"  has  been  rated  very  .highly 
by  those  who  have  seen  it.'  She  is 
said  to  do  more  acting  in  it  than  in 
any  picture  she  has  made.  Her 
beauty  is  always  abounding — but 
good  stories  haven't  come  her  way 
any  too  often. 

Destinies  Rejoined. 

Conrad.  Veidt  and  Mary  Philbin 
are  teamed  again  in  "Erik  the 
Great."  Veidt  plays  the  role  of  a 
magician,  and  Miss  Philbin  plays  his 
assistant.  The  story  is  a  murder 
thriller. 

Veidt  and  Mary  were  teamed  in 
"The  Man  Who  Laughs,"  but  there 
seem  to  be  definite  obstacles  to  the 
acceptance  of  this  film  as  a  romance, 
which  it  inherently  is.  Nobody  can 
view,  with  any  enthusiasm,  the  spec- 
tacle of  a  mature  man  making  love 
to  a  pretty,  young  girl,  and  at  the 


same  time  displaying,  on  all  occa- 
sions, a  wide  expanse  of  teeth. 

"Erik  the  Great,"  while  it  may 
have  its  gruesome  moments,  is  not 
handicapped  by  any  such  drawback. 

Tut,  Tut,  Adolphe. 

How  much  can  an  actor's  career 
be  hurt  by  the  sale  of  ties,  of  alleged 
inferior  quality,  bearing  his  name? 

This  is  the  very  interesting  ques- 
tion which  will  have  to  be  settled 
by  the  courts.  Adolphe  Menjou  is 
the  one  responsible  for  bringing  it 
before  the  legal  tribunal. 

In  a  suit  demanding  $25,000  dam- 
ages, he  recently  charged  that  a  cer- 
tain company  had.  manufactured 
neckerchiefs  of  a  negligible  grade, 
and  called  them  the  "Menjou."  He 
asserted  this  had  lowered  his  stand- 
ing in  the  public  eye,  because  he  was 
recognized  as  a  fastidious  and  very 
correct  dresser. 

Isn't  that  too  bad? 

Tom  Speaks  His  Mind. 

In  the  past  year  or  more,  numerous 
rumors  have  been  circulated  that 
Tom  Mix  and  his  wife,  who  is  very 
popular  in  the  social  life  of  the  col- 
ony, would  separate.  When  Mrs. 
Mix  went  to  Paris  last  year,  the  sup- 
position was  that  she  would  quietly 
seek  a  French  divorce,  but  her  re- 
turn home  to  Tom,  with  their  charm- 
ing little  daughter,  Thomasina, 
promptly  dispelled  the  idea. 

Again,  the  past  summer  Mrs.  Mix 
and  Thomasina  journeyed  to  Europe 
for  a  six-month  stay,  with  Italy  and 
France  their  main  itinerary,  and  ru- 
mors of  a  divorce  once  more  took 
wing,  but  they  were  vigorously  de- 
nied by  both  Tom  and  Victoria. 

However,  Tom  subsequently  made 
a  statement  to  the  press,  in  which  he 
avowed  that  he  would  never  seek 
separation  from  his  wife,  because  his 
devotion  to  her  and  his  daughter  was 
great,  and  would  always  be  constant. 

But  he  did  add  that  if  ever  his 
wife  sought  a  separation  he  would 
blame  her  action  unequivocally  upon 
Hollywood  and  its  "parasites." 

"My  home  is  Victoria's  and  my 
baby's  as  long  as  they  live,"  said 
Tom.  "I  don't  want  them  ever  to 
leave  it.  They  can  have  everything 
I've  got.  Victoria's  happiness  is  my 
happiness,  and  if  a  divorce  will  add 
to  her  peace  of  mind,  why  I'll  even 
consent  to  that.  But  I  pray  she 
never  will  ask  it,  for  both  our  sakes, 

"We  were  divinely  happy  when 
we  lived  in  a  two-room  shack,  and 
Victoria  did  her  own  housework.  I'd 
love  to  go  back  to  it  again.  Man- 
sions and  $15,000  automobiles  don't 
make  me  happy.  As  soon  as  we 
bought  the  big  house  in  Beverly, 


things  weren't  the  same.  Too  many 
servants — too  many  frills — too  many 
people  I  wouldn't  ever  accept  as 
friends — a  lot  of  Hollywood  para- 
sites and  hangers-on,  who  used  my 
swimming  pool  as  though  it  were  a 
public  tank,  played  on  my  tennis 
court  all  hours  of  the  day,  ate  and 
drank  everything  in  the  house,  and 
still  weren't  satisfied. 

"I'm  a  simple  man  of  simple 
tastes,  and  I  like  real  people,  real 
men  and  women.  Most  of  that 
crowd  who  filled  my  house,  making 
me  feel  like  a  stranger  under  my  own 
roof,  hadn't  the  brains  or  the  back- 
bone even  to  make  a  respectable  liv- 
ing. 

"I  never  would  blame  Victoria  for 
breaking  up  our  home,  if  such  a  sad 
thing  occurred.  But  I  would  fix 
the  blame  on  Hollywood's  parasites !" 

After  Hollywood  came  up  for  air, 
following  Tom's  frank  expressions, 
there  were  many  people  who  asked 
the  question,  "Have  you  ever  been  in 
the  Mix  swimming  pool?" 

"Old  Man  River"  Absent. 

From  the  present  outlook,  nobody 
will  sing  "Old  Man  River"  when 
"Show  Boat"  is  presented  on  the 
screen.  If  anybody  does,  it  will  have 
to  be  some  caroling  basso  behind  the 
scenes  in  the  picture  theater.  Uni- 
versal, which  is  producing  the  Edna 
Ferber  story,  had  at  one  time  hoped 
to  make  it  with  the  music  of  the 
stage  ve'rsion  that  has  been  running 
in  New  York,  but  the  plan  suffered 
shipwreck  when  they  were  unable  to 
obtain  the  rights.  In  any  event,  the 
film  will  be  synchronized,  probably 
with  dialogue,  when  shown,  and 
there  will  be  musical  numbers  spe- 
cially written. 

Laura  La  Plante,  of  course,  won 
the  plum  role  of  Magnolia,  after  va- 
rious other  players  had  been  men- 
tioned for  it,  including  Mary  Phil- 
bin and  Alice  Day. 

The  Cohens  and  Kelly s  Are  Returning. 

Good  news  for  those  who  like  that 
sort  of  entertainment  is  the  fact  that 
another  "Cohens  and  Kellys"  com- 
edy is  maturing  at  Universal.  This 
time  the  ultra-distinguished  quartet, 
if  one  may  call  them  that,  frolic  in 
Atlantic  City.  George  Sidney  and 
Vera  Gordon  are  Mr.  and  Mrs. 
Cohen,  while  the  Kellys  are  played 
by  Mack  Swain  and  Kate  Price. 
Cornelius  Keefe  and  Nora  Lane  are 
responsible  for  the  love  interest, 
while  Tom  Kennedy,  the  prize 
fighter,  is  listed  in  the  cast  as  the 
"murderer."  We  covet  his  role, 
particularly  if  he  is  out  to  get  the 
Cohens  and  Kellys  themselves,  or 
any  comedies  that  they  may  appear 
in  from  this  day  forth. 


'Youthful 

Futurists 


Members  of  "Our  Gang"  illustrate  what 
they  hope  to  be  when  they  grow  up. 


101 

Farina,  below,  is  going  to  preach  the  Gos- 
pel when  he  gets  too  old  to  enjoy  himself 
in  the  movies. 


Mary  Ann  Jackson,  above,  has  a  ca- 
reer as  a  dressmaker  all  planned  out 
for  herself. 

Little  Wheezer,  right,  is  starting  in 
right  now  to  be  another  Lindbergh. 

Jean  Darling,  outer  right,  is  getting 
an  early  start  toward  a  career  as  a 
movie  vamp. 

Joe  Cobb,  below,  intends  to  apply  his 
fat  self  to  being  the  engineer  of  a 
railroad  express. 


102 


Information,  Please 


WHAT  is  this,  old-home  week  for  Gary- 
Cooper?  I  don't  like  to  keep  repeat- 
ing myself,  so  let's  get  this  over  with  right 
now.  Gary  was  born  in  Helena,  Montana, 
May  7,  1901.  Height,  six  feet  two;  weight, 
180.  Black  hair,  blue-gray  eyes.  Real 
name  is  Frank  Cooper.  And  he's  not  mar- 
ried ! 

Nils  Asther  is  causing  a  stir  this  month, 
too.  He  was  born  in  Malmo,  Sweden, 
January  17,  1902.  Six  feet  one ;  brown 
hair  and  hazel  eyes.  Unmarried. 

And  Lupe  Velez— what  a  hit  she's  mak- 
ing!  Born  in  Mexico  City,  July  18,  1909. 
Five  feet  two;  weight,  about  110.  Black 
hair,  dark-brown  eyes. 

Curious. — There  you  go,  wanting  to 
know  what  I  look  like.  It's  the  truth  that 
hurts.  Colleen  Moore  is  five  feet  three. 
Weight,  110.  Brown  hair.  One  brown 
eye,  one  blue  eye — though  they  look  alike 
to  me. 

Betsy  B. — If  only  all  questions  were  as 
easy  as  yours,  I  wouldn't  get  this  pain  in 
the  neck  from  overwork.  Conrad  Nagel 
was  born  in  Keokuk,  Iowa,  March  16, 
1897.  That's  his  real  name.  Married  to 
Ruth  Helms,  and  there's  a  Ruth,  Jr.,  about 
six.  He's  been  in  pictures  nine  years. 
"Tenderloin"  was  his  first  talking  picture, 
with  Dolores  Costello.  May  McAvoy  plays 
opposite  him  in  "Caught  in  the  Fog." 

Dorothy  Moul. — See  above.  Conrad 
lived  for  years  in  Des  Moines,  so  it 
wouldn't  surprise  me  a  bit  if  he  once  took 
dancing  lessons  there. 

Jania. — "Some"  questions  is  right !  The 
postman  drove  up  with  them  in  a  truck. 
Picture  Play  has  tried  to  get  an  inter- 
view with  Nils  Asther,  but  it  takes  a  bet- 
ter man  than  we  are  to  make  him  talk ! 
However,  an  interview  will  appear  shortly. 
Bill  Haines'  next  film  is  "Excess  Bag- 
gage." Mary  Philbin :  Born,  Chicago, 
July  16,  1904;  five  feet  two;  weight,  96. 
Blond  hair,  hazel  eyes.  Flora  Bramley  is 
a  nineteen-year-old  English  girl  who  came 
to  America,  was  "discovered"  in  a  New 
York  musical  show,  and  engaged  for  Bus- 
ter Keaton's  "College."  Since  then  she 
has  played  in  "Sorrell  and  Son"  and  "We 
Americans."  James  Hall  is  separated 
from  his  wife.  Alice  White  was  born  in 
Paterson,  New  Jersey,  about  twenty  years 
asro.    Red  hair.  .  Sue  Carol  was  born  in 


1908 ;  brunette,  about  five  feet  two.  Rod 
La  Rocque  is  nearly  thirty ;  six  feet  three ; 
weight,  181.  Loretta  Young  was  born  in 
1912 ;  blue  eyes ;  blonde ;  height,  five  feet 
three ;  weight,  100.  Ruth  Taylor's  new 
picture  is  ''Just  Married."  Don  Alvarado 
is  twenty-four ;  five  feet  eleven.  I  don't 
know  whether  First  National  will  still  send 
out  photographs  of  Barbara  La  Marr. 

Squeeps. — Well,  I'm  no  surer  of  your 
name  than  you  are  of  mine.  I'll  bet  you 
weren't  christened  that,  either !  The  girl 
in  "Freckles"  was  Gene  Stratton,  grand- 
daughter of  the  author,  Gene  Stratton- 
Porter.  She's  not  a  regular  screen  actress 
but  perhaps  F.  B.  O.  studio  would  forward 
letters  to  her.  Neil  Hamilton's  new  film 
is  "Take  Me  Home."  Janet  Gaynor  is 
twenty-one ;  Larry  Kent  doesn't  give  his 
age. 

E.  Thomas. — Janet  Gaynor  is  a  Phila- 
delphia girl,  so  I  shouldn't  be  at  all  sur- 
prised if  your  friend  knew  her.  But  Janet 
has  lots  of  friends  she  never  told  me  any- 
thing about. 

Rosalie  Gordon. — This  "how  to  get  into 
the  movies"  is  life's  greatest  problem ! 
Extras  all  register  at  the  Central  Casting 
Bureau,  but  they  won't  register  newcomers, 
so  there  you  are — stymied,  as  they  say  on 
the  golf  links.  Extras  are  supposed  to 
have  a  complete  wardrobe,  though  some- 
times studios  furnish  costumes.  Good 
photographic  features  are  necessary — large 
eyes,  set  well  apart,  are  considered  desir- 
able. Girls  should  not,  as  a  rule,  be  taller 
than  five  feet  four.  Lila  Lee  was  for- 
merly in  Gus  Edwards'  revue.  Dozens  of 
girls  were  dancers  before  their  film  ca- 
reers began :  Joan  Crawford,  Mae  Mur- 
ray, Josephine  Dunn,  Lupe  Velez,  Myrna 
Loy,  the  Costello  girls.  Janet  Gaynor  now 
has  red  hair  and  brown  eyes.  The  only 
actresses  I  know  of  from  Kentucky  are 
Jobyna  Ralston  and  Alberta  Vaughn. 

Ann  L. — See  Rosalie  Gordon,  above. 
Betty  Francisco  is  from  Arkansas. 

Dorine  J.  Davidson. — If  questions 
caused  my  hair  to  turn  gray,  I'd  long  since 
have  been  the  white-haired  boy.  Those 
inconsiderate  stars — none  of  them  has  a 
birthday  on  May  16th.  Billie  Dove's 
comes  nearest,  on  the  14th.  Arthur  Lake 
is  twenty-three,  born  in  Corbin,  Kentucky. 
Six  feet  tall ;  blue-eyed  blond.  • 


Gladys  Rexicker. — You  write  a  charm- 
ing letter,  and  then  I  have  to  go  and  spoil 
it.  The  rules  force  me  to  speak  up  rudely, 
and  make  my  customary  speech  that  we 
have  to  omit  fan-club  announcements. 
There  were  so  many  we  had  no  room  left 
for  questions. 

Miss  Julia  Hoight. — The  picture  you 
describe,  in  which  the  bride  leaves  her 
wedding  and  escapes  with  a  strange  avi- 
ator, later  getting  lost  with  him  in  the 
African  jungle,  was,  I  feel  sure,  "White 
Man,"  with  Alice  Joyce — not  Corinne 
Griffith. 

Funny. — Well,  I  don't  think  that's  so 
funny,  your  asking  me  about  colleges  in 
California,  exposing  my  ignorance  like 
this  !  Shucks,  I'm  no  college  expert !  Yes, 
you  can  get  back  numbers  of  Picture 
Play — twenty-five  cents  for  each  copy  re- 
quested. Full-page  picture  of  Greta  Garbo 
accompanies  both  interviews  in  the  issues 
of  Picture  Play  for  which  you  mean  to 
send.  Adolphe  Menjou  is  thirty-seven; 
Gloria,  twenty-nine ;  Pola,  thirty.  Pola  is 
five  feet  four;  weight,  120.  Her  new  film 
is  "Loves  of  an  Actress."  Esther  Ralston 
is  five  feet  five ;  weight,  125.  Alice  White 
is  a  blonde,  but  she  dyed  her  hair  red,  so 
now  she  looks  dark  on  the  screen.  Olive 
Borden's  new  film  is  "The  Albany  Night 
Boat."  Greta's  is  "War  in  the  Dark"; 
Norma's  "The  Woman  Disputed."  Ivan 
Petrovitch  is  a  European  actor ;  I  be- 
lieve he  is  to  play  in  Rex  Ingram's  new 
picture  made  at  Nice,  "Three  Passions." 
The  girl  in  "Dress  Parade"  was  Bessie 
Love.  Ronald  Colman's  new  leading  lady 
is  Lili  Damita. 

Q.  C.  B. — Answer  in  the  next  issue ! 
Ha-ha !  I'm  no  miracle  worker.  That's 
already  in  print,  and  the  one  after  is  being 
printed.  Besides,  I've  a  long  waiting  list; 
I'm  wav  behind  in  my  work.  The  fop  in 
"The  Fifty-fifty  Girl"  was  Johnny  Mor- 
ris. Paddy  O'Flynn  was  born  in  Pitts- 
burgh, but  he  keeps  the  date  in  the  family 
Bible.  He  grew  up  in  Toronto.  Blue 
eyes ;  five  feet  eleven ;  weight,  140.  His 
fan  club  has  headquarters  with  Miss  Mary 
Florentine,  Box  707,  Elkins,  West  Virginia. 
I  don't  know  why  girl  magazine  covers 
sell  better  than  men's — but  circulation  de- 
partments have  found  that "  out !  Both 
sexes  like  to  look  at  pretty  girls,  n'est-ce- 

pas?  (Continued  on  page  104) 


Advertising  Section 


103 


What  could  be  easier ! 


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And  the  cost  is  only  a  fraction  of  what  people  used  to  spend 
on  the  old,  slow  methods ! 

You  don't  need  a  private  teacher.  You  study  entirely  at  home, 
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just  like  the  'best  musicians  do.  And 
almost  before  you  realize  your  prog- 
ress, you  begin  playing  real  tunes  and 
melodies  instead  of  just  scales.  There 
are  no  trick  "numbers,"  no  "memory 
stunts."  When  you  finish  the  U.  S. 
School  of  Music  course,  you  can  pick 
up  any  piece  of  regular  printed  music 
and  play  it !  You'll  be  able  to  read 
music,  popular  and  classic,  and  play  it 
from  the  notes.  You'll  acquire  a  life-  - 
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how  a  thing  is  done,  then  a  picture  shows  you  how.  then  you  do  it 
yourself  and  hear  it.  No  private  teacher  could  make  it  any  clearer. 
The  lessons  come  to  you  by  mail  at  regular  intervals.  They  consist 
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"I  am  making  splendid 
progress  and  can  play  almost 
any  piece  of  music  I  pick  up. 
My  friends  used  to  laugh  when 
I  first  took  up  music  with  you, 
but  now  when  I  play  pieces  of 
Grand  Opera  and  selections 
from  Verdi,  Mozart.  Bach, 
etc.,  it  is  I  who  laugh.  I 
owe  all  I  have  learned  to  the 
XT.  S.  short-cut  method." 
J.  W.  R.,  Telstad,  Mont. 


"I  have  found  the  lessons 
very  interesting  and  exceed- 
ingly easy.  They  could  not 
he  made  any  clearer  in  the 
English  language.  I  will  al- 
ways give  the  TJ.  S.  School 
of  Music  my  best  approval." 
A.  F.  B.,  Clinton,  N.  C. 


"I  do  not  understand  how 
you  can  give  so  much  for  the 
money.  The  course  is  a  musical 
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ize that  one  can  really  suc- 
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your  course,  without  the  aid 
of  a  teacher."  W.  E.  W., 
Montesano,  Wash. 


Do  you  sit  "on  the  sidelines"  at  a  party? 
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Many,  many  people  are  !  It's  the  musician 
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104 


Information,  Please 


Continued  from  page  102 

Lola. — A  letter  from  Germany  !  How 
far  this  little  candle  sheds  its  beam ! 
Doug  Fairbanks  is  forty-five  and  weighs 
165.  Mary  is  thirty-five.  Anna  May 
Wong  doesn't  give  her  age.  Her  late  films 
are :  "The  Devil  Dancer,"  "The  Chinese 
Parrot,"  "The  Crimson  City,"  and  "China- 
town Charlie."  At  last  accounts  she  was 
making  one  for  Ufa,  called  "Schlamm." 
American  films  may  be  released  in  Europe 
immediately,  or  sometimes  not  for  years. 
The  situation  is  too  complicated  for  me  to 
keep  track  of  what  goes  where,  and  when. 
Dolores  del  Rio  is  twenty-three.  "Donna 
Juana"  has  not  been  released  in  America, 
I  think.  Apparently  none  of  Elizabeth 
Bergner's  films  have  come  to  this  country. 

A  Gish  Fan. — Good  girl.  Still  loyal  to 
the  Gishes.  Usually  the  newcomers  get  all 
the  breaks.  "The  White  Sister"  and  "Ro- 
mola"  were  Lillian's  only  Inspiration  pic- 
tures. In  "Romola,"  Tito  was  played  by 
William  Powell.  Ronald  Colman  played 
Carlo  Buccllini.  Dorothy  Gish  and  her 
husband,  James  Rennie,  live  at  132  East 
Nineteenth  Street,  New  York.  But  I'll  bet 
you  won't  have  any  luck  getting  a  picture 
from  her.  Dorothy's  such  a  harum- 
scarum,  it's  my  guess  that,  if  she  has  any 
pictures  at  all,  they're  up  in  the  attic  in  a 
trunk.  Lillian  is  in  Europe,  but  as  Metro- 
Goldwyn  still  have  another  of  her  pictures 
unreleased,  I  fancy  they  still  accept  mail 
for  her.  "The  Ancient  Mariner"  is  such 
an  old  film,  I'm  sorry  I  haven't  the  cast. 
Do  you  know  who  produced  it?  A  pen 
name  is  sufficient  in  writing  to  What  the 
Fans  Think. 

Madge  Bellamy,  Jr. — Now,  Madge, 
you're  not  one  of  my  readers,  or  you'd 
know  that  stars'  addresses  are  always 
given  in  the  list  printed  at  the  end  of  this 
department.  Buster  Collier  lives  at  1400 
Havenhurst  Drive,  Hollywood.  Roland 
Drew,  care  of  Edwin  Carewe,  Hollywood. 
Try  Alma  Rubens  at  Universal  City — 
she's  playing  in  "Show  Boat"  for  Univer- 
sal. Pierre  Gendron  just  up  and  retired 
from  the  screen;  perhaps  you  can  reach 
him  at  the  Lambs'  Club,  130  West  Forty- 
fourth  Street,  New  York  City.  You  and 
your  sister  were  both  wrong;  Laska  Win- 
ter was  the  gypsy  bride  in  "The  Night  of 
Love."    Sally  Rand  was  a  gypsy  dancer. 

An  English  Reader. — You've  been  a  fan 
since  you  were  eight,  but  this  is  your  first 
venture  asking  questions !  And  how 
you've  been  saving  them  up,  is  my  answer 
to  that  one!  The  Wampas  is  the  Western 
Association  of  Motion  Picture  Advertisers 
— in  other  words,  press  agents.  Each  year 
they  elect  whom  they  consider  the  thir- 
teen most  promising  new  girls  in  pictures, 
and  call  them  the  Wampas  Baby  Stars. 
Yes,  you  may  send  self-addressed,  stamped 
envelopes  for  quick,  personal  replies  to 
your  questions.  Write  to  What  the  Fans 
Think,  just  as  you  wrote  to  me.  Ricardo 
Cortez  at  the  Tiffany  studios.  Alma  Ru- 
bens' previous  husbands  were  Franklyn 
Farnum  and  Doctor  Daniel  Carson  Good- 
man. She  was  born  in  San  Francisco.  I 
think  she  went  into  movies  right  out  of 
school.  She's  now  in  John  Gilbert's  "Mask 
of  the  Devil"  and  in  Universal's  "Show 
Boat."  John  Barrymore  is  married  to 
Michael  Strange.  Josef  Swickard  played 
Bebe's  father  in  "Sehorita."  Just  "Holly- 
wood, California,"  would  reach  Mae  Mur- 
ray, Lya  de  Putti,  and  Sally  Rand,  none 
of  whom  has  a  permanent  studio  address. 
See  Madge  Bellamy,  Jr.,  above.  I 
couldn't  find  out  who  the  villain  was  in 
"The  Valiant  Rider." 


A  Charles  Rogers-Bebe  Daniels  Fan. 
— I'm  not  supposed  to  answer  questions 
about  stars'  religion.  But  I  know  my 
Kansas,  and  the  little  town  of  Olathe, 
where  Buddy  Rogers  was  born,  probably 
has  no  Jewish  inhabitants.  Buddy  is 
twenty-three.  He  uses  his  real  name.  Yes, 
he  is  seen  frequently  with  Claire  Windsor, 
but  I  never  heard  tell  that  they  were  en- 
gaged. Bebe  Daniels  uses  her  real  name. 
Pronounced  "B  B."  The  1923  Wampas 
stars  were :  Eleanor  Boardman,  Evelyn 
Brent,  Dorothy  Devore,  Virginia  Brown 
Faire,  Betty  Francisco,  Pauline  Garon, 
Kathleen  Key,  Laura  La  Plante,  Jobyna 
Ralston,  Ethel  Shannon,  Margaret  Leahy, 
Helen  Lynch,  and  Derelys  Perdue.  Bebe 
was  never  a  Wampas  star.  See  An  Eng- 
lish Reader. 

Kays. — I  hope  I've  got  that  name  right. 
John  Gilbert  was  christened  John  Gilbert 
thirty-three  years  ago.  He  is  divorced 
from  Leatrice  Joy,  and  before  that  from 
Olivia  Burwell.  Greta  Garbo  is  twenty- 
two  and  unmarried.  That's  her  real  name. 
Ricardo  Cortez  is  twenty-nine,  married  to 
Alma  Rubens.  His  real  name  is  Jack 
Krantz.  Pola  Negri  was  born  Apollonia 
Chalupez,  December  30,  1897.  She  is  mar- 
ried to  Prince  Serge  Mdivani.  Laura  La 
Plante  (Mrs.  William  Seiter)  was  born 
November  1,  1904.  Vilma  Banky  (Mrs. 
Rod  La  Rocque)  is  twenty-five.  That's 
her  real  name.  Ruth  Taylor  is  twenty-one 
and  unmarried.  Marian  Nixon  is  divorced 
from  Joe  Benjamin.  She's  twenty-four. 
See  A  Charles  Rogers  Fan,  above. 

Mary  Astor's  Loyal  Fan. — So  "Don 
Juan"  has  been  barred.  And  you  ask  me 
why !  The  answer  is — you  live  in  Ohio. 
No  one  knows  the  why  of  an  Ohio  censor. 
Picture  Play  had  an  interview  with  Mary 
Astor  in  the  issue  for  December,  1925. 

Bubbles. — I  do  hope  you  are  over  your 
illness  by  now.  Renee  Adoree  was  born 
in  Lille,  France,  about  1901.  Lars  Hanson 
is  from  Sweden,  where  he  has  returned, 
and  is  in  his  late  twenties.  George  K. 
Arthur  was  born  in  Ealing,  London — he 
doesn't  say  when.  Greta  Garbo  works  for 
Metro-Goldwyn.  Norma  Shearer's  two 
latest  films,  at  the  time  your  letter  was 
written,  were  "The  Latest  From  Paris" 
and  "The  Actress."  She  was  a  traveling 
saleswoman  in  the  former.  Ramon  No- 
varro  was  born  in  Mexico  City ;  yes,  he 
is  quite  a  musician.  Antonio  Moreno  was 
born  in  Madrid. 

F.  E.  B. — I'm  quite  sure  if  you  ever 
wrote  to  me  before,  your  questions  were 
answered.  But  it  takes  about  four  months, 
and  you  probably  expected  replies  too  soon. 
Caryl  Lincoln  works  for  Fox.  Her  film 
following  "Hello,  Cheyenne,"  was  "Wild 
West  Romance."  She  is  about  twenty. 
Leila  Hyams  is  a  Warner  Brothers  player. 
"The  Land  of  the  Silver  Fox"  is  her  next 
film,  at  this  writing.  John  Darrow  ap- 
peared recently  in  "The  Racket,"  a  Caddo 
production.  Martha  Sleeper,  after  "Skin- 
ner's Big  Idea,"  made  "The  Little  Yellow 
House,"  F.  B.  O.  studio. 

Ethel  E.  Davis. — Something  tells  me 
this  deluge  of  questions  all  alike  means  a 
contest  in  the  offing  somewhere !  My  type- 
writer knows  !  Lon  Chaney  was  a  Scot- 
land Yard  detective  in  "London  After 
Midnight,"  without  the  freak  make-up,  and 
a  gangster  in  "The  Big  City."  See  Bub- 
bles. Harry  Rapf,  of  Metro-Goldwyn, 
discovered  Joan  Crawford  when  she  was 
dancing  in  a  musical  show' at  the  Winter 
Garden,  New  York.  Yes,  Greta  Garbo  is 
Swedish ;  Dolores  del  Rio  is  from  Mexico. 
"The  Big  Parade"  was,  to  me,  a  great 


film,  but  I  don't  remember  it  in  sufficient 
detail  to  have  any  opinion  as  to  its  most 
interesting  part. 

Mary  Birch.— Am  I  worn  out  telling 
ages?_  Am  I!  I'm  just  worn  out  doing 
anything.  John  Barrymore  is  forty-six; 
his  next  film  is,  tentatively,  "Conquest." 
Bill  Boyd  is  thirty ;  Buster  Collier,  twenty- 
six.  Dolores  Costello  isn't  specific  about 
her  age. 

Dot. — These  movie  engagements  !  I'd 
have  to  be  a  master  mind  to  know  which 
ones  are  true.  Alice  Joyce  is  thirty-eight. 
Her  daughter,  Mary  Alice  Moore,  is  prob- 
ably about  twelve.  I  don't  know  the  little 
Reagan  daughter's  age.  Both  Costello 
girls  are  in  their  early  twenties;  Maurice 
hasn't  told  his  age  in  years ! 

Dolores. — Yes,  "Metropolis"  was  a  re- 
markable picture.  Mary  was  played  by 
Brigitta  Helm;  John  Masterson  by  Alfred 
Abel ;  Eric  by  Gustav  Froelich.  All,  I  sup- 
pose, players  at  the  Ufa  studio,  Neubabels- 
berg,  Germany. 

D.  E.  A. — A  kind  fan  sends  in  the  cast 
of  "Pollyanna."  Title  role,  Mary  Pick- 
ford  ;  her  father,  J.  Wharton  James ; 
Aunt  Polly,  Katherine  Griffith  ;  Nancy,  the 
maid,  Helen  Jerome  Eddy ;  Tom,  the  gar- 
dener, George  Berrell ;  John  Pendleton, 
William  Courtleigh ;  Doctor  Chilton,  Her- 
bert Prior ;  Jimmie  Bean,  Howard  Ral- 
ston. 

R.  E.  S. — Hooray!  Some  easy  ques- 
tions !  Thomas  Meighan  is  married  to 
Frances  Ring.  It  was  Wallace  Beery  in 
"Robin  Hood." 

E.  C. — Several  fans  write  in  that  the 
Conway  Tearle  film  you  inquired  about 
was  "The  Greater  Glory,"  taken  from 
"Viennese  Medley." 

A  Brunette. — You  not  only  are  one, 
but  I  see  by  the  list  of  your  fiavorites  that 
you  prefer  them.  And  you  like  to  know 
how  to  pronounce  words.  All  right,  here 
goes  !  Renee  Adoree :  Rain-ay — long  "a" 
— Adoree,  same  ending ;  adore  as  spelled, 
only  accented  on  "a."  Lupe  Velez :  Loo- 
pay  Vale-eth.  First  syllables  accented  in 
both  names.  Also  "in  Pola  Negri's  names. 
Pole-a  Neg — eg  as  in  leg — ri,  as  in  agree. 
Rocque  is  Rock.  Menjou  is  Mawn-jew. 
Beery,  as  spelled — as  in  beer  that  you 
drink — or  don't  you?  Sebastian  is  Sea- 
bass-ty-an,  accent  on  "bas."  No  stellar 
birthdays  that  I  know  of  on  July  26th. 
Clara  Bow's  is  the  twenty-ninth.  She  was 
born  in  Brooklyn,  is  an  American,  and 
that's  her  real  name. 

Shirley  Nieman. — You're  just  getting 
me  all  puzzled.  I'd  never  heard  that 
Thelma  Ray  was  Ronald  Colman's  second 
wife,  but  whoever  made  that  statement  in 
a  newspaper  must  have  had  some  basis  for 
it.  Ronald  keeps  his  private  life  very  se- 
cretive. The  1925  Wampas  stars  were: 
Violet  Avon,  Betty  Arlen,  Olive  Borden, 
Anne  Cornwall,  Ena  Gregory — now  Mar- 
ion Douglas — Madeline  Hurlock,  Natalie 
Joyce,  June  Marlowe,  Joan  Meredith,  Eve- 
lyn Pierce,  Dorothy  Revier,  Duane 
Thompson,  and  Lola  Todd.  Whaddye 
mean,  head  of  the  class?    There  isn't  any. 

B.  A.  Gabriele. — At  last,  an  argument 
in  which  both  sides  are  right!  Joan 
Crawford  had  brown  hair,  but  she  dyed 
it  red.  Charles  Rogers  with  Mary  Pick- 
ford  in  "My  Best  Girl."  Jean  Arthur  is 
now  under  contract  to  Paramount.  Lewis 
Stone's  latest  films  are  "Freedom  of  the 
Press"  and  "The  Patriot." 


Advertising  Section 


105 


Eleanor — As  She  Is 

Continued  from  page  74 


loves  it,  and  is  absorbed  by  it.  She 
is  a  sensitive,  aware  person,  and  vi- 
brant in  her  eagerness.  Emotionally 
pliant,  she  has  a  balance  of  common 
sense,  and  her  final  decisions  are  al- 
ways sane  ones. 

She  loathes  night  clubs,  premieres 
and  too-gala  parties.  But  occasion- 
ally she  has  a  sudden  yen  to  go  danc- 
ing. At  such  times  it  doesn't  mat- 
ter to  her  where  she  goes,  just  so  it 
isn't  too  crowded.  When  she  is 
bored,  she  makes  no  effort  to  con- 
ceal it.  When  she  is  enjoying  her- 
self, she  is  scintillating  and  irre- 
sistible. 

She  has  a  rich  sense  of  humor. 
Her  impromptu  imitations — particu- 
larly of  Garbo — are  deliciously  ac- 
curate, and  she  tells  a  story  excel- 
lently. She  finds  humor  in  nearly 
everything  and  laughs  a  great  deal, 
but  never  unkindly. 

There  is  no  possible  doubt  about 
the  authenticity  of  her  beauty.  On 
the  screen  she  wears  scarcely  any 
^make-up,  and  none  at  all  off  it,  not 
'even  powder.  Her  appearance  is 
something  which  does  not  interest 
her.  On  rare  occasions  she  has  an 
impulse  to  dress  up,  when  she  is  to 
attend  some  large  gathering.  She 
feels  a  certain  responsibility  about 
preserving  the  illusion  of  movie 
glamour,  when  she  is  seen  in  public. 
She  has  a  lot  of  fun  assembling  ex- 
quisite wardrobes  against  such  occa- 
sions, but  her  enthusiasm  generally 
stops  short  of  actually  using  them. 
She  adores  severely  plain  sweater- 
suits  and,  if  she  is  going  nowhere  in 
particular,  wears  no  stockings  on 
her  slim,  brown  legs.  She  never 
glances  in  mirrors,  or  pats  her  hair. 
When  there  is  an  impression  to  be 
made  on  some  one  of  importance, 
her  hair  can  be  unwaved  and  she  in 
tennis  shoes,  and  Eleanor  will  be 
sublimely  unconscious  and  at  ease. 

She  learned  to  play  the  piano  so 
she  could  accompany  her  husband. 
King  Vidor,  who  sings  melting  negro 
spirituals.  She  would  like  to  be  an 
expert  pianist,  and  wistfullv  strug- 
gles through  certain  favorite  Debus- 
sys  and  Ravels. 

She  likes  verse,  being  particularly 
keen  on  the  poems  of  Johnnv 
Weaver,  and  every  so  often  she  puts 
aside  whatever  current  book  she  hap- 
pens to  be  reading,  and  returns  to 
Samuel  Butler's  "The  Way  of  All 
Flesh." 

She  plays  a  swift  game  of  tennis 
and  swims  like  a  boy,  but  can  seldom 
be  prevailed  upon  for  bridge.  She 
likes  to  ride  horseback,  but  was  once 
thrown  and  has  never  been  able  to 


conquer  a  subsequent  nervousness. 
She  goes  for  long  walks  among  the 
hills  surrounding  her  home,  and 
gathers  wild  flowers  and  bright 
leaves.  On  one  occasion  she  ven- 
tured innocently  among  poison  oak, 
and  was  away  from  the  studio  for 
a  week. 

She  dislikes  cheap  publicity,  es- 
pecially if  based  on  her  private  af- 
fairs. Her  marriage,  her  recent 
motherhood,  she  does  not  deem  con- 
tingent on  her  career;  which,  she 
thinks,  is  all  that  should  be  public  in- 
terest. 

Married  to  the  brilliant  young  Vi- 
dor, and  herself  of  pictures  for  sev- 
eral years,  neither  is  completely  im- 
mersed in  their  profession.  Their 
friends,  except  for  John  Gilbert  and 
Greta  Garbo,  are  mostly  of  the  lit- 
erary world — Lawrence  Stallings 
and  his  wife,  Johnny  Weaver  and 
Peggy  Wood,  Donald  Ogden  Stew- 
art, his  wife,  and  his  mother,  of 
whom  Eleanor  i^  extremely  fond. 

Eleanor  is  a  delightful  conversa- 
tionalist, and  swears  casually.  Her 
voice  is  mellow,  deep  and  inclined  to 
a  drawl.  Her  wit  is  pungent,  often 
barbed  and  always  very  funny.  If 
she  finds  she  has  inadvertently 
shocked  some  smug  soul  with  her 
candor,  it  is  her  delight  to  continue 
and  increase  the  shock.  She  esteems 
both  conservatism  and  bonhomie,  but 
their  extremes — prudery  and  coarse- 
ness— offend  her  innate  delicacy,  and 
are  her  pet  abominations. 

She  is  disturbed  by  the  fact  that 
she  shows  litttle  inclination  toward 
the  detail  of  housewifery.  She 
thinks  it  would  be  more  fitting  were 
she  able  authoritatively  to  discuss 
menus  and  floor  polishes  with  her 
servants,  but  quails  at  the  prospect 
of  learning  how.  She  is,  however, 
meticulous  about  her  home  and  in- 
sists that  it  always  be  in  perfect 
order. 

She  and  her  husband  are  building 
a  house  on  a  hilltop  near  their  old 
home.  Since  Vidor  is  at  work  on  a 
picture,  the  supervision  of  the  new 
home  falls  to  Eleanor.  She  is  in  her 
glory  and  refuses  to  be  baffled  by 
conduits,  underground  cables  and 
multiple  switches.  She  directs  every 
detail  of  the  construction — and  in- 
telligently, too.  She  loves  to  work 
with'  laths  and  nails,  and  when  she 
couldn't  explain  a  certain  niche 
which  she  wanted  under  an  arch,  she 
set  to  work  and  built  it  herself. 

Aside  from  all  this,  may  one  say — 
and  who  is  there  to  say  one  mayn't? 
— that  she  is  this  reporter's  favorite 
actress. 


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He  Doesn't  Look  Like  an  Actor 

Continued  from  page  56 


New  York.  He  sent  for  me.  We 
rehearsed  for  thirteen  weeks.  No, 
not  for  our  opening,  but  for  possible 
backers.  We  would  rehearse  for 
anybody  we  could  round  up  who 
had  seven  dollars  and  fifty  cents  in 
his  pockets.  Every  one  who  had 
seven  fifty  hung  onto  it,  after  seeing 
us. 

"One  afternoon  an  appointment 
had  been  made  with  Shubert.  We 
waited  for  three  hours.  Bare  stage, 
cold  theater,  everybody  in  the  dumps. 
Finally  a  fellow  came  down,  asked 
what  company  we  were  and  said,  'I 
doubt  that  Mr.  Shubert  even  knows 
you  are  here.  There's  not  a  chance 
he  will  come  down  to  see  your  play 
—he's  busy  in  his  offices  upstairs — - 
but  I  am  associated  with  him,  and  if 
you  care  to  put  it  on  for  me,  I'll 
see  it.' 

"By  that  time  we  would  have  put 
it  on  for  a  horse.  Afterward,  he 
asked  for  the  author  and  said,  'Mr. 
Gleason,  you  have  a  mine.'  We  had 
only  two  nights  'on  the  dog,'  and 
came  into  New  York  practically  cold. 
Shubert  put  us  in  a  small  theater 
seating  seven  hundred,  and  we  drew 
all  the  second-rate  critics,  all  the 
swell  guys  having  gone  to  a  more 
important  opening.  But  the  word 
got  around  that  the  show  was  a 
knock-out,  and-  Shubert  moved  us 
into  a  theater  seating  fourteen  hun- 
dred." 

The  play  ran  for  two  and  a  half 
years  in  New  York,  and  then  started, 
under  chills  of  fear,  for  what  turned 
out  to  be  a  nine-month  run  in  Lon- 
don. 

"We  had  taken  along  an  Ameri- 
can manager.  The  dialect's  East 
Side,  you  know.  In  the  prologue, 
Jimmy  and  I  sit  on  a  dark  street, 
under  an  arc  light,  talking.  Boy,  we 
were  homesick  and  blue.  We  waited 
for  the  laughs  we  were  accustomed 
to  get  in  New  York.  The)'  didn't 
come.  The  silence  out  there  began 
to  get  us.  We  expected  eggs  and 
onions  any  minute.  All  of  a  sud- 
den, a  chuckle.  Not  a  laugh.  But 
nobody  ever  welcomed  that  sound 
more  than  we  did.  We  almost  ran 
right  out  and  hugged  that  person. 

"By  the  end  of  the  prologue, 
they'd  caught  on  that  it  was  a  com- 
edy in  a  lingo  new  to  them,  and  were 
roaring.  We'd  clicked — but  we 
didn't  know  it  then.  There's  what 
they  call  a  First  Night  Club  in  Lon- 
don, that  sits  in  the  gallery.  It  seems 
that  if  they  O.  K.  you,  you're  all  set. 
If  they  razz  you — or  however  they 
show  disapproval — it's  just  too  bad 
for  you.  After  the  first  act,  we  were 
standing  in  the  wings,  shivering  at 


their  call  of  ''Core!'  'Core!'  and 
asked  a  British  lad  to  translate.  That 
meant  'encore,'"  he  told  us,  or  'cur- 
tain.' So,  smiling  blissfully,  we  took 
a  dozen  curtain  calls. 

"While  we  were  still  at  it — willing 
to  continue  indefinite!}' — the  orches- 
tra leader  thought  we  were  through 
and  signaled  for  'God  Save  the 
King.'  All  the  people  stood  up,  but 
our  American  manager,  pressing  the 
button  that  raised  the  curtain,  prob- 
ably had  no  ear  for  music.  Any- 
how," Armstrong  let  that  slow  grin 
break  over  his  tanned  face,  "the  boys 
were  piping  it  up,  'God  Save  the 
King,'  and  there  was  I,  taking  the 
bow." 

It  was  during  the  run  of  the  play 
in  London  that  he  met  and  married 
Ethel  Kent,  an  American  girl  ap- 
pearing on  the  London  stage.  It  was 
there  also  that  he  acquired  the  fox 
terrier,  Huckleberry,  a  plain  mut 
that  he  says  has  more  personality  than 
any  police  dog  or  Russian  wolf- 
hound. 

"Knows  more  than  I  do,"  he  in-' 
sisted  after  a  long  eulogy  on  the 
talents  of  Huckleberry. 

A  year  and  a  half  ago  Armstrong 
came  to  Hollywood  to  appear  in  the 
run  of  the  play.  Is  it  necessary  to 
mention  the  title  again  ? 

He  has  played  about  everything 
during  his  twelve  years  on  the  stage 
— and  the  real  role  of  soldier  for  two 
years  in  the  war — and  on  the  screen 
a  prize  fighter,  crook,  comedy  tough, 
gangster,  and  one  slick  hero.  That 
suits  him  fine  for  a  while,  but  later 
he  wants  to  stick  to  light  comedy,  if 
it  gets  over  well  with  his  new  audi- 
ence. 

During  his  term  of  servitude  in 
college,  he  did  the  usual  amateur  the- 
atricals, and  wrote  plays.  That  is 
expected  of  any  normal  college  lad. 
Only,  he  got  one  of  his  sketches  and 
himself  booked  in  vaudeville.  For  a 
while  he  appeared  in  small  roles  in 
plays  written  and  produced  by  an- 
other uncle,  Paul  Armstrong. 

He  was  never  particularly  crazy 
about  the  stage  in  the  sense  of  its 
glamour,  as  it  has  for  many  youths. 
But  he  liked  acting,  found  himself 
moderately  successful  and  stuck  to 
it.  His  story,  at  least  as  he  tells  it- 
halfway  answering  questions,  when 
an  insistent  young  lady  refuses  to 
give  him  any  peace,  isn't  exciting. 
Though  were  he  less  reticent  about 
himself,  and  as  eloquent  as  he  can  be 
on  other  subjects,  there  might  be 
chapters  in  it.  Even  the  lean  sea- 
sons that  patch  an  actor's  career,  he 
speaks  of  with  a  light  humor,  his 
dominant  note. 


Advertising  Section 


107 


Parents  Keep  Slender 

Youthful  figures  at  all  ages  now 


Science  Fights  Fat 

Through  an  important  gland 


"Katsudoshashin" 

Continued  from  page  84 

tumes.  The  increase  in  the  numbers 
of  such  girls  is  so  noticeable,  just  at 
present,  that  few  visitors  have  failed 
to  observe  this  phase  of  changing 
Japan. 

What  has  been  the  main  factor  in 
bringing  about  this  situation  ?  Amer- 
ican movies,  or,  as  the  people  of 
Japan  put  it,  "katsudoshashin." 

While  such  a  thing  may  sound  in- 
credible, it  is,  nevertheless,  true  that 
Japanese  girls  cannot,  on  discarding 
their  kimonos  and  slipping  into  for- 
eign attire,  walk  at  all  becomingly. 
Generations  of  squatting  on  floors, 
and  the  wearing  of  wooden  clogs, 
have  so  disfigured  their  feet  and  legs 
as  to  make  it  almost  impossible  for 
them  to  walk  faultlessly  in  foreign 
apparel,  although  of  course  they  carry 
themselves  gracefully,  and  with  dis- 
tinction, in  their  kimonos  which  hide 
their  unshapely  legs.  A  Japanese 
maid  out  of  her  kimono,  in  fact,  may 
be  likened  to  a  duck  out  of  the  water, 
so  awkward  is  her  gait. 

So,  whenever  opportunity  presents 
itself,  Miss  Cho-Cho-San  goes  to  the 
theater,  there  to  closely  observe  the 
every  movement  of  Greta  Garbo  or 
Norma  Shearer,  and  painstakingly 
rehearse  the  "steps" — not  dancing, 
but  walking — that  she  has  studied,  on 
returning  home,  in  an  effort  to  affect 
a  comely  gait. 

It  may  not  be  out  of  place  here  to 
state  that  there  are  numerous  "special- 
ist" fans — people  who  go  to  the  the- 
aters not  to  see  movies,  but,  like  the 
girls  described  in  the  foregoing  para- 
graph, who  go  for  some  other  specific 
reason.  Many  go  to  the  theaters  sim- 
ply for  the  privilege  of  listening  to, 
and  memorizing,  the  musical  scores ; 
others  study  architecture  and  inter1  or 
decoration ;  and  still  others  are  in- 
terested merely  in  pictures  in  which 
dancing  scenes  are  included. 

To  what  extent  American  pictures 
are  indirectly  influencing  the  Japa- 
nese people  can,  to  some  degree,  be 
shown  by  stating  that  ninety  per  cent 
of  the  tunes  one  hears  whistled,  or 
played  on  instruments  in  the  prin- 
cipal cities,  were  learned  in  motion- 
picture  theaters,  and  that  the  major- 
ity of  foreign  residences  that  are  be- 
ing constructed  were  designed  by  ar- 
chitects, partly  or  wholly,  after 
houses  that  they  saw  pictured. 

As  far  as  reading  matter  is  con- 
cerned, almost  a  fifth  of  all  American 
magazines  imported  into  Japan  are 
motion-picture  periodicals.  This  may 
not  seem  astonishing,  until  it  is  stated 
that  ninety  per  cent  of  those  who 
purchase  these  magazines  are  unable 
to  read  them.  Their  only  source  of 
interest  are  the  photographs. 


People  used  to  think  that  excess  fat  all 
came  from  overrating  or  under'exer' 
cise.  Some  people  &tarved,but  with  slight 
effect.  Some  became  very  active,  still 
the  fat  remained. 

Then  medical  research  began  the 
study  of  obesity.  It  was  found  that  the 
thyroid  gland  largely  controlled  nutri' 
tion.  One  of  its  purposes  is  to  turn 
food  into  fuel  and  energy. 

Fat  people,  it  was  found,  generally 
suffered  from  an  under' active  thyroid. 

Then  experiments  were  made  on  ani' 
mals — on  thousands  of  them.  OverTat 
animals  were  fed  thyroid  in  small 
amounts.  Countless  reports  showed  that 
excess  fat  quite  promptly  disappeared. 

Then  thyroid,  taken  from  cattle  and 
sheep,  was  fed  to  human  beings,  with 
like  results.  Science  then  realised  that  a 
way  had  been  found  to  combat  a  great 
cause  of  obesity.  Since  then,  this  method 
has  been  employed  by  doctors,  the 
world  over,  in  a  very  extensive  way. 

?s[ext  came  Marmola 

Then  a  great  medical  laboratory  per' 
fected  a  tablet  based  on  this  principle. 
It  was  called  the  Marmola  prescription. 

Marmola  was  perfected  21  years  ago. 
Since  then  it  has  been  used  in  an  enor- 


mous way — millions  of  boxes  of  it. 
Users  told  others  about  it.  They  told 
how  it  not  only  banished  fat  but  in- 
creased  health  and  vigor. 

That  is  one  great  reason — perhaps 
a  major  reason — why  excess  fat  is  nc 
where  near  as  common  as  it  was. 

TSlp  Secrecy 

Marmola  is  not  a  secret  prescription. 
The  complete  formula  appears  in  every 
box.  Also  an  explanation  of  results 
which  so  delight  its  users. 

No  abnormal  exercise  or  diet  is  re* 
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cause.  With  lessened  weight  comes 
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cause — in  this  scientific  way.  Do  what 
so  many  people,  for  21  years,  have 
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Try  a  couple  of  boxes  and  be  con' 
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PRESCRIPTION  TABLETS — The  ^Pleasant  Way  to  %educe 


108 


Advertising  Section 


A  New 
Magazine! 


Live  Girl 

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Adventures 

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Out  on  October 
5th 


Three  Young  Gals 

Continued  from  page  22 


Man."  Loretta's  career  seems  most 
promising.  Great  things  are  ex- 
pected of  this  little  leading  lady  who 
is  still  a  child  in  years,  and  who  keeps 
her  hair  unbobbed  so  that  she  will 
seem  older. 

Her  very  first  screen  experience, 
however,  dates  back  some  years,  when 
Loretta  was  only  four  or  five  years 
old.  Her  uncle  was  assistant  director 
on  a  Mae  Murray  picture;  he  needed 
a  child1  player,  and  Loretta  was  very 
cunning,  so  he  used  her  in  several  se- 
quences. Mae  Murray  took  a  fancy 
to  the  child. 

"You  see,"  explained  Sally,  who 
does  most  of  the  talking  for  the 
family,  and  who  is  very  proud  of  her 
younger  sister,  "Gretchen's  baby 
teeth  protruded  a  little  then,  and  she 
couldn't  close  her  mouth.  It  looked 
very  cute — and  it  made  her  purse  up 
her  lips  as  if  in  imitation  of  Mae 
Murray.  I  really  think  that  may  be 
one  reason  why  Mae  was  so  taken 
with  her." 

Loretta  visited  Mae  for  a  year  and 
a  half,  and  was  given  dancing  lessons 
and  all  the  advantages  wealth  can 
bring,  during  that  period.  Mae 
wanted  to  adopt  her  until  she  was 
sixteen,  but  naturally  enough,  Mrs. 
Young  did  not  wish  to  part  with  her 


in  such  a  permanent  fashion 
year  and  a  half  of 


training 


child 
That 

with  Mae  Murray,  and  those  ex 
pensive  dancing  lessons,  obviously 
did  a  great  deal  for  Loretta.  It  gave 
her  grace,  poise,  a  good  carriage  and 
distinction.  She  wears  her  clothes 
with  all  the  smartness  of  a  woman  of 
the  world,  whereas  her  roly-poly  sis- 
ter, Sally,  for  example,  looks  a  wee 
bit  as  if  she  stoodi  off  and  threw 
clothes  at  herself. 

As  I  said,  all  three  sisters  are  dif- 
ferent. Polly  Ann  is  brunette.  Sally 
and  Loretta  are  both  medium  blonde, 
with  the  same  coloring,  and  with  fea- 
tures somewhat  alike.  But  since  one 
is  plump,  the  other  thin,  one  talkative, 
the  other  shy,  they  have  personalities 
that  are  quite,  quite  different. 

Each  of  the  three  seems  to  have 
found  a  definite  place  on  the  screen. 
Really  a  remarkably  family,  those 
Youngs.  Beauties  by  wholesale.  At 
home,  besides  mother  and  stepfather, 
there  is  a  thirteen-year-old  brother 
named  Jack,  and  a  baby  sister,  Geor- 
gianna,  aged  three.  Perhaps  Georgi- 
anna,  too,  will  grow  up  to  be  a  movie 
star. 

If  Sally  is  still  around  to  get  her 
started,  I'm  willing  to  bet  she  will ! 


Her  Strange  Interlude 


Continued  from  page  51 


I  was  getting.  They  gave  me  no 
good  pictures.  I  thought  free  lanc- 
ing would  bring  me  a  little  rest.  It 
did.  As  a  free-lance  player  I  have 
made  only  five  pictures  in  two 
years." 

Greta  laughed  at  this  turn  of  af- 
fairs. Not  because  it  was  to  her 
liking,  but  because  of  the  deep  ruts 
one  falls  into  in  Hollywood.  She 
really  was  amused. 

This  Norwegian  charmer — she  is 
Norwegian  and  not  Swedish,  as  has 
been  commonly  supposed — was  cer- 
tainly meant  for  the  screen.  Her 
blond  beauty  is  not  of  the  Banky 
type.  It  is  sirenic.  Unlike  other 
foreign  importations,  Greta  Nissen 
has  remained  rather  secluded.  Of 
course  she  has  frequently  been  re- 
ported engaged.  Not  long  ago  her 
name  was  linked  with  that  of 
Charlie  Farrell,  to  the  surprise  of 
both.  Raoul  Walsh,  who  directed 
"Fazil,"  and  several  other  pictures 
that  Greta  played  in,  was  also  a  ru- 
mored fiance.  Up  to  the  present 
Greta  remains  fancy  free. 

So  dazzling  were  Greta's  blue  eyes 
and  golden  hair  that  I  put  off  asking 


her  about  her  temperament.  Yet, 
even  at  the  risk  of  appearing  cruel. 
I  had  to  do  so. 

Such  a  radiant,  but  pained  smile 
lit  up  her  face,  that  I  knew  instantly 
all  those  rumors  had  been  false. 

"I  did  not  like  what  they  were 
giving  me,  so  I  got  my  release,"  was 
Greta's  explanation. 

It  was  nearly  nine  o'clock,  and  she 
still  had  some  packing  to  do.  Greta 
expressed  her  regret  at  having  to 
break  up  the  tete-a-tete. 

With  the  graceful  step  of  a  prima 
ballerina  assoluta,  the  ballet-trained 
Nissen  glided,  like  a  golden  ray,  into 
one  of  the  elevators  and  was  lifted 
to  her  apartment. 

That  producers  could  pass  up  any 
one  like  her,  was  the  distracting 
thought  in  my  mind  as  I  stepped  out 
onto  Wilshire  Boulevard.  I  spent 
my  way  home  reviling  hard-hearted 
film  executives,  and  scorning  Holly- 
wood's vindictive  scandalmongers. 

Right  now,  Greta  is  between  two 
places,  in  a  rut.  But  it  is  not  hard 
to  guess  that  she  will  soon  be  riding 
to  the  front  where  she  belongs. 


Advertising  Section 


The  Saga  of  the  Hobo 


Continued  from  page  59 


job — grip,  usher,  super — and,  when 
he  got  fired,  move  on  to  some  other 
small  town  with  a  stock  company,  via 
the  beams.  A  lot  of  great  men  prob- 
ably were  hobos,  if  they  would  ad- 
mit it.'' 

Self-pity  is  the  first  thing  the  road 
takes  away  from  you.  If  you  aren't 
a  weakling,  and  crushed,  you  learn 
to  fight. 

"Fearlessness,  the  primitive  funda- 
mentals, human  nature,  and  wit — 
these  the  road  teaches  you,"  'Beery 
said.  "You  have  nerve — but  no 
nerves." 

"The  intelligence  of  many  of  the 
several  hundred  thousand  hobos  of 
America  would  surprise  the  citified 
'reformer,'  "  Tully  broke  in.  "Oddly 
the  'bo  is  at  once  a  cynic — stripped  of 
illusion,  he  has  no  chance  to  develop 
ideals — and  a  blind  dreamer.  Many 
of  them  make  for  the  libraries  the 
minute  they  hit  a  town.  After  seven 
years  in  an  orphanage  in  Ohio,  I  hit 
the  road,  an  untrained,  scared,  and 
miserable  kid.  Soon  I  was  as  hard 
as  nails.  But  another  kid,  somewhere, 
took  me  to  a  library  with  him,  and  I 
began  to  read.  I'd  write  doggerel  on 
scraps  of  brown  paper,  and  when  I 
was  still  in  my  teens  I  had  read  Bal- 
zac, Dumas,  and  classics  that  the 
cute  college  lads  never  learn. 

"Of  course,  the  life  wasn't  perfect. 
You  were  hungry  sometimes.  And 
there  were  the  dicks.  They'd  round 
you  up,  along  with  the  other  vags, 
and  try  to  pin  on  you  everything  that 
had  happened  in  the  State  of  Kansas 
— or  Illinois  or  Ohio — in  the  last  five 
years.  What  chance  had  a  'bo  of 
proving  an  alibi,  when  he  had  no  last 
name,  and  only  a  'nick'  for  a  front 
name  ?" 

In  his  customary  way,  Wally  does 
things  with  gusto.  First,  his  heavy, 
steady  tramp,  that  threatens  to  shake 
the  building.  His  thunderous  laugh. 
He  is  louder,  broader,  merrier,  than 
the  equally  huge,  but  more  gentle, 
Noah. 

The  story  of  "Beggars  of  Life," 
as  it  has  been  changed  to  meet  movie 
requirements,  concerns  the  adven- 
tures of  a  swashbuckling  yegg,  the 
high-class  gent  of  the  beams.  Okla- 
hom  Red  is  his  moniker,  and  he  is 
modeled  after  a  pal  of  the  author's. 
Only — there's  a  love  story  here,  and 
love  is  something  that  the  cynical  soul 
of  the  'bo  does  not  know.  Loyalty, 
generosity,  and  other  fine  qualities  he 
comes  in  contact  with,  but  the  right 
kind  of  a  girl  he  never  meets,  except 
in  those  books  in  the  libraries. 

The  movies,  however,  are  elastic. 
There  is  a  girl  in  this  hobo's  life.  Just 


out  of  an  orphanage,  the  heavy  hand 
of  the  law  grasps  her  fbr  a  crime  she 
believes  she  has  committed.  She  is 
aided  to  escape  by  a  road  kid.  Dressed 
in  boy's  clothes,  she  accompanies  him. 
Louise  Brooks  plays  the  girl  tramp, 
Richard  Arlen  the  kid.  They  are 
found  and  taken  into  the  jungle  be- 
fore the  "kangaroo  court,"  where  the 
lawless  gents,  who  have  their  own 
code,  are  given  mock  trials.  The 
swaggering,  big  brute  of  a  yegg, 
Oklahoma  Red,  sits  as  judge.  The 
kid's  fright  provides  great  amuse- 
ment, as  he  is  tried  for  being  a  sissy. 
Oklahoma  Red  awards  himself  the 
custody  of  the  girl — of  course,  the 
blustering  Red  does  the  noble  self- 
sacrificing  act.  A  wow  of  a  role,  it 
would  seem,  for  Wally,  and  those 
who  complain  of  the  ornate  unreality 
of  most  movies  won't  be  annoyed  by 
gorgeous  settings  in  this  one. 

While  we  talked,  Wally  outlined 
another  role  he  would  like. 

"  'The  Bull  Man!'  Get  that  title? 
He  breaks  elephants.  Cruel.  Strong. 
Girl — snappy  little  Clara  Bow  tem- 
per— falls  for  him.  Wants  to  be  an 
elephant  trainer.  He  teaches  her. 
He  thinks  he  can  crush  her  spirit. 
She  breaks  him — he  turns  yellow — 
she's  in  danger,  the  bull  turns  on  her 
— he  pulls  himself  together,  rescues 
her — egoism." 

The  ease  of  effete  civilization  has 
not  made  Beery  soft.  He  is  still,  in 
many  ways.  Jumbo.  His  humor  is 
broad  slapstick  at  times.  Yet  it  is 
not  without  subtlety.  Recently  he 
carried  a  new  mutt  dog  around  the 
studio,  to  acquaint  it  with  picture 
making,  in  order  that  it  might  hold 
its  conversational  own  in  bow-wows 
with  Hollywood-  canines.  Poking  into 
an  office,  where  a  conference  between 
executives  was  in  progress,  he  sur- 
veyed the  scene  solemnly,  said  to  the 
dog:  "Now,  you  know  what  a  con- 
ference is,"  and-  slammed  the  door. 

Style  is  a  word  not  in  his  vocabu- 
lary, though  the  lovely  chatelaine  of 
his  home  speaks  it  beautifully.  Dur- 
ing the  filming  of  "Old  Ironsides," 
when  a  fleet  of  sleek  yachts  skimmed 
over  the  Catalina  waters,  outside  cam- 
era range,  he  rigged  up  a  boat  with 
a  pop-gun  motor,  apparently  made  of 
tin  cans  held  together  by  strings,  and 
sailed  proudly  among  them.  When 
he  can  "take  off"  the  grandeur  that 
is  Hollywood,  he  is  in  his  element. 

Yet  his  heart  is  big,  beneath  his 
gruffness.  Many  a  hungry  kid  has 
been  helped  by  his  bounty.  His 
parents,  seventy-odd1  years  old,  now 
enjoy,  in  California,  a  comfort  they 
never  dreamed  of  realizing. 


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Bride  of  the 
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Do  Fan  Dreams  Come  True? 


Continue  J  from  page  29 


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much  over  that,  as  her  studio  bun- 
galow includes  a  secretarial  office  as 
well  as  dressing  room.  She  seldom, 
if  ever,  has  occasion  to  enter  the  ad- 
ministration building.  If  you  could 
only  see  that  darling  bungalow,  with 
decorations  entirely  in  soft,  restful 
shades  of  green,  filled  with  pillows 
and  daintiness  and  quiet  beauty,  you 
would  not  wonder  why  she  spends 
so  many  happy  hours  there.  It  is 
probably  more  home  to  her  than  the 
spacious  mansion  in  Hollywood,  or 
her  beach  residence. 

"The  occasion  of  my  first  sight  of 
her  is  a  sweet  memory.  For  years  I 
had  dreamed  of  seeing  her  in  per- 
son, my  imagination  accomplishing 
our  meeting  in  a  thousand  different 
ways,  each  a  masterpiece  of  exquisite 
conception — a  dramatic  culmination! 
Common  sense  told  me  that  I  would 
no  doubt  see  her  for  the  first  time  in 
a  most  ordinary  way — crossing  the 
set,  or  passing  in  her  auto.  Yet  my 
dreams  continued  in  their  wildness,  as 
dreams  will.  In  a  way  I  am  thank- 
ful, now,  that  I  did  not  permit  my 
dreams  of  that  moment  to  descend 
to  the  commonplace,  because  not  one 
of  my  imaginings  excelled  in  beauty 
the  actual  moment  when  I  first  saw 
Norma  Talmadge — walking  down  the 
aisle  at  the  Criterion  Theater  in  all 
the  glory  and  happiness  of  her  tri- 
umph in  the  role  that  for  decades  has 
provided  a  criterion  for  the  greatness 
of  actresses — Camillc. 

"Up  to  that  point  it  had  been  dif- 
ficult to  realize  that  she  was  a  living, 
breathing  woman.  After  that  night, 
I  wanted  to  meet  her.  But  somehow 
the  days  passed  without  an  introduc- 
tion. Every  week  I  was  obliged  to 
arrange  her  interviews  with  writers, 
yet  I  could  not  meet  her  myself. 
There  were  always  delays,  postpone- 
ments. Gradually,  quite  gently,  my 
attitude  changed  during  those  puz- 
zling days,  and  because  I  could  not 
understand,  I  did  grow  disillusioned. 
Once,  a  meeting  was  arranged  for  the 
following  day.  Norma  apparently 
had  forgotten  the  appointment.  Other 
memories  include  that  one  dreadful 
day  when  Mrs.  Talmadge  was  in  an 
adjoining  office,  and  she  was  ap- 
proached bv.  a  writer  somewhat  in 
this  manner :  'There  is  a  kid  outside, 
who  worships  Norma  Talmadge. 
She  spent  years  running  a  fan  club 
for  her,  and  is  utterly  insane  over 
your  daughter — came  across  the  con- 
tinent to  see  her.  She'd  be  thrilled 
to  meet  you — may  I  bring  her  in  ?' 

"Mrs.  Talmadge  replied  that  she 
would  be  glad  to  make  it  another 
day.     Natalie  and  Constance  were 


waiting  in  the  car  downstairs  and 
they  were  already  late  for  an  engage- 
ment. This,  to  my  sensitive  mind, 
seemed  to  be  just  an  excuse.  After 
that  I  became  bitter  toward  life  in 
general,  and  the  Talmadge  clan  in 
particular.  A  lifetime  of  devotion, 
my  very  youth  sacrificed  on  the  altar 
of  my  enthusiasm,  a  college  career 
set  aside,  hundreds  of  dollars  spent 
on  the  club  that  was  my  only  me- 
dium of  expression — for  this !  It  is 
very  easy  to  become  dramatically  bit- 
ter and  disillusioned  at  twenty-one ! 

"There  came  an  afternoon  when, 
for  the  first  time  except  at  the  thea- 
ter, I  saw  Miss  Norma.  It  was  at 
the  studio.  A  parcel  had  been  left 
in  my  care  for  Constance  Talmadge, 
and  intently,  feeling  quite  hard  and 
cynical,  I  approached  the  car,  smiled 
and  spoke  to  Constance,  and  handed 
her  the  package  across  Norma's  lap 
without  even  glancing  in  the  latter's 
direction !  The  afternoon  was  spent 
in  feeling  very  righteous,  resentful, 
much  avenged,  and  altogether  miser- 
able. How  I  hated  Norma  Tal- 
madge !  How  I  hated  her,  with  her 
ingratitude,  with  her — oh,  dear 
God ! — why  did  you  let  so  beautiful 
a  love  be  born  for  death  like  this? 
About  this  time  some  one  asked  me 
whether  I'd  like  to  meet  her,  and  I 
was  vehement  in  declaring  I'd  rather 
die !  There  was  true  agony  in  those 
days. 

"I  love  to  remember  the  foolish- 
ness of  it  all.  Miss  Talmadge  and  I 
have  laughed  over  it  frequently  since 
then !  After  that  period  of  bitter- 
ness and  stress  I  became  totally  in- 
different— lost  all  desire  to  meet  her, 
but  also  all  urge  to  avoid  her.  That 
is,  I  thought  I  did.  She  was  not 
working  on  a  film,  but  every  once  in 
a  while  she  would  come  to  the  studio 
on  business,  and  I  watched  her  pose 
for  publicity  stills,  without  the  slight- 
est change  in  the  beating  of  my 
heart.  I  would  remain  in  the  office 
and  watch  from  the  window,  in  elab- 
orate self-assurance  that  I  wasn't  in- 
terested enough  to  go  downstairs. 
Of  course  it  was  merely  a  matter  of 
perverted  sensitiveness. 

"Somewhere  there  is  a  quotation 
to  the  effect  that  hatred  is  the  re- 
verse form  of  love  itself.  Years  ago 
I  read  that,  and  thought  it  ridicu- 
lous ;  I  have  recently  recalled  it  with 
perfect  understanding.  But  that 
phase  passed,  and  the  aversion 
passed,  and  the  unnatural  indiffer- 
ence passed.  One  day,  when  she  was 
at  the  studio,  I  said  with  a  clear 
Continued  on  page  115 


Advertising  Section 


111 


What's  a  Chap  to  Do? 


Continued  from  page  23 

regarded,  by 


at  the  Montmartre  is 
Hollywood's  film  crowd,  as  hectically 
as  the  wine  goblet  of  Cleopatra — 
but  what's  a  chap  to>  do  about  it  ? 

In  any  case,  Jimmie  couldn't  marry 
any  one  yet,  as,  according  to  law,  he 
is  already  married.  It  was  one  of 
those  "war  weddings." 

"I  don't  try  to  deny  it,  or  excuse 
myself  at  all,"  Jimmie  honestly  as- 
serts to-day,  though  no  one  heard  him 
speak  about  it  before.  "I  was  like 
hundreds  of  other  chaps,  during  the 
war.  After  a  few  months,  it  was 
obvious  we  had  both  made  a  mis- 
take." 

Though  whether  you  are  married 
or  single  makes  little  difference  in 
Hollywood — or  so  it  seems.  If  you 
have  a  good  position — important 
enough  so  that  your  name  is  men- 
tioned here  and  there — and  an  equally 
good  salary,  you  will  gain  many 
friends. 

A  year  ago  Jimmie  purchased  an 
attractive  home  on  the  hillside.  I 
make  a  note  of  this,  as  I  had  repeated 
invitations  to  visit  him  there.  But, 
with  one  thing  and:  another,  the  visit 
was  never  made*  To-day  Jimmie 
does  not  inhabit  his  former  palatial 
abode. 

"I  let  it,  because  it  was  no  longer 
homelike,"  he  explained.  "Never 
could  I  get  any  peace.  Night  and 
day,  people — sometimes  several  at 
once — were  always  dropping  in.  My 
friends  I  always  like  to  see.  But  in 
Hollywood,  even  those  you  know  only 
slightly,  will  take  it  upon  themselves 
to  visit  you. 

"I  like  hospitality,  but  I  object  to 
being  sponged  upon.  At  the  begin- 
ning, it  seemed  all  a  part  of  my  first 
step  to  success.  It  made  me  feel 
popular  and  famous,  but  I  soon  real- 
ized that  it  meant  nothing  of  the 
kind.'" 

As  I  agree,  and  I'm  sure  you  do, 
hospitality  is  a  gracious  gesture.  But 
when  it  turns  into  imposition,  what's 
a  chap  to  do  ? 

To-day  finds  Jimmie  living  near 
the  sea.  He  has  a  comfortable  beach- 
home  at  Venice — the  one  on  the 
Pacific.  The  completion  of  each  pic- 
ture sees  Jimmie  at  his  oceanic  chalet, 
free  from  care — or  most  of  it — liv- 
ing a  happy  existence,  or  as  near  as 
cne  can  expect. 

He  has,  so  he  says,  only  a  few  in- 
timates besides  Bebe  Daniels.  Merna 
Kennedy  and  her  mother,  Ben  Lyon, 
and  Charles  Rogers  being  among  the 
few  elect. 

Speaking  of  Ben,  brought  forth 
reminiscences  from  Jimmie. 

"Ben  and  I  took  our  first  screen 
tests  together,  in  New  York,  about 


five  years  ago.  I  was  then  playing  in 
a  revue  on  Broadway.  Ben  was  act- 
ing on  the  stage." 

It  took  Jimmie  some  time  to  get  a 
break  in  pictures.  When  he  did  get 
in,  he  rose  with  a  flash.  Since  his 
debut  with  Bebe  Daniels,  in  "The 
Campus  Flirt,"  he  has  caused  many  a 
maiden  heart  to  palpitate  a  few  palps 
faster. 

Paramount,  to  whom  he  is  under 
contract,  realizes  Mr.  Hall's  popu- 
larity. On  the  strength  of  his  box- 
office  value,  he  has  been  lent  for  sev- 
eral pictures  made  by  other  com- 
panies, Some  have  been  mere  pro- 
gram pictures,  but  at  least  two  are 
worthy  of  attention — namely,  "Four 
Sons"  and  "Hell's  Angels." 

At  the  Hollywood  premiere  I  saw 
Jimmie  arrive  with  two  or  three 
friends — Merna  Kennedy  being  one 
of  them.  The  people  lined  up  out- 
side the  Carthay  Circle  Theater  gave 
a  burst  of  applause.  Jimmie  had  his 
picture  taken,  and  bowed  and  smiled 
his  thanks.  What  else  could  a  chap 
do? 

After  the  showing  of  the  film,  the 
principals  were  called  on  the  stage. 
Next  to  Margaret  Mann,  Jimmie  got 
the  longest  and  loudest  ovation.  He 
was  recalled  twice. 

Being  next  lent  to  play  in  "Hell's 
Angels,"  Jimmie  appears  opposite  his 
friend.  Ben  Lyon.  Greta  Nissen  is 
the  allure  in  this  film.  It  is  a  picture 
expected  to  give  all  three  players 
splendid  opportunities. 

In  case  you  might  think  so,  James 
Hall  is  not  a  bored  man  of  the  world. 
He  takes  things  as  they  come,  with 
pleasant  simplicity.  He  is  overflow- 
ing with  ideas  and  suggestions  which 
rarely  ever  materialize.  He  makes 
promises  galore,  which  are  never 
kept.  He's  only  too  willing  to  get 
the  moon  for  you — but  you'd,  have 
to  shoot  him  up  to  it  with  a  cannon. 
He  is  more  interesting  than  individ- 
ual, and  still  possesses  the  instinctive 
urge  to  sway  with  the  crowd. 

In  a  year  he  has  altered  to  a  great 
extent.  When  I  first  met  him,  he 
led  me  to  believe  "this  and  that" 
about  him.  Then  he  wanted  to  up- 
braid me  'for  repeating-  "this  and 
that." 

Why  all  the  secrecy?  Well,  you 
see,  the  general  public  is  apt  to  twist 
the  slightest  thing  into  something  else. 
So  what's  a  chap  to  do  ? 

However,  to-day  Jimmie  is  all 
frankness  about  "this  and  that."  Yet 
he  traps  me  by  saying,  "This  is  in 

confidence,  just  at  present  "  or 

"Don't  repeat  that  yet  " 

So,  I  whine,  what's  a  poor  inter- 
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An  Interview  Enters  His  Life 


Continued  from  page  73 


lilting  ha-has.  From  him,  to  show  what 
a  jolly,  fine  old  joke  the  whole  mix- 
up  had  been.  From  me,  to  prove 
that  the  interviewer's  feelings  were 
as  good-natured  as  ever. 

"Say,  I've  got  to  apologize  for 
acting  the  goat,"  Bill  said.  "But  I 
was  expecting  Arthur  Lake  to  call 
just  when  you  did.  We're  always 
kidding  each  other  over  the  phone. 
Arthur  will  change  his  voice  and  say, 
'I  represent  United  Artists.  Will 
you  call  at  the  studio  to-morrow 
morning  to  consider  a  contract  ?  Or 
I'll  call  him,  and  say  something 
equally  crazy.  And  being  inter- 
viewed was  the  last  thing  I  thought 
would  ever  happen  to  me." 

The  shock  he  received  had  evi- 
dently bereft  Bill  of  all  his  alertness, 
for  he  had  not  thought  up  anything 
striking  to  say  about  himself,  as 
many  a  more  seasoned  player  would. 
Bill  was  himself,  and  much  more 
pleasant.  He  admitted  that  there  was 
little  to  write  about — yet. 

He  was  born  in  Los  Angeles,  and 
went  to  a  military  academy  there. 
Three  years  ago  he  started  in  pic- 
tures as  an  extra. 

"I  always  had  been  crazy  about 
pictures,"  Bill  remarked,  as  the  only 
excuse  for  his  present  position. 
"That's  not  original  with  me,  I 
know,  but  it's  true." 

Unlike  his  friend,  Arthur  Lake — 
that  rare  humorist — he  has  no  the- 
atrical connections,  so  he  cannot  say 
acting  was  in  his  blood.  But  it  ob- 
viously is  there,  nevertheless.  His 
work  shows  he  is  an  actor,  and  that 
he  will  improve  with  time. 

Bill's  first  bits  came  at  the  Fox 
studio,  in  a  series  of  O.  Henry  stor- 
ies. That  was  over  two  years  ago. 
Then,  with  plenty  of  presumption, 
according  to  -  him,  he  went  to  Uni- 
versal to  see  Emory  Johnson,  to  try 
for  a  juvenile  role  in  "The  Last 
Edition."  A  test  came  into  his  life, 
also  a  fairly  conspicuous  part. 

Later,  and  more  recently,  "Mother" 
and  "The  Devil's  Trade-mark"  were 
made  with  Belle  Bennett.  These  two 
pictures  followed  "The  Heart  Thief," 
in  which  Bill  played  the  juvenile  op- 
posite Lya  de  Putti.  Lya,  who  knew 
hardly  any  English  then,  insisted  on 
speaking  her  titles  in  her  funny  ac- 
cent, nearly  causing  poor  Bill  to 
burst  out  laughing  in  the  most  seri- 
ous scenes  with  her. 

Of  course,  an  occasional  disap- 
pointment has  come  our  young  hero's 
way.  He  and  Constance  Howard 
had  important  roles  in  "The  Waning 
Sex."  Both  were  completely  cut  out 
of  the  finished  picture.  Again,  in 
"The  Magic  Flame,"  Bill  and  Con- 


stance played  juveniles.  Again  they 
graced  the  cutting-room  shelves. 

very  good 


However,  it  was  his 


work  in  "West  Point"  that  attracted 
the  notice  of  reviewers  and  fans.  He 
is  now  getting  an  increasing  fan  mail 
and,  to  date,  an  interview. 

To-day,  Bill  is  twenty,  and  has 
grown  several  inches  since  his  O. 
Henry  days.  Naturally,  he  looks 
older,  too,  though  you'd  take  him  for 
seventeen  or  eighteen.  He  is  a  bright 
chap,  not  a  bore,  not  self-conscious, 
nor  overconscious — not  yet.  He  is 
vitally  alive  and — praise  Buddha ! — 
not  sophisticated.  That  is,  he  doesn't 
pose.  He  lives  with  his  mother,  and 
has  a  good  time  with  his  friends. 
He  is  not  overeager  to  tell  you  what 
he  can  do — not  yet.  He  did  admit 
that,  next  to  acting,  he  likes  swim- 
ming and  tennis  best,  and  I  have 
heard  he  is  most  proficient  in  both. 

While  Bill  was  answering  a  phone 
call,  I  was  able  to  glance  about  the 
room.  A  photo  of  William  Haines 
stood  in  a  conspicuous  place.  "Dear 
Bill,"  ran  the  autograph  of  the  in- 
imitable Haines,  "you  may  not  be- 
lieve me,  but  I  enjoyed  working  with 
you."  A  picture  of  Belle  Bennett, 
with  a  beautiful  autograph,  was  also 
obvious.  I  regarded  a  silver  cup  of 
modest  size,  with  "Presented  to  Wil- 
liam Bakewell,  for  possessing  the 
best  school  spirit,"  inscribed  on  it. 

A  scrap  book,  the  size  and  thick- 
ness of  a  small  trunk,  with  "Wil- 
liam Bakewell"  stamped- on  the  cover 
in  letters  of  gold,  is  being  used  for 
present,  and  subsequent,  press  clip- 
pings. Only  several  pages  are  used 
— yet.  Inside  the  cover  is  written,  in 
a  <boyish  hand : 

"I  am  going  to-  be  the  greatest  ac- 
tor on  the  screen.  This  is  a  promise 
I  make  to  myself.  Signed,  William 
Bakewell." 

He  never  mentioned*  anything  like 
that  in  the  interview ;  he  <may  in  the 
next.  Anyway,  the  chief  distinctions 
in  his  life  at  this  moment  are:  That 
he  is  the  youngest  member  of  the 
Maskers'  Club ;  that  he  is-  working 
under  D.  W.  Griffith ;  that  he  has  al- 
ready done  something  sufficiently 
worthy  to  make  him  the  subject  of 
an  interview.  He  was,  he  confessed, 
completely  bowled  over. 

Let  us  hope  he  doesn't  become 
Holly  woodized  ;  that  he  keeps  on  get- 
ting bowled  over ;  that  he  does  not, 
like  many  of  the  more  seasoned  play- 
ers, come  to  expect  interviews  and 
prepare  angles,wise  saws,  and  mod- 
ern sayings. 


Advertising  Section  113 

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114 


Advertising  Section 


CHELSEA 
HOUSE 

Popular  Copyrights 


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George  Gilbert 
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GUN  GENTLEMEN  David  Manning 

BLUNDELL'S  LAST  GUEST 

Albert  Payson  Terhune 
THORNTON  THE  WOLFER  George  Gilbert 

THE  COASTS  OF  ADVENTURE  James  Graham 
OL'  JIM   BRIDGER  Joseph  Montague 

THE  SLEEPING  COP 

Isabel   Ostrander  and  Christopher  B.  Booth 
THE  BAYOU  SHRINE  Perley  Pcore  Sheehan 

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YOUNG  LIGHTNING  Charles  Wesley  Sanders 

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Chester  K.  Steele 

ISLAND  RANCH  Thomas  K.  Holmes 

STRANGE  TIMBER  Joseph  Montague 

THE  FLYING  COYOTES  Raymond  S.  Spears 

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It's  the  Breaks  that  Make  'Em 


Continued  from  page  53 


amiss,  and  the  petite  Polly  Ann  was 
free  to  dance  again.  David  Selznick, 
a  rising  young  producer,  was  her 
squire  on  this  occasion.  Anita  Loos 
saw  her  and  at  once  wanted  her  for 
the  role  of  Dorothy,  in  "Gentlemen 
Prefer  Blondes,"  and  Polly  had  the 
heartbreak  of  losing  one  of  the  most 
coveted  roles  of  the  year.  One  of 
her  front  teeth  receded  a  mere  frac- 
tion of  an  inch  from  its  fellows,  but 
just  enough  to  show  up  dark  in  the 
close-ups.  Metro-Gold wyn  took  heart 
and  signed  her  to  a  long-term  con- 
tract, and  disciplined  the  wayward 
tooth. 

Loretta  Young,  the  youngest  of 
Hollywood's  now  famous  Youngs, 
was  having  the  time  of  her  life  one 
night,  winning  a  dancing  cup,  and 
not  thinking  of  the  movies  at  all — 
though  she  had  had  experience — ■ 
when  Herbert  Brenon  saw  her  and 
insisted  the  next  day  to  studio  heads 
that  she  play  the  leading  role  op- 
posite Lon  Chaney,  in  "Laugh, 
Clown,  Laugh  \" 

Reginald  Denny,  who  draws  the 
largest  salary  of  any  Universal  star, 
owes  his  break  to  the  fact  that  he 
was  a  "cheap"  actor.  Denny  had 
made  his  mark  on  the  speaking  stage, 
when  the  actors'  strike  interrupted  his 
career.  He  sought  employment  at 
the  New  York  studios,  and  was  ad- 
vised by  no  less  an  authority  than 
Joseph  M.  Schenck  that  his  features 


made  him  impossible  as  a  screen 
player. 

Tim  McCoy  thought  he  was  a 
business  man,  and  not  an  actor,  when 
he  called  on  studio  officials  and  tried 
to  interest  them  in  his  Wyoming 
ranch  as  a  location  for  Western  pic- 
tures. The  studio  officials  thought  it 
was  an  excellent  idea — but  they 
wanted  Tim  to  star  in  the  pictures. 

June  Marlowe  won  her  screen 
break  because  she'  played  the  piano. 
A  director  lived  next  door  to  the 
apartment  house  her  family  occu- 
pied, and  June  practiced  three  hours 
daily.  The  director  couldn't  very 
well  ignore  the  noise,  and  he  dropped 
in  one  day. 

Johnny  Mack  Brown  won  his 
screen  chance  when  he  planted  the 
pigskin  behind  the  goal  posts  in  a 
football  game  at  the  Pasadena  Rose 
Bowl. 

Of  course  the  break  of  the  year 
was  that  of  the  blond  Ruth  Taylor, 
who  won  the  coveted  role  of  Lorelei, 
in  "Gentlemen  Prefer  Blondes," 
after  the  director,  Malcolm  St.  Clair, 
had  told  her  she  would  never  do. 

But  there  must  be  a  time  limit  to 
everything  on  the  screen,  even  em- 
braces, and  the  signal,  which  the 
audience  never  hears,  for  the  end 
of  the  clinch,  is  generally  the  hoarse 
utterance  of  the  tired  director: 
"Break." 


The  Stroller 

Continued  from  page  25 


The  producer  pondered  over  the 
situation  at  some  length. 

"That's  the  only  dog  in  Holly- 
wood that  can  play  this  part,"  was 
his  final  verdict.  "We  can't  stop  the 
picture  now.  I'll  get  another  direc- 
tor instead." 

The  way  of  high  art  in  Holly- 
wood seems  to  be  a  somewhat  rocky 
one. 

I  observe  that  the  Filmarte  Thea- 
ter, a  show  house  designed  solely 
for  the  exhibition  of  artistic  mo- 
tion pictures,  has  been  closed  for 
an  indefinite  period. 

Whether  it  is  closed  for  lack  of 
people  who  want  to  see  artistic  pic- 
tures, or  simply  a  lack  of  the  artistic 
pictures  themselves,  is  a  matter  about 
which  I  have  no  definite  informa- 
tion, although  my  personal  opinion 
leans  toward  the  latter. 

There  is  a  strange  and  somewhat 
wistful  little  character  in  Hollywood, 


whose  life  history  I  should  like  to 
write. 

I  do  not  know  his  name,  or  any- 
thing about  his  past  life,  ambitions, 
aspirations,  or  hopes  for  the  future. 

All  that  I  do  know  is  that  appar- 
ently he  makes  his  living  off  his 
trained  goose,  christened  "Bozo."  I 
have  never  seen  him  except  in  the 
presence  of  the  goose,  and  to  my 
knowledge  no  one  else  ever  has, 
either.  It  is  a  good  trained  goose — ■ 
as  trained  geese  go — and  its  owner 
rents  it  to  pictures. 

The  animal,  or  fowl,  is  evidently 
his  one  pride  and  passion.  He  will 
put  it  through  its  paces  for  any 
chance  spectator  who  happens  to  be 
interested. 

So  far  as  I  know,  the  goose  is  his 
only  means  of  livelihood,  although 
I  will  admit  the  possibility  of  his 
also  owning  other  performing  beasts. 

From  what  I  have  observed,  he 
finds  the  life  of  a  trained-goose 
keeper  an  eminently  pleasant  one. 


Advertising  Section 


115 


The  High  Cost  of  Popularity 


Continued  from  page  87 


taken  with  'em.  Only,  the  mothers 
would  keep  insisting  that  I  was  hold- 
ing them  upside  down,  or  three  de- 
grees to  the  left.  But  the  genuineness 
of  these  parties  given  in  a  movie  com- 
pany's honor,  the  hospitality  of  the 
people;  make  them  different  from  the 
'stunts.'  They  are  courtesies  really 
appreciated." 

What  about  his  pictures  ?  Deuced 
if  I  know.  I  hear  he  is  making  them, 
somehow  squeezing  them  between 
personal  appearances  at  menageries, 
clubs  and  kindergartens.  But  my  call 
on  Richard  was  not  only  to  interview 
him  about  these  publicity  duties — 
there  was  also  a  personal  feud. 

That  goes  back,  as  all  stories  do. 
Before  he  went  East  to  work,  I  took 
him  interviewing,  and  he  took  me  up 
in  amairplane.  In  New  York  he  told 
an  interviewer  that  he  had  taken  a 
certain  young,  lady  interviewer  up  for 
an  air  flight,  so  the  motor  would 
drown  her  chatter.  Upon  his  return, 
I  confronted  him  with  all  symptoms 
of  injured  feelings. 

"You  didn't  think  I  meant  you?" 
Richard-  can-  be  very  disarming.  "I 
always  take  the  girl  interviewers  air- 
riding.  Maybe  I  throw  the  ones  I 
don't  like  overboard.  None  of  'em 
ever  asked  to  get  out  and  walk 
home." 

Nevertheless,  when  I  think  I  shall 
see 'Richard,  I  have  with  me  little  slips 


of  paper  on  which  I  have  written 
terse  replies,  'Yes,"  "No,"  "You  did 
so!"  "Why,  Richard!"  and  various 
other  remarks.  When  he  heaves 
upon  the  scene,  I  emulate  the  Sphinx, 
and  at  frequent  intervals — when  they 
are  most  inappropriate  and  unex- 
pected— I  thrust  a  slip  at  him. 

"They've  asked  me  to  pose  for 
every  sort  of  a  contraption  that  can 
go  on  a  car,  or  be  used  in  a  gym,  or 
to  make  an  elegant  sartorial  display. 
'Kampus-Kut'  clothes  —  something 
you  get  into,  as  a  fireman  does — 
cravats,  tricky  shoe-eyelets,  suspen- 
ders for  the  well-dressed'  man.  Yes, 
one  bird  wanted  me  to  take  a  pic- 
ture illustrating  how  Dix  does  his 
quick  costume  changing  by  having 
hooks  and  eyes  on  his  vests,  instead 
of  buttons." 

"Did  you,  Richard?"  A  little  slip 
of  paper  was  held*  before  his  eyes. 
The  way  he  looked  at  me  I  refuse 
to  record.  I  never  do  put  it  down 
when  I  exasperate  anybody. 

The  actor  has  to  autograph  every- 
thing from  Easter  eggs  to  his  shirt- 
tail.  A  kid  wrote  Dix  asking  for  a 
shirt  he  had  worn  in  one  of  his  pic- 
tures. 

"Anyway,"  he  consoled  himself, 
"not  being  a  girl,  I  get  out  of  one 
duty :  posing  with  the  ten-dollar 
strand  of  pearls." 


Do  Fan  Dreams  Come  True? 


Continued  fr 

heart  that  I'd  be '  very  glad  indeed 
to  meet  her. 

"How  sweet  it  was  to  meet  her 
casually,  equally,  naturally,  after  all 
those  years  of  turbulent  emotional 
storm !  Of  course,  I  loved  her. 
That  would  go  without  saying  in 
Hollywood,  where  every  one  loves 
her  as  a  matter  of  course.  We  had 
a  charming  talk  in  her  dressing 
room,  and  I  carried  away  a  perfectly 
sane  admiration  of  her  as  a  person- 
ality. My  work  brings  me  into  oc- 
casional contact  with  her,  now,  and 
out  of  the  ashes  of  my  past  wor- 
ship, as  it  were,,  has  sprung  a  new 
love — less-  hectic  than  the  old,  per- 
haps, but  none  the  less  sincere  and 
beautiful  for  all  its  difference,  be- 
cause it  is  based  on  association  and 
not  imagination,  on  admiration 
rather  than  adulation. 

"'It  was  very  lovely  of  her  to  have 
been  so  patient  with  me  all  those 
months.  She  dislikes  effusion,  be- 
cause she  receives  so  much  of  it  in- 
sincerely, and  is  bored  and  disgusted 


om  page  110 

by  emotional  demonstration.  She 
believed  in  my  love  for  her  enough 
to  bother  waiting  until  an  opportune 
time  arrived  for  our  introduction, 
which  is  characteristic  of  her  tact 
and  consideration  in  all  things.  I 
am  most  grateful  to  her  for  not 
making  any  of  my  wild  dreams  come 
true,  and  for  allowing  me  what  Hol- 
lywood calls  'an  even  break.'  " 

Certainly  Constance  didn't  look 
like  a  disillusioned  fan  as  she  con- 
cluded her  explanation.  I  think 
there  is  a  moral  in  her  experience 
somewhere,  if  any  one  cares  to  look 
for  it.  This  is  not  an  interview.  I 
pass  it  on  to  you,  because  yesterday 
I  heard  an  editor  say,  "Yes,  I'd  like 
to  run  a  story  on  Norma  Talmadge, 
but  there  is  nothing  that  hasn't  al- 
ready been  written  about  her  several 
times.  She's  had  so  much  publicitv 
that  there  is  no  new  angle  any  more." 

And  I  wanted  you  to  know  that 
even  an  editor  may,  at  times,  be 
wrong. 


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how  to  perform  this  simple  treatment  them- 
selves— the  same  that  foreign  beauty  doctors 
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116 


Advertising  Section 


1 


A  Volume  of  a 
Thousand  Wonders 

The  Marvel 
Book 


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Georgette  MacMlao 

There  is  a  recipe  to  suit  every 
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Continued  from  page  43 

Somehow  the  notion  has  got  about 
that  I'm  a  sort  of  goody-goody,  so 
that  apparently  I'm  only  looked  at 
as  an  actor  in  that  light.  No  one 
ever  stops  to  think  of  the  varied 
roles  I've  played.  Yet,  on  the 
screen,  and  on  the  stage  as  well,  I've 
been  all  kinds  of  bums. 

"One  of  the  first  things  I  ever  did, 
on  the  stage,  was  'The  Man  Who 
Came  Back.'  In  that,  I  was  prob- 
ably the  worst  bum  that  ever  lived. 
Drink,  dope,  seduction — I  went  in 
for  every  vice  there  is. 

"In  my  earliest  pictures,  it  was  the 
same.  In  'The  Fighting  Chance'  I 
was  a  drunkard.  The  whole  film 
was  a  story  of  my  regeneration. 

"In  'What  Every  Woman  Knows' 
I,  as  a  married  man,  fell  in  love  with 
another  woman,  which  isn't  consid- 
ered a  very  moral  thing  to  do." 

He  went  on,  considering  the  vari- 
ous and  varied  roles  he  had  played 
in  the  past.  In  "Sacred  and  Pro- 
fane Love"  he  was  an  absinthe  ad- 
dict, who  seduced  the  heroine.  In 
"Saturday  Night"  he  and  his  wife 
were  divorced  so  that  each  could 
marry  some  one  else.  He  played 
Paul,  in  "Three  Weeks,"  one  of  the 
most  luridly  romantic  characters  in 


what  might  be  called  literature. 
Again  he  played  an  Elinor  Glyn  hero 
in  "The  Only  Thing";  Madame 
Glyn,  an  authority,  must  have 
thought  that  he  had  It. 

Yet,  despite  his  hectic  screen  past, 
Metro-Goldwyn  was  inclined  to  cast 
him  in  rather  sugary  roles.  A  dis- 
trict attorney  in  "The  Waning  Sex," 
a  nice  young  business  man  in 
"Heaven  on  Earth,"  and  a  young 
gentleman  in  "London  After  Mid- 
night." Then  along  came  the  vogue 
for  underworld  pictures,  and  War- 
ner Brothers,  who  took  over  part  of 
Mr.  Nagel's  contract,  began  casting 
him  as  a  gangster  in,  for  example, 
"The  Girl  From  Chicago,"  and 
"Tenderloin."  The  cycle  of  types 
was  completed  again  for  Conrad  in 
"Glorious  Betsy,"  with  the  rediscov- 
ery that  Conrad  can  be  as  heavily  ro- 
mantic as  any  one  on  the  screen. 

Well,  as  the  Pollyannas  are  con- 
stantly telling  us,  there's  always  a 
good  break  around  the  corner.  Con- 
rad's good  break  has  arrived.  Just 
at  the  time  when  he  is  coming  into 
his  own  again  as  a  romantic  lover, 
the  talking  movie  has  come  along 
and  given  him  another  boost. 

Conrad  is  in  luck.  Lionel  Barry- 
more,  who  has  also  been  buried  more 
than  his  talents  warranted,  is  also  in 
luck.  All  the  players  who  have  had 
stage  training  are  in  luck. 


One  of  Mr.  Nagel's  greatest  charms 
lies  in  his  voice.  Full,  resonant, 
trained  to  carry  on  the  stage,  it  is 
ideal  for  a  talking  picture.  In  a 
Vitaphone  film  his  voice  puts  to 
shame  the  feeble  sounds  brought 
forth  by  mere  movie  players. 

As  a  result,  he  is  much  in  demand 
for  talking  pictures.  Warner  Broth- 
ers have  arranged  a  split  contract 
with  Metro-Goldwyn,  whereby  Con- 
rad Nagel  is  to  work  half  the  time 
for  each  of  them.  Yes,  now  that 
talking  movies  have  arrived,  Conrad 
is  sitting  pretty. 

That  is  no  mean  feat,  when  one 
considers  the  consternation  thrown 
into  the  motion-picture  ranks  with 
the  advent  of  speaking  pictures.  The 
brows  of  beauty-contest  winners  are 
furrowed  with  worry.  There  is  a 
sudden  rush,  in  California,  to  elocu- 
tion and  voice  placement  teachers. 
Distinguished  services  are  offered  for 
vaudeville,  usually  the  last  resort 
after  a  player  is  "through,"  even  on 
Poverty  Row.  For  now  the  briefest 
vaudeville  engagement  enables  a  film 
player  to  lay  claim  to  stage  experi- 
ence. 

"So  far,"  said  Mr.  Nagel,  "talking 
pictures  have  gone  over  because  of 
their  novelty,  but  they  won't  be  a 
novelty  much  longer.  Producers 
will  have  to  realize  that,  and  arrange 
for  more  skillful  dialogue." 

The  occasion  for  this  was  my  com- 
ment on  the  Broadway  fate  of  "Ten- 
derloin," in  which  the  spoken  pas- 
sages seemed  like  excerpts  from  a 
ten-twenty-thirty  melodrama  of 
twenty  years  ago.  It  was,  indeed,  so 
crude  that  it  was  laughed  off  the 
Broadway  stage,  and  much  of  it  was 
deleted. 

"Up  to  now,"  continued  Mr.  Na- 
gel, "the  dialogue  was  written — - 
thrown  in,  you  might  say — by  sub- 
title writers.  In  the  future,  talking 
pictures  will  have  to  follow  the  stage 
technique  for  spoken  lines.  They 
will  require  the  services  of  skilled 
playwrights  to  put  them  over,  with 
lines  that  are  amusing  and  carry 
along  the  story." 

For  when  stage  presence,  poise, 
experience  and  trained  speaking 
voices  are  part  of  the  requisites  for 
a  screen  career,  then  untried  youth 
had  better  watch  out,  or  where  will 
our  new  faces  be  then,  poor  things? 

Yes,  Conrad  Nagel  is  coming  back 
into  his  own ! 


Advertising  Section 


All  That  is  Mortal  of  Valentino  Lies  in  a 

Borrowed  Tomb! 


Continued  from  page  17 


dedicated  to  Valentino.  Paid  for  by 
British  money,  it  was  the  first  real 
action  to  perpetuate  the  memory  of 
the  Rudy  the  world  had  loved.  Un- 
der date  of  May  6th,  the  London 
Weekly  DispatcJi  said : 

A  garden  has  sprung  into  life  and 
fragrance,  in  the  last  few  days,  on  the 
roof  of  the  Italian  Hospital,  Queen's 
Square,  London,  and  its  existence  is  the 
result  of  a  touching  tribute  to  the  mem- 
ory of  Rudolph  Valentino. 

From  whence  will  come  the  funds 
to  pay  for  a  final  resting  place  for 
Rudolph  Valentino  ?  When  all  his 
debts  are  paid,  there  probably  will 
remain  approximately  $300,000.  Of 
this  amount  the  court,  legally,  may 
allow  only  a  nominal  sum  for  a  tomb 
in  which  to  place  the  actor's  remains. 
The  early  estimates,  .first  of  a  mil- 
lion, then  of  a  half  million,  supposed 
to  have  been  left  by  the  star,  proved 
exaggerated.  Rudy,  it  was  learned, 
had  borrowed,  and  he  owed  money 
in  many  places.  One  claim  for 
$160,000  was  filed  by  a  real-estate 
firm,  on  a  contract  for  the  purchase 
of  111  acres  of  land.  Another  for 
$48,515  was  filed  by  Executor  Ull- 
man  for  money  advanced  to  help  fi- 
nance production  of  the  film  "What 
Price  Beauty,"  made  by  Natacha 
Rambova,  Valentino's  second  wife, 
who  divorced  him  shortly  before  his 
death.  Debts  for  landscaping  the 
lawns  about  the  Valentino  home,  for 
wearing  apparel  contracted  for  in 
1925,  bobbed  up. 

A  few  weeks  ago,  7,000  cigarettes, 
which  had  been  ordered  by  Valentino 
from  Cairo,  Egypt,  were  sold  at  pub- 
lic auction  in  Los  Angeles,  by  the 
customhouse,  for  $88.  Young 
women  and  girls  started  the  bidding, 
but  after  it  reached  the  $20  mark, 
professional  buyers  took  the  "play" 
away  from  them,  and  obtained  the 
imported  "fags"  at  approximately 
market  prices.  Yet  it  is  probable 
that  had  the  cigarettes  been  auctioned 
immediately  after  the  death  of  Rudy, 
they  would  have  netted  the  estate 
hundreds  of  dollars. 

What  shall  be  done  with  the  body 
of  Valentino?  Will  it  eventually  be 
buried  in  a  simple,  unadorned  grave 
somewhere  beneath  the  cedars  and 
palms  and  pepper  trees  of  the  beau- 
tiful cemetery,  or  will  it  be  given  a 
niche  in  the  marble  mausoleum  ?  Will 
it  be  taken  back  to  the  star's  boy- 
hood home  in  Italy,  to  be  placed  in 
a  shrine  where  all  may  come  and  see 
the  casket?  Mr.  Ullman  insists  that 
it  shall  remain  in  America,  and  de- 


clares it  eventually  shall  rest  in  a 
mausoleum — if  he  has  to  build  it 
himself.  He  was  Rudy's  former 
manager,  and  his  closest  friend. 

"I  am  hoping  that  the  City  of  Los 
Angeles  will  provide  the  ground  for 
a  memorial,"  he  says,  "and  that  the 
$2,500  in  hand  may  be  expended  for 
a  bust  to  rest  on  a  granite  stand.  In 
addition,  I'm  hoping  that  funds  will 
become  available,  somehow,  for  erec- 
tion of  the  cherished  mausoleum.  I 
cannot  believe  that  the  world  so  soon 
has  forgotten  the  dark-eyed,  gentle 
boy  whom  so  recently  it  worshiped." 

A  few  feet  from  the  borrowed 
crypt  which  Valentino  rests  is  the 
niche  which  holds  the  body  of  Bar- 
bara La  Marr.  On  the  bronze 
plaque  beneath  her  name  are  the 
words :  "With  God  in  the  Joy  and 
Beauty  of  Youth."  Vases  with  red 
gladioli  stand  near,  replenished  each 
day.  Many  visitors  stand  with 
bared  heads  as  they  recall  the  beau- 
tiful, exotic  Barbara,  whose  death 
occurred  the  same  year  as  Valen- 
tino's. In  another  crypt  near  by 
rest  the  remains  of  William  H. 
Crane,  grand  old  actor  of  the  stage. 
In  a  third,  the  father  of  Norma  and 
Constance  Talmadge  is  laid  away. 
Marion  Davies  is  building  a  beauti- 
ful mausoleum,  near  the  edge  of  the 
cemetery  lake,  in  which  the  body  of 
her  mother,  who  recently  died,  will 
be  placed. 

Yet  the  body  of  the  great  Valen- 
tino has  been  accorded  no  permanent 
resting  place !  Crowds  still  flock  to 
see  his  pictures  as  they  are  shown 
in  many  lands. 

Letters  to  Mr.  Ullman  tell  how 
some  keep  flowers  before  their 
idol's  photograph.  Others  tell  how 
they  burn  candles  in  home  shrines. 
Many  declare  that  no  one  ever  can 
supplant  Valentino  in  their  affec- 
tions, and  some  write  verses  avow- 
ing perpetual  devotion. 

But  writing  letters  and  sending 
money  appear  to  be  two  entirely  dif- 
ferent gestures.  The  distance  be- 
tween wealth  of  sentiment  and 
wealth  in  the  bank  seems  non- 
negotiable.  So  the  beloved  Rudy  re- 
ceives bequests  drawn  merely  from 
the  reservoir  of  memory.  Bank 
checks  are  conspicuously  absent. 

Doesn't  this  seem  sometimes  to  be 
a  hypocritical  world  ?  I  can  readily 
fancy  Rudy  looking  back  and  say- 
ing in  his  gentle,  tender  way,  "Never 
mind,  my  boy,  they  don't  mean  to 
forget.  It's  just  the — well,  it's  the 
way  of  the  world,  you  know." 


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Advertising  Section 


illlllllPllllllI 


The  Brand  of  | 
a  Good  Book  1 


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YOUNG  LIGHTNING  Charles  Wesley  Sanders 

THE   GLORIOUS  PIRATE  James  Graham 

SCHEMED  AT  SANDY  BAR  George  Gilbert 

THE  HOUSE  OF  DISAPPEARANCES 

Chester  K.  Steele 

ISLAND  RANCH  Thomas  K.  Holmes 

STRANGE  TIMBER  Joseph  Montague 

THE  FLYING  COYOTES  Raymond  S.  Spears 

THE  THUNDERBOLTS  JEST  Johnston  McCulley 
THE  MUSTANG  HERDER  David  Manning 


MUTINY 


Frederick   R.  Bechdolt 


75c 

Per  Copy 

fUELSEA  MOUSE 


79-89  SEVENTH  AVE. 
NEW  YORK  CITY 


5 


Little  Sister  to  Lucrezia  Borgia 

Continued  from  page  34 


I  agreed,  and  ordered  a  slab  of 
ice  flanked  with  limes,  grenadine, 
and  seltzer.  It  was  high  time  we 
went  to  work.  Duty  was  duty,  even 
on  a  muggy  afternoon.  What  of 
Movietone,  I  demanded,  and  how 
does  it  differ  from  movies  without 
tone  ? 

"Well,"  said  Kate  judicially,  "there 
is  much  to  be  said  on  both  sides. 
But  all  I  can  tell  you  is  the  actor's 
viewpoint. 

"Movietone  is  worrying  the  stars. 
The  rest  of  the  actors  in  Hollywood 
couldn't  be  any  more  worried  than 
they  usually  are.  But  stars  realize 
that  they  will  not  be  able  to  get  by 
on  a  swell  profile  and  a  shapely  pair 
of  steins.  They'll  have  to  talk,  and 
talk  well. 

"It  will  be  great  for  stage-wise 
people  whose  voices  register,  and  not 
so  hot  for  others.  It  may  not  last, 
but  if  it  does  I  think  you'll  see  a 
new  set  of  favorites,  who  will  have 
to  sound  as  good  as  they  look.  Ac- 
tors like  Lionel  Barrymore,  and  Con- 
rad Nagel  will  be  sitting  pretty. 
Others  will  be  sitting  

"Since  you  ask  me,  my  voice  reg- 
isters pretty  well,  too.  At  least,  the 
critics  say  so.  And  God  bless  the 
critics  when  they're  for  you !  I 
mean,  I  suppose  I  should  send  them 
loving  cups." 

Reproducing  the  Key  conversation 
is  at  once  an  arduous  and  baffling 
task.  She  has  the  same  iridescent, 
elusive  wit  that  characterizes  Nita 
Naldi,  Will  Rogers,  and  other  quick 
thinkers  of  history.  She  is  a  satiri- 
cal child  with  a  sane  outlook  on  pic- 
tures and  a  canny  sense  of  humor. 
She  is  one  of  the  popular  people  on 
the  Coast,  admired  most  by  people 
with  sufficient  intelligence  to  appre- 
ciate her.  In  this  respect  she  is  not 
unlike  Aileen  Pringle,  pet  of  the  lit- 
erate minority. 

"Making  Movietone  was  totally 
unlike  making  a  regular  movie,"  said 
Kate.  "And  paradoxically  enough, 
talkies  must  be  made  more  quietly 
than  noiseless  movies,  if  you  follow 
me.  If  you  don't,  take  a  running 
jump.  Listen  closely,  and  I  will  ex- 
plain how  the  leopard  got  his  spots." 

She  sketched  rapidly  on  a  piece  of 
paper,  talking  very  rapidly  at  the 
same  time. 

"You  work  in  a  boxed-in  set  like 
this,  lined  with  deadening  felt.  The 
set  is  lined,  not  you.  Microphones 
are  hung  directly  over  or  near  the 
camera,  which  shoots  through  a  hole, 
so  that  the  clicking  is  not  registered 
on  the  film.  You  see,  Vitaphone  re- 
cords on  a  synchronized  record,  while 


Movietone  records  the  sound  right 
on  the  film  simultaneouslv  with  the 
picture. 

"The  director  must  do  all  his  talk- 
ing before  he  shoots,  because  every 
sound  is  recorded.  Arm  waving  and 
sign  language  are  permissible,  but 
hardly  helpful.  If  a  scene  is  inter- 
rupted, it  must  be  repeated  from  the 
start,  because  the  dialogue  is  con- 
tinuous, as  on  the  stage.  Parts  must 
be  memorized  and  cues  must  be 
picked  up. 

"Kleig  lights  aren't  used,  because 
the  sputter  would  be  caught  on  the 
film.  Outdoors  it  is  even  more  diffi- 
cult to  work  with  Movietone.  Shouts 
of  children  playing  may  break  into 
your  filming.  Or  the  clatter  of 
horses'  hoofs.  Or  a  mailman's 
whistle. 

"When  we  were  doing  'The  Fam- 
ily Picnic,'  which  was  the  first  Mo- 
vietone comedy,  we  had  all  sorts  of 
odd  experiences  with  the  sound  end 
of  it.  Once  we  had  to  stop  be- 
cause an  airplane  buzzed  by  over- 
head. Again,  the  detector  caught 
the  hum  of  a  high-tension  wire  near 
by.  We  couldn't  hear  it,  but  on  the 
truck  carrying  the  equipment  sits  a 
man  at  a  receiving  board,  with  ear- 
phones that  pick  up  the  slightest  in- 
terruption." 

From  Movietone  our  talk  mean- 
dered to  other  fields,  and  the  Key 
tastes  proved  to  be  widely  varied. 
Kathleen  enjoys  Italian  sunsets, 
Hearst  newspapers,  chicken  chow- 
mein,  acting  opposite  Ramon  No- 
varro,  and  watching  Ann  Penning- 
ton dance  the  Black  Bottom.  She 
likes  fishnet  stockings,  week-ends  in 
the  country,  the  Biltmore  orchestra, 
Movietone,  iced  coffee,  hot  tamales, 
and  Irishmen.  She  dislikes  warm 
cantaloupe,  affectation,  horse  cars, 
off-key  singing  and  cassowaries.  She 
has  never  seen  a  cassowary,  but  she 
is  very  sure  she  wouldn't  care  for 
one. 

She  is  brutal  in  her  frankness, 
honest  as  a  Fairbanks  scale,  and 
open-faced  as  an  Ingersoll.  She  is 
one  of  California's  gifts  to  the 
tinned-drama  industry,  otherwise 
known  as  motion  pictures. 

Some  day  Mr.  Vidor,  or  Mr.  von 
Sternberg,  or  Mr.  Curtiz  will  get 
hold  of  Kathleen  Key  and  transfer 
her  rich,  dramatic  beauty  to  the  sil- 
ver sheet.  Then  you  will  see  as 
sparkling  a  star  as  ever  shone  from 
Hollywood. 


Advertising  Section 


119 


Mammy  's  Boy  Makes  Whoopee  in 

Hollywood 


Continued  from  page  19 


"Gala  premiere  to-morrow  night, 
I  suppose,  and  European  showing 
the  next  day?" 

"Yeh.    Quite  a  racket." 

George   left,   and   Al   sat  down 


I  continued 


"You  were  born— 
pathetically. 

"Yes,  you  might  say  I  was.  And 
at  an  early  age,  too." 

Another  awkward  pause. 

What  can  you  do  at  a  time  like 
that?  Nothing-  at  all,  is  what  you 
can  do.  So  as  nonchalantly  as  pos- 
sible, without  a  cigarette,  I  put  the 
interview  away  in  lavender  and 
moth  balls  and  proceeded  to  have  a 
nice  time.  Listening  to  Jolson 
stories,  and  watching  Jolson  antics, 
and  intermittently  watching  him 
work. 

"To  look  at  me,"  he  observed,  in 
front  of  the  camera,  "wouldn't  you 
think  I  knew  what  it  was  all  about?" 

When  I  left,  Mr.  Jolson  bade  me 
farewell  with  as  bland  an  innocence 
as  if  he  himself  had  laboriously  sup- 
plied the  outlines  of  his  life  and 
career  which  follow.  He  shook  my 
hand  and  grinned  as  blithely  as  if  he 
did  not  know  that  I  would  have  to 
go  sneaking  among  his  confreres,  if 
I  wanted  any  further  facts.  And 
me  that  was  always  the  last  ap- 
plauder  for  the  last  encore  of  "Mam- 
my!" 

Nevertheless,  Jolson's  modesty  is 
genuine.  His  reluctance  to  talk- 
about  himself  is  a  real  distaste,  and 
he  cannot  be  persuaded  that  a  pant- 
ing public  is  eager  to  read  about  him. 

The  items  below,  garnered  at  ran- 
dom from  people  who  know  him, 
and  are  familiar  with  his  career,  are 
for  the  illumination  of  picture  fans, 
to  whom  Al  Jolson  is  a  legend  or,  at 
most,  the  new  and  unknown  star  of 
"The  Jazz  Singer." 

He  was  born  Asa  Yoleson,  in 
Washington,  D.  C.  His  father  was 
a  rabbi,  and  also  cantor,  the  com- 
munity being  small.  Painstakingly, 
Cantor  Yoleson  taught  his  son  the 
chants  and  rituals,  planning  for  the 
day  when  Asa  should  be  cantor  of 
the  little  temple.  Asa  was  an  apt 
pupil  and  the  quality  of  his  clear, 
young  voice  was  gratifying  to  the 
cantor.  The  first  misgivings  came 
when  that  good  gentleman  became 
aware  that  Asa  was  intoning  the 
chants  with  a  curious  tempo.  Al- 
most imperceptibly,  there  was  an  un- 
even, drawling  rhythm  in  the  boy's 
singing.  The  cantor  knew  nothing 
of  syncopation,  or  he  would  have 


recognized  its  presence.  But,  on 
general  principle,  he  scolded  Asa  for 
taking  liberties  with  the  sacred  music. 

About  this  time,  Asa  was  one  of 
the  juvenile  performers  in  the  stage 
production  of  Israel  Zangwill's 
"Children  of  the  Ghetto."  Shortly 
after,  drawn  by  the  glamour  of  the- 
atricals, he  got  a  job  as  barker  for  a 
traveling  circus,  and  ran  away  from 
home. 

Despite  parental  remonstrances, 
he  continued  on  his  downward  path. 
With  his  brother  and  a  friend,  he 
formed  a  vaudeville  team — Jolson, 
Palmer,  and  Jolson.  While  playing 
the  small-time  circuits,  a  negro  por- 
ter in  one  of  the  theaters  gave  Al  the 
idea  of  changing  from  whiteface  to 
burnt  cork.  This  brought  him  in- 
stant attention,  and  in  1909  he 
started  playing  with  Dockstader's 
Minstrels. 

In  1911,  J.  J.  Shubert,  scouting 
for  new  talent,  saw  him  in  this  min- 
strel show  and  engaged  him  as  a 
comedian  for  the  Winter  Garden, 
then  just  opened.  Here  Jolson's 
popularity  was  instant  and  climac- 
teric. In  1914  he  was  featured  alone 
in  "Dancin'  Around."  In  1916  he 
became  a  star  in  "Robinson  Crusoe, 
Jr."  "Bombo"  and  "Big  Boy"  were 
more  recent  Winter  Garden  hits. 

He  is  a  Broadway  institution. 
There  are  hundreds  of  imitators,  but 
only  one  Jolson.  His  manner  of 
putting  a  song  across  is  hopelessly 
inimitable. 

It  is  very  fitting  that  Jolson  should 
have  been  the  pioneer  of  talking,  or 
rather  singing,  pictures,  and  that  his 
first  picture  should  have  been  "The 
Jazz  Singer,"  material  for  the  story 
of  which  was  drawn  from  his  own 
life. 

His  appetite  for  knowledge  of  pro- 
duction is  insatiable.  From  the  first, 
he  has  wanted  to  know  the  how, 
why,  and  wherefore  of  every  slight- 
est detail.  With  the  result  that  he 
is  to-day  an  expert  technician  in  the 
making  of  movies.  He  selects  his 
cast,  assists  in  improving  the  story, 
and  has  considerable  rein  on  super- 
vision. 

Hollywood,  as  I  mentioned,  ap- 
proves riotously  of  Jolson.  Few 
who  knew  him  well  expected  him  to 
remain  in  the  colony,  for  he  is  rest- 
less and  a  nomad.  But  now  it  would 
seem  that  we  have  him  cinched  for 
five  years  at  least — having  bribed  him 
with  a  new  interest,  Tijuana — since 
he  must  play  the  ponies,  and  make 
money — lots  of  it. 


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120 


Advertising  Section 


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A  Confidential  Guide  to 
Current  Releases 

Continued  from  page  72 

"Noose,  The"— First  National.  Thrill- 
ing story  of  Richard  Barthelmess  as  a 
bootlegger  who  commits  murder  to 
save  his  mother's  name,  though  he 
doesn't  know  her.  He  is  acquitted  with 
the  aid  of  his  mother — with  neither  of 
them  declaring  their  relationship. 
Alice  Joyce  is  the  mother. 

"Uncle  Tom's  Cabin"  — Universal. 
Exciting  screen  version  of  this  old-time 
favorite.  Full  of  thrills,  horrors, 
laughter  and  tears.  Arthur  Edmund  Ca- 
rewe,  Margarita  Fischer  and  George 
Siegmann. 

"Underworld" — Paramount.  Exciting 
melodrama  of  master  crook  who  kills 
for  the  sake  of  his  girl,  is  sentenced 
to  death,  and  makes  a  thrilling  escape 
only  to  find  the  girl  in  love  with  an- 
other. George  Bancroft,  Evelyn  Brent, 
and  Clive  Brook. 

"Abie's  Irish  Rose"  —  Paramount. 
Good  acting  and  sincere  direction.  No 
emotional  thrills.  Charles  Rogers  is 
good,  as  Abie.  Nancy  Carroll  perfect, 
as  Rosemary,  Jean  Hersholt,  Bernard 
Gorcey,  and  Ida  Kramer. 

"Glorious  Betsy" — Warner.  A  nice 
picture,  tearful,  charming,  lingering. 
Vitaphone  dialogue  unpleasant,  but  Do- 
lores Costello  and  Conrad  Nagel  are 
charming  and  agreeable  in  their  roles. 
John  Miljan  and  Marc  McDermott. 

"Hangman's  House" — Fox.  Common- 
place story,  with  exceptionally  beauti- 
ful atmosphere,  a  tribute  to  the  skill 
and  imagination  of  the  director.  June 
Collyer  is  an  aristocratic  beauty,  but 
not  an  emotional  one.  Larry  Kent, 
Victor  McLaglen,  and  Earle  Foxe. 

"Ramona" — United  Artists.  Another 
beautifully  scenic  picture.  Mild  story. 
Dolores  del  Rio  is  picturesque  in  title 
role.  Warner  Baxter  is  vital  and 
Roland  Drew  proves  languishingly  ro- 
mantic. 

"Kentucky  Courage" — First  National. 
Based  on  "The  Little  Shepherd  of  King- 
dom Come."  Richard  Barthelmess  plays 
Chad  with  surprising  skill.  An  impres- 
sive cast  including  Molly  O'Day,  Claude 
Gillingwater,  and  Doris  Dawson. 

"Big  Noise,  The"— First  National.  A 
shrewd  and  unusual  political  satire. 
Fine  performances.  Chester  Conklin, 
Bodil  Rosing,  Alice  White,  Sam  Hardy, 
Ned  Sparks,  and  Jack  Egan. 

"His  Tiger  Lady" — Paramount.  More 
amusing  in  theory  than  in  fact. 
Adolphe  Menjou  gives  good,  but  not 
exceptional,  performance.  Evelyn 
Brent  is  glamorous  and  magnetic. 
Backstage  life  is  amusingly  pictured. 

"How  to  Handle  Women" — Universal. 
Sacrifices  everything  for  a  laugh,  and 
not  too  many  laughs.  Often  dull.  Glenn 
Tryon's  popularity  will  insure  his  suc- 
cess, however,  and  Marian  Nixon,  Ray- 
mond Keane,  Bull  Montana  and  others 
are  to  be  reckoned  with. 

"Chicken  a  la  King" — Fox.  Passably 
amusing,  but  cold  storage.  Ford- 
Sterling,  Nancy  Carroll,  Arthur  Stone, 
and  Frances  Lee.  Arthur  Stone's  work 
is  excellent. 

"Fools  for  Luck"— Paramount.  An- 
other "team"  picture.  The  right  de- 
gree of  amusement  for  hot  weather. 
Highly  skillful  p.erformances  by  Ches- 
ter Conklin,  W.  C.  Fields,  and  love 
story  carried  by  Jack  Luden  and  Sally 
Blane.  Distinguished  Mary  Alden  is 
wife. 


Advertising  Section 


121 


"End  of  St.  Petersburgh,  The"— No 

continuity  of  action  or  characterization. 
Excellent  photography.  Story  is  told 
in  symbols.  If  you  like  this  sort  of 
thing-  this  Russian  picture  is  as  good 
as  any. 

"Dawn."  Careful,  impartial  and  rev- 
erent attempt  to  picture  events  culmi- 
nating in  the  death  of  Edith  Cavell. 
Sybil  Thorndike  is  restrainedly  effec- 
tive. Marie  Ault,  Micky  Brantford, 
and  Maurice  Braddell  give  fine  per- 
formances. 

"A  Certain  Young  Man" — Metro- 
Goldwyn.  Sentimental  farce.  Doubt- 
ful as  a  good  vehicle  for  Ramon  No- 
varro.  He  does  his  best.  Marceline 
Day,  Carmel  Myers,  and  Renee  Adoree 
are  the  ladies  involved. 

"Lion  and  the  Mouse,  The" — Warner. 
Old-fashioned  story  of  a  great,  grasp- 
ing capitalist.  Vitaphone  not  very  sat- 
isfactory in  instances  of  May  McAvoy 
and  William  Collier,  Jr.  Alec  B.  Fran- 
cis is  effective.  Also  Lionel  Barry- 
more. 

"Don't  Marry" — Fox.  Inconsequen- 
tial and  obviously  designed  as  pastime. 
Very  entertaining.  Deft  performances 
by  Lois  Moran  and  Neil  Hamilton. 
Story  of  a  modern  girl.  Neil  Hamil- 
ton proves  himself  an  engaging  light 
comedian. 

"Fazil" — Fox.  Expensive  and  beauti- 
ful production,  but  a  hollow  attempt  to 
revive  interest  in  the  private  life  of  a 
sheik.  Charles  Farrell  and  Greta  Nis- 
sen  are  not  at  their  best.  John  Boles, 
Mae  Busch,  and  Tyler  Brooke. 

"News  Parade,  The" — Fox.  Agree- 
able comedy.  More  so  for  the  pres- 
ence of  Nick  Stuart.  Sally  Phipps 
does  too  little  to  suit  most  of  us. 
Nick  plays  part  of  millionaire  with 
antipathy  for  camera.  Palm  Beach 
setting,  Lake  Placid  and  Havana.  Bran- 
don Hurst  is  amusing. 

"Dragnet,  The" — Paramount.  Should 
be  seen  if  you  like  these  "gang"  pic- 
tures. George  Bancroft  stands  for  the 
law  instead  of  against  it.  Admirable 
work  by  Francis  MacDonald.  William 
Powell  good.  Leslie  Fenton  and  Fred 
Kohler  complete  excellent  cast. 


Addresses  of  Players. 

Richard  Arlen,  Raymond  Hatton,  Pola 
Negri,  Esther  Ralston,  Mary  Brian,  Neil 
Hamilton,  Richard  Dix,  Adolphe  Menjou, 
Kathryn  Carver,  Wallace  Beery,  Florence 
Vidor,  Clara  Bow,  Chester  Conklin,  Clive 
Brook,  Charles  ("Buddy")  Rogers,  Fred 
Thomson,  Gary  Cooper,  James  Hall,  Doug- 
las MacLean,  William  Powell,  Bebe  Dan- 
iels, Louise  Brooks,  Noah  Beery,  Emil  Jan- 
nings,  Evelyn  Brent,  Doris  Hill,  Ruth  Taylor, 
Nancy  Carroll,  at  the  Paramount  Studio, 
Hollywood,  California. 

Gwen  Lee,  Ramon  Novarro,  Norma  Shear- 
er, John  Gilbert,  William  Haines,  Lon  Cha- 
ney,  Renee  Adoree,  Marion  Davies,  Lillian 
Gish,  Eleanor  Boardman,  Karl  Dane,  Dorothy 
Sebastian,  Lionel  Barrymore,  Tim  McCoy, 
George  K.  Arthur,  Joan  Crawford,  Nils 
.Asther,  Ralph  Forbes,  Buster  Keaton,  Johnny 
Mack  Brown,  Marceline  Day,  at  the  Metro- 
Goldwyn-Studio,  Culver  City,  California. 

Vilma  Banky,  Ronald  Colman,  Douglas 
Fairbanks,  Mary  Pickford,  Norma  Talmadge, 
Constance  Talmadge,  Gilbert  Roland,  Don 
Alvarado,  and  John  Barrymore,  at  the 
United  Artists  Studio,  7100  Santa  Monica 
Boulevard,  Los  Angeles,  California. 

Colleen  Moore,  Jack  Mulhall,  Doris  Ken- 
yon,  Milton  Sills,  Billie  Dove,  Ken  Maynard, 
Richard  Barthelmess,  Dorothy  Mackaill, 
Harry  Langdon,  Mary  Astor,  Larry  Kent, 
Corinne  Griffith,  Alice  White,  Donald  Reed, 
and  Molly  O'Day,  at  the  First  National 
Studio,  Burbank,  California. 

Reginald  Denny,  Hoot  Gibson,  Mary  Phil- 
bin,  Laura  La  Plante,  Marian  Nixon,  Art 
Acord,  Barbara  Kent,  Barbara  Worth,  Eth- 


lyn  Claire,  William  Desmond,  Edmund  Cobb, 
Jack  Daugherty,  George  Lewis,  Raymond 
Keane,  at  the  Universal  Studio,  Universal 
City,  California. 

William  Boyd,  Rod  La  Rocque,  Leatrice 
Joy,  Edmund  Burns,  Vera  Reynolds,  H.  B. 
Warner,  Victor  Varconi,  Elinor  Fair,  Jacque- 
line Logan,  Kenneth  Thomson,  Joseph  Strik- 
er, Joseph  Schildkraut,  Virginia  Bradford, 
and  Lina  Basquette,  Marie  Prevost,  Harrison 
Ford,  Phyllis  Haver,  at  the  Cecil  DeMille 
Studio,  Culver  City,  California.  Also  Julia 
Faye. 

George  O'Brien,  Edmund  Lowe,  Earle  Foxe, 
Janet  Gaynor,  Richard  Walling,  Barry  Nor- 
ton, Charles  Farrell,  Madge  Bellamy,  Victor 
McLaglen,  Lois  Moran,  Nick  Stuart,  Virginia 
Valli,  Sally  Phipps,  Farrell  MacDonald, 
Charles  Morton,  Ben  Bard,  Sammy  Cohen, 
Warren  Burke,  Davis  Rollins,  George  Meeker, 
Marjorie  Beebe,  Margaret  Mann,  Nancy 
Drexel,  June  Collyer,  and  Mary  Duncan,  at 
the  Fox  Studio,  Western  Avenue,  Hollywood, 
California. 

Audrey  Ferris,  Dolores  Costello,  Louise  Fa- 
zenda,  Monte  Blue,  May  McAvoy,  Leila  Hy- 
ams,  at  the  Warner  Studios,  Sunset  and 
Bronson,  Los  Angeles,  California. 

Tom  Tyler,  Bob  Steele,  Frankie  Darro, 
Buzz  Barton,  Tom  Mix,  Martha  Sleeper,  at 
the  F.  B.  O.  Studio,  780  Gower  Street,  Holly- 
wood, California. 

Bill  Cody,  Buddy  Roosevelt,  Walter  Miller, 
at  the  Associated  Studios,  Mission  Road, 
Hollywood,  California. 

Allene  Ray,  6912  Hollywood  Boulevard, 
Hollywood,  California. 

Robert  Frazer,  6356  La  Mirada  Avenue, 
Los  Angeles,  California. 

Patsy  Ruth  Miller,  808  Crescent  Drive, 
Beverly  Hills,  California. 

Robert  Agnew,  6357  La  Mirada,  Hollywood, 
California. 

Dorothy  Revier,  1307  North  Wilton  Place, 
Los  Angeles,  California. 

Julanne  Johnston,  Garden  Court  Apart- 
ments, Hollywood,  California. 

Malcolm  McGregor,  6043  Selma  Avenue, 
Hollywood,  California. 

Jackie  Coogan,  673  South  Oxford  Avenue, 
Los  Angeles,  California. 

Ivor  Novello,  11  Aldwych,  London,  W.  C.  2, 
England. 

Harold  Lloyd,  6640  Santa  Monica  Boule- 
vard, Hollywood,  California. 

Anna  May  Wong,  241  N.  Figueroa  Street, 
Los  Angeles,  California. 

Eileen  Percy,  154  Beechwood  Drive,  Los 
Angeles,  California. 

Herbert  Rawlinson,  1735  Highland  Street, 
Los  Angeles,  California. 

Forrest  Stanley,  604  Crescent  Drive,  Bev- 
erly Hills,  California. 

Gertrude  Astor,  1421  Queen's  Way,  Holly- 
wood, California. 

Lloyd  Hughes,  616  Taft  Building,  Holly- 
wood, California. 

Virginia  Brown  Faire,  1212  Gower  Street, 
Hollywood,  California. 

Johnny  Hines,  Tec-Art  Studio,  5360  Melrose 
Avenue,  Hollywood,  California. 

Theodor  von  Eltz,  1722%  Las  Palmas,  Hol- 
lywood, California. 

William  S.  Hart,  6404  Sunset  Boulevard, 
Hollywood,  California. 

Vivian  Rich,  Laurel  Canon,  Box  799,  R. 
F.  D.  10,  Hollywood,  California. 

Betty  Blythe,  1361  Laurel  Avenue,  Holly- 
wood, California. 

Estelle  Taylor,  5254  Los  Feliz  Boulevard, 
Los  Angeles,  California. 

Pat  O'Malley,  1832  Taft  Avenue,  Los  An- 
geles, California. 

Gordon  Griffith,  1523  Western  Avenue,  Los 
Angeles,  California. 

Ruth  Roland,  3828  Wilshire  Boulevard,  Log 
Angeles,  California. 

Gilda  Gray,  22  East  Sixtieth  Street,  New 
York  City. 

Bert  Lytell,  P.  O.  Box  235,  Hollywood, 
California. 

Kenneth  Harlan,  P.  O.  Box  235,  Holly- 
wood, California. 

Ben  Lyon,  1040  N.  Las  Palmas,  Hollywood, 
California. 


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Advertising  Section 


You  see  what  I  did  for  the  man  pictured  at  the  right!  Changed  him  almost 
overnight  from  a  puny  weakling  into  a  physical  GIANT  !  Study  those  pictures 
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All  the  World 
Loves  a  Good 
Love  Story  ^ 

It's  the  most  popular  kind  of  story  there  is. 
The  greatest  novels  of  all  time  are  love  stories. 
Romantic  love  never  loses  its  appeal.  The 
delights  and  heartbreaks,  the  tenderness  and 
bitterness  incidental  to  courtship  and  marriage 
furnish  a  never-failing  fund  of  material  for 
the  writer  of  romantic  fiction. 

That   is  why,   in   selecting  titles   for  the 
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CHELSEA  HOUSE  POPULAR  COPYRIGHTS 

They  are  bound  in  cloth  with  gold  stamping,  printed  on  good  paper  from  new,  clear  type, 
and  in  general  appearance  are  the  equal  of  mos.  books  made  to  sell  at  $2.00.  They  are  all  new 
stories  that  have  never  before  appeared  in  book  form,  not  reprints  of  old  editions.  They  are 
sold  for 

75  Cents  a  Copy 

Some  of  the  Love  Stories  in  the  Chelsea  House  Popular  Copyrights  are  described  below 


The  Bayou  Shrine 
By  PERLEY  POORE  SHEEHAN 

The  story  of  a  pure  love  that  rose  above  con- 
ventions. A  romance  that  will  have  a  particu- 
lar appeal  to  the  modern  woman. 


The  Love  Bridge 
By  MARY  IMLAY  TAYLOR 

How  the  destinies  of  two  women  and  a  man 
were  vitally  influenced  by  a  bridge  across  a 
Western  canyon.  A  splendid  love  story  of  the 
outdoors. 


The  Awakening  of  Romola         Her  Wedding  Ring 


By  ANNE  O'HAGAN 

Romola  was  thirty-two.  She  had  a  husband 
and  two  children.  But  romance  insisted  on 
coming  into  her  life  again. 


By  MARCIA  MONTAIGNE 

The  call  of  youth  to  youth  and  a  love  that 
sought  to  override  obstacles  instead  of  finding 
a  way  around  them,  are  the  dominant  themes  of 
this  romance  of  the  younger  generation. 


Quicksands 
By  VICTOR  THORN E 

How  a  girl  reared  in  poverty  staged  a  cam- 
paign to  win  a  wealthy  husband.  A  story 
that  deals  with  many  of  the  vital  problems  of 
modern  life. 


Wanda  of  the  White  Sage 
By  ROY  ULRICH 

Marrying  a  girl  he'd  never  seen  before  and 
taking  her  out  West  was  a  pretty  experience 
for  Dan  Chadwick,  but  it  was  only  the  start 
of  his  romantic  adventures. 


Ask  Your  Bookseller  for  Chelsea  House  Popular  Copyrights 

There  are  also  Detective  and  Mystery  Stories,  Western  Stories,  and  Adventure  Stories — 
all  the  most  popular  types  of  fiction— included  in  the  CHELSEA  HOUSE  POPULAR  COPY- 
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$50<>o 


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gold  set  with 
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CD3  $27s° 

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graved 18K  SolidWhite 
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CD4  $48*° 

18K  Solid  White  Gold 
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cos  $37=o 

Exquisitely  hand  en- 
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cos  *29so 

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wedding  ring,  5  genu- 
ine blue  white  dia- 
monds. $2.38  a  month. 


CD7  s47 

Gent's  14K  solid  Green 
Gold  ri  ng,  1SK  white 
gold  top.  "A.  A.  1" 
blue  white  diamond. 
$3.88  a  month. 


cds  $36" 

New,  lady's  friendship 
ring,  18K  Solid  White 
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matched,  blue  white 
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CDIO-Nationally  advertised 
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watch.  Handsomely  engraved,  Green  or  White 
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$2.12  a  month. 


CD12-Ultra  fashionable,  diamond  wrist  watch,  hand  engTaved 
UK  SOLID  WHITE  GOLD  ease,  15  ruby  and  sapphire  jewelled 
movement.  2  blue  white  diamonds,  4  French  blue  sapphires. 
Genuine*' WRIST  ACRAT"  bracelet;  patented  SO 


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$42! 


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graved lace  work  design.  18K  Solid  White 
Gold,  3  genuine  blue  white  diamonds,  2 
French  blue  triangular  sapphires.  $3.46  a  mo. 


CD  15  - 

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finest  quality  blue 
white  diamonds,  18K 
Solid  White  Gold 
mounting.  $3.96  a  mo. 


CD16 
The  *7500 

"Bordeaux" 
18K  Solid  White  Gold 
engagement-ring,  hand 
carved  bow-knot  de- 
sign. Finest  grade, 
blue  white  diamond. 
$6.16  a  month. 


CD17  *57»° 

The  "Mayfuir"  18K 
SolidWhite  Gold, beau- 
tifully hand  pierced 
lady's  mounting.  Fin- 
est grade,  genuine 
blue  white  diamond. 
$4.71  a  month. 


coxa  $75° 

Artistically  hand  en- 
graved 18K  solid  white 
gold,  newest  style 
lady's  mounting.  3 
fiery  first  quality,  blue 
white  diamonds.  $6.1 6 
a  month. 


too 


CD19  -  The 
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14K  SOLID  WHITE 
GOLD,  engraved  case. 
Accurate,  dependable,   1 5 
jewel    movement.  Genuine 
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$2.00  a  month. 


Warranted 
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ADDRESS  DEPT.  65- L ,  170  BROA D WAY,  NEW  YORK.  N.Y. 


CD20-Gent's  combination,  na- 
tionally advertised,  Elgin  or 
Waltham  thin  model  move- 
ment. 12  size,  engraved  octagon 
design,  green  gold  filled  case. 
Guaranteed  20  years.  Complete 
with  knife  and  $0050 
chain.  $1. 79a  mo.       mm  dm. 


"We've  enjoyed  the  evening 

so  much" 


But  what  did  they  say  on  their  way  home?  Even 
the  most  sympathetic  of  your  friends  have  a  way  of 
comparing  notes  afterwards.  The  clothes  you  wore, 
the  furnishings  of  the  room,  the  food  you  served — 
each  comes  in  for  its  share  of  the  inevitable  post- 
party  conversation. 

There  is  a  way  of  keeping  informed  in  those  little 
things  that  catalogue  your  degree  of  smartness.  It  is 
through  reading  the  advertisements,  those  messengers 
that  bring  news  of  the  precise  purchase  to  make. 
Advertisements  lay  before  you  the  latest  notes  in 
dress.  They  illustrate  the  newest  decorative  treat- 
ments for  the  home.  They  furnish  you  with  unique 
and  tempting  recipes  for  the  table. 

They  advise  you  what  to  buy,  how  much  it  will 
cost,  and  where  you  can  get  it.  They  point  out  the 
pathway  to  saving  pennies.  They  indicate  the  correct 
surroundings  of  a  modern  home. 

111 


Read  the  advertisements — they  are  a 
valuable  guide  to  current  usage 


Advertising  Section 


UTow  You  Can  hear 
The  World's  Celebrities 


—right  in  your 
own  home  town 


MOVIE! 


Benito  Mussolini 
Robert  Benchley 
Chic  Sale 

(Lower  Center) 

His  Majesty  Alfonso  XIII 

King  of  Spain, 


M 


ODERN  theatres  everywhere  are  responding 
to  the  public's  demand  for  Fox  Movietone 
Entertainments.    For  your  enjoyment 
William  Fox,  with  characteristic  fore- 
sight has  assembled  through- 
put the  world  these 
talking  pictures 


Charles  A.  Lindbergh 
Joe  Cook 
Bobby  Clark  and 
Paul  McCullough 
(Top  Center) 
George  Bernard  Shaw 


OCT  26  1928     ®C1B  3620 


□  . 


MONTHLY1 


Picture  Play 


Volume  XXIX 


Contents  for  December,  1928 


Number  4 


The  entire  contents  of  this  magazine  are  protected  by  copyright,  and  must  not  be  reprinted  without  the  publishers'  consent. 


What  the  Fans  Think  

An  open  forum  for  and  by  our  readers. 

In  the  Balkans    .       .       .       .       .       .  . 

A  photographic  study  of  Joan  Crawford  in  her  greatest  role. 


Are  the  Movies  Scorning  Love? 

A  thoughtful  analysis  of  a  new  trend  in  pictures. 


Edwin  Schallert 


Beauty  Takes  the  Bumps!       ....    Margaret  Reid 

A  story  of  three  young  ladies  you  see  and  laugh  at,  but  do  not  remember. 

Pet,  Pet,  Who's  Got  a  Pet?  

In  which  the  pets  of  the  stars  are  put  on  display. 

Who  Will  Be  Stars  in  1938?    .       .       .       .    Virginia  Morris 

Looking  into  the  past  to  see  what  can  be  culled  for  a  prophesy  of  the  future. 

The  Best  Foot  Forward  

Some  extraordinary  camera  angles  on  people  you  know. 


Over  the  Teacups      .       .  . 

Fanny  the  Fan  discourses  in  her  usual  fashion. 


The  Bystander 


The  Stroller  Carroll  Graham 

Hollywood's  cynic  applies  his  magnifying  glass  to  Hollywood  happenings. 

He'll  Fool  You  If  He  Can       ....    Myrtle  Gebhart 

In  which  Nils  Asther  only  partially  succeeds  in  fooling  PICTURE  PLAY'S 
popular  interviewer. 

Favorites  of  the  Fans       .       .       .       .  ... 

Full-page  portraits  of  film  celebrities. 

Beautiful,  But — Herself  William  H.  McKegg 

Madge  Bellamy's  little-known  personality  off  the  screen  is  sympathetically 
described. 

He  Knew  What  He  Wanted    ....    Helen  Louise.  Walker 

The  story  of  Richard  Arlen's  rise  to  fame. 

If  You  Were  to  Visit  Aileen  Pringle       .       .    Margaret  Reid 

A  clever  and  complete  description  of  the  home  of  one  of  Hollywood's  most 
individual  players. 

Aloof  and  Friendly  Patsy  DuBuis 

Fay  Wray's  unchanging  temperament  is  mirrored  for  the  benefit  of  her  admirers. 


8 
15 
16 
20 
22 
24 
27 
28 
32 
34 

35 
43 

45 
46 

49 


Edwin  and  Elza  Schallert  50 

.  55 
.  56 

ngeance. 

Continued  on  the  Second  Page  Following 

Monthly  publication  issued  by  Street  &  Smith  Corporation.  79-89  Seventh  Avenue,  New  York  City.  Ormond  G.  Smith,  President;  George  C.  Smith,  Vice 
President  and  Treasurer;  George  C.  Smith.  Jr..  Vice  President:  Ormond  V.  Gould,  Secretary.  Copyright,  1928,  by  Street  &  Smith  Corporation,  New 
York.  Copyright,  1928,  by  Street  &  Smith  Corporation,  Great  Britain.  Entered  as  Second-class  Matter,  March  6,  1916,  at  the  Post  Office  at  New  Tork, 
N.  Y..  under  Act  of  Congress  of  March  S,  1879.    Canadian  subscription,  $2.86.    Foreign,  $3.22. 


Hollywood  High  Lights  .... 

Flashes  of  Hollywood  news  and  gossip. 

His  Nickname  is  "Connie"  .....    Myrtle  Gebhart 

The  record  of  a  visit  with  one  of  the  screen's  most  vivid  players. 

Funny?  Well,  It'd  Drive  You  Crazy,  Too  

The  stars  are  cultivating  their  voices  for  the  speakies — with  a  vengeance. 


YEARLY  SUBSCRIPTION,  $2.50 


SINGLE  COPIES,  25  CENTS 


ALL   MANUSCRIPTS    MUST   BE    ADDRESSED    TO    THE  EDITORS 

We  do  not  hold  ourselves  responsible  for  the  return  of  unsolicited  manuscripts. 


□ 


Advertising  Section 


Paramount  M  Pictures 

PARAMOUNT  FAMOUS  LASKY  CORP.,  ADOLPH  ZUKOR,  PRES.,  PARAMOUNT  BUILDING,  N.  Y.  C. 


iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiio  Contents  Con//nueJllllllllllllllllllllllllll— 


Manhattan  Medley  Aileen  St.  John-Brenon  58 

New  York's  movie  happenings  are  entertainingly  recorded. 

Love — and  How!        .       ...       ....       .-       .       .  .62 

William  Haines  and  Polly  Moran  give  a  demonstration. 

A  Girl  Comes  to  Hollywood     ....    Alice  M.  Williamson    .  63 

The  seventh  installment  of  our  mystery  serial. 

Master  of  Moods       .       .       .       .       .       .     William  H.  McKegg    .  67 

Victor  Varconi's  talent  knows  no  bounds. 

A  Confidential  Guide  to  Current  Releases       ...       .       .       .  .69 

Brief  comments  on  current  pictures. 

The  Screen  in  Review       .....    Norbert  Lusk       .  .70 

Pictures  of  the  month  are  impartially  discussed  by  our  critic. 

Greta — As  She  Is  Margaret  Reid     .       .  74 

The  truth  about  the  much-discussed,  seldom-understood  lady  from  Sweden. 

Give  This  Fellow  a  Hand         .       .       .       .    A.  L.  Wooldridge       .  83 

You'll  be  surprised  to  hear  of  the  romantic  background  of  John  George. 

The  Nineteenth-Century  Girl  84 

A  picturesque  display  of  stars  in  old-fashioned  costumes. 

Stardom  Can't  Last — What's  to  Follow?        .    Helen  Louise  Walker  .  86 

Another  interesting  look  into  the  future. 

"On  the  Dotted  Line,  Please"     .       .       .  88 

Stars  signing  their  much-talked-of  contracts.  • 

Objects  of  Wrath       .       .       .       .       .       .    William  H.  McKegg    .  89 

The  ire  of  the  stars  has  stopped  several  careers. 

Information,  Please    .       .       .       .       .       .    The  Picture  Oracle     .  102 

Questions  of  readers  are  answered. 


TEXAS  GUINAN  PANS  HOLLYWOOD 

EVERY  one  knows  who  Texas  Guinan  is,  and  some  even  remem- 
ber when  she  was  in  the  movies  ten  years  ago  in  a  series  of 
Westerns.  On  her  return  recently  to  appear — and  be  heard — in  a 
Vitaphone  picture  called  "Queen  of  the  Night  Clubs,"  she  was  not 
received  by  the  elite  of  Hollywood  with  that  heart-warming  cor- 
diality for  which  the  colony  is  noted  when  it  approves  of  a  new- 
comer. To  put  it  bluntly,  Texas  Guinan  was  snubbed.  Social  lines 
were  drawn,  engagements  made  prior  to  her  arrival  were  canceled, 
and  the  night-club  hostess  was  given  the  cold  shoulder.  But  was 
she  downcast?  Not  Texas!  Instead,  she  talked — freely,  frankly 
and  forcefully  to  A.  L.  Wooldridge,  to  whom  she  voiced  her  opinion 
of  those  who  had  withdrawn  from  the  welcome  planned  for  her,  and 
expressed  her  opinion  of  Hollywood  as  it  unfolded  itself  to  her  after 
a  long  absence.  Always  noted  for  her  outspokenness,  she  does  not 
spare  words  or  personalities,  now,  in  letting  Hollywood  have  it 
"below  the  belt."  Whether  you  agree  with  her  or  not,  Texas 
Guinan's  story  in  the  January  PICTURE  PLAY  will  grip  and  amaze 
you.   It  is  one  of  the  strongest  features  we  have  ever  published. 

A  HAPPY  NEW  YEAR 

THIS  is  the  wish  of  PICTURE  PLAY  to  all  its  readers,  with  a 
pledge  to  do  the  utmost  possible  to  make  the  wish  a  reality. 
The  pledge  is  made  by  each  contributor  individually,  and  you  will 
realize  the  sincerity  of  it  when  you  read,  next  month,  Myrtle  Geb- 
hart's  splendid  interview  with  William  Boyd,  Madeline  Glass'  inti- 
mate impressions  of  Olive  Borden,  William  H.  McKegg's  frank 
report  of  Jetta  Goudal,  and  Elza  Schallert's  sympathetic  life  story 
of  Louise  Fazenda.  Carroll  Graham  is  responsible  for  The  Stroller's 
most  ironic  and  amusing  contribution  to  date,  and  Margaret  Reid 
holds  up  Norma  Shearer  for  a  searching  analysis,  in  addition  to 
which  Helen  Louise  Walker  lets  it  be  known  the  high  price  paid  by 
the  stars  for  being  good-natured  at  all  times.  Get  next  month's 
PICTURE  PLAY  and  start  the  New  Year  right! 


Ill  Illllllllllllllllllllili  llll!llllll!l!ll!lll!l!llllll!llll]lll!lllll!llllll!IIII!ll!!llllll!!lim   illlll  mm  1111  1  Will 


•    Advertising  Section 

A PULITZER   prize  winner    as  a 
stage  play  and  the  talk  of  New 
'"York  for  a  year,  "Craig's  Wife' 
is  the  different  type  of  picture  you've 
been  waiting  for!  It  is  the  most  poig- 
nant study  of  a  domestic  tragedy  ever 
written — this  tale  of  an  adoring  hus- 
band and  his  luxury-loving  wife  whose 
heart  was  so  full  of  the  love  of  mate- 
rial things  that  it  had  no  room  for 
him!  If  you're  married  or  ever 
expect  to  be,  go  see  "Craig's 
Wife"!  It's  coming  soon  to  your 
favorite  theater  —  watch 
for  the  announcement! 


Srene  Rich 

Warner  Baxter 

j  William  C.deTWIk  Production 

Adapted  by  Clara  Bet anger 
from  the  great  stage  success  by  George  Kelly 


Pathe 


Picture 


8 


What  the  Fans  Think 


Rambling  Observations  of  a  Fan. 

THE  young  lady  who  signed  herself  "Evelyn 
Bowen,  of  2101  Canyon  Drive,  Hollywood,"  in 
a  recent  issue,  evidently  stays  up  in  the  canyon 
and  doesn't  know  what  is  going  on  around  the  studios. 
When  she  says  that  the  foreign  players  do  not  work 
more  cheaply  than  the  Americans,  she  knows  that  she 
does  not  know  what  she  is  talking  about.  Not  only  do 
the  extras  work  more  cheaply,  but  the  featured  players 
as  well.  Of  course,  I  am  not  speaking  of  stars  who 
were  famous  before  they  were  brought  over  here.  I 
know  of  more  than  one  case  where  a  well-known 
American  player  has  lost  a  role,  because  he  asked  a 
salary  larger  than  a  foreigner  was  willing  to  accept. 
Do  you  suppose  the  producers  would  go  to  the  expense 
of  importing  untrained  and  unknown  foreigners  from 
Europe  unless  they  could  get  them  cheaply?  They  have 
to  spend  a  little  money  on  them  for  publicity,  but  if 
they  get  them  cheaply  enough,  it  pays.  Foreigners  have 
invaded  the  extra  ranks  to  the  extent  that  Russians  are 
tricked  out  in  cowboy  costumes,  and  ride  in  the  place 
of  American  cow-punchers.  The  Russians  ride  for 
three  dollars  a  day,  while  the  Americans  ask  from 
seven  fifty  to  ten  dollars  a  day  for  the  risks  they  must 
take. 

This  cheapness  also  applies  to  the  young  players  now 
taking  the  place  of  older  favorites.  Some  youngster 
from  the  extra  ranks,  or  fresh  from  high  school,  is 
placed  under  a  long-term  contract  for  fifty  or  seventy- 
five  dollars  a  week.  The  publicity  department  is  started 
writing  propaganda  to  the  effect  that  the  fans  demand 
new  faces  on  the  screen.  Bunk!  Just  bunk!  The  fans 
are  satisfied  with  the  favorites  they  have  known  for 
years.  If  you  want  to  know  where  your  favorites  are, 
take  a  walk  around  the  Masquers  Club,  or  any  club 
where  the  members  are  actors,  and  you  will  see  the  cars 
of  the  finest  American  players  parked  there  day  after 
dsy.  The  players  are  at  liberty.  If  they  work  at  all, 
they  must  work  for  the  independent  producer,  who,  not 
owning  a  big  string  of  theaters  to  show  his  pictures, 
must  have  the  names  of  actors  with  a  fan  following  in 
order  to  sell  his  productions.  Take  a  walk  around  any 
of  the  big  studios,  and  go  into  the  near-by  restaurants 
at  lunch  time,  and  you  will  hear  a  babble  of  foreign 
tongues.  Most  of  these  people  do  not  know  enough 
English  to  order  a  meal. 


If  these  youngsters  and  foreigners  could  act,  it  would 
not  be  so  bad,  but  none  of  them  know  what  it  is  all 
about.  If  one  of  them  gives  a  good  performance,  it  is 
because  he  has  been  associated  with  a  director  who  is 
willing  to  work  with  him,  and  squeeze  out  of  him  what 
little  he  has  to  give.  One  writer  in  Picture  Play 
said  that  aside  from  Janet  Gaynor  and  Charles  Farrell 
none  of  the  youngsters  was  worth  spending  a  quarter  on. 
Both  these  players  can  do  a  beautiful  "flop"  when  they 
do  not  have  Frank  Borzage  to  direct  them. 

There  is  a  girl  here  in  Hollywood  whom  I  saw  work- 
ing as  a  model  in  a  fashion  parade.  She  has,  naturally, 
the  beauty  that  Greta  Garbo  achieves  through  make-up 
and  photography.  She  looks  so  much  like  Greta  Garbo 
that  she  has  posed  as  her  double  in  pictures.  But  where 
Greta  has  an  awkward  figure  and  a  certain  lifelessness 
of  manner,  this  girl  has  a  beautiful,  graceful  figure,  and 
animation.  If  some  producer  would  give  her  the  oppor- 
tunity that  has  been  given  to  Miss  Garbo,  she  would  put 
it  all  over  the  Garbo,  like  a  tidal  wave.  But  I  under- 
stand that  she  is  an  American,  so  she  probably  won't 
get  the  chance.  Give  Miss  Garbo  an  indifferent  cast, 
and  ask  her  to  carry  the  picture  alone,  and  she  will  be 
shown  for  the  mediocre  actress  that  she  really  is. 

SEEN  WHILE  AMBLIn'  AROUND. 

Mary  Carr  and  one  of  her  pretty,  blond  daughters, 
buying  strawberries  for  shortcake.  Carmel  Meyers,  in  a 
green  sport  dress  and  a  tight  white-felt  hat,  at  the  cos- 
metic counter  of  a  department  store.  Billie  Dove,  all 
in  yellow,  going  into  the  Montmartre.  Ben  Lyon  on 
the  Boulevard,  with  a  pretty  girl,  dressed  in  red.  George 
Bancroft  going  into  the  Masquers  Club.  Roy  d'Arcy 
and  Lita  Gray  Chaplin  in  a  department  store.  Marc 
McDermott  giving  a  coin  and  a  friendly  smile  to  a  pan- 
handler on  the  Boulevard.  Evelyn  Brent  waiting  for 
her  car.  She  is  the  most  unprepossessing  of  all  the 
players.  Sullen  and  unpleasant  looking.  Owen  Moore 
going  into  a  bank.  Noah  Beery  coming  out  of  the 
Guaranty  Building.  Matt  Moore  going  to  lunch  at  the 
Montmartre.  Maurice  Costello  breakfasting  in  a  dairy 
lunch.  James  Murray  ditto.  Mary  Astor,  in  a  brown 
sport-coat  and  an  ugly  hat.  coming  out  of  the  Mont- 
martre. She  is  not  beautiful.  Francis  X.  Bushman, 
wearing  Hollywood  rompers  (plus-fours)  and  a  bright- 
Continued  on  page  10 


Advertising  Section 


^rue  to  m  Mark 


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10 

i  i  v.  (i  Continued  from  page  8 
blue  shirt,  in  the  Public  Library.  He  still 
wears  his  famous  amethyst  ring.  Victor 
Varconi,  all  in  gray,  going  into  the  Roose- 
velt Hotel.  Blanche  Sweet,  lately  re- 
turned from  Europe,  going  into  the  Mont- 
matre.  Tom  Mix,  in  a  bright-blue  coat 
and  a  white,  ten-gallon  hat,  driving  his 
yellow  Rolls-Royce  over  Beverly  Boule- 
vard. 

I  hope  the  editor  will  allow  me  to  thank 
the  many  fans  who  wrote  to  me,  and  whose 
letters  I  could  not  answer.  I  received 
more  than  two  hundred  letters,  and  I  am 
only  a  poor  working  girl,  who  has  no  sec- 
retary. Grace  Laura  Shaver. 

1732  North  Whitley  Avenue,  Holly- 
wood, California. 

She  Likes  the  Talkies. 

'  Every  one  is  interested  right  now  in  the 
new  talking  pictures.  Very  few  fans  seem 
to  like  the  prospect.  As  I  live  in  Los  An- 
geles, I  have  seen  the  very  first  talking 
pictures,  and  believe  me,  though- at  first  I 
was  doubtful  as  to  their  success,  since  see- 
ing what  improvements  are  being  made  on 
each  new  talkie,  I  am  for  them,  just  as 
everybody  in  Los  Angeles  seems  to  be. 

I  recall  reading  a  letter  signed  by  E. 
V.  W.,  a  very  true  letter,  which  stated  that 
the  fans  do  not  want  mere  youth  without 
talent.  One  of  the  many  splendid  things 
about  talking  pictures  will  be  the  correction 
of  this  evil.  From  now  on,  it  will  take 
more  than  just  empty-headed  cuties — it  will 
take  talented  actors,  those  with  acting  abil- 
ity, whose  speaking  voices  are  trained  the 
same  as  stage  actors  and  actresses. 

They  say  there  is  a  mad  rush  on  in 
Hollywood  among  the  picture  people — 
everybody  is  training  his  voice  for  talking 
pictures.  A  lot  of  them  have  voices  that 
are  so  affected  and  give  such  uncanny  in- 
sights into  their  own  characters,  that  it 
will  take  a  great  deal  of  practice  before 
they  can  assume  a  voice  that  will  prove 
an  asset!  I  have  heard  a  number  of  them 
talk  in  pictures  so  far,  and  to  date  Dolores 
Costello  has  the  greatest  struggle  ahead 
of  her,  before  she  overcomes  the  affected, 
artificial  way  she  has  of  talking. 

"Lights  of  New  York"  is  Warner 
Brothers'  newest  one-hundred-per-cent 
talking  picture,  in  which  you  can  see 
Helene  Costello,  Cullen  Landis,  and 
Gladys  Brockwell.  This  picture  is  so  much 
better  than  their  former  talking-pictures, 
that  the  whole  audience  seemed  astonished 
and  pleased. 

Another  thing,  talking  pictures  will  do, 
is  to  bring  back  many  of  our  favorite  old- 
time  actresses  and  actors  who  have  a 
wealth  of  experience  and  ability,  'but  have 
been  pushed  out  of  pictures  by  the  "cute" 
kids  who  have  nothing  to  offer  but  looks 
and  youth.  Take  Cullen  Landis  and 
Gladys  Brockwell,  both  with  years  of  ex- 
perience— they  easily  stole  honors  from 
Helene  Costello,  when  it  came  to  talking 
ability.  Both  played  with  an  ease  and  sin- 
cerity that  made  you  think  it  was  a  stage 
play  before  you.  I  hope  they  both  get  the 
breaks  they  deserve.  Helene's  beautiful 
face  fades  away  when  you  recall  the  way 
the  other  two  "spoke"  their  parts.  Acting 
ability  far  outshines  beauty  from  now  on. 

And  I  must  thank  William  H.  McKegg 
for  his  letter  in  the  September  issue.  He 
wonders  why  the  silver  cup  was  given  to 
Dolores  del  Rio  at  the  annual  Wampas 
Ball  in  Hollywood.  Well,  a  lot  of  other 
people  have  wondered,  also !  I  think  it 
is  a  general  impression,  however,  that  the 
giving  of  a  silver  cup  each  year,  to  the 
girl  whose  work  has  stood  out  as  the  year's 
best,  has  deteriorated  into  something  un- 
worthy, and  nobody  should  regard  holding 
the  aforementioned  silver  cup  as  being  so 


What  the  Fans  Think 

very  wonderful.  I  mean,  in  short,  that  a 
bunch  of  men  who  are  really  no  judges  of 
merit,  being  hired  press  agents,  get  to- 
gether each  year  and  decide  to  exploit  a 
certain  girl.  If  they  like  her — not  her 
work — well  and  good.  The  vast  number 
of  fans,  I  am  sure,  all  would  vote  for 
no  other  than  Janet  Gaynor,  after  seeing 
that  superb  picture,  "Seventh  Heaven." 

I  wish  William  Fox  would  stop  breaking 
up  the  team  of  Gaynor-Farrell.  First  they 
teamed  him  with  Greta  Nissen,  in  "Fazil," 
and  then  with  Dolores  del  Rio  in  "The  Red 
Dance."  He  is  absolutely  out  of  place  and 
wasted  with  either  of  these  girls.  He  is 
ideal  with  Janet  Gaynor,  and  there  should 
be  no  trouble  in  finding  plenty  of  tender 
love  stories  suitable  for  these  two.  He 
is  the  boyish  lover — the  first  sweetheart  we 
all  have  had,  and  we  cherish  every  role  of 
that  kind.  How  can  they  cast  him  other 
than  with  sweet  Janet  Gaynor? 

Holly  from  Hollywood. 

Los  Angeles,  California. 

Give  Them  Proper  Roles. 

I  am  writing  in  behalf  of  three  of  our 
most  popular  actors  who,  to  my  mind,  are 
being  forced  into  obscurity,  because  of 
poor  casting.  The  three  I  speak  of  are 
Ronald  Colman,  Give  Brook,  and  Rich- 
ard Dix.  All  three  are  splendid  actors, 
but  have  had  small  chance  to  show  their 
talents,  because  of  the  recent  trivial,  in- 
consequential roles  allotted  to  them. 

Consider  Ronald  Colman.  Here  is  a  star 
capable  of  portraying  a  real  character,  one 
of  great  strength  and  depth — a  Sydney 
Carton,  perhaps.  And  yet,  none  of  his 
recent  pictures,  with  the  possible  excep- 
tion of  "Beau  Geste,"  has  given  him  the 
slightest  chance  to  show  the  real,  scope 
of  his  ability.  In  "Barbara  Worth"  he 
was  a  mere  piece  of  scenery,  and  in  "The 
Magic  Flame"  and  "The  Night  of  Love" 
he  was  forced  to  portray  trite  emotions 
and  actions.  Why  must  he  always  be  the 
romantic  lover?  Leave  the  loving  to  be 
done  by  those  whose  talent  lies  only  in 
this  line.  Won't  some  producer  please 
wake  up  to  the  potent  dramatic  possi- 
bilities of  Ronald  Colman?  Sydney  Car- 
ton, in  "A  Tale  of  Two  Cities"  would 
be  ideal  for  him,  and  certainly  he  is  capa- 
ble of  doing  it. 

And  Give  Brook.  Another  unusual  per- 
sonality wasted  through  being  forced  to 
play  stereotyped  roles.  Indeed  it  is  almost 
ludicrous  to  see  him  play  such  roles,  for 
his  own  character  makes  the  hero's  seem 
ridiculous  by  contrast.  There  is  such  a 
whimsical  humor  about  him,  one  feels  he 
must  be  laughing  up  his  sleeve  at  the 
improbable  and  unnatural  actions  of  the 
asinine  hero.  He  has  such  a  charming,  re- 
served personality  that  it  surely  is  worth 
the  producers'  while  to  find  him  suitable 
roles.  And  he  can  act  when  given  half  a 
chance.  Witness  his  success  in  "Under- 
world." A  few  less  of  regulation  roles 
such  as  in  "Hula"  and  "The  Devil 
Dancer,"  and  more  such  character  parts  as 
in  "Underworld,"  and  he  will  show  him- 
self to  be  one  of  our  most  interesting 
players. 

And  last,  turn  a  sympathetic  eye  toward 
Richard  Dix — a  fine  dramatic  actor  rele- 
gated to  the  ranks  of  the  mildly  entertain- 
ing comedians.  Until  I  saw  him  recently 
at  a  special  showing  of  "The  Vanishing 
American,"  I  had  thought  of  him  as  a 
comedian  of  average  ability,  but  since  see- 
ing that  film  I  am  entirely  convinced  that 
his  greatest  talent  lies  in  the  dramatic 
field.  His  finely  restrained,  sympathetic 
work  in  the  aforementioned  film  surely 
ranks  him  as  a  dramatic  actor  of  uncom- 
mon ability.   Really  excellent  dramatic  ac- 


tors are  few  and  far  between,  and  to  let 
one  be  obscured  in  comedy — dreadful !  Not 
that  I  wish  to  condemn  comedies,  but  leave 
the  fun-making  to  those  whose  sparkling 
talent  is  suited  to  it.  And  so,  let's  see  Dix 
in  drama  again,  even  if  he  will  be  a  loss 
to  comedy,  because  there's  no  denying  but 
that  he'll  be  a  worthy  addition  to  the  dra- 
matic ranks.  Alice  L.  King. 
536  Lowell  Avenue,  Palo  Alto,  Cali- 
fornia. 

Too  Much  Is  Too  Much. 

It  was  not  until  one  of  my  pen  pals 
sent  me  a  1918  movie  magazine  that  I 
realized  what  truly  marvelous  improve- 
ments this  industry  has  made  during  the 
last  ten  years.  The  magazine  contained 
photographs  of  several  prominent  actors, 
who  look  younger  to-day. 

There  is  only  one  thing  that  needs  at- 
tention now — that  is  the  "funnies,"  the  ma- 
jority of  which  are  absolutely  ridiculous. 
Those  silly  films  always  ruin  an  other- 
wise enjoyable  evening  for- me.  If  I  were' 
president  I'd  have  every  comedy  thrown 
out — especially  Chaplin's.  How  he  is  al- 
lowed to  remain  on  the  screen  is  a  mys- 
tery to  me. 

But  now  comes  the  announcement  that 
we  are  to  have  talkies.  Seeing  that  it  is  the 
fan  who  spends  his  hard-earned  money  to 
see  the  stars,  don't  you  think  the  producers 
would  think  of  us  before  attempting  such 
a  thing?  Just  recently  I  heard  Dolores 
Costello.  She  may  be  beautiful  on  the 
screen,  but  when  it  comes  to  talking,  she'll 
have  to  take  a  back.  seat.  There  are  ver}-, 
very  few  whose  voices  have  been  properly 
trained.  It  will  serve  them  right  if  they 
make  a  miserable  failure  out  of  the  whole 
thing.  I  am  certain  of  one  thing — they 
will  rob  the  screen  of  that  fascinating 
mystery  that  always  appealed  to  me.  Now, 
with  the  able  assistance  of  the  magazines 
and  the  newspapers,  we  shall  know  more 
about  the  stars  than  they  will  themselves. 

I  like  restful  music  when  I  go  to  a 
movie,  not  the  artificial  kind  that  comes 
out  of  a  box.  If  I  want  talking,  there  is 
always  the  stage. 

My  only  hope  is  that  the  equipment 
will  be  so  expensive  the  fifteen-cent  movie 
house  can't  have  it.  There  I  shall  spend 
my  evenings  seeing  beautiful  women  and 
bold  men  on  the  screen,  without  the 
screeching,  hard-boiled  voices  to  wreck 
the  harmony. 

Let  the  producers  take  warning  that  one 
has  to  be  an  artist  to  talk  properly,  and 
if  they  claim  that  there  are  people  who 
can  talk  and  act  properly,  with  little  or 
ho  training,  then  I  shall  begin  to  believe 
in  fairy  tales. 

God  grant  that  the  talking  pictures  will 
be  heard  no  more. 

Helene  C.  Braeuner. 

210  French  Street,  Buffalo,  New  York. 

Norman  Speaks  His  Mind. 

I  certainly  wish  to  join  in  the  howl 
against  talking  pictures.  I  have  nothing 
to  add  to  what  E.  W.  wrote  in  the  Sep- 
tember Picture  Play,  except  that  many 
people  seem  to  be  in  favor  of  talkies,  sim- 
ply because  they  have  the  idea  that  any- 
thing that  is  scientific  progress  is  good. 

If  3'ou  will  be  so  kind  as  to  permit  me 
space,  I  should  like  briefly  to  state  the 
things  I  disagree  with,  both  in  fan  let- 
ters and  in  the  contents  of  the  magazine. 
For  one  thing,  I  do  not  see  where  G.  C. 
got  his  idea  about  Barthelmess'  puny  mus- 
cles, as  shown  in  "The  Patent  Leather 
Kid."  I  saw  nothing  puny  about  him,  in 
the  least,  and  G.  C.  should  consider  that 
prize  fighters'  muscles,  while  solid  and 
Continued  on  page  12 


Advertising  Section 


11 


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Continued  from  page  10 


What  the  Fans  Think 


hard,  are  seldom  impressive.  A  tumbler 
usually  looks  much  more  muscular  than 
a  prize  fighter. 

I  agree  that  "Sadie  Thompson"  and 
"Speedy"  are  good  pictures,  but  why  they 
should  be  placed  above  "Wings,"  in  your 
Confidential  Guide,  is  more  than  I  can 
see.  I  am  not  condemning  your  critic's 
taste,  but  rather  the  idea  that  any  one 
should  place  faith  in  another's  judgment. 

In  regard  to  the  article,  "What  Is  Act- 
ing?" I  should  like  to  ask  if  all  great  act- 
ing is  not  the  result  of  personality,  but 
perhaps  a  more  versatile,  understanding, 
and  imaginative  personality  than  that  of 
Buddy  Rogers?  Is  Lon  Chaney  a  remark- 
able actor,  or  simply  a  personality  who, 
under  different  circumstances,  would  have 
been  one  of  the  types  he  plays?  Is  John 
Barrymore  a  remarkably  versatile  techni- 
cian, or  has  he  a  secret  desire  to  create  a 
remarkably  varied  group  of  characters? 

By  the  hubbub  "It"  has  stirred  up,  one 
would  think  Elinor  Glyn  had  at  least  given 
something  definite  to  the  world,  instead  of 
something  every  one  knows  all  about,  but 
few  know  what  it  is.  There  are  still  ar- 
guments as  to  just  what  "It"  is,  just  as 
there  were  when  it  was  called  something 
else.  To  my  mind,  the  one  who  deserves 
a  good  grade  in  algebra  is  not  the  one  who 
say  "x,  the  unknown  number,"  but  the  one 
who  finds  out  what  that  number  is. 

Norman  Hendricksen. 

1021  Fortieth  Street,  Sacramento,  Cali- 
fornia. 

Dick's  a  Good  Prize  Fighter. 

I  beg  to  differ  with  Gene  Charteris'  let- 
ter in  September  Picture  Play,  panning 
"The  Patent  Leather  Kid."  I  saw  it  re- 
cently, and  it  seemed  to  me  one  of  the 
finest  and  most  gripping  films  in  months. 
To  me,  the  prize-fight  scenes  and  atmos- 
phere were  the  best  things  in  the  picture, 
and  Barthelmess  was  certainly  a  convinc- 
ing fighter.  Besides,  the  part  called  for  a 
sleek,  handsome  fighter.  The  war  scenes 
were  not  so  interesting,  and  I  agree  with 
Norbert  Lusk's  review  of  the  ending. 
When  the  Kid  stood  up  and  saluted  the 
flag,  it  was  hokum,  pure  and  simple.  Such 
a  feat  would  be  impossible  after  skilled 
surgery  had  failed. 

However,  as  to  Molly  O'Day,  I  agree 
with  Charteris.  She  seems  to  me,  to  put 
it  mildly,  the  least  abje  and  least  interest- 
ing ingenue  I  have  ever  seen,  even  consid- 
ering Lois  Moran  and  Josephine  Dunn. 

V.  Keith  Sutton. 

Bethany,  Pennsylvania. 

Corresponding  With  the  Stars. 

Perhaps  the  fans  would  like  to  hear 
about  my  experience  in  writing  to  the 
stars.  Four  years  ago  I  wrote  to  my  first 
idol,  Myrtle  Stedman,  and  very  soon  she 
sent  me  a  large  picture,  personally  auto- 
graphed "To  Juliette  Brown,  With  Sin- 
cere Good  Wishes,  Myrtle  Stedman." 
Then  I  wrote  to  Ruth  Clifford,  and  she, 
likewise,  autographed  a  lovely  photo  to  me. 
Then,  at  more  or  less  regular  intervals,  I 
received  large  photographs,  most  of  them 
autographed  to  me,  from  Pola  Negri,  Bebe 
Daniels,  Louise  Brooks,  Lois  Moran, 
Aileen  Pringle,  Marion  Davies,  an  exquisite 
one  from  Norma  Shearer,  "To  Juliette 
Brown,  With  Appreciation  and  Best 
Wishes";  Douglas  Fairbanks,  Norma  Tal- 
madge,  Colleen  Moore,  with  a  darling  let- 
ter; Marion  Nixon;  a  lovely  photo  of 
Rudolph  Valentino,  personally  auto- 
graphed, which  I  value  very  much  ;  George 
O'Brien,  autographed  in  a  sprawling,  boy- 
ish hand ;  Dolores  Costello,  exquisite  as 
only  Dolores  can  be,  and  dozens  of  smaller 
pictures    with    mimeographed  signatures. 


Then,  too,  I  wrote  Joan  Crawford  when  I 
saw  "Sally,  Irene,  and  Mary,"  and  imme- 
diately she  wrote  back  and  sent  me  a  beau- 
tiful personally  autographed  photo.  For 
about  six  months  she  wrote  me  once  every 
month,  sometimes  oftener,  and  when  I 
wrote  her  I  was  to  be  married  she  sent 
me  the  largest  photograph  I  have  in  my 
collection — a  tremendously  beautiful  pic- 
ture— and  autographed  it  "To  Dear  Juli- 
ette, May  Your  Marriage  Be  As  Beauti- 
ful As  Your  Letters  Portray  Your  Char- 
acter To  Be.  Devotedly,  Joan  Crawford." 
That,  and  her  letters,  are  my  most  valued 
possessions. 

Corinne  Griffith,  too,  sent  me  a  very 
large  photo  and  a  sweet  letter  requesting, 
in  turn,  a  picture  of  the  writer.  Dorothy 
Sebastian,  a  Birmingham  girl,  also  sent 
me  a  large  photo,  autographed  "To 
Juliette  Brown,  From  Sincerely  Your 
Friend,  Dorothy  Sebastian."  People  here 
who  know  her  say  she  is  very  beautiful. 
Lois  Wilson,  another  Birmingham  girl, 
was  not  so  generous  and  sent  only  the 
regulation  small,  stamped  picture. 

Gloria  Swanson  has  been  most  kind  and 
has  sent  me,  to  date,  five  photos,  the  last 
a  beautiful  large  one,  personally  auto- 
graphed. Janet  Gaynor  recently  sent  me 
an  exquisite  photo,  autographed  "With 
Diane's  Best  Wishes,  Janet  Gaynor."  My 
most  recent  photograph,  and,  for  sheer 
loveliness,  probably  the  finest  in  my  col- 
lection, is  a  really  large  soft-focus  repro- 
duction of  Doris  Kenyon.  autographed: 
"To  Juliette  Brown,  From  Yours  Sincerely, 
Doris  Kenyon."  In  the  same  mail  came 
a  lovely  note,  written  on  monogrammed 
paper,  to  me — hoping  I'd  like  the  picture 
she  was  sending.  And  maybe  I  didn't ! 
Pauline  Garon  autographed  an  attractive 
picture  "To  Miss  Brown,"  and  sent  with 
it  a  lovely  letter.  In  reply  to  my  request 
for  a  photo  of  Ian  Keith  came  the  clever- 
est, most  amusing  letter  in  my  collection. 
But  no  photograph  !  He  didn't  have  any, 
he  claimed ;  but  the  disappointment  was 
partly,  if  not  wholly,  allayed  by  his  inti- 
mately frivolous  letter !  I'm  sure  he  must 
be  a  very  delightful  person,  as  well  as  a 
handsome  man  and  a  fine  actor. 

I  am  a  devoted  fan  and  number  my  best 
friends  among  movie  people.  The  photos 
and  letters  that  the  stars  have  been  kind 
enough  to  send  me  have  given  me  as  much 
genuine  pleasure  as  anything  I've  ever  ex- 
perienced. They  are  wonderful  people,  and, 
along  with  millions  of  other  fans,  I  wish 
them  all  happiness. 

Juliette  Brown. 
1008  South  Tenth  Avenue,  Birmingham, 
Alabama. 

Isn't  Mr.  Dix  Treated  Fairly? 

Why,  oh,  why,  must  they  take  Richard 
Dix's  beloved  name,  slap  the  left-overs 
around  it,  and  sell  it  to  a  public  that  will 
be  fooled  just  so  often,  and  then  it  will 
be  up  the  flue  with  Dix,  just  as  it  has  been 
with  so  many  others  who  have  been  pushed 
from  their  pedestals  in  the  same  manner? 

It  is  the  same  old  story.  Mr.  Dix  has 
reached  a  height  of  popularity  where  his 
name  alone  swells  the  big  parade  passing 
the  box  office.  But  even  the  most  loyal 
fans  are  not  going  to  suffer  through  poor 
pictures. 

I  understand  the  producers'  belief  is  that 
the  biggest  of  the  stars  can  only  last  for  a 
comparatively  short  time,  and,  therefore, 
it  is  their  desire  to  make  as  much  money 
as  possible  out  of  their  stars  during  the 
said  stars'  brief  reigns  of  popularity. 
Maybe  this  is  the  logical  thing  to  do,  but 
did  it  ever  occur  to  these  producers  to  ex- 
periment a  Htlle  with  the  so-called  fickle- 
ness of  the  public,  by  helping  it  to  keep 


its  faith  with  its  idols  instead  of  discour- 
aging it?. 

Why  not  make  Richard  Dix  the  subject 
of  such  an  experiment?  Give  him  first- 
class  stories,  which  will  enable  him  to 
play  different  roles  each  time,  and  leading 
ladies  and  casts  which  are  able  to  uphold 
their  roles  with  splendid  acting.  Then  just 
see  if  Richard  does  not  "bring  home  the 
bacon,"  not  only  by  increasing  his  fan  fol- 
lowing, but  by  establishing  a  real  and  en- 
during popularity,  such  as  he  is  capable  of 
doing.  Una  B.  Cowan. 

1155  Burnaby  Street,  Vancouver,  Brit- 
ish Columbia. 

Watch  Out,  Producers! 

I  agree  with  the  views  expressed  by 
E.  V.  W.  I  am  fed  up  with  seeing  so 
many  juveniles  on  the  screen  who  have 
very  little  personality  or  acting  ability. 
If  the  producers  think  they  can  dispense 
with  the  older  actors,  for  economical  rea- 
sons, and  make  the  public  take  these 
youngsters,  they  will  find  they  arc  mis- 
taken. Milton  Sills  looked  ridiculous  play- 
ing opposite  Molly  O'Day  in  "Hard-boiled 
Haggerty,"  and  Richard  Dix  looked  awful 
playing  opposite  that  pert  little  minx,  Betty 
Bronson,  in  "Paradise  for  Two."  I  have 
seen  Norma  Talmadge  in  only  one  pic- 
ture ("Kiki")  since  she  made  "Ashes  of 
Vengeance."  I  have  no  wish  to  see  her 
opposite  Gilbert  Ronald.  The  younger  set 
are  all  right  in  their  place,  but  we  do 
not  want  them  all  the  time.  I  was  in  the 
habit  of  going  to  the  pictures  four  times 
a  week.  Now  I  go  but  twice,  and  some- 
times not  that  often.  G.  M. 

Sydney,  New  South  Wales,  Australia. 

It's  Just  Too  Bad. 

I  am  right  with  you,  E.  W.,  though  you 
are  in  far-away  London !  I  am  answering 
your  plea  of  "Oh,  please,  picture  lovers, 
join  in  howling  off  the  screen  those  hid- 
eous talking  pictures !" 

Hideous  is  right.  It  is  the  only  word 
you  could  have  used.  In  the  Richard  Dix 
picture,  "Warming  Up,"  the  din  was  past 
words — a  howling,  growling,  nerve-racking 
performance.  Gone  was  the  peaceful 
spirit  of  the  silent  drama.  I've  seen  nearly 
all  the  talking  pictures,  including  "Lights 
of  New  York,"  and  it's  just  too  bad. 

If  they  finally  get  so  that  all  pictures 
talk,  of  course,  the  orchestras  and  organs 
will  go.  But  every  one  knows  that  the 
music  creates  the  real  atmosphere  of  the 
theater.  Music  is  the  life  and  soul  of 
the  movie !  What  fan  has  not  been  en- 
thralled by  the  tones  of  the  violin  in  the 
orchestra,  though  almost  unheard,  as  the 
eyes  are  bent  intent  upon  some  scene  of 
unusual  beauty? 

Even  over  the  best  of  radios  and  talking 
machines,  the  music  has  that  canned  ef- 
fect !  Canned  music  may  be  fine  for  the- 
aters where  music  is  not  good,  or  in  out- 
of-the-way  places  where  musicians  are 
scarce.  Fven  then,  I  firmly  believe  that 
theatergoers  would  rather  sit  in  silence 
than  sit  and  listen  to  a  jumble  of  words 
which  keep  them  constant^'  on  the  alert  to 
hear  what  is  being  said.  People  want 
peace  and  quiet  and  a  chance  to  relax, 
and  I  believe  that  this  is  partly  why  mov- 
ies are  so  popular  to-day. 

And,  when  the  films  are  old  and  patched, 
what  about  the  voices  then?  Will  the 
voices  jump  as  the  scenes  do  in  old  films? 
They  have  a  long  way  to  go  to  perfect 
this  yet.  Helen  Carlson.' 

3340  Colfax  Avenue,  South,  Minneapo- 
lis, Minnesota. 

Sentiment,  Sorrow,  and  Tears. 

Every  month   or   so,   somebody  comes 


Advertising  Section 


13 


along  and  throws  a  lot  of  sentiment  and 
sorrow  and  tears  all  over  the  page.  Last 
month's  Picture  Play  had  five  letters,  all 
w  ritten  about  Rudolph  Valentino.  Trix 
McKenzie  says,  "Can  we  not  find  some 
way  to  say,  'Rudy,  we  thank  you'?"  Why 
should  we  thank  him?  All  of  his  work 
on  the  screen  was  for  his  financial  benefit; 
and  not  for  the  public's.  She  also  re- 
views his  life,  as  if  everybody  living  on 
this  earth  that  can  read  hasn't  read  it, 
day  in  and  day  out,  all  over  the  papers 
and  magazines.  Who  was  Rudy?  An  ac- 
tor that  could  act,  that's  all.  There  are 
a  lot  of  people  on  the  screen  to-day  who 
can  act,  and  they  will  never  'be  missed  or 
mourned.  Everybody  is  wasting  money 
sending  flowers  to  his  grave  every  month. 
Why  didn't  somebody  give  Rudy  those 
flowers  before  his  death?  What  good  do 
they  do  him  now? 

Somebody  will  say  I  don't  appreciate 
anything  great,  or  that  I  didn't  like  Rudy. 
I  did  like  Rudy,  and  I  enjoyed  every  one 
of  his  pictures.  I  think  he  was  a  keen 
actor,  but  why  continue  this  "blah"  every 
month? 

Let's  have  more  pictures  of  youth  and 
their  high-school  days  and  their  proms 
and  their  sports,  but  none  of  this  "last 
minute  to  play"  and  "twenty  yards  to  go" 
stuff. 

Pictures  like  "The  Patsy"  are  also  en- 
joyable. Most  of  the  people  who  attend 
movies  are  people  of  moderate  means,  and 
"The  Patsy"  was  about  a  family  of  mod- 
erate means.  In  pictures  of  society  life, 
we  see  the  hero  attending  parties,  playing 
tennis,  and  in  general  having  a  good  time. 
Where  does  he  get  the  money  to  live  like 
that?    Does  he  never  work? 

More  and  still  more,  let  us  have  pic- 
tures with  Sue  Carol,  Nick  Stuart,  James 
Hall,  Richard  Arlen,  Joan  Crawford, 
Nancy  Carroll,  Charles  Rogers,  Barry 
Norton,  Ramon  Novarro,  Janet  Gaynor, 
Clara  Bow,  and  the  rest  of  those  that 
interpret  the  youth  of  to-day.  Away  with 
fogies  of  1900  who  say,:    "It  wasn't  like 

that  in  my  day.    When.  I  was  young  " 

and  the  rest.  I  ought  to  know  them.  This 
town  is  full  of  them.  Well,  I  have  "brick- 
batted"  enough,  and  so  I  give  only  one  big 
bouquet  to  Charles  Rogers,  my  ideal. 

Lucille  J.  Schuch. 

182  North  York  Street,  Elmhurst,  Il- 
linois. 

For  Shame,  Emil! 

Such  rot  as  the  Vitaphone  pictures,  and 
persons  who  insist  on  producing  them 
should  be  abolished — like  the  fellow  who 
once  said,  "There's  enough  outside  voice 
in  this  world  as  it  is" — without  going  to 
one  of  those  hear-and-see  pictures — espe- 
cially if  the  picture  happens  to  he  the  kind 
in  which  an  army  of  actors  are  supposed 
to  be  engaged  in  a  family  row.  Heaven 
forbid !  We  get  enough  of  that  at  home. 
In  fact,  more  than  enough,  without  listen- 
ing to  a  lot  of  somebody  else's.  Who 
cares  to  hear — as  though  we  never  heard 
— the  galloping  of  horses,  the  ringing  of 
bells,  the  firing  of  shots,  such  as  are  ex- 
hibited in  "The  Patriot,"  Emil  Jannings' 
picture.  Our  great  Emil  Jannings  in  a 
talking  picture,  with  a  lot  of  galloping 
horses  and  the  ringing  of  hells,  and  the 
firing  of  shots  !  Can  any  one  imagine  any- 
thing so  ridiculous?  It  will  be  the  first 
of  Mr.  Jannings'  pictures  I  shall  prob- 
ably not  want  to  see.  I  shall  always 
cherish  the  silent  pictures.  They  are  like 
going  into  an  empty  church,  a  place  to  re- 
lieve our  crowded  minds. 

Ella  Nikisher. 

1225  Lancaster  Street,  Pittsburgh,  Penn- 
sylvania. 


Now  You  Can  Reduce 
2  to  4  Lbs.  in  a  Night 

Eat  what  you  please 

Wear  what  you  please 
Do  what  you  please 

Take  no  risky  medicine 

Send  the  coupon  for  your  first  three  Fayro  Baths 

Thousands  of  smart  women  have  found  this  easy 
way  to  take  off  2  to  4  pounds  once  or  twice  a  week. 
These  women  take  refreshing  Fayro  baths  in  the 
privacy  of  their  own  homes. 

Fayro  is  the  concentrate  of  the  same  natural 
mineral  salts  that  make  effective  the  waters  of 
twenty-two  hot  springs  of  America,  England  and 
Continental  Europe.  For  years  the.  spas  and  hot 
springs  bathing  resorts  have  been  the  retreat  of  fair 
women  and  well  groomed  men. 

Excess  weight  has  been  removed,  skins  have  been 
made  more  lovely,  bodies  more  shapely  and  minds 
brighter. 

The  Hot  Springs  Are  Now  Brought  to  You 

Painstaking  analyses  of  the  active  ingredients  of 
the  waters  from  twenty-two  of  the  most  famous 
springs  have  taught  us  the  secret  of  their  effective- 
ness. Ybu  can  now  have  all  these  benefits  in  your 
own  bath.  Merely  put  Fayro  into  your  hot  bath. 
It  dissolves  rapidly.  You  will  notice  and  enjoy  the  pungent 
fragrance  of  its  balsam  oils  and  clean  salts. 

Then,  Fayro,  by  opening  your  pores  and  stimulating  perspira- 
tion, forces  lazy  body  cells  to  sweat  out  surplus  fat  and  bodily 
poisons.  Add  Fayro  to  your  bath  at  night  and  immediately  you 
will  lose  from  2  to  4  pounds  in  an  easy,  refreshing  and  absolutely 
harmless  manner. 

Consult  your  physician  and  he  will  tell  you  that  Fayro  is  certain 
to  do  the  work  and  that  it  is  absolutely  harmless. 

Fayro  will  refresh  you  and  help  your  body  throw  off  worn  out 
fat  and  bodily  poisons.  Your  skin  will  be  clearer  and  smoother. 
You  will  sleep  better  after  your  Fayro  bath  and  awaken  feeling 
as  though  you  had  enjoyed  a  week's  vacation. 

Lose  Weight  Where  You  Most  Want  To 

Fayro  reduces  weight  generally  but  you  can  also  concentrate  its 
effect  on  abdomen,  hips,  legs,  ankles,  chin  or  any  part  of  the  body 
you  may  wish. 

Results  Are  Immediate 

Weigh  yourself  before  and  after  your  Fayro  bath.  You  will 
find  you  have  lost  from  2  to  4  pounds.  And  a  few  nights  later 
when  you  again  add  Fayro  to  your  bath,  you  will  once  more  reduce 
your  weight.  As  soon  as  you  are  the  correct  weight  for  your  height 
do  not  try  to  reduce  further.  No  need  to  deny  yourself  food  you 
really  want.  No  need  for  violent  exercise.  No  need  for  drugs  or 
medicines.  Merely  a  refreshing  Fayro  bath  in  the  privacy  of  your 
own  home. 

Try  Fayro  at  Our  Risk 

The  regular  price  of  Fayro  is  $1.00  a  package.  With  the  coupon 
you  get  3  full  sized  packages  and  an  interesting  booklet  "Health 
and  Open  Pores"  for  $2.50  plus  the  necessary  postage.  Send  no 
money.  Pay  the  postman.  Your  money  refunded  instantly  if 
you  want  it. 


HERE'S  PROOF 

Read  what  Fayro  Baths 
have  done  for  others 


"Three  Fayro  baths  reduced 
my  weight  11  pounds  in  8 
days.  I  feel  belter  than  I 
have  fell  for  years." 


"I  weigh  16  pounds  less  and 
feel  younger  and  sleej)  belter. 
Fayro  is  wonderful." 


"My  double  chin  vanished  in 
the  magic  of  Fayro  baths.". 


"My  hips  were  always  too 
prominent  until  I  commenced 
Fayro  baths.  I  have  lost  12 
pounds." 


"Thank  you  for  Fayro.  I 

lost  14  pounds  in  three  weeks; 
feel  belter  and  certainly  look 
belter." 


"Since  childhood  my  thick 
ankles  have  always  been  a 
source  of  embarrassment. 
Fayro  baths  have  reduced 
them  beautifully.  Thank  you 
very  much." 


For  obvious  reasons,  names 
are  not  quoted,  but  every 
letter  published  .has  been 
authorized  and  names  and 
addresses  will  be  given  on 
request. 


r 


If  each  healthful  bath  of  Fayro  does  not 
reduce  your  weight  from  2  to  4  pounds,  we 
will  refund  your  money  withouta  question. 
You  risk  nothing.  Clip  the  coupon  and 
mail. 


Fayro,  Inc.  PP-12-28 
821  Locust  St.,  Pittsburgh,  Pa. 

Send  me  3  full  sized  boxes  of  Fayro  in  plain  package. 
I  will  pay  the  postman  $2.50  plus  the  necessary  postage. 
It  is  understood  that  if  I  do  not  get  satisfactory  results 
with  the  first  package  I  use,  I  am  to  return  the  other  two 
and  you  will  refund  all  of  my  money  at  once. 


Name  

Address  

City  State  

If  you  live  outside  the  United  States  send  International 
Money  Order  with  coupon. 


Are  you  prepared  for  the  BEST? 

NOW  YOU  must  key  your  standard  of  screen  enjoyment  to  a  higher 
level.  Get  ready  to  revel  in  such  scenes  as  you  never  dreamed 
films  could  accomplish.  Expect  great  things  of  "The  Divine  Lady" — 
then  prepare  to  have  this  masterpiece  exceed  your  expectations. 

A  romance  so  glorious  it  made  an  unknown  author— E.  Barrington — 

famous  overnight — her  book  a  sensational  best-seller  A  love-affair 

that  scandalized  the  courts  of  Europe  and  changed  the  destiny  of  nations, 

now  lived  again  for  you  And  massive  spectacle  when  scores  of 

flaming  frigates  come  to  death-grips  in  the  famous  battle  of  Trafalgar. 

When  you  see  "The  Divine  Lady"  you  will  see  a  step  forward  in  pic- 
ture art  And  you'll  see  it  soon. 

A  Unl  notional  Picture 

Takes  the  Guesswork  Out  of  "Going  to  the  Movies" 


15 

PICTURE  PLAY,  December,  1928       Vol  ume  XXIX    Number  4 


Photo  by  Ruth  Harriet  Louise 

Because  of  her  beauty,  magnetism,  and  dramatic  instinct,  Joan  Crawford  is  coming  more  and  more  to  the  front 
with  each  new  picture.    It  won't  be  long,  now,  before  she  will  be  a  full-fledged  star,  as  Picture  Play 
has  predicted  more  than  once.   She  is  seen  above  in  what  promises  to  be  her  most  important  role, 
that  of  Adfienne  Leconvreur,  a  girl  who  begins  as  a  strolling  player  in  the  Balkans 
and  becomes  the  reigning  actress  of  Europe,  with  Nils  Asther  as  her  hero. 


The  tenderness  and  sanctity  of  family  relations 
was  the  inspiration  that  made  "The  Way  of  All 
Flesh"  a  great  picture. 


S  love,  as  a  passion,  ebbing  on  the  screen?  Has  ro- 
mance, sweet  scented,  begun  to  fade  in  its  fascina- 
tion and  charm?  To  quote  the  poet,  "The  night- 
ingale that  in  the  garden  sung — ah,  whence  and  whither 
wandered  now  ?   Who  knows  ?" 

These  inquiries  are  prompted  by  the  changing  quali- 
ties of  pictures.  They  are  inspired  by  the  fact  that  the 
palpitant  embrace  and  kiss  apparently  are  less  ardent  in 
the  filmy,  flickering  fantasy  than  of  yore.  The  fervid 
scene,  presided  over  by  Amor  and  Venus,  by  Eros  and 
Aphrodite,  languishes  and  wanes  in  its  esprit,  and  no 
pensive  tears,  it  would  seem,  are  shed. 

All  the  world  loves  a  lover.  But  does  it?  And  in 
the  movies  ? 

Even  the  stars  and  directors  feel  the  spell  of  change. 
They  confess  that  a  love  scene, 
if  and  when  it  is  played,  must 
be  more  delicately  interpreted 
than  ever  before.  Heavings 
and  maulings,  such  as  went  on 
in  the  good  old  days,  and  until 
perhaps  as  late  as  a  year  ago, 
are  out.    By  some  it 


Prolonged  and  artificial 
its  apex  in  "Flesh 


is  even  conceded 
amusedly  that  the 
movies  may  be  going 
in  for  semicelibate 
life,  and  that  while 
romance,  when  it  is 
true  romance,  may 
still  mean  much,  there 
is  abundant  opportu- 
nity to-day  for  themes 
of  greatly  varying 
type.      In    these  the 


Are  trie  MoVies 

Most  decidedly  there  is  a  trend  in  that  direction, 
ing  pictures  that  emphasize  parental  or  brotherly 
romantic  passion  altogether.    Was  "Flesh  and  the 

love-making,  and  is 

Bj>  Edwin 

reign  of  enamorment  may  often  assume  only  a  very 
insignificant  part. 

Lon  Chaney,  for  example,  told  me  not  long  ago  that 
the  day  might  not  be  far  off  when  a  cast  composed  of 
men  could  enact  a  story  that  would  appeal.  Greta 
Garbo,  high  priestess  in  the  temple, of  Astarte,  admitted 
quite  frankly  that  she  does  not  care  for  love  roles.  Clara 
Bow  informed  me  that  among  the  pictures  she  has  made, 

she  especially  favors  "Ladies 
of  the  Mob."    In  this  picture 
all  the  romance  was  taken  for 
granted,   and   Clara  was  al- 
lowed to  display  her  dramatic 
talent  in  the  portrayal  of  sor- 
row, fear,  repentance,  courage 
and  other  emotions 
only  incidentally  con- 
nected with  amatory 
impulses,  if  at  all. 
Too,    Evelyn  Brent 
avows   that   she  has 
looked  askance  at  so 
many  men  in  recent 
films,   that   she  is 
doubtful  if  she  could 
vouchsafe  a  coy  glance 
at  any  comely  hero. 
Her  popularity  proves 


love-making  reached 
and  the  Devil." 


17 


Scorning 


To  prove  it,  the  fan  has  only  to  consider  outstand- 
devotion,  glorify  masculine  comradeship,  or  exclude 
Devil"  responsible  for  the  decline  of  languishing 
sex  appeal  passe? 

Sckallert 


that  her  disdainful  attitude 
toward  the  opposite  sex  exerts 
a  very  definite  lure. 

Further  evidence  of  changing 
times  is  seen  in  the  record  of 
recent  successful  pictures.  A 
number,  which  have  cleaned  up 
money  at  the  box  office,  haven't 
relied  on  any  ecstatic  cuddling 
and  petting  for  their  drawing 
power.  Indeed,  very  much  to 
the  contrary.  They  have  pre- 
sented diversified  motifs  of 
brotherly  devotion,  father  love, 
sacrifice  remote  from  an  affec- 
tion between  man  and  woman, 
revenge,  thrills  of  the  sterner, 
melodramatic  sort,  and  comedy 
based  on  ideas  only  occasionally 
connected  with  hymeneal  influ- 
ences, and  certainly  giving  very 
scant  attention  to  Ishtar,  Freya, 
Lilith,  or  any     Douglas  Fair. 


of  the  other 
deities  more 
or  less  as- 
sociated with 
bliss. 


banks,  in  "The 
Iron  Mask," 
will  emphasize 
a dventur  ous- 
ness  rather  than 
love-making. 




The  love  of  man  and  maid  played  only  a  small 
part  in  "Beau  Geste."    Its  enormous  success  was 
due  to  the  powerful  theme  of  brotherly  love. 

Here  are  some  of  the  more  outstanding  successes  of 
recent  date,  revealing  the  new  trend — "Beau  Geste,"  still 
very  popular ;  "The  Way  of  All  Flesh,"  "The  Last  Com- 
mand," "Two  Arabian  Knights,"  "Submarine,"  "The  Jazz 
Singer,"  "Sorrell  and  Son,"  and  sundry  crook  melo- 
dramas almost  too  numerous  to  mention.    In  various  of 

these  there  has  been  only  a  sug- 
gestion of  love  interest. 

Mention  might  also  be  made 
of  _"A  Girl  in  Every  Port." 
which  is  garnering  favor.  In  this 
picture  Victor  McLaglen  and 
Robert  Armstrong,  after  nu- 
merous affaires  dc  cceur,  geni- 
ally amusing,  decide  to  throw 
all  women  over.  At  the  very 
end  they  go  blustering  down  the 
street,  with  the  evident  inten- 
tion of  having-  a  wildly  hilarious 
time — sans  feminine  compan- 
ionship. In  one  version  of  the 
finish  it  was  inferred  that  thev 
would  share  equally  the  affec- 
tion of  a  damsel  who  happened 
opportunely  along  in  the  final 
fade-out,  for  all  three  disap- 
peared into  its  shadowy  ob- 
scurity, arm  in,  arm. 

The  personality  of  the  char- 
acter actor  has  been  a  dominant 
cause  for  these  various  depar- 
tures from  the  old  scheme  of 
film  making.  Men  like  Emil 
Jannings,  Jean  Hersholt,.  Wal- 


IS 


Are  the  Movies  Scorning  Love? 


A  father's  love  for  his  son  is  the  strongest  element  in  "Sins  of  the  Fathers," 
in  which  Emil  Jannings  and  Jack  Luden  are  seen. 


lace  Beery,  Ernest 
Torrence,  Milton 
Sills,  and  now, 
Lionel  Barry- 
more,  are  promi- 
nent upon  t  h e 
screen,  Sills  espe- 
cially, since  he  is 
making  a  big 
comeback  in  "The 
Barker."  This, 
by  the  way,  is  the 
.story  of  a  side- 
show sh  outer's 
life,  and  of  father 
love. 

Tom  Meighan 
has  also  scored  in 
"The  Racket," 
which  has  nothing 
of  romance  to  of- 
fer, as  far  as  he  is 
concerned.  There 
is  a  minor  love, 

just  barely  indicated,  between  a  young  reporter  and  a 
cabaret  girl,  but  even  this  is  disposed  of  when  the  lady 
decides  to  go  her  own  way.    No  ultimate  clinch  in  this ! 

Considerable  of  this  change  may  be  attributed  to  the 
attitude  of  the  movie  public.  They  have  become  appar- 
ently sated  with  sweet  romance.  Only  about  a  year  ago, 
in  fact,  a  very  violent  revolt  among  the  fans  against  so- 
called  "lovesick  dramas"  was  indicated.  This  was 
brought  on  by  too  much  fervent  sugariness  in  "Flesh 
and  the  Devil,"  in  which  John  Gilbert  and  Greta  Garbo 
took  part.  While  this  picture  may  have  been  popular, 
it  certainly  produced  a  reaction  of  discontent  among 
many  picturegoers,  as  their  letters  disclosed.  Doubtless 
this  was  a  natural  rebellion,  since  the  love  scenes  in  the 
film  were  so  mushy,  and  tempes- 
tuous, at  the  same'  time,  that  they 
caused  several  critics  to  refer  to 
them  as  bouts,  and  kiddingly  to 
call  the  rounds.  A  love  scene 
that  is  susceptible  of  laughter  is 
scarcely  an  asset  to  a  film,  and 
if  "Flesh  and  the  Devil"  did  tri- 
umph, it  was  rather  because  of  a 
strong  friendship 
theme  than  its  lush 
blandishments. 

At  that,  its  love 
story  had  a  tragic 
culmination. 

Producers  have 
evidently  taken 
note  of  this,  be- 
cause the  amorous 
episodes  in  "The 
Mysterious 
Lady,"  which 
stars  Greta  Garbo, 
were  visibly  short- 
ened following 
the  initial  pre- 
view. The  audi- 
ence was  inclined 
to  titter  at  certain 
languorous  poses 
that  Greta  Garbo 
and  Conrad  Nagel 
ass  urn  e  d .  Ro- 
mantic love  inter- 


Jean  Hersholt  and  Belle  Bennett 
portray  the  love  of  a  middle-aged 
couple  in  "The  Battle  of  the  Sexes." 


est  consequently 
is  subdued  in  this 
spy  melodrama. 
More  so,  at  least, 
than  in  some  of 
Greta's  earlier 
luxuriations. 

Certain  stars 
are  bound  to  be 
identified  with  ro- 
mance. It  is  their 
natural  milieu. 
John  Barrymore 
is  one  of  them, 
but  he  exercises 
marked  restraint 
in  "The  Tem- 
pest," his  film  of 
Slavic  setting. 
Perhaps  the  scene 
that  really  made 
this  picture  was 
the  one  in  which, 
as  a  peasant  offi- 
cer, he  is  shunned  by  aristocrats  at  the  state  ball.  This 
was  replete  with  humanness. 

D.  W.  Griffith,  whose  love  idylls  have  long  been  fa- 
mous, has,  so  he  told  me,  eschewed  this  type  of  story  in 
"The  Battle  of  the  Sexes." 

"The  picture  centers,  instead,  about  problems  of  fam- 
ily life,  and  two  leading  figures  in  the  drama  are  mid- 
dle-aged," he  said.  "I  found  it,  in  many  ways,  an 
interesting  experience  to  direct  a  picture  of  this  kind." 
Much,  too,  may  perhaps  be  expected  from  the  film  when 
it  includes  two  such  competent  enacters  of  father  and 
mother  roles  as  Jean  Hersholt  and  Belle  Bennett. 

"What  can  take  the  place  of  sentiment?"  I  asked  a 
producer  recently,  who  admits  there  is  a  considerable 

change  in  the 
public  attitude. 

"Well,  nothing 
— practically 
speaking,"  he  re- 
plied. "Because 
the  love  element 
is  essential  to 
certain  films. 
But  we  are  treat- 
ing it  far  more 
deftly  than  we 
have  in  the  past. 
Merely  a  close- 
up  of  two  lovers 
in  each  other's 
arms  is,  to-day, 
not  sufficient 
proof  of  their 
devotion — or  let 
us  even  say  the 
fascination  they 
exert  for  each 
other.  Devotion, 
real  devotion, 
must  be  sug- 
gested in  count- 
less other  ways 
— perhaps  even 
by  the  repres- 
sion of  their 
feelings  for  each 
other. 

"We  could  go 


Are  the  Movies  Scorning  Love? 


19 


through  a  story  to-day 


without  one  actual  suggestion 


of 


a  kiss,  and  still  definitely  prove  that  two  characters  were 
deeply  fond  of  each  other.  This  can  be  wholly  accom- 
plished by  what  one  might  call  indirect  action,  suggesting 
their  response  to  each  other's  demands  for  affection— more 
properly  their  mutual  understanding.  What  is  really  in 
the  discard  to-day  is  sex  love — the  more  obvious  sort  of 
sex  appeal.    It  was  a  natural  reaction  from  too  much  of  it. 

"I  might  say,  additionally,  that  I  feel  the  talkies  will 
result  in  even  more  restraint  in  love-making.  They  must, 
or  else  the  love  scenes  will  have  to  be  very  skillfully  writ- 
ten not  to  sound  foolish.  Your  stage  plays  demonstrate 
that  most  love  scenes,  unless  they  take  place  at  the  final 
fall  of  the  curtain,  run  a  chance  of  proving  embarrassing. 
The  most  delicate  form  of  suggestion  will  have  to  be  used 
in  talking  films  to  prevent  their  appearing  ridiculous." 

This  talkie  phase  should  be  very  interesting  to  those  of 
you  who  already  are  familiar,  with  this  new  manifestation. 
Consider  the  predicament  of  the  fair  ingenue  who,  due  to 
the  idosyncrasies  of  the  devices,  is  forced  to  lisp,  "I  worthip 
you."  The  letter  "s"  when  recorded,  or  any  sound  closely 
related  thereto,  'always  has-  a  funny  effect.  This' might 
also  result  in  a  "My  s-s-s-sweetheart,"  said  with  a  very 
sibilant  "s."  Even  more  grotesque  might  be  some  of  the 
foreign  pronunciations,  as  "I  loaf  you,"  ravishingly  uttered 
by  some  central  .European  star. 

There  are  natural  exceptions  to  the  tendency  toward  a 
diminishing  love  interest.  They  are  such  pictures  as 
"Seventh  Heaven," -"Drums  of  Love" 
— from  the  past — "Merry-Go-Round," 
and  others  based  on  romance  of  the  more 
ideal  kind.  Also  "The  Sea  Beast,"  though 
in  this  the  niotif  of  conquering  the  leg- 
endary ocean  mammoth,  and  the  intrigue 
against  the  hero  by  his  half-brother, 
were  prominent  in  working  out  the  plot. 

All  pictures  that  tell  a  great  and  popular  love  story 
are  bound  to  have  many  blendings  of  thought.  And  in 
many  instances  the  love  story  itself  is  literally  snowed 
under  by  some  huge  avalanche  of  drama,  or  carried  on 
as  in  a  tide  by  the  sweep  of  an  idea. 

I  don't  believe  that 
any  picture  without 
some  attraction,  like 
spectacular  photogra- 
phic effects,  or  thehu- 
manness  of  sacrifice, 
or  achievement,  or  a 
cross-section  of  life, 
apart  from  its  love  in- 
terest, has  ever  suc- 
ceeded brilliantly. 
Consider  "The  Big 
Parade,"  with  its  un- 
exampled picture  of 
the  war  front ;  "The 
Birth  of  a  Nation," 
with  its  sweeping  pan- 
orama of  the  conflict 
between  the  North 
and  South,  and  post- 
war reconstruction 
difficulties ;  "Wings," 
with  its  airplane  spec- 
tacle; "Ben-Hur," 
with  its  chariot  race, 
and  a  religious  and 
spiritual  undercurrent 


Milton  Sills  and 
Douglas  Fair- 
banks, Jr.,  domi- 
nate the  story  of 
"The  Barker,"  as 
father  and  son. 


The  comradeship  of  Ralph  Graves  and  Jack  Holt  endures,  while 
their  love  for  the  same  woman  comes  to  grief  in  "Submarine." 


'The   Ten  Commandments,' 
with  biblical  pageantry,  the  sensational  opening  and  clos- 
ing of  the  Red  Sea,  and  the  tragedy  of  the  boy  who 
didn't  believe.    Above  all,  "The  Covered  Wagon" — fa- 


Hardly  more  than  a  scant  suggestion  of  love  in  some  of 
these !  Compare  with  them  "Old  Ironsides,"  and  its 
overdone  sentimentality.  The  picture  was  weak,  because 
of  hampering  and  ridiculous  scenes  between  Charles 
Farrell  and  Esther  Ralston,  at  the  steering  wheel  of  the 

old  merchantman. 

"Stella  Dallas"  and 
"What  Price  Glory?" 
may  be  nominated  as 
other  films  that  have 
succeeded  in  .spite  of 
a  very  slight  love  plot. 

Of  really  romantic 
films,  "Robin  Hood" 
and  "The  Thief  of 
Bagdad"  were  best. 
Strangely  enough. 
Douglas  Fairbanks  is 
not  an  especially  good 
screen  love  maker,  and 
therefore  affectional 
episodes  in  his  picture 
are  nearly  always  tem- 
pered. Primarily 
"Robin  Hood"  and 
"The  Thief  of  Bag- 
dad" triumphed  be- 
cause they  were  pic- 
torial masterpieces. 
Stars  venture  some 
opinions 
Chaney's  I  have 


interesting 


mous   for   its  epic 


of   pioneering  Westward. 


regarding  the  scope  of  love  in  pictures 
alluded  to. 

"Pictures  are  gradually  coming  to  a  point  where  it  is 
recognized  that  there  is  drama  in  many  elements  other 
Continued  on  page  114 


20 


Beauty  Takes 

The  players  you  laugh  at  on  the  screen 
than  those  who  are  famous  for  "emoting." 

the 


B$  M 


Photo  by  Phillips 

Anita  Garvin  is  statuesque,  and  her  beauty  is  vital  and  com 

manding. 

LOVELY,  laugh-getting  ladies,  Salomes  of  slapstick, 
unsung  heroines  of  the  custard  pie  and  the  "108," 
beautiful  damsels  bereft  of  dignity,  goddesses  of 
the  gag — the  comedy  girls.    Give  them  a  hand  ! 

The  brief  flash  given  the  cast  on  a  two-reeler  leaves 
their  names  in  obscurity  to  all  but  the  quickest  eye.  The 
laughs  they  get  are  their  sole  glory,  the  one  reward  for 
bruises,  sprains,  and  scratches.  That  is,  of  course,  if 
one  excepts  the  little — figurative — matter  of  salary.  But 
the  plaudits  of  the  throng  pass  them  by,  these  game, 
hard-working  kids  whose  pulchritude  would  dazzle  a 
Kleig. 

Some  of  the  most  beautiful  girls  in  Hollywood  are  in 
comedies.  They  have  to  "be.  In  the  fast  shooting  of  a 
two-reel  comic,  there  is  no  time  for  individual  lighting, 
no  thought  for  registering  the  best  angle  of  profile,  no 
fuzzy  close-ups.  Action  is  too  quick  to  allow  for  charm- 
ing poses,  alluring  expressions.  A  few  hard  lights  to 
make  the  scene  sharp  and  clear,  the  swift,  direct  move- 
ment of  the  gag,  and  that's  all.  They  need  beauty  to 
look  entrancing  under  such  conditions,  and  in  such  un- 
flattering situations  as  the  grotesque  absurdity  of  a  "108" 
■ — a  complete  flop  which  ends  violently  in  a  sitting  posture 
on  the  floor,  legs  and  arms  flying. 

Many  a  serial  queen  would  blanch  if  required  to  per- 
form the  feats  a  comedy  girl  tosses  off  in  a  morning's 
work.  With  either  conscious  or  unconscious  stoicism, 
they  run  the  risk  of  breaking  bones  a  dozen  times  during 


ar 


the  two  weeks'  course  of  a  picture.  On  the  screen 
their  daring  is  not  particularly  obvious,  because 
it  culminates  in  a  laugh.  And  the  psychology  of 
a  laugh  admits  of  nothing  but  just  that — an  ex- 
plosive expression  of  amusement,  with  no  under- 
currents of  alarm,  or  sympathy  for  the  feminine 
vanity  of  the  girl  when  the  custard  pie  is  thrown 
at  her  pretty  face.  Which  is  all  as  it  should  be. 
The  girls  themselves  would  be  the  last  to  deplore 
it.  Laughs  are  the  tickers  by  which  they  check 
the  merit  of  their  work.  Pure,  unadulterated 
guffaws  are  what  they  labor  for.  And  these  gor- 
geous-looking young  things,  whose  perpetual  aim 
and  hope  is  to  be  laughed  at,  have  an  awful  lot 
of  fun  on  their  own  side. 

Introducing  three  of  the  better  known,  and 
most  beautiful — Miss  Frances  Lee,  Miss  Estelle 
Bradley,  and  Miss  Anita  Garvin. 

Frances  Lee  is  the  Christie  piece  de  resistance. 
The  sweetly  decorative  ornament  of  innumerable 
Bobby  Vernon  comedies,  she  is  now  in  a  series 
of  two-reelers  called  "Confessions  of  a  Chorus 
Girl."  .These  are  more  or  less  polite  comedy, 
but  on  the  first  day  of  work  Frances  wore  roller 
skates,  and  had  to  take  a  sit-down  bump  that  left 
her  with  a  painful  distaste  for  chairs  for  a  week. 

Frances  is  diminutive,  cute,  appealing.  Neat 
little  features  without  a  flaw,  wide,  gray  eyes,  an 
inviting  mouth  and  silky,  light-brown  hair.  To 
say  nothing  of  a  figure  that  is  a  miniature  V enus, 
modeled  on  1928  lines. 
Born  in  Minneapolis  twenty  years  ago,  Frances  was 
intended,  by  parental  decision,  to  be  a  school-teacher. 
Only  Frances'  initiative  saved  that  face  and  figure,  and 
those  dancing  feet,  from  burial  under  a  schoolmarm's 
desk.     At  thirteen  she  began  to  study  dancing  in  a 
neighborhood  class.    But  in  a  few  months  she  had  left 
the  other  pupils  to  their  Highland  flings  and  sailors'  horn- 
pipes, and  gone  far  ahead.    It  became  evident  that  her 
aptitude  Avas  more  than  a  flair. 

Within  three  j^ears  she  was  dancing  professionally. 
Gus  Edwards  played  in  Minneapolis  and  wanted  to  sign 
her  for  his  revue.  But  with  precocious  astuteness, 
Frances  refused  and  remained  at  home  instead,  earning 
enough  from  local  engagements  to  give  herself  a  year 
at  college. 

Later,  Edwards  sent  for  her  to  come  to  Chicago  and 
substitute  for  a  member  of  his  troupe  who  had  fallen 
ill.  After  this  engagement  Frances  turned  down  his 
offer  of  a  contract.  Staying  in  Chicago,  she  did  sou- 
brette  work  at  the  Rainbow  Gardens  cafe,  where  she  was 
nicknamed  "The  Baby  of  the  Rainbow." 

Billy  Dooley.  of  vaudeville  celebrity,  visited  the  cafe 
in  search  of  talent,  spotted  Frances  and  signed  her  as  his 
partner.  Their  tour  finally  reached  Los  Angeles,  where 
they  were  seen  by  Al  Christie,  who  signed  them  both. 

Considerable  recognition  has  already  been  shown 
Frances.  During  a  vacation  from  Christie's  she  was  lent 
to  Fox  for  "Chicken  a  la  King."    Her  work  in  this  so 


21 


tke  B 


umps 


probably  work  harder  to  cause  that  laugh, 
This  is  an  entertaining  story  of  three  of 
former. 


garet  Reid 


y 


pleased  executives  that  she  was  offered  a  five- 
year  contract.  Christie,  however,  retained  her 
for  the  chorus-girl  series,  and  she  was  phil- 
osophically content. 

More  than  ordinarily  sage  for  her  years, 
Frances  is  ambitious  in  a  sensible  way. 

"In  this  series,"  she  says,  "I'll  have  a  chance 
to  test  whatever  ability  I  have.  I  want  to  find 
out  for  myself  just  what  my  metier  is.  I 
never  thought  of  myself  as  a  comedienne,  but 
they  seem  to  think  I  have  talent  for  it.  My 
secret  desire  is  for  the  sort  of  thing  Janet 
Gaynor  does.  But  I  might  not  be  able  to  do 
it  at  all.  It  is  open  for  experiment.  What- 
ever I  do,  I'd  like  it  to  be  definite — either 
to  make  them  laugh,  or  make  them  cry." 

After  this  series,  in  which  she  will  have 
tried  the  former,  she  wants  to  have  a  fling 
at  the  latter.    Being  a  sensible  child,  she 
will  be  satisfied  if  the  experiment  proves 
that  her  talent  lies  in  the  direction  of  com- 
ics and  bumps.    But  being  hu- 
man and  feminine,  she  would  a 
little  rather  it  fell  in  the  more 
romantic  area  of  the  business 

Estelle  Bradley  flits  decora 
tively  through 
Educati  onal 
comedies.  She 
is  a  genuine 
blonde,  pale- 
yellow  hair 
framing  a  baby 
face.  A  round 
face,  incredibly 
pink  and  white, 
decorated  with 
very  blue  eyes, 
a  delicately 
chiseled  nose, 
and   a  mouth 

that  can  only,  I  am  afraid,  be  described  as 
rosebud.  Though  she  uses  very  little  make- 
up, even  for  the  ruthless  comedy  camera,  not 
a  flaw  can  be  noted.  Technicolor  was  thought 
up  for  such  as  Estelle. 

This  angel  was  born  in  Atlanta,  Georgia, 
twenty  years  ago.  Of  an  untheatrical  fam- 
ily, and  with  no  particular  yearnings  for  fame 
herself,  the  road  to  it  was  laid  out  before  her 
— and  carpeted  into  the  bargain.  To-day, 
grateful  as  she  is  for  the  ease  with  which 
everything  has  come  to  her,  she  feels  vaguely 
guilty  about  it ;  that  she  has  had  all  the 
breaks,  where  so  many  get  only  broken  and 
battered. 

At  sixteen,  she  was  elected  "Miss  Atlanta" 
for  1924.  And,  for  once,  a  beauty-contest 
winner  did  crash  through.    I  mean  into  pic- 


Frances  Lee  is  giving 
her  comedy  talents  a 
try-out,  but  she  se- 
cretly hopes  to  do 
work  similar  to  Janet 
Gaynor's. 


Estelle  Bradley  is  one  of  the  few  to 
have  crashed  the  gates'  of  moviedom 
through  having  been  a  beauty-contest 
winner. 

tures,  not  into  waiting  on  tables  in 
some  boulevard  restaurant. 

The  late  Sam  Warner,  on  a  tour 
of    investigation    into    the  Warner 
Brothers'  business  circuit,  visited  At- 
lanta.   A  dinner  was  given  in  his 
honor,  at  which  Miss  Atlanta,  being 
the  local  headliner  of  the  moment,  was  present. 
Warner  observed  the  camera  proof ness  of  the 
Bradley  ensemble  and,  before  the  assembled  com- 
pany, made  her  an  offer.    If  Miss  Bradley  would 
care  to  give  pictures  a  trial,  he  would  pay  the  ex- 
penses of  her  and  her  mother  to  Hollywood  and, 
on  her  arrival,  would  guarantee  her  a  stock  engage- 
ment with  Warner  Brothers. 

In  Hollywood,  Estelle  found  that  Mr.  Warner 
had  arranged  everything  from  New  York,  where  he 
had  gone.  Immediately  she  went  on  salary.  It  was, 
however,  the  slack  season  at  the  studios,  that  annual 
lull  following  completion  of  the  year's  schedule. 
Unwilling  to  put  her  in  extra  work,  studio  execu- 
tives wanted  to  reserve  her  for  the  time  when  pro- 
duction should  be  in  full  swing.  But  Estelle  was 
eager  for  actual  exploration  into  this  new-found 
interest.  She  wanted  to  work.  Warner  Brothers 
amiably  agreed  to  let  her  search  elsewhere.  Hear- 
ing of  the  need  for  a  leading  lady  at  the  Educational 
studio,  she  went  after  the  job  and — things  happen- 
ing that  way  to  Estelle — got  it. 

Continued  on  page  96 


22 


Pet,  Pet,  Who's 

Loves  may  come  and  loves  may  go,  but  these  pets 
they  haven't  the  intelligence  to 


Laura  La  Plantc,  left 
with  her  South  Ameri- 
can cockatoo,  Senor. 


Barbara  Kent,  right, 
enjoys  the  company  of 
her  pretty  white  rabbit. 


23 


24 


Who  Will  Be 


Knowledge  of  the  future  may  be  culled  from  knowl- 
edge of  the  past,  which  is  the  purpose  of  this  story 
about  present-day  stars  when  they  were  compara- 
tively unknown  in  1918. 


Left  to  right:   Mary  Philbin, 
Conrad    Veidt,    Gary  Cooper, 
Richard  Arlen,  Monte  Blue,  and 
John  Gilbert. 


THIS  is  a  scientific  treatise  on  the 
stars  of  1938.  It  has  nothing 
whatever  to  do  with  clairvoyance, 
numerology,  soothsaying,  astrology,  or 
fortune-telling. 

Don't  laugh,  this  is  serious.  If  you 
want  to  know  something  about  screen 
favorites  of  a  decade  hence,  keep  on  read- 
ing. The  author  claims  no  direct  com- 
munication with  the  spirit  world,  or  other 
supernatural  aids,  in  getting  together  this 
information.  It's  all  based  on  hard,  con- 
crete logic.  Now,  to  go  on  with  the 
story. 

Here's  how  it  is :  Knowledge  of  the 
future  comes  from  knowledge  of  the  past. 
So,  if  you  want  to  know  where  the  stars 
of  1938  are,  find  out  where  the  stars  of 
1928  were  ten  years  ago.  It's  likely  that 
those  of  the  future  will  be  gathered  from 
the  same  scattered  sources  and  diverse 
occupations  that  furnished  the  screen 
with  its  present  favorites. 

Let's  take  the  year  1918 — famous  in 
history  for  a  war,  an  armistice,  and  the 
screen  supremacy  of  Theda  Bara,  George 
M.  Cohan,  Gaby  Deslys,  Wallace  Reid, 
Geraldine  Farrar,  William  S.  Hart,  Na- 
zimova,  and  Clara  Kimball  Young.  To  get  the 
era  clear  in  your  mind,  that  was  before  the  first 
cloudburst  of  Hollywood  scandal  and  the  guar- 
dianship of  Will  Hays.  Fatty  Arbuckle  was  on 
location  at  Gabriel  Canyon,  California,  and  Mary 
Miles  Minter  was  an  ingenue.  Kitty  Gordon's 
back  was  getting  as  much  newspaper  space  as  you 
see  these  days  for  Clara  Bow's  red  hair. 


The  stars  of  to-day  were  unheard  of  then. 
They  were  living  in  forty-eight  States  in- 
stead of  one.  and  their  address  was  Main 
Street  instead  of  Beverly  Hills.  And  so  to- 
day, if  you  want  to  know  about  the  stars  of 
1938.  don't  look  in  the  Hollywood  telephone 
book.  Keep  your  eye  on  the  boy  and  girl 
next  door.  They  may  be  celluloid  celebri- 
ties before  they're  ten  years  older. 
•  Now,  for  instance,  in  1918  when  Nancy 
La  Hiff  used  to  prop  up  her  geography 
book,  as  protection  from  the  teacher's  pene- 
trating eye,  and  write  fan  letters  to  Carlyle 
Blackwell,  the  other  kids  little  imagined  that 
some  day  she'd  be  a  star  herself.  Often  her 
new  name,  Nancy  Carroll,  is  displayed  in 
electric  lights  at  the  theater  just  around  the 
corner  from  the  New  York  public  school 
she  attended  a  few  years  ago. 

Another  metropolitan  institution  of  learn- 
ing had  registered  on  its  books  at  that  time 
the  name  of  May  McAvoy.  May  wasn't 
trying  to  put  anything  over  on  her  instruc- 
tors, however.  No,  sir,  she  was  conscientiously 
striving  to  become  a  teacher  herself.  Can  you 
imagine  the  tiny  May  with  a  stern,  disciplinary 
frown  on  her  face,  trying  to  make  a  classroom  of 

dirty  little  boys  behave? 
Ten  years  ago   Clara     You'll    quite    agree,  I 
Bow  was  a  Brooklyn     think,    that    things  are 
schoolgirl.  better  the  way  thev  are. 


25 


St 


ars  in 


By  Virginia  Morris 


Left  to  right:  Mary  Pickford, 
George  Bancroft,  Ronald  Col- 
man,  Adolphe  Menjou,  Wallace 
Beery,  and  May  McAvoy. 


It  was  by  one  of  those  far-fetchecl 
coincidents  that  May  got  into  the  mov- 
ies at  all.  In  1919  she  left  school  early 
one  evening,  and  stopped  at  an  up- 
town studio  to  pick  up  a  girl  friend 
who  had  been  working  there  all  day. 
Clarence  Badger,  the  director,  caught 
sight  of  her  in  the  anteroom  and  of- 
fered her — just  like  that — a  rather  im- 
portant bit  in  Madge  Kennedy's  "A 
Perfect  Lady."  So  that's  how  it  hap- 
pened that  May  sold  her  books  and 
ruler,  and  bought  a  make-up  box. 
And  now  there's  one  less  pretty 
school-teacher  in  New  York  than  there 
might  otherwise  have  been. 

Yes,  quite  a  sizable  percentage  of 
Hollywood's  illustrious  beauties  were 
getting  wrinkles  in  their  foreheads 
from  figuring  out  quadratic  equations. 
Alice  White  was  acquiring  experience 
for  her  role  in  "Show  Girl,"  by  run- 
ning around  bare-legged.  It  wasn't  in 
a  theater,  however,  but  in  a  little  red  schoolhouse, 
somewhere  in  the  rural  districts  of  Virginia. 

Clara  Bow,  too,  was  showing  her  knees  at  that 
time.  Not  in  a  chorus,  or  anything  like  that.  Clara 
was  the  A-l  sprinter  on 
a  Brooklyn  high-school 
team,  putting  it  over  on 
her  rival  runners  by  tak- 


Ruth   Taylor   was  at- 
tending  school,  and 
wearing    pigtails,  ten 
years  ago. 


lessons  from  her  cousin,  Homer 
Baker,  one  of  America's  best-known  cin- 
der-track stars.  Another  pig-tailed  young- 
ster of  the  epoch  was  Ruth  Taylor,  at- 
tending Rose  City  Park  Grammar  School, 
away  out  in  Oregon.  And  down  in  St. 
Louis,  at  the  Mary  Institute  for  girls, 
Patsy  Ruth  Miller's  swift  fingers  were 
knitting  dozens  of  olive-colored  socks  for 
the  soldiers  overseas.  Laura  La  Plante 
was  a  candidate  for  scholastic  honors  at 
the  San  Diego  High  School,  to  say  noth- 
ing of  Mary  Astor,  who  was  one  of  the 
brightest  students  in  the  State  of  Illinois. 

To  see  the  stars  of  the  present  in  their 
schoolgirl  days,  one  would  have  had  to 
take  a  world  cruise  in  1918.    Fay  Wray 
was  storing  up  learning  in  Alberta,  Can- 
ada, where  the  moose  run  wild  and  fan 
magazines  are  hard  to  buy.    Across  the 
big  pond,  Dorothy  Mackaill  was  a  stu- 
dent in  London.    Proceeding  by  way  of 
the  English  Channel,  Lois  Moran  could 
*      have  been  discovered  in  Paris,  studying 
with  a  tutor ;  and  in  far-off  Budapest 
Vilma  Banky  was  pouring  over  the  next 
day's  lessons.    In  Mexico  City  Lupe  Velez  and 
Dolores  del  Rio  were  striving  hard  to  get  a  good 
report  card. 

If  studies  were  the  consuming  interest  of  the 
time  for  the  girls,  it  can  safely  be  said  that  most 
of  the  boys  whose  names  we  associate  to-day  with 
Hollywood  were  helping  in  one  way  or  another 
to  win  the  war.    Ronald  Colman  had  been  in- 


26 


Who  Will  Be  Stars  in  1938? 


Nancy  Carroll  was  studying 
geography  and   writing  fan 
letters  in  1918. 


validecl  back  to  England  following:  wounds  received  at 


Ypres,  and  he  was  cogitating  on  the  possibilities  of  a 
stage  career.  Loop-the-loops  were  being  done  by  Rich- 
ard Arlen  for  king  and  country,  as  a  member  of  Eng- 
land's Royal  Air  Force.  Another  British  soldier  bore 
the  name  of  Victor  McLaglen,  and  very  important  he 
was  as  chief  prpvost  marshal  of  Bagdad. 

As  hard-boiled  a  captain  as  a  rookie  could  dread  was 
Adolphe  Menjou,  who  did  not  pursue  the  polite  tactics 
of  a  Lubitsch  drawing-room  when  he  wore  his  United 
States  uniform.  And  can  you  picture  Fred  Thomson 
as  an  army  chaplain?  Well,  he  was.  Yes,  even  Rin- 
Tin-Tin  was  doing  his  bit  for  the  wounded  in  the 
trenches,  as  a  Red  Cross  dog.  Some  notable  stars  were 
also  to  be  found  on  the  other  side  of  No  Man's  Land. 
There  was  Conrad  Veidt,  for  instance,  wearing  the 
green  uniform  and  spiked  helmet  of  imperial  Germany. 
And  Michael  Curtiz,  now  a  distinguished  director,  was 
serving  in  the  Austrian  forces. 

On  this  shore  of  the  Atlantic  were  patriots,  too.    S.  L. 
Rothafel,  whose  fame  was  later  to  be  carried  to_  mil- 
lions when  he  became  "Roxy"  to  the  then-nonexistent 
radio  audience,  was  in  1918  producing  propa- 
ganda pictures  for  the  United  States  govern- 
ment, in  an  improvised  studio  in  Florida.  If 
you  saw  Buster  Keaton's  picture,  "Steamboat 
Bill,  Jr.,"  you'll  be  interested  to  know  that  its 
director,  Charles  F.  Reisner,  was  the  composer 
of  many  popular  war  dit- 
ties, among  them  "Good-by 
Broadway.  Hello  France." 

Looking  backward  ten 
years,  we  naturally  see  that 
a  great  number  of  present 
celebrities  were  already  in 
the  movies,  but  they  were 
far  from  celebrities  at  that 
time,  Wallace  Beery  was  a 
Sennett  comedian,  longing 
in  vain  to  be  a  dramatic  ac- 
tor.   John  Gilbert  was  di- 


Laura  La  Plante  was 
a  candidate  for  honors 
at  the  San"  Diego  High 
School  in  1918. 


recting  for  Fox  at  a  very  small  salary.  He  shared  a  hall  bedroom 
in  New  York  with  Rowland  V.  Lee,  and  was  trying  his  darnedest  to 
edge  his  pal  into  a  job,  any  kind,  on  the  Fox  lot  in  New  Jersey. 
Little  did  they  dream  that  heroing  would  be  the  eventual  vocation 
of  the  handsome  John,  and  that  Rowland  V.  Lee  would  direct  some 
of  Pola  Negri's  best  pictures.  Jean  Hersholt  was  another  actor  who 
was  then  manipulating  a  megaphone.  American  Lifeograph  Com- 
pany of  Portland,  Oregon,  had  his  name  on  their  payroll  before 
they  passed  out  of  the  film  picture. 

Things  were  indeed  different  in  1918.  Charlie  Chaplin's  art  was 
only  partially  discovered.  His  line  was  still  two-reel  comedies,,  his 
best-known  release  of  that  year  being  "A  Dog's  Life."  Syd  Chaplin, 
incidentally,  unaware  of  his  own  comic  abilities,  was  his  brother's 
manager  and  attended  to  all  business  details.  Lon  Chaney  was  an- 
other unappreciated  artist.  He  only  had  one  face  and  was  hoping 
against  hope  that  it  would  win  him  the  role  he  coveted  in  "The 
Miracle  Man."  We  know  that  it  did,  and  that  it  led  to  a  fortune 
and  999  disguises. 

The  outlook  wasn't  what  it  is  to-day  by  any  means.  Think  of 
Monte  Blue  playing  a  bit  in  "Tarzan  of  the  Apes,"  when  he  was 
capable  of  a  performance  like  his  in  "White  Shadows  in  the  South 

Seas" !  Think  of  Raymond  Hatton  doing 
heavy  dramatics  in  pictures  like  "The  Whis- 
pering Chorus,"  when  he  could  just  as  well 
make  us  laugh  as  cry ! 

Of  course  Doug  and  Mary  were  in  the  lime- 
light then,  to  a  certain  extent,  but  not  as  Hollywood's  most 
distinguished  couple.  Their  romance  was  just  budding 
when  Mary  was  making  "Amarilly  of  Clothesline  Alley," 
and  Doug  was  about  to  begin  work  on  "He  Comes  Up 
Smiling,"  his  last  picture  for  Famous  Players.  An  in- 
teresting side  light  on  that  was  the  fact  that  the  whole 
world  stood  aghast  when  Famous  paid  the  unheard-of 
sum  of  ten  thousand  dollars  for  the  screen  rights  to  the 
stage  play.  Many  of  Doug's  pictures  up  to  that  time 
had  been  the  work  of  an  almost  unknown  writer  named 
Anita  Loos,  who  received  all  her  early  training  as  a 
scenario  writer.  But  that  was  long  years  before  the  lucra- 
tive hunch  that  inspired  "Gentlemen  Prefer  Blondes." 

Speaking  of  big  stars,  take  a  look  back  at  Harold 
Lloyd  working  in  one-reel  comedies  for  Hal  Roach. 
Imagine  it,  if  you  can.  And  he  was  just  as  funny  then 
as  he  is  to-day. 

And  take  that  comedy  queen,  Louise  Fazenda,  who  is 
way  up  in  the  big-money  class  to-day,  and  only  appears 
in  features  of  the  outstanding  variety.  At  that  time  she 
was  only  doing  tumbles  for  Mack  Sennett,  but  the  public 
was  noticing  her,  for  the  pigtails  and  the  ungainly  dress 
she  wore  made  them  laugh  the  minute  she  ap- 
peared. 

The  stage  was  claiming  several  well  knowns 
then,  who  since  have  given  the  footlights  a 
stand-up  in  favor  of  the  Kleigs.    Conrad  Na- 
gel  was  among  them.    He  was  making  stage 
love    to    Alice    Brady  in 


"Forever  After."  George 
Bancroft  was  on  Broadway 
the  same  season  in  "The 
Trail  of  the  Lonesome 
Pine,"  and  the  hit  of  the 
year  on  New  York's  main 
stem  was  the  lavish  stage 
production  of  "Peter  Ibbet- 
son,"  in  which  John  Barry- 
more  appeared. 

Hollywood  must  have 
been  a  drab  place  indeed. 
Even  Elinor  Glyn  hadn't 
arrived  with  her  "It."  That 
season  she  supervised  the 
making  of  the  first  picture 
Continued  on  page  116 


27 


Xhe  Best  Foot  Forward 


May  be  good  policy  in  business,  but  the  camera  will  have 

none  of  it. 


If  we  were  not  so  polite,  we  might 
have  some  cryptic  things  to  say  about 
"the   Great   Dane's   dogs,"  featured 
above. 

Eddie  Nugent,  below,  had  better  stick 
to  a  bic3xle.  A  foot  like  his,  once  on 
an  auto's  accelerator,  would  land  him 
in  eternity. 


Lane  Chandler,  above,  appears  to 
be  in  an  awful  shape,  but  it's  not: 
permanent,   so   he  can  afford  to 
smile. 

If  Flash,  left,  were  Greta  Garbo 
■ — there    would    be    a    big  noise 
around    the    Metro-Goldwyn  lot 
when  this  picture  appeared. 

A  modernistic   angle  on  Johnny 
Mack  Brown,  below,  formerly  a 
varsity  football  man. 


28 


by  Bachrach 


Gloria  Swanson's  voice 
will  be  heard  in  the 
dialogue  sequences  of 
"Queen  Kelly." 


THERE  simply 
isn't  any 


there  ?" 
marked 
cal  way, 
gled  to 


around, 


one 
is 
re- 


her  illogi- 


Fanny 


through 


as  she  strug- 
force  herself 
the  crowd  at 
the  door  of  Mont- 
martre. 

"Oh,  well,  you 
won't  see  any  film 
people  at  large  until 
they  have  read  their 
hook,"  she  went  on, 
settling  herself  com- 
fortably in  a  corner 
from  which  she  could 
get  a  good  view  of 
the  whole  restaurant. 
"Every  one  is  reading 
Carl  Van  Vechten's 
'Spider  Boy,'  and  then 
going  back  to  read  it 
over  again  to  see  if  by 
any  of  their  friends  in 


fjhe  Iby&iander 


evening's  entertainment  I've  had  in  a  long  time.  The  author 
doesn't  try  to  muckrake,  or  preach,  or  get  unduly  critical ;  he 
just  shows  you  film  people  in  all  their  lovable  foolishness. 
One  of  the  dealers  out  here  told  me  he  had  sold  more  copies 
of  'Spider  Boy'  than  of  any  other  book." 

I  knew  that  sound  pictures  sooner  or  later  would  drive 
even  Fanny  to  staying  home  and  reading. 

"So  many  things  have  happened  lately,"  Fanny  rattled  on, 
I've  hardly  had  time  to  think.  Do  you  realize  that  at  last  we 
have  the  real  film  aristocracy  all  mapped  out  ?  Not  the  aris- 
tocracy of  talent  " 

As  she  paused  for  breath,  I  reminded  her  that  that,  after 
all,  should  be  the  only  one  that  matters.  But  she  went  right 
on,  nevertheless. 

" — But  the  social  aristocracy.  Prince  George  of  England 
was  here  for  two  days,  you  know,  and  from  now  on  the  people 
who  weren't  invited  to  meet  him  will  have  to  be  given  second 
place  on  the  social  map,  if  not  pushed  off  altogether." 

"Who  were  they?"  I  asked,  just  as  though  social  distinc- 
tions meant  something  in  my  life. 

"Mary  Pickford  and  Douglas  Fairbanks,  of  course,"  Fanny 
told  me.  "They  were  his  hosts  at  dinner.  And  Charlie  Chap- 
lin. The  others  invited  to  dine  with  him  were  Greta  Garbo  and 
Gloria  Swanson — and  what  prince  wouldn't  take  them  as  his 
first  choice  ? — Claire  Windsor,  Jack  Gilbert,  Jetta  Goudal,  and 

Lily   Damita.  The 


Photo  by  Ball 

Marie  Prevost 


any  chance  they  can  recognize 
the  characters.  The  trouble  is 
you  can  recognize  practically  any  one  you  know  in  any 
of  the  characters,  and  yet  Van  Vechten  hasn't  obviously 
patterned  them  after  particular  individuals.  I'll  go  on 
record  right  now  as  saying  the  book 


gave  me  the  best 


ones  invited  to  drop 
in  after  dinner  were 
Billie  Dove  and  her 
husband,  Irvin  Wil- 
lat,  Lupe  Velez,  Bes- 
sie Love,  Mary  As- 
tor  and  Kenneth 
Hawks,  Dorothy 
Gulliver,  Tom  Mix, 
Norma  Shearer  and 
Irving  Thalberg, 
June  Collyer,  Ralph 
Forbes,  Ronald  Col- 
man,  and  Walter 
Byron. 

"Of  course,  Mar- 
ion Davies  w  o  u  1  d 
have  been  invited  if 
she  had  been  in 
town,  but  she  was 
busy  over  in  Europe 
traipsing  around  and 
being"  decorated  by 
one  government  and 
another. 

"Late  in  the  eve- 
ning the  prince  gath- 
ered a  favored  few 
around  him — it 
didn't  take  him  long,  did  it,  to  learn  Hollywood  customs? 
— and  went  out  to  the  Plantation  Cafe,  where  Roscoe 
Arbuckle  is  master  of  ceremonies.  June  Collyer  and 
Gloria  Swanson  were  in  the  party.  They  also  joined  the 
prince  next  day  when  he  went  to  visit  the  Fox  studio. 
"Of  course,  the  whole  visit  was  sfirouded  in  the  strict- 


is  making  a  Mormon  picture  in  Salt  Lake  City. 


29 


Fanny  the  Fan  recounts  how 
the  usual  turmoil  of  Holly- 
wood was  augmented  by  air 
meets  and  the  visit  of  a 
prince. 

est  secrecy.  Not  more  than  half  the  popula- 
tion of  southern  California  was  hanging 
around  the  Ambassador  Hotel,  when  he  drove 
out  of  there  in  a  roadster  with  June  Collyer. 
Newspaper  reporters  and  photographers  were 
discouraged,  but  they  wouldn't  be  downed. 
And  one  young  ruffian  did  succeed  in  getting 
a  picture  of  the  prince  and  June  as  they  came 
out  of  the  hotel.  Unpleasant  as  it  may  have 
been  for  the  prince  to  be  followed  around, 
June  just  isn't  human  if  she  isn't  glad  that 
American  photographers  are  rude  fellows. 

"Lindbergh  had  invited  the  prince  to  fly 
with  him,  but  no  one  will  ever  know  whether 
he  really  did  or  not,  because  he  had  promised 
papa  and  mamma  over  in  England  that  he 
wouldn't." 

Fanny  hardly  stopped  to  catch  her  breath 
before  she  launched  forth  again. 

"Imagine  there  being  any  one  here  who 
overshadowed  Lindbergh  for  a  day  or  two! 
The  studios  must  have  been  practically  de- 
serted for  days,  because  every  one  you  have 
ever  seen  in  pictures  was  down  at  the  flying 
meet  when  Lindbergh  flew. 

.  "A  lot  of  the  stunt  men  from  pictures  gave  exhibi- 
tions   Al  Wilson  was  the  star,  of  course,  as  he  always 
is.   Now  people  can't  say  that  it  is  all  trick  photography 
and    that    they  don't 
really  do  those  things 
in  pictures,  because  Al 
Wilson    showed  them 
how  he  does  a  lot  of 
hair-raising  stunts. 

.  "Poor  Ben  Lyon 
couldn't  be  there  to 
prove  to  the  public  that 
he  really  does  pilot 
plane.  He  was  off  in 
Salt  Lake  City  making 
a  picture. 

"Every    once  in 
while   somebody  in 
town  remote  from  Hol- 
lywood gets  the  urge  to 
sink  a  fortune  in  build- 
ing a  studio  and  mak- 
ing pictures.    This  Salt 
Lake  City  crowd  is  do- 
ing it  on  a  really 
grand  scale. 
They   not  only 


PJioto  by  Chidnott 


Sally  O'Neil  once 
more  postponed 
her  trip  to  Eu- 
rope. 

Photo  by  Louise 


high 


for 


bid 

Ben's  services 
they  drafted 
Marie  Prevost 
and  Anders  Randolf,  too. 
They  are  making  a  histori- 
cal Mormon  picture  called 
'The  Exodus  to  the  New 
World.'    I  can't  figure  out 


Sound  pictures  will  make  doubly  worth 
while  the  voice  culture  Ruth  Roland  has 
been  indulging  in  for  years. 

how  it  can  be  concerned  with  polygamy, 
when  Marie  is  playing  -the  lead.  It 
wouldn't  be  reasonable,  even  in  a  pic- 
ture, to  suppose  that  a  man  would  have 
another  wife  if  he  had  Marie." 

Fanny  is  certainly  an  incurable  op- 
timist when  she  expects  pictures  to  be 
reasonable. 

"Even  in  Salt  Lake  Cit}^  they  have 
the  Hollywood  idea  of  making  pictures. 
Practically  every  one  concerned  in  the 
film  is  related  to  the  man  who  is  pro- 
ducing the  picture.  His  son-in-law  is 
the  director,  the  director's  wife  is  the 
ingenue,  and  there  is  an  assorted  lot  of 
cousins  and  nephews  acting  as  property 
men,  assistants,  and  general  helpers." 

I  could  hardly  believe  that  any  one 
would  take  precedence  in  Fanny's  mind 
over  Texas  Guinan.  Well,  it  only  goes 
to  show  what  one  glimpse  of  royalty 
will  do  to  a  person's  composure.  I  re- 
minded her  of  Texas. 

"I  feel  pretty  bad  about  the  way  Cali- 
fornia has  treated  Texas.     The  film 
colony  has  given  her  rather  a  cold  shoul- 
der.   When  they  go  East,  stars  go  to 
her  night  club  and  are  delighted  to  be 
given  a  noisy  welcome,  but  they  haven't 
even  painted  'Welcome'  on  their  door  mats 
for  her  out  here.    There  was  a  luncheon  at, 
Montmartre  for  her,  she  acted  as  hostess 
out  at  the  Cotton  Club,  and  James  Hall  and 


30 


Over  the  Teacups 


Anna  Q.  Nilsson  is  the  sort  of  invalid  who  takes 

airplane  trips.  £ 

Merna  Kennedy  gave  a  dinner  party  for  her  at  the 
Ambassador.    But  that  isn't  like  being  taken  into  \ 
people's  homes !    Texas  will  probably  be  pretty 
glad  to  trek  back  to  New  York  when  she  finishes    \  j§ 
her  one  picture  for  Warner's. 

"Oh,  well,  the  celebrities  who  come  out  here  now 
won't  get  the  rousing  welcome  New  York  favorites 
used  to  get.    There  are  too  many  of  them.    And  § 
with  talking  films  dragging  out  all  the  old  stagers,  even  the  I 
ones  who  have  to  be  dusted  off  and  carried  in  are  apt  to 
give  strenuous  competition  to  the  young  and  pretty  boys 
and  girls. 

"This  is  a  changing  world  we're  living  in,"  Fanny  an- 
nounced with  undue  solemnity.  "Really,  the  picture  busi- 
ness is  getting  so  complicated,  you  never  can  tell  what 
may  happen.  Once  upon  a  time  you  could  feel  fairly  sure 
that  certain  players  would  make  sweet,  happy  and  guile-  ' 
less  pictures,  and  others  would  lie  on  tiger  skins  and  lure. 
But  now  you  never  know  what  to  expect.  The  voice  of 
an  exquisite  and  wistful  creature  may  sound  like  a  foghorn 
from  the  screen,  and  change  your  whole  idea  of  her. 

"Of  course,  it  is  still  possible  to  see  silent  pictures,  and  I 
am  seeing  all  I  can.  I  saw  'Excess  Baggage'  and  loved  it. 
In  fact,  I  wanted  to  stand  up  in  the  theater  and  shout,  'Atta 
Eddie !'  during  the  big  scene,  for  fear  the 
leading  woman  wouldn't  do  it. 

"I  saw  Phyllis  Haver,  in  'Sal  of  Singa- 
pore,' the  other  day.  That  hasn't  been  re- 
leased  yet.     It's   great   entertainment — so 


Ruth  Elder's 
nightly  prayers 
are  for  another 
engagement  i  n 
pictures. 


good  that  you  feel  like  choking  Phyllis  Haver 
for  having  her  lips  made  up  in  a  rigid,  dark 
line,  when  she  is  supposed  to  have  been  sitting 
for  hours  agonizing  over  a  sick  baby. 

"Phyllis  may  go  with  Metro-Goldwyn,  now 
that  Cecil  DeMille  is  making  pictures  there. 
He  holds  her  under  a  personal  contract,  and 
certainly  he'll  have  a  hard  time  finding  any  one 
else  as  beautiful  or  as  clever. 

"Now  that  talking  pictures  are  the  sensa- 
tion of  the  studios,  there  are  apt  to  be  a  lot  of 
changes.  Bessie  Love,  groomed  for  them  by 
all  her  weeks  in  Fanchon  and  Marco  pro- 
logues, has  signed  with  M.-G.-M.  to  play  in 
The  Broken  Melody.'  Louise  Dresser  has  a 
marvelous  new  contract  with  Fox.  Pauline 
Frederick  is  going  to  do  talkies  for  Warner's, 
and  Jeanne  Eagels  for  Paramount.  Lila  Lee 
is  just  making  her  first  talking  picture  for 
Warner's,  and  she  is  so  thrilled  she  looks  like 
a  joyous  kid  of  sixteen.  Madeline  Hurlock 
was  pretty  bored  with  pictures  for  a  while,  but 
she  has  made  a  sound  film  for  Fox  and  now 
she  is  as  excited  as  a  debutante. 

"As  usual,  a  lot  of  girls  are  rushing  to  make 
stage  appearances.    That's  one  of  the  most 
conspicuous  and  successful  ways  of  calling 
their  talent  to  the  attention  of  picture  pro- 
ducers.   Virginia  V alii,  Pauline  Garon,  and 
Duane  Thompson  are  all  to  be  in  a  production 
of  'Tarnish'  at  the  Hollywood 
Music  Box.    Lois  Wilson  and 
Leatrice  Joy  both  made  such  an 
impression  on  the  stage,  that  they 
received  offers  to  go  to  New- 
York.     But   that   wasn't  what 
they  really  wanted ! 

"Gloria  Swanson  hesi- 
tated a  long  time,  and 
made  exhaustive  voice 
tests,  before  she  decided 
to  do  part  of  her  new  pic- 
ture in  dialogue.  When 
'Queen  Kelly'  comes  out, 
it  will  be  the  very  first 
time  the  public  will  have 
heard  her  voice.  She  has 
never  been  on  the  stage 
and  she  has  never  made 
personal  appearances,  or 
been  the  guest  of  honor 
at  night  clubs. 

"Zasu  Pitts  is  thrilled 
to  death,  because  she  is 
to  be  in  Gloria's  picture. 
Partly  because  she  will 
have  a  chance  to  play  a 
wicked  woman,  instead 
of  one  who  sits  at  home 
and  languishes.  And 
partly  because  it  gives 
her  an  opportunity  to 
work  with  Von  Stroheim 
again." 

The  restaurant  was  jammed  with 
people  now,  and  still  there  were 
few  celebrities  in  sight.  I  ven- 
tured that  they  must  be  working — 
horrible  thought. 

"Oh.  there's  a  lot  of  activity  in 
the  studios  now."  Fanny  reported. 
"Practically  everybody  has  gone 


Over  the  Teacups 


31 


back  to  work.  With  many  regrets,  Janet  Gaynor 
has  torn  herself  away  from  the  beach  and  reported 
to  the  Fox  studio.  Her  lucky  star  is  still  hanging- 
over  her,  for  William  K.  Howard  is  to  direct  her 
next  picture.  Janet's  voice  gets  all  whispery  with 
awe  when  she  speaks  of  it.  She  can't  help  making 
a  good  picture,  when  she  has  such  sublime  con- 
fidence in  a  director. 

"Colleen  Moore  has  come  back  at  last  from  a 
yachting  trip  that  took  her  way  down  the  coast  of 
Mexico.  She  starts  work  in  a  few  days  on  'Syn- 
thetic Sin.'  I  feel  for  that  poor  girl,  when  I  think 
of  how  many  people  are  apt  to  say,  'What?  Are 
you  making  synthetic  gin?  But  what  are  you  doing 
in  pictures?'  But  Colleen  will  laugh  each  time  as 
though  she  had  never  heard  it  before.  Some  one 
ought  to  decorate  her  for  having  an  angelic  dis- 
position. 

"Eleanor  Boardman  isn't  under  contract  to  M.- 
G.-M.  any  more,  and  her  very  first  free-lance  job 
is  the  lead  in  'She  Goes  to  War,'  a  big  special  that 
Henry  King-  is  making  for  United  Artists.  She 
has  had  such  a  marvelous  vacation,  that  it  is  going 
to  be  hard  for  her  to  tear  herself  away  from  the 
baby  and  go  to  work.  But  vacations  end,  even  for 
stars. 

"Marian  Nixon  is  to  play  the  title  role  in 
'Geraldine'  for  Pathe,  and  even  Raoul  Walsh  is 
donning  make-up,  to  play  in  'Flower  of  Lies,'  and 
he  will  direct  it,  too.  He's  taking  to  acting  again, 
by  public  demand.  I  hate  to 
boast  about  my  influence  on 
the  industry,  but  if  you  only 
knew  how  many  fan  letters  I 
wrote  to  Fox  about  him,  you 
would  give  me  all  the  credit. 
I  wrote  so  many  letters  that 
I  had  practically  exhausted 
the  names  in  the  telephone 
book,  and  was  about  to  start- 
copying  names  from  monu- 
ments. Think  how  impres- 
sive it  would  be  for  a  picture 
company  to  get  a  letter 
signed  'Benjamin  Franklin,' 
or  'Kosciusko' ! 

■  "I  don't  know  what  Fay 
Wray  plans  to  do  with  her 
spare  time.    She  is  assigned 
by  Paramount  to  three  pic- 
tures at  the  moment — 'Four 
Feathers,'  'The  Wolf  of  Wall  Street,'  and 
'The  Haunting  Melody.'   Some  one  at  that 
studio  must  enjoy  seeing  her  more  than  I 
do. 

"For  weeks  Sally  O'Neil  has  been  trying 
to  get  away  for  a  vacation  in  Europe.  She 
had  promised  herself  a  trip  as  soon  as  she 
finished  'Applause'  for  Tiffany-Stahl,  but 
F.  B.  O.  came  along  with  an  attractive 
offer,  and  Sally  just  couldn't  resist  making 

it 


Photo  by  Richee 

At  last  Zasu  Pitts  is  to  play  a  wicked 
woman  instead  of  a  neglected  one. 


one  more  before  leaving.    After  all, 
would  mean  quite  a  few  additional  Paris 
frocks.    Do  you  suppose  Sally  will  ever  go 
back  to  those  high-belted  Hollywood  styles,  after  she 
has  seen  herself  in  a  real  Paris  frock?" 

I  really  couldn't  tell  where  Sally's  sartorial  taste 
Avould  lead  her.  But  no  matter.  Fanny's  attention  had 
leaped  to  something  else. 

"Over  at  the  Paramount  studio  they  have  a  new  ex- 
planatory title  for  'Interference.'  They  call  it  'Inter- 
ference, or  the  Life  of  a  Supervisor.'    And  they  have 


Photo  by  Chiclnoff 

Janet  Gaynor's 
luck  is  still  with 
her,  for  she  is 
to  be  directed 
by  William  K. 
Howard. 


nicknamed  their  sound  stage  'The 
Speakeasy.'  There  is  a  lot  of  good 
humor  in  that  studio  which  doesn't 
get  into  its  pictures. 

"Incidentally,  Paramount  is  trying 
to  get  Aimee  McPherson  to  make  a 
sound  picture  for  them.    I  don't  care 
for  preaching  in  pictures,  but  I  would 
go  to  see  her.    She  has  a  tremen- 
dously magnetic  personality. 
"They  are  trying  all  sorts  of  experiments 
at  Paramount.    They  are  making  Richard 
Dix's  'Redskin'  in  natural  colors,  and  are 
having  a  terrible  time  finding  a  leading 
woman  who  looks  like  an  Indian,  without 
make-up.    They  have  made  tests  of  nearly 
two  hundred  girls,  and  the  tragic  part  of 
that  is  that  film  costs  thirty-six  cents  a  foot. 
And  a  test  of  less  than  a  hundred  feet 
doesn't  do  any  one  justice." 

"If  you're  beginning  to  worry  about  the 
expenses  of  a  company  that  has  millions, 
I'm  leaving,"  I  threatened. 
All  that  Fanny  had  to  do  to  hold  me  was  to  mention 
Anna  O.  Nilsson,  and  she  knew  it.  Anna  has  been 
confined  to  her  home  ever  since  her  accident  three  months 
ago,  when  she  was  thrown  from  a  horse,  and  all  her 
friends  have  been  terribly  anxious  about  her. 

"Don't  lose  any  sleep  over  Anna  O.,"  Fanny  coun- 
seled.   "She  is  the  sort  of  invalid  who  dashes  off  to 
Continued  on  page  116 


32 


T  k 


a 


s  t 


r  o 


1 1 


e  r 


The  roving  satirist  of  Hollywood  indulges  in  his  monthly  confidences. 


By  Carroll  Graham 


ILLUSTRATIONS     BY     LUI  TRUGO 


FOR  some  months  I  have  been  doggedly,  but  not 
altogether  successfully,  avoiding  any  reference  to 
•the  talking-picture  scourge  as  subject  matter  for 
this  monthly  voice  from  the  wilderness. 

But  something  must  be  done  about  it  now,  and  if  you 
think  the  talkies  are  not  a  scourge  you  should  come  to 
Hollywood  and  find  out  for  yourself. 

Out  here  they  talk  about  it,  dream  about  it,  and  worry 
about  it.  Some  of  the  folks  are  actually  thinking  about 
it,  which  goes  to  show  just  how  excited  Hollywood  really 
can  become. 

Actors  possessed  of  hare  lips,  nondescript  voices,  or 
a  tendency  toward  stuttering  have  assumed  a  furtive  air. 
They  wake  with  a  start  in  the  dead  of  night  and  place  a 
fresh  altar  candle  before  Will  Hays'  picture.  Their 
brother  actors,  who  pride  themselves  on  their  booming 
voices,  are  wearing  the  familiar  expression  of  a  cat  that 
has  just  emerged  from  the  canary's  cage,  and  are  making 
it  a  point  to  drop  into  the  Rolls-Royce  agency  every  few 
days  to  see  if  any  new  models  have  come  in. 

Scenario  writers,  who  have  already  done  some  work 
on  the  talking  pictures,  are  careful  to  reveal  this  fact  to 
all  listeners,  and  those  who  haven't  are  equally  as  care- 
ful to  remark  that  they  are  "considering  offers"  to  do  so. 

Those  scenarists — and  don't  think  there  are  not  such 
— who  somehow  neglected  ever  to 
ascertain  the  essential  difference  be- 
tween an  adverb  and  a  semicolon 
are  loudly  scoffing  at  the  idea  that 
pictures  will  ever  take  generally  to 
spoken  dialogue.  Meanwhile  they 
are  wondering  if  there  really  is  any 
money  in  selling  Los  Angeles  real 
estate. 

Instructors  of  elocution,  voice 
culture,  and  public  speaking  are 
leaping  off  every  inbound  train,  un- 
til the  place  looks  like  Dawson  dur- 
ing the  famous  gold  rush.  There 
are  now  more  schools  to  train  the 
voice  for  talking  pictures  than  there 
are  people  who  have  voices. 

And  already  the  sound  devices 
have  provided  directors  and  super- 
visors with  a  brand  new  alibi,  the 
use  of  which  has  almost  attained 
epic  proportions.     Whenever  any 
new  production  bears  the  unmistak- 
able brand   of   Armour  & 
Company,  the  alibi  springs  to 
the  lip  of  every  one  con- 
nected with  it. 

"Yes,  I  know — but  wait 
until  you  see  it  with  sound." 


The  hero  in  adver- 
tisements kisses  the 
heroine  at  the  same 
time  he  slays  the  un- 
seen enemy. 


You  can't  answer  that — at  least  not  until  you  do  see 
it  with  sound.  And  even  then  you  can't  answer  it,  ap- 
parently, however  bad  the  sound  effects  may  be,  for  the 
public  flocks  to  see  the  pictures  talk,  as  it  once  did  to 
see  them  move. 

Sid  Grauman  seems  to  be  one  of  the  main  sufferers 
from  the  sound  mania.  He  had  hardly  finished  his  beau- 
tiful and  expensive  Chinese  Theater,  when  the  talking 
menace  burst  upon  Hollywood.  As  a  consequence,  stu- 
dios are  not  making  the  sort  of  big  productions  that  have 
made  Grauman's  theaters  famous.  He  has  been  forced 
in  self-defense  to  install  sound  machinery  in  the  theater, 
and  is  now  showing  "White  Shadows  in  the  South  Seas," 
although  it  hardly  ranks  with  his  presentations  of  the 
past. 

I  confess  that  I  don't  like  talking  pictures,  and  I  wish 
the  man  who  started  all  this,  by  inventing  the  synchroni- 
zation processes,  had  thrown  his  discoveries  into  the  bay. 
To  date,  however,  the  producers  have  not  considered  my 
wishes  in  the  slightest,  which  I  feel  is  hardly  cricket,  as 
we  say  at  Universal  City. 

"The  Racket"  is  a  swell  picture,  and  I  recommend 
it  highly,  if  that  recommendation  means  anything.  It 
isn't  a  sound  picture,  either,  which  also  helps. 

It  has  policemen  who  look 
like  policemen,  reporters 
who  look  like  reporters,  and, 
crooks  who  look  like  crooks. 
Moreover,  the  policemen  act 
like  coppers,  and  not  like 
Knights  of  the  Round  Ta- 
ble; the  reporters  are  not 
handsome  young  men  who 
solve  the  mystery  that  is 
baffling  Scotland  Yard,  and 
the  crooks  perform  as  Chi- 
cago dispatches  indicate 
All  of  which  is  an  excellent  demon- 
stration of  what  a  good  director  can  do  when 
he  is  not  harassed  by  a  supervisor. 

Lewis  Milestone  directed  it,  and,  I  am  told, 
was  given  highly  valuable  assistance  by  the  pro- 
ducer, Howard  Hughes,  in  that  he  let  him  alone. 
The  tale  goes  in  Hollywood  that  the  only  super- 
vision Hughes  offered  was  when  Milestone  was 
filming  almost  the  final  scene  in  the  picture, 
wherein  the  cabaret  girl  and  the  young  reporter 
part — they  do  not  clinch,  by  the  way.  Hughes, 
seeing  the  scene  made,  was  appalled  at  the  idea 
that  they  should  part  without  coming  to  grips. 

"They  meet  again  outside  for  the  clinch," 
Milestone  explained,  soothingly.  "We  shot  that 
yesterday." 


The  Stroller 


33 


Hughes,  mollified,  departed  and  Milestone  fin- 
ished his  picture  the  way  it  should  have  been 
finished. 

Whether  this  tale  is  accurate  I  know  not.  Any- 
way, it  proves  what  I  have  always  contended 
about  supervisors. 

Whatever  the  motives  of  Leatrice  Joy  may 
have  been  for  appearing  on  the  stage  opposite 
Edward  Everett  Horton  in  "Clarence" — I  under- 
stand it  is  her  first  time  on  the  stage — she  proved 
herself  a  very  able  performer. 

Perhaps  she  may  have  taken  this  effective  means 
of  proving  to  producers  that  she  has  a  splendid 
voice,  with  an  eye  on  our  old  friend,  the  talking 
pictures,  or  she  may  have  done  it  just  for  fun. 

In  any  event  it  seems  quite  the  style  now  for 
successful  screen  players  to  give  the  stage  a  whirl 
in  Hollywood.  Lois  Wilson  was  Horton's  lead- 
ing woman  in  several  plays ;  Mae  Busch  starred 
in  a  play  bearing  the  flamboyant  title  of  "From 
Hell  Came  a  Lady" ;  Helen  Ferguson  has  been  in  sev- 
eral stagelproductions ;  Dorothy  Dwan  is  in  "Lombardi, 
Ltd.,"  with  Leo  Carillo ;  Harrison  Ford  is  leading  man 
in  "The  Baby  Cyclone,"  at  a  downtown  theater ;  Henry 
B.  Walthall  recently  starred  in  a  production  of  "Speak- 
easy." 

All  of  which  is  probably  a  bit  distressing  to  legitimate 
stage  performers,  who  are  trying  to  make  a  living  in 
Los  Angeles. 

The  second  annual  "Rumpus  Frolic" — that  couldn't 
possibly  have  been  suggested  by  the  Wampas  Frolic, 
could  it? — is  about  to  take  place,  so  the  morning  paper 
informs  me. 

The  Rumpus  Frolic  is  staged  by  the  Strugglers'  Club, 
an  organization  of  extras,  bit  players,  and  other  obscure 
and  ambitious  folk  in  the  picture  business. 

Last  year  the  first  one  was  held  on  a  stage  in  one  of 
the  studios  in  Poverty  Row  and  took  place,  I  believe,  on 
the  same  night  that  the  Wampas  affair  was  holding  forth 
in  the  Ambassador  auditorium. 

This  year  it  has  moved  up  both  as  to  date  and  location, 
being  held  in  one  of  Hollywood's  largest  ballrooms. 
The  Rumpus  is  given  to  assist  in  raising  funds  for  a 
$100,000  club  house  in  the  movie  center. 

This  same  morning  paper,  incidentally,  shows  a  sur- 
prising lack  of  originality  on  the  part  of  the  men  who 
design  the  advertisements  for  the  motion-picture  theaters. 

On  one  page  I  find  drawings  illustrating  current  pic- 
tures in  which  Gary  Cooper  is  embracing  Colleen  Moore, 
Mary  Philbin  is  clutching  Conrad  Veicit,  Clive  Brook  is 
hugging  Olga  Baclanova  with 
one  hand  and  firing  a  revolver 
at  some  unseen  enemy  with 
the  other;  Janet  Gaynor  ten- 
derly entwining  her  old  run- 
ning mate,  Charles  Farrell. 

Next  thing  you  know,  some 
inspired  young  man  will  think 
of  putting  a  girl's  head  on  a 


"Greater  Movie  Season"  is 
upon  us  again,  or  it  was  when 
I  wrote  this.  Dear,  dear,  how 
time  does  fly.  It  seems  only 
yesterday  that  all  the  world 
was  happy,  because  it  was 
Greater  Movie  Season  in  1927, 
and  here  it  is  back  again. 


What  the  inventor  of 
have  done  with 


There  are  now  more  voice-teachers  in 
Hollywood  than  there  are  voices. 


Whatever  happens  in  Greater  Movie  Season,  except 
for  a  few  flags  strung  across  downtown  streets  and  signs 
in  theater  lobbies,  I  have  never  been  able  to  discover,  de- 
spite a  fairly  intimate  association  with  the  film  industry 
over  a  period  of  years. 

The  only  noticeable  effect  in  the  theaters  is  more 
lavish  stage  and  musical  presentations,  to  bolster  up  the 
pictures  during  this  period  dedicated  to  the  triumph  of 
the  silent  art. 

There  used  to  be  a  parade,  too,  but  this  seems  to  have 
been  abandoned,  as  far  as  Los  Angeles  is  concerned. 
There  has  been  an  astounding  lack  of  disorder  because 
of  this  oversight. 

James  Gruen,  scenario  writer,  cynic  and  wit,  possesses 
a  word  in  his  vocabulary,  the  uses  of  which  are  multi- 
tudinous. He  modestly  avers  that  he  did  not  invent  it, 
giving  due  credit  to  an  unnamed  friend. 

The  word  is  "futhum,"  and  its  wide  variety  of  uses 
lies  in  the  fact  that  it  doesn't  mean  anything.  Conse- 
quently, James  uses  it  to  fill  a  certain  definite  spot. 

It  was  first  developed,  so  he  says,  by  his  friend  who, 
an  artist  by  trade,  was  attending  an  exhibition  of  mod- 
ernistic paintings,  which  somewhat  annoyed  him. 

He  was  approached  by  a  giddy  woman,  an  avid  fol- 
lower of  such  junk,  who  pointed  to  a  particularly  mean- 
ingless painting,  and  wanted  to  know  if  the  painter 
didn't  think  it  was  "gorgeous." 

"Yes,"  said  the  painter,  eying  it  morosely,  "but  I  don't 
think  it  has  quite  enough  futhum." 

"Futhum"  was  coined  on  inspiration  of  the  moment. 
The  woman  didn't  ask  what  it  meant.    Instead,  she 

looked  nonplused  for  a  moment 
and  said  meekly,  "Oh." 

Flushed  with  success,  the  art- 
ist pointed  to  another  one. 

"Now  that,"  he  declaimed 
oracularly,  "is  practically  all 
futhum.  And  that  one  over 
them  seems  to  have  no  futhum 
whatsoever." 

The  lady  agreed,  and  de- 
parted in  some  confusion  to  try 
the  word  on  some  friends. 

This  has  nothing  in  particu- 
lar to  do  with  the  flickering 
films,  except  that  James  finds 
frequent  use  for  the  word  when 
discoursing  with  those  given  to 
speaking  of  the  movies  in  high- 
flown  language.  [Cont'd  on  page  110] 


synchronization  should 
his  invention. 


34 


He'll  Fool  You  If  He  Can 

The  interviewer,  familiar  with  the  legendary  portrait,  suspects  that  Nils 
Asther  deliberately  attempted  to  baffle  her.    An  amusing  and  subtle  story 

of  an  interesting,  new  personality. 

By  Myrtle  Gebhart 


HAVE  you  ever  tried  interviewing  twins ?  Or  a 
dual  personality? 
For  mental  exercise,  I  strongly  recommend  in- 
terviewing Nils  Asther.  He  gives  you  a  feeling  of  be- 
wilderment. There  are  two  of  him ;  the  Nils  whom  you 
interview,  and  the  Nils  whom  you  know  all  about — just 
as  you  know  all  about  everybody  in  Hollywood,  once  you 
are  a  part,  of  the  colony. 

Perhaps  Nils  is  not  conscious  of  this  dual  impression. 
I  rather  think,  though,  that  he  delights  in  baffling  you. 

Thank  goodness,  however  chameleon  be  his  manner,  his 
looks  can't  change.  There's  something  concrete  and  de- 
pendable. Tall  and  lithe,  yet  sturdy,  a  solitary  figure  strides 
beside  the  sea,  two  Airedales  scampering  beside  him,  bark- 
ing joyously.  That  same  figure  may  be  seen  bowing  over 
the  hand  of  a  lovely  girl,  paying  her  pretty  compliments, 
with  teasing  eyes—driving  his  roadster  like  a 
streak  of  light  through  the  night,  his  face 
wrapped  in  scowls — sitting  opposite  you  on  the 
porch  of  . the  M.-G.-M.  commissary. 

Is  he  handsome?    And  how!    His  hair  is 
dark  and  wavy,  and  his  eyes  reflect  his  thoughts 
far  better  than  his  stumbling  Eng- 
lish.   Indeed,  .were  it  not  for  the 
hints  of  those  eyes,  I  might  actually 
have  believed  all  that  the  Nils  you  A 
interview  would  have  had  me  credit.  ,\- 
He   is   twenty-seven — a   baffling  MBk 
age.   Old  enough  to  be  as  serious  as 
he  pretends  to  be  ;  young  enough  to 
be  enjoying  hugely  his  success  in 
kidding  you. 

His  foreign  fascination  is  cap- 
tivating, as  is  that  perfection  of  at- 
tentiveiiess,  the  accent,  the  sense  of 
humor  ."which  displays  itself  despite 
the  gravity  of  the  interview  Nils. 
The  feminine  population  of  Holly- 
wood is  crazy  about  him.  One  se- 
date and  ordinarily  sane  young  lady 
went  absolutely  haywire  when  she 
pounced  upon  photographs  of  Nils 
on  my  desk. 

The  Nils  you  interview  is  calm 
and  thoughtful,  a  gloomy  figure,  un- 
touched by  the  gayety  of  Holly- 
wood. There  are  things  to  do,  he 
says,  that  give  him  time  to  think — 
horseback  riding,  swimming,  tennis, 
climbing  mountains,  exploring  trails, 
sailing  a  little  sloop,  reading,  or 
musing  idly  over  the  piano. 

When  you  seek  to  get  at  his 
thoughts  of  himself  he  folds  back 
into  his  hem,  and  you  pull  and  pull 
to  get  him  out  of  it.   That  taciturn- 
ity covers  him,  and  tucks  him  in ;  you  have  to 
take  out,  laboriously,  layer  after  layer  in  order 
to  get  at  his  experiences,  his  life,  and  his 
thoughts. 


Though 
Nils  Asther 
had  an  es- 
tablis  he  d 
reputation 
in  Europe, 
his  popular- 
ity in  Amer- 
ica has  only 
just  begun. 


And  then  you  remember  how,  among  a  few  congenial 
friends,  Nils  had  proved  so  entertaining.  You  wonder 
if  he  is  chuckling  behind  the  shutter  of  his  gravity. 

Your  own  eyes  become  linguistic.  Furrowed  brow 
gives  indication  of  his  effort  to  understand  your  remark. 
You  put  what  you  want  to  convey  into  a  glance.  In- 
stantly his  leaps  back.  Ah,  he  has  got  the  thought.  The 
twinkle  that  has  been  creeping  into  his  eyes  jumps  out 
at  you. 

It  is  true  that  he  often  likes  to  be  alone.  For  weeks 
at  a  time  he  does  not  care  to  see  anybody.  He  will  drive 
alone  all  night,  in  restless  gloom.  This  withdrawal, 
at  times,  is  that  moody  need  of  seclusion  which  is  bred 
in  the  Scandinavian. 

I  asked  who  were  his  best  friends. 
"My  dogs,"  he  smiled,  and  stuck  to  the  statement,  de- 
spite my  ha-ha.  "I  have  many  acquaintances.". 
His  faint  smile  that  looked  as  if  it  might  be 
cynical,  grew  broader.  "I  say  'Hal-lo,'  they 
slap  me  on  the  back.  Everywhere  I  know 
many  peoples.  I  do  not  go  to  parties,  though 
— what  you  call  'life'  in  Hollywood.  They  are 
silly.  I  do  not  like  them. 
Peoples  talk  and  do  not  say 
something.  They  talk  so  much 
that  they  have  no  time  to 
think." 

The  smile,  which  I  hadn't 
HSja.     quite  catalogued,  vanished.  He 
"fjjm    gazed  wistfully  over  my  head, 
/     through  the  lot,  on  and  on,- 
W^'      seeking,  perhaps,  the  sea  that 
he  loves  and  that  matches,  in 
its  own  nature,  his  varying' 
moods. 

But  no  friends  ?   He  looked 
so  solemn  and  forsaken  that  I 
wanted  to  believe  him,  against 
the  evidence  that  rushed  to 
mind.     When   he   turns  his" 
European   charm   upon  you, 
with   its   combination  of 
worldly  subtlety  and  its  little- 
boy  pleading,  you,  being  fem- 
inine, almost  agree  with  him. 
How  could  I  commiserate  him,  though, 
when  they  trooped  back,  their  laughing  faces 
as  reminders  of  the  bubbling  gayety  of  Vivian. 
Duncan — that  was  quite  serious  for  a  while — 
the  world-famous  flapper  who  was  quite  mad 
about  him.    The  lovely  lady  star  who  was 
not  blind  to  his  attractions. 

He  is  constantly  in  love,  and  irresistible. 
Plis  courtships  have  finesse.  Even  their  repe- 
tition cannot  dull  their  ardor,  and  there  is  al- 
ways a  delicacy,  a  humble  adoration,  in  his 
affection.  To  Nils,  while  it  lasts,  it  is  all  de- 
vastatingly  genuine.  If  it  only  endured!  But 
there  are  sharp  words,  and  it's  all  over. 

Continued  on  page  119 


35 


Photo  by  Euth  Harriet  Louise 


NILS  ASTHER  is  difficult  to  fathom  in  an  interview,  for  he 
is  alternately  gay  and  reticent,  professes  to  have  no  friends, 
though  his  manner  is  friendliness  itself.  From  these  conflicting  im- 
pressions Myrtle  Gebharthas  written  an  entertaining  story  opposite. 


MARY  BRIAN  is  never  Mary,  Mary,  Quite  Contrary,  for 
she  always  lives  up  to  the  expectations  of  her  admirers  by 
being  the  delightfully  wholesome  and  unassuming  girl  they  have 
watched  grow  up  in  the  years  that  have  followed  her  Wendy. 


37 


Photo  by  Freullch  .  . 

THERE'S. allure  in  those  deep  eyes  of  Margaret  Livingston,  as 
any  number  of  her  victims  on  the  screen  will  tell  you,  but 
really  she's  as  harmless  as  a  kitten,  a  very  lively  and  sleek  one. 
Thus  endeth  our  little  journey  to  the  soul  of  a  star. 


Photo  by  Melbourne  Spurr 

IT  must  be  a  case  of  arrested  development  with  Betty  Bronson, 
for  she  can't  grow  up  into  an  orthodox  movie  actress,  praise  be ! 
She  still  retains  her  shimmering,  elusive  charm.  Now  it  has  taken 
her  to  Europe,  to  play  in  "Peer  Gynt"  for  Ufa. 


39 


Photo  by  W.  V.  Seely 

ONCE  and  forever — one  love  in  a  lifetime.  Either  sentiment 
is  appropriate  for  Mary  Philbin.  Her  life  in  Hollywood 
had  been  devoid  of  excitement  until  she  announced  her  engage- 
ment to  Paul  Kohner.    Then  she  faced  a  storm  of  good  wishes. 


WHEN  the  fans  complain  that  Lane  Chandler  isn't  seen  often 
and  largely  enough  in  Picture  Play,  it  is  time  that  the 
aching  void  were  filled.  Here,  then,  on  a  metaphorical  silver 
salver,  is  the  largest  picture  procurable.    Are  we  forgiven? 


Photo  by  Harold  Dean  Carsey 


EVIDENTLY  the  vogue  for  the  tooth- 
pick silhouette  is  causing  Molly 
O'Day  much  unhappiness,  and  is  a  stum- 
bling block  to  the  continuation  of  her 
career  as  well ;  for,  alas,  like  Little  But- 
tercup, in  "Pinafore,"  she  is  "a  plump 
and  pleasing  person."  But  rumor  says 
she  will  soon  emerge  from  her  retire- 
ment, magically  transformed  into  a  lovely 
wraith. 


ot  her  beauty  and  success,  but  makes  the  interviewer  aware  of  her 
versatile  and  brilliant  mind,  and  her  courageous  frankness. 


43 


Beautiful, 

But— H 


If 


And  being  herself  is  only  one  of  Madge 
Bellamy's   claims   to   keen  individuality. 

B?  William  H.  McKegg 

CAN  a  star  ever  be  herself  in  Hollywood? 
I  know  at  least  one  who  can — and  is. 
The  majority  mold  themselves  to  all 
the  stupid  inanities  of  the  film  Mecca.  Many, 
who  are  thought  to  be  clever,  are  merely  su- 
perficial.   They  possess  no  individuality. 

The  majority  think  they  must  be  seen  at 
premieres.  They  attend  parties  and  gather- 
ings— usually  instigated  by  zealous  press 
agents — not  because  they  always  wish  to,  but 
because  they  are  drawn,  magnetized  by  the  fact 
that  kind-hearted  scribes  will  mention  them. .'- 

The  many  ridiculous. things  stars  do,  because 
they  believe  it  is  for  their  progress,  could  fill 
a  magazine — have,  indeed,  come  near  to  doing 
that  before  now.  Seldom  does  one  come  across 
stars  sufficiently  individual  in  their  remarks  to 
merit  recording  in  print. 

All  this  is  a  rather  roundabout  way  of  get- 
ting to  the  statement,  that  one  of  the  few  stars 
who  is  herself  is  Madge  Bellamy.  She  is  the 
most  captivating  individual  in  filmland's  heter- 
ogeneous fusion  of  all  the  world's  children. 
She  is  a  surprise  to  those  fortunate  enough 
to  know  her.  I  mean  fortunate,  because  she 
does  not  extend  to  every  person  the  benefit  of 
her  conversation  and  her  elusive  personality. 

Many  stars  are  blandly  polite 
when  wishing"  you  elsewhere. 
Madge,  even  at  the  risk  of  being- 
reported  "catty,"  is  never  a  hypo- 
crite. If  she  does  not  like  you, 
she  stands  by  her  opinion.  She 
seldom  goes  to  premieres.  The 
cafes  hardly  ever  see  her,  either. 

I  have  an  idea  that  she  likes 
to  do  two  things  at  once.  The 
strange  thing  is  that  she  is  able, 
in  most  cases,  to  do  so.    She  can 
carry  on  a  brilliant  con- 
versation, and  improve  her 
make-up  at  the  same  time.  ■  /, 
She  can  give   out  lucid 
comments,  which  you  en-  jm 
joy  hearing,  and  play  with 
her  terrier  pup  Wormy 
■ — so   named   because  of 
his  agility  in 
constantly  wrig- 
gling. Madge 
wants  you  to  ob- 
serve one  thing, 
and  before  you 
have  had  an  op- 
portunity, she 
calls  your  atten- 
tion to  another. 


Madge's  servi- 
tude in  blah 
roles  was  unusu- 
ally long. 

Photo  by  Hoover 


Photo  by  Waxman 

This  rare  photograph  of  Madge  Bellamy  expresses  the  tragic 
mood  she  finds  little  use  for  as  a  comedienne. 


She  has  a  sense  of  humor  that  is  difficult  to  describe.  It  is 
not  rough  and  sprinkled  with  wisecracks,  but  it  has  a  delicate 
quality,  as  exquisitely  elusive  as  herself. 

She  seems  to  make  her  movements  glitter — if  you  know 
what  I  mean.  Every  gesture  sparkles.  She  gets  up  from  a 
chair  with  a  swift  spring,  as  if  she  were  suddenly  confronted 
by  a  thousand  menacing  enemies.  Her  head  is  always  up — ■ 
regal.  She  is  alert  in  her  movements,  but  never  like  those 
frightful,  kittenish  things. 

The  average  girl  star,  like  jazz,  rasps  my  nerves.  In  com- 
parison Madge  is  like  Puccini  melodies — brisk  and  surprising, 
possessed  of  subtle,  unexpected  changes.  Where  the  average 
player's  talk  is  stupid,  stereotyped,  or  boring,  the  Bellamy 
loquacity  yields  never  a  senseless  phrase.  Everything  she 
utters  means  something. 

From  the  moment  you  meet  her,  you  realize  that  she  is 
never  conscious  of  herself — that  is,  of  her  youth,  her  beauty, 
and  her  depth  of  mind.  She  does  not  try  to  impress  you, 
as  do  those  who  memorize  their  press  agent's  remarks,  or 
maxims  from  books.  Intelligent  comment  flows  from  her 
lips  as  easily  as  water  from  a  mountain  spring. 


44 


Beautiful,  But — Herself 


As  Sandy  she  swept 
the  country  like  a  livid 
flame. 


Photo  by  Waxmar. 

A   step   toward   sophistication  and 
furtherance  of  her  career  is  found  in  this 
picture  of  Miss  Bellamy. 

Pose  in  any  form  is  non 
est  in  Madge  Bellamy. 


ago 


J 


watched 
a 


through  a  very 


m 

Not  long 
her  going 

dramatic  sequence  in 
"Mother  Knows  Best."  She 
had  to  start  laughing  wildly 
and  gradually  work  herself  into  a  hysterical 
outburst  against  her  mother,  which  became 
more  and  more  delirious,  until  she  fainted. 

Every  one  on  the  set  was  affected.  Among 
hard-boiled  stage  hands  such  a  thing  seldom 
occurs.    After  the  director's  O.  K.,  Madge 
sprang  up  from  the  floor  and,  slightly  panting, 
tears  still  in  her  eyes,  returned  to  where  I  was 
sitting. 

"Mother  knows  best.  Judging  from  my  out- 
burst, it  is  evident  that  I  don't  think  so,"  she 
remarked  in  a  humorous  tone,  and  went  on 
with  our  conversation,  which  the  scene  had 
interrupted. 

How  many  stars  can  I  mention  who  would 


have  made  a  "show"  out  of  the  scene  Madge  had  just  enacted  with 
such  reality?  How  many  like  to  pose  and  dramatize  themselves, 
becoming,  as  they  pathetically  declare,  "exhausted  by  their  emo- 
tions" ? 

Madge  Bellamy  is  a  dozen  times  more  brilliant  and  versatile  than 
any  of  the  "living-the-part"  players.  She  does  not  play  on  her 
emotions ;  she  uses  her  mind.  In  fact,  she  lives  in  her  mind  a 
great  deal,  I  think.  This  makes  her  appear  abstracted.  A  stranger 
might  thus  be  forgiven  for  thinking  her  indifferent ;  but  she  is  not. 
An  uncongenial  stranger  could  never  understand  her.  But  if  one 
is  simpatica,  though  a  stranger,  something  of  her  unusualness 
makes  itself  apparent.  Even  so,  there  is  ever  an  enigmatic  quality 
in  her,  which  gives  one  constant  surprises. 

I  alluded  to  the  light  comedies  she  had  recently  made.  Pictures 
which  are  not  "big"  are  usually  scoffed  at  by  the  star,  so  that  you 
won't  blame  her  for  them,  but  blame  the  producers  instead. 

"Those  comedies  pleased  me,"  Madge  declared.  "The  stories 
were  rather  inconsequential,  I  admit — we  made  them  up  as  we 
went  along.  But  in  that  way  I  was  able  to  get  nearer  the  produc- 
tion end  of  the  work.  It  is  nice  to  have  some  one  say,  'Here  is  an 
idea.    See  what  you  can  make  of  it.' 

"Usually  directors  dislike  a  suggestion  from  a  player.  They 
feel  insulted  when  one  is  offered.  In  making  those  comedies  I 
could,  and  did,  help  in  many  ways.  I  had  the  satisfaction  of  see- 
ing the  result  of  my  ideas— good  or  bad." 

Yes,  good  or  bad,  those  flimsy  comedies,  such  as  "Soft  Living," 
"Silk  Legs,"  and  "Very  Confidential,"  increased  attendance  at  the 
box  office  and  popularity  for  their  star. 

All  the  same,  Madge  Bellamy  is  worthy  of  greater  things.  She 
can  easily  do  them,  for  she  has  the  ability ;  and  also  the  background. 
At  eight  she  made  her  first  appearance  before  the  public.  She 
was  studying  dancing  at  the  time  an  opera 
company  visited  her  home-town  in  Texas. 
She  and  another  child  were  converted  into 
little  negro  slaves,  and  had  to  dance  with 
cymbals  in  the  second  act  of  "Aida." 
Her  childhood  was  spent  on  the  stage. 
Her  father  was  a  professor  of  English. 
His  library  was  for  her  use.  Shakespeare 
became  an  open  world  to  Madge.   At  twelve 
she  was  delving  into  literature  that  most 
people  only  glance  at  in  their  twenties. 

Absorbing  Balzac  was  one  of  her  pas- 
times.   "Les  Illusions  Perdues,"  and  "La 
Recherche   de   l'Absolu,"   began  to  echo 
through  the  halls  of  her  memory,  when  other 
girls  were  sighing  over  "Elsie  Dinsmore"  and 
"Little  Women." 

Her  first  appearance  on  Broadway  was  at  fif- 
teen, in  a  musical  comedy,  "The  Love  Mill."  Her 
role  was  not  big  and,  in  spite  of  the  cause  of  the 
mill's  working,  the  show  was  a  failure.  How- 
ever, Madge  did  gain  a  couple  of  lines  in  Hey- 
wood  Broun's  review.  She  was  then  known  by 
her  real  name — Margaret  Philpott. 

When,  a  year  later,  William  Gillette  appeared 
in  "Dear  Brutus."  a  young  girl  called  Madge 
Bellamy  achieved  no  little  attention  for  her  work 
in  the  play.  It  was  Daniel  Frohman  who  had 
given  her  her  new  name. 

In  1920  Geraldine  Farrar,  after  leaving  the  old 
Goldwyn  company,  made  a  picture  in  New  York. 
Madge  played  in  it  and,  for  the  first  time,  saw  herself 
on  the  screen.  So  did  many  others.  It  led  to  her  being 
brought  out  to  California  by  the  late  Thomas  Ince. 
After  three  years  she  became  a  Fox  player. 

Madge  was,  at  first,  given  anything  by  this  company. 
They  knew  she  could  make  any  role  into  something. 
Mostly  her  roles  made  her  a  gentle,  unsophisticated 
child.  Usually  she  had  to  wear  her  curls  down  her  back 
and  look  sweet  and  guileless. 

Continued  on  page  105 


45 


Photo  by  Dyar 

'Wings"  was  the  turning  point  in  Dick  Arlen's  lethargic  career,  and  now  each  new  role  is  just  another  milestone. 


He   Knev?  Wkat  He  Wanted 

Like  a  proverbial  Alger  hero,  Richard  Arlen  has  survived  hardships 
and  setbacks  to  enjoy  fame,  a  beautiful  home  and — Jobyna  Ralston. 

B)>  Helen  Louise  Walker 


RICHARD  ARLEN  knew  what  he  wanted. 
Not  in  the  vague  way  youth  ordinarily  dreams 
of  glamorous  splendors,  but  definitely  and  con- 
cretely. Defining  your  desires  and  going  after  specific 
things,  he  thinks,  is  the  first  important  step  toward  re- 
alization. 

He  wanted  to  go  into  pictures,  so  he  left  his  home 
in  St.  Paul,  Minnesota,  a  boy  still  in  his  teens,  and 
arrived  in  Hollywood  with  fifteen  dollars  in  his  pocket. 

A  few  months  of  extra  work  brought  him  into  contact 
with  pictures  and  picture  people,  and  further  defined 
his  aim.  He  wanted  a  definite  place  on  the  screen.  Not 
a  precarious  starring-  position,  he  decided,  watching  the 
stars  come  and  go,  (but  a  firmly  established  place  of  un- 
spectacular prominence.    He  would  be  a  leading  man. 

"I  used  to  think  and  talk  a  lot  about  my  'art,'  "  he 
says.  "I  found  out  after  a  while  that  art  did  not  mat- 
ter much  if  you  couldn't  get  breakfast !  Extra  work 
would  not  support  me,  so  I  found  some  lawns  to  mow. 

"There  were  some  pretty  lean  times  in  those  days. 
I  lived  on  cigarettes  and  crackers,  for  days  at  a  time. 
I  found  out  what  alleys  were  for.  They  were  for  a  boy 
to  duck  into,  after  he  had  gone  into  a  restaurant  and 
eaten  a  meal. for  which  he  had  no  money  to  pay! 

"Sometimes  they  would  let  me  wash  dishes  for  a 
meal.    Other  times  they  wouldn't. 

"I  stole  a  bottle  of  milk  off  a  back  porch  once — to  go 
[with  the  crackers.    Things  were  pretty  bad." 

It  was  about  this  time  that  he  found  something  else 
that  he  wanted.  "He  was  wandering  about,  looking  for 
lawns  to  mow.  He  saw  a  low,  white,  Spanish4  house 
with  a  red-tile  roof — one  of  the  rambling,  picturesque 
homes  which  nestle  among  the  trees  in  the  suburban 
districts  of  Los  Angeles. 


"One  day  I  shall  have  a  house  like  that !"  he  told 
himself. 

We  were  sitting  in  the  living  room  of  that  particular 
dream  come  true,  as  he  talked. 

"I  found  out  some  things  then,"  he  was  saying.  "One 
was  that  your  personal  appearance  counted  a  great  deal 
— more  to  yourself  than  to  other  people.  It  keeps  up 
your  morale — does  something  for  your  self-assurance 
and  your  mental  attitude — if  you  do  not  allow  yourself 
to  become  seedy. 

"When  I  was  down  to  one  suit  and  three  shirts,  that 
suit  was  pressed  every  day — and  I  never  missed  shaving. 

"Another  thing  was,  that  if  a  man  has  a  dollar — he 
isn't  licked  yet.  I  never  spent  my  last  dollar.  I  hung 
onto  it  somehow.  And  I  have  never  got  over  the  habit. 
There  is  a  dollar  in  the  watch  pocket  of  every  suit  I 
own,  this  minute !" 

"Dear — don't  tell  all  those  unhappy  things  \"  urged  his 
tiny,  Dresden-china  wife  who  was  Jobyna  Ralston,  and 
who  is  also  a  dream  come  true  for  Dick. 

"Why  not?  They  happened,"  said  Dick.  "I  like  to 
talk  about  it.  Why,  do  you  know,  my  sister's  iceman 
pointed  out  my  picture  in  the  paper  to  her  the  other 
day?  'That  guy  was  down  and  out.  He  was  poor,' 
he  said.  'And  he  came  through  and  got  what  he  wanted. 
The  rest  of  us  can  do  it,  too !'  These  things  need  to 
be  told. 

"Things  went  on  like  that  for  two  or  three  years,"  he 
continued.  "I  played  extras,  and  learned.  I  watched 
people  rise  in  pictures.  Some  of  them  stayed,  and  some 
of  them  disappeared. 

"I  saw  Eileen  Percy  come — and  go.  Buck  Jones  rose 
to  a  high  position — and  sank  again.  Katherine  Mac- 
Ccntinued  on  page  109 


46 


You  would  not  see  the 


Miss  Pringle's  home  is  of  modified  Spanish  style,  set  in 
deep  lawns  on  the  palisades  at  Santa  Monica. 

HOUSES  flower  prodigally  in  the  rich  soil  of  Hol- 
lywood and  environs.  Overnight  new  stucco  piles 
attest  the  ascension  of  some  new  star.  Con- 
tractors drive  Rolls-Royces,  and  interior  decorators 
spend  their  summers  in  Europe.  Land  is  a  fortune  per 
inch,  and  sells  as  rapidly  as  hot  cakes. 

"I  think  I'll  have  a  house,"  murmurs  a  star  and, 
presto,    has    one — land- 
scaped   and    furnished,     '^ne  writmS  room  is  in  the  tower,  directly  over  the  entrano 
complete    to    the    last  doorway, 
cooky  jar  in  the  pantry. 

This  speed  and  quan- 
tity of  production  have 
had  a  bad  effect  on  in- 
dividuality. The  major 
number  of  film  domiciles 
suffer  from  standardiza- 
tion, particularly  on  the 
inside,  where  decorators 
hold  to  the  theory  that 
"what  was  good  enough 
for  So-and-so  is  good 
enough  for  everybody 
else."  This  sameness  in 
interiors  is  also  traceable 
to  the  fact  that  many 
stars  can't  take  time  off 
from  the  studio  to  in- 
ject some  of  their  own 
personality  into  the  work. 

The  result  is  highly 
conventional  rooms, 
starkly  innocent  of  anv 
distinguishing  charm , 
and  with  a  cheerless  air 
of  never  having  been 
lived  in — brashjy  new 
and  "Open  for *  Inspec- 
tion," even  in  such  in- 
stances where  a  cigarette 
butt,  or  a  magazine,  at- 
tempts to  give  evidence 
of  mythical  warmth.  _ 
Warmth  and  personality 
are  sacrificed  to  the  rigid 
impeccability  of  a  mo- 


If  Tou  Were  to  Visit 


Hollywood  interior  deco 

as  its 


By  M 


ar 


tion-picture  set.  Not  that 
I  contend  that  a  profu- 
sion of  cigarette  butts 
makes  a  home.  But  I  do 
hold  out  for  at  least  a 
few  touches  expressing 
the  identity  of  the  owner, 
rather  than  of  the  dec- 
orator. 

■  After  all  this,  I  sup- 
pose you  expect  that  it 
is  this  sort  of  house  we 
have  under  discussion  to- 
day. Well,  that's  where 
you  get  fooled.  My  dis- 
course was  all  a  fake, 
just  to  make  a  paradox 
of  introducing,  for  your 
attention,  the  home — and 
I  don't  mean  house — of 
Aileen  Pringle. 

This  is  a  home  rich  in 
informal  charm,  com- 
fortable in  the  unstudied 
manner  of  its  effects, 
restful  in  its  aura  of 
having  been  lived  in. 
The  furniture  is  not  all 
new,  and  imparts  a  mel- 
lowness that  is  rare  in 
Hollywood  domiciles. 

The  house  is  of  modi- 
fied Spanish  architecture, 
set  in  deep  lawns  on  the 
palisades  at  Santa  Mon- 
ica. The  view  from 
this  hilltop  embraces  a 
wooded  valley,  the  hills 


47 


Aileen  Pringle 

rator's  personality,  but  a  real  home — as  distinctive 
owner. 

garet  Reid 


Photos  by  Clarence  Sinclair  Bull 


beyond  and,  to  the  westward,  the  ocean.  In  the 
center  of  the  exterior,  a  round  tower  rises  two  stories 
high.  Set  in  this  is  a  massive  entrance  door.  Palms 
stand  on  either  side  of  it,  and  across  the  whole  front  of 
the  house  is  a  wide  border  of  brilliant  flowers.  The 
structure  is  of  al- 
most oyster-white  Aileen's  dressing  table  is  large  and 
plaster,  with  dark 
oak  casements. 

The  door  leads 
into  a  small,  circu- 
lar entrance,  with 
floor  in  dull-red 
tile,  with  dim, 
stained-glass  win- 
dows on  either  side 
of  the  door. 

From  here  a  step 
up  reaches  the  liv- 
ing room,  its  length 
running  to  the 
right. 

"When  Miss  Prin- 
gle acquired  the 
house,  about  two 
years  ago,  she 
moved  in  with  ex- 
actly four  pieces  of 
furniture — two  liv- 
ing-room chairs,  a 
dining-room  table, 
and  a  bed. 

"With  an  admir- 
able 'rush  to  the 
head'  of  honor,  I 
decided  to  pay  off 
the  mortgage  be- 
fore I  went  in  for 


A  greenish-blue  motif  is  used  for  the  upholstery  in  the 

living  room. 

furniture.  Through  the  first  barren  months,  benevolent 
friends  raided  their  attics  for  me.  If  my  guests  found 
no  chairs  available,  they  sat  on  the  floor — and  thanked 
God  there  was  a  rug  on  it. 

"Then  when  my  conscience  was  cleared  of  debts,  I 
prowled  about  bargain  basements  and  haggled  with  sec- 
ondhand dealers." 

But  no  such  cursory  statement  can  cover  the  taste 
and  charm  of  the  Pringle  home.  It  combines  originality 
with  distinction,  informality  with  elegance. 

When  Aileen  began  to  furnish,  Barker  Brothers,  Los 
Angeles'  leading  furniture  dealers,  called  her  up  and  said 
they  would  send  out  an  interior  decorator  to  see  what 

should  be  done, 
roomy,  with  wide,  spacious  drawers.         "Fine,'  answered 

Aileen.  "Send  her 
out,  and  I'll  make 
pie  of  her  for  din- 
ner. 

There  is  no  ves- 
tige of  any  person- 
ality in  the  house 
but  Pringle's.  Ev- 
ery piece  and  every 
arrangement  is  ex- 
pressive, like  the 
feller  says,  of  her 
individual  taste — - 
except  for  a  couple 
of  incidental  chairs 
which  express  Matt 
Moore,  coming  as 
they  did  from  his 
servants'  quarters 
and  being  too  use- 
ful to  discard  as 
yet. 

The  living  room 
is  quite  long,  with 
French  windows 
extending  its  left 
length,  giving  onto 
the  patio  garden. 
In  the  right  wall  is 
the  fireplace,  large 
and  plain,  a  heavy, 


48 


If  You  Were  to  Visit  Aileen  Pringle 


Pleasantly  subdued  modernistic  furniture  is  everywhere  evident, 
giving  the  rooms  a  distinctive,  as  well  as  comfortable,  appear- 
ance. 


wrought-iron  fire  screen  in  front  of  it,  and  on  the  man- 
tel a  Spanish  tile.  The  walls  throughout  the  house  are 
of  yellowed  ivory  plaster,  and  the  ceilings  are  beamed  in 
dark,  unpolished  wood.  In  the  living  room,  an  unob- 
trusive, greenish-blue  motif  on  the  beams  is  repeated 
skillfully  in  the  upholstery  of  the  divan  and  five  arm- 
chairs. These  are  simple  in  line,  exemplifying  the  more 
conservative  of  the  modern  mode.  The  rug  is  dull  blue. 
The  small,  outer  rugs,  which  Miss  Pringle  has  had  for 
many  years,  have  blue  among  their  mellow  tones.  Pro- 
viding the  room  with  bright  color,  are  the  heavy  dra- 
peries at  the  windows.  The  background  of  these  is  ivory 
white,  scarcely  discernible  behind  the  rich  embroidery 
in  bold  color  and  design.  Windows  in  the  room  are 
plentiful,  but  skillfully  placed,  so  as  to  offer  little  diffi- 
culty in  the  arrangement  of  furniture. 

In  the  far  corner,  against  the  outer  wall,  is  the  piano, 
an  antique  brocade  thrown  over  it.  Against  the  end 
wall  stands  a  mammoth  earthenware  jar,  always  filled 
with  tall,  brilliant  flowers.  Three  niches  at  intervals 
around  the  room  hold  Ming  vases,  filled  with  roses. 
Water  lamps,  some  with  fluted  and  some  with  parch- 
ment shades,  furnish  the  light. 


At  the  wall,  facing  the  room  from  the  entrance, 
and  midway  between  the  entrances  to  the  library 
and  the  hall,  stands  a  large,  oak  table  of  severe 
design.  It  has  no  legs,  but  is  solid  down  to  the 
floor,  and  is  chastely  modeled,  with  a  minimum  of 
pattern.  This  delightful  piece  Miss  Pringle  has 
had  for  some  time.  Its  placing,  too,  is  interesting, 
the  width,  rather  than  the  length,  being  against  the 
wall.  Rising  from  the  books  and  flowers  on  its 
broad  top,  is  an  exquisite  Primavera  figure,  tall, 
white,  and  subtle  in  line.  And,  though  it  is  no- 
body's business,  a  gift  from  H.  L.  Mencken. 

To  the  right  of  the  fireplace,  under  a  window,  is 
an  old,  brass-bound  oak  chest,  affording  space  on 
top  for  magazines  and  books.  Throughout  the 
room,  small  coffee  tables  are  substituted  for  the 
awkward  ash-tray  stands.  Even  the  details  of 
cigarette  boxes,  match  boxes,  and  ash  trays  on 
them  are  knowingly  selected,  in  charming  old  pew- 
ter, hammered  brass,  and  mosaic  pottery.  Leaning 
against  the  side  of  the  fireplace  is  an  East  Indian 
musical  instrument,  corresponding  to  a  violin.  It 
is  ancient  beyond  reckoning,  and  of  beautiful  work- 
manship. The  Smithsonian  Institution  begged  for 
it  at  one  time,  but  Miss  Pringle  refused  to  part 
with  it. 

At  the  far  end  of  the  left  wall,  beyond  the 
French  windows,  is  the  entrance  to  the  dining 
room.  Here,  as  in  all  approaches  to  the  living 
room,  doors  are  dispensed  with,  and  the  entrance 
is  hung  with  curtains.  The  dining-room  furniture 
is  dark,  highly  polished,  and  delicate  rather  than 
massive.  Silver  candelabra  gleam  from  the  table 
and  buffet. 

From  here  a  door  leads  to  the  pantries,  kitchen 
and  the  servants'  quarters. 

In  the  living  room,  at  the  left  of  the  center  wall, 
one  enters  the  library.  This  square  room  is  mod- 
ern in  arrangement,  and  intimate  in  feeling.  Across 
two  sides  are  windows  hung  with  dull-blue  monk's 
cloth.  Other  walls  are  banked  with  capacious 
bookshelves,  jeweled  with  priceless  first,  limited, 
contraband,  out  of  print,  and  autographed  editions. 
The  floor  is  covered  by  a  dull-blue  Capojara  rug, 
and  all  the  upholstery  in  the  room  is  velvet,  of  the 
same  shade. 

Nearly  the  length  of  one  wall,  is  a  low,  deep 
divan.  Its  wood  is  painted  bright  red,  in  modified 
cubistic  design  and  luxuriously  upholstered  in 
Two  chairs  match  this  piece,  and  another  is  cov- 

A  roomy  table  holds  books, 
In  a  corner  a 
A 


blue 

ered  in  red  patent  leather 
flowers,  cigarette  boxes,  and  ash  trays, 
low  coffee  table  stands  ready  for  clinking  glasses 
victrola  is  in  this  room,  and  warm-shaded  water  lamps. 
The  pictures  are  two  George  Bellows  lithographs  and  an 
arresting  lithograph  by  Cedric  Gibbons.  A  door  in  one 
wall  reveals  a  small  bar,  deep  shelves  packed  with 
glasses  and  romantic-looking  bottles. 

Back  in  the  living  room  the  far  entrance  in  the  center 
wall  leads  up  two  steps  to  "a  small  hallway.  To  the 
right  is  a  guest  bedroom.  The  bedroom  is  conservative, 
early  American — heavy,  polished  wood,  and  pastel- 
shaded  chintzes.  The  bathroom  is  done  in  pale-green  tile. 

The  staircase  leads  forward,  then,  midway,  turns  and 
ascends  toward  the  back.  'On  the  wall  at  the  landing  is 
hung  a  piece  of  brocade,  frayed  and  mellow  with  an- 
tiquity. At  the  top  of  the  stairs  is  a  hall.  Facing  the 
stairs  is  Miss  Pringle's  room. 

The  length  of  this  room  runs  back  from  the  door.  At 
the  far  end,  it  extends  in  the  middle  to  an  alcove,  across 
which  runs  a  spacious  dressing  table.    Each  side  of  the 
Continued  on  page  108  


49 


Aloof  and 


F 


dly 


A  sympathetic  interviewer  finds  Fay  Wray 
possessed  of  all  the  virtues  of  an  ideal  girl, 
and  enthusiastically  describes  them — and  her. 

•  By  Patsy  DuBuis 

IT  would  be  exceedingly  difficult  to  write  a  few- 
trite  paragraphs  about  Fay  Wray — and  let  it 
go  at  that.  In  fact,  such  treason  would  be 
quite  impossible  if — as  all  interviewers  should — - 
one  had  a  conscience  at  all.  For  Fay  Wray  is  de- 
lightful. She  is  exquisitely  bred  and  innately  seri- 
ous. She  has  a  delicately  placed  sense  of  humor, 
and  she  is  charmingly  aloof  yet  pleasantly  friendly. 

If  the  foregoing  seems  paradoxical,  you  have 
caught  the  idea  I  am  trying  to  suggest.  Because 
Fay  Wray's  personality  is  as  elusive  as  her  lilting 
name  would  hint. 

When  she  was  a  very  small  girl,  the  children 
in  the  Utah  town  where  Fay  lived,  indulged  in  an 
almost  daily  round  of  surprise  parties.     It  was 
their  custom  to  descend — thirty  or  forty  of  them 
— upon  the  home  of  one  of  their  friends,  where  Fay 
the  surprised  one  was  expected  to  furnish  refresh- 
ments and  entertainment.     Fay's  house  was  the 
most  popular  rendezvous,  it  appears,  for  these  cere- 
monies.   For  Fay  and  her  elder  sister,  Willa,  were  ac- 
complished in  the  art  of  entertaining.   Willa  sang.  And 
Fay  would  dress  up  in  her 


mother's  clothes,  and  recite 
"pieces."  She  would  even 
give  one-act  plays,  if  suffi- 
ciently prevailed  upon. 

This  conflict  of  talents 
caused  Mrs.  Wray  many  a 
loving  chuckle.  Willa  had 
a  desire  to  sing  for  the 
children.  Fay  wanted  to 
act.  They  couldn't  do  them 
both  together.  Finally  Mrs. 
Wray  had  to  decide  upon 
a  method  of  arbitration, 
whereby  the  sister  and  Fay 
presented  short  numbers  by 
turns. 

With  the  Wrays'  hegira 
to  Bingham,  Utah,  a  few 
years  later,  Fay's  mud-pie 
era  began.  Always  a  do- 
mestic little  girl,  Fay  found 
in  the  concocting  of  ornate 
mud  pies  an  outlet  for  her 
desire  to  make  real  pastry. 
There  was  only  one  diffi- 
culty— she  could  not  un- 
derstand why  her  mother 
would  not  allow  her  to  wear 
her  party  dress  when  she 
was  "cooking."    Fay's  one 


Since  she  was  very  little, 
Fay  has  always  been  in- 
nately serious. 


Photo  by  Dyar 

Wray  as  a  star  is  little  changed  from  the  child  who  loved 
to  make  mud  pies  and  "play  house." 

and  only  spanking  occurred  when  she  disobeyed  this 
maternal  mandate.  Her  father  did  the  honors — and 
Fay  never  made  mud  pies  again,  while  wearing  her 
fancy  dress. 

Fay  and  I  were  lunching  in  the  Paramount  cafe,  while 
she  confided  all  this  to  me.  The  Paramount  cafe,  at 
noon,  is  bedlam  incarnate.  More  noise  I  have  never 
heard  in  one  eating  place.  It  is  here  that  stars,  direc- 
tors, extras,  script  girls,  and  others  forgather  at  noon, 
to  lunch  and  to  discuss  anything  and  everything.  Fay 
and  I  sat  at  a  table  in  the  center  of  this,  and  so  vividly 
did  she  describe  some  of  those  incidents  of  her  child- 
hood, that  I  forgot  entirely  all  the  confusion  about  me. 
Forgot  that  at  the  neighboring  table  sat  an  array  of 
stellar  players,  whose  appearance  in  one  group  would 
give  the  average  person  heart  failure.  I  was  with  Fay 
Wray — back  in  her  not-so-long-ago  childhood. 

There  were  little  boys  who  used  to  carry  Fay's  books 
home  from  school,  but  Fay  did  not  particularly  care  for 
little  boys.  She  loved  playing  dolls  with  girls.  Playing 
house — that  also  was  her  idea  of  fun.  Sometimes  her 
sister  played  with  her — but  not  so  often.  Where  Fay 
was  quiet,  serious-minded,  and  domestic,  Willa  wanted 
to  run  and  to  clamber  up  trees.  Fay  sewed  intently  on 
doll  clothes.  The  sister  hacked  at  rough  boards,  trying 
to  make  houses  and  automobiles. 

For  all  their  different  temperaments,  though,  Fay  and 
Willa  grew  up  as  the  best  of  chums.  I  mention  the 
sister  so  particularly,  because  a  comparison  of  the  two 
girls  reveals  a  part  of  Fay  Wray  as  nothing  else  does. 

Fay,  as  she  emerged  into  her  early  teens,  liked  nothing 
so  much  as  to  have  the  management  of  the  home  for 
a  day.  Cleaning,  planning  the  meals,  and  cooking  them, 
were  her  special  delights.  [Continued  on  page 


50 


TEX,  little  Texas  Guinan,  the  glad  girl  of  the  big 
city's  bright  lights,  found  no  gladness  awaiting 
her  upon  her  arrival  in  Hollywood.  She  made 
her  advent  in  full  panoply  of  glory,  even  to  the  display 
of  many  rings,  bracelets — slave,  ankle,  and  wrist — and 
other  resplendent  jewelry:  But  the  triumphal  proces- 
sion of  plumed  caravans  was  lacking.  In  other  words, 
there  was  a  trace  of  anticlimax,  if  not  actual  debacle,  in 
the  reception  tendered  her  when  she  reentered  the  film 
colony,  after  an  absence  of  ten?  years. 

Newspaper  reporters  exhibited  a  tendency  to  kid  Tex; 
generously.  The  Breakfast  Club,  with  stately  ceremoni- 
ousness,  declined  to  play  host  to  the  hostess  of  the  night 
club.  And  Conrad  Nagel,  mentor  of  the  more  formal 
side  of  movie  life,  stated,  with  refined  unction,  his  dis- 
interest in  being  on  the  greeters'  committee  that  met  her 
at  the  railroad  station. 

At  best,  it  was  all  rather  painful.    But  Texas  is  fin- 
ishing a  talking  film,  and  may  have  a  chance  at  revenge 
by  registering  a  bigger  and  better  speaking  voice  than 
her    movie  con- 
freres. The  picture 
is  called  "Oueenof 
the  Night  Clubs." 

Howls  and  Roars. 

Jungle  beasts' 
voices  will  be  re- 
corded for  "Trader 
Horn,"  says  a  stu- 
dio announcement. 
Can't  you  picture 
how  it  will  be  ac- 
complished? Think 
of  the  perilous 
pEasures  of  the 
camera  man,  who 
sits  aloft  in  a  tree 
with  his  pal,  the 
microphone  opera- 
tor, waiting  for  the 
lion  to  come  forth 
and  roar,  and  be 
photographed  and 
phonographed. 
Imagine,    too,  the 

competition  the  human  actor  will  have  when  Jumbo,  the 
wild  African  elephant,  commences  to  bellow  for  his  din- 
ner, and  the  studio  microphone  will  have  to  be  turned 
off,  so  that  an  ardent  love  scene  will  not  be  disturbed 
by  his  vociferous  pleadings. 

"Trader  Horn"  opens  up  a  vast  realm  of  speculations 
as  to  whither  our  once-silent  drama  is  heading",  what 
with  its  proposed  invasion  of  the  wilds. 

In  Defense  of  Husbands. 

Ruth  Roland  has  saved  the  day  for  the  movie  husband. 
"Wealth,"  she  declares,  "unevenly  divided,  with  the 
wife  having  the  bulk  of  it,  should  be  no  detriment  to  a 
happy  marriage." 

This  raises  a  much-debated  question  into  new  promi- 
nence. The  history  of  matches  in  Hollywood,  where  the 
feminine  party  acquires  a  huge  income  in  contrast  to 
her  spouse,  has  often  been  disastrous.  Divorces  have 
frequently  followed  a  success  won  by  a  pretty  staress. 
In  fact,  such  legal  separations  have  sometimes  been  re- 
garded as  a  necessary  evil.  Such  are  the  peculiar  ways 
of  fame ! 

But  Ruth  has  cleared  the  atmosphere  by  averring  that 
money  is  merely  incidental,  and  if  a  man  displays  in- 
dustry and  intelligence,  a  woman  should  be  willing  to 
share  her  fortune  with'  him. 


■  * 


/A 


i    m    e    i  i      m  o      «  ft 


Jascha   Heifetz   and   Florence   Vidor   were   wedded   with   so  much 
secrecy,  that  fully  a  week  lapsed  before  the  public  knew  about  it. 


The  most  interesting  items  of  news 
from  the  town  where  movies  are  made. 


.  "First  of  all,  though,  he  has  to  get  over  the  old- 
fashioned  idea  that  he  has  to  be  the  provider,  and  that 
otherwise  his  importance  is  nil — a  ridiculous  position  for 
a  man  to  assume  anyway,"  Ruth  expounds  further.  "It 
makes  him  appear  as  something  like  a  truck  house.  And 
it  certainly  isn't  twentieth  century." 

Ruth,  it  may  be  recalled,  is  engaged  to  Ben  Bard,  who 
is  at  present  under  contract  to  Fox.  Her  wealth  is 
estimated  at  a  mere  five  million  dollars. 

Here's  for  Anita. 

One  newcomer 
for  whom  we  vote 
vehemently  is  Anita 
Page,  the  Metro- 
Goldwyn  find.  She 
is  one  of  the  bright- 
est and  most  ener- 
getic young  girls  on 
any  studio  lot  to- 
day. And  pretty ! ! ! 

Just  as  the  re- 
sult of  a  single  pic- 
ture, "Telling  the 
World,"  Anita's 
fan  mail  rose  from 
nothing  to  a  thou- 
sand letters  a  week. 
"Our  Dancing 
Daughters,"  now 
showing,  will  prob- 
ably brighten  this 
record  even  more. 

Everybody  at  the 
studio  likes  her  ex- 
ceedingly, and  what  with  the  producers  and  the  public 
seemingly  both  in  favor,  we  wouldn't  be  surprised  at  all 
to  see  her  win  stardom  within  a  year  or  so. 

Some  one  recently  wanted  to  change  her  name  from 
Anita  to  Anne  Page.    We  like  Anita  Page  better. 

Pound  of  Flesh  Demanded. 

Just  a  few  pounds  sacrificed  in  the  cause  of  art !  Thus 
Molly  O'Day  may  now  look  back  upon  her  experience 
of  losing  some  surplus  fat,  under  the  surgeon's  knife, 
not  long  ago.  For  she  has  fully  recovered  from  the 
operation,  which  required  four  different  incisions — two 
on  her  hips  and  two  on  her  legs,  followed  by  a  strict 
dietary  regime  at  the  hospital. 

The  operation  is  the  most  drastic  ever  performed  for 
the  sake  of  an  actress'  pulchritude.  But  Miss  O'Day 
had  to  choose  between  the  loss  of  the  flesh,  or  the  sacri- 
fice of  a  career,  which  was  seriously  threatened  by  her 
steadily  increasing  weight.  Unfortunately  her  mount- 
ing avoirdupois  was  "spotty" — meaning  that  it  appeared 
in  those  specific  locations  most  clearly  discernible  to  that 
enemy  of  flesh,  the  camera. 

In  case  we  sound  slightly  reminiscent  of  antifat  ad- 
vertisements, we  wish  clearly  to  define  our  position  right 
now.  We  like  'em  plump.  Not  more  corpulent  than 
Gloria  Swanson  or  Clara  Bow,  however ! 


51 


T  T  .    .1  T 

■         ■    «  t  '  i  r  ■ 

■  •  ■  — 

jEdwin.^Elza  Sckallert 


No  Milk  of  Kindness. 

The  ancient  preprohibition  jokes,  about  meeting  the 
milkman  in  the  early-morning  hours,  can  now  be  resur- 
rected, and  Sally  Eilers  is  to  blame.  However,  there  is 
no  mirth  or  good  fellowship  connected  with  her  view- 
point of  the  matter. 

Sally  crashed  into  a  dairy  wagon,  while  on  her  way 
to  work  early  one  morning,  caused  injury  to  the  driver, 
and  scattered  milk  bottles  all  about  the  street,  besides 
sustaining  some  very 
painful  bruises  her- 
self.   She  disclaimed 
all  blame  for  the  ac- 
cident, but  was  duly 
sued  for  $25,000. 

The  legal  action 
brought  out  that 
Sally's  salary  with 
Sennett  started  mod- 
estly at  $75  a  week, 
and  increased,  by 
steps,  to  $1,000  dur- 
ing its  five-year  life. 

Sally's  engage- 
ment to  Matty 
Kemp,  which  always 
did  sound  like  a  lot 
of  charming  public- 
ity, is  off,  by  the 
way,  and  she  is  now 
reported  affianced  to 
William  Hawks.  If 
she  weds  him.  she 
will  be  related,  by 
marriage,  to  Mary 
Astor,  who  is  the 
wife  of  Kenneth  Hawks,  a  brother  of  her  intended, 
and  to  Norma  Shearer's  sister,  who  is  married  to  How- 
ard Hawks,  another  brother. 

The  Hawks  family  is  by  way  of  becoming  one  of  the 
most  intricate  in  its  ramifications  in  pictureland. 

Love,  with  Inhibitions. 

Jack  Gilbert  and  Greta  Garbo  weren't  on  speaking 
terms  when  they  were  playing  in  "A  Woman  of  Affairs," 
and  the  love  scenes  which  they  enacted  the  while  had  to 
be,  as  usual,  fervid.  They  would  look  ritzily  and  dis- 
dainfully at  each  other  when  they  entered  the  set.  But, 
immediately  the  camera  would  start  clicking,  they  would 
set  their  minds  to  the  important  business  at  hand,  which, 
during  the  greater  part  of  the  estranged  period,  called 
for  hectic  and  languishing  embraces.  Then  off  the  set 
they  would  go  in  opposite  directions,  with  their  noses  in 
the  air. 

Whatever  differences  existed  between  Gilbert  and 
Garbo  were  eventually  patched  up,  however,  for  they 
were  more  recently  observed  leaving  the  studio  in  Jack's 
famous  Ford  coupe. 

We  slightly  suspect  Greta  and  Jack  of  intrigue  and 
deception  in  the  instance  of  their  quarrel.  It's  an  old 
game  and  a  delightful  one,  in  which  players  often  in- 


Photo  by  Dyar 

Mrs.  Rogers  believes  in  bringing 

around 


dulge — especially  if  the  romantic  attraction  is  strong 
enough — to  make  more  interesting  and  intensify  the 
appeal  of  their  amorous  scenes.  This,  of  course,  is 
again  all  for  the  sake  of  art ! 

Olga  Would  Wed  Again. 

The  secret  is  out,  as  to  the  reason  for  Olga  Bacla- 
nova's  summary  seeking  of  a  divorce  from  her  husband 
in  Russia,  after  several  years'  separation.  She  is  en- 
gaged to  Nicholas  Soussanin,  a  Slavic  countryman, 
whose  work  is  known  to  film  audiences,  in  several  Para- 
mount releases. 

The  romance  of  Miss  Baclanova  and  Soussanin  is  not 
a  typical  affair,  growing  simply  out  of  a  studio  associa- 
tion. They  met  each  other  first  a  few  years  ago  in 
Moscow.  It  was  a  casual  acquaintance,  but  served  to 
pave  the  way  for  .the  devotion  that  developed  between 
them  in  Hollywood. 

The  forecast  is  for  a  happy  union,  because,  in  spite  of 
all  Miss  Baclanova's  seeming  "bizarreries,"  as  a  per- 
sonality on  the 
screen,  she  is  essen- 
tially level-headed 
personally.  She  has 
built  up  her  career 
with  great  persist- 
ence and  fortitude, 
her  setbacks  hav- 
ing been  m  any 
when  she  first  came 
to  Hollywood.  Par- 
ticularly was  this 
true,  because  her 
ability  and  fame  as 
an  actress  in 
Europe  passed  un- 
recognized. 

Baclanova  n  o  w 
enjoys  the  distinc- 
tion of  being  the 
most  dazzling  siren 
of  the  silver  sheet. 

A  Union  of  the 
Arts. 

Florence  Yidor 
also  made  a  Rus- 
sian choice  in  her  marriage,  Jascha  Fleifetz  being  from 
that  country. 

There  is  not  much  to  tell  about  this  wedding,  because 
it  has  been  so  widely  publicized.  The  secrecy  with  which 
the  ceremony  was  performed  is  doubtless  known  to 
everybody — the  fact  that  it  was  almost  a  week  after  the 
wedding  took  place,  before  it  was  publicly  known. 

We  might  make  one  comment  to  the  effect  that  the 
stateliness  and  dignity  with  which  the  Vidor-Heifetz 
trek  westward  was  accomplished,  was  totally  without 
parallel.  One  is  overwhelmed  by  the  reserve  of  these 
two  newly  weds.  Even  the  pictures  which  they  calmly 
posed,  reflected  a  mien  of  seriousness  that  fell  as  a 
somber  cloak  upon  one. 

We  feel  sure,  though,  that  Florence  and  Heifetz  will 
be  very  happy,  and  our  good  wishes  go  with  them. 

Familiar  Argument  Revived. 

Colleen  Moore  doesn't  like  the  mountains.  John  Mc- 
Cormick  doesn't  like  the  sea.  So  they  spent  a  somewhat 
divided  vacation,  on  the  basis  of  this  old  difference  of 
viewpoint. 

Colleen  went  on  a  lengthy  yachting  tour  to  southern 
Mexico,  the  Gulf  of  California,  and  way  points.  John 
would  join  her  occasionally  at  California  ports,  and  go 


Buddy  up  to  be  a  comfort  and  a  help 
the  house. 


52 


Hollywood  High  Lights 


sailing  with  her  for  a  time.  Then  he  would  return  to 
some  peaceful,  mountain  location,  and  spend  his  leisure 
hunting,  fishing  and  playing  golf.  Between  times,  too, 
he  worked  on  the  scenario  and  plans  for  Colleen's  new 
picture,  "Synthetic  Sin." 

The  vacation  is  the  longest  the  pair  have  taken  since 
they  went  to  Europe  two  or  three  years  ago. 

Triumphs  As  Mimic. 

Great  things  are  foretold  of  "Mother  Knows  Best," 
one  of  the  first  Movietone  features  of  the  Fox  organiza- 
tion. This  is  the  picture  based  on  the  Edna  Ferber  short 
story,  said  to  be  a  life  sketch  of  a  prominent  stage  actress. 

Madge  Bellamy  is  the  star,  and  the  predictions  are 
that  she  will  surpass  all  her  past  efforts,  and  qualify 
besides  as  one  of  the  most  successful  players  in  the 
new  talkie  medium. 

We  have  heard  all  sorts  of  enthusiastic  comment  from 
those  who  have  been  fortunate  enough  to  see  and  hear 
the  synchronized  portions  of  the  picture — those  which 
show  Miss  Bellamy  doing  a  series  of  impersonations  of 
Al  Jolson,  Anna  Held,  Harry  Lauder,  and  other  celeb- 
rities of  the  stage  world. 

Most  of  these  scenes  were  made  at  night  in  a  theater 
situated  on  Wilshire  Boulevard.  It  is  the  first  time  that 
a  stage  playhouse  has  been  used  for  the  talkies  in  Holly- 
wood, and  the  scheme  worked  out  most  effectually.  The 
only  disadvantage  was  that  all  the  scenes  had  to  be  made 
after  midnight,  so  that  extraneous  noises  from  the  busy 
thoroughfare,  near  which  the  theater  was  situated,  might 
not  be  picked  up  by  the  microphone — so  sensitive  is  the 
sound-recording  apparatus. 


Jane  Winton  Vocalizes. 

Jane  Winton  is  another  whose  voice  has 
plauded.  Jane  has  been  taking  vocal  lessons 
weekly,  and  has  played  in  a  picture  called 
Melody  of  Love."  which  Universal  made  with 
ietone  equipment. 

The  company  had  no  sound  stage 
when  it  started  this  picture,  but  con- 
ceived the  idea  of  doing  it  in  a  very 
quiet  location  on  their  large  studio- 
property.  When  they  later  /M 
came  forth  with  the  an- 
nouncement that  they  had 
actually  made  a  talking  pic- 
ture, everybody  was  amazed,  f 
because  they  had  stolen  a  /  , 
march  on  various  other  or- 
ganizations which  were  wait- 
ing for  their  noise-proof 
stages  to  be  completed.  The 
surprise  was  increased  by  the 
fact  that  the  company  had 
kept  their  enterprise  very 
quiet. 

Jane  was  equally  success- 
ful in  concealing  her  aspira- 
tions to  be  a  star  with  a 
voice,  until  the  picture  was 
finished.    But  once  her  gifts 
were  determined  at  a  preview,  the 
news  was  broadcast,  and  with  it 
the  fact  that  she  had  most  care- 
fully prepared,  with  special  vocal 
training,  for  her  adventure. 

Louise  Dresser  a  Talkie  Hit. 

Louise  Dresser  is  still  another 
whom  we  must  mention  for  her 
prophesied  future  in  sound  films. 


been 
thrice 
"The 
Mov- 


ap- 


Louise,  is  in  "Mother  Knows  Best,"  and  she  engages  in' 
a  long  dialogue  toward  the  end  of  the  production.  Her 
voice,  very  well  modulated  naturally,  is  said  to  register 
beautifully. 

Louise  was  on  the  point  of  leaving  Hollywood  and 
going  back  to  the  stage,  until  about  a  month  ago,  but 
we  doubt  whether  she  will  leave  now.  Her  talents  are 
bound  to  be  in  active  demand  when  "Mother  Knows 
Best"  is  released. 

Warblers  in  High  Esteem. 

A  singing  voice  will  be  at  a  high  premium  in  a  few 
months,  especially  if  any  present  favorite  of  the  movies 
happens  to  possess  one.  That  was  recently  shown  in  the 
signing  of  John  Boles,  formerly  of  musical  comedy, 
by  Universal.  For  months  Boles  didn't  have  any  luck 
in  getting  a  permanent  contract,  but  he  was  snapped  up 
by  the  Universal  organization,  when  they  felt  that  they 
needed  some  new  talent  for  sound  films. 

Nancy  Carroll,  at  Paramount,  is  kept  very  busy  war- 
bling these  days.  In  "Manhattan  Cocktail"  she  sings 
two  numbers,  written  for  her  by  Victor  Schertzinger. 
One  is  called  "Another  Kiss,"  and  the  second  "Gotta  Be 
Good."    Elevating  titles ! 

Shushing  the  Speakies. 

Considerable  mystery  is  evidencing  itself  at  all  the 
studios,  about  the  way  talkies  are  made.  The  old-timers 
speak  of  it  as  being  like  the  very  early  days  of  the 
movies,  when  every  stranger  who  happened  to  get  on  a 
set  was  immediately,  placed  under  suspicion,  if  he  was 
not  actually  and  forcibly  ousted. 

In  line  with  this,  Fox  recently  attempted  to  recover 
and  destroy  all  photographs  that  had  been  taken  relative 
to  the  mechanical  side  of  talkie  making.  This  included 
all  pictures  of  stars  speaking  into  microphones, 
the  portable  equipment  employed  for  taking 
news  reels,  and  pieces  of  the  movie  film  on 
which  sound  was  recorded. 

Hereafter,  this  company  announces  it  will 
release  to  the  public  only  ordinary  photographs 
of  the  films  in  the  making,  without  any  views 
of  what  goes  on  behind  the  scenes.  So,  if  you 
have  any  curiosity  about  how  the  mechanism 
works,  it  will  probably  have  to  remain  unsatis- 
fied, until  the  spell  of  hide-and-seek  is  over. 

Philosophical  Eva. 

Eva  von  Berne  has  a  temperament  that 
should  aid  her  in  achiev- 
ing success.  The  little 
Viennese  can't  be  re- 
buffed in  her  optimism. 
In  "Mask  of  the  Dev- 
in  which  she  played 


Dorothy  J  a  n  i  s  , 
Metro  -  Goldwyn's 
latest  "find,"  is 
said  to  have  the 
smallest  foot  in 
Hollywood,  a  mere 
five  inches  from 
toe  to  heel. 


with  Jack  Gilbert,  there 
were  rain  scenes,  and 
Eva  had  to  endure 
a  drenching,  day  after 
day,  while  they  were  be- 
ing photographed. 

"How  do  you  like  it  ?" 
somebody  asked  her 
sympathetically.  "Pretty 
hard  work,  isn't  it?" 

"Oh,  not  so  bad,"  she 
replie  d,  indifferently. 
"Here  it  is  all  right.  In 
Vienna  when'  it  rains  the 
sun  is  not  shining." 

Incidentally,  Eva  is 
popular  at  the  studio. 


Hollywood  High  Lights 


53 


Now  She'll  Stay  in  Church. 

Hereafter,  Lilyan  Tashman  will  sta)r  in  church  with 
her  husband,  Edmund  Lowe.    And  the  reason? 

Well,  you  see,  Lilyan  and  Ed  were  visiting  San  Fran- 
cisco, and  they  thought  they  would  go  to  services  at  an 
old,  historic,  religious  edifice  that  lies  just  on  the  edge 
of  Chinatown.  During  the  services,  Lilyan  was  troubled 
with  a  headache,  and  thought  a  little  walk  around  the 
block  might  do  her  good. 

Curiosity  led  her  to  Chinatown,  and  while  she  was 
in  the  midst  of  her  wanderings  she  was  saluted  most 
patriotically  by  two  Filipino  sailors,  who  persisted  in 
keeping  guard  over  her  until  she  again  reached  the 
church.  Lilyan  resolved,  thereafter,  that  she  was 
through  with  slumming,  even  as  a  cure  for  mal  dc  tete. 

Jackie  Still  Croesus-ing. 

While  Jackie  Coogan  may  not  be  enjoying  any  plethora 
of  million-dollar 
contracts  for  pic- 
tures nowadays,  he 
doesn't  appear  to 
be  heading  for  a 
stage  of  abject  pov- 
erty. Jackie  has 
been  playing  an  en- 
gagement, in  vari- 
ous vaudeville  and 
film  theaters,  that 
is  yielding  him  $8,- 
000  weekly.  That, 
figured  up  for  a 
year,  if  this  new 
enterprise  should 
last  that  long,  would 
mean  just  $416,000. 


Another  Mother 
Passes. 

A  strange  cir- 
cumstance it  is  that 
the  death  of  Char- 
lie Chaplin's  and 
Mary  Pickford's 
mothers  should 
both  have  taken 
place  within  the 
same  year.  Char- 
lie's mother  passed 
away  about  six  or 
eight  weeks  ago, 
and  the  funeral  was 
held  very  quietly. 
It  was  strictly  pri- 
vate. 

Mrs.  Chaplin 
came  to  this  coun- 
try seven  years  ago, 

and  was  provided  with  a  home  of  her  own  by  her 
sons,  Charlie  and  Syd.  Very  few  people  knew  her. 
For,  on  account  of  ill  health,  she  lived  in  virtual  seclu- 
sion. She  was  sixty-five  years  of  age  at  the  time  of 
her  death. 

Syd  Chaplin  was  not  advised  until  after  her  interment, 
since  he  was  working  abroad  on  a  picture,  and  efforts  to 
reach  him  by  cable  proved  futile  for  some  days. 

The  devotion  of  the  two  boys  to  their  mother,  a  little- 
known  side  of  their  lives,  has  often  been  a  topic  of  dis- 
cussion in  Hollywood. 

In  fact,  few  stars  or  players  can  be  accused  of  a  lack 
of  filial  devotion,  for  the  parent  who  is  not  generously 
provided  with  comforts  and  luxuries  is  rare  indeed. 


Emil  Jannings  poses  as  a  happy  polygamist,  in  '"Sins  of  the  Fathers," 
for  at  his  left  is  Ruth  Chatterton  as  one  bride,  and,  right,  stands 

Zasu  Pitts  as  another. 


Raquel's  "Golden  Crown." 

Raquel  Torres,  wearing  a  blond  wig,  excited  our  in- 
terest recently  at  Metro-Goldwyn.  The  thought  nat- 
urally flashed  in  our  mind  that  "she  was  being  tested  for 
the  role  of  the  flaxen  Nina — the  white  goddess  of  the 
cannibal  tribe — in  "Trader  Horn." 

"I  guess,  even  if  I  do  wear  blond  wig,  I  am  still  little 
Mexican  girl,"  she  told  us.  "I  like  to  be  little,  yellow- 
kid." 

Then  going  by  the  barber  shop,  she  called,  ''You 
gimme  hair  cut  for  my  wig.    Ha-ha  !    That's  a  good  one." 

Raquel  is  very  tiny  and  slender,  when  you  see  her  in 
real  life. 

The  Prince  and  the  Ladies. 

Three  girls  and  a  prince !    This  might  be  the  title  of  a 
capital  little  movie.    Only  it  wouldn't  be  fiction,  but  fact. 
The  prince — to  name  him  first — was  George  Edward 

Alexander  Edmund, 
K.  G.,  G.  C.  V.  O.— 
whatever  that  all 
means — the  fourth 
son  of  King  George 
of  England  ;  the  girls, 
Gloria  Swanson,  Lily 
Damita,  and  June  Col- 
lyer. 

And  now — the  plot. 
It's  a  mysterious  one. 
But  the  surmise  is 
that  the  motif  was  ri- 
valry. 

Anyway,  the  three 
stellar  ladies  were  en- 
tertained at  luncheon 
by  Prince  George,  at 
the  Ambassador  Ho- 
tel, during  his  very, 
very  secret  visit  to 
Los  Angeles,  which 
was  incognito,  as 
Lieutenant  Windsor 
of  H.  M.  S.  Dunbar, 
anchored  at  Santa 
Barbara. 

And,  later,  when  the 
prince  set  forth  to  get 
aboard  his  ship  for 
departure,  who  do  you 
think  accompanied 
him  in  his  automobile 
on  the  three-hour  ride 
from  Los  Angeles  to 
Santa  Barbara?  No, 
not  Gloria ;  no,  not 
Lily,  but  June.  The 
other  two  stars  fol- 
lowed in  a  second  car, 
driven  by  a  Montecito  social  lion.  But  then,  that  wasn't 
like  riding  with  the  prince.    So  June  was  the  victor. 

Fashion  Show  Perils. 

One  of  the  features  of  the  National  Air  Races  Ex- 
position was  a  fashion  show  staged  by  Peggy  Hamilton, 
in  which  numerous  stars  took  part.  They  went  to  the 
scene  of  the  doings  via  airplane,  and  practically  every 
girl  was  dying  to  be  piloted  by  Art  Goebel,  whose  trans- 
continental flight  caused  a  sensation.  Only  a  few  of 
them  had  that  privilege,  however,  as  the  plane  he  drove 
was  limited  in  accommodations.  The  other  girls  were 
so  saddened,  that  they  could  scarcely  conjure  up  a  smile 
Continued  on  page  100 


Victorious! 


oman 


If  you  think  a  woman  can't  take  care  of 
herself    in   these    days    of  self-expression, 
just  get  funny  with  one  of  them! 


Greta  Garbo,  upper  left,  in  "The  Mys- 
terious Lad}-,"  gets  the  man  what's 
done  her  wrong,  and  if  Gustave  von 
Seyeffertitz,  upper  right,  doesn't  watch 
out  she'll  plug  him  again. 

If  Roy  d'Arcy,  above,  thinks  he  can 
put  one  over  on  Sylvia   Beecher,  in 
"Beyond  the  Sierras,"  he'll  have  to  go 
to  night  school. 


Derelys   Perdue,  left, 
hand,  and  also  a  club, 
with    Sid    Tavlor,  in 
Rider." 


has   the  upper 
in  her  argument 
"The  Mystery 


Bebe  Daniels,  right,  gives  Ed  Brady 
something   to    remember    her    by,  in 
"Hot  News." 


.  ,„...(. 


Mc- 
left, 

with 
look 
auto- 
tries 


May 
Avoy, 
armed 
a  dirty 
and  an 
matic, 

to  make  Con- 
rad N  a  g  e  1 
take  his  hat 
off  in  the 
house,  in 
"Caught  i  n 
the  Fog." 

"Don't  you 
dare  bull  y 
me,"  says 
Jeanette 
Loff,  w  i  t  h 
emphasis,  to 
Tom  Ken- 
nedy, in  "At 
Yale." 


53 


His  Nickname  Is 
L-onnie 

And  that  is  but  one  of  the  revelations  unearthed 
by  this  interviewer  in  her  visit  to  Conrad  Veidt, 
one  of  the  screen's  most  sinister  personalities. 

By  Myrtle  Gebkart 

A SINISTER  shadow — hands — a  distorted,  ugly 
face — scheming  eyes,  half  wild — a  bent,  mis- 
shapen form* — Doctor  Caligari,  creeping  toward 
me,  along  crazy,  three-sided  rooms — Ccsare  Borgia, 
smiling  treacherously — black  streaks  through  shafts  of 

light — a  grimacing,  twisted  mouth  

This  vague  and  terrifying  half-picture  of  Conrad 
Veidt  was  in  my  mind — snatches  of  his  monstrous 
characters,  men  a  little  demented.  His  forte  was  that 
of  cruelty.  A  beastly  man,  surely*  A  German.  He 
would  be  built  like  an  apartment  house,  layer  upon 
layer  held  by  thick  muscles.  He  would  glower  and 
talk  of  impulses,  complexes  and  all  those  somber  chan- 
nels of  the  mind  in  Freudian  analysis.  I  shuddered, 
and  wondered  a  bit  about  the  brain  of  a  man  known 
only  to  us  by  such  weird  characterizations.  I  was 
half  prejudiced  against  him,  not  as  an  actor,  but  as  a 
human  being. 

To  supplement  his  broken  English,  Paul  Kohner, 
Universal  executive,  had  agreed  to  lunch  with  us. 

"His  nickname  is  'Connie,'  "  Paul  lazily  informed 
me. 

Scarcely  had  I  recovered  from  that,  when  the  car 
stopped  before  the  one  old-fashioned  house  left  in 
Beverly  Hills,  a  rambling,  comfortable  home,  by  no 
means  pretentious.  A  tall,  well-built  man  ran  down 
the  steps  to  meet  us.  One  of  those  soldierly,  foreign 
bows.  A  big,  brown  hand  held  mine.  I  looked  up 
into  a  long,  strong,  tanned  face,  its  darkness  lit  by 
electric-blue  eyes. 

Finally  I  snapped  out  of  it  and  asked  how,  why,  and 
wherefore. 

"I  play  such  characterizations,  because  zey  haff 
drama,"  he  said.  "I  must  haff  ze  dramatic,  ze  ecstatic 
— somesing  wiss  great  mental  force.  Good  men  not 
haff  happen  to  zem  soze  unusual  sings  which  make 
drama.  But  nein,  I  am  not  all  bad.  Zere  iss  a  reason, 
each  time,  why  I  am  bad.  I  haff  sympazy  from  my 
audience.  As  in  'The  Man  Who  Laughs,'  I  am  cruel 
to  all  but  blind,  leetle  girl.  Peoples  are  sorry  for  me, 
because  I  haff  been  marked  wiss  scarred  face.  It  iss 
great  role.    I  act  it  wiss  my  eyes,  so." 

In  a  two-minute  eye  duet  he  gave  me  the  substance 
of  the  play.  I  saw  pathos,  hurt  pride  vented  in  cruelty, 
remorse,  and  sacrifice,  flash  one  after  the  other. 

"Such  characters  haff  drama,  because  zere  iss  al- 
ways tragedy  somewhere.  Zey  are  bad,  because  some- 
body has  made  zem  bad.  Life  has  twisted  zem.  To 
find  out  why,  and  to  show  it  why,  as  you  play  zat  char- 
acter doing  evil,  zat  iss  drama." 

I  found  Veidt  a  most  interesting  man,  for  numerous 
reasons.  While  I  did  not  expect  to  see  quite  the  gro- 
tesque figure  of  his  screen  self,  giving  due  credit  to 
make-up,  I  did  imagine  there  would  be  about  him  some- 
thing that  suggested  brutality.  There  wasn't.  Indeed, 
there  was  nothing  of  those  dark  shadows,  save  the 
power  and  vitality  that  make  them  so  curiously,  yet  hor- 
ribly,, alive. 


Photo  by  Freulich 

Though  Conrad  Veidt  specializes  in  terrifying  roles,  he  is 
really  quite  genial  and  friendly. 


His  lightness  of  movement,  and  his  grace,  are  sur- 
prising in  a  man  so  large.  His  voice,  rumbling  into  the 
reverberations  of  a  drum,  suddenly  softens  to  the  del- 
icacy of  a  whisper.  Big,  brown  hands  are  everywhere 
in  wide,  sweeping  gestures,  panoramic  in  the  circum- 
ference of  their  expression.  When  English  failed,  as 
often  it  did,  and  before  Paul  could  supply  the  interpre- 
tation of  his  guttural  German,  his  tense  eyes,  or  a  quick 
pose,  would  tell  me  his  meaning. 

His  eyes  are  of  that  blue  which,  with  concentration, 
become  almost  slate  gray.  His  power  lies  in  them.  He 
is  thirty-five,  at  once  mature  in  experience  and  vig- 
orously youthful. 

Mrs.  Veidt,  also  German,  was  not  in.  Their  little 
girl  was  asleep.  The  three  of  us  dawdled  over  luncheon 
in  the  old-fashioned  dining  room,  with  its  big  windows 
and  its  mahogany  woodwork,  and  talked  of  many 
things.  Caligari  worried  that  I  was  eating  so  little ! 
Henry  IV  trotted  back  and  forth  to  the  study,  to  bring 
me  snapshots  of  a  darling  three-year-old  baby.  It  was 
some  time  before  I  could  readjust  myself,  and  shake  the 
screen  Veidt  out  of  my  mind. 

Though  he  has  made  but  two  pictures  here,  he  has 
Continued  on  page  106 


56 


Funn??    Well,  It'd 

If  the  functioning  of  your  adenoids,  and  the  health 

a  contract 


Nancy  Carroll,  above,  is  having  her  vocal 
charm  recorded  on  a  sensitive  instrument 
used  in  testing  players'  voices. 

It  looks   as   though   Buddy  Rogers  and 
Lane  Chandler,  right,  were  broadcasting 
their  version  of  "Sweet  Adeline." 


57 


D 


of  your  tonsils,  meant  that  you  did  or  did  not  get 
for  talkies. 


That's  a  dangerous  place 
for  Clara  Bow,  right,  to 
be  holding  the  microphone. 
If  Clara's  heart  ever  starts 
broadcasting  —  use  your 
own  imagination ! 


Edward    Nugent,  below 
looks  like  the  male's  ver- 
sion of  the   dying  swan 
Oh,  well 


Fred  Datig,  Paramount  casting  director,  below,  explains  the  testing  instrument  to 
Jean  Arthur,  while  Chester  Conklin,  right,  is  preparing  to  prove  that  his  voice,  if 

not  his  face,  has  sex  appeal. 


58 


anhattan 


Photo  by  Witzel 

Buck  Jones  doesn't  like  New  York,  and  left  it  as  soon  as 

he  could. 


y\  EMEMBER,"  says  Texas  Guinan,  all  tricked  out 
|C    for  luncheon  in  a  black-lace  evening  gown  and  a 
picture  hat,  "it's  Hollywood  Em  going  to,  not 
Atlanta." 

The  night  clubs'  most  conspicuous  member  bade 
Broadway  a  brief  farewell  at  the  instigation  of  Warner 
Brothers,  who  have  signed  her  to  appear  in  "Queen  of 
the  Night  Clubs,"  her  first  film  in  many  moons.  A 
luncheon  at  Sardi's  sent  her  upon  her  shadowy  way, 
and  the  press  gathered  in  her 
honor  to  "give  the  little  girl  a 
great,  big  hand." 

Nothing,  says  Miss  Guinan 
— not  even  Holfywood  ducats 
■ — can  tempt  her  to  abandon 
her 

of  her  heart — the 


Sue  Carol  arrived  in  town  at  ten  a.  m.,  and  left 
for  Europe  at  four  in  the  afternoon. 


allegiance  to  the  dar 


night  club.  "I 
should  really  pay 
the  people  who 
come  to  my  night 
club,  instead  of 
giving  them  bills. 
I'm  always  the 
one  who  gets  the 
most  fun  out  of 
the  evening." 

For,  you  see.  to 
the  vivacious  Miss 


The  New  Yorker's  view  of 
things  cinematic  in  the  East. 


Guinan  spangles  and  diamonds  are  as  essential  as  the 
cincture  and  coif  to  the  cloistered  nun.  Miss  Guinan 
has  found  her  vocation  in  the  midnight  revels  of  the 
butter-and-egg  man,  and  she  is  as  devoted  to  her  art  as 
the  most  devout  neophyte.  ; 

Fairly  bursting  with  enthusiasm  and  joic  dc  v'wre, 
Miss  Guinan  regards  the  night  club  not  as  a  mere  task, 
but  as  a  huge  and  delectable  lark.  It's  one  continuous 
party  at  which  she  plays  hostess,  and  the  world  is  her 
guest — the  sophisticated,  pleasure-loving,  gilded  world. 
Her  constant  tilts  with  the  authorities  do  but  add  zest 
to  the  evening's  spree,  and  though  the  law  is  her  enemy 
all  Broadway  is  her  friend. 

"What  harm  are  we  doing  to  any  one?"-  asks  Miss 
Guinan,  as  the  jazz  band  plays  and  the  glasses  clink. 
"I'll  tell  the  world  we're  just  having  a  good  time,  a  wow 
of  a  good  time.  If  you  don't  like  it,  you  don't  have  to 
be  there.  It's  a  darn  sight  better  than  sitting  in  the 
parlor,  ripping  your  neighbor  up  the  back,  and  a  darn 
sight  more  fun." 

And  though  the  authorities  quibble  and  the  Puritans 
object,  Miss  Guinan  laughs  defiantly  and  cries,  "Come 
on,  kid,  do  your  stuff !" 

Her  Hollywood  sojourn  will  interrupt,  but  never  in- 
terfere with,  her  permanent  manipulation  of  "the  night- 
club game,"  says  Miss  Guinan. 

The  Boy  from  the  Circus. 

Step  this  way,  ladies  and  gentlemen !  The  show  is 
just  beginning!  You  pays  your  money  and  you  takes 
3>-our  choice !  Allow  me  to  introduce  to  you  Mr.  Joe  E. 
Brown,  late  of  the  circus,  now  of  Hollywood.  He's  an 
agile  little  fellow,  who  has  been  hurtled  about  from  one 
trapeze  to  another  since  he  was  twelve  years  old.  He 
didn't  have  enough  to  eat  then,  but  he  was  too  proud 
to  go  home  and  be  pointed  out  as  the  boy  who  couldn't 
make  good  with  a  circus !  Why,  the  circus  is  second 
home  to  any  boy  with  a  soul — a  real  boy's  soul.  And 
though  they  beat  him,  and  starved  him  and  bullied  him, 
Joe  E.  Brown  stuck  to  the  show  business  until  he  was  a 
headliner  in  his  own  right. 

He's  been  a  hit  on  Broadway,  too,  and  was  offered 
Fred  Stone's  role  in  a  new  revue,  after  the  recent  air- 
plane catastrophe,  but  he  pre- 
fers Hollywood.  Why?  Be- 
cause, it's  gay  and  bright  and 
lucrative  ?  No,  because  it's  se- 
cure and  healthful  and  spa- 
cious, and  a  fine  place  to  bring 
up  a  fine  pair  of  boys. 

"We've  missed 
enough  of  our 
boys'  youth  al- 
ready," he  ex- 
plains, "and  now 
my  wife  and  I 
have  a  chance  to 
be  with  them,  and 
if  pictures  will 
stick  to  us,  we 
certainly  are  go- 
ing to  stick  to 
them." 


59 


Tileen  StJohn-3renon 


Accordingly,  Mr.  and  Mrs.  Joe  E.  Brown 
spent  only  two  days  in  New  York,  hurrying 
back  to  California  on  receipt  of  an  unexpected 
wire  calling  for  the  comedian's  services,  with 
Belle  Bennett,  in  "The  Queen  of  Burlesque." 
During  his  few  months  in  Hollywood,  Brown 
appeared  in  four  pictures.  Hence,  for  the 
present  at  least,  Broadway  has.  no  lure  for  the 
circus  kid  who  only  asks  for  a  chance  to  watch 
his  own  boys  grow  up. 

When  a  Princess  Falls. 

"The  Princess  Mdivani  was  taken  to  the 
American  Hospital,  after  a  fall  from  her  horse 
yesterday  afternoon.  Her  case  is  in  the  hands 
of  Doctor  Martel  of  the  hospital  staff,  from 
whom  all  information  respecting  her  condi- 
tion must  be  asked.  This  is  in  accordance  with 
the  princess'  own  wishes." 

Do  you  recognize  the  princess  ?  She  is  none 
other  than  Pola  Negri,  transferred  to  a  Euro- 
pean setting,  where,  when  royalty  falleth  from 
a  steed,  the  court  physician  issueth  a  bulletin. 

It  was  while  riding  in  the  Bois  de  Boulogne 
that  the  accident  occurred.  The  star's  steed 
was  ambling  through  the  Bois  quietly  enough, 
when  a  passing  automobile  frightened  the  ani- 
mal. It  shied  so  suddenly  that  Miss 
Negri  was  thrown  violently  from 
the  saddle.  She  landed  hard,  and 
was  painfully  injured.  Friends  aver 
that  at  one  time  her  life  was  de- 
spaired of,  and  that  a  serious  opera- 
tion was  found  necessary.  How- 
ever, when  last  heard  from  she  was 
convalescent,  and  all's  well  in  the 
French  capital. 


Buck  Doesn't  Like  New  York. 

"Imagine  me  eating  fruit  salad," 
laughs  Buck  Jones,  who  motored 
here  in  less  than  a  week  and  couldn't 
get  out  of  the  town  quickly  enough. 
"That's  fine  food  for  a  cowboy!" 
New  York,  he  finds,  is  positively 
effete  for  one  who  is  used  to  the 
freedom  of  the  West. 


Fannie    Brice    has  been 
busy  transferring  her  in- 
imitable   personality  to 
the  talkies. 

riioto  by  Fryer 


Constance  Talmadge  did  not  attend  the  wedding  of 
her  erstwhile  husband,  though  she  passed  through 
Paris  at  the  time. 

"I  don't  feel  hungry  here,  because  I  don't  get  any 
exercise.  Hope  I  don't  have  to  stay  in  this  town 
more  than  a  day.  Look  at  the  rain  and  the  outfit  I 
had  to  buy !  What  you  need  here  is  a  sombrero  to 
keep  the  rain  off  your  neck.  We  had  fine  weather 
all  across  the  country,  until  we  struck 
this  town.  The  car  had  no  cover  and 
I'd  like  to  be  in  Cali- 


we  got  soaked, 
fornia  again." 

Even  Coney  Island  could  not  con- 
sole the  cowboy.  A  crowd  of  small 
boys  recognized  him,  and  trailed  hirn 
up  the  shoot  the  chutes,  and  through 
the  rocky  road  to  Dublin,  until  he  was 
so  embarrassed  that  he  decided  to  give 
up  his  jaunt  and  go  home. 

Since  he  has  taken  to  producing  pic- 
tures "on  his  own,"  Jones  says  he  has 
learned  more  about  the  production 
business  than  he  ever  guessed  before. 

"I  learned  more  in  five  weeks  mak- 
ing 'The  Big  Hop'  than  I  did  in  nine 
years  with  Fox.  When  I  worked  for 
Fox  I  looked  at  the  sky  each  day,  hop- 
ing for  rain.  Since  working  for  my- 
self, I  look  at  the  sky  and 
pray  there  will  be  no  rain. 
The  responsibility  of  being 
one's  own  boss  has  its  draw- 
backs, as  well  as  its  com- 
pensations. There's  a  lot 
more  worrying  to  do,  and 
while  I  don't  have  to  get  up 


60 


Manhattan  Medley 


Photo  by  Pach 

George  Arliss  has  been  signed  by  Warner  to  make  a 
talking  picture. 

so  early  in  the  morning,  I  find  it  all  an  expensive  busi- 
ness. Using  airplanes,  for  example,  runs  into  a  lot 
of  money. 

''We  had  some  anxious  times  of  it,  too;  especially 
when  filming  a  parachute  jump.  One  man  had  to 
make  a  jump  from  the  plane,  high  in  the  air,  to  be 
followed  immediately  by  another  fellow  also  using  a 
parachute.  The  first  parachute  opened  all  right. 
Though  our  eyes  were  glued  to  the  spot,  we  could  see 
no  sign  of  the  fellow  who  had  to  follow  suit.  All  wc 
could  see  was  that  the  parachute  failed  to  open.  Our 
hearts  were  in  our  mouths.  Terrified,  we  rushed  over 
to  the  landing  to  await  the  descent  of  the  plane.  To 
our  amazement  the  second  man  stepped  out,  looking 
somewhat  the  worse  for  wear,  but  intact  nevertheless. 
He  explained  that  when  he  had  started  to  jump,  the 
plane  door  had  slammed  against  his  head  and  knocked 
him  unconscious.  Fortunately  the  parachute  half 
opened  and  caught  in  the  door,  leaving  him  senseless 
for  the  pilot  to  haul  up.  The  plane  had  been  so  far 
up  in  the  air  that  we  had  failed  to  see  this  bit  of  drama." 

Rural  England  is  to  be  the  scene  of  what  Jones  calls 
"just  another  horse  opera."  The  cowboy  star  is  to 
play  the  role  of  an  American 

cowboy,  who  tries  to  become  an  "*'m  °^  to  Holly- 
English  gentlemen— a  story  writ-  W(?°d>  not  Atlanta!" 
.      i  .1  t->     •    i  i     said  Texas  Guinan 

ten  by  none  other  than  Reginald     on  leaving  New 

Denny.  York. 


Bebe's  Up  in  the  Air. 

Bebe  Daniels,  rather  weary,  a  bit  pulled  down 
and  very  nervous,  but  always  a  good  sport,  came 
to  New  York  hoping  she  might  persuade  Mr. 
Zukor  to  permit  her  to  make  a  picture  in  the  East. 
But  since  the  film  gods  decreed  otherwise,  she 
contented  herself  with  a  holiday  spent  amid  the 
pleasant  surroundings  of  the  Thomas  Meighans' 
estate  at  Great  Neck,  motoring  into  town  every 
few  days  to  see  the  plays  and  what  not. 

Aviation,  avows  Miss  Daniels,  has  captured  her 
fancy,  and  she  determined  on  her  journey  East- 
ward, to  take  time  by  the  forelock  and  avail  her- 
self of  the  fastest  mode  of  locomotion.  Being  an 
ardent  aviatrix  for  years  past,  she  was  eager  to 
try  a  plane  as  a  means  of  transcontinental  adven- 
ture. Paramount  got  wind  of  her  plan  a  few  days 
before  her  departure.  Threatening  messages  were 
delivered  to  her,  contracts  were  dangled  before  her, 
frowns  were  displayed,  and  the  publicity  department 
was  ordered  to  ignore  her,  but  Miss  Daniels 
searched  her  contract  for  a  clause  forbidding  avia- 
tion as  a  diversion,  or  means  of  travel,  but  failed 
to  find  it,  and  with  a  light  heart  sallied  forth  with 
the  United  States  mail,  over  the  Western  moun- 
tains. 

"Since  I  was  permitted  to  go  a-flying  in  many 
films,"  says  Miss  Daniels,  "I  fail  to  see  that  it  was 
such  a  risk  for  my  diversion." 

Miss  Daniels  is  one  of  those  who  believes  that 
the  talkies  do  not  demand  what  is  known  in  Hol- 
lywood as  voice  culture. 

"It  is  inevitable,"  says  Miss  Daniels  "that  I  make 
a  talking  film,  since  all  the  world  is  doing  it.  All 
of  us  have  to  do  it  sooner  or  later,  but  I,  for  one, 
will  not  have  my  voice  tampered  with.  The 
best  screen  acting  is  natural,  and  .  it  stands  to 
reason  that  the  best-speaking  voice  is. a  natural 
one.  You  can't  tell  me  that  you  are  going  to 
'get  over'  by  using  affected  speech.  If  you 
speak  the  way  you  are  used  to,  audiences  are 
going  to  like  it — just  because  it  is  you.  You 
have  to  be  sincere  on  the  screen.  That  was  the 
trouble  with  May  McAvoy's  first  speaking  film 

— she  was  not 
only  too  conscious 
of  her  voice,  but 
she  was  trying  to 
speak  as  she 
thought  she  ought 
to  speak,  and  it 
didn't  ring  true. 
May,  naturally, 
has  a  very  nice- 
speaking  voice, 
but  it  was  much 
criticized  when  it 
was  recorded.  A 
lot  of  people  are 
going  to  make  the 
same  mistake,  but 
I  am  thoroughly 
convinced  that  if 
you  speak  as  you 
usually  do  the 
audience  will  like 
it."  Audiences 
will  surely  like 
Bebe  in  the 
talkies,  for  more 
unaffected  speech 
we  never  heard. 


Manhattan  Medley 


61 


In  Again,  Out  Again. 

Sue  Carol  is  in  the  position  of  the  young  lad}'  who  came 
right  in,  turned  around  and  went  right  out  again.  She  arrived 
in  New  York  at  ten  thirty  one  morning,  and  by  noon  she  was 
a  passenger  on  board  the  Leviathan,  bound  for  a  holiday 
abroad.  Accompanied  by  her  mother,  she  will  roam  over  the 
capitals  of  Europe,  with  mayhap  more  than  a  glimpse  of  Nick 
Stuart,  and  will  return  after  several  months  to  resume  what  is 
technically  known  as  her  career. 

George  Arliss  Reappears. 

The  same  liner,  on  the  return  journey,  brought  George  Arliss 
to  these  shores  to  appear  in  a  Vitaphone  dialogue  picture. 
Arliss  signed  his  contract  in  England,  in  the  London  office  of 
the  Warner  Brothers.  The  picture,  which  will  in  all  proba- 
bility be  made  on  the  Coast,  will  undoubtedly  be  one  of  his 
famous  character  sketches. 

The  Loneliest  Man  on  Broadway  ? 

Mammy !  Al  Jolson  is  at  home  in  his  apartment  in  the  Ritz 
Tower,  fourteenth  floor.  He  is  denying  his  engagement  to  Ruby 
Keeler,  answering  the  telephone,  fiddling  with  the  radio,  burst- 
ing into  song,  munching  sandwiches,  and  talking  of  Hollywood. 

"What  a  strange  country  that  is.  You've  simply  got  to 
accept  invitations,  or  right  away  you  are  in  bad. 
It's  hard  on  the  beauty  sleep,  but  you  have  a  swell 
time.  And  how  you  work — like  a  steam  engine, 
day  and  night.  Honest  I  think  I'm  real  good  in 
'The  Singing  Fool.'  In  'The  Jazz  Singer'  I  had 
one  of  those  ready-to-wear  roles.  A  monkey 
could  have  played  that  part,  and  did!" 

But  Jolson  will  tell  you  that  with  all  his  popu- 
larity, his  financial  success,  and  the  contracts  that 
are  dangled  before  him,  he's  the  loneliest  man  on 
Broadway — so  lonely,  oh,  so  lonely,  no  kiddin' — 
just  a  case  of  being  all  dressed  up  and  no 
place  to  go — no  place  to  go,  that  is,  where 
anybody  cares,  and  he  changes  the  subject 
abruptly,    "Well,   anyhow   I'm   sailing  for 
Europe  next  week." 

The  Beloved  Fannie. 

Fannie  Brice  once  sang,  "I'm  an  awful  bad 
woman,  but  I'm  awful  good  company."  And 
now  she  has  been  transferring  her  amiable 
personality,  her  amusing  caricatures,  and  her 
inimitable  interpretations  of  melancholy  songs 
to  the  Vitaphone.  You'll  hear,  as  only  Miss 
Brice  can  sing  them,  "Second-hand  Rose," 
"My  Man,"  "Florodora  Baby,"  "I'm  an  In- 
dian," and  the  rest  of  them.  With  the  com- 
pletion of  the  film  "My  Man,"  voluble  Fannie 
chose  New  York  for  her  happy  hunting 
ground,  but  not  before  she  had  already  trans 
ferred  "Mrs.  Cohen  at  the  Beach"  to  the 
talking  drama. 

Irving  Berlin  Captured  by  the  Talkies. 

Irving  Berlin  has  been  bitten  by  the 
talkies.    "Say  It  With  Music"  is  the  title 
of  a  story  he  is  writing  for  Harry  Rich- 
man.    He  is  preparing  not  only  the  story, 
but  the  lyrics,  musical  score  and  the  songs,  and 
although  the  theme  deals  with  the  romance  of  a 
Tin  Pan  Alley  pianist,  Berlin  insists  it  is  in  no  sense 
biographical.    In  addition  to  his  multitudinous  activi- 
ties, Berlin  avows  he  will  also  superintend  the  pro- 
duction at  the  Cosmopolitan  studio  in  New- 
York. 

Apropos  of  Broadway,  George  White  him- 
self is  taking  a  flyer  in  the  films.  He  has  this 
to  say: 


Bebe  Dan- 
iels couldn't 
find  any- 
thing in  her 
contract  to 
prevent  her 
flying  to 
New  York, 
so  she  did! 


Joe  E.  Brown,  the  circus  kid  who  became 
a  Broadway  star,  is  now  in  the  movies  for 
good. 


"The  age  of  mechanics  is 
upon  us.    I  see  in  synchronized 
films  a  great  future.    It  will 
eliminate    temperamental  ac- 
tors, who,  after  their  work  in 
the  films  is  concluded,  can  go 
their  way  without  vexing  me 
at  each  and  every  perform- 
ance.   I  plan  to  make  only  a 
few  talking  films  a  year,  and 
will  in  this  way  have  considerable 
time  for  vacation  without  being 
tied  nightly  to  the  job  of  watch- 
ing my  plays.    Also  it  will  give 
me  the  opportunity  of  presenting 
my  work  to  untold  millions  of 
playgoers  in  every  hamlet  in  the 
country,  instead  of  only  the  key 
cities,  as  now  obtains  with  my 
'Scandals.'  " 

On  the  other  hand,  we  have 
Herbert  Brenon,  a  dyed-in-the- 
wool  picture  veteran,  who  is  ada- 
mant in  his  stand  against  them, 
but  he  suddenly  cut  short  his 
equally  sudden  visit  to  New 
York,  occasioned  by  the  serious 
illness  of  his  mother,  and  we 
have  yet  to  elicit  his  exact  views 
on  the  subject. 

The  Kid  Grows  Up. 

As  the  boy  grew  older,  he  took 
to    vaudeville,    meaning  Jackie 
Coogan,  of  course,  who,  in  silk 
hat  and  striped  trousers  and  a 
Continued  on  page  117 


62 


LoVe — and 


Warm,  throbbing,  burning  love  is 
depicted  in  its  various  stages  by 
Polly  Moran  and  William  Haines. 

She  was  a  maiden  and  he  was  a  lad,  and 
love  'blossomed.    The  genesis  is  pictured 
at  the  left. 

The  lovers  struggle,  left  circle,  through  the 
temptation  of  the  first  kiss,  and  with  this 
out  of  the  way- 


03 


Uirl  Comes  to  rio 


In  this,  the  most  exciting  and  ingenious  installment  of  our  mystery  serial,  tragedy  appears  for  the  first 

time  and  Malcolm  Allen  is  accused  of  murder. 

By  Alice  M.  Williamson 


ILLUSTRATED 


B  Y 


MODEST  STEIN 


CHAPTER  XVII. 

THE  PROPHETESS  IS  UNVEILED. 

THE  lady  of  the  darkened 
room  lay,  as  usual,  on  a 
cushioned  sofa.  But  to- 
day the  sofa  was  placed  near  the 
open  window,  and  only  a  pair 
of  rose-colored  curtains  drawn 
across  the  light  gave  that  effect 
of  warm,  becoming  dusk  which 
the  lady  preferred.  Even  in  the 
rosy  twilight  she  was  pale,  but 
she  was  also  very  beautiful  in  a 
haggard  way,  and  the  great  eyes 
that  looked  up  at  the  man  bend- 
ing over  her  had  passion  in  them 
as  well  as  tragedy. 

Lopez  kissed  the  thin  fingers 
with  the  polished  nails  which 
Lady  Gates  had  once  thought 
were  like  "coral  on  ivory." 

"My  Marco !"  she  murmured. 
"I  have  been  waiting  for  you." 

"And  I  for  the  moment  when 
I  could  come  to  thee,"-  he  an- 
swered in  Spanish.  He  drew  up 
a  chair  and  sat  down  beside  her. 
A  French  novel  in  a  yellow  jacket 
slipped  off  the  purple  coverlet 
and  fell  to  the  floor.  Even  that 
slight  sound  jarred  the  woman's 
nerves.  She  started,  and  then 
coughed  a  little. 

"Thou  art  not  worse?"  Lopez 
asked  tenderly. 

"No,"  she  said,  when  the 
coughing  had  stopped.  "This  is 
nothing.  I'm  a  little  tired,  that's 
all.  I've  been  out  walking  in  the 
patio.     But,  oh,   Marco,   I  am 

tristc — I  am  bored — bored — bored  !  I  know  there's 
nothing  left  for  me  in  life  but  this,  and  sometimes  I 
wish,  since  I  must  die,  I  could  die  soon." 

"Thou  wilt  break  my  heart  if  thou  speakest  so!" 
Lopez  said,  and  went  down  on  one  knee  beside  the  sofa. 

"Forgive  me,"  the  woman  begged.  "I'm  not  ungrate- 
ful, really.  You  are  more  good  to  me  than  I  thought 
it  was  possible  for  a  man  to  be,  Marco.  And  in  return 
I  can  do  so  little !" 

"Thou  hast  done  miraculous  things,"  Lopez  soothed 
her.  "Lady  Gates  is  our  last  success,  but  we  have  had 
many  others  before  her.  Silly  women !  Their  vanity 
is  fair  game.  Our  commission  for  Lady  Gates'  treat- 
ment was  nearly  a  thousand  dollars,  my  dear  one.  With- 
out thee,  neither  she  nor  the  others  would  have  been 
persuaded. to  go  through  with  it." 

*  Copyright,   192S,  by  Alice  If.  Williamson.  .  . 


Synopsis    of    Previous  Chapters. 

Malcolm_  Allen,  a  young  English  novelist  in 
Hollywood,  is  attracted  to  a  beautiful  girl,  who 
attempts  to  leave  the  fashionable  Restaurant 
Montparnasse  without  paying  for  the  dinner 
she  has  eaten.  Malcolm  goes  to  her  rescue, 
and  later,  dazzled  by  her  beauty,  offers  her  a 
chance  in  the  movies.  He  is  dumfounded  when 
she  expresses  a  preference  to  be  a  cigarette  girl 
at  Montparnasse. 

Lad}'  Gates,  Malcolm's  wealthy  aunt,  arrives 
in  Hollywood  unexpectedly.  Having  a  fortune, 
she  is  anxious  to  participate  in  the  perennially 
youthful  life  of  the  movie  capital.  She  meets 
Marco  Lopez,  professional  dancer  at  Mont- 
parnasse. Lopez  is  attracted  by  Lady  Gates' 
diamonds  and  evident  wealth.  He  persuades 
her  to  visit  a  certain  seeress,  in  reality  his  con- 
federate, who  tells  Lady  Gates  she  can  once 
again  have  youth  and  love.  Meanwhile,  at  the 
insistence  of  Malcolm,  Lady  Gates-makes  stiff 
overtures  to  "Miss  Smith,"  as  the  cigarette  girl 
calls  herself.  Malcolm  hopes  to  solve  the  mys- 
tery of  Miss  Smith  through  his  aunt.  Lady 
Gates  employs  Miss  Smith,  unknown  to  Mal- 
colm, as  her  companion  during  the  days  she 
is  undergoing  a  rejuvenation  operation. 

About  this  time,  Oscar  Sonnenberg  attempts 
to  interest  Miss  Smith  in  entering  the  movies. 
Miss  Smith,  secretly  loving  Malcolm,  induces 
Sonnenberg ...  to  produce  his  scenario,  as  Mal- 
colm has  been  tricked  by  another  producer  and 
is  in  straitened  circumstances,  on  verge  of  seek- 
ing aid  from  his  aunt. 

When  Lady  Gates  leaves  the  hospital  she 
sends  for  her  nephew.  Malcolm,  astounded, 
frankly  tells  his  aunt  he  does  not  approve  of 
her  action,  though  admitting  the  remarkable 
change  in  her  appearance.  Lady  Gates,  an- 
gered, severs  relationship  with  her  nephew  and 
devotes  even  more  attention  to  Marco  Lopez. 

Malcolm  notices  Miss  Smith  is  avoiding  him. 
Questioned,  she  admits  it  is  necessary,  and 
adds  that  she  has  come  to  Hollywood  because 
of  Lopez.  She  urges  Malcolm  to  trust  her. 
Miss  Smith  secretly  secures  Lopez  a  role  in 
Malcolm's  story  "Red  Velvet,"  production  of 
which  is  shortly  to  start. 


"But  what  are  a  few  thousand 
dollars  to  us?"  the  woman  com- 
plained. "If  we  are  ever  to  es- 
cape and  go  where  we  wish  to  go, 
we  shall  need  many  thousands." 

"I  know,"  Lopez  agreed.  "And 
I  see  my  way  to  winning  the 
many  thousands." 
•  "Not  by  merely  dancing  at  that 
wretched  cabaret!" 

"It's  not  a  cabaret,  most  beau- 
tiful one.  But  certainly  thou  art 
right.  It  is  a  pittance  I  earn 
ther.e.  Yet  it  has  been  a  step- 
ping-stone, a  means  to  an  end. 
And  the  end  is  in  sight,  if  again 
thou  wilt  help." 

"What  can  I  do?"  she  asked. 

"There  are  two  things  thou 
canst  do.  I  am  almost  afraid  to 
tell  thee  what  they  are." 

"Why?  Haven't  you  found 
me  always  ready  to  do  what  I 
can?" 

"But  these  things  are  different. 
My  fear  is  that  thou  mayest  mis- 
understand. Promise,  before  I 
tell  thee,  that  thou  wilt  not  do 
that." 

"I  can't  promise !  Tell  me 
quickly.  If  you  don't,  I  shall 
be  excited,  and  then  I  shall 
cough." 

"The  first  thing  is  this — that 
thou  wilt  not  be  sad,  or  mind  too 
much,  if  I  am  away  from  thee 
most  of  the  time  for  the  next 
two  weeks.  I  have  an  offer  to 
act  in  a  picture.  It  is  the  picture 
I  have  spoken  of,  from  the  book 


written  by  Lady  Gates'  nephew." 

"  'Red  Velvet' !"  exclaimed  the  woman.  "I  know. 
But  you  dislike  the  young  man.  You've  told  me  that 
he  looks  at  you  as  if  you  were  the  dirt  beneath  his  feet. 
He  is  putting  the  cigarette  girl  into  the  cast." 

"It  is  not  Allen  who  put  her  in,"  Lopez  explained. 
"He  has  no  power.  It  is  Sonnenberg,  the  producer.  He 
is  in  love  with  the  girl,  and  cares  not  who  knows  it.  She 
■is  everything  with  him  and  in  the  picture.  She  does 
■what  she  likes." 

"Then,"  said  the  woman  quickly,  "perhaps  it  is  she 
who  puts  you  in"  the  picture." 

Marco  Lopez  shrugged  his  shoulders.  He  had  been 
as  much  in  love  with  the  lady  of  the  darkened  room  as 
he  could  be  with  any  one  except  himself.  She  still 
fascinated  and  held  him  as  no  other  ever  had,  though  he 
was  a  little  tired  of  playing  the  servant. 

"Possible !"  he  admitted.    "Miss  Smith  and  I  do  not 


64 


A  Girl  Comes  to  Hollywood 


have  much  to  say  to  one  another.  Yet  I  have  noticed 
that  she  looks  at,  me,  and  lately  she  and  this  Sonnenberg 
have  talked  about  me  often,  I  have  seen  that.  But  it  is 
not  my  business  how  the  offer  comes.  I  have  it  !  That 
means  fourteen  hundred  dollars  for  the  two  weeks." 

"All  day  long  for  two  whole  weeks  I  must  do  without 
you,  and  you  will  be  playing  love  scenes  with  this  cig- 
arette girl  who  is  epris  with  you!"  the  woman  sighed. 
"And  for  fourteen  hundred  dollars !  Marco,  are  you 
sure — sure  it  wouldn't  be  safe  now  for  us  to  sell  some 
of  the  jewels.    If  we  could  do  that,  we  should  be.  free!" 

"We  should  not  be  free."  Lopez  told  her.  "It  would 
not  yet  be  safe  to  sell  even  one  of  those  things.  Far 


Well,  maybe  thou  didst  put  the  idea  into  my  head,  or 
maybe  it  was  there  already.  But  I  have  made  the  con- 
quest !  This  old  woman  is  mad  about  me.  We  have 
now,  you  and  I  between  us,  only  to  exploit  her." 

"What  do  you  mean?"  the  sweet,  husky  voice  ques- 
tioned. 

"What  I  mean  sounds  far  worse  than  in  reality  it  is," 
Lopez  excused  himself.  "If  I  promised  to  marry  her, 
she  would  tear  up  the  will  she  has  made  leaving  all  to 
her  nephew,  and  make  a  new  one  in  favor  of  me." 

"To  marry  her !"  echoed  the  woman.  "You  can't  be 
serious  ?" 

"Why  not,  dearest  one?"  argued  the  man.  "What 


better  if  we  sell  none  at  all  in  this  country.  That  is 
what  I  hope  for,  thou  knowest,  to  find  other  ways  out 
of  our  difficulties.  And  I  have  found  a  way !  Thou 
wilt  not  like  this,  yet  if  it  brings  us  enough  money  for 
our  escape,  and  makes  us  comfortable,  if  not  rich,  for 
the  rest  of  our  lives  " 

"Don't  keep  me  in  suspense,"  she  said. 

"It  concerns  Lady  Gates,"  Lopez  began.  "Thou 
speakest  of  this  girl  who  may  be  in  love  with  me.  If 
she  is,  it's  of  no  importance.  But,  with  a  woman  like 
Lady  Gates,  it  is  a  very  different  matter.  At  first,  dost 
thou  remember,  after  Lady  Gates  came  to  consult  thee, 
thou  didst  laugh  and  tease  me  about  my  'conquest.' 


would  such  a  marriage  be?  A  mere  form.  It  would 
not  interfere  between  us  two.    Nothing  could !" 

"It  wouldn't  be  a  marriage!"  she  protested.  "If  you 
could  have  got  rid  of  your  wife  in  Buenos  Aires  you 
would  have  married  me  before  we  came  here.  At  least, 
that  is  what  you  made  me  believe." 

"And  it  is  true,"  Lopez  assured  her.  "That  is  all  the 
better  for  my  plan  now.  Lady  Gates  will  only  think  I 
am  her  husband.  That  is  all  that  will  be  necessary. 
When  I  have  won  her  confidence  and  got  her  money, 
I  shall  leave  her." 

"I  see,"  said  the  woman  slowly.  "But  how  do  you 
think  you  would  get  the  money  and  jewels?" 


A  Girl  Comes  to  Hollywood 


65 


"I  have  several  ideas,"  Lopez  said.  "But  in  the  be- 
ginning I  may  need  your  help.  Some  one  has  tried  to 
prejudice  this  old  woman  against  me.  She  admits  that, 
but  will  not  name  the  person.  She  and  I  have  had 
many  talks.  She  calls  it  a  'delicious  flirtation,'  the  poor 
fool,  who  puts  on  all  the  airs  of  a  young  beauty,  but  she 
hints  that  she  has  doubts  of  my  sincerity.  Thou  canst 
convince  her  which  way  happiness  lies  for  her  in  future, 
by  casting  her  horoscope.  Wilt  thou  do  this — not  for 
me,  you  understand,  but  for  us?" 

"Did  a  man  ever  ask  such  a  thing  of  a  woman  he 
pretended  to  love !"  the  husky  voice  murmured. 

"Many  times,   I   should  think,  beloved,"  answered 
Lopez.    "Thou  knowest  I  adore  thee.    If  not,  would  I 
be  thy  servant  and  thy  slave?    What  have  I  to  gain  by 
living  as  we  do,  if  it  were  not  for  love?   Nothing ! 
But  thou  and  I  have  all  to  gain  in  such  a  scheme 
as  I  have  told  thee." 

"I  must  think,"  said  the  woman.  "I  can't  an- 
swer at  once.  Perhaps  it's  because  I  am  ill  and 
have  a  fever  burning  up  my  blood,  that  horrid 
fancies  come  to  me  at  night.  I  picture  you  when 
I  am  dead,  free  to  go  where  you  will,  with  the 
jewels,  which  you  say  always  we  dare  not  sell 
here.  I  may  begin  seeing  a  new  vision — me,  out 
of  your  way,  and  you  with  a  rich  old  wife,  very 
easy  to  deceive,  traveling  around  the  world,  amus- 
ing yourself  with  others,  waiting  for  her  death." 

"I  will  shoot  myself  if  thou  talkest  so  !"  cried 
Lopez,  springing  to  his  feet.  "Even  from  thee, 
I  cannot  bear  such  cruelty,  such  injustice." 

The  woman  broke  into  tears.  "Oh,  forgive 
me,  Marco !"  she  sobbed,  and  began  to  cough. 
"I'm  sorry!  I'll — do  anything  for  you  that  you 
ask." 

Instantly  he  was  on  his  knees  again  beside  her, 
his  arms  round  the  frail,  shaking  body.    He  mur- 
mured words  of  love  and  kissed  her  wet  cheeks, 
her  heavy,  perfumed  hair 
ceased. 


tions,  which  made  her  tremble  with  ecstasy,  shouldn't 
be  sincere. 

She  was  waiting  for  him  now,  counting  the  moments. 
Work  on  "Red  Velvet"  had  begun  some  days  ago,  and 
Marco  seemed  quite  pleased  with  his  role.  He  had 
promised  his  divine  "Katherina"  never  to  speak  to 
Mary  Smith,  except  when  they  were  in  a  scene  together. 

Still,  she  was  pleased  when  she  saw  the  Smith  girl 
come  in  with  Sonnenberg,  and  Landis,  the  director, 
who  was  bringing  his  wife,  professionally  known  as 
Pauline  Fordham. 

They  all  sat  down  at  a  table,  decorated  with  red  roses, 
and  evidently  engaged  in  advance.  The  Smith  girl  wore 
an  orchid  pinned  into  the  breast  of  her  white  gown, 
and  this  worried  Lady  Gates. 


Soon  the  coughing 


CHAPTER  XVIII. 

THE  FATAL  LETTER. 


It  was  a  dancing  night  at  Montparnasse,  and 
Lady  Gates  came  early  to  her  table,  dressed  in 
a  diamond-dusted,  peach-blossom  film  that  looked 
like  dew-spangled  petals  scattered  on  a  silver  wave.  'This 
was  the  idea  she  had  had  expressed  by  the  smartest 
dressmaker  in  Hollywood,  to  carry  out  the  remembered 
prophesy  of  the  veiled  Madame  Blank. 

Now  she  had  lately  gone  again  to  consult  this  lady. 
Her  horoscope  had  been  cast,  and  hints  had  been  given 
of  happiness  with  a  dark,  handsome  man'  who  adored 
her,  despite  a  difference  in  their  ages. 

Lady  Gates  was  ecstatically  pleased  with  herself. 
Never  would  she  have  believed  that  a  life  could  be  so 
made  over  anew.  She  imagined,  because  people  stared 
at  her  and  whispered  when  they  thought  she  wasn't  look- 
ing, that  she  had  become  strikingly  beautiful,  and  had 
acquired  what  they  called  in  Hollywood  "S.  A." 

She  had  covered  the  walls  of  her  rooms  at  the  Am- 
bassador with  mirrors.  Her  ladyship  never  tired  of 
gazing  at  her  pink-and-white  face,  with  its  straight, 
transformed  nose,  its  Cupid's  bow  lips  built  up  with 
crimson  paint,  its  thin  black  brows,  thick  black  eye- 
lashes, and  its  reduced  chin,  or  admiring  her  rounded, 
but  no  longer  to  be  called  stout,  form.  She  adored  her 
hair,  which  was  of  so  shining  an  auburn  that  it  might 
have  been  a  fluted-copper  helmet.  She  was  sure  she 
didn't  look  a  day  over  thirty-five,  if  as  much,  and  hon- 
estly she  couldn't  see  why  Marco's  passionate  protesta- 


Madeleine,  alone,  of 
all  who  watched  Mal- 
colm and  his  aunt, 
wished  to  save  him 
from — she  knew  not 
what. 


She  glanced  down  anxiously  at  her  own  floral  decora- 
tion and  became  more  anxious  than  ever.  There  could 
be  no  doubt,  Mary's  orchid  and  her  own  were  exactly 
alike. 

To  Lady  Gates'  mind,  it  seemed  that  no  normal  woman 
could  resist  Marco  Lopez ;  he  was  so  utterly  alluring  a 
man !  She  had  been  sure  for  some  time  that  Mary  was 
in  love  with  Marco.  That  didn't  matter  much,  though 
Mary  had  been  disgustingly  catty  about  it,  and  had  tried 
to  part  them.  But  if  Marco  had  been  seduced  into 
flirting  with  Mary,  after  his  promises  and  his  protesta- 
tions that  she,  his  Queen  Katherine  the  Great,  was  the 
only  woman  he  had  ever  really  loved,  she  couldn't  bear 
it.  Somehow,  she  must  find  out  the  truth.  She  must 
make  sure! 

As  she  so  thought,  with  the  blood  beating  in  the  veins 
of  her  neck,  Nora  Casey,  now  the  sole  cigarette  seller  at 
Montparnasse,  approached  her  ladyship's  table. 

Katherine  Gates  was  opening  her  gold-mesh  vanity 
bag  to  buy  Marco's  favorite  brand  of  cigarette,  when  she 
saw  that  the  pretty  Irish  girl  had  a  letter  in  her  hand. 

"The  doorman  asked  me  to  give  this  to  you,  Lady 
Gates,"  Nora  announced. 

Katherine's  heart  jumped  as  she  took  the  envelope. 
She  was  afraid  that  the  letter  might  be  from  Marco 


66 


A  Girl  Comes  to  Hollywood 


saying  that  he  had  been  delayed,  or  even  prevented  from 
coming.  But,  thank  goodness,  this  wasn't  Marco's 
writing.  She  ought  to  know,  because  he  wrote  her  a 
love  letter  each  night,  to  be  delivered  in  the  morning 
with  her  breakfast. 

The  stationery  somehow  looked  familiar ;  she  couldn't, 
at  this  moment  of  excitement,  think  why,  but  she  was 
sure  she'd  never  before  seen  the  writing  on  the  envelope. 
It  was  rather  queer  and  uneducated  looking — or  else  it 
was  disguised.  The  latter  suggestion  barely  touched 
Lady  Gates'  mind,  however,  for  why  should  a  cor- 
respondent of  hers  disguise  the  handwriting? 

She  opened  the  envelope  and  read  the  few  lines  that 
half  covered  the  first  page  of  the  paper  within: 

Lady  Gates  :  You  must,  for  your  own  happiness,  give  up 
your  intention  of  marrying  Marco  Lopez.  He  does  not  love  you. 
He  loves  some  one  else.  He  wants  you  only  for  your  money. 
But  worse  still,  he  could  not  possibly  make  you  his  wife,  as 
he  has  one  in  Buenos  Aires.    You  can  prove  this. 

One  Who  Wishes  You  Well. 

Katherine  Gates  was  dazed  for  a  minute.  She  felt 
that  this  thing  couldn't  be  happening.  The  letter  was 
part  of  a  bad  dream.  Soon  she  would  wake  up.  Oh, 
she  must  make  herself  wake  up !  She  couldn't  bear  such 
suffering-. 

But  she  read  the  words  over  and  over  again.  There 
they  were,  always  the  same.  She  looked  up  from  the 
sheet  of  blue-gray  paper,  which  had  a  small. piece  neatly 
cut  out  of  it  at  the  right  and  near  the  top. 

No,  it  was  not  a  dream  that  this  letter  had  come  to 
her.  But  that  didn't  make  its  words  true.  Of  course, 
they  were  not  true !  Marco  wouldn't  dare  deceive  her 
so,  even  if  he  were  dishonest — a  woman  of  her  birth  and 
money  and  importance !  She  adored  Marco,  but  she 
couldn't  help  knowing  that  in  the  world's  eyes  she  would 
be  condescending  if  she  married  him. 

Some  jealous,  wicked  person  had  written  this  letter. 
Anonymous  letters  were  notoriously  false !  Lady  Gates 
put  her  mind  to  the  matter.  Was  a  woman  the  guilty 
one?  If  so,  who  could  it  be  but  Mary  Smith,  who  had 
already  behaved  like  a  cat  ?  Or,  was  it  a  man  ?  Lady 
Gates'  thoughts  sprang  like  a  tigress  to  her  nephew. 
One  or  the  other  it  must  be — Mary  Smith  or  Malcolm 
Allen.  Or  possibly  the  two  had  joined  forces  in  con- 
cocting this  lie  to  ruin  Marco,  and  part  her  from  him. 

Now  she  remembered  that  the  paper  was  very  like 
some  on  which  Malcolm  had  written  her  several  notes 
when  she  first  came  to  Hollywood.  It  had  borne  the 
address  of  the  bungalow  rented  for  him  by  the  Peerless 
studio.  Nobody  could  play  such  a  cruel,  cowardly  trick 
upon  her  and  "get  away  with  it" — as  people  said  here. 

As  her  angry,  excited  glance  roved  round  the  res- 
taurant, she  caught  the  gaze  of  Mary  Smith.  On  an 
impulse  she  beckoned  imperiously. 

Her  first  idea  had  been  to  summon  Nora  Casey  and 
find  out  what  sort  of  person  had  handed  the  letter  to  the 
doorman.  And  she  would  do  this  if  Miss  Smith  re- 
fused to  come. 

But  Miss  Smith  did  not  refuse.  She  saw  that  Lady 
Gates  was  struggling  with  intense  emotion,  and  guessed 
quickly  that  it  had  to  do  with  the  letter  in  her  hand. 

To  Madeleine  Standish  also  that  blue-gray  paper  was 
familiar.  Several  notes  accompanying  flowers  had  come 
to  her  lodgings  from  Malcolm  Allen,  and  she  said  to 
herself,  with  a  sharp  little  stab  of  apprehension,  "This 
poor  old  thing  has  got  bad  news  from  her  nephew  f 
She's  sorry  she  was  so  nasty  to  me,  and  wants  to  tell 
me  about  it." 

The  two  tables  were  not  far  apart  and  a  moment  later 
Lady  Gates,  in  a  queer  voice,  was  saying,  "I  want  to 
speak  to  you.    Sit  down." 


Madeleine  sat  down  in  the  chair  that  was  ready  for 
Marco  Lopez  when  he  should  arrive,  and  have  a  few 
minutes'  pause  between  dances. 

"Look  at  this,"  said  Lady  Gates,  in  a  fierce,  low  tone, 
thrusting  the  sheet  of  paper  under  Miss  Smith's  eyes, 
but  still  holding  it  tightly  between  thumb  and  finger. 
"Did  you  write  it?" 

As  Mary  began  to  read,  almost  unconsciously  she  saw 
that  Lady  Gates'  hand  grasping  the  letter  lacked  its  usual 
burden  of  rings.  They  showed  not  one,  except  the 
thick  old-fashioned  band  of  gold  on  the  third  finger. 

Madeleine's  eyes  flashed  quickly  from  line  to  line  of 
the  anonymous  letter. 

"No!"  she  exclaimed  emphatically.  "I  didn't  write  it. 
Of  course  I  didn't.  But  I  should  think  very  likely  what 
it  tells  you  is  true !" 

"I  don't  want  your  opinion,"  snapped  Lady  Gates. 
"All  I  want  to  know  is,  whose  is  the  poison  pen?.  After 
what  you  were  impertinent  enough  to  say  to  me  about 
Mr.  Lopez  some  time  ago.  it  will  take  more  than  your 
word  to  convince  me  that  it  isn't  yours.  If  not,  I  shall 
know  who  the  writer  is,  and  I  shall  take  steps — legal 
steps,  if  necessary — to  stop  this  kind  of  outrage." 

"If  you  imagine  that  your  nephew  would  write  you 
an  anonymous  letter,  you  know  him  very  little,"  said 
Madeleine.  "If  he  found  out  any  secret  abput  Mr. 
Lopez  which  you  ought  to  know,  he'd  tell  you  himself, 
you  may  depend  on  that.  Lady  Gates." 

"I  don't  depend  on  anything  you  say,  and  certainly 
not  on  anything  he  says,  either,"  the  elder  woman  flung 
back.  "You  are  both  my  enemies.  You  may  tell  Mal- 
colm next  time  you  meet  him  that  to-morrow  I  am  going 
-to  change  my  will  and  leave  him  out  of  it.  Whether  I , 
marry  Marco  Lopez  or  not.  he  shall  get  every  penny  I 
have  in  the  world  when  I  die,  because  I  trust  him  and 
love  him.    So  there  !    Now  you  know  !" 

Madeleine  rose  to  her  feet.  She  was  very  angry,  and 
even  more  embarrassed  than  angry,  because  Lady  Gates 
had  lost  all  self-control  and  spoken  her  last  sentences  in 
a  loud,  harsh  tone.  Everybody  in  the  restaurant  had 
turned  to  look,  and  there  was  scarcely  one  who  didn't 
know  Mary  Smith.  Everybody  knew  Malcolm  Allen's 
name,  too.  There  had  been  gossip  because  the  aunt  and 
nephew  seemed  to  be  estranged  of  late.  There  had  been 
other  gossip,  too,  of  course,  about  her  rejuA^enated  lady- 
ship and  the  dancer.  This  outcry  of  spite,  this  announce- 
ment of  Lady  Gates'  intentions,  would  be  nuts  and  wine 
to  the  "dirt  dishers"  of  Hollywood. 

Her  face  burning.  Madeleine  Standish — alias  Miss 
Smith — walked  away  from  Lady  Gates'  table  back  to  her 
own.  There  she  sat  down  again  in  the  chair  she  had 
deserted.  She  said  not  a  word,  because  she  could  not 
have  spoken  without  bursting  into  tears. 

CHAPTER  XIX. 

FATE  CLOSES  IN  UPON  LADY  GATES. 

"The  old  tiger  cat !"  growled  Oscar  Sonnenberg. 

"Upon  my  word,  Mary,  in  your  place  I'd  have  slapped 
her  lifted  face  till  the  stitches  slipped!"  exclaimed  the 
temperamental  Pauline  Fordham. 

"You  behaved  very  well,  my  child,"  John  Landis  . 
praised  the  girl.     "Hello !     Here  comes  Allen  now. 
Ossie,  we  ought  to  have  him  at  this  table,  to  show  every 
one  he's  got  friends.    What  do  you  say?" 

If  Mary  Smith  had  made  this  suggestion  Sonnenberg, 
who  was  still  jealous  of  Malcolm,  would  have  found 
some  excuse  to  object.  But,  coming  from  Landis.  he 
couldn't  well  refuse. 

"All  right,  we'll  make  a  place  for  him,"  he  reluctantly 
agreed  and,  rising  fatly  in  his  chair,  motioned  to  the 
author  of  his  new  film.  [Continued  on  page  92] 


(37 


Master  of  Moods 

If  "all  the  world's  a  stage,"  Victor  Var- 
coni  has  the  determination, as  well  as  the 
ability,  to  be  one  of  its  principal  figures. 

By  William  H.  McKegg 

TO  score  as  a  dashing  hero  is  good. 
To  score  as  a  cynical  antagonist 
is  equally  good.  To  score  as  a 
gay  comedian,  of  suave  sophistication, 
is  likewise  good.  To  score  as  a  char- 
acter player  of  power  and  force  is  just 
as  good  as  the  other  three  moods  to- 
gether. 

A  player  who  can  qualify  as  any  one 
of  these  types  shows  that  he  is  compe- 
tent ;  but  to  score  in  all  four  must  prove, 
surely,  that  he  is  a  consummate  actor. 

Such  is  Victor  Varconi. 

Perhaps  this  explains  why  he  has, 
within  the  last  three  years,  Avon  such  a 
definite  place  for  himself  on  the  Ameri- 
can screen. 

It  was  the  showing  in  this  country, 
several  years  ago,  of  "The  Red  Pea- 
cock," a  Ufa  picture  made  in  Berlin, 
with  Pola  Negri,  that  was  chiefly  in- 
strumental in  attracting  DeMille's  at- 
tention to  Varconi. 

His  offer  to  come  to 
Hollywood  and  play  in 
"Triumph,"  while 
tempting,  was  slightly 
hazardous.  Though 
well    known    on  the 
stage    and    screen  in 
Europe,  Varconi 
was  then  un- 
known here.  It 
meant,    if  he 
came,    that  he 
would   have  to 
build  up  a  new 
place    and  fol- 
lowing for  him- 
self in  a  foreign 
country. 

However,  he 
came.  While 
D  e  M  i  1 1  e  was 
forming  his  own 
organization, 
Varconi  went 
back  to  Europe 
to  fulfill  certain 
engagement  s 
which  had  been 
made  prior  to 
his  coming  to 
America. 


Much  is  said  re- 
garding the  ex- 
cellence of  his 
portrayal  of  Lord 
Nelson,  in  "The 
Divine  Lady." 


Photo  by  Spurr 

Within  the  last  three  years  Victor  Varconi  has  won  a 
distinctive  place  for  himself  on  the  American  screen. 

It  was  not  until  his  second  return  to  this  country 
that  Varconi  achieved  success.    He  did  so  in  his  por- 
trayal of  the  Russian  prince  in  "The  Volga  Boatman." 
"I  nearly  changed  my  mind  about  returning  to 
California,"  Varconi  related  to  me  at  the  premiere  of 
that  Russian  picture,  as  Vilma  Banky — looking  like  a 
frozen  spray  of  sea  foam  in  blue  and  silver — came 
up  with  Nusi,  Victor's  vivacious  wife. 

"Mr.  DeMille  had  left  Paramount  to  form  his  own 
company,  soon  after  I  had  arrived  the  first  time. 
While  waiting  for  conditions  to  settle  at  the  new 
studio,  I  was  able  to  go  back  to  Europe  to  complete 
certain  parts — ones  I  had  already  agreed  to  play.  I 
went  to  Italy  to  make  "The  Last  Days  of  Pompeii." 
I  also  made  a  couple  of  comedies,  with  Maria  Corda, 
for  Ufa." 

The  Italian  production  reaped  great  success  for  Var- 
coni in  every  part  of  the  world  but  America,  for  it  never 
enjoyed  a  release  here.    Neither  did  the  Ufa  pictures. 

"I  had  worked  at  the  Ufa  studio  in  Berlin  before  I 
came  to  America,"  Victor  explained.  "They  wanted 
me  to  stay  to  make  more  films  after  I  had  completed 
the  ones  assigned  me.  It  meant  a  choice  betAveen  ac- 
cepting their  offer,  or  returning  here." 

Varconi  returned  to  the  film  Mecca.    Thus  we  saw 


6S 


Master  of  Moods 


Who  can  forget  his  superb  and  realistic 
interpretation  of  Pontius  Pilate  in  "The 
King  of  Kings"? 


him  score  in  one  of  the  four 
types — the  fascinating  heavy, 
who  evoked  as  much  sympathy 
as  the  hero  in  "The  Volga  Boat- 
man." 

As  a  comedian,  Varconi  car- 
ries his  work  along  in  that  whim- 
sical, irresistible  style  which  may 
be  compared  to  the  lilting  ca- 
denza of  the  Viennese  Strauss' 
waltzes.  There  is  a  refined 
sophistication  to  his  comedy, 
which  places  an  audience  in  tune 
with  his  mind.  Filmgoers  to- 
day want  to  understand  an  ac- 
tor's thoughts.-  They  feel  posi- 
tive they  know  what  he  will  do 
next  and,  when  he  does  it,  they 


As  Varconi  appeared  in  a  sophisticated 
Viennese    comedy,    "For   Wives  Only," 
one  of  his  early  American  pictures. 


feel  pleased  with  themselves  for  knowing 
they  were  right. 

"When  playing  comedy,"  Victor  pointed 
out,  "I  like  to  think  that  the  humor  I  give  to 
the  part  runs  evenly  throughout  the  entire 
picture.  To  win  an  explosive  burst  of  laugh- 
ter from  an  audience,  at  various  intervals, 
through  some  amusing  situation,  is  very  bad. 
Whenever  I  play  a  character  I  like  to  be  in 
harmony  from  start  to  finish." 

Varconi  achieved  this  in  such  comedies  as 
"Silken  Shackles,"  "For  Wives  Only,"  and 
"The  Little  Adventuress." 

Thus  did  we  see  Victor  Varconi  score  in 
the  second  of  the  four  types — the  suave, 
sophisticated  comedian. 

In  spite  of  the  movie  tradition  as  to  what 
a  perfect  hero  should  do,  whenever  Varconi 
enacts  such  a  role  he  makes  his  audience  be- 
lieve that  here's  a  hero,  and  no  mistake. 

From  the  beginning  of  "Fighting  Love," 
until  the  last  close-up,  Varconi  indulged  in  all 
the  bravery  imaginable.  As  a  young  Italian 
officer,  stationed  among  ferocious  Arabs,  and 
with  the  dazzling  young  wife  of  an  elderly 
general  always  in  his  way,  Victor  proved 
he  knew  his  heroics. 

In  "The  Forbidden  Woman,"  Varconi 
scored  another  big  hit.  In  this  production  he 
came  once  again  under  the  direction  of  Paul 
Stein,  who  had  directed  him  and  Pola  in 
"The  Red'  Peacock,"  the  Negri  version  of 
"Camille,"  made  by  Ufa  in  Berlin. 

Thus  we  have  seen  Victor  score  as  the 
dashing  hero — the  third  of  the  four  types. 

The  first  great  character  role  that  came  to 
Varconi  in  Hollywood,  was"  that  of  Pontius 
Pilate,  in  "The  King  of  Kings."  In  that 
picture  V arconi  achieved  greater  honors  than 
in  any  other. 

"To  Pilate  I  gave  my  utmost  ability,"  Vic- 
tor stressed,  when  mention  of  the  subject 
was  made.  "Before  starting  work  I  stud- 
ied what  sort  of  a  man  Pilate  really  could 
have  been.  He  was,  in  the  first  place,  a  Ro- 
man. True  to  his  country  and  emperor — 
even  though  he  sacrificed  his 
own  wishes,  and  those  of  the 
one  nearest  to  him.  He  was 
placed  over  the  Uneasy  king- 
dom of  Judea  as 
governor.  He 
knew  he  was  hated 
by  the  Israelites  as 
the  oppressor's 
viceroy." 

Whatever  man- 
ner of  man  Pilate 
was,  Varconi  gave 
us  an  unforgetable 
delineation  of  him 
on  the  screen,  mak- 
ing his  role  stand 
out  as  one  of  the 
best  historical  char- 
acterizations the 
movies  have  re- 
vealed' in  many  a 
moon. 

Thus    we  have 
Continued  on  page  108 


69 


A  Confidential  Guide  to  Current  Releases 


WHAT  EVERY  FAN  SHOULD  SEE. 

"Trail  of  '98,  The"— Metro-Goldwyn. 
Magnificent  glorification  of  the  historic 
gold  rush  to  Alaska,  directed  with  great 
care  and  skill.  Effective  performances 
given  by  Dolores  del  Rio,  Ralph  Forbes, 
and  Harry  Carey. 

"Sunrise" — Fox.  One  of  the  best  of 
the  season.  Skillfully  directed  tale  of 
a  farmer,  his  wife  and  a  city  vamp. 
George  O'Brien,  Janet  Gaynor,  and 
Margaret  Livingston. 

"Tempest"— United  Artists.  A  story 
of  the  Russian  Revolution.  Moments 
of  great  pictorial  beauty.  John  Barry- 
more  excellent.  Camilla  Horn,  Boris 
De  Fas,  and  Louis  Wolheim. 

"Lights  of  New  York"— Warner.  Re- 
gardless of  merits  or  demerits,  picture 
stands  unique  as  the  first  of  its  kind 
ever  made — entirely  in  spoken  dia- 
logue. Not  much  of  a  story.  A  trust- 
ing country  boy  duped  by  a  couple 
of  bootleggers.  Gladys  Brockwell  ex- 
cellent in  her  part.  Cullen  Landis  is 
effective.  Robert  Eliot  and  Tom  Dugan 
are  fine.  Mary  Carr,  Wheeler  Oak- 
man,  and  Helene  Costello. 

"Four  Sons" — Fox.  A  simple  and  su- 
perbly told  tale  of  the  effects  of  the 
war  on  a  German  mother  and  her  four 
sons— three  of  whom  are  killed,  the 
other  migrating  to  America.  Margaret 
Mann,  James  Hall,  Francis  X.  Bush- 
man, Jr.,  and  June  Collyer. 

"Man  Who  Laughs,  The"— Universal. 
No  one  should  fail  to  be  engrossed  by 
its  strange  story,  or  fascinated  by  its 
weird  beauty.  Conrad  Veidt's  character- 
ization is  magnificent,  Mary  Philbin 
pleasing,  and  Olga  Baclanova  gives  dis- 
tinctive performance.  Brandon  Hurst, 
Josephine  Crowell,  Sam  De  Grasse,  Stu- 
art Holmes,  Cesare  Gravina,  and  George 
Siegmann. 

"King  of  Kings,  The"— Producers  Dis- 
tributing. Sincere  and  reverent  visual- 
ization of  the  last  three  years  in  the 
life  of  Christ.  H.  B.  Warner  digni- 
fied and  restrained  in  central  role. 
Cast  includes  Jacqueline  Logan,  Joseph 
Schildkraut,  Victor  Varconi,  and  Ru- 
dolph Schildkraut. 

"Laugh,  Clown,  Laugh" — Metro-Gold- 
wyn. Lon  Chaney  gives  one  of  his 
finest  portrayals.  Story  inspires  entire 
cast  to  do  their  best.  Loretta  Young 
plays  with  heart-breaking  quality.  Nils 
Asther  is  good,  as  well  as  Bernard 
Siegel. 

"The  Racket" — Paramount.  Thomas 
Meighan  gives  a  fine  performance  in 
a  fine  picture.  Best  of  recent  under- 
world films.  Louis  Wolheim  is  superb 
in  the  role  of  "Scarsi."  Marie  Prevost, 
now  a  blonde,  is  wholly  convincing. 

"White  Shadows  in  the  South  Seas" 

— Metro-Goldwyn.  Filmed  on  authentic 
locations,  and  has  much  to  offer  in 
natural  beauty  and  pictorial  loveliness. 
Purports  to  show  the  corrupting  influ- 
ence of  white  men  among  the  islanders. 
Monte  Blue  is  capable  in  the  lead,  and 
Raquel  Torres  makes  the  native  girl, 
"Fayaway,"  vital,  naive  and  charming. 


"Perfect  Crime,  The"— F.  B.  O.  The 

story  of  a  detective  who,  in  despair  of 
there  ever  being  a  perfect,  unsolvable 
crime,  commits  one.  Don't  miss  this 
picture,  especially  if  Clive  Brook  is  a 
favorite.    The  cast,  as  a  whole,  is  A-l. 

"Lost  in  the  Arctic" — Fox.  A  photo- 
graphic record  of  the  recent  expedition 
to  Herald  Island.  Picture  is  distin- 
guished by  remarkable  photographic 
scenes,  moving  in  rapid  and  interesting 
sequence.  There  is  a  Movietone  pro- 
logue in  which  Vilhjalmur  Steffansson 
describes  the  object  of  the  expedition. 
A  fine  musical  score,  directed  by  Roxy, 
comprises  the  Movietone  accompani- 
ment. 

"Forgotten  Faces" — Paramount.  Un- 
derworld melodrama,  shrewdly  directed, 
interestingly  photographed  and  well 
acted.  First  honors  go  to  Olga  Bacla- 
nova, the  fascinating  Russian  and  con- 
summate screen  artist.  Good  work  is 
also  done  by  Clive  Brook,  Mary  Brian, 
William  Powell,  Fred  Kohler,  and  Jack 
Luden. 

"Hot  News" — Paramount.  This  pic- 
ture crackles  with  spontaneous  com- 
bustion. It  is  a  story  of  the  rivalry 
between  two  news-reel  camera  men, 
Neil  Hamilton  and  Bebe  Daniels — 
really  a  camera  girl.  Story  is  peppy  and 
thoroughly  engaging,  giving  Neil  Ham- 
ilton an  outlet  for  his  comedy  possi- 
bilities. 

"Patriot,  The"— Paramount.  A  story 
of  Russia  in  1801.  As  magnificent  and 
inspired  a  production  as  any  that  Emil 
Jannings  has  done.  Shows  masterly 
direction  of  Lubitsch.  A  perfect  cast, 
including  Lewis  Stone,  Florence  Vidor, 
Neil  Hamilton,  Tullio  Carminati,  Harry 
Cording,  and  Vera  Voronina.  Sound 
effects  are  least  commendable  part  of 
otherwise  exceptional  picture. 

FOR  SECOND  CHOICE. 
"We  Americans"  —  Universal.  A 
Ghetto  heroine,  in  love  with  a  blue- 
blooded  hero,  scorns  the  family  hearth 
for  a  studio.  But  the  old  people  go  to 
night  school  and  blossom  forth  as  true 
Americans,  with  nothing  for  the  hero- 
ine to  be  ashamed  of.  Patsy  Ruth  Mil- 
ler, George  Sidney,  and  John  Boles. 

"Red  Hair"— Paramount.  Pleasing 
film  of  Clara  Bow  as  a  manicurist,  who 
wins  the  heart  of  a  millionaire,  only  to 
find  that  her  three  "papas"  are  her 
fiance's  guardians.  Climax  comes  when 
they  object  to  her  marriage,  where- 
upon she  strips  herself  of  the  "bor- 
rowed clothes." 

"Mother  Machree" — Fox.  Maudlin 
film  of  a  sacrificing  Irish  mother  who 
does  all  for  her  son.  Belle  Bennett, 
Neil  Hamilton,  and  Constance  Howard. 

"Patent  Leather  Kid,  The"— First  Na- 
tional. Richard  Barthelfness  in  unusu- 
ally good  film  of  conceited  little  prize 
fighter  who  tries  to  evade  the  war,  is 
drafted,  proved  a  coward,  but  finally 
redeemed  by  an  heroic  act. 


"Show  Down,  The"  —  Paramount. 
Convincing  and  well-acted  film  of  two 
oil  prospectors  in  the  tropics,  both  lov- 
ing the  same  girl.  All  ends  happiljr. 
George  Bancroft,  Neil  Hamilton,  Eve- 
lyn Brent,  Leslie  Fenton,  and  Fred 
Kohler. 

"Thirteenth  Juror,  The" — Universal. 
Interesting  yarn  of  an  unscrupulous 
criminal  lawyer  accused  of  murder, 
who  can  save  himself  only  by  com- 
promising the  woman  he  loves.  Fran- 
cis X.  Bushman  is  unique  as  the  law- 
yer and  Anna  Q.  Nilsson  and  Walter 
Pidgeon  capably  assist  him. 

"High  School  Hero,  The"— Fox.  Gay 
comedy  of  high-school  life,  featuring 
youngsters  who  really  look  like  high- 
school  girls  and  boys.  Nick  Stuart  and 
Sally  Phipps. 

;"Night  Flyer,  The"— Pathe-DeMille. 
Simple,  human  railroad  story  of  1894, 
having  to  do  with  struggles  of  the 
president  of  a  Western  road  to  save 
his  company  from  bankruptcy.  William 
Boyd  and  Jobyna  Ralston. 

"Underworld" — Paramount.  Exciting 
melodrama  of  master  crook  who  kills 
for  the  sake  of  his  girl,  is  sentenced 
to  death,  and  makes  a  thrilling  escape 
only  to  find  the  girl  in  love  with  an- 
other. George  Bancroft,  Evelyn  Brent, 
and  Clive  Brook. 

"Abie's  Irish  Rose" — Paramount. 
Good  acting  and  sincere  direction.  No 
emotional  thrills.  Charles  Rogers  is 
good,  as  Abie.  Nancy  Carroll  perfect, 
as  Rosemary,  Jean  Hersholt,  Bernard 
Gorcey,  and  Ida  Kramer. 

"Glorious  Betsy" — Warner.  A  nice 
picture,  tearful,  charming,  lingering. 
Vitaphone  dialogue  unpleasant,  but  Do- 
lores Costello  and  Conrad  Nagel  are 
charming  and  agreeable  in  their  roles. 
John  Miljan  and  Marc  McDermott. 

"Hangman's  House" — Fox.  Common- 
place story,  with  exceptionally  beauti- 
ful atmosphere,  a  tribute  to  the  skill 
and  imagination  of  the  director.  June 
Collyer  is  an  aristocratic  beauty,  but 
not  an  emotional  one.  Larry  Kent, 
Victor  McLaglen,  and  Earle  Foxe. 

"Ramona" — United  Artists.  Another 
beautifully  scenic  picture.  Mild  story. 
Dolores  del  Rio  is  picturesque  in  title 
role.  Warner  Baxter  is  vital  and 
Roland  Drew  proves  languishingly  ro- 
mantic. 

"Kentucky  Courage" — First  National. 
Based  on  "The  Little  Shepherd  of  King- 
dom Come."  Richard  Barthelmess  plays 
Chad  with  surprising  skill.  An  impres- 
sive cast  including  Molly  O'Day,  Claude 
Gillingwater,  and  Doris  Dawson. 

"End  of  St.  Petersburgh,  The"— No 

continuity  of  action  or  characterization. 
Excellent  photography.  Story  is  told 
in  symbols.  If  you  like  this  sort  of 
thing  this  Russian  picture  is  as  good 
as  any. 

"Dawn."  Careful,  impartial  and  rev- 
erent attempt  to  picture  events  culmi- 
nating in  the  death  of  Edith  Cavell. 
Sybil  Thorndike  is  restrainedly  effec- 
tive.    Marie   Ault,   Micky  Brantford, 

Continued  on  page  120 


70 


Josephine  Dunn's  unsympathetic  role  with  Al  Jolson,  in 
"The  Singing  Fool,"  does  not  lessen  the  excellence  of  her 

performance. 

TUDGED  by  his  success  in  "The  Jazz  Singer,"  Al 
I  Jolson  in  his  new  picture,  ."The  Singing  Fool,"  will 
surpass  the  financial  record  of  the  earlier  work. 
Not  that  it  is  anything  but  a  commonplace  film,  but  be- 
cause it  is  a  two-hour  monologue  by  Mr.  Jolson,  in  which 
he  has  the  opportunity  to  sing  seven  songs  and  repeat 
at  least  one  of  them.  Never  has  a  star  been  more  con- 
stantly in  evidence,  and  rarely  if  ever  has  more  hokum 
been  crammed  into  a  picture  to  permit  a  star  full  play. 
Because  of  this,  any  analysis  or  criticism  of  the  picture 
as  a  picture  is  automatically  nullified,  for  its  aim  is 
solely  to  exploit  Mr.  Jolson  as  a  singer  and  chatterer, 
and  to  provide  cues  for  him  to  sing  and  talk.  He  does 
both  with  his  accustomed  gusto  and  effectiveness,  for 
there  is  no  one  who  can  "put  over"  a  song  as  Mr.  Jolson 
can.  He  is  a  master  of  showmanship  and,  moreover,  is 
the  only  performer  so  far  seen  and  heard  by  means  of 
the  talkies,  who  is  able  to  preserve  the  identical  quality 
of  a  personal  appearance. 

In  this  picture  he  calls  himself  Al  Stone,  a  waiter  with 
the  gift  of  singing  and  clowning,  who  marries  a  cabaret 
girl  and,  with  her,  rises  to  fame  in  musical  comedy. 
She  has  never  loved  him,  however,  so  her  eventual  de- 
sertion is  no  surprise.  And  as  she  takes  their  child 
with  her,  it  is  inevitable  that  Al  Stone,  since  he  is  Mr. 
Jolson,  will  endure  heartbreak  by  means  of  a  song  in 
blackface.  The  song  is  called  "Sonny  Boy."  A  little 
cigarette  girl,  who  has  long  adored  Al  from  afar,  now 
becomes  the  means  by  which  he  is  rescued  from  dejec- 
tion, and  soon  he  is  again  the  reigning  star  of  musical 
comedy. 

Josephine  Dunn  is  Molly  Winton,  the  hard-hearted 
girl  who  doesn't  appreciate  her  luck  in  always  having  on 
tap  a  song  from  Al,  and  Betty  Bronson  is  the  little  fairy 
who  points  the  way.    Both  give  good  performances  and 


dispose  of  their  audible  dialogue  intelligently,  as  do 
Reed  Howes,  Edward  Martindel,  Arthur  Housman, 
and  David  Lee,  a  tiny  child  whose  naturalness  is  very 
appealing.  For  my  part — as  if  it  mattered! — I  en- 
joyed hearing  Betty  Bronson  speak  more  than  hearing 
Mr.  Jolson  sing. 

Honors  and  Accolades. 

For  a  long  time  you  and  I  have  known  that  mother 
love  is  not  all  the  screen  has  shown  it  to  be.  There  is 
another  side  to  the  honeyed  smiles,  octopus  embraces, 
and  eager  sacrifice  of  Belle  Bennett  and  Mary  Carr, 
but  no  producer  has  had  the  courage  to  risk  money  on 
the  probable  failure  of  a  picture  which  would  show  the 
more  terrible  aspects  of  maternal  devotion. 

Now  William  Fox  comes  forward  with  "Mother 
Knows  Best,"  which  does  all  that,  and  his  courage  in 
deviating  from  the  path  of  conventionality  will  reward 
him  richly.  "Not  only  is  the  picture  revolutionary  in 
theme,  but  it  is  entertainment  cut  to  the  pattern  pre- 
ferred by  the  majority. 

It  should  be  seen  by  every  one,  if  for  no  other  reason 
than  it  reveals  certain  phases  of  human  conduct  hitherto 
ignored  by  the  movies.  There  are  more  obvious 
reasons,  too.  A  startlingly  beautiful  performance  by 
Madge  Bellamy  is  one  of  them,  another  by  Louise 
Dresser,  and  I  fear  for  Barry  Norton's  future  peace 
when  his  fans  see  him  in  this  picture,  for  his  doorstep 
will  likely  be  piled  high  forever  after  with  letters  from 
maudlin  ladies,  whose  sentiments  will  echo  the  wistful 
sighs  I  heard  when  the  film  opened  in  New  York.  Miss 
Bellamy  will  be  a  revelation  to  those  who  have  thought 
her  only  a  lingerie  comedienne,  but  to  those  of  us  who 
have  had  faith  in  her  dramatic  gifts  all  along,  her  Sally 
Quail  is  less  a  surprise  than  a  means  of  felicitating  her 
on  taking  advantage  of  a  long-delayed  opportunity  to 
prove  herself  one  of  the  first  actresses  of  the  screen. 
And  this  she  does  with  shimmering  delicacy  and  rich 
feeling.  Her  picture  of  the  romantic  child  forced  by  a 
domineering  mother  into  an  unwilling  career  on  the 
stage,  is  one  of  the  finest  portraits  of  the  year.  And 
the  mother  has  one  of  the  most  extraordinary  roles  that 
has  come  the  way  of  any  actress. 

Embittered  by  unsuccessful  marriage  to  a  small-town 
tradesman,  she  realizes  through  her  daughter  her  own 
frustrated  ambitions  for  wealth;  prominence  and  admira- 
tion, yet  she  adheres  to  all  the  surface  standards  of 
parental  devotion.  She  is  tireless  in  advancing  Sally's 
career  and  endures  poverty  and  privation,  while  she  cul- 
tivates aggressiveness  and  shrewdness  in  obtaining  for 
her  daughter  what  she  thinks  is  her  due. 

Especially  convincing  and  touching  is  the  early  part 
of  the  picture,  which  shows  Sally's  reluctant  appearance 
at  an  amateur  show,  her  slow,  heartbreaking  progress 
as  a  professional,  her  first  meeting  with  The  Boy,  a  song 
writer,  and  her  mother's  stern  measures  in  discouraging 
the  attraction  felt  by  the  young  people.  They  are  ruth- 
lessly separated  by  Mrs.  Quail,  who  takes  Sally  to 
Europe  for  an  engagement  that  brings  her  the  cachet 
of  royalty.    When  war  is  declared  Sally  does  her  bit  as 


71 


The  new  season  is  now  in  full 
swing,  and  it  is  yielding  richly 
first-rate  pictures  and  ar- 
tistic performances. 


in 


an  entertainer  at  the  front.  Once  more  Sally  and  The 
Boy,  now  a  soldier,  are  torn  from  each  other,  and  Sally. 
believing  him  dead,  ceases  to  care  what  becomes  of  her. 
This  part  of  the  picture  suffers  a  decided  let  down,  for 
Sally's  illness  is  long,  and  her  mother's  anxiety  does  not 
arouse  the  spectator's  in- 
terest as  much  as  her 
earlier  moods.  But  the 
unexpected  appearance  of 
The  Boy,  in  time  for  a 
happy  ending,  cannot  but 
thrill  all  except  those  who 
resent  the  theatrical  trick 
of  creating  a  crisis  and 
then  solving  it  by  bringing 
the  hero  back  to  life.  It 
is  as  if  a  joke  had  been 
played  on  us,  or  as  if  we 
had  been  told  that  Sally's 
life  was  only  a  dream 
after  all. 

There  are  moments  of 
dialogue,  all  of  them  good, 
and  Miss  Bellamy,  at  the 
height  of  Sally's  career, 
gives  impressions  of  Sir 
Harry  Lauder,  Al  Jolson, 
and  Anna  Held  by  means 
of  the  Movietone. 

Fun  at  Monte  Carlo. 

This  is  an  enthusiastic 
report  of  Marion  Davies 
and  "The  Cardboard  Lov- 
er," by  all  odds  the  most 
amusing  and  scintillant 
comedy  in  many  months. 
Much  of  it  is  low  comedy 
indeed,  and  some  of  it  is 
broad  burlesque,  but  this 
only  insures  a  higher  ratio 
of  laughs.  There  is  enough 
subtlety  and  adroit  acting 
to  compensate  those  who  may  raise  an  eyebrow  at  some 
of  Miss  Davies'  clowning.  Always  it  is  expert  clown- 
ing, by  the  way,  inspired  by  a  spontaneous  and  unflag- 
ging sense  of  the  ridiculous,  as  befits  the  first  comedienne 
of  the  day.  She  is  fortunate  in  having,  or  fortunate  in 
having  had,  the  good  judgment  to  choose  as  clever  and 
congenial  a  cast  as  could  be  imagined,  to  mock  the  absurd 
trifle  of  a  story  that  occupies  them.  Its  very  absurdity 
is  in  their  favor,  though,  for  it  is  the  sort  of  nonsense 
that  only  intelligent  players  can  negotiate  successfully. 
They  have  the  advantage  of  a  beautiful  production — 
sophisticated,  frivolous,  modernistic.  Rarely  have  I  seen 
settings  more  in  keeping  with  the  mood  of  a  story,  nor 
a  frankly  luxurious  background  interpreted  with  more 
delicacy.  However,  people  do  not  go  to  see  settings 
only,  so  it  is  the  story  and  its  characters  that  must  en- 
gage us  just  now. 


Louise  Dresser,  Madge  Bellamy,  and  Barry  Norton  score 
individual  hits  of  real  magnitude  in  "Mother  Knows  Best." 


The  fluffy  yarn  asks  us  to  believe  that  Sally,  an  Amer- 
ican girl  touring  .Europe,  mostly  in  quest  of  autographs, 
makes  Andre,  a  tennis  champion,  her  quarry.  Impudent, 
audacious,  she  stalks  her  game,  and  in  doing  so  learns 
that  Simone,  his  ladylove,  is  no  better  than  she  should 
be.  Unable  to  rid  himself  of  Sally,  Andre  asks  her  to 
pretend  that  she  is  his  sweetheart,  in  order  to  give 
Simone  a  jolt  and  perhaps  rid  himself  of  her.  This  is 
the  keynote  of  the  story  from  which,  as  you  can  imagine, 
all  manner  of  consequences  develop.  .  A  high  light  of 
the  farcical  complications  is  Sally's  burlesque  of  Simone. 
In  adding  another  subject  to  her  caricatures  of  Lillian 
Gish,  Pola  Negri,  and  Mae  Murray,  as  seen  in  "The 
Patsy,"  Miss  Davies  finds  in  Jetta  Goudal's  Simone  her 
keenest  as  well  as  her  most  comic  exposure.  And  Miss 
Goudal  herself,  not  to  be  outdone,  is  equal  to  the  occa- 
sion by  giving  a  performance  suave,  distinguished,  and 

sharply  individual,  in 
which  her  sense  of  cos- 
tume is  daring  but  always 
appropriate. 

The  recently  achieved 
popularity  of  Nils  Asther 
will  bound  higher  when 
he  is  seen  as  Andre,  his 
first  chance  to  play  com- 
edy. Enough  to  say  that, 
in  my  opinion,  there  never 
has  been  seen  a  perform- 
ance of  this  kind  to  equal 
his,  for  in  addition  to  the 
qualities  expected  of  the 
sophisticated  hero,  he  pos- 
sesses what  none  of  his 
predecessors  in  sleek 
worldliness  has  ever  had. 
And  that  is  youth. 

The  Wings  of  Youth. 

A  sigh,  a  cry,  a  huzza 
of  thanksgiving  for  "The 
Air  Circus"!  For  here  is 
a  pleasant  and  sometimes 
thrilling  picture,  which 
deals  with  the  inevitable 
and  excusable  subject  of 
aviation  in  a  refreshingly 
different  manner.  Differ- 
ent, because  it  is  peace- 
time rather  than  military 
aviation,  and  because  the 
heavy  drama  and  self- 
conscious  tragedy  which 
we  have  come  to  associate 
with  airplanes,  through 
surfeit  on  the  screen,  gives  way  to  lightness  and  even 
gayety  of  attack.  Refreshing,  because  of  the  youthful 
exuberance  and  naivete  of  David  Rollins,  Sue  Carol, 
and  Arthur  Lake.  The  combination  is  disarming,  irre- 
sistible, just  as  the  voice  of  Sue  Carol  is,  in  the  Movie- 
tone sequences.  Neither  the  picture  nor  the  voice  is 
subtle,  but  they  awaken  warm  response  because  of  their 
naturalness. 

"The  Air  Circus"  chiefly  concerns  a  boy,  Buddy  Blake, 
whose  enthusiasm  for  aviation  causes  him  to  enroll  in  a 
training  school  despite  the  pleas  of  his  mother,  whose 
loss  of  an  elder  son  makes  her  fearful  of  losing  her 
mainstay.  Buddy  cannot,  however,  conquer  his  fear  of 
the  air,  though  he  is  gallant  in  spite  of  the  disgrace  he 
feels.  His  mother,  consoling  him,  confesses  that  she 
prayed  he  would  find  it  impossible  to  qualify,  but  when 
the  opportunity  comes  for  him  to  go  to  the  rescue  of 


v 


72 


The  Screen  in  Review 


friends  in  a  disabled  plane,  she 
bravely  speeds  him  on  his  way. 

The  rescue  is  accomplished, 
■Buddy  is  redeemed  in  the  eyes  of 
everybody,  including  himself  ,  and 
you  couldn't  ask  for  greater  hap- 
piness. 

Simple  though  the  story  is,  and 
devoid  of  strong  love  interest,  it 
has  its  tears  and  thrills,  the  latter 
coming  when  Buddy  flies  to  save 
the  disabled  plane  from  disaster. 
Louise  Dresser  is  the  mother, 
Charles  Delaney  is  the  heroine's 
brother,  and  as  mentioned  above, 
there  is  a  bit  of  dialogue  now  and 
then,  the  best  of  it  coming  from 
Sue  Carol  and  Arthur  Lake. 

Undersea. 

For  good,  honest  thrills  you 
will  search  long  before  encoun- 
tering the  equal  of  "Submarine," 
one  of  the  sturdier  melodramas 
among  the  notable  pictures  of  the 
month.  With  amazing  realism 
it  depicts  the  tragedy  of  the  erew 
of  a  submarine  overtaken  by  dis- 
aster. The  horror  of  suffocation 
and  impending  death  are  su- 
perbly presented  in  all  then- 
graphic  essentials.  There  is  con- 
siderably more  to  the  picture 
than  this,  however,  for  it  glori- 
fies the  deep-sea  diver's  calling, 
not  only  while  he  is  exploring  the 
ocean's  bed,  but  in  the  intimacies 
of  his  home  life.  And  if  you 
think  these  intimacies  are  seen  in 
a  bleak  Cape  Cod  setting,  you  are 
much  mistaken.  Jack  Dorgan, 
the  diver-hero,  provides  for  his 
bride  a  home  worthy  of  a  movie 
star,  with  no  more  domestic  re- 
sponsibilities than  a  show  girl  liv- 
ing at  the  Ritz.  Appropriately 
her  name  is  "Snuggles"— -a  name 
that  bodes  no  good  for  a  god- 
fearing man  like  Jack  Dorgan. 
In  his  absence  she  meets  Bob 
Mason,  his  pal,  and  the  two  spend 
a  week  together  without  knowing 
each  other's  identity.  There  is 
dramatic  power  in  the  scene 
where  Jack  brings  Bob  to  his 
home  and  proudly  introduces  him 
to  Snuggles,  though  it  is  the  con- 
sequences of  the  husband's  dis- 
covery of  their  liaison  that  cause 
a  weakness  not  only  in  the  plot, 
but  in  the  character  of  the  hero. 
For  when  Jack  learns  that  Bob 
is  in  the  submarine  disaster  he 
refuses  to  attempt  a  rescue.  This 
creates  suspense,  it  is  true,  but 
when  Jack  finally  dashes  off  to 
do  his  duty  it  is  at  the  expense 
of  his  character.  Besides,  it  is 
no  way  for  Jack  Holt  to  act  after 
all  these  years  of  unhesitating 
virtue !  He  gives  a  sincere  and 
upstanding    performance.  The 


"Man-made  Women." 


"Heart  to  Heart." 


"The  Docks  of  New  York. 


"State  Street  Sadie." 


same  holds  good  of  Ralph 
Graves,  as  Bob.  Dorothy  Re- 
vier,  as  the  fair  but  false  Snug- 
gles, is  disturbingly  beautiful 
and  clever,  too.  Clarence  Bur- 
ton and  Arthur  Rankin  are 
strikingly  effective  in  the  sub- 
marine scenes. 

Mr.  Keaton  At  His  Best. 

No  easy  task  confronts  the 
reviewer  who  would  tell  the 
story  of  a  Buster  Keaton  com- 
edy. There  is  almost  nothing 
to  tell  about  who's  who  in  "The 
Camera  Man,"  his  latest,  but 
much  can  be  said  of  the  amuse- 
ment you  will  surely  derive 
from  it.  To  one  who  is,  to  put 
it  mildly,  not  exactly  a  connois- 
seur of  screen  cpmedies,  and 
who  finds  the  majority  of  them 
strained  and  alien,  it  has  mo- 
ments of  spontaneous  mirth,  a 
constant  succession  of  gags  and 
movement  that  never  lags. 
"Without  any  doubt  at  all,  "The 
Camera  Man"  is  one  of  Mr. 
Keaton's  best  films.  He  is 
Luke,  an  inexpert  tintype  pho- 
tographer ambitious  to  become 
a  news  camera  man.  His  as- 
pirations lead  him  hither  and 
yon  in  the  field  of  mishap,  mis- 
understanding and  what  not, 
his  most  hilarious  misadventure 
occurring'  when  he  attempts  to 
photograph  a  tong  war  in  Chi- 
natown and  discovers,  after 
feats  of  incredibly  clumsy  he- 
roism, that  his  camera  has  been 
minus  film  all  along.  The  pic- 
ture ends  with  a  hearty  laugh 
when  Luke  is  swept  into  the 
welcome  given  Colonel  Lind- 
bergh, and  imagines  the  ovation 
is  a  tribute  to  himself.  Mar- 
celine  Day,  Harold  Goodwin, 
and  Sidney  Bracy  are  consid- 
erably and  pleasantly  in  evi- 
dence, but  the  "acting"  of  a 
nameless  monkey  approaches 
the  stellar  realm. 

Hoodlums  andj  Harlots. 

"The  Docks  of  New  York" 
is  played  largely  in  the  murk  of 
a  stokehole,  a  waterfront  and  a 
sailors'  dive  by  characters  that 
belong  there,  and  whose  senti- 
ments, emotions,  and  actions  are 
true  to  life  and  not  the  movies. 
If  you  are  deeply  interested  in 
honest  realism  which  reveals  the 
psychology  of  stokers  and  the 
ladies  who  consort  with  them, 
you  will  find  the  picture  very 
fine  indeed,  and  doubly  im- 
portant to  those  who  admire 
George  Bancroft,  Betty  Comp- 
son,  Clyde  Cook,  Mitchell 
Lewis,   and    Olga  Baclanova. 


The  Screen  in  Review 


73 


All  give  notable  performances, 
though  Baclanova  hasn't  enough 
to  clo  to  satisfy  my  appetite  for 
her  vivid  talent. 

Mr.  Bancroft,  as  Bill  Roberts, 
a  swaggering  stoker,  rescues 
Sadie  from  the  river,  marries  her 
and  deserts  her  next  morning,  but 
they  are  finally  reunited.  Inci- 
dental to  this  are  barroom  brawls, 
the  shooting  of  a  man  by  his 
jealous  wife  and  the  usual  con- 
flicts of  a  sailors'  dive. 

The  story,  you  see,  is  scarcely 
unusual  or  inspired,  but  evidently 
it  was  not  intended  to  be  so,  for 
the  skill  of  Josef  von  Sternberg, 
the  director,  has  beeen  lavished 
on  characterization,  lighting,  and 
the  complete  elimination  of  senti- 
mental claptrap.  But  for  all  this 
meritorious  work  there  is,  in  the 
latter  part  of  the  picture  at  least, 
a  slowness  that  fits  better  the 
mood  of  Greek  tragedy  than  the 
actions  of  stokers  and  their 
women. 

Blithe  As  a  May  Morning. 

It  is  always  a  pleasure  to  wel- 
come Leatrice  Joy,  and  a  natural 
reaction  to  admire  her  femininity 
and  charm.  She  is  at  her  best  in 
"Man-made  Women,"  a  trite  and 
inconsequential  story  directed  and 
acted  with  exquisite  distinction. 
Quite  devoid  of  dramatic  or 
comic  high  lights,  the  picture 
moves  smoothly  through  a  series 
of  beautiful  interiors  of  such  per- 
fect taste  that  one  feels  an  excep- 
tional person  is  responsible  for 
them.  But  I  have  never  yet  met 
a  moviegoer  who  rated  settings- 
and  direction  of  greater  im- 
portance than  situations  involv- 
ing characters.  The  characters 
under  discussion  are  well-bred 
people,  whose  actions  never  devi- 
ate from  the  good  taste  of  their 
surroundings  and  who  are  there- 
fore human,  if  not  exciting. 

Miss  Joy  is  Nan  Payson,  who 
loves  her  husband,  but  objects  to 
being  made  over  by  him  into  a 
conventional  mold.  However, 
she  learns  her  lesson  and  is  con- 
tent to  settle  down  to  his  prosaic 
requirements  of  what  a  wife 
should  be.  Miss  Joy  is  lovely  to 
behold  and  her  gayety  is  bewitch- 
ing. John  Boles  is  the  husband, 
and  H.  B.  Warner  the  roue  who 
is  suspected  of  breaking  up  the 
home  of  the  young  couple,  but 
who  turns  out  to  be  their  bene- 
factor. Seena  Owen  is  remark- 
ably effective  as  Georgette,  a  lady 
of  easy,  though  elegant,  virtue. 

Looking  at  "Man-made  Wom- 
en" entails  no  effort  at  all,  though 
it  might  be  hard  to  remember. 


Submarine." 


'The  Air  Circus.' 


"The  Whip." 


'The'  Cardboard  Lover 


Old  Wine  in  New  Bottles. 

"The  Water  Hole"  is  much 
more  than  a  Zane  Grey  version 
of  "The  Taming  of  the  Shrew," 
though  it  is  that,  too.    But  so 
taut  is  the  direction,  and  so 
deft  is  the  acting  of  Jack  Holt 
and  Nancy  Carroll,  that  the  old 
story  is  made  new,  and  a  rather 
delightful   picture   comes  into 
being.    The  plot,  being  of  the 
least  importance,  had  better  be 
disposed  of  first.    All  it  really 
amounts  to,  is  the  boast  of  a 
spoiled   flapper   that   she  will 
wring  a  proposal  of  marriage 
from  a  strong,  silent  man  with- 
in a  given  time.    She  succeeds 
and  he,  made  aware  of  her  tri- 
fling,  punishes   her.     To  get 
even,  she  follows  him  to  Ari- 
zona where  he,  with  her  father's 
consent,  "kidnaps"  her  as  the 
first  step  toward  her  taming. 
The  rest  of  it  doesn't  matter, 
for  you  can  guess  the  result. 
But  the  progress  of  the  picture 
is  genuinely  entertaining,  be- 
cause Miss  Carroll  makes  Ju- 
dith Endicott  a  real  girl,  and  in 
Jack  Holt's  hands  Philip  Ran- 
dolph  is  a  man  of  flesh  and 
blood,  and  his  reactions  are  not 
the  least  moviesque.     This  is 
expected  of  Mr.  Holt,  because 
his  experience  is  as  long  as  his 
methods  are  familiar ;  but  Miss 
Carroll,  who  is  still  a  newcomer, 
proves  herself  to  be  extraordi- 
narily skillful  in  expressing  her- 
self on  the  screen.    More  than 
this,  she  has  the  gift  of  being 
as   fresh   as  they  make  'em, 
without  ever  going  too  far  and 
becoming  obvious  and  a  pest. 
Some  of  the  Hollywood  sister- 
hood, indifferent  to  the  peril  of 
overdoing  their  cuteness,  might 
well  study  her  restraint.  John 
Boles,  Ann  Christy,  and  Jack 
Perrin,  himself  once  a  star,  are 
capable  additions  to  the  cast, 
and  the  familiar  Western  scene 
is  made  glamorous  by  romantic 
photography. 

Soundless  Oysters. 

"The  First  Kiss"  is  as  in- 
nocuous as  the  title.  There  is 
not  even  a  promise  that  the 
second  kiss  will  stir  up  excite- 
ment. One  feels,  in  fact,  that 
when  Anna  Lee  and  Mulligan 
Talbot  marry  they  will  be  con- 
tent to  let  that  first  kiss  suffice 
for  life.  Yet  there's  a  lot  do- 
ing in  the  picture,  and  some  in- 
teresting players  to  keep  the 
pot — or  plot — simmering.  It 
never  boils,  however,  one  of  the 
reasons  being  that  too  much  is 
Continued  on  page  98 


74 


Greta — As  She  Is 

An  exceptional  and  sympathetic  analysis  of  the  Garbo  personality,  which 
is  no  less  remarkable  and  unusual  outside  the  studio  than  before  the  camera. 

By  Margaret  Reid 


THROUGH  all  the  tumult  and  pandemonium  that 
her  presence  here  has  occasioned,  Greta  Garbo 
moves  serenely,  unconcerned,  uninterested,  and 
often  uncomprehending.  Neither  denunciation  nor  adu- 
lation can  scratch  the  shell  of  her  remote  calm.  People 
call  her  stolid.  This  is  inaccurate,  but  she  is  a  stoic, 
aloof  and  invulnerable. 

She  is- always  quiet.  What  has  been  called  her  "tem- 
perament" is  never  mani- 
fested in  stormy  rages.  In 
sorrow  or;  unhappiness,-  in 
anger  or  pleasure  alike,  she 
is  tranquil — on  the  surface 
at  least — and  no  one  can  per- 
ceive what  lies  underneath. , 

Perhaps  one  reason  for 
this  is  that  which  is  also  the 
foundation'  of  her  essential 
grace.  I  refer  to  her  ex- 
treme lassitude.  Every  move- 
ment of  hers  is  unconsciously 
achieved  with  a  minimum  of 
effort  and  speed.  Every  ges- 
ture is  as  simple  and  brief 
as  possible.  It  is  this  which 
points  her  work. 

At  the  studio  many  term 
her  lazy.  This  she  appar- 
ently is,  but  added  to  a  nat- 
ural indolence  is  a  pernicious 
anemia  which  has  afflicted 
her  for  more  than  a  year, 
and  has  sapped  her  strength. 
She  tires  easily,  and  any  fa- 
tigue renders  her  limp  and 
incapable  of  effort.  At  such 
times,  often  in  the  middle  of 
a  day's  work,  she  announces 
that  she  is  going  home — and 
goes.  This  has  been  called 
temperament,  with  obvious 
injustice. 

On  the  set,  when  she  is  not 
working,  she  likes  to  be  left 
alone.  She  sits  in  a  corner 
by  herself,  speaking  to  no 
one.  This  was  at  first  con- 
strued as  high-hat,  until  the 
studio  began  to  understand 
her  better,  and  to  realize  that 
this  was  a  sincere  preference 
for  solitude. 

In  accordance  with  this 
trait,  she  lives  at  a  big,  old- 
fashioned  hotel  in  Santa 
Monica,  far  from  any  colony 
of  film  folk.  Here  she  is 
happiest,  away  from  every 
one ;  quiet,  peaceful,  within 
sound  of  the  sea. 


What  has  been  calle'd  her  "temperament"  is  never 
manifested  in  stormy  rages.  She  is  outwardly  tran- 
pnoto  by  Louise  Quil  at  all  times. 


Her  tastes  are  simple — for  a  picture  star,  exceptionally 
so.  A  vitally  feminine  person,  yet  clothes  are  of  no  in- 
terest to  her.  The  trailing  laces  and  veils  of  her  screen 
wardrobe  have  no  place  in  her  personal  one.  She  wears 
loose,  plain  dresses,  mannish  coats,  slouch  hats,  and 
always  low-heeled  shoes.  It  is  a  question  as  to  whether 
or  not  she  owns  an  evening  dress.  On  the  exceedingly 
rare  occasions  when  she  is  persuaded  to  attend  a  dinner 

party,  she  is  likely  to  arrive 


m  a  tennis  dress,  Deauville 
sandals,  and  a  polo  coat. 

She  has  two  cars.  The 
one  she  prefers,  and  uses,  is 
a  battered  Ford  coupe.  She 
dislikes  being  recognized 
and  stared  at,  and  no  one 
thinks  of  looking  in  a  Ford 
coupe  for  a  star.  With  her 
colored  maid  driving,  or 
sometimes  with  John  Gil- 
bert at  the  wheel,  she 
slouches  down  comfortably 
and  rides  for  hours — par- 
ticularly at  sundown,  along 
the  ocean  road. 

She  is  starkly  devoid  of 
affectation,  being  indiffer- 
ent of  people's  opinions, 
whether  good  or  bad,  and 
too  languid  to  cultivate 
mannerisms  calculated  to 
impress.  And,  vice  versa, 
it  is  impossible  to  impress 
her.  Celebrity,  the  glamour 
of  famous  names,  leaves  her 
cold.  Even  on  those  gala 
days  when  visiting  nobility 
is  entertained  at  the  studio, 
Greta  is  no  less  aloof  and 
uninterested.  She  is  con- 
scious of  people  only  as 
their  proven,  intrinsic  value 
strikes  her  as  being  com- 
mendable. Were  she  a  con- 
vivial person,  she  would 
find  as  many  friends  among 
the  lower  as  among  the 
higher  classes. 

A  forthright,  appallingly 
candid  person,  she  would 
have  many  enemies  were  it 
not  that  she  is  without  mal- 
ice. Compromise  and  quib- 
bling are  unknown  quanti- 
ties to  her.  And  since  these 
are  the  foundation  of  social 
amenities,  she  is  often 
branded  as  rude.  Illustrat- 
ing this  is  her  manner  of 
Continued  on  page  112 


83 


Give  This  Fellow  a  Hand 

Tufei  Fatella,  who  is  "John  George"  to  the  fans,  has 
won  a  distinctive  place  on  the  screen,  despite  handi- 
caps which  would  have  destroyed  a  less  valiant  spirit. 

By  A.  L.  Wooldridge 

FOR  the  price  of  a  hamburger  sandwich  and  a  cup  of  Java, 
more  tragic  tales  may  be  heard  on  Hollywood  Boulevard 
from  dejected  and  disillusioned  extras  than  fertile  brains 
could  devise  in  weeks  of  concentration.  Gray-haired  men,  em- 
bittered by  years  of  fruitless  struggle ;  old-time  stage  actors 
who  had  their  fling,  then  faltered  and  slid  to  the  depths  ;  women 
who  once  were  acclaimed-  beautiful,  but  who  now  show  the 
ravages  of  time,  and  girls  and  young  'men  who  don't  want  to 
go  back  home. 

"Fate  is  against  me,"  most  of  them  say.  "I  had  a  run  of 
bad  luck,  saw  my  friends  turn  against  me  and— well,  when  once 
you  start  slipping,  it's  hard  to  get  a  new  grip." 

I've  heard  their  stories  time  and  again.    I  have  watched 
them  as  they  sat  listlessly  during  waits  between  scenes.  I've 
seen  a  look  almost  of  hate  come  over  their  faces  as  some  suc- 
cessful actor  drove  by  in  his  automobile  and  heard  him  derided 
and  dubbed  an  offspring  of  Lady  Luck.    And  often  I  have 
i  wondered  what  would  have  become  of  them  if  they  had  been 
'  left  in  the  plight  of  little  Tufei  Fatella,  away  back  in  Svria 
jin  1910. 

J  Probably  you  do  not  know  him 
by  this  name,  but  you  do  know  him 
as  John  George,  and  you  have  seen 
him  in  roles  with  John  Barrymore, 

Lon  Chaney,  Ronald  Colman,  and  other  actors  who  have 
reached  the  pinnacle  of  success.    Sensitive  to  the  fact 
that  his  body  is  deformed,  and  that  he  is  untutored  and 
unlettered,  Tufei  shrinks  from  the  world.    He  prefers 
to  be  alone.    But,  summoned  to  make-up,  and  given  to 
understand  that  the  great  Barry- 
more  wants  him,  or  that  Chaney  in- 
sists he  be  in  the  cast,  he  emerges 
a  different  character — strong,  self- 
possessed,    reliant,    and  capable. 
What  a  transformation  !    And  what 
a  fight  he  has  made  against  odds ! 
Listen  to  his  story  : 

Tufei  Fatella  was  born  at  Aleppo 


John   George's  perform- 
ance in  "Don  Juan"  lifted 
him    from    obscurity  to 
fame. 


Syria,  thirty-one  years  ago.  When 
he  was  fourteen  months  old,  he  fell 
into  a  bed  of  burning  charcoal  and 
very  nearly  lost  his  life.  When  he 
was  three  years  old,  his  sister  sat 
him  upon  a  window  sill  and  he  top- 
pled off.  When  they  picked  him  up, 
his  back  was  crumpled. 

With  poverty  on  every  hand,  the 
crippled,  boy's  mother  left  for  Mex- 
ico. His  five  sisters  followed. 
They  intended  eventually  to  get  into 
the  United  States — anything  to  bet- 
ter their  condition.  In  1910,  the 
lad's  father  died — the  last  remain- 
ing member  of  the  family  in  Syria. 
The  body  was  buried,  and  Tufei  Fatella  sat  one  night 
alone,  beneath  the  stars,  abandoned,  it  seemed,  in  an 
empty,  squalid  home. 

"I  want  my  mother!"  he  cried  through  his  tears. 
"Mother  dear,  please  come  to  me !" 

He  did  not  even  know  where  she  was.  He  could  not 
send  her  a  letter  to  tell  her  his  condition.  He  could 
only  sit— and  wait. 

In  1911  the  crippled  boy  sold  what  things  he  could  sell 
from  the  home,  packed  up  a  little  bag  of  clothing-,  and 


John  George,  as  he  appeared  with  Lon 
Chaney  in  "The  Unknown." 


went  to  Beirut,  the  capital  of  the  country.  Down  at 
the  docks,  rolling  in  the  waters  of  the  Mediterranean, 
was  a  tramp  freighter,  and  the  lad  induced  the  captain 
to  give  him  passage  to  Marseilles. 

"I'm  going  to  find  my  mother,"  he  explained  sadly. 

"But  I  have  only  a  little  money  to 
pay  my  passage." 

In  Marseilles  he  found  odd  jobs 
— enough  to  buy  bread  and  fruit. 
Then  one  glorious  day  he  met  a 
merchant  who  had  heard  that  the 
boy's  mother  and  sisters  were  in 
America  and  living  in  Nashville, 
Tennessee. 

"Thank  God !"  he  cried.  "Some- 
how, I'll  get  there." 

Again  Tufei  began  haunting  the 
docks.  And  again  he  got  passage 
on  a  steamer — passage  to  America. 
He  landed  in  New  York — a  waif 
without  funds,  among  strange  peo- 
ple, frightened  by  the  roar  of  traffic. 
Immigration  restrictions  were  not 
so  rigid  then  as  now,  and  the  boy 
had  managed  to  get  past  Ellis  Island 
by  telling  the  simple  tale :  "I  want 
to  find  my  mother !  She's  in  Nash- 
ville, Tennessee." 

Tufei  now  passes  lightly  over  the 
events  which  transpired  before  he 
finally  arrived  in  Tennessee,  and  rested  his  tired  head 
on  his  mother's  breast. 

"It  seemed  so  long!"  he  said  the  other  day.  "And 
there  wasn't  any  one  else." 

Courage!  Determination!  He  had  it  boundlessly. 
Left  penniless  in  Syria,  his  body  misshapen  and  his 
mind  untutored,  he  had  faced  a  disinterested  world  reso- 
lutely, and  had  started  out  to  attain  a  goal.  And  he  had 
succeeded.  But  the  hardships  and  struggles  had  left 
Continued  on  page  107 


84 


The  Nineteenth^ 


Is  the  girl  most  men  dream  about,  but  these  charming  studies  prove 


A  modern  telephone 
booth  won't  hold  all  the 
loveliness  Andree  Tour- 
ncur/  left,  wears  in  "The 
Actress." 


Nora  Lane,  below,  wears 
her  costume  in  "Jesse 
James"  as  though  she 
had  never  even  seen  a 
modern  gown. 


85 


Century  Girl 


that  it's  only  the  styles,  and  not  the  girls,  that  have  changed. 


86 


Stardom  Can't  Last — 

This  is  the  problem  of  every  star,  for  not  even  the 
and  remain  forever  youthful.     In  this  article  a 

By  Helen 


Photo  by  Louise 

Leatrice  Joy  plans  to  write  when  she  says  good-by  to  stardom. 

STARDOM— and  then  what? 
The  business  of  becoming  a  successful  screen 
actor  is  an  intense  one.  It  requires  a  terrific  amount 
of  energy  and'  determination.    And  when  the  goal — star- 
dom —  is  reached, 
its  duration  is  very 
short.     When  an 
actor    has  gained 
sufficient  experi- 
ence to  handle  dif- 
ficult roles — just  as 
he  reaches  his 
prime — youth  be- 
gins to  fade. 

He  finds  that  he 
does  not  photo- 
graph as  well  as  he 
once  did.  He  must 
be  more  and  more 
careful  about  make- 
up and  lighting.  He 
is  on  the  down- 
grade. He  faces 
that  time  when  he 
ultimately  will  be 
passe. 

Sir  Herbert  Beer- 
bohm-Tree  used  to 

say  that  no  woman  had  sufficient  intelligence  to  play 
Juliet  until  she  was  forty.  The  stage  actor  reaches  the 
zenith  of  his  career  at  middle  age.  And  he  may  go  on 
and  on — sometimes  until  he  dies. 

But  the  screen  is  the  domain  of  youth.    Beauty,  per- 
sonality, and  charm  are  of  paramount  importance. 


Esther  Ralston  expects  to  open  a 
dressmaking  shop. 


Immature  maidens,  under  twenty,  are  given  the  re- 
sponsibility of  carrying  leading  roles  in  the  biggest 
pictures  of  the  year.  Callow  youths — oh,  very  callow, 
sometimes ! — become  leading  men,  exponents  of  the 
drama  of  the  silver  sheet. 

The  world  of  the  "legitimate"  stage  has  a  certain 
loyalty.  Crowds  will  flock  to  see  old  favorites  when 
they  are  long  past  their  prime.  Sarah  Bernhardt  made 
a  very  successful  tour  when  she  was  old  and  ill,  and 
had  lost  one  of  her  legs.  She  was  still  the  "Divine 
Sarah,"  and  her  followers  thronged  to  the  theaters 
to  do  her  honor. 

"We  have  hardly  had  time  really  to  test  the  loyalty 
of  picture  audiences.  Mary  Pickford,  Lillian  Gish, 
Norma  Talmadge — our  first  crop  of  idols — are  still 
extant,  though  they  are  all  some  years  from  the  age  of 
Beerbohm-Tree's  ideal  of  Juliet. 

Former  stars,  it  is  true,  have  disappeared  from  view. 
But,  in  almost  every  case,  there  seems  to  have  been 
some  definite  reason  for  their  disappearance,  aside  from 
the  fact  that  their  youth  had  departed. 

It  seems  to  be  understood — tacitly,  at  least — in  the 
picture  business,  that  a  star's  life  in  the  profession  is 
doomed  to  be  a  short  one.  One  hears  uneasy  mur- 
muring among  the  established  luminaries.  "What  am 
I  to  do  when  this  is  over  ?  I  shall  still  be  young.  My 
time  is  so  short !" 

The  recent  upheavals  in  Hollywood  have  indicated 
that  many  careers  of  present  stars  will  indeed  be  short. 

"What  hurts  me  most  about  this  business,"  Ramon 
Novarro  told  me  once,  "is  that  so  much  depends  upon 
one's  physical  attributes.    Were  I  a  very  great  actor,  I 

could  not  play  the 
roles  I  play  now,  if 
I  grew  fat  or  bald 
or  old!  No  matter 
how  great  my  abil- 
ity, if  I  did  not  look 
the  part,  I  could 
not  portray  these 
characters. 

"I  want  to  play 
Sir  Galahad — and 
The  Christ — and  I 
am  so  fearful  that, 
by  the  time  I  have 
g  a  i  n  e  d  sufficient 
experience  to  play 
these  roles  as  I 
should  like  to  play 
them,  I  shall  be  too 
old. 

"The   thing  for 
which  we  give  all 
our  efforts,  spend 
our    youth — suffer 
— hangs,  almost,  upon  an  eyelash  !   That  thought  hurts  !" 

"And  what  will  you  do — afterward?"  I  wanted  to 
know. 

"I  shall  go  back  to  my  music.    One  can  sing  in  concert 
for  a  long  time,  even  if  one  is  bald  or  fat !" 
-^That,  I  had  to  admit,  was  true. 


Ramon  Novarro  looks  to  music  for 
his  future  work. 


87 


What's  to  Follow? 

most  optimistic  of  them  hopes  to  vanquish  time 
few  of  them  tell  how  they  feel  about  the  future. 

Louise  Walker 


Leatrice  Joy  confided  to  me  that  she  wanted  to  write. 

"I  shall  have  to  do  something!"  she  said,  with  a  note 
of  fear  in  her  voice.  "This  thing  takes  all  your  energy 
— all  your  thought — for  so  long.  You  are  on  the  set 
from  morning  till  night,  day  after  day.  Between  pic- 
tures you  are  thinking  of  your  next  story,  and  getting 
your  clothes  ready.  If  you  had  to  stop  suddenly,  it 
would  he  almost  as  if  you  had  stopped  living — the  end 
of  everything. 

"You  would  have  to  find  some  other  work,  something 
intense  and  difficult,  to  take  its  place.  Writing  is  dif- 
ficult, isn't  it  ?  I  shall  have  to  occupy  myself  with 
something  hard  to  do!"' 

It  occurred  to  me  that  by  the  time  Leatrice  is  through 
with  pictures,  little  Leatrice  will  be  coming  along  to 
the  age  where  she  will  demand  a  lot  of  attention  from 
her  mother,  whose  devotion  to  the  child  is  f  righteningly 
intense.  Leatrice  will  not  lack  for  something  to  keep 
her  occupied  ! 

But  one  thing  which  makes  it  so  difficult  to  give  up 
pictures  is  the  inevitable,  and  eternal,  shop  talk  of 
picture  people. 

Various  girls  have  left  the  screen  to  pursue  domestic 
careers,  and  have  nearly  always  been  driven  to  an 
attempt  to  get  back. 

Mildred  Davis  Lloyd,  who  returned  to  the  screen 
a  year  or  so  ago  for  one  picture,  after,  two  or  three 
years  of  married,  and  maternal  bliss,  told  me  that  all 
the  social  gatherings  had  been  spoiled  for  her,  because 
of  the  shop  talk  of  the  people  she  met  at  them. 

"They  tell  funny  things  which  have  happened  on  the 
sets,"  she  said.  "They  talk  contracts  and  breaks  and  op- 
portunities. They 
talk  of  nothing 
but  pictures!  All 
the  news  I  have 
to  contribute  is 
a  new  recipe  for 
cake,  or  that 
Gloria  has  a  new 
tooth !  I  am  sim- 
ply out  of  their 
world !  I  have  to 
get  back!" 

Recogniz  i  n  g 
that,  some  of  the 
more  mature 
actors  have  made 
plans  which  will 
take  them  away 
from  Hollywood, 
and  the  atmos- 
phere of  pictures, 
when  their  careers 
are  ended. 

"To  be  among 
picture  people, 

and  no  longer  at  work — to  be  in  the  atmosphere,  and  not 
of  it — would  be  unbearable,"  Florence  Vidor  says.  She 
has  bought  a  home  in  Honolulu,  where  she  plans  to  live 
in  a  cosmopolitan  atmosphere,  surrounded  by  congenial 
souls,  who  are  familiar  with  pictures  only  in  the  theaters. 


Photo  by  Louise 


"It's  all  an  accident,  my  being  an  actor,"  says  John  Gilbert, 
who  expects  to  work  when  he  stops  acting. 


Aileen  Pringle  plans  to  live  abroad,  andi  write  a  book. 
It  is  truly  amazing  how  many  actors  plan  to  write  books. 
Many  of  them  will  doubtless  be  very  revealing  and 
exceptionally  informative,  to  a  startling  degree ! 

Richard  D  i  x  , 


Richard  Dix  intends  to  be  a  studio 
executive. 


who  is  a  business 
man  first,  and  an 
actor  after  that, 
takes  a  character- 
istic view  of  the 
matter.  I  heard 
him  wailing  one 
day  about  the  in- 
come tax. 

"The  govern- 
ment does  not 
take  into  consid- 
eration how  short 
our  time  is,"  he 
complained. 
"They  tax  us  as  if 
our  salaries  were 
income  from  in- 
herited capital.  It 
s  not  the  same. 
Our  salaries  are 
our  capital.  We 
just  have  a  short 
time   to   go — ten 

years,  maybe  twelve — and  then  we  are  finished.  Our 
earnings  do  not  pyramid  as  we  grow  older,  as  do  those 
of  men  in  other  professions.  They  stop  before  we  reach 
middle  age.  If  we  don't  keep  that  in  mind,  and  prepare 
(icr  it,  we  are  very  foolish !"  [Continued  on  page  115] 


Florence  "Vidor  will  spend  her 
tirement  in  Honolulu. 


re- 


88 

"On  the  Dotted  Line,  Please" 


No  star  ever  signs  a  contract  unless  the  usual  squad  of  camera 
men  are  on  deck  to  record  the  event.     It's  all  in  the  business. 


Renee    Adoree,    above,    is  very 
jubilant  over  the  new  contract  she 
1     has  just  signed.    Any  one  as  popu- 
lar as  Renee  should  be  jubilant. 


89 


Objects  of  Wrath 

The  newcomer  who  has  too 
much  personality  may  find 
his  way  blocked  by  the  star. 

By  William  H.  McKegg 


PERSONALITY  is  what  counts," 
they  say.  "They"  are  the  wise  gen- 
tlemen of  the  movies,  who  iknow 
what  newcomers  should  have.  If  you  have 
a  vivid  personality,  you  are  ripe  for  the 
studios.  If  you  lack  this  especial  "quality, 
or  have  not  yet  brought  it  into  full  play, 
you  had  better  remain  at  home,  for  never 
will  you  be  able  to  stand  before  a  camera 
— except  a  kodak,  held  by  the  boy  friend, 
in  your  own  back  yard.  . 

So  the  fact  is  clear  that  the  movies  need 
vivid  personalities.  Of  course,  latent  abil- 
ity is  also  an  asset — but  personality  comes 
first.   Don't  forget  that. 

Gladys  Du  Bois  kept  this  valuable  fact 
in  mind  when  she  started  out  in  the  movies 
a  short  while  ago.  Being  an  excellent 
dancer,  having  played  in  various  musical 
shows,  she  took  it  for  granted  that  her  per- 
sonality was  quite  all  right. 

This  young  American  girl,  French  on 
her  father's  side,  English  on  her  mother's, 
had  little  difficulty  in  getting  extra  work. 
Soon  she  was  playing  bits.  Her  personality 
won  out,  you  see. 

Recently  a  production  was  under  way, 
starring  a  well-known  dancer.  Gladys  Du 
Bois  was  signed  to  work  in  the  picture  for 
its  duration.  She  was  to  play  atmosphere, 
and  also  one  or  two  bits  opposite  the  star. 

"This  is  where  my  personality  gets  me 
over,"  thought 
Gladys.  Then  she 
began  to  wonder  if 
personality  really 
was  what  the  picture 
people  rated  it  to  be. 
This  idea  came  to 
her  when  she  had  to 
play  in  some  scenes 
with  the  star.  The 
star  saw  her.  Fol- 
lowed a  conference 
between  star  and  di- 
rector. After  the 
discussion,  Miss  Du 
Bois  was  called 
away.  Later  she  was 
offered  a  thousand 
dollars  to  leave  the 
picture  and'  cancel 
her  contract. 

"Offer  me  twenty 
thousand  and  I'd  re- 
fuse to  get  out,"  she 
retorted,  seeing  her 
amperes  of  personal- 
ity going  to  waste. 


■ 

:  V;:  ;M 

-  ■, 


Photo  by  Witzel 


Photo  by  White  Studio 


Francesca  Braggiotti's  person- 
ality conflicted  with  the  star's. 


A  certain  star  saw  to  it  that  Gladys  Du  Bois 
wasn't  allowed  to  shine  too  brightly. 


"I  was  hired  for  this  picture,  and:  I'm 
going  to  be  in  it." 

In  it  she  was,  but  not  where  she  had 
expected.  The  kind-hearted  star  saw 
that  Gladys  Du  Bois  was  kept  well  in 
the  background.  All  her  bits  were  taken 
from  her  and  done  by  another  girl,  who, 
less  magnetic,  was  easily  outdazzled  by 
madame,  the  star. 

Does  a  vivid  personality  help  ?  Ask 
Gladys  Du  Bois.  Hers  possesses  a  sug- 
gestion of  the  late  Barbara  La  Marr, 
with  the  added  attraction  of  her  own 
individuality.  No  wonder  the  star  re- 
fused to  have  her  anywhere  within  eye- 
sight. 

Now  let  us  not  blame  the  stars.  Stars 
must  live,  and  not  all  are  as  sweet  and 
kind  as  Mary  Pickford.  To  have  even 
one  scene  stolen  by  another  means  tan- 
gible loss  to  the  star.  If  you  ever  be- 
come one,  you  will  know  what  it  is  like. 
Every  one  for  himself. 
■  Another  newcomer,  Kaye  Rogers, 
also  is  wondering  what  all  this  insis- 
tance  upon  a  vivid  personality  means. 


90 


Objects  of  Wrath 


you  opposite  Miss  Blanko — and  she  thinks — « 
well,  you  know  how  it  is.  Sorry." 

Now,  the  star  in  question  is  really  a  nice 
girl.  No  one  could  dislike  her.  Maybe  she 
did  not  realize  just  what  bitter  discouragement 
she  was  dealing  out,  when  she  refused  to  have 
Kaye  Rogers  in  her  picture.  Turning  the  girl 
away  meant  nothing  to  the  star,  but  it  meant 
everything  to  the  girl.  Yet  such  is  the  law 
of  the  movies.    The  weakest  go  under. 

If  any  newcomer  has  any  right  to  become  a 
future  star — taking  it  for  granted  that  a  vivid 
personality  gets  you  there — a  young  Italian  girl 
from  Florence  should  win  out. 

Her  name — at  present  her  own — is  Fran- 
cesca  Braggiotti.  Her  European  training  has 
been  against  a  background  of  culture.  She  is 
intellectual  and  beautiful.  A  brilliant  dancer, 
she  has  worked  on  the  stage  in  Europe,  and 
over  here  with  Ted  Shawn.  She  created  the 
Tibetan  dances  for  Gilda  Gray,  in  "The  Devil 
Dancer."  Her  perfect  grace  and  motion  have 
made  her  the  model  for  many  painters.  Tade 
Styka,  the  Polish  artist,  met  her  in  Paris  and' 
painted  her  as  a  bacchante. 

Francesca's  very  long,  reddish  hair,  together 
with  her  vivid  personality,  distinguish  her 
wherever  she  is.  Why  should  the  movies  over- 
look such  a  person?  She  thought  this,  and 
came  to  Hollywood,  via  the  vaudeville  route. 

Extra  work  was  easy  for  her.  Then  her 
first  bit  came.  It  was  to  be  in  a  picture  with 
a  new  star.  This  young  star  never  misses  an 
opportunity  to  let  every  one  know  she  is  a  star. 
Francesca's  red  hair  photographs  dark,  making 
it  look  the  same  color  as  the  starlet's.  Her 
magnetic  personality  also  made  the  star  look 
like  a  fried  oyster.    As  you  perhaps  guess, 

Francesca    was  re- 


Photo  by  Spurr 

Kaye  Rogers  photographed  entirely  too  well  to  suit  the  leading  lady. 


It  has  meant  discouragement  to  her. 
Though  only  six  months  in  pictures, 
Miss  Rogers  has  reached  the  point  of 
being  tested  for  small  roles. 

"She  has  a  very  keen  personality — 
very  unique,"  the  casting  departments 
say.  Of  true  American  stock,  with  a 
streak  of  Cherokee  Indian,  Kaye 
Rogers  does  possess  a  distinctive  per- 
sonality. She  has  worked  in  dramatic 
stock.  Understudying  Sadie  Thomp- 
son, in  "Rain,"  was  one  of  her  achieve- 
ments. No  one  could  say  she  lacks 
ability. 

It  was  decided  by  one  studio  that  she 
should  have  a  small  role  in  a  produc- 
tion soon  to  start.  One  day  the  star 
saw  her — and  also  her  test.  Kaye  felt 
sure  that  her  vivid  personality  had  been 
so  bright  that  it  had  won  the  star's 
admiration.  Perhaps  it  did,  but  the 
result  didn't  say  so,  for  she  was  told 
that  she  was  being  released  from  the 
picture. 

"But  why?"  Kaye  demanded  to 
know.  "Tell  me  what  for?  I  was 
good.  Every  one  told  me  so.  It  was 
decided  that  I  should  do  the  role." 

"Well,  you  see,"  one  comforter  ex- 
plained, "the  part  you  play  would  place 


Jacques  Vanaire  lost  a 
good   role,   because  of 
too  much  personality. 


leased  from  the  bit, 
and  served  only  as  an 
extra.  Her  chance  will 
undoubtedly  come, 
and  when  it  does  you 
will  know. 

The  same  thing  has 
prevented.  Jacques 
Vanaire  from  gaining 
a  foothold'  in  the 
movies. 

Under  his  own 
name  of  Jacques  Van 
Roosendaal  he  be- 
longed to  a  very  cul- 
tured and  wealthy 
family  in  Belgium. 
They  were  impover- . 
ished  by  the  war. 
Coming  to  America, 
Jacques  left  his  his- 
tory behind  him  and 
also  his  real  name. 
He  wanted  to  win 
fame  on  his  own,  and 
refused  to  play  up  his 
antecedents. 

He  bears  a  slight 
resemblance  to  Ronald 
Colman.  Not  so  much 
physically  as  mentally. 
His  personality  is  also 
Continued  on  page  107 


on  AOM  flf 

FROM  THE  STORY  BY  MICHAEL  ARLEN 

THE  world-famous  pair  of  screen  lovers 
IN  the  perfect  performance 
OF  their  romantic  careers 

IN  a  drama  of  burning  love  and  smouldering  desire 
WITH  a  brilliant  supporting  cast: 
Lewis  Stone,  John  Mack  Brown,  Douglas  Fair- 
banks, Jr.,  Dorothy  Sebastian  .  .  a 
A  triumph  of  the  SILENT  drama! 
A  SOUND  sensation  for  theatres 
With  Sound  equipment. 

WATCH    YOUR    LEADING  THEATRE 
FOR  ANNOUNCEMENT  OF 

"A  WOMAN  OF  AFFAIRS55 


METRO-G 


TIM  McCOY  SAYS 

"I've  got  50  bucks  waiting  for  you!" 

You  can  rope  these  questions  at  a  gallop  if 
your  eyes  and  memory  are  keen  There's  50 
bucks  waiting  for  the  lady  or  gent  who  corrals 
the  bunch  ofthem!  The  winning  lady  will  also 
get  my  favorite  riding  quirt,  the  winning  gent 
the  sombrero  I  have  worn  in  many  pictures. 

My  autographed  photograph  goes  for  the 
fifty  next  best  answers.  There  may  be  a  few 
bucking  questions  below  —  but  they  won't 
throw  a  careful  rider.  Let's  go! — and  best  of 
luck.  Yours  truly, 

1 —  In  what  M-G-M  picture  does  William  Haines  do 
a  slide  for  life  and  love  and  what  character  does 
he  portray? 

2 —  What  person  playing  in  "The  Cardboard  Lover" 
does  Marion  Davies,  in  the  same  picture,  imitate? 

3 —  Name  five  out  of  the  many  M-G-M  players  who 
have  had  stage  experience. 

4 —  What  do  you  regard  as  Lon  Chaney's  most 
interesting  role?  Answer  within  75  words. 

5 —  In  what  other  picture  besides  "Gold  Braid," 
which  M-G-M  is  now  producing,  did  Ramon 
Novarro  appear  in  naval  uniform? 

Write  your  answers  on  one  side  of  a  single  sheet  of 
paper  and  mail  to  Question  Contest,  3rd  Floor,  1540 
Broadway,  New  York.  All  answers  must  be  received 
by  December  15th.  Winners'  names  will  be  published 
in  a  later  issue  of  this  magazine. 

Note:  If  you  do  not  attend  pictures  yourself  you  may 
question  your  friends  or  consult  motion  picture  maga- 
zines. In  event  of  ties,  each  tying  contestant  will  be 
awarded  a  prize  identical  in  ch  aracter  with  that  tied  for. 

Winners  of  Leo's  Contest  of  July 
Marad  Serriov,  P.  O.  Box  801,  Palo  Alto,  California 
Edgar  V.  Murney,  207  Turner  Bldg.,  Clinton,  Iowa 


m 


3  r  z  slx^^^W^^^W^Ri 

are  in  Heaven" 


N-MAYER 


NICE  GIRL! 

DOES  it  pay  to  be  a  nice  girl?  Vivian  Grey  has  made  this 
the  theme  of  her  latest  serial,  beginning  soon  in  LOVE 
STORY  MAGAZINE. 

You  will  want  to  follow  this — the  trials  of  Betty  Main- 
waring,  who  thought  that  marrying  a  rich  man  was  the  end 
of  her  troubles.  But  she  found  it  was  only  the  beginning,  for 
there  was  his  family  to  be  won  over.  Each  time  his  mother 
or  his  sisters  snubbed  her,  Betty  was  nicer  than  ever.  Your 
heart  will  go  out  to  her. 

LOVE  STORY  MAGAZINE 

Every  Week  15c  per  Copy 


91 


Fraternalists 


That's  a  new  word  on  Webster,  but  it  expresses  the 
vogue  of  the  brotherly-love  theme  in  the  movies. 


"Four  Sons,"  who  are  also  brothers,  above — James  Hall, 
George  Meeker,  Francis  X.  Bushman,  Jr.,  and  Charles 
Morton — leave  their  Bavarian  background  long  enough 
to  pose  for  the  camera. man. 


Just  four  boys  grown  older — that  is, 
if  3-ou  can  really  believe  that  Leslie 
Fenton,  Lane  Chandler,  Gary  Cooper, 
and  Paul  Fix,  above,  could  all  belong- 
to  one  family,  as  they  are  supposed  to 
'The  First  Kiss." 


The  above  might  be  captioned  "Drinks  Make  the 
Man,"  as  this  seems  to  be  the  test  which  Ramon  No- 
varro's  three  elder  brothers  in  "Across  to  Singa- 
pore" are  sponsoring.  Left  to  right,  Dan  Wolheim, 
Ernest  Torrence,  Novarro,  and  Duke  Martin. 


One  of  the  first,  and  perhaps  the  best,  of  the  brother- 
theme  films  was  "Beau  Geste."    At  the  left,  from 
left  to  right,  the  brothers   Gcstc — Neil  ITamilton, 
Ronald  Colman,  and  Ralph  Forbes. 


J 


92  A 

Continued  from  page  66 

Malcolm  Allen,  entering  at  the 
door  of  the  restaurant,  saw  the  ges- 
ture with  astonishment.  He  knew 
that  Sonnenberg  was  far  from  fond 
of  him,  and  since  the  casting  of  Lo- 
pez in  "Red  Velvet,"  the  writer  and 
Miss  Smith  had  not  spoken  together 
privately.  But  Mary  Smith  was  gaz- 
ing at  him,  a  lovely,  imploring  look 
in  her  eyes  which  said,  "Do  come !" 
and,  of  course,  he  obliged,  with  a 
joyous  smile  of  surprise. 

Malcolm  was  seated  directly  facing 
Lady  Gates  at  her  not-far-distant 
table.  He  bowed  to  his  aunt  as  usual, 
but  his  face  stiffened  as,  instead  of 
nodding  in  return,  she  gave  him  a 
venomous  look  and  then  imperiously 
beckoned. 

"Oh,  Malcolm— Mr.  Allen,"  Made- 
leine pleaded,  while  Sonnenberg 
scowled,  "Lady  Gates  has  been  talk- 
ing to  me  about  you  in — in  a  horrible 
way.  You  will  have  to  go  over  and 
stop  her  tongue.  This  can't — it 
mustn't — go  on.  Be  as  kind  as  you 
can — and  firm — and  show  her  that 
she'll  have  to  behave  herself,  for  her 
own  sake,  or  leave  Hollywood." 

"What's  the  matter  with  her  now  ?" 
Malcolm  asked  of  nobody  in  particu- 
lar at  the  table,  and  it  was  Pauline 
Fordham  who  answered. 

"She  was  accusing  you,  in  a  loud 
voice  that  every  one  heard,  about 
heaven  knows  what,  and  saying  she'd 
leave  all  her  money  away  from  you 
to  Lopez  !  That  means  it's  quite  true, 
of  course,  that  she's  going  to  marry 
him !" 

"She  shall  do  nothing  of  the  kind  !" 
said  Malcolm,  between  his  teeth. 
"She'd  be  better  off  dead !" 

As  he  spoke,  he  pushed  back  his 
chair,  conscious  of,  but  in  his  anger 
indifferent  to,  the  fact  that  every  eye 
in  the  restaurant  was  on  him.  He 
walked  over  to  Lady  Gates'  table  and 
stood  with  his  hand  on  the  back  of 
the  chair  where  Madeleine  had  sat. 

"If  you  intend  to  make  a  fool  of 
yourself  and  me,  you  had  better  not 
do  it  here,  but  let  me  take  you  to 
your  hotel,"  he  said  in  a  tone  which 
people  strained  their  ears  to  hear. 

"I'll  not  let  you  take  me  anywhere, 
now  or  ever !"  came  the  shrill  answer 
which  no  one  missed.  "What  you 
had  better  do,  is  to  sit  down  here  and 
listen  to  what  I've  got  to  say.  If  you 
don't,  I'll  have  you  arrested." 

"I  think  I  could  more  easily  have 
you  shut  up  in  an  asylum,"  Malcolm 
was  goaded  to  reply.  But  she  began 
to  wave  a  sheet  of  paper  in  the  air, 
a  sheet  of  paper  which  looked  famil- 
iar to  him,  and  it  seemed  to  Malcolm 
that  the  quickest  way  to  finish  was  to 
take  the  virago  at  her  word  and  sit 
down. 

It  was  a  delightful  scene  for  every- 
body, even  the  least  malicious ;  every- 


Girl  Comes  to  Hollywood 


body,  that  is,  with  two  exceptions — 
Pierre,  the  proprietor  of  Montpar- 
nasse,  who  feared  something  violent, 
and  Madeleine  Standish,  who  was 
quivering  with  shame  and  indignation 
for  Malcolm,  as  a  few  minutes  be- 
fore she  had  quivered  for  herself. 

If  only  he  would  control  his  tem- 
per !  She  felt,  she  knew,  that  he  had 
much  strength  of  character.  If  he 
could  keep  his  head  now,  he  would 
be  able  to  master  this  foolish,  ridicu- 
lous woman.  He  might  be  able  to 
get  her  away  before  Lopez  appeared, 
and  even  to  talk  her  out  of  the  error 
of  her  ways. 

At  first  Lady  Gates  gesticulated 
hysterically,  her  breast  heaving.  She 
threw  down  the  anonymous  letter  and 
ordered  her  nephew  to  read  it,  thump- 
ing on  the  table  with  her  ringless 
hands.  Then  it  was  evident  that, 
somehow,  Malcolm  contrived  to 
dominate  her.  He  was  looking 
straight  into  her  eyes  and  speaking 
emphatically,  though  slowly,  in  a  very 
low  tone.  Madeleine  wondered  what 
he  was  saying!  But,  whatever  it 
was,  it  seemed  to  have  a  powerful 
effect  upon  Lady  Gates.  She  began 
suddenly  to  cry,  and  to  feel  with 
trembling  fingers  in  her  gold-mesh 
bag,  apparently  for  a  handkerchief. 
She  turned  deadly  pale  under  her 
rouge  and  looked  ghastly.  Leaning 
back,  she  said  or  gasped  something 
to  Malcolm  in  an  imploring  rather 
than  an  angry  tone.  He  opened  her 
bag,  found  the  handkerchief  and 
passed  it  to  her.  Then  he  slipped 
the  sheet  of  blue-gray  paper  into  an 
inside  pocket  of  his  dinner  jacket, 
and,  to  Madeleine's  surprise,  pro- 
duced from  somewhere  a  silver  flask. 
Malcolm  Allen,  who  drank  so  little, 
and  in  all  the  weeks  she'd  known  him 
had  never  been  seen  to  bring  a  flask 
into  the  restaurant ! 

However,  apparently  he  had  one 
with  him  to-night — rather  provi- 
dentially, it  seemed ! 

There  was  also  a  tiny  vial  which 
had  come,  whence  Madeleine  didn't 
know,  though  she  thought  that  she 
had  missed  very  few  happenings  at 
that  table.  It  was  one  of  those 
miniature  bottles  which  homeopathic 
doctors  use.  Malcolm  hastily  extri- 
cated something  small,  almost  invis- 
ible, from  it,  dropped  the  little  ob- 
ject into  a  tumbler  half  full  of  water, 
and  then  poured  in  some  of  his  silver 
flask's  contents,  enough  to  turn  the 
water  in  the  glass  to  a  golden  yellow. 
He  pushed  this  to  his  aunt,  and  she 
drank  it  eagerly. 

"Go  now.  I  want  to  be  alone," 
Lady  Gates  said  in  a  strained  yet 
audible  voice,  and  Malcolm  rose. 

Madeleine  was  not  thinking  of  the 
tiny  bottle,  though  she  had  been  curi- 
ous about  it  for  an  instant,  wonder- 


ing whence  Malcolm  had  produced  it, 
but  she  had  a  vague  impression  of 
seeing  him  slip  it  into  his  pocket. 
Evidently  he  thought  that  he  had 
mastered  his  aunt's  hysteria  and  that 
she  might  safely  be  left,  for  he  did 
as  she  requested.  He  got  up  and, 
without  another  word  or  glance  at 
her.  turned  his  back  to  the  table. 

He  returned  to  the  Sonnenberg 
party,  but  remained  standing. 

"I  must  beg  you  all  to  excuse  me," 
he  said.  "I  want  to  go  after  that 
fellow  and  have  it  out  with  him  be- 
fore he  gets  here." 

It  wasn't  necessary  to  speak  a 
name.  They  all  knew  who  "that  fel- 
low" was ;  and  certainly  in  this  young 
man's  present  mood,  it  would  be  bet- 
ter that  the  two  should  meet  outside 
Montparnasse  rather  than  in. 

"Don't  beat  up  Lopez  till  the  pic- 
ture is  finished !"  warned  Sonnen- 
berg. 

"That's  right,  my  boy,"  added 
Landis.  "We  can't  spare  Lopez  yet. 
We've  shot  thousands  of  feet  of  him. 
Don't  you  do  any  shooting  till  ours 
is  over." 

"Do— do  be  careful,  Malcolm!" 
Madeleine  pleaded  gently,  while 
Pauline's  immense  eyes  flashed  with 
excitement  as  if  in  her  heart  she 
hoped  that  something — almost  any- 
thing— might  happen. 

"Please  don't  any  of  you  worry," 
Malcolm  reassured  them.  "I  don't 
intend  to  forget  myself.  Good 
night." 

With  one  glance  at  Madeleine  that 
said  she  knew  not  what,  Allen  went 
out,  not  noticing  Pierre  as  he  passed 
through  the  door.  He  had  still  to 
pick  up  his  hat  and  coat,  but  nothing 
was  heard  outside,  and  it  could  be 
taken  for  granted  that  Lopez  had 
not  appeared  before  the  man  who 
sought  him  had  got  into  the  street. 

Madeleine,  arid  perhaps  others, 
now  had  time  to  glance  at  Lady 
Gates  again.  She  was  leaning  limply 
against  the  high  back  of  her  Span- 
ish chair,  her  eyes  half  closed,  her 
lips  slightly  apart.  One  hand  still 
clasped  the  tumbler  from  which  she 
had  drained  every  drop  of  the  golden 
fluid. 

"What  could  he  have  said  to  her  ?" 
Madeleine  wondered.  Whatever  it 
was,  it  had  been  very  effective. 

"The  old  dame  looks  sick,"  said 
Sonnenberg. 

"She  deserves  to  be  sick,"  said 
Pauline. 

"Hell's  bells !"  Landis  made  use  in 
a  whisper  of  a  favorite  expression  of 
his.    "Now  for  ructions — maybe!" 

He  was  looking  not  at  the  princi- 
pal entrance  of  the  restaurant,  but  at 
a  door  in  the  distance,  partly  covered 
by  a  tall  screen.    It  was  there  that 

Continued  on  page  94 


93 

Tke  Eyes  of  trie  Maskers 

Make  it  comparatively  easy  to  identify  the  countenances  of  the  favorites 

masked  below. 


Audrey  Ferris,  above,  might 
a?  well  not  be  wearing  a  mask 
for  all  the  disguise  it  pro- 
vides. 

Neil  Hamilton,  below,  might  t 
possibly  be  mistaken  for  Clive  li 
Brook,    if   you   use   a  little 
imagination. 


Tim  McCoy's   mask,  above,  certainly 
doesn't  make   him  look   like   a  bold 
bandit. 

We  wonder  if  Dorothy  Sebastian,  left, 

is  laughing  at  us. 
Any  one  who  can  make  a  mask  that 
will  disguise  Olga  Baclanova,  below, 

will  be  a  genius. 


94  A 

Continued  from  page  92 
the  musicians  came  and  went ;  and 
now    from    behind    the  embossed- 
leather  screen  issued  the  immaculately 
dressed  form  of  Marco  Lopez. 

He  glanced  at  the  couples  dancing, 
and  saw  that  his  understudy,  who 
continued  his  afternoon  work  into 
the  early  evening  if  desired,  was  on 
duty.  He  then  went  straight  to  Lady 
Gates'  table  with  a  hurried,  apolo- 
getic air,  as  if  ready  to  excuse  him- 
self for  having  kept  her  waiting.  But 
her  head  was  bent  down,  and  she  did 
not  raise  her  eyes  as  he  bent  over 
her.  He  murmured  something, 
paused,  stared,  touched  the  hand  that 
loosely  held  the  empty  tumbler,  then 
started  stiffly  upright. 

"Dios!"  he  exclaimed,  turning  with 
a  frightened  roll  of  the  eyes  to  stare 
wildly  about  him  as  if  for  help. 

Almost  instantly  Pierre  was  at  his 
side. 

"What  is  it,  Lopez?"  he  asked  in 
a  soothing  tone.  "Is  Lady  Gates  ill? 
Has  she  fainted?" 

"Yes,  yes,  that  must  be  it.  She 
has  fainted,"  echoed  Lopez. 

"Have  you  your  car  outside?" 
asked  Pierre. 

"Yes.  It  is  a  small  car,  as  you 
know,"  stammered  Lopez.  "Do  you 
think  " 

"I  think  her  ladyship  had  better  be 
got  away  as  soon  as  possible,"  Pierre 
advised,  seeing  that  Allen  had  re- 
turned. 

Malcolm  came  quickly  over  and 
joined  the  two  men  as  they  talked. 

"I  see  that  my  aunt  has  fainted," 
he  said.  "She  was  very  excited  a 
few  minutes  ago.  I  have  my  motor 
outside  and  I  prefer  to  use  it  rather 
than  she  should  be  put  into  Mr.  Lo- 
pez' car." 

"Lady  Gates  is  my  promised  wife," 
broke  in  Lopez.  "I  have  the  right 
to  " 

"No  right  whatever."  Malcolm 
shouldered  Lopez  aside  and  picked 
up  Lady  Gates  in  his  arms.  It  was 
lucky  for  him  that  she  had  lost  at 
least  forty  pounds  in  the  last  few 
weeks,  or  she  would  have  been  an 
awkward  burden.  As  Allen  carried 
her  out  of  the  restaurant,  followed  by 
an  assiduous  waiter  ready  to  help, 
there  was  something  grotesque  about 
the  dangling  figure  in  the  peach- 
bloom  gown.  It  looked,  with  head 
and  arms  flopping  over  Malcolm's 
shoulder,  and  pink-silk  legs  hanging 
straight  down,  like  a  huge  doll. 

"Good  heavens !  I  suppose  the 
woman  can't  be  dead?"  breathed 
Pauline  Fordham. 

CHAPTER  XX. 

CIRCUMSTANTIAL  EVIDENCE. 

Marco  Lopez  had  rushed  down 
after  the  little  procession,  protesting 
violently  in  a  wild  mixture  of  Eng- 


Girl  Comes  to  Hollywood 


lish  and  Spanish.  Allen  paid  no 
more  attention  to  him  than  if  he  had 
been  a  dog  yapping  at  his  heels ;  but, 
reaching  the  street  where  the  door- 
man stood  aghast,  Malcolm  saw  that 
Pierre  had  unobtrusively  descended. 

"Monsieur  Allen,"  said  the  pro- 
prietor of  Montparnasse,  "may  I  of- 
fer a  word  of  advice?  Do  you  not 
think  it  best  to  take  her  ladyship  to 
the  private  hospital  which  is  close  by, 
rather  than  drive  her  in  the  state  she 
is,  to  her  hotel?  I  have  seen  many 
people  faint,  and  I  do  not  like  her 
ladyship's  looks  at  all.  I  feel  sure  a 
doctor  should  examine  her  at  once." 

"Perhaps  you  are  right.  I  will  take 
her  to  the  sanitarium,"  said  Malcolm. 
"Could  you  come  along,  Pierre,  and 
hold  her  on  to  the  seat?  I  have  no 
chauffeur  now.    I'm  driving  myself." 

"I  intend  to  come  and  hold  Lady 
Gates,"  announced  Lopez.  "If  I  can- 
not have  her  in  my  car,  I  will  go 
with  her  in  yours." 

"Not  if  I  know  it,"  said  Malcolm. 
"What  about  it,  Pierre?" 

"I  regret  I  cannot  possibly  go," 
the  Frenchman  explained.  "I  must 
return  and  see  that  all  is  well  with 
my  patrons  after  this  unpleasant 
scene.  I — but  see,  here  is  Mees 
Smith.    She  will  help  you." 

"I've  come  for  that.  I  made  my 
friends  let  me  come,"  Madeleine  said. 

Assisted  by  the  waiter  who  had 
looked  after  Lady  Gates  since  she 
became  a  patron  of  Montparnasse, 
the  limp  form  was  got  into  Malcolm's 
car,  Madeleine  holding  the  head  and 
shoulders. 

Even  when  Malcolm  was  in  the 
driver's  seat,  ready  to  start,  Lopez 
would  have  opened  the  door  of  the 
Rolls-Royce  and  jumped  in,  but,  with 
a  ferocious  "Keep  off,  you  dog !" 
Allen  wheeled  his  car  out  by  a  quick 
turn. 

Lopez  had  to  spring  back  to  save 
himself  from  a  fall,  but  he  flung  up 
his  arms,  swearing  strange  oaths. 

"You  will  repent  this,  my  fine  sir !" 
he  yelled  after  the  vanishing  car. 
Then,  with  a  final  shake  of  his  fist, 
he  dashed  to  his  own  car  which  was 
parked  near  by,  and  followed  the 
Rolls. 

"Matron,"  as  every  one  called  the 
youngish  but  stately  woman  who  di- 
rected the  sanitarium,  ushered  in 
Doctor  Nelson  whom  she  had  re- 
ceived downstairs.  A  nurse,  left  in 
charge  by  her  at  the  bedside,  moved 
aside  in  respectful  silence. 

"She  is  dead  !"  pronounced  the  doc- 
tor decisively,  after  a  moment's  ex- 
amination. "She  must  have  been 
dead  at  least  half  an  hour." 

"I  feared  it."  murmured  the  ma- 
tron.   "Heart  failure!" 

"Heart  failure,  yes,"  repeated  Doc- 


"You  are  making  a 


tor  Nelson.  "But  what  caused  heart 
failure— that's  the  question?  Her 
appearance  is  peculiar — and  I'm 
afraid  this  will  turn  out  to  be  a  pe- 
culiar case.  I  believe,  Mr.  Allen — I 
know  you  very  well  by  sight — that 
this  lady  was  a  relative  of  yours?" 

"She  is — she  was — my  aunt,"  Mal- 
colm answered.  "I  was  talking  with 
her  at  her  table,  at  Montparnasse,  not 
much  more  than  half  an  hour  ago. 
She  seemed  perfectly  well  then — ex- 
cept that  she  was  upset  and  an- 
noyed." 

"Doctor !"  broke  in  Marco  Lopez. 
"Don't  listen  to  anything  this  man 
may  say.  In  my  opinion  he  is  a  mur- 
derer !  It  will  be  proved  that  he 
killed  Lady  Gates." 

"Take     care!"     Doctor  Nelson 
warned  him 
terrible  accusation 

"It  is  the  truth,"  repeated  Lopez. 
"I  accuse  Malcolm  Allen  of  the  mur- 
der of  his  aunt.  She  loved  me.  We 
were  to  marry.  He  killed  her,  be- 
cause he  knew  she  was  going  to 
change  her  will.  But  murderers  are 
barred  from  inheriting.    He  " 

"You  really  must  be  silent,"  the 
doctor  ordered.  "This  is  no  place 
for  such  accusations.  If  you  intend 
to  make  them,  go  to  the  police." 

"The  man  is  either  mad  or  a 
devil !"  said  Malcolm.  "It's  not  only 
damnable,  it's  absurd  to  say  I  killed 
my  aunt !  I  couldn't  have  done  it 
if  I'd  wished  to !  Why,  every  one  in 
the  restaurant  saw  us  talking  together 
at  her  table.    I  didn't  touch  her." 

Madeleine  Standi  sh  did  not  speak, 
but  her  body  was  chilled  as  if  by  an 
icy  wind,  as  mentally  she  recon- 
structed the  scene  at  Montparnasse. 
Malcolm  had  come  to  Sonnenberg's 
table  by  invitation.  Then  Lady  Gates 
had  furiously  beckoned.  His  last 
words  as  he  went  to  her  had  been 
that  his  aunt  would  be  "better  off 
dead"  than  married  to  Marco  Lopez. 

If  it  should  be  discovered  that 
Lady  Gates  had  died  of  poison — 
Madeleine  prayed  this  might  not  hap- 
pen— there  would  be  strong  circum- 
stantial evidence  against  her  nephew. 
The  girl  hoped  to  heaven  that  she 
alone  had  seen  the  little  tabloid  pro- 
duced from  the  vial  and  dropped  into 
the  glass.  Nothing  on  earth  would 
ever  make  her  bear  witness  against 
Malcolm ! 

For  a  moment,  the  nurse  left  in 
charge  by  the  matron  and  super- 
ceded on  the  latter's  return,  listened 
to  the  strange  conversation.  Then, 
unnoticed,  her  existence  forgotten  by 
all  in  the  room,  she  slipped  out.  Her 
mind  was  made  up  what  to  do. 

Her  name  was  Maggie  Turner. 
She  was  young,  not  yet  twenty-four, 
but  she  was  already  disgusted  with 
Continued  on  page  110 


95 


Freckle  L 


ore 


Proving  that  popularity  is  not  always  based  on  "a  skin 
you  love  to  touch." 


Junior    Coghlan,  left, 
doesn't    give    a  hang 
whether  he  has  freckles 
or  not. 


Mary  Ann  Jackson, 
right,  is  already  fear- 
ful of  the  day  when 
freckles  and  wrinkles 
may  mar  her  screen 
beauty. 


Doris  Hill,  left,  has  a 
profusion  of  freckles 
on  her   pretty  coun- 
tenance. 


Harry  Speer,  below,  is 
a    rough  -  and  -  read}', 
befreckled  member  of 
"Our  Gang." 


Freckles  are  not  confined  to 
children  and  young  girls,  as 
is  evidenced  by  this  regular 
he-man  picture  of  George 
Bancroft,  left. 


96 

Continued  from  page  21 

It  was  the  lead  opposite  Lige  Con- 
ley,  and  her  first  work  before  the 
camera.  Since  that  time  she  has  been 
under  contract  to  Educational,  the 
fair-haired  baby  of  the  lot. 

But  although  she  did  not  have  to 
work  to  get  the  contract,  she  has 
worked  afterward.  Docilely,  this 
gentle  youngster  with  the  Southern 
drawl  has  fallen  down  wells,  and 
into  barrels  of  flour  and  off  runaway 
automobiles.  She  has  sat  on  cakes 
and  pies,  she  has  had  soot  thrown  at 
her,  been  drenched  by  fire  hose,  and 
chased  by  ferocious  animals.  She  has 
worked  with  dogs  and,  just  as  pla- 
cidly, with  leopards  and  tigers.  And 
she  has  taken  bumps  and  flops  and 
falls  of  every  known  genre. 

The  science  of  the  bumps  was 
taught  her  by  Charles  Lamont,  the 
young  director  who  is  now  her  hus- 
band. Lamont,  during  his  boyhood 
in  Europe,  was  a  circus  performer, 
and  the  lore  of  his  early  training  in 
the  ring  has  saved  Estelle  many  an 
unnecessary  bruise  or  sprain. 
Through  him,  she  knows  how  to  fall 
loosely,  how  to  break  certain  bumps 
with  the  hands,  at  exactly  what  mo- 
ment to  relax  or  brace.  She  is  an 
artist  of  the  bumps,  par  excellence. 

A  few  months  after  she  began 
work  for  Educational,  she  was  as- 
signed to  a  picture  under  Lamont, 
with  whom  she  had  hitherto  only  a 
casual  acquaintance.  In  a  few  days 
they  were  slipping  off  to  lunch  to- 
gether. Two  weeks  later  they  were 
engaged.  Three  weeks  after  -that 
they  were  married,  and  took  a  beau- 
tiful Spanish  home  in  the  foothills, 
over  which  the  youthful  Estelle  pre- 
sides with  competence  surprising  in  a 
comedy  confection. 

Anita  Garvin,  Estelle's  friend  and 
confrere,  is  her  pictorial  opposite. 
Anita  is  statuesque.  Her  beauty  is 
vital  and  commanding.  Her  slickly 
cropped  hair  is  blue-black,  and  sweep- 
ing black  lashes  fringe  her  large,  gray 
eyes.  She  has  clear,  pale-olive  skin 
and  sophisticated  piquancy  in  the 
slight  retrousse  of  her  nose  and  the 
full  curves  of  her  mouth.  She  is  es- 
sentially provocative — the  come- 
hither  lady  for  the  susceptible  com- 
edy-hero. Being  tall,  she  is  in  great 
demand  as  the  opposite  for  comedi- 
ans of  small  stature.  Generally  she 
wears  the  slinky  satins  of  the  bur- 
lesque vamp,  and  comes  to  an  igno- 
minious fate. 

Born  in  New  York,  of  Irish- 
American  parents,  she  was  screen 
and  stage-struck  from  her  kindergar- 
ten days.  When  she  was  twelve  years 
old,  while  attending  the  Holy  Cross 
Academy,  she  secretly  ventured  out 
into  the  grease-paint  realm.  Un- 
known to  any  one,  she  raided  her 
sister's  wardrobe  and  dressed  up  in 


Beauty  Takes  the  Bumps! 

dead  earnest.  Her  long  hair  hung 
in  curls,  which  she  did  up  in  elab- 
orate imitation  of  her  sister's  coif- 
fure. Being  of  the  type  which  had 
developed,  at  twelve,  into  almost  the 
duplicate  of  its  appearance  at  twenty, 
she  could  pass,  casually,  for  seven- 
teen, which  was  the  age  she  decided 
upon. 

Teetering  uncertainly  on  her  sis- 
ter's high  heels,  she  visited  the  office 
of  a  theatrical  agent  of  whom  she 
had  heard.  Arriving  at  nine  in  the 
morning,  she  waited  Spartan  until 
twelve  thirty.  The  agent  was  in  des- 
perate search  of  one  more  girl  for 
the  "personal  appearance"  of  Sennett 
bathing  beauties  in  conjunction  with 
the  showing  of  "Yankee  Doodle  in 
Berlin."  He  finally  received  Anita 
and  opened  the  interview  by  asking 
what  her  previous  experience  had 
been.  The  only  name  Anita  could 
conjure  out  of  her  nervousness  was 
the  "Follies."  Whether  he  believed 
her  or  not,  the  agent  hired  her  and 
she  went  to  work  that  afternoon, 
without  rehearsal.  On  her  way  to 
the  theater  she  stopped  a  stranger  on 
the  street  and  asked  her  the  name  of 
the  stuff  she  used  on  her  eyelashes. 
Purchasing  mascara,  powder  and 
rouge,  she  hurried  to  the  theater  and 
excitedly  applied  a  rather  inaccurate 
make-up.  Ten  minutes  before  the 
curtain  went  up,  the  irate  stage  man- 
ager had  some  one  ruthlessly  scrub 
her  face  and  make  it  up  properly. 
That  done,  he  ordered  her  to  let  her 
hair  down  and,  trying  to  keep  back 
the  tears  threatening  her  mascara, 
she  had  to  sacrifice  the  intricate, 
grown-up  coiffure  by  which  she  set 
such  store. 

From  this  engagement  she  pro- 
gressed to  bona-fide  shows.  She  ap- 
peared in  "Sally,"  "Irene,"  the  "Fol- 
lies," and  at  the  Winter  Garden.  At 
one  time  she  modeled  during  the  day, 
worked  in  "Sally"  during  the  eve- 
ning, and  then  did  a  midnight  show. 

During  all  this  time,  she  had  the 
movie  bug  in  a  bad  way.  In  her 
spare  moments,  she  haunted  the  stu- 
dios— to  no  avail.  It  was  the  era  of 
the  petite  type,  and  no  one  had  a  job 
for  this  tall  kid  who  persistently 
begged  for  one.  Heartlessly  they  told 
her  to  go  home  and  study  her  al- 
gebra. 

But  Anita  was  not  to  be  dissuaded. 
In  the  road  company  of  "Sally"  she 
reached  San  Francisco.  There,  with 
thirty-five  dollars  saved  out  of  her 
salary,  she  left  the  show  and  came 
down  to  Hollywood.  And  at  last  the 
movies  were  willing  to  receive  her. 
She  got  extra  work  at  Christie's  and 
the  first  day  on  the  set,  Al  Christie 
selected  her  from  two  hundred  ex- 
tras to  do  a  bit.  It  was  a  Bobby 
Vernon  comedy,  and  the  bit  was  to 


slip  on  a  piece  of  butter,  and,  with 
feet  skidding  upward,  sit  down  heav- 
ily. That  was  Anita's  first  bump, 
and  her  entrance  into  pictures. 

She  was  put  in  stock  at  Christie's, 
later  leaving  to  play  opposite  Lupino 
Lane  at  Educational.  After  several 
Educational  pictures,  she  went  to  Hal 
Roach's  for  a  brief  period,  but  Edu- 
cational recalled  her  at  exactly  four 
times  her  former  salary.  She  alter- 
nates between  Roach's  and  Educa- 
tional, preferring  free-lancing  to  a 
contract.  A  pie  is  a  pie  to  Anita.  No 
matter  what  the  studio,  she  gets  it  in 
the  face  anyway.  And  all  studio 
floors  are  of  equal  hardness  to  the 
bump  expert. 

Anita  has  run  the  gamut  of  violent 
gags,  even  to  having  "breakaway" 
furniture  crashed  over  her  head.  A 
few  of  her  bumps  have  given  her  va- 
cations in  the  hospital.  But  she  does 
get  the  laughs.  Instinctively  a  co- 
medienne, she  invents  little  bits  of 
business  of  her  own. 

Lately,  she  has  appeared  in  two  or 
three  Fox  features,  and  in  one  Madge 
Bellamy  picture  attracted  the  notice 
of  the  critics. 

Only  twenty-one  now,  she  has  been 
married  nearly  three  years  to  Clem- 
ent Beauchamp,  the  Jerry  Drew  of 
Educational  comedies.  And,  despite 
the  old  apprehension  about  two  come- 
dians in  one  family,  they  are  still  ro- 
mantically in  love. 

Like  the  vaudevillians  who  dream 
of  crashing  a  Broadway  production, 
the  two-reel  players  hanker  after  fea- 
tures. Both  Anita  and  Estelle  have 
the  six-reel  yen.  Despite  the  hilari- 
ous fun  they  have  making  comedies, 
the  urge  for  the  more  polke  medium 
is  beginning  to  make  them  restless. 
They  have  gained  invaluable  techni- 
cal knowledge  from  their  comedy 
training.  Now  they  would  like  to 
take  a  step  ahead.  Anita  would  like, 
in  some  Utopian  future,  to  do  the 
sort  of  thing  Pauline  Frederick  did. 
Estelle,  on  the  other  hand,  wants  hu- 
man roles  in  light  comedy. 

The  comedy  field  has  produced 
many  of  our  most  famous  players. 
It  is  a  proficient  school  and  its  top 
scholars  command  attention.  If  only 
for  this  reason,  make  a  note  of  the 
impending  graduation  of  Estelle 
Bradley,  Anita  Garvin,  and  Frances 
Lee. 

Graduate  they  surely  will,  for  girls 
who  are  both  beautiful  and  talented 
neither  round  out  their  careers  in 
comedy,  nor  leave  the  screen  alto- 
gether. The  experience  gained  is 
too  valuable  to  expend  on  two-reelers 
forever,  and  how  many  girls  forsake 
the  screen  to  marry  Pittsburgh  mil- 
lionaires, as  may  be  said  of  their  sis- 
ters in  the  "Follies"? 


97 


It's  Bonnet  Time  in  Hollywood 

The  quintet  below  don  old-fashioned  bonnets,  just  by  way  of  contrast  to 
the  smart,  modern  things  they  visually  wear. 


Nancy  Carroll,  below,  is  a  good  rea- 
son why  young  men  go  to  the  coun- 
try. 


Mary  Brian,  left,  is, 
of  course,  an  old-fash- 
ioned girl,  but  the 
old-time  bonnet  makes 
her  look  more  so. 


The  bonnet  may  be 
old-fashioned,  but  that 
doesn't  prevent  Mar- 
jorie  Beebe,  right, 
from  having  a  lot  of 
fun  in  "The  Farmer's 
Daughter." 


Now  Louise  Brooks,  below,  can't  tell 
us  that  a  bonnet  can  make  her  seri- 
ous and  demure. 


Corinne  Griffith,  above,  is  wearing 
what  might  be  called  a  bonnet  de 
luxe — not  for  use  on  the  farm,  but 
for  Emma  Hamilton,  in  "The  Divine 
Lady." 


98 

Continued  from  page  73 
left  to  the  imagination.  A  long  sub' 
title  interrupts  to  explain  a  crisis  in 
the  lives  of  the  characters.  Briefly, 
the  story  concerns  four  brothers  of 
a  family  that  has  gone  from  bad  to 
worse,  the  boys  eking  out  a  precari- 
ous living  as  oystermen  on  the  shores 
of  Maryland,  with  Mulligan  doing 
most  of  the  work  and  keeping  the 
home  fires  burning  besides.  Taunted 
by  rich  Anna  Lee  for  the  shiftless- 
ness  of  his  clan.  Mulligan  beats  his 
brothers  into  going  to  college.  To 
finance  their  education  he  becomes  a 
sort  of  a  pirate.  Ultimately  appre- 
hended and  brought  to  trial,  he  is 
about  to  be  convicted,  when  his 
brothers  turn  up  as  typical  collegians 
and  save  the  day.  There's  a  lot  more 
to  it  than  this,  what  with  a  "dream 
ship"  which  Mulligan  builds  for  him- 
self and  Anna  Lee,  and  which  he  gal- 
lantly sells  to  repay  the  money  he 
has  stolen.  It  is  all  pretty  senti- 
mental, at  times  ridiculous,  and  the 
acting  is  undistinguished,  though  the 
scenery  is  beautiful.  At  any  rate,  as 
this  is  happily  a  soundless  film,  it  is 
a  relief  not  to  hear  the  screams  of 
the  oysters  being  dragged  from  their 
beds  in  the  Chesapeake.  Gary 
Cooper,  Fay  Wray,  Leslie  Fenton, 
Lane  Chandler,  and  Paul  Fix — poor 
dears  all. 

Lords  and  Ladies  at  Leisure. 

Names  such  as  Lady  Diana,  Lord 
Brancaster,  Greville  Sartoris,  and 
Iris  d'Aquila  could  not  be  found' out- 
side a  society  melodrama.  That  is 
exactly  where  they  are  in  "The 
Whip,"  which  deals  with  the  smart 
English  hunting  and  racing"  set.  We 
have  them  to  thank  for  beautiful 
views  of  the  English  countryside,  the 
glamour  of  a  spectacular  hunt  ball,  a 
race  course,  a  fox  chase  and  a  wreck. 
We  have  also  to  blame  them  for  a 
hoary  story  having  to  do  with  a 
forged  marriage  certificate,  the  hero's 
amnesia  and  much  else  of  a  familiar 
nature.  Lord  Brancaster,  you  see, 
cannot  remember  ever  having  known 
Iris  d'Aquila  after  his  accident,  so 
that  when  she  announces  herself  as 
his  wife  before  all  the  titles  swinging 
to  the  gay  measures  of  the  dance, 
there  is  considerable  perturbation  on 
!  the  part  of  Brancaster,  and  even 
i  more  in  the  heart  of  Lady  Diana, 
'■  who  is  in  love  with  him.  The  machi- 
nations of  Greville  Sartoris  are 
largely  responsible  for  this  contre- 
temps, as  they  are  for  the  wreck  that 
nearly  costs  the  life  of  The  Whip,  the 
horse  which  wins  the  big  race.  Ralph 
Forbes,  Dorothy  Mackaill,  Anna  Q. 
Nilsson,  Lowell  Sherman,  and  Marc 
McDermott  are  highly  effective,  and 
if  amnesia  must  be  portrayed  on  the 
screen  I  can  recall  no  one  who  does 
it  better  than  Mr.  Forbes. 


The  Screen  in  Review 

A  Laughing  Fagin. 

"The  River  Pirate"  offers  Victor 
McLaglen  a  role  such  as  he  plays 
supremely  well — Sailor  Frink,  who 
robs  warehouses  along  the  water- 
front, to  the  accompaniment  of  hu- 
mor and  muscular  prowess.  Sandy, 
a  youth  in  a  reformatory,  enlists  his 
sympathy  while  Sailor  Frink  is  em- 
ployed to  instruct  the  inmates  in  the 
intricacies  of  sailors'  knots,  et  cetera. 
Aiding  Sandy  to  escape,  Sailor  Frink 
proceeds  forthwith  to  teach  the  boy 
the  technique  of  river  thievery,  dur- 
ing which  there  is  much  excitement, 
narrow  escapes  from  the  law,  gun 
play,  and  no  absence  of  humor.  In- 
evitably Sandy  decides  that  he  cannot 
follow  the  profession  of  Sailor  Frink 
and  respond  to  the  influence  of  a 
good  woman  at  the  same  time ;  so  he 
decides  in  favor  of  the  good  woman, 
and  Sailor  Frink  relinquishes  his 
protege  to  a  life  of  reformation. 

The  picture  is  vigorously  effective 
and  is  prescribed  for  those  who  have 
perhaps  not  seen  too  many  under- 
world films.  Nick  Stuart,  Lois 
Moran,  Earle  Fox,  and  Donald  Crisp 
deliver  attractively. 

Badinage. 

"Oh  Kay,"  Colleen  Moore's  latest, 
is  true  to  its  musical-comedy  inspira- 
tion. It  is  light,  inconsequential  and 
just  original  enough  for  you  to  be 
able  to  say  you  have  not  seen  the  ex- 
act picture  before.  And  it  is  mildly 
amusing,  its  best  feature  being  the 
masquerade  of  the  high-born  Lady 
Kay  as  a  housemaid.  In  this  se- 
quence Miss  Moore  proves  her  mas- 
tery of  burlesque,  and  of  its  kind  it  is 
among  the  best  acting'  she  has  ever 
done.  To  bring  this  opportunity 
about,  Lady  Kay,  in  order  to  escape 
an  unwelcome  marriage  in  England, 
romps  away  in  a  sailboat  until,  over- 
taken by  a  storm,  she  is  picked  up 
by  rum  runners.  They  anchor  off 
the  coast  of  Long  Island  and  pres- 
ently Lady  Kay  is  in  the  home  of 
Jimmy  Winter,  who  is  to  be  married 
next  day  to  a  debutante,  and  whose 
premises  are  invaded  by  revenue  offi- 
cers in  search  of  liquor  stored  there. 
In  this  crisis  Lady  Kay  pretends  to 
be  Jimmy's  wife,  with  what  the  story- 
tellers call  complications.  It  occa- 
sions no  surprise,  then,  when  Lady 
Kay  triumphs  over  the  snobbish 
fiancee  and  shares  the  final  scene  in- 
terlocked with  Jimmy  in  a  floral 
bower.  Life  is  like  that  in  musical 
comedy.  The  cast  is  quite  distin- 
guished, including  Lawrence  Gray, 
Alan  Hale,  Ford  Sterling,  Claude 
Gillingwater,  Julanne  Johnston, 
Claude  King,  and  Edgar  Norton. 

The  Peril  of  Patriotism. 

Rudolph  Schildkraut  gives  a  mas- 


terly portrayal  of  an  immigrant  in  "A 
Ship  Comes  In."  In  all  fairness,  that 
is  the  most  that  can  be  said  of  the 
picture,  and  this  is  with  no  desire  to 
slight  the  efforts  of  Louise  Dresser, 
Robert  Edeson,  and  Milton  Holmes. 
But  it  is  a  slow  exhibit,  with  little 
plot  and  originality.  It  is  the  sort  of 
picture  one  thinks  should  be  notable, 
but  isn't.  So  one  is  inclined  to  evade 
a  straightforward  verdict  by  saying 
that  it  will  probably  be  liked  by  the 
foreign  element,  because  the  humble 
hero  is  from  Central  Europe.  Peter 
Plctanik's  eagerness  to  become  an 
American  citizen  is  responsible  for 
his  troubles.  He  gives  to  the  magis- 
trate from  whom  he  receives  his  nat- 
uralization papers,  a  cake  his  wife 
has  baked.  But  an  anarchist  has  sub- 
stituted a  bomb,  and  the  conse- 
quences of  the  explosion  sent  Peter 
to  jail  and  bring  woe  to  his  family. 
However,  the  conscience  of  the  an- 
archist works  as  effectually  as  his 
bomb,  and  hence  a  happy  ending  for 
Peter  and  his  family.  It  is  worth 
seeing  for  the  sake  of  Rudolph 
Schildkraut.  That  is,  if  fine  acting 
alone  satisfies  you. 

Fair  to  Middling. 

Far  from  pleasant  is  my  duty  to 
say  that  Esther  Ralston,  one  of  my 
divinities,  is  not  at  her  best  in  "The 
Sawdust  Paradise."  It  is  suspected 
that  the  picture  would  have  been  the 
least  of  its  kind  no  matter  who  had 
played  Glory,  the  girl  of  the  carni- 
val show  who  is  converted  by  a 
preacher,  for  it  is  a  dull  film.  It 
starts  with  the  show  and  revival 
meeting  as  competing  small-town  at- 
tractions, with  the  former  outstrip- 
ping the  latter  in  popularity.  Where- 
upon Isaiah,  the  evangelist,  investi- 
gates and  has  Glory  arrested  for 
cheating"  at  a  game  of  chance,  despite 
the  protests  of  her  sweetheart 
"Butch."  Sentenced  to  ninety  days, 
she  is  paroled  on  the  strength  of 
Isaiah's  belief  in  her,  and  is  placed 
in  his  custody.  Whereupon,  during 
the  efforts  of  Glory  to  inject  "show- 
manship" into  Isaiah's  psalm  sing- 
ing, a  dying  mother  bestows  her  baby 
upon  the  girl  in  the  best  maudlin 
manner,  and  the  baby,  if  you'll  be- 
lieve it,  runs  away  with  the  picture 
by  giving  the  best  performance  of 
the  lot!  Of  course,  when  Butch 
comes  for  Glory  to  take  her  back  to 
the  old  life,  the  former  carnival  girl 
is  aware  of  the  error  of  her  ways. 
Besides,  she  wants  to  give  baby  the 
right  start  in  life.  It  ends  with 
everybody  making  a  fresh  start, 
though  it  will  take  Miss  Ralston,  Ho- 
bart  Bosworth,  who  plays  the  preach- 
er, Mary  Alden,  as  the  expiring 
mother,  and  the  others  some  time 

Continued  on  page  118 


99 


Evolution  of  the  Brush 

Sometimes  beards  and  mustaches  are  necessary  to  absorb  the 
surplus  sex-appeal  voltage,  but  you  can  draw  your  own  con- 
clusions about  the  faces  pictured  below. 


Bill  Irving,  left, 
glories  in  the  over- 
sized  mustache^ 
which  character- 
ized the  melodra- 
matic sheriff  a  few- 
years  past. 


Neal    Burns,    right,    demonstrates  the 
latest  for  the  cake-eating  sheik. 

Eddie  Baker,  below,  has  the  "tickle  mus- 
tache"   -which    always    wiggles  when 
something  exciting  happens. 


Jack  Duffy,  above,  has  what 
is  called  "the  full  spinach." 


Bobby  Vernon,  lower  center, 
adopts  the  "old  walrus,"  im- 
mortalized by  Ford  Sterling 
and  Chester  Conklin. 


Billy  Dooley,  below,  has  a 
"full  muff,"  which  will  be  very 
useful  to  him  in  his  work  for 
sound  pictures,  serving  to 
deaden  all  extraneous  noise. 


100 

Continued  from  page  53 
to  go  with  their  bows  to  the  audience, 
which   applauded   them   at   the  air 
field. 

It  is  said  that  one  of  the  girls  who 
did  go  in  the  plane  with  Goebel  in- 
sisted, after  the  ship  soared  skyward, 
on  indicating  her  joy  by  throwing  her 
arms  around  his  neck  and  kissing 
him. 

Now,  we  believe  in  the  theory  that 
altitude  affects  people's  hearts ! 

Among  those  taking  part  in  the 
aerial  style  show  were  Alice  Calhoun, 
Belle  Bennett,  Priscilla  Dean,  June 
(Marlowe,  Marian  Nixon,  Ann  Rork, 
Marguerite  de  la  Motte,  and  Natalie 
Kingston. 

The  ships  in  which  they  rode 
landed  on  the  flying  field,  where  the 
air  meet  was  being  held,  just  about 
the  time  a  group  of  parachute  jump- 
ers were  descending  en  masse.  The 
wind  was  blowing  rather  stiffly,  and 
so  it  was  impossible  to  tell  just  where 
the  parachutes  would  land.  The  girls 
lived  in  momentary  dread  of  nu- 
merous pairs  of  feet  thumping  them 
on  the  head,  in  case  the  breeze  should 
suddenly  happen  to  carry  one  or  more 
of  the  stunt  men  to  the  ground  in 
their  vicinity. 

A  Talkative  Coquette. 

Those  who  resist  the  most,  topple 
the  hardest.  Perhaps  that  isn't  the 
most  elegant  revision  of  an  old  adage, 
but  at  least  it  seems  to  fit  Mary 
Pickford's  plans  to  make  "Coquette," 
as  an  all-sound  feature. 

Mary,  at  first,  didn't  like  the  talkie 
idea  a  bit.  She  averred  that  she 
would  remain  faithful  to  silent  drama. 
However,  so  complete  was  the  re- 
versal in  her  plans,  that  she  is  making 
"Coquette"  as  a  dialogue  film — un- 
less, as  happens  occasionally,  she 
changes  her  mind. 

What  will  "Coquette"  be  like,  after - 
Mary  has  completed  it?  That  is  the 
question  everybody  has  been  asking. 
The  character  she  will  enact,  if  the 
picture  at  all  resembles  the  stage 
play,  will  be  vaguely  naughty.  Some- 
how we  can't  believe  that  Mary  has 
yet  come  to  that  stage  of  her  career 
where  she  will  attempt  outright  so- 
phistication— the  much-advertised  bob 
notwithstanding. 

Glenn  Will  Hoof  It. 

Glenn  Tryon  will  have  his  big 
chance.  He  has  been  chosen  as  the 
hoofer  in  "Broadway,"  from  the 
stage  play  of  New  York  cabaret  life. 
Universal  is  to  make  this  a  grand 
production.  It  will  have  to  be  that, 
because  the  theme  of  "Broadway,"  or 
something  closely  resembling  it,  has 
already  been  used  time  and  again  in 
the  various  underworld  melodramas 
that  have  seen  the  projection  arc's 
light  in  the  last  year  or  two. 


Hollywood  High  Lights 

Seek  Stellar  Assistance. 

Those  who  marveled  over  the  won- 
ders of  "Grass"  and  "Chang,"  the 
two  unusual  scenics  filmed  by  Ernest 
Schoedsack  and  Merian  Cooper,  will 
find  their  newest  picture  departs  con- 
siderably from  the  others,  in  that  it 
has  a  studio  cast,  including  Fay 
Wray,  Richard  Arlen,  Clive  Brook, 
and  Theodor  von  Eltz. 

This  shows  a  changing  tendency. 
The  public  doesn't  pay  enough  money 
to  see  scenics,  without  the  embellish- 
ments of  stellar  names  and  a  story. 
So,  if  you  really  deeply  liked  "Grass" 
and  "Chang"  this  news  may  disap- 
point you. 

The  new  picture  is  called  "The 
Four  Feathers,"  and  the  scenic  views 
were  taken  in  the  Sudan,  in  Africa, 
during  a  long  and  difficult  expedition. 

Quilan's  Family  Numerous. 

The  eleven  Ouillans  will  make 
their  debut  in  "Noisy  Neighbors." 
We're  not  joking. 

Perhaps  you  didn't  know  that  Ed- 
die Quillan,  the  comedian  in  "The 
Godless  Girl,"  had  so  numerous  a 
family,  but  we  hasten  to  reassure  you 
that  they  are  not  his  children,  any- 
way. They  are  his  father  and 
mother,  and  eight  brothers  and  sis- 
ters. Nearly  all  of  them  have  been  in 
vaudeville  at  one  time  or  another. 

Eddie  was  the  funny  boy  of  the 
vaudeville  act,  and  that's  how  Mack 
Sennett,  to  whom  he  was  at  one  time 
under  contract,  originally  discovered 
him.  The  star  of  the  same  act  was 
one  of  his  younger  brothers,  Buster. 
The  other  youngsters'  names  are 
John — who  is  the  only  brother  older 
than  Eddie— Marie,  Josie,  Margaret, 
Helen,  Isabella,  and  Rosebud,  who 
is  still  a  baby. 

Eddie's  father  is  a  Scotchman,  and 
was  a  famous  comedian  in  his  native 
land.  Now,  somebody  come  forth 
with  a  Scotch  joke  about  this  one, 
please ! 

Plenty  to  Fill  It. 

It  was  recently  suggested  that  all 
the  ex-"Follies"  girls  in  the  movies 
should  organize  a  club,  and  hold  a 
convention. 

"If  they  do,"  said  William  Haines, 
on  hearing  this,  "they'd  better  rent 
the  Grand  Canyon,  because  that's  the 
only  place  that  will  be  big  enough  to 
hold  them." 

Jannings  Too  Tearful. 

Some  one  had  better  rehearse  that 
old  song  about  "weep  no  more,  my 
lady,"  and  sing  it  to  Emil  Jan- 
nings. For  the  worthy  Emil,  who 
always  takes  his  art  very  seriously, 
cried  so  hard  in  "Sins  of  the  Fathers" 
that  he  injured  his- sight  temporarily, 
and  had  to  undergo  several  days' 


treatment.  It  was  discovered  that 
one  of  the  causes  of  the  trouble  was 
his  method  of  stimulating  tears,  by 
rubbing  his  eyes  with  his  fists.  It  set 
up  an  irritation  of  the  eyelids.  So 
hereafter,  perhaps,  Emil  may  have 
to  rely  on  the  glycerin  dropper,  but 
not  i  f  he  can  help  it ! 

"Mysterious  Island"  Resurrected. 

"Mysterious  Island,"  after  months 
of  quiescence,  has  bobbed  up  again, 
with  a  cast  including  Lionel  Barry- 
more,  Montague  Love,  Jane  Daly — 
new  name  for  Jacqueline  Gadsdon — 
Lloyd  Hughes,  and  others. 

It  is  being  made  as  a  sort  of  fan- 
tasy, some  huge  submarine  sets  hav- 
ing been  constructed  at  the  Metro- 
Goldwyn  studio  for  the  new  filming. 

"The  Mysterious  Island,"  you  may 
remember,  was  photographed  origi- 
nally in  the  Bahama  Islands,  with 
underseas  cameras.  Much  money 
was  expended  on  the  venture,  which 
ran  into  terrible  weather  and  other 
difficulties.  The  story  is,  of  course, 
a  sequel  to  "Twenty  Thousand 
Leagues  Under  the  Sea."  Some  stu- 
dio wag  recently  nicknamed  it 
"Twenty  Million  Dollars  Under  the 
Water." 

Biilie  in  the  Lead? 

Virtually  a  sworn,  sealed,  and  sig- 
natured statement  was  the  announce- 
ment issued  by  First  National  that 
Biilie  Dove's  fan  mail,  during  a  single 
month,  amounted  to  37,320  letters. 
A  statement  from  the  Burbank,  Cali- 
fornia, post  office,  where  the  stu- 
dio is  situated,  was  authority  for  this, 
which  makes  it  terribly  imposing. 

Clara  Bow  has  been  the  presumed 
leader  in  fan  mail  heretofore,  but  as 
she  claims  only  about  30,000,  it  would 
appear  that  Biilie  has  wrested  the 
leadership  from  her. 

Gong — Round  One  Ended! 

Popular  new  question  in  Holly- 
wood : 

"When  will  Jetta  Goudal  and  Lupe 
Velez  appear  in  another  picture  to- 
gether?" 

They  did  appear  together  in  "The 
Song  of  Love,"  which  D.  W.  Grif- 
fith directed,  but — oh,  well,  read  the 
heading  on  this  item. 

A  Good  Enough  Alibi. 

.  Five  o'clock  tea  is  still  a  regular 
custom  in  the  Douglas  Fairbanks' 
dressing  room.  Doug  took  it  up 
following  his  European  travels,  par- 
ticularly in  Great  Britain. 

"Fifty  million  Englishmen  can't  be 
wrong,  you  know,"  he  said,  in  ex- 
plaining the  "dissipation." 

Continued  on  page  117 


Ic 


101 


e  lourse 


Is   the   advice   which  might 
well  be  administered  to  these 
becostumed  folk. 


Raquel    Torres,    right,    may    be  a 
Mexican    in    her    home    town,  but 
she's   a  native 
islander  in 
"White     Shad-  M 
ows  in  the  South 
Seas." 


Dorothy  Janis, 
left,  of  Indian 
descent,  be- 
comes a  daugh- 
ter of  the 
Arabian  desert 
in  "Fleetwing." 


Frances  Lee,  above,  transplants  her 
American  ways  to  a  Holland  setting. 


Olga  Baclanova,  left,  refuses  to  don 
a  costume  foreign  to  her  native  Rus- 
sia when  she  executes  native  steps. 


Norma  Talmadge,  right,  an  Ameri- 
can, has  played  a  wide  variety  of 
roles,  and  is  an  Austrian  in  her  latest 
picture,  "A  Woman  Disputed." 


102 


Information,  Please 


OK.  M.  N.  X.— What  are  you,  a  dish 
•  of  alphabet  soup?  The  girl  you  men- 
tion, who  used  to  play  opposite  Charlie 
Chase,  is  Vivian  Oakland.  She  is  no 
longer  on  the  screen,  and  I  don't  know 
where  she  could  be  reached.  "Glorifying 
the  American  Girl"  has  never  been  made, 
as  Paramount  never  found  a  satisfactory 
story  for  the  title.  Yes,  James  Hall  has 
been  married,  but  does  not  live  with  his 
wife.  Buddy  Rogers  is  twenty-four — and 
I'm  sure  of  that,  'because  a  young  man 
I  know  went  to  college  with  him. 

Bemby  Basmister. — I'm  not  sure  about 
that  name,  but  I  hope  you'll  recognize  your 
answer.  Joan  Crawford  was  born  on  May 
23,  1906.  She  is  five  feet  four,  and  weighs 
110. 

Astri  Knudsen". — Bebe  Daniels  was 
born  of  a  Spanish  mother  and  Scotch 
father.  Her  mother's  father  was  Amer- 
ican consul  at  Buenos  Aires  and  he  was 
the  son  of  the  Governor  of  Colombia. 
Jackie  Coogan  was  born  October  26,  1914. 
Esther  Ralston  has  no  children,  and  I 
know  of  no  stepchildren,  though  I  can't 
be  sure  about  that.  May  McAvoy  is 
American. 

Natalie  Bernhard. — John  Barrymore 
is  a  United  Artists  player.  He  is  forty- 
six  years  old,  and  I  understand  Lionel  is 
older,  but  he  doesn't  give  his  'birth  date. 

St.  Louis  Lou. — Well,  that's  a  hot  one 
— does  a  movie  star  give  back  the  ring  when 
an  engagement  is  broken !  That  depends, 
I  should  think,  on  whether  the  star  has 
a  high  sense  of  honor.  Edmund  Lowe  is 
married  to  Lilyan  Tashman ;  he  has  brown 
hair.  Roy  d'Arcy  is  supposed  to  be  en- 
gaged to  Lita  Gray.  Cullen  Landis  has 
two  daughters  who  live  with  his  divorced 
wife.  I  don't  think  Paddy  O'Flynn  is 
married.    No,  Ramon  is  not  engaged. 

Shirley  and  Jackie. — Some  of  your 
questions  I  can't  answer;  for  instance, 
not  living  in  Hollywood,  I  really  don't 
know  which  of  the  film  stars  is  "the  most 
regular  party  attender,"  nor  who  is  whose 
particular  chum.  Clara  Bow  and  Buddy- 
Rogers  are  said  to  get  the  most  fan  mail 
of  the  present  men  and  women  stars.  Col- 
leen Moore's  next  film  after  "Oh  Kay" 
is  "Synthetic  Sin."  Every  one  has  his 
own  opinion  as  to  who  is  the  most  beau- 
tiful star.    Rod  La  Rocque's  last  name 


is  pronounced  La  Rock.  Basquette  is  ac- 
cented on  the  second  syllable.  No  stars 
that  I  know  of  have  birthdays  on  July  7th, 
or  February  21st. 

Clara  Young. — Now — is  it  a  thrill  to 
see  your  name  in  print?  Nick  Stuart  is 
about  five  feet  nine.  His  fan  club  has 
headquarters  with  Katheryne  Berry,  2315 
North  30th  Street,  Tacoma,  Washington. 
Gilda  Gray  is  making  a  picture  in  Eng- 
land at  present,  and  no  doubt  she  will 
make  more  in  this  country.  Write  her  at 
United  Artists.  Gilbert  Roland  was  horn 
in  December,  1905. 

Lucille. — All  right,  here's  first  aid  for 
the  movie-star  scrap  book.  Marion  Da- 
vies  (Marion  Douras)  was  born  in  Brook- 
lyn, January  3,  1898.  Height  5  feet  Al/2  ; 
weight  123.  Blue-eyed  blonde.  George 
O'Brien  (real  name)  was  born  in  San 
Francisco  in  1900.  Sorry  I  don't  know  the 
month.  Five  feet  eleven  ;  weight  176.  Bru- 
net.  Both  unmarried.  Richard  Barthelmess 
was  born  in  New  York,  May  9, 1895.  That's 
his  real  name.  He  is  divorced  from  Mary 
Hay  and  married  to  Jessica  Haines  Sar- 
gent. He  is  five  feet  seven ;  weight  135. 
firunet.  Constance  Talmadge  was  born 
in  Brooklyn,  May  2,  1897.  Five  feet  five; 
weight  120;  golden  hair,  brown  eyes.  Di- 
vorced from  John  Pialoglou  and  from 
Captain  Alastair  Mcintosh.  That's  her 
real  name.  Dorothy  Mackaill  was  born  in 
Hull,  England,  in  1903.  Height  five  feet; 
weight  121.  Hazel  eyes,  blonde.  Divorced 
from  Lothar  Mendez.  That's  her  real 
name. 

Virginia  O'Keefe. — Fay  Wray  was  born 
in  Wrayland,  Alberta,  Canada,  in  1907. 
She  is  five  feet  three  and  weighs  about 
115.  I  am  told  that  is  her  right  name. 
See  Lucille. 

Betty  Green. — Of  course  you  may  write 
again.  And  the  answers  to  your  questions 
about  Richard  Barthelmess  are  given  in 
the  reply  to  Lucille.  Dick  lives  in  Hol- 
lywood, but  I  don't  know  his  street  ad- 
dress. 

Rita  E. — Will  I  give  you  "the  life  of 
Colleen  Moore"?  Surely  you  wouldn't 
take  a  girl's  life !  Colleen  was  born  in 
Port  Huron,  Michigan,  April  19,  1902, 
and  educated  at  the  Convent  of  the  Holy 
Name,  Tampa,  Florida.  Her  real  name 
is  Kathleen  Morrison,  and  she  is.  Mrs. 
John  McCormick.    She  is  five  feet  three, 


weighs  110,  has  dark-brown  hair,  one 
brown  eye  and  one  blue  eye.  I  think  just 
"Hollywood,  California,"  would  be  the 
surest  address  for  Rex  Lease,  as  he  hops 
about  from  studio  to  studio.  I  don't  know 
the  address  of  Muriel  Kingston. 

E.  Thomas. — Well,  of  course,  to  save 
you  from  your  wife's  rolling-pin,  I've  got 
to  try  to  be  of  help.  I  understand  Marion 
Davies'  picture  "Breaking  Into  the  Mov- 
ies" is  being  called  "Show  People"  for 
general  release.  Perhaps  you  saw  one  of 
those  California  previews?  There  is  no 
Carl  Stacey  mentioned  in  the  cast,  and 
you  don't  tell  me  what  role  was  played  by 
the  man  whom  your  wife  thought  she  rec- 
ognized. Was  it  a  minor  part,  which 
might  not  be  mentioned  in  the  cast? 

Ramon  and  Mary. — Well,  if  you're 
really  two  people,  no  wonder  you  ask  so 
many  questions !  Mary  Brian  is  playing 
opposite  Buddy  Rogers  in  "Varsity"  and 
"Just  Twenty-one."  Also,  "Forgotten 
Faces"  and  "The  Big  Killing"  followed 
the  films  you  mention.  Ramon  Novarro's 
new  one  is  "Gold  Braid."  Jobyna 
Ralston  lives  at  Taluca  Lake,  Burbank, 
California.  Ivy  Harris  is  a  Paramount 
player ;  so  is  Jean  Arthur.  Paddy 
O'Flynn's  address  is  Box  386,  Hollywood. 
Lupe  Velez  and  Dolores  del  Rio  are 
United  Artists  players.  Most  of  the  oth- 
ers you  ask  about,  unless  given  in  the  list 
below,  have  no  permanent  studio' connec- 
tions. "Hollywood,  California,"  will  reach 
any  well-known  player.  The  heroine  of 
"Reckless  Youth"  was  Ruth  Dwyer;  of 
"Tongues  of  Flame,"  Bessie  Love;  of 
"Hot  Water,"  Jobyna  Ralston.  Dorothy 
Mackaill  and  James  Rennie,  in  "Mighty 
Lak  a  Rose" ;  Claire  Windsor  and  Nor- 
man Kerry,  in  "The  Acquittal."  Yes, 
"The  Ghost  Breaker"  was  a  Wallace  Reid 
picture.  As  to  "Gas  and  Oil,"  are  you 
not  thinking  of  "Gas,  Oil  and  Water,"  a 
Charles  Ray  film !  Lillian's  sister  in  "The 
White  Sister"  was  Gail  Kane.  In 
"Sandy,"  Madge  Bellamy  played  the  title 
role;  Harrison  Ford  was  Ramon;  Ben 
Bard,  Murillo;  Leslie  Fenton  played 
Douglas;  and  Gloria  Hope,  Judith.  In  "A 
Girl  of  the  Limberlost,"  Ehiora  was  played 
by  Gloria  Grey;  Mrs.  Comstock,  by  Emily 
Fitzroy;  Phillip  Amnion,  by  Raymond  Mc- 
Kee ;  and  Edith  Carr  by  Gertrude  Olmsted. 
And  now  my  typewriter's  all  tired  out. 
Continued  on  page  104 


103 


Ermine  coats 
just  seem  to 
gravitate  'to  Bil- 
lie  Dove's  sym- 
pathetic beauty. 


Death  to  A 


If  we  have  many  more  stars,  the  species  of 
bear,  mink,  fox  and  seal  will  become  extinct 


104 

Continued  from  page  102 
Miss  Dorothy  Ryan,  3426  Cypress 
Avenue,  Kansas  City,  Missouri,  would  like 
to  trade  some  of  her  movie  star  photo- 
graphs for  more  of  her  favorites,  Clara 
Bow,  Olive  Borden,  Dolores  Costello,  and 
Jacqueline  Logan.  Jackie  Logan,  Dorothy, 
was  born  in  Corsicana,  Texas,  November 
30,  1902.  She  grew  up  in  Colorado 
Springs,  and  studied  journalism.  Then 
she  came  to  New  York,  and  went  on  the 
stage  in  the  revival  of  "Florodora,"  and 
so  got  her  entree  into  the  profession.  She 
was  married  last  August  to  Harry  Win- 
ston. Her  next  films  are  "The  Spieler," 
and  "Stark  Mad."  Your  drawing  of  Alice 
Joyce  shows  a  great  deal  of  talent;  by  all 
means  keep  up  your  art  work. 

E.  B.  Taylor. — You  bet  I  reserved  space 
for  you,  though  letters  are  too  piled  up  for 
a  very  speedy  reply.  Clara  Bow  works  at 
the  Paramount  Studio — address  below. 
Don  Alvarado  with  United  Artists.  Don 
was  born  November  4,  1904 ;  he  is  five  feet 
eleven  inches  tall.  Sorry,  Maurice  /Mur- 
phy is  too  obscure  a  player  for  me  to 
have  any  information  about  him. 

Hay. — I  think  the  presses  that  print 
Picture  Play  would  get  so  lonesome  with- 
out you  on  this  page,  they  couldn't  func- 
tion. Hugh  Trevor  was  born  in  New  York 
and  left  the  insurance  business  to  go  to 
Hollywood.  He  played  extras  and  then 
bits,  and  finally  was  given  a  real  role  in 
"The  Coward,"  which  gave  him  a  footing, 
and  he  has  been  having  fair  luck  ever 
since.  Try  him  at  F.  B.  O.  Hugh's  real 
name  is  Thomas.  Martha  Sleeper  is  eight- 
een, and  the  niece  of  one  of  the  most  im- 
portant executives  in  Pathe.  She  got  her 
screen  start  when  a  director  saw  her  pic- 
ture on  the  wall  of  a  friend's  house,  and 
sent  for  her. 

Harry  M.  Cohen,  4  Burnside  Avenue, 
Newport,  Rhode  Island,  has  some  photo- 
graphs, clipped  out  of  old  magazines,  of 
Olive  Thomas,  Mary  Thurman,  Wallace 
Reid,  Harold  Lockwood,  Clarine  Seymour, 
True  Boardman,  Francelia  Billington, 
which  he  would  be  glad  to  give  to  any  one 
who  wants  them. 

Lydia  Zimmerman. — The  way  William 
Collier,^  Jr.,  hops  about  from  studio  to 
studio  is  just  enough  to  blight  an  answer 
man's  life.  He  seems  to  be  settled  now,  at 
least  for  a  few  months,  at  the  Warner 
studio.  Ronald  Colman's  American  films 
were:  "The  White  Sister,"  "Tarnish," 
"Twenty  Dollars  a  Week,"  "Her  Night  of 
Romance,"  "Romola,"  "A  Thief  in  Para- 
dise," "His  Supreme  Moment,"  "The 
Sporting  Venus,"  "Her  Sister  from  Paris," 
"The  Dark  Angel,"  "Stella  Dallas,"  "Lady 
Windermere's  Fan,"  "Kiki,"  "The  Win- 
ning of  Barbara  Worth,"  "Beau  Geste," 
"The  ;Night  of  Love,"  "The  Magic 
Flame,"  "Two  Lovers,"  and  his  new  one, 
"The  Rescue."  Whew !  Thank  the  Lord 
that's  over!  Stars  born  in  January  are: 
Bill  Haines,  on  the  first;  Marion  Davies, 
the  third;  Tom  Mix,  Phyllis  Haver,  the 
sixth;  Vilma  Banky,  the  ninth;  Francis  X. 
Bushman,  the  tenth;  Bebe  Daniels,  the 
fourteenth  ;  Carol  Dempster,  the  sixteenth  ; 
Nils  Asther,  Patsy  Ruth  Miller,  the  sev- 
enteenth; Virginia  Valli,  the  nineteenth; 
Ralph  Graves,  the  twenty-third.  Nils 
Asther  is  to  play  in  "The  Little  Angel"— 
if  M.-G.-M.  stick  to  their  present  casting. 

L.  Y.  F. — So  you're  one  of  the  many 
reasons  I'm  paid?  Well,  there  are  more 
reasons  than  pay !  Lon  Chaney  was  born 
April  1,  1883.  Yes,  indeed  he  had  the- 
atrical training.  He  was  prop  boy,  ward- 
robe boy,  and  then  an  actor  in  vaudeville 
and  stock.    Sorry  I  don't  know  the  home 


Information,  Please 

address  of  the  Young  sisters ;  they  all  live 
together.  Loretta,  of  course,  is  a  First 
National  player,  born  in  1912.  Sally  Blane 
is  eighteen,  and  Polly  Ann  two  years 
older,  but  I  don't  know  their  birth  dates. 

Under  Oriental.  Skies. — With  that 
start,  I  really  feel  that  I  should  continue 
this  paragraph  in  poetry.  Yes,  I  know 
that  Don  Alvarado  is  married,  but  have 
been  unable  so  far  to  learn  the  name  of  his 
wife.  Indeed,  I  don't  mind  your  contra- 
dicting me  as  to  Gilbert  Roland's  nation- 
ality ;  all  I  know  is  that  his  official  biogra- 
phy states  he  was  born  in  Chihuahua, 
Mexico,  in  1905;  an  answer  man  unfor- 
tunately has  to  rely  on  biographical  in- 
formation as  given  him  by  publicity  de- 
partments of  the  film  companies.  It  is 
impossible  to  know  all  the  stars'  life  his- 
tories first-hand.  Baby  Jane  La  Verne 
can  be  reached  at  the  Universal  studio. 

A  Subscriber. — Thank  you  so  much  for 
the  information,  which  I  shall  keep  in  my 
files. 

Maria  Salvador. — I  certainly  appreciate 
your  going  to  all  the  trouble  of  sending 
me  the  addresses  of  foreign  studios  and 
players.  Yes,  I  know  several  more,  I  can 
give  you.  Gosta  -Ekman  of  "Faust,"  19 
Hjorthagsvogen,  Stockholm;  Gerald 
Fielding,  Chateau  Fielding,  Nice,  France ; 
Ivor  Novello,  11,  Aldwych,  London,  W. 
C.  2.  And  Rex  Ingram's  pictures  are 
made  at  the  Franco  Film  Studios,  St. 
Augustin-du-Var,  Nice,  France.  The  film 
in  which  Joan  Crawford  and  Francis 
Bushman,  Jr.,  both  appeared  was  "The 
Understanding  Heart."  And  Buddy  Rog- 
ers' first  picture  was  not  "Flaming- 
Youth,"  but  "Fascinating  Youth." 

Mister  Antonio.— I'm  sure  you  don't 
need  to  apologize  for  your  English ;  it  is 
excellent.  Josephine  Dunn  is  a  Metro- 
Goldwyn  player — see  list  of  addresses; 
Gloria  Swanson  at  F.  B.  O.  So  far,  there 
are  no  Dolores  del  Rio  fan  clubs. 

Question  Box. — Say,  if  I  named  all  the 
pictures  of  all  the  people  you  ask  about, 
I'd  be  naming  pictures  all  the  rest  of  my 
life.  I'll  compromise  on  Charles  De- 
laney's,  because  he  hasn't  made  so  many. 
He  played  in  "Sporting  Life,"  "College 
Days,"  "Husband  Hunters,"  "Frisco  Sally 
Lew,"  "Mountains  of  Manhattan,"  "Main 
Event,"  "Boy  of  the  Streets,"  "Tired  Busi- 
ness Man,"  "Thirteenth  Hour,"  "Love- 
lorn," "Cohens  and  Kellys  in  Paris," 
"After  the  Storm,"  "Outcast  Souls," 
"Branded  Man,"  "Women  Who  Dare," 
"River  Woman,"  "Home,  James,"  "Show 
Girl."  He  played  small  roles  in  other 
films,  early  in  his  career,  that  I  have  no 
record  of.  He  was  born  in  New  York, 
August  9,  1898.  I  believe  he  is  married, 
but  don't  know  his  wife's  name.  Billie 
Dove  was  born  in  New  York,  May  14, 
1903.  She  has  been  in  movies  about 
eight  years — so  3'ou  see  why  I  haven't 
space  to  name  all  her  pictures !  She  is 
Mrs.  Irvin  B.  Willat.  There  are  fan 
clubs  in  her  honor,  with  headquarters  as 
follows :  Conshelo  Romero,  138  Sou'th 
Townsend  Street,  Los  Angeles.  And,  Eva 
Dial,  Apartment  3,  151  Goliad  Street,  San 
Antonio,  Texas.  Clara  Bow  Fan  Clubs : 
Louise  C.  Hinz,  2456  Sheridan  Avenue, 
Detroit;  Romolus  Gooding,  93  Broad 
Street,  New  Berne,  North  Carolina;  and 
Ida  Katz,  School  No.  80,  Federal  and 
Eden  Streets,  Baltimore,  Maryland.  Fan 
clubs  are  groups  of  fans  who  get  together 
in  honor  of  their  favorite  stars,  and  write 
to  one  another.  Mary  Brian  was  born  in 
Corsicana,  Texas,  February  17,  1908. 

Norbert  Mimmer. — I  wish  all  fans  were 


as  considerate  as  you  are  in  not  loading 
me  down  with  questions.  Tom  Mix  has 
blue  eyes ;  he  is  five  feet  eight.  To  join 
his  fan  club,  write  to  Waldorf  P.  Libby, 
Box  1017,  Fort  Bcnning,  Georgia.  There 
is  a  Fred  Thomson  Club ;  write  to  Mar- 
vin Jackson,  Macon,  Missouri. 

Mickey. — How  you  and  your  friend, 
Question  Box,  must  like  to  make  me 
work !  Norma  Shearer  was  born  in  Mon- 
treal, August  10,  1904,  Marion  Davies  on 
January  3rd.  Adolphe  Menjou:  born, 
Pittsburgh,  February  18,  1891 ;  John  Bar- 
ry-more in  New  York,  in  1882.  Sorry,  I 
don't  know  Rin-Tin-Tin's  birthday.  Other 
dog  stars  are  Peter  the  Great,  Flash, 
Thunder.  Dorothy  Gish  is  the  only  star 
born  in  Dayton,  Ohio.  Bill  Haines  has 
been  in  movies  too  long  to  give  ah  his 
pictures  here. 

Louise,  Adelaide. — Yes,  I  know  the  in- 
cident to  which  you  refer  in  "The  King 
of  Kings."  The  cross  bearer  was  William 
Boyd. 

J.  C.  D. — No  trouble  at  all;  not  with 
questions  as  easy  as  yours !  Billie  Dove 
has  dark-brown  hair  and  eyes ;  five  feet 
four;  weight,  114.  Her  latest  film  is  "His 
Wife's  Affairs." 

A  Sue  Carol  Fan. — And  I  don't  blame 
you  for  that !  Sue  was  born  in  1908,  has 
brown  hair  and  eyes.  She  is  about  five 
feet  two  and  weighs  about  110.  Real 
name,  Evelyn  Lederer.  And  married  to 
Allan  H.  Keefer,  though  they  are  not  liv- 
ing together.  Her  new  film  is  "Captain 
Swagger." 

A  Blonde. — Now  yours  is  the  kind  of 
letter  I  like,  telling  me  not  to  work  too 
hard.  As  nearly  as  I  can  tell  from  my 
brief  synopsis  of  "The  Girl  from  Mont- 
martre,"  I  think  the  man  you  refer  to 
pla}-ed  Barbara  La  Marr's  brother.  That 
was  William  Eugene,  whom  I  have  not 
heard  of  since.  Nils  Asther  is  a  Metro- 
Goldwyn  player,  Barry  Norton  with  Fox. 
Both  unmarried. 

Germaine  Ciani. — As  for  answering 
your  questions  in  "next  month's  maga- 
zine"— "no  can  do."  I've  a  long  waiting 
list.  John  Barrymore  and  William  Col- 
lier, Jr.,  were  both  born  in  New  York; 
Richard  Dix  in  St.  Paul;  John  Gilbert  in 
Logan,  Utah;  William  Boyd  in  Cambridge, 
Ohio ;  Conrad  Nagel  in  Keokuk,  Iowa  ; 
Joan  Crawford  in  San  Antonio.  Madge 
Bellamy  weighs  about  110.  Ramon  No- 
varro's  films  are :  "A  Lover's  Oath,"  "The 
Prisoner  of  Zenda,"  .  "Trifling  Women," 
"The  Arab,"  "Where  the  Pavement  Ends," 
"Scaramouche,"  "The  Red  Lily,"  "The 
Midshipman,"  "Ben-Hur,"  "Lovers,"  "The 
Student  Prince,"  "The  Road  to  Romance," 
"Across  to  Singapore,"  "A  Certain  Young 
Man,"  "Forbidden  Hours"  and  "Gold 
Braid." 

The  Bashfulest  Girl. — Considering 
your  three,  long  pages  of  letter,  what  hap- 
pens when  the  shyness  wears  off?  Eu- 
genia Gilbert  has  been  in  pictures  for 
years ;  I  think  she's  rather  pretty  and 
never  understood  why  she  didn't  get  some- 
where. I  know  nothing  else  about  her,  as 
she  is  not  under  contract,  and  the  film 
companies  are  the  source  of  an  Answer 
Man's  biographies  of  the  players  under 
contract  to  them.  John  Patrick  was  born 
in  Muskegon,  Michigan.  His  real  name, 
I  believe,  is  Pyle.  His  recent  films  are 
"The  Prince  of  Headwaiters,"  "Love  Hun- 
gry," "Stage  Kisses,"  and  "Golf  Wid- 
ows." He  keeps  quite  busy.  Gary  Cooper 
is  twenty-eight;  black  hair  and  dark-blue 
eyes.  Walter  Byron  is  Vilma  Banky 's 
Continued  on  page  121 


Advertising  Section 


105 


Beautiful,  But — Herself 

Continued  from  page  44 


People  who  did  not  know  her  be- 
lieved she  must  be  like  some  of  her 
screen  portrayals.  Many  writers  at- 
tacked her  unmercifully  for  being 
"beautiful,  but  dumb."  They  said 
that  of  Madge,  who  knew  far  more 
than  many  of  the  wise  scribes  who  so 
airily  disposed  of  her  work  and  per- 
sonality. 

When  "Sandy"  came  along,  the 
Bellamy  flashed  over  the  country  like 
a  livid  flame.  Reviewers  who  did 
not  know  her,  realized  the  young  ac- 
tress knew  something  about  her  work. 
To  show  what  she  really  could  do  if 
she  chose,  Madge  had  cut  off  her 
long,  auburn  curls,  bleached  her 
bobbed  tresses  and  portrayed  Sandy 
for  what  she  was  worth. 

Another,  a  far  better  character 
story,  has  just  been  finished.  Madge, 
as  Sally  Quail,  the  heroine  of  Edna 
Ferber's  short  story,  "Mother  Knows 
Best,"  is  sure  to  attract  even  more 
attention  than  in  "Sandy."  The  story 
is  said  to  be  based  on  the  life  of  a 
certain  stage  celebrity — but  far  be 
it  from  me  to  suggest  her  name. 

"Mr.  Sheehan  bought  the  story," 
Madge  told  me,  "though  Mr.  Fox 
did  not  see  it  as  a  good  screen  vehicle. 
Mr.  Sheehan  said  it  rested  entirely 
with  me  to  help  him  prove  he  was 
right. 

"In  this  story  there  are  many  life- 
like representations  of  theatrical  life, 
such  as  having  my  feet  warmed  over 
a  lamp  in  a  freezing  dressing  room, 
as  often  happened  during  my  child- 
hood on  the  stage. 

"The  picture  should  be  of  inter- 
est to  many  girls  who  have  had  their 
lives  ruined  by  selfish  mothers.  A 
parent's  abused  right  of  guidance  is 
a  much-discussed  topic  right  now." 

Madge  was  sitting  in  one  corner 
of  the  settee,  twisting  Wormy' s  ears 
into  all  positions  and  shapes,  while 
the  animal  was  attempting  to  chew  up 
one  of  the  cushions. 

"I  think  life  is  lived  in  a  wrong 
way  by  most  people,"  Madge  added. 
"Tradition  makes  us  do  things,  be- 
cause we  believe  we  have  to  do  them. 
Many  let  their  lives  be  ruined  by 
custom  and  circumstances.  It  is  diffi- 
cult to  break  away  from  them. 

"Two  years  ago  I  was  in  Paris. 
One  of  the  things  that  impressed  me 
greatly  was  a  splendid  performance 
of  Rostrand's  'Cyrano  de  Bergerac' 
I  cried  over  parts  of  it,  especially  in 
the  fourth  act,  where  Cyrano  reminds 
his  fellow  soldiers  of  their  native 
Gascony,  while  an  old  soldier  plays 
a  flute.  Every  one  is  greatly  upset 
and  longing  for  home.  Yet,  when  a 
drum  starts  to  roll,  they  immediately 


forget.  The  flute  brought  dreams — 
the  drum  reality.  The  soldiers  were 
led  by  each. 

"When  things  go  wrong,  as  they 
often  do  in  picture  work,  I  say  with 
Cyrano,  poor  chap — 

'Adieu    reves,    regrets,    viclle  province, 
amour. 

Ce  qui  du  fifre  vicnt,  s'en  va  par  le  tam- 
bour.' " 

As  Sally  Quail,  the  famous  imper- 
sonator, Madge  gives  several  imita- 
tions. Anna  Held,  Al  Jolson,  Fanny 
Brice,  Sir  Harry  Lauder,  and  Will 
Rogers  are  a  few  of  the  celebrities, 
she  mimics.  The  Movietone  is  to  be 
used  for  these  interpolations. 

Here  again  Madge  Bellamy  is  in 
the  foreground.  Recent  voice  repro- 
ductions by  players  at  the  Fox  studio, 
were  not  all  good. 

William  Fox  himself  wired  to  Hol- 
lywood, "Madge  Bellamy  is  the  only 
one  who  registers." 

In  speaking  of  her  own  ability 
Madge  generally  makes  a  humorous 
remark. 

"Oh,  I  can  usually  make  up  a  flow- 
ery speech  offhand,"  she  tells  you. 
"I  think  fright  makes  me  say  it 
passably  well  and  to  the  point.  If  I 
had  to  wait  and  study  it  out,  it  would 
fall  flat." 

A  startling  thing  about  Madge  is 
that,  besides  knowing  so  much,  she 
has  the  faith  of  a  child  in  the  things 
she  likes.  This  means  that  she  is 
often  disillusioned  when  masks  fall 
off. 

Behind  her  alert  brightness,  there 
is  something  poignantly  pathetic 
about  her.  I  may  be  wrong,  but  I 
believe  she  suffers  in  common  with 
those  who  place  their  faith  in  a  re- 
ality, mistaking  it  for  an  idealistic 
dream. 

One  thing  above  all,  Madge  Bel- 
lamy can  be  herself  always,  because 
she  understands  much,  and  possesses 
brains  and  uses  them. 

In  relating  these  facts  I  realize 
how  feeble  they  sound.  They  are 
not  within  half  the  distance  to  the 
right  impressions  I  would  like,  but 
am  unable,  to  express  about  her.  It 
makes  me  a  little  self-conscious  to 
think  that  Madge  will  see  this  eulogy. 
And,  as  she  is  the  first  star  ever  to 
make  me  feel  that  way,  you  may  de- 
pend on  it  that  she  is  no  ordinary 
individual. 

She  finds  in  "Mother  Knows  Best" 
her  best  opportunity,  not  because  she 
is  the  star  with  many  scenes  and 
close-ups,  but  because  Sally  is  a  char- 
acter that  appeals  to  her  intelligence 
and  sympathy. 


EARLE  E.  LIEDERM  AN,  The  Muscle  Builder 

Author  of  "Muscle  Building,  "  ''Science  of  Wrestling," 
"Secrete  of  Strength," Here' a    Health,"    "Endurance,"  etc. 

What  Do  Women 
Worn  Most  > 

Women  want  he-men  for  their  husbands  and  sweet- 
hearts. None  of  this  chorus-man  stuff  for  the  real  girl. 
She  wants  to  be  proud  of  his  physical  make-up;  proud 
of  his  figure  in  a  bathing  suit.  She  knows  that  it's 
the  fellow  that  is  full  of  pep  and  vitality  that  gets 
ahead  in  this  world.  He's  got  the  physical  backbone 
to  back-up  the  mental  decisions  he  makes.  He'll  win 
out  every  time. 

Look   Yourself  Over! 

How  do  you  shape  up?  Are  you  giving  yourself  a 
square  deal?  Have  you  got  those  big  rolling  muscles 
that  mean  health  and  strength  inside  and  out?  The 
vitality  that  gives  you  the  ambition  to  win  out  at 
everything  you  start?  Make  that  girl  admire  you  first 
and  foremost  for  a  veal  he-man,  and  the  hardest  part 
in  winning  her  is  over. 

I  Can  Give  It  to  You  in  30  Days 

In  30  days  I  can  do  you  over  so  that  she  will  hardly 
know  you.  I'll  put  a  whole  inch  of  solid  muscle  on 
each  arm  in  30  days,  and  two  whole  inches  of  rippling 
strength  across  your  chest.  I've  done  it  for  over  a  hun- 
dred thousand  others,  and  I  can  do  it  for  you.  I 
don't  care  how  weak  and  puny  you  are.  I  like  to  get 
them  weak  and  puny,  because  it's  the  hopeless  cases 
that  I  work  with  best.  It  gives  me  a  lot  of  real  joy 
just  to  see  them  develop  and  the  surprised  look  in 
their  eyes  when  they  step  before  the  mirror  at  the  end  of 
30  days  and  see  what  a  miracle  I  have  worked  for  them. 

You'll  Be  a  He-Man  From  Now  On! 

And  it's  no  temporary  layer  of  muscle  I  put  on  you. 
It's  there  to  stay!  With  those  newly  broadened  shoul- 
ders: that  perfect  neck  and  great,  manly  chest,  you  can 
maintain  your  self-respect  in  any  society.  Every  woman 
will  know  that  you  are  what  every  man  should  be — a 
forceful,    red-blooded  he-man. 

I  Want  You  For  90  Days 

If  at  the  end  of  30  days  you  think  you  have  im- 
proved, wait  till  you  see  yourself  at  the  end  of  00  days. 
Then  the  friends  you  thought,  were  strong  will  seem  like 
children  by  comparison.  I'm  not  called  the  Muscle 
Builder  for  nothing.  My  system  scientifically  builds 
real  muscle  faster  than  you  ever  imagined. 

Watch  Them  Turn  Around 

Notice  how  every  woman  prefers  the  fellow  who  car- 
ries himself  with  head  up.  Notice  how  the  broad-shoul- 
dered man  always  gets  their  eye.  They  want  a  depend- 
able he-man  when  they  make  their  choice — one  who  can 
protect  them.  And  you  can  be  that  man.  Kemember, 
I  not  only  promise  it,  I  GUARANTEE  IT. 

Send  for  my  New  Book,  64  pages  and— IT  IS  FREE 

"MUSCULAR  DEVELOPMENT" 

There's  48  full-page  photos  of  myself  and  some  of  my 
prize-winning  pupils.  This  is  the  finest  art  gallery  of 
strong  men  ever  assembled.  Look  them  over.  If  you 
don't  get  a  kick  out  of  this  hook,  you  had  better  roll 
over — you're  dead.  Take  out  the  old  pen  or  pencil  and 
sign  your  name  and  address  to  the  coupon.  If  you 
haven't  a  stamp,  a  postal  will  do.  But  snap  into  it. 
Do  it  now.    Tomorrow  you  may  forget. 

EARLE  E.  LIEDERM  AN 

Dept.  1412  305  Broadway,  New  York  City 


It 

Is 

F 
R 
E 
E 


EARLE  E.  LIEDERMAN, 

Dept.   1412,  305  Broadway,  New  York  City. 

Dear  Sir:  Please  send  me,  absolutely 
FREE  and  without  any  obligation  on  my 
part  whatever,  a  copy  of  your  latest  book, 
"Muscular  Development." 


Name 
Street 


City   State   

(Please  write  or  print  plainly  J 


106 


Advertising  Section 


A  Volume  of  a 
Thousand  Wonders 

The  Marvel 
Cook  Book 

by 

Georgette  MacMlan 


There  is  a  recipe  to  suit  every 
one  for  every  occasion  in  this  re- 
markable book.  The  favorite  rec- 
ipes of  the  leading  stars  of  the 
stage  and  screen  are  included. 
There  are 


28  recipes 

for 

beverages 

57  " 

tt 

breads 

71  " 

it 

cakes  and  cookies 

31  " 

tt 

candy 

57  " 

canning  and  preserving 

11 

cereals 

10  " 

tt 

chafing  dishes 

76  " 

it 

desserts 

31 

it 

eggs  and  omelettes 

20  " 

il 

famous  people's  dishes 

17  " 

tt 

cooking  fowl 

26  " 

tt  . 

frozen  desserts 

9  " 

ii 

fruits 

19  " 

ii 

icings  and  fillings 

10  " 

il 

invalid  cookery 

39  " 

it 

meats 

12  " 

a 

one-dish  dinners 

18  " 

a 

oysters 

41 

a 

salads 

10  " 

n 

salad  dressings 

28  " 

it 

sandwiches 

28  " 

it 

sea  foods 

32  " 

tt 

soups 

79  " 

a 

vegetables 

9 

a 

vegetarian  dishes 

AND  MANY  OTHERS 

This  Volume  Should  be  in 
Every  Home 


Price,  $1. 


His  Nickname  is  "Connie 

Continued  from  page  55 


5? 


CHELSEA  HOUSE 

Publishers 

79  Seventh  Ave.       New  York 


already  created  a  stir.  His  fame, 
based  on  his  eleven  years  of  stardom 
in  German  pictures,  had  preceded 
him.  He  is  regarded  with  such  re- 
spect that  his  opinion  is  actually  ad- 
hered to !  He  has  been,  and  ac- 
cording to  promise  probably  will 
continue  to  be,  less  restricted  than 
other  imported  actors. 

Usually  a  foreigner  is  selected  not 
only  for  his  skill,  but  because  of 
some  individual  quality — his  differ- 
ence from  our  own  players.  One 
might  call  it  the  keynote  of  his  suc- 
cess abroad — the  thing  that  flashes 
to  mind  when  his  name  is  mentioned. 
Yet,  in  an  erroneous  effort  to  make 
him  comply  with  American  stand- 
ards, that  very  quality  which  the 
company  bought  is  quenched. 

More  astonishing  still  is  the  fact 
that  Universal,  a  company  concerned 
with  getting  out  pictures  quickly,  to 
fulfill  public  demand,  should  be  so 
considerate  of  a  foreigner's  point  of 
view.  Veidt's  two  films,  "A  Man's 
Past"  and  "The  Man  Who  Laughs," 
have  offered  him  the  type  of  char- 
acterizations with  which  he  is  most 
familiar. 

"Nein,  I  haff  no  trouble,"  he  said. 
"Zey  gift'  me  stories  I  want.  Paul 
Leni  directs  me  in  my  second  pic- 
ture. He  directs  me  abroad.  Would 
zey  not  gift  me  my  way,  I  would 
not  act." 

A  curious  thing  about  him  is  that 
he  has  made  less  effort  to  American- 
ize himself  than  have  most  other 
foreigners.  He  is  intensely  enthusi- 
astic about  some  American  things, 
and  is  doing  his  best  to  learn  Eng- 
lish. It  is  simply  that  he  is  so  com- 
pletely European.  He  seldom  ap- 
pears in  Hollywood  social  life,  but  is 
present  at  the  teas  and  dinners  of 
the  foreign  colony,  the  Germans  and 
Hungarians. 

"I  am  nineteen.  My  fadder  iss 
high  honor-official  of  government. 
Nobody  haff  nozzing  to  do  wiss  t'ea- 
ter.  Zey  don't  like.  Me,  I  am  crazy 
to  act.  I  go  to  t'eater  in  top  seat, 
like  you  haff  gallery.  One  day  gate- 
man  says,  'You  vant  be  actor?  Ach, 
I  make  it  fix.'  He  takes  me  to  man 
who  gifts  lessons.  Zis  man  tells  me 
do  somesing.    I  do  Faust." 

Wide  mouth  split  in  a  grin,  his 
eyes  waited  with  brimming  joy  for 
me  to  get  the  humor  of  that.  "Beeg 
bow  tie,  hair  like  zis,"  he  mussed  it, 
swept  out  his  arms  in  a  dramatic 
pose.  "Great  dramatic  actor,  artis- 
tic !  Beeg,  booming  Faust.  He  says 
he  teach  me  for  six  marks  lessons — 
one  dollar  and  half.  •  I  haff  no 
money,  but  I  get  from  my  mudder, 


from  friends.  I  take  ten  lessons. 
Zen  I  am  sad."  His  huge  frame 
crumpled ;  his  long,  lean  face  took 
on  the  woe  of  thwarted  youth,  while 
his  eyes  were  bright  with  mockery. 
"Vait !  He  likes  me.  He  teach  me 
for  nozzing. 

"One  day  he  says  Max  Reinhardt 
takes  ten  to  train.  It  iss  a  school, 
but  you  do  not  pay.  Ach,  could  I? 
It  vas  a  dream.  I  go  to  Reinhardt. 
He  iss  short,  fat  man,  much  dignity. 
Vat  do  I  act  ?  Faust,  surely  !  I  talk 
like  a  gun.  He  pays  no  listen.  I  act 
on.  He  looks  at  me.  I  feel  one  inch 
beeg.  He  says  in  voice  so  low,  so 
sweet,  so  slow,  'Now,  ve  vill  haff 
somesing  else.'  For  long  time  I  act. 
Zen  he  says,  'I  sank  you.  Go  now.' 
Next  day  my  teacher  tells  me  I  am 
to  act  wiss  Reinhardt,  and  for  pay ! 
In  marks,  ten  dollars  a  month ! 

"Vait!  Guess  vat  I  do?  I  haff 
me  printed  white  cards  in  gold  let- 
ters to  say,  'Conrad  Veidt,  Max 
Reinhardt  Theater.'  All  first  ten 
dollars  for  my  gold  cards! 

"For  two  years  I  am  like  you  say 
extra.  Zen  I  am  in  war.  Zere  too  I  am 
extra!  Back  to  Reinhardt  for  two 
years  more.  One  day  I  sink  he  for- 
get me.  I  wonder  how  can  I  make 
him  know  me  some  more.  I  copy 
like  our  star  says  his  lines,  and  Rein- 
hardt says,  'So!'  Fie  remembers, 
and  gift's  me  a  leetle  bit,  but  it  iss 
one  of  soze  ecstatic  sings."  Every 
muscle  rippled  feeling,  seemingly,  to 
be  crushed  by  his  clenched  fist.  "It 
attracts  attention.  Zen  my  name 
really  means  somesing — and  I  stop 
sinking  I  am  so  fine  actor." 

Reinhardt,  naturally,  is  one  of  his 
enthusiasms.  "He  iss  great.  He 
haff  soul,  heart,  chenius!"  Veidt 
beat  an  exclamatory  hand  against 
his  chest. 

There  followed  eleven  years  of 
screen  stardom  for  Ufa  and  other 
companies. « 

Barrymore  sent  for  him  to  plav 
in  "The  Beloved  Rogue."  While 
here,  he  met  Paul  Kohner,  who  per- 
suaded Universal  to  sign  him,  after 
he  had  gone  back  to  Germany  and 
returned  again  to  this  country. 

Whether  or  not  his  peculiar, 
tense  performances  will  become  pop- 
ular here,  remains  to  be  seen.  Cer- 
tainly he  has  a  compelling  person- 
ality, and  were  he  ever  forced  tc 
play  what  we  term  straight  leads,  he 
would  give  to  them  a  new  vigor.  As 
long  as  they  permit  him  to  do  the 
things  he  loves,  we  shall  have  those 
strange,  forceful  characters  to  re- 
lieve the  monotoiry  of  our  own  more- 
or-less-stereotyped,  pretty  pictures. 


Advertising  Section 


107 


Give  Tkis  FelloW  a  Hand 

Continued  from  page  83 

lines  of  tragedy  written  into  his  face. 
His  very  soul  appeared  to  lie  in  his 
appealing  eyes — great,  dark  eyes 
which  seemed  to  mirror  his  every 
emotion.  He  went  to  San  Francisco 
when  the  Exposition  was  held  in 
1915,  and  drifted  on  to  Hollywood. 
There,  where  types  are  in  demand, 
the  tragedy  in  Tufei  Fatella's  face  at- 
tracted attention,  and  he  was  cast  for 
the  role  of  the  lookout  in  UniversaPs 
"The  Scales  of  Justice."  That  was 
the  beginning"  of  his  unusual  career. 

Almost  thirteen  years  have  passed 
■ — years  in  which  the  sledding  was 
sometimes  hard.  Rex  .Ingram  took 
him  to  Italy  when  he  made  "Mare 
Nostrum,"  and  insisted  on  keeping 
him  in  his  company.  He  believed 
the  boy  brought  him  luck. 

But  what  really  picked  him  from 
obscurity  and  lifted  him  to  a  niche  of 
his  own,  was  his  role  in  "Don  Juan." 
As  the  dwarfed  serf,  owing  allegiance 
to  an  imperious  lord,  and  signaling  to 
him  a  warning  of  the  unfaithfulness 
of  his  wife,  Tufei  gave  a  perform- 
ance which  probably  caused  millions 
to  ask:  "Who  is  he?"  It  was  a  per- 
formance which  caused  him  to  be 
cast  for  a  role  in  "The  Night  of 
Love,"  with  Ronald  Colman  and 
A^ilma  Banky.  It  gave  him  a  role 
in  "The  Ghost  Ship,"  and  resulted  in 
Lon  Chaney's  asking  for  his  services 
in  "The  Unknown"  and  "The  Road 
to  Mandalay." 

I  hope  "Texas"  Guinan  reads  this 
story,  and  that  every  time  she  sees 
John  George  on  the  screen,  she  rises 
and  shouts:  "Come  on,  folks,  give 
this  fellow  a  hand!"  Because  he  de- 
serves it. 

Objects  of  Wratk 

Continued  from  page  90 

similar,  yet  individual  enough  to  be 
different.  This  allusion  merely  serves 
as  a  good  example. 

It  served  as  a  bad  example  when 
Jacques  was  hired  for  a  small  role 
in  "Don  Juan."  He  would  probably 
have  attracted  attention  had  he  played 
it.  In  a  medieval  costume  he  photo- 
graphs brilliantly.  And  not  every 
one  can  wear  tights  and  look  casual. 
But  his  looks  failed  to  help  him.  The 
role,  small  as  it  was,  was  taken  from 
him. 

Have  you  a  vivid  personality?  Do 
you  desire  to  reveal  it  before  the 
camera?  Will  it  be  in  your  favor? 
It  probably  will  not  if  the  star,  who 
has  to  compete  with  her  own  against 
yours,  is  like  the  ones  mentioned 
here.  But  as  these  are  in  the  minor- 
ity, and  as  the  majority  are  helpful 
to  newcomers,  a  vivid  personality  will 
help  you  out — or  I  should  say  in. 


Why  Fat  Returns 

when  folks  stop  starving 


One  may  reduce  by  starv- 
ing, but  the  fat  returns  when 
one  stops.  The  reason  is  this: 
Most  people  who  are  over-fat 
have  an  under-active  thyroid. 
That  is  the  gland  which  large- 
ly controls  nutrition.  Until 
this  deficiency  is  corrected, 
much  food  goes  to  fat. 

Modern  physicians, in  treat- 
ing obesity,  aim  at  this  con- 
dition. They  use  to  correct 
it  the  chief  factor  used  in 
Marmola. 

Marmola  prescription  tab- 
lets are  made  by  a  famous 
medical  laboratory.  The  formula  appears  in 
every  box,  also  the  reason  for  results.  Users 
know  what  they  are  taking  and  why. 

When  science  discovered  this  method  and 
proved  it,  the  main  factors  were  embodied  in 
Marmola.  That  was  over  20  years  ago.  Since 

MARMOLA 


then,  people  who  were  over- 
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results — the  loss  in  weight, 
the  gain  in  health  and  vigor. 
Thus  the  use  has  grown  to 
enormous  proportions. 

That  is  one  great  reason 
why  excess  fat  is  nowhere 
near  as  common  as  it  was. 
Slender  figures  are  the  vogue. 

Beauty,  health  and  vitality 
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banished.  To  lose  20  pounds 
means  to  drop  ten  years.  Try 
it  in  this  easy,  pleasant  way. 
No  abnormal  exercise  or  diet  is  required.  Go 
get  Marmola.  Watch  results  for  a  little  while 
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Starting  with  the  letter  "C 


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or  $675.00  in  cash;  Third  Prize  winner  will  receive 
a  Victor  Orthophonic  Victrola,  Model  84.  or  $235.00 
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"C."  When  you  do  this,  write  them  on  a  piece  of  paper 
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right  away. 


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In  addition  to  the  Studebaker  Sedan,  the  Chevrolet 
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in  case  of  ties,  duplicate  prizes  will  be  awarded.  There 
are  no  tricks  or  illusions  of  any  kind  and  neatness  or 
handwriting  does  not  count.  You  will  not  be  asked  to 
write  in  any  squares,  add  up  any  figures,  build  words, 
or  solve  any  additional  puzzles  of  any  kind.  Get  busy 
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Peoria  St.,  Chicago,  111. 


I 


108 


Advertising  Section 


The  Girl  Who 
Lived  a  Lie 


By 


Cynthia  de  Vinne 


Don't  miss  this  Thrilling 
Novelette  in 
NOVEMBER  2-j-TH 
issue  of 

Love  Story 
Magazine 

There  will  also  be 

"Bumps!" 

By 

Evelyn  Frankish  Stroh 

"The  Man  She 
Overlooked" 

By  Violet  Gordon 


Four  Other  Short  Stories 


Love  Story 


lagazine 

Every  Week   1 5c  per  copy 


Master  of  Moods 

Continued  from  page  68 


seen  Victor  Varconi  as  a  character 
actor,  which  proves  he  is  an  adept 
at  all  four  types  of  screen  acting. 

His  role  of  Lord  Nelson,  in  "The 
Divine  Lady,"  in  which  he  plays 
opposite  Corinne  Griffith,  as  Lady 
Hamilton,  is  reckoned  to  he  one  of 
great  value.  This  is  the  first  pic- 
ture Varconi  has  played  in  since 
leaving  DeMille.  Surely  an  excel- 
lent start. 

A  variety  of  parts  appeal  to  him. 
In  "The  Angel  of  Broadway"  he  was 
a  truck  driver.  In  "Chicago"  he  was 
seen  as  a  rather  weak  husband.  His 
recent  role,  in  "Tenth  Avenue,"  re- 
veals him  as  a  hard-boiled  crook. 

Mention  has  been  made  of  the 
four  different  Varconis  we  have  had 
a  chance  to  see  on  the  screen.  Per- 
haps I  can  give  a  slight  sketch  of  the 
fifth  Varconi — the  Victor  Varconi  in 
private  life.  He  is  not  like  any  par- 
ticular one  of  his  four  types,  except 
perhaps  in  his  comedies. 

Need  I  stress  the  fact  that  that  is 
another  proof  of  a  genuine  actor? 

In  his  home,  Varconi  is  a  pleasant 
pe'son  to  know.  He  has  been  mar- 
ried very  happily  for  eight  years — 
to  the  same  wife.  Nusi  explains  the 
reason  why.  They  married  in  1920, 
when  both  were  on  the  stage  in  Bu- 
dapest.    A  revolution  was  in  full 


swing,  but  that  made  no  difference 
to  them.  Though  well  known,  neither 
he  nor  his  wife  is  often  seen  among 
the  "crushes"  of  the  film  capital's 
overcrowded  cafes.  Their  friends 
are  a  small  circle  of  congenial  spirits. 

Vilma  Banky,  one  of  their  inti- 
mate friends  from  old  days  in  Buda- 
pest, once  told  me  something  of  in- 
terest about  Victor. 

"No  matter  where  he  has  worked," 
Vilma  said,  "he  has  always  been  ad- 
mired. In  Budapest,  Vienna,  Berlin 
or  anywhere  else,  never  once  have  I 
ever  heard  any  one  speak  anything 
but  pleasing  things  about  Victor." 

Lya  de  Putti,  another  Hungarian 
compatriot,  repeated  something  very 
similar  to  what  Vilma  had  told  me. 

"I  saw  Mr.  and  Mrs.  Varconi  a 
few  times  at  the  Ufa  studio  in  Ber- 
lin," Lya  flared  with  admiration. 
But  adjectives  either  in  Hungarian, 
German,  French,  or  English  failed 
to  express  just  what  Lya  thought  of 
"those  nice  young  Varconis — Nusi 
and  Victor." 

What  more  can  be  said  of.  a  man 
— either  on  or  off  the  screen?  All 
that  I  might  add  is,  that  if  Victor 
creates  a  fifth  type  for  himself, 
which  is  not  impossible,  I'll  let  you 
know  at  once. 


If  You  Were  to  Visit  Aileen  Pringle 

Continued  from  page  48 


dressing  table  is  solid  with  drawers 
down  to  the  floor.  The  top.  is  black 
and  roomy,  even  for  the  profusion 
of  jars  and  bottles  it  supports.  In 
the  center  is  a  large,  round  mirror 
supported  by  a  gilded,  wrought-iron 
stand,  a  Hunt  Diedrich  gazelle  motif. 

To  the  right  of  the  dressing  table 
is  a  cedar-lined  clothes  closet.  To 
the  left  a  closet  containing  deep 
drawers  and  cupboards,  fitted  for 
lingerie,  hats,  and  shoes. 

Against  one  wall  is  the  bed,  low 
and  without  head  or  footboard. 
Covering  it,  down  to  the  floor,  is  a 
magnificent  spread  of  rich  lace  over 
an  ivory-satin  cover.  Frivolous-look- 
ing pillows  are  modernistic,  even  in 
their  chiffons  and  laces.  Beside  the 
bed  is  a  low  table  of  skyscraper  de- 
sign. On  top  it  holds  flowers,  a 
water  lamp,  cigarette  box  and  ash 
tray — underneath,  a  small  bookshelf, 
and  at  the  side  are  drawers.  It  is 
painted  a  dull,  pale  rose.  Across  one 
wall,  under  dormer  windows,  is  a 
Recamier  couch,  even  its  cushions 
covered  with  a  huge  throw  of  woven 
silk,  heavy  with  rose  embroidery  on 


a  blue  background.  Two  armchairs 
and  a  slipper  chair  are  covered  with 
glazed  chintz  in  corresponding 
shades.  The  rug  is  blue.  Against 
the  wall,  to  the  left  of  the  door,  is  a 
full-length  mirror  between  two  high 
chests  of  drawers.  These,  and  the 
frame  of  the  mirror,  are  painted  rose. 

Miss  Pringle's  writing  room  is 
small  and  circular,  by  virtue  of  the 
fact  that  it  is  in  the  tower,  and 
above  the  entrance  downstairs.  Slen- 
der windows  on  three  sides  of  the 
circle  make  the  room  bright.  On  the 
walls  between  is  hung  a  large  collec- 
tion of  photographs.  Filling  half  the 
room  is  an  enormous  desk,  skyscraper 
design,  of  black  lacquer  with  a  top  of 
natural  wood,  highly  polished. 

Outside,  the  patio  garden,  around 
which  the  house  nearly  completes  a 
circle,  is  larger  than  most.  In  the 
center  is  a  large,  tile  fountain,  gold- 
fish darting  about  below  the  Chinese 
lilies  floating  on  top.  Across  the 
French  windows,  opening  from  the 
living  room,  is  a  red-tile  terrace,  with 
inviting1  verandia  furniture  under  its 
awnine. 


Advertising  Section 


]  09 


He  KneW  What  He  Wanted 


Continued  from  page  45 


Donald,  Patty  Du  Pont — skyrockets, 
soaring,  flashing,  dying!  I  played 
with  John  Gilbert  on  the  Fox  lot.  I 
was  in  'The  Four  Horsemen.'  But 
I  was  still  an  extra." 

Then  he  discovered  something  else 
that  he  wanted.  He  saw  Jobyna 
Ralston  on  the  screen.  "Some  day 
I  shall  marry  her !"  he  told  himself. 

He  did  not  meet  her  for  nearly  a 
year  after  that.  When  the  time 
came,  he  was  almost  afraid.  He  ex- 
pected so  much.  She  might  disap- 
point him.    But  she  didn't. 

Meanwhile  he  had  crashed  into 
pictures.  "Crashed"  is  the  literal 
term. 

"I  landed  a  job  delivering  films," 
he  related.  "I  didn't  know  how  to 
drive  a  motor  cycle,  but  I  wouldn't 
pass  up  a  job  for  that  reason!  I 
thought  I  could  learn  after  I  started. 
It  developed  that  there  was  more  of  a 
trick  to  it  than  I  had  expected. 

"They  gave  me  some  film  to  de- 
liver to  the  old  Brunton  studio.  T 
got  the  motor  started  all  right,  and 
got  along  pretty  well  until  I  arrived 
at  my  destination.  Then  I  discovered 
that  I  didn't  know  how  to  stop  it ! 
So  I  just  ran  into  a  wall  and  fell 
off — right  at  the  feet  of  Nan  Col- 
lins, who  was  then  casting  director 
on  that  lot. 

"I  picked  myself  up — I  wasn't 
hurt  much — and  she  asked  me  who  I 
was.  I  told  her,  we  talked,  and — 
it  was  one  of  those  lucky  breaks — she 
gave  me  my  first  real  job  in  pictures. 

"Mostly  I  played  heavies  and  wore 
a  mustache — as  much  of  a  mustache 
as  I  could  muster  at  that  time.  I  got 
twenty-five  dollars  a  week.  If  you 
don't  think  that  looked  like  big 
money,  then  you've  never  been  hun- 
gry. 

"Soon  after  that — about  four 
years  ago — I  got  a  contract  with  Par- 
amount. But  even  then  I  didn't  get 
on  very  fast.  They  didn't  seem  to 
like  me  much,  until  'Wings.'  After 
that,  things  were  different." 

And  then  the  dreams  started  to 
come  true. 

As  if  it  weren't  enough  that  he 
should  get  his  big  break — the  thing 
for  which  all  young  actors  wait  and 
pray  and  struggle — he  learned  that 
Jobyna  Ralston  had  been  cast  op- 


posite him  in  the  picture.  He  would 
work  with  her.  They  would,  he  told 
himself,  play  love  scenes  together. 

They  were  married  before  the  pic- 
ture was  finished. 

They  made  their  plans  for  the  low, 
white  house  with  the  red-tiled  roof, 
nestling  among  walnut  trees.  They 
laid  the  tiles  in  the  patio  themselves, 
and#together  they  put  in  the  fish  pond 
in  the  garden. 

The  day  I  was  there  Jobyna  was 
exulting  over  the  "twenty  cute  little 
perch"  she  had  added  to  her  collec- 
tion of  fish..  She  went  fishing  in  a 
near-by  lake,  illegally,  with  a  bent 
pin,  a  string  and  worms  from  the 
garden.  She  brought  home  twenty 
little  fish  in  a  pail. 

Jobyna  has  worked  very  little  in 
pictures  since  her  marriage.  "I  don't 
care  much  if  I  don't,"  she  says. 
"There  are  so  many  things  I  must 
do  for  Dick — he  is  coming  along  so 
fast,  you  know.  He  needs  me.  I 
have  never  cared — much — for  a  ca- 
reer for  myself." 

He  knew  what  he  wanted,  did  Dick 
Arlen. 

"I  worked  eight  long  years  with- 
out recognition,"  he  says.  "And  now 
that  it  is  beginning  to  come,  it  is 
fine,  of  course.  But  I  always  knew 
it  would  happen !" 

He  is  a  handsome,  clean-cut  youth, 
with  a  disarming  boyishness  about 
him  which  endears  him  to  women, 
and  a  manliness  which  appeals  to 
men. 

Oh,  yes !  And  he  is  mayor  of 
North  Hollywood,  the  rural  suburb 
where  the  low,  white  'house  is  situ- 
ated. I  don't  know  whether  that  was 
part  of  his  plan  for  himself.  I  for- 
got to  ask. 

His  company  is  proud  of  him,  and 
pleased  with  the  performances  he 
has  given  in  the  roles  assigned  to 
him.  He  is  playing  the  juvenile  lead 
in  "Beggars  of  Life,"  the  tramp 
story.  After  that,  it  looks  as.  if  the 
stardom  which  he  did  not  seek  might 
descend  upon  him. 

Those  who  profess  to  know,  say 
that  Dick  Arlen  will  go  far  in  pic- 
tures. Well,  he  will,  if  determination 
and  a  calm  outlook  upon  life  have 
anything  to  do  with  it. 


"When  we  were  young,"  said  grandma 

"It  always  was  the  rule 
To  save  our  pennies,  one  by  one, 

To  take  to  Sunday  school." 


WE  MODERNS 

And  I  note  the  saving  habit 

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Advertising  Section 


CHELSEA 


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YOUNG  LIGHTNING  Charles  Wesley  Sanders 

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A  Girl  Comes  to  Hollywood 


Continued  from  page  94 


the  profession  of  nursing.  She 
wanted  to  marry;  and  she  was  al- 
most engaged,  if  not  quite,  to  a  re- 
porter on  a  Los  Angeles  newspaper. 

"If  I  could  give  him  a  scoop,"  she 
thought,  "it  would  just  make  the 
difference.    He'd  think  I  was  It!" 

She  ran  to  the  telephone  on  the 
first  floor.  It  stood  on  a  table  in 
the  corridor,  and  almost  opposite 
were  two  elevators — one  used  for 
visitors,  the  other  mostly  for  the  doc- 
tors, -surgeons,  nurses,  and  patients 
going  to,  or  returning  from,  the 
operating  room.  Usually  a  nurse  sat 
at  the  table,  ready  to  send  and  re- 
ceive messages,  but  this  was  a  slack 
time,  and  for  the  moment  no  one 
was  there. 

Maggie  Turner's  heart  beat  fast, 
for  at  any  moment  some  one  might 
come  up  or  down  in  the  elevator  and 
she  would  be  caught.  Still,  for  her 
own  sake  and  Dick  Samson's  sake, 
she  would  run  the  risk.  She  knew 
the  telephone  number  of  the  news- 
paper, and  called  it.  In  a  few  sec- 
onds the  answer  came. 

"Is  Mr.  Richard  Samson,  one  of 
your  reporters,  in  the  office?"  she  in- 
quired breathlessly.  "Get  him  here 
quick,  will  you,  or  it  may  be  too 
late?" 

The  time  of  waiting  seemed  inter- 
minable. She  had  almost  given  up 
hope  when  she  heard  Dick  Samson's 
voice  at  the  other  end  of  the  line. 


That  you?  What's 
Out  with  it,  girl, 


"Hello,  Mag! 
the  good  news? 
for  I'm  on  an  assignment,  and- 

"I've  got  a  job  for  you,  Dick,  that 
ought  to  make  you  !"  she  cut  in.  "It's 
a  scoop,  if  you'll  rush  here — I'm 
speaking  from  the  sanitarium,  of 
course — before  the  thing  gets  out." 

"Listens  good !"  answered  the  re- 
porter jovially.  "But  I  know  you 
girls  too  well.  If  you  think  a  row  be- 
tween your  head  doctor  and  matron, 
or  any  little  thing  like  that,  is  front- 
page news  for  the  biggest  paper  in 
Los  Angeles — why,  you'd  better  think 
again,  kid!  I'm  on  a  holdup  case 
now  " 

"Wouldn't  you  say  the  murder  of 
a  titled  lady  by  her  own  nephew,  a 
well-known  writer,  in  a  smart  res- 
taurant, was  better  news  than  some 
measly  holdup,  like  we  have  every 
day?" 

"Good  Lord!  Yes!"  yelled  Sam- 
son over  the  line.  "Have  you  got  a 
scoop  for  me  like  that — honest  Injun, 
hope  to  die?" 

"You  bet  I  have,  if  you  hurry!" 
the  girl  gasped. 

"You  bet  I  will !"  snapped  the  re- 
porter. 

The  nurse  slapped  the  receiver  into 
place  and  darted  down  the  corridor 
in  the  direction  of  the  room  she  had 
left. 

[to  be  continued.] 


The  Stroller 

Continued  from  page  33 


He  declares  he  has  never  yet  been 
asked  to  define  it. 

And  now  about  these  talking  pic- 
tures !  They  are  running  out  of 
names  for  'em.  Vitaphone,  Movie- 
tone, Firnatone,  Marveltone,  and  so 
on.  Ted  Cook  wants  Sam  Sax,  an 
independent  producer,  to  join  in  the 
craze,  because  he'd  have  such  a  splen- 
did name  for  his  process. 

Universal,  also  experimenting  with 
sound,  asked  for  suggestions  to  name 
the  thing  at  the  annual  sales  conven- 
tion. Glenn  Tryon — that  guy  is 
really  no  relation  to  me,  even  if  I  do 
mention  him  so  often — offered  one 
which  sprang  from  his  early  experi- 
ence in  Westerns. 

The  name  was  Horse-a-phone,  and 
the  suggestion  almost  cost  him  his 
life. 

Theodore  Roberts  seems  to  hold  a 
place  in  the  heart  of  the  film  colony 
that  no  one  else  has  ever  achieved.  I 


recently  saw  him  witnessing  the 
weekly  boxing  bouts  at  the  Holly- 
wood Legion  Stadium  beaming  from 
a  ringside  seat.  It  was  almost  like  a 
reception,  the  manner  in  which  he 
was  greeted  by  every  one  within  hail- 
ing distance. 

The  Hollywood  fights  are  a  very 
interesting  spectacle  to  me,  regard- 
less of  what  happens  in  the  ring. 
This  is  a  -side  of  Hollywood  one 
doesn't  see  elsewhere  in  public.  Un- 
like the  formal  theater  premieres,  the 
celebrities  go  to  have  a  good  time  in- 
stead of  being  on  display.  Also,  they 
go  there  to  see  friends,  and  some- 
times drop  a  casual  word  to  those  in 
authority  that  a  job  might  not  come 
amiss. 

Scores  of  Hollywoodians,  as  a  mat- 
ter of  fact,  gather  in  front  of  the 
Stadium  before  starting  time,  in  or- 
der to  see  friends,  when  they  have  no 
intention  of  actually  attending  the 
bouts. 


Advertising  Section 


111 


Aloof  and  Friendly 

Continued  from  page  49 


When  she  was  fourteen,  the  family 
moved  to  Los  Angeles. 

Now,  I  have  it  from  some  of  Fay's 
schoolmates  that  she  was  its  shin- 
ing, literary  light.  It  was  Fay  who 
named  their  school  yearbook  "The 
Reflector" — which  name  it  still  bears. 
It  was  Fay  who  wrote  this  poem,  the 
onlv  one  individually  signed  in  "The 
Reflector"  for  1923. 

The  Mountains 

The  mightiest  things  that  nature's  hand 
hath  made, 
Majestic  in  their  dignity  they  stand, 
Aglow  with  life  now  as  the  sun  doth  fade, 
And  fill  each  chasm  with  shadows  deep 
and  grand. 
They  are  the  kings;  all  nature  owns  their 
might. 

The  floods,  the  waves,  the  rivers  pass 
away, 

That  ball  of  fire  sinking  out  of  sight 

Acknowledges  their  power,  every  da}^. 
From  out  their  sides  stand  mighty  sil- 
houettes 

Of  weird,  strange  faces  carved  by  some 
huge  hand, 
Sphinxlike  in  wisdom  so  that  one  forgets 
His   fleeting  life   and   marvels   as  he 
stands. 

They  symbolize  serene,  eternal  power, 
Seen  by  the  eyes  of  ages  of  the  past. 

They  still  shall  be  until  the  destined  hour 
When  time  shall  cease  and  earth  shall 
pass  away. 

At  fourteen  or  thereabouts,  most 
of  Fay's  school  chums  were  beginning 
to  attend  parties  with  their  boy 
friends.  Fay  was  aloof.  She  was 
"different."  Unquestionably  the  pret- 
tiest girl  in  the  school,  with  her  deep- 
blue  eyes,  her  curly,  brown  hair  and 
her  lovely  face,  she  was  always  sin- 
gled out  for  special  attentions ;  but 
she  quietly  and  serenely  would  have 
none  of  them.  She  was  to  be  a 
writer.    She  must  study. 

Fay's  literary  ambitions  were  side- 
tracked when  the  Wrays  moved  to 
Hollywood.  Somehow  she  found 
small  bits,  during  vacations,  at  one 
of  the  lesser  studios.  After  that,  she 
knew  her  place  must  be  on  the 
screen. 

She  went  back  to  high  school,  but 
did  not  finish ;  for  an  offer  came  for 
work  at  the  Hal  Roach  studio — and 
Ray  accepted  it. 

Her  signing  for  the  role  of  Mitzi, 
in  "The  Wedding  March,"  and  her 
subsequent  contract  with  Paramount, 
are  well  known.  She  is  now  one  of 
the  elite  on  the  Paramount  lot.  Her 
roles  in  "The  Legion  of  the  Con- 
demned," "The  Street  of  Sin,"  and 
"The  First  Kiss"  have  established  her 
as  a  leading  player  in  her  own  right. 
Fay  Wray  and  Gary  Cooper  have 
brought  to  the  screen  one  of  its  most 
satisfying  young  couples. 

I  suppose  you  are  wondering  just 


how  much  this  new  life  of  fame  and 
glamour  has  changed  the  serious, 
domestic  little  girl.  Quite  truthfully 
it  has  changed  her  very  little,  if  at  all. 

She  loves  her  work — the  work  that 
is  an  outgrowth  of  her  play  acting 
of  the  surprise-party  days.  Instead 
of  her  childhood  friends,  it  is  now 
the  great  movie-going  public  that 
gives  her  "surprise  parties."  She 
wants  to  go  as  high  as  she  can  in  pic- 
tures. Fay  is  cultivating  her  already 
lovely  voice,  so  that  sound  pictures 
will  not  find  her  wanting. 

"I've  never  had  a  lifelong  chum 
like  most  girls  have,"  she  told  me. 
"I  don't  know  why,  unless  it  is  that 
I  was  always  so  serious,  and  needed 
none  but  Willa." 

A  few  weeks  ago  the  mother  of 
one  of  the  girls  who  used  to  attend 
Fay's  high  school  decided  it  would 
be  pleasant  to  bring  together  some 
of  the  girls  who  were  classmates 
there.  Fay  was  among  those  invited. 
She  accepted,  overjoyed  at  the  pros- 
pect of  again  seeing  her  one-time 
classmates.  But  a  location  trip  in- 
tervened, and  Fay  sent  her  regrets, 
adding  that  should  another  such  get- 
together  be  planned,  she  would  not 
wish  to  be  excluded. 

Her  career  has  interfered  with  her 
domestic  proclivities.  She  has  not 
the  time  in  which  to  do  the  things 
she  would  like  to  do  in  her  home. 
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ing ;  and  the  things  she  makes  for 
her  own  wear  are  skillfully  fashioned. 

Pier  sense  of  humor?  We  were 
discussing  my  imminent  journey  on 
shipboard,  and  Fay  was  very  seri- 
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112 


Advertising  Section 


Fashions  in  Etiquette  Change 

Good  Form  To=day  is  Different  from 
the  Good  Form  of  a  Few  Years  Ago 

The  Very  Last  Word  on  the 
Subject  of  Correct  Behavior  is 

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Engaged  Man 
Entertaining 

Guests 
Table  Manners 
Calling  Customs 
Letters  of  Intro= 

duction 
Wording  of  Invi= 

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Accepting  or  Declin= 
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Funeral  Etiquette 
Courtesy  to  Servants 
The  Woman  who 
Travels 

Automobile  Etiquette 

Public  Dances 

Street=car  Etiquette 

The  Etiquette  of 
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Greta — As  She  Is 

Continued  from  page  74 


dealing  with  invitations.  Some  one 
asks  her  if  she  would  like  to  join  a 
party  to  go  riding.  If  she  would, 
she  says  yes.  If  not,  she  doesn't 
plead  a  headache,  a  previous  engage- 
ment, or  any  of  the  accepted  stalls. 
She  says,  "No,  I  think  I  wouldn't  like 
to  go." 

Likewise  her  ideas,  thoughts,  and 
opinions  are  not  arrived  at  by  any 
circuitous  route.  They  are  either  af- 
firmative or  negative  and,  once 
formed,  inflexible.  But  although 
definite  in  her  opinions,  she  never 
argues. 

She  has  a  dry  sense  of  humor  that 
gives  added  charm  to  her  broken 
English.  Her  accent — impossible  to 
imitate — is  still  very  broad.  She  has 
acquired  enough  English  to  suffice 
her  needs,  and  one  hopes  she  never 
acquires  enough  to  eradicate  the  ac- 
cent. 

She  reads  a  great  deal  in  Swedish, 
mostly  plays,  of  any  period,  and  the 
study  and  history  of  the  theater.  Her 
only  other  recreation,  besides  driving, 
and  occasionally  riding,  is  swimming. 
She  swims  expertly,  and  is  richly 
tanned  from  long  afternoons  in  the 
ocean.  So  tanned,  indeed,  that  care 
has  to  be  used  in  selecting  her  gowns 
for  the  camera,  it  being  necessary  tO' 
choose  colors  that  will  photograph 
darker  than  her  skin. 

Her  naturally  blond  hair  is  straight, 
and  so  fine  and  silky  that  a  hair- 
dresser is  in  constant  attendance  on 
the  set  to  keep  the  wave  in  order. 
Off  the  screen,  she  does  not  bother 
to  curl  it,  scorning  curling  irons  along 
with  such  other  frivolities  as  per- 
fume, jewels,  or  powder.  She  vises 
no  make-up  whatever  outside  the  set. 
Her  skin  is  as  satiny  and  clear  as  a 
baby's,  and  she  is  locally  famous  for 
the  extravagant  length  of  her  eye- 
lashes. 

She  is  deeply  fond  of  children,  and 
an  easy  mark  for  solicitors  seeking 
donations  for  orphanages.  Often  she 
has  been  seen,  on  her  solitary  walks 
along  the  beach,  pausing  to  play  with 
the  children  there- — prowling  with 
them  among  the  rocks  for  limpets, 
and  digging  trenches  in  the  sand. 
She  speaks  of  her  sister's  baby,  whom 
she  used  to  take  out  in  Stockholm 
and  pretend  that  it  was  hers.  It  was 
such  a  pretty  baby.  And  now,  she 
grieves,  it  wouldn't  know  her. 

She  worries  about  her  family  con- 
siderably, and  if  she  does  not  hear 
from  them  at  regular  intervals,  is 
frantic.  Much  of  her  money  goes  to 
them  and  to  various  relatives.  Ob- 
viously, it  is  not  spent  on  herself,  for 
she  has  no  hobbies  to  indulge,  no 
feminine  frivolities  to  buy.    Even  her 


having 


rooms  are  plain  and  severe, 
only  such  articles  as  are  essentially 
for  comfort. 

On  those  comparatively  infrequent 
days  when  she  is  free  of  the  weary 
melancholy  that  makes  her  introspec- 
tive, she  is  as  sparkling  and  mischiev- 
ous as  a  child.  At  such  times  she 
likes  people  around  her.  Recently, 
having  heard  of  a  new  spaghetti  joint 
near  the  studio,  she  gathered  her  com- 
pany, down  to  the  last  electrician, 
and  went  there  for  lunch.  They  sat 
on  high  stools,  at  a  grimy  counter 
and  behaved  hilariously.  Greta  had 
great  fun  and  ate  an  awful  lot. 

Stress  has  been  made  of  her  in- 
accessibility to  interviewers.  It  is 
true  that  she  is  almost  inaccessible. 
It  would  be  quite  within  reason  were 
she  completely  so.  She  has  been  mis- 
quoted at  length,  misunderstood  at 
large.  Hard-boiled  reporters  have 
always  deluged  her  with  questions  as 
to  her  love  life — fired  their  queries 
at  her  in  their  own  jargon.  And 
Greta,  understanding  perhaps  a  tenth 
of  their  meaning,  trying  to  be  polite 
and  yet  retain  her  privacy,  would  get 
so  tangled  up  in  the  complexities  of 
the  language  that,  unconsciously,  her 
answers  would  be  quite  wrong.  She 
still  cannot  understand  that  the  pub- 
lic wants  to  probe  her  private  affairs, 
or  wants  to  see  pictures  of  her  cook- 
ing a  steak.  She  consistently  avoids 
publicity  and  doesn't  even  read  what 
is  written  about  her.  It  concerns  her 
so  little  that,  when  the  publicity  de- 
partment indignantly  shows  her  some 
unjust  criticism,  she  asks  naively, 
"Did  you  put  it  in?"  and  tries  to  be 
properly  grateful  for  their  efforts  on 
her  behalf. 

Her  magnetism  is  remarkable.  It 
is  not  just  a  freak  of  the  camera. 
Off  the  screen  she  is  frequently  not 
recognized,  but  even  then  occasions 
attention.  Very  tall,  more  angular 
than  statuesque,  with  a  slouching 
carriage  that  should  be  gauche,  but 
isn't,  the  chemistry  of  her  appeal  is 
inescapable.  In  most  such  cases  a 
surge  of  great  vitality  is  pointed  out 
as  partial  explanation.  In  Garbo  this 
quality  is  nil.  Her  very  indiffer- 
ence, which  comes  from  her  lack  of 
ego,  adds  to  the  puzzle.  Therefore, 
the  appeal  cannot  be  as  entirely  physi- 
cal as  has  been  assumed. 

There  are  undoubtedly  in  her  un- 
discovered areas  of  spirit,  back  of 
the  silence,  the  stoicism,  the  reserve. 
Some  day — forgive  me  if  I  idealize 
— the  right  story,  the  right  environ- 
ment, the  right  director,  will  uncover 
these.  And  on  that  day,  the  movies 
can  lock  up  their  studios  and  call  it 
a  task  completed. 


Advertising  Section  113 

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114 


Advertising  Section 


The  Brand  of 
a  Good  Book 


IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 


Chelsea  House 

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5 


Are  tke  Mo  Vies  Scorning  LoVe? 


Continued  from  page  19 


than  that  of  romantic  love,"  who  fur- 
ther said.  "All  things  considered,  it 
is  not  so  much  the  nature  of  the 
theme,  but  the  strength  of  the  story 
that  really  counts.  Great  stories,  I 
believe,  can  be  built  around  father 
love,  and  the  father-and-son  angle  in 
pictures  can  be  worked  into  many 
dramatic  situations  that  would  be  new 
to  audiences.  I  have  often  thought 
of  an  idea  along  this  line,  which  some 
day  I  hope  to  write  as  a  play.  From 
an  actor's  point  of  view,  roles  like 
these  are  far  more  interesting  to  play. 
Then,  too,  there  is  the  drama  of  men 
in  some  struggle,  as  for  example,  in 
'Tell  It  to  the  Marines,'  where  the 
love  element  was  subordinated.  I 
think  that  my  role  of  the  sergeant 
was  one  of  the  most  satisfying  to  me 
that  I  have  ever  undertaken." 

George  Bancroft,  another  very 
popular  character  actor,  has  a  differ- 
ent version.  "Just  once  in  my  career 
I  should  like  to  play  in  a  great  love 
story,"  he  said.  "I  have  never  had 
such  an  opportunity;  perhaps  that  is 
why  I  have  the  desire.  However,  I 
should  be  running  a  big  chance  of 
making  a  picture  that  would  be  a 
failure,  for  experience  has  taught  me 
that  recent  films  that  have  left  love 
interest  to  the  imagination  have 
proven  most  successful.  Perhaps  the 
character  I  like  best  to  portray  is  that 
of  swaggering  cocksureness." 

"Naturally,  I  am  especially  proud 
of  a  love  story  like  'Lilac  Time,'  " 
Colleen  Moore  related. 

"I  cannot  think  of  anything  more 
wonderful  for  screen  purposes  than 
an  out-and-out  love  story,  and  a  sin- 
cere one"— this  from  Edmund  Lowe. 
"Our  magazines  have  thrived  on  sexy 
stuff  at  times,  but  it  is  not  more  than 
a  passing  flair.  It  is  passe  in  the 
movies,  too.  But  there  is  always 
room  for  a  picture  like  'Seventh 
Heaven.'  I  think  that  is  my  favorite 
of  all." 

Another  devotee  is  Norma  Shearer. 
"I  like  good,  old,  hot  romance  on  the 
screen,"  she  said.  "I  like  pictures 
with  love  interest,  but  these  days  the 
audience  must  believe  in  the  situation. 
The  love  story  must  have  depth  and 
sincerity,  or  else  the  surroundings 
and  circumstances  must  be  unique. 
The  characters  must  be  interesting 
people,  doing  interesting  things — not 
just  dummies,  embracing. 

"I  think  that  any  human  struggle 
makes  a  most  interesting  theme — 
whether  it  be  a  struggle  for  achieve- 
ment, fame,  money  or  even  existence, 
as  in  Griffith's  picture,  'Isn't  Life 
Wonderful?' — one  of  my  favorites." 

Curiously  enough,  there  is  one 
character  actor  who  is  all  for  the  Cin- 


derella theme,  and  that  is  Victor  Mc- 
Laglen.  "It  is  as  tender  to-day  as  it 
was  thousands  of  years  ago,  and  we 
will  continue  to  react  to  it  through- 
out time,"  he  averred.  "There  will 
be  passing'  fads,  of  course,  such  as 
heaving  chests  and  red-hot  kisses,  but 
this  is  not  love  as  we  understand  the 
finer  things  of  life."  He,  too,  men- 
tions "Seventh  Heaven"  as  having  a 
great  theme,  and  describes  this  theme 
as  being  courage  rather  than  love. 

"To  me  it  is  much  more  interesting 
and  worth  while  to  do  pictures  where 
love  is  not  the  principal  emotion,  but 
since  it  is  an  integral  part  of  human 
existence  I  do  not  believe  it  can  be 
ignored,"  declared  Jack  Gilbert.  "In 
most  pictures  the  love  interest  should 
be  distinctly  subordinated.  For  ex- 
ample, in  'Man,  Woman,  and  Sin,' 
the  principal  theme  was  the  reactions 
of  a  young  man  in  encountering  the 
vicissitudes  of  life.  In  other  words, 
the  story  mainly  concerned  itself  with 
his  experiences,  among  which  his 
affair  with  a  society  editress  was  only 
one  of  several.  In  'The  Cossacks' 
adventure  and  contest  were  preemi- 
nent— also  the  devotion  of  a  father 
and  son  was  very  important.  The 
regeneration  theme  prevails  in  'Four 
Walls,'  which  I  recently  made.  In 
fact,  heart  interest,  as  personified  by 
Joan  Crawford,  furnished  an  obstacle 
to  the  success  of  the  hero,  deflecting 
him  from  his  endeavor  to  reinstate 
himself  with  organized  society  after 
a  prison  term." 

The  great  love  story  is  perhaps  still 
to  be  told  on  the  screen.  "Seventh 
Heaven"  is  an  approach  thereto,  but 
it  lacked  the  really  heroic,  adult  mold. 
Its  naive  charm — wonderfully  grace- 
ful, however — was  very  enthralling. 
It  had  the  delicacy  of  a  Pyramus  and 
Thisbe  lyric  brought  up  to  date.  Its 
theme  of  spiritual  elevation  was  en- 
chantingly  expressed. 

The  models  for  the  great  love  plays 
would,  it  seems,  go  back  to  Dante 
and  Beatrice,  Paola  and  Francesca, 
Hero  and  Leander,  Tristan  and 
Isolde,  and  Romeo  and  Juliet.  These 
are  reckoned  among  the  mighty  of 
the  past.  Perhaps  some  time  they 
may  be  reproduced  filmwise,  in  all 
their  radiant  and  beckoning  glamour. 

The  screen,  too,  may  achieve  its 
own  method  of  rendering  such  proto- 
types both  poetical  and  real.  Pos- 
sibly "Seventh  Heaven,"  in  its 
springlike  way,  is  the  bud  from  which 
will  mature  the  flower.  It  seems  to 
be  the  present  climax,  in  any  event. 
For  it  is  singularly  free  from  the 
dross  which  has  hung  to  many  pur- 
ported revelations  of  great  romances 
on  the  screen. 


Advertising  Section 


115 


Stardom   Can't   Last — What's  to 

FolW? 

Continued  from  page  87 

Incidentally,  he  confided  on  the 
same  occasion  that  he  aspired  to  be- 
come a  studio  executive. 

"No  actor  has  ever  achieved  that 
position,  that  I  know  of,"  he  re- 
marked. "But  that  is  what  I  should 
like  to  do,  and  I  am  going  to  try  to 
do  it!" 

John  Gilbert  wants  to  produce.  "It 
is  all  an  accident,  my  being  an  actor, 
anyhow !"  he  told  me.  "No  one  was- 
as  surprised  as  I  was.  Me — with  my 
bulbous  nose  and  funny,  thin  neck — 
a  leading  man !    It's  amazing  ! 

"I  shall  go  on,  of  course,  as  long 
as  I  can,  and  make  as  much  money  as 
possible.  But  afterward  I  am  going 
to  work!  This  is  not  work,  you  know 
— just  walking  through  a  picture. 
Other  people  have  written  the  story, 
planned  the  settings,  worked  out  the 
action.  Why,  the  very  things  I  do 
on  the  set  are  the  expressions  of  the 
director.    I  am  just  a  puppet! 

"When  the  public  no  longer  wants 
to  see  me  on  the  screen — and  it  can't 
be  very  long,  now ! — I  want  to  do 
some  of  the  work  in  pictures.  I  want 
to  use  my  brain. 

"I  am  an  egomaniac,  you  know, 
and  I  think  I  could  do  a  lot  of  these 
things  better  than  most  of  the  people 
who  are  doing  them.  There  are  a 
few  brain-workers  in  the  industry  to 
whom  I  take  off  my  hat  with  tre- 
mendous respect.  The  rest — well,  I 
think  I  could  do  better !" 

Jack  has  great  plans,  beautiful 
dreams,  of  things  he  wants  to  do  in 
pictures.  Stardom,  to  him,  is  just  an 
incident  along  the  way.  The  end  of 
it  will  be  a  new  beginning  for  him. 

Esther  Ralston,  the  beautiful  blond 
Esther,  plans  a  dressmaking  estab- 
lishment. "They  have  made  a  clothes 
horse  of  me  in  pictures,"  she  re- 
marked. "I  shall  cash  in  on  that ! 
I  have  not  spent  my  time  entirely  in 
learning  how  to  act.  I  have  spent 
it  learning  how  to  dress,  too.  I  shall 
sell  my  knowledge  after  I  have  fin- 
ished practicing  what  I  have  learned 
in  pictures." 

They  are  learning,  the  stars  of  to- 
day, from  the  experiences  of  the  stars 
of  yesterday.  Success  can  dissolve 
overnight,  into  shadows  and  mem- 
ories. Only  a  few  can  remain  in  the 
spotlight  over  a  long  period — and 
they  look  forward  to  forty  as  the  end 
of  their  stay. 

After  stardom — what?  It  is  a 
question  which  many  established 
plaj'ers  are  considering  seriously  in 
these  days  of  insecurity  and  abrupt 
endings  of  careers.  ' 


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116 


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Who  Will  be  Stars  in  1938? 


Continued  from  page  26 


to  be  based  on  her  work,  "The  Man 
and  the  Moment,"  but  it  was  done  in 
England,  and  was  not  exactly  an  im- 
mortal effort.  Pola  Negri  and  Ernst 
Lubitsch  were  also  busy  abroad, 
working  jointly  on  "Gypsy  Blood" 
which,  when  it  was  brought  here, 
helped  to  make  Americans  conscious 
for  the  first  time  of  Continental  ri- 
valry in  the  production  of  movies. 

What  a  different  horizon  a  few 
years  can  build !  When  we  see  how 
scattered  present  talent  was,  we  won- 
der how  Hollywood  managed  at  all. 
The  favorites  of  1928  were  all  over 
the  globe,  doing  all  sorts  of  things. 
Gary  Cooper  was  a  cow-puncher, 
riding  the  lonely  wastes  of  a  Mon- 
tana ranch.  Margaret  Mann  was  a 
housewife  in  Seattle.  Gilbert  Roland 
was  a  thirteen-year-old  urchin  in  the 
streets  of  Chihuahua,  Mexico.  Ford 
Sterling  was  half  of  the  vaudeville 
team  of  McEvoy  and  Sterling.  Jac- 
queline Logan  was  a  reporter  in  Den- 
ver. Norma  Shearer  posed  for  kodak 
advertisements.  Josef  von  Sternberg 
was  a  senior  at  the  University  of 
Vienna.    Victor  Seastrom  was  an  ac- 


tor in  Stockholm.  Mary  Philbin  was 
a  music  student  in  Chicago. 

Few  scientific  treatises  bother  to 
point  a  moral.  This  one,  however, 
on  the  stars  of  1938,  does.  Ten  years 
will  see  the  passing  of  all  those  now 
at  the  top.  If  they're  good  boys 
and  girls  they'll  save  their  money, 
so  they  can  retire  to  a  nice  ranch 
somewhere.  If  they're  foolish  and 
don't  count  their  Rolls-Royces  now, 
they'll  be  riding  a  street  car  en  route 
to  play  a  small-time  vaudeville  date. 
And  meanwhile,  a  new  generation 
will  be  in  Hollywood,  signing  big 
contracts  and  buying  pale-blue,  for- 
eign limousines  on  the  installment 
plan. 

Right  now  that  new  generation  is 
scattered  far  and  wide.  If  it's  true 
that  history  repeats  itself,  some  of 
1938's  stars  are  in  school,  some  in 
offices,  others  on  farms.  Or  should 
it  be  that  talking  pictures  will  change 
it  all,  to-morrow's  John  Gilbert  is 
calling  out  trains  in  a  railroad  sta- 
tion, and  his  screen  love,  to-morrow's 
Greta  Garbo,  is  screaming  her  cus- 
tomers' orders  for  ham  and  eggs 
loud  enough  for  the  chef  to  hear. 


Over  the  Teacups 

Continued  from  page  31 


L  _J 


Agua  Caliente  for  the  week-end  by 
airplane.  Imagine  a  person  on 
crutches  getting  into  an  airplane ! 

"Anna  has  never  been  at  a  loss  for 
company  all  the  while  she  has  been 
laid  up.  The  Warner  Baxters,  the 
Neil  Hamiltons,  the  Allan  Dwans, 
and  simply  loads  of  other  people  live 
around  her  and  drop  in  all  the  time. 
She  looks  amazingly  well,  consider- 
ing all  she  has  been  through,  but  it 
may  be  some  time  before  she  can 
work  again. 

"Oh,  dear,  I  swore  that  curiosity 
wouldn't  attract  me  to  another  talk- 
ing picture  until  the  process  is  per- 
fected, but  come  to  think  of  it,  if- 
Anna  ever  confides  that  delightful 
Swedish  accent  of  hers  to  a  micro- 
phone, I'll  be  the  first  to  rush  to 
hear  it. 

"Don't  be  surprised  if  you  hear  of 
Ruth  Roland  coming  back  to  pictures, 
now  that  voices  count.  All  the  voice 
culture  she  has  been  indulging  in  for 
years  isn't  going  to  be  wasted. 

"Oh,  by  the  way,  Ruth  and  Ben 
Bard  won  the  dance  cup  at  Mont- 
martre  the  night  Ruth  Elder  was 
guest  of  honor  and  judge.  A  nice 
tribute  from  the  newcomer  to  the 
old-timer." 

"Have  you  met  Ruth  Elder?"  I 


gasped.  I  do  get  enthusiastic  and 
curious  once  in  a  while. 

"Oh,  yes,"  Fanny  admitted,  striv- 
ing hard  to  sound  casual.  "I  called 
on  her  the  other  afternoon.  She  is 
living  just  a  block  from  me.  I  don't 
want  to  appear  to  gloat  over  trifles, 
but  I  am  jealous  of  any  one  who  can 
pilot  a  plane.  I  might  just  as  well 
tell  you.  She  is  one  of  the  worst 
automobile  drivers  I  have  ever  seen. 
Every  motorist  on  our  street  scurries 
for  cover  when  they  see  her  coming 
out  of  the  garage." 

"But  what  is  she  like?"  I  de- 
manded. 

"Indescribable,"  Fanny  admitted. 
She  looks  like  a  coarser,  mpre  bru- 
net  version  of  Corinne  Griffith.  Sort 
of  road  company  No.  3.  She  has 
a  lot  of  charm,  and  a  husky  voice 
with   an  Alabama  drawl. 

"She  wants  to  stay  in  pictures  as  a 
real  trouper,  not  as  an  aviatrix  who 
is  being  exploited.  But  aviation  is 
really  her  first  interest.  You  would 
like  her." 

I  am  sure  I  would,  but  unless 
Fanny  becomes  generous  and  intro- 
duces me,  I  shall  have  to  admire  her 
from  afar,  like  the  rest  of  the  public, 
when  she  makes  her  debut  on  the 
screen. 


Advertising  Section 


117 


Hollywood  Higk  Lights 

Continued  from  page  100 


Offers  to  be  Menagerie. 

A  man  recently  wrote  to  one  of 
the  studios,  offering  to  double  for 
animals  in  talking  pictures.  He  said 
he  could  crow  like  a  rooster,  bleat  like 
a  sheep,  roar  like  a  lion,  bray  like  a 
jackass,  and  quack  like  a  duck.  "I 
also  was  learning  to  rattle  like  a  rat- 
tlesnake," he  continued,  "but  my  girl 
didn't  like  it,  and  wanted  to  throw  me 
down,  so  I  put  that  out  of  my  reper- 
toire." 

Nemesis  Pursues  Tom. 

Tom  Mix's  troubles  just  seem  to 
multiply  and  multiply.  Not  only  did 
he  have  to  defend  his  honor  in  a  fist 
fight,  and  then  go  to  court  about  it, 
but  he  has  been  so  tied  up  with  work 
that  he  is  unable  to  go  to  Europe,  as 
he  had  planned,  to  join  Mrs.  Mix  and 
his  daughter,  Thomasina.  Mrs.  Mix 
rather  coyly  averred,  lately,  that  she 
wouldn't  return  home  until  Tom 
came  for  her,  according  to  report,  so 
that  this  probably  made  the  deferring 
of  the  trip  a  double  disappointment 
to  Tom. 

This  disappointment  was  as  noth- 
ing", though,  to  that  which  courtroom 
fans  suffered  during  the  trial,  when 
Tom  failed  to  arrive  before  the  ju- 
dicial tribunal  in  a  ten-gallon  hat, 
and  high  boots.  Everybody  had 
gone  to  the  courtroom  expecting  that 
thrill  above  all  others,  and  it  was  not 
forthcoming.  Tom  appeared  in  a 
quiet  business  suit,  a  soft  hat  of  reg- 
ulation style  and  black  oxfords,  quite 
the  unexpected. 

Not  So  Ephemeral. 

Who  says  that  the  movies  are  a 
precarious  profession  ? 

One  actor,  Edward  Connellv,  has 


been  with  a  single  organization  for 
fourteen  years. 

Connelly  is  a  contract  player  with 
Metro-Goldwyn.  He  was  with  the 
old  Metro  before  its  merger  with  the 
other  parts  of  the  organization  a  few 
years  ago,  and  attracted  considerable 
attention  in  the  earlier  Rex  Ingram 
pictures. 

Oh,  Well— They'll  Change  It. 

Muni  Weisenfrend  is  the  name  of 
a  new  .Movietone  actor ! 

Bo-Peep  Missing. 

Just  to  add  to  this  joy  over  names, 
we  might  pass  along  the  news  that 
Fox  has  signed  a  little  Chinese  girl 
by  the  name  of  Petite  Bo  Ling,  and 
that  she  has  a  sister  named  Bo  Ching. 
By  some  strange  chance,  they  are  ap- 
pearing in  a  picture  called  "Husbands 
Are  Liars."  Make  out  of  that  what 
you  can,  Watson. 

Alice  Joyce  on  Stage? 

There  sjeems  to  be  a  strong  prob- 
ability that  Alice  Joyce  will  make  her 
stage  deput  in  a  dramatization  of 
Ernest  Pascal's  novel  "The  Marriage 
Bed,"  when  it  is  produced  in  Los 
Angeles,  and  Owen  Moore  also  is 
mentioned  for  an  importan  role. 

Owen  Moore  has  won  his  spurs 
over  and  over  again  in  plays  staged 
at  the  Writers'  Club,  while  Miss 
Joyce  apparently  anticipated  the 
vogue  of  the  talkies  by  recently  com- 
pleting a  year's  course  in  the  use  of 
the  speaking  voice  at  Columbia  Uni- 
versity. Her  appearance  on  the  stage, 
in  the  citadel  of  the  talkies,  cannot 
fail  to  be  interesting  and  perhaps  a 
step  forward  in  her  motion-picture 
career. 


Manhattan  Medley 

Continued  from  page  61 


dotted  tie,  at  the  age  of  thirteen,  has 
been  transformed  from  The  Kid 
into  a  little  gentleman.  The  Kid,  in 
his  teens,  utters  wise  cracks,  does  the 
varsity  drag,  and  recites  war  poems 
in  company  with  his  father,  a  hoofer 
of  parts. 

Connie  Lured  Abroad. 

Constance  Talmadge  has  gone  to 
Europe  to  appear  in  a  new  film.  She 
arrived  in  Paris  a  few  hours  before 
her  erstwhile  husband,  Captain  Alas- 
tair  Macintosh,  married  Leta  Emery, 
of  New  York,  but  she  did  not  attend 


the  ceremony.  Instead,  she  went  off 
to  Nice  where  she  will  be  the  star  of 
Louis  Mercanton's  picture  "Venus." 

Mr.  Marmont  Breeds  Foxes! 

Speaking  of  matters  across  the 
water,  Percy  Marmont,  having  ac- 
cumulated what  is  colloquially  known 
as  a  bank  roll,  is  now  occupying  his 
estate  in  Merrie  England  and  is  rais- 
ing foxes  for  commercial  purposes. 
He's  thoroughly  enjoying  life,  and 
plans  to  continue  his  pleasurable  ex- 
istence unless  the  call  of  histrionic 
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The  Screen  in  ReVievtf 

Continued  from  page  98 


to  live  down  their  roles,  but  Reed 
Howes  manages  somehow  to  make 
Butch  believable.  The  picture  is 
chock-full  of  sound  effects,  including 
the  discordant  hubbub  of  the  carnival. 

Still  More  Underworld. 

Once  more  the  underworld  is 
lighted  by  Kleigs,  the  machine  guns 
do  their  stuff,  the  motor-cycle  squad 
turns  out,  the  "gats"  pop,  and  a  crook 
is  shown  to  be  smarter  than  the  po- 
lice department.  It  is  called  "State 
Street  Sadie"  this  time,  is  aided  and 
abetted  by  the  Vitaphone,  and  is  fair 
melodrama,  which  through  sound  ef- 
fects and  snatches  of  dialogue,  will 
achieve  a  standing  it  might  not  other- 
wise possess.  The  story  is  typical 
of  the  movies,  its  preposterousness 
being  disguised  by  its  quick  move- 
ment. 

Conrad  Nagel's  twin  brother  works 
in  a  bank  which  is  robbed  by  gun- 
men who,  in  the  melee,  kill  a  police- 
man and  fasten  their  guilt  on  the 
twin.  This  is  responsible  for  his 
suicide,  whereupon  Mr.  Nagel  turns 
up  to  avenge  his  brother's  death,  and 
unmask  the  master  mind  known  as 
"The  Chief."  In  bringing  this  about, 
he  meets  State  Street  Sadie  who, 
oddly  enough — or  it  would  be  odd 
outside  the  movies — is  the  daughter 
of  the  slain  policeman.  Need  it  be 
added  that  the  master  mind  is  un- 
masked by  the  hero  and  heroine  mas- 
querading as  crooks,  and  that  love 
lights  their  future? 

William  Russell  contributes  a  grip- 
ping, though  florid,  character  study 
as  the  principal  crook,  and  his  work 
is  given  further  importance  by  his 
skillful  handling  of  dialogue.  As 
much  can  also  be  said  of  George 
Stone,  but  Mr.  Nagel,  though  re- 
putedly satisfactory  as  a  Vitaphonist, 
sounds  to  me  as  if  he  had  a  cold  in 
the  head,  and  Myrna  Loy's  exotic  ap- 
pearance is  nullified  when  her  pallid 
voice  is  heard. 

Oleomargarine. 

The  reason  I  take  issue  with  "The 
Butter  and  Egg  Man"  is  not  only 
because  it  is  a  slow,  conventional 
movie,  directed  and  acted  without  re- 
sourcefulness or  imagination,  but  be- 
cause the  character  around  which  the 
stage  play  was  written  has  been  ig- 
nored and  a  counterfeit  substituted. 
This  character,  by  name  Peter  Jones, 
was  a  shy,  idealistic  youth  with  a 
beaming  belief  in  the  theater  and  the 
people  of  it,  though  he  knew  little 
of  either.  In  the  picture  he  has,  it 
is  true,  the  same  name ;  but,  woe  is 
me,  he  becomes  a  natty  movie  actor 
of  distinctly  moviesque  countenance 


and  acting.  In  a  word,  he  becomes 
Jack  Mulhall  who,  veteran  performer 
though  he  is,  is  about  as  shy  and 
wistful  as  an  Elk.  So  that  when 
Peter  comes  to  Broadway  with  $12,- 
500  to  invest  in  the  theatrical  busi- 
ness, all  the  point  of  his  deception 
and  fleecing  by  a  pair  of  fly-by-night 
promoters  is  lost.  Peter,  as  seen  on 
the  screen,  appears  to  be  quite  able 
to  see  through  any  gold-brick  propo- 
sition made  to  him.  And  so  it  goes. 
At  any  rate — and  this  is  written 
wearily — Peter  turns  the  tables  on 
his  betrayers,  recoups  his  money,  es- 
pouses the  leading  lady,  and  leaves 
his  enemies  on  the  brink  of  ruin.  It 
is  all  drearily  trite  despite  the  pres- 
ence of  Greta  Nissen,  who  in  appear- 
ance is  a  rhythmic  poem  but  who,  be- 
cause of  this,  resembles  more  the 
star  of  a  Ziegfeld  revue  than  the 
heroine  of  what  in  theatrical  par- 
lance is  known  as  a  "turkey"  show. 

Pleasing  and  Funny,  Too. 

A  thoroughly  pleasant  little  pic- 
ture is  "Heart  to  Heart,"  in  which 
Mary  Astor,  Lloyd  Hughes,  Louise 
Fazenda,  Lucien  Littlefield,  and 
others  appear.  Characterizations 
count  more  than  plot,  but  the  latter 
is  sufficiently  fresh  to  be  interesting. 
The  Princess  Delatorre,  nee  Ellen 
Boyd,  revisits  Millertown,  Ohio,  her 
birthplace.  Great  preparations  are 
made  to  receive  her  with  all  the  hon- 
ors due  a  circus,  her  Aunt  Katie  be- 
ing the  ringleader.  Arriving  on  an 
early  train,  and  without  the  court 
robes  expected  by  the  natives,  nobody 
recognizes  her.  In  fact,  she  is  mis- 
taken for  a  seamstress  by  her  aunt, 
who  thinks  the  worst  when  Uncle 
Joe  is  discovered  carrying  on  what 
is  thought  to  be  a  flirtation  with  her. 
To  insure  sentimental  interest  for  the 
picture,  the  Princess  looks  up  her 
childhood  sweetheart.  If  a  child- 
hood sweetheart  in  the  movies  ever 
failed  to  deliver  the  sentimental 
goods,  please  advise.  The  picture  is 
replete  with  amusing  touches,  with 
no  little  slapstick  to  make  laughter 
doubly  sure.  Louise  Fazenda,  as 
Aunt  Katie,  and  Lucien  Littlefield, 
as  Uncle  Joe,  make  the  most  of  their 
opportunities,  and  Mary  Astor  is 
beautiful  and  charming  as  the 
Princess.  Lloyd  Hughes  is  the  es- 
sential young  man.  "Heart  to  Heart" 
is  a  homy  picture,  with  plenty  of 
laughter  guaranteed  and  every  oppor- 
tunity to  see  Louise  Fazenda  in- 
creases one's  admiration  for  her 
ability  to  be  funny,  without  ever  re- 
peating her  characterizations.  Mary 
Astor  is  becoming  a  better  actress  in 
each  role  she  essays. 


Advertising  Section 


119 


He'll  Fool  You  If  He 


Continued  from  page  34 


Having  been  the  vogue  abroad,  a 
great  favorite  both  on  stage  and 
screen,  he  cannot  understand  why  he 
has  been  so  long  in  duplicating  that 
prestige  here.  He  found  that  he  must 
practically  start  all  over  again  in 
America.  Though  his  contracts  have 
kept  him  busy,  he  has  not  yet  made 
his  name  what  it  was  in  Europe.  And 
he  is  puzzled,  as  a  small  boy  would 
be  at  some  baffling  problem. 

"Abroad,  it  is  the  ability.  The 
public  like  the  actor,  because  he  is 

good.    If  not  "    His  hand  waved 

the  vague  ambiguity  that  meant 
"out."  "Here,  too  much  the  person- 
ality. Ya,  there  I  get  also  much  fan 
mail.  But  it  is  different  from  here 
— more  quiet.  It  is  about  the  work. 
Here,  it  is  nice  letters,  and  I  appre- 
ciate, but  it  is  personal,  and  ques- 
tions." 

He  was  in  Russia  for  two  years, 
in  the  diplomatic  service.  Surely  he 
was  involved  in  adventures?  But  no, 
he  smiled.  It  was  routine  work,  even 
the  meeting"  with  Lenin.  The  inter- 
view Nils  simply  will  not  tell  glam- 
orous tales. 

"I  have,  always  a  dog.  I  cannot 
remember  when  I  have  no  dog.  I 
slip  away  from  school  and  we  swim, 
or  we  go  out  into  the  country  and 
climb  the  hills.  We  get  up  high  on 
a  rock  by  the  sea,  and  think.  I  think, 
and  my  dog  act  like  he  think.  If 
there  is  a  storm  we  like  it  all  the 
better." 

Following  terms  at  Lunel  Uni- 
versity and  the  Royal  Dramatic 
School,  he  was  on  the  stage  for  two 
years. 

"Abroad  you  must  study  at  dra- 
matic school.  You  do  not  get  up  and 
act,  as  here.  No,  no  actor  before  me 
in  the  family.  They  do  not  like  it, 
my  parents.  But  now,  ya,  it  is  all 
right. 

On  the  stage,  according  to  custom, 
he  played  leads  and  supers,  alternat- 
ing. Ibsen — the  usual  things.  Some- 
thing of  Eugene  O'Neil's,  translated 
into  German. 

When,  in  glancing  across  his  bi- 
ography, as  recorded  by  him  at  the 
studio,  the  publicity  boys  saw 
"Wings"  noted  as  his  first  picture, 
they  whooped. 

"That  boy's  good !  Trying  to  kid 
the  publicity  department !" 

Nils  patiently  insisted  that  his  first 
lead  had  been  in  "Wings,"  his  initial 
picture.  The  mention  of  Mauritz 
Stiller's  name  as  director  brought  to 
light  a  German  production  by  the 
same  title  as  our  air  epic. 

So,  through  "Sorrell  and  Son," 
"Laugh;  Clown.  Laugh."  "Our  Danc- 
ing Daughters,"  "The  Cossacks,"  and 


others,  he  has  slipped  lithely,  some- 
times as  the  menace,  again  more  he- 
roic, but  never  as  a  person  with  a 
sense  of  humor. 

"Not  until  'The  Cardboard  Lover,' 
with  Marion  Davies,  do  I  play  com- 
edy part  here."  He  spoke  as  enthusi- 
astically as  halting  English  and  over- 
worked hands  could  convey  the  story 
of  his  latest  role,  in  which  he  is  "pur- 
sued," according  to  the  plot,  by  Jetta 
Goudal.  "In  Europe  I  play  it  much. 
Comedy  I  like,  the  "  Words  fail- 
ing, a  long,  artistic  hand  illustrated 
the  undulating  movements  and  light- 
ness of  comedy. 

In  ten  months  he  has  played  in 
eight  films — not  a  bad  record. 

"I  reduce  me  thirty  pounds,"  he 
confessed.  .  "Now  I  weigh  one  hun- 
dred and  seventy." 

Though  he  gives  the  impression  of 
slenderness  and  litheness,  there  is 
plenty  of  him.  At  the  effort  to  place 
another  thirty  pounds  upon  him  my 
imagination  balked. 

His  favorite  actor,  before  he  came 
to  this  country,  was  Charles  Ray.  If 
in  your  idols  can  be  seen  your  own 
hopes,  we  can  see  the  dark,  somber 
boy,  Nils,  with  his  contradictory  mis- 
chievousness,'  earnestly  watching  the 
skillful  Ray.  Not  dreaming.  You 
do  not  associate  anything  so  vague 
and  tenuous  as  dreams  with  Nils,  de- 
spite his  attempt  to  make  you  think  of 
him  as  forlorn  and  solitary.  He  is, 
by  nature,  solemn ;  that  is  the  under- 
tone. He  is  purposeful.  You  can 
readily  see  him  planning,  waiting,  for 
success,  ^though  I'm  sure  he  is  less 
stoic  than  he  would  have  us  believe. 

Did  the  signing  of  his  contract  to 
come  to  America  give  him  a  thrill? 
No.    So  he  said.    I  wonder? 

"I  have  to  catch  the  train  in  only 
thirty-five  minutes.  I  work  until 
then.  But  no,  I  am  not  excited.  I 
know  for  a  long  time  some  day  I 
come  to  America,  so  I  do  not  do  like 
this."  His  hand  fluttered  and  wig- 
gled, and  his  smile  flashed. 

He  wants  a  home.  "Not  in  Holly- 
wood. In  the  mountains,  up  high 
where  many  peoples  cannot  drop  in 
to  visit  all  the  time.  For  nine  years  I 
have  not  a  home.  I  sit  in  the  hotel 
room  and  I  read.  I  try  to  read  in 
English.  I  must  learn.  But  I  like 
better  German  and  Norwegian 
books." 

His  fan  mail  is  growing.  Interest 
in  him  is  accelerating.  He  has,  with- 
out doubt,  all  the  qualifications  for 
success  on  the  American  screen,  given 
suitable  roles:  personality,  skill, 
looks,  vouth. 


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120  continued  from  page  69  A  Confidential  Guide  to  Current 

and   Maurice   Braddell  give   fine  per 
formances. 


Releases 


"Lion  and  the  Mouse,  The" — Warner. 
Old-fashioned  story  of  a  great,  grasp- 
ing capitalist.  Vitaphone  not  very  sat- 
isfactory in  instances  of  May  McAvoy 
and  William  Collier,  Jr.  Alec  B.  Fran- 
cis is  effective.  Also  Lionel  Barry- 
more. 

"Fazil" — Fox.  Expensive  and  beauti- 
ful production,  but  a  hollow  attempt  to 
revive  interest  in  the  private  life  of  a 
sheik.  Charles  Farrell  and  Greta  Nis- 
sen  are  not  at  their  best.  John  Boles, 
Mae  Busch,  and  Tyler  Brooke. 

"News  Parade,  The" — Fox.  Agree- 
able comedy.  More  so  for  the  pres- 
ence of  Nick  Stuart.  Sally  Phipps 
does  too  little  to  suit  most  of  us. 
Palm  Beach  setting,  Lake  Placid  and 
Havana.  Brandon  Hurst  is  amusing  as 
millionaire  with  antipathy  for  camera. 

"Dragnet,  The"— Paramount.  Should 
be  seen  if  you  like  these  "gang"  pic- 
tures. George  Bancroft  stands  for  the 
law  instead  of  against  it.  Admirable 
work  by  Francis  MacDonald.  William 
Powell  good.  Leslie  Fenton  and  Fred 
Kohler  complete  excellent  cast. 

"Street  of  Sin" — Paramount.  Emil 
Jannings  is  good,  but  does  not  reach 
heights  attained  in  previous  roles. 
Story  of  a  Limehouse  bully  and  crook. 
Uncompromisingly  sordid  and  senti- 
mental. Olga  Baclanova  displays  a 
torrential  personality,  nothing  short  of 
genius.  Fay  Wray  is  the  Salvation 
lassie. 

"Red  Dance,  The"— Fox.  Another 
story  about  the  downtrodden  Russian 
peasants,  and  the  annihilation  of  those 
poor  Romanoffs.  Charles  Farrell,  as  a 
grand  duke,  falls  in  love  with  Dolores 
del  Rio,  who  is,  of  course,  a  girl  of  the 
people.  Ends  happily  enough.  Ivan 
Linow  gives  a  distinctive  performance. 
Dorothy  Revier  is  a  princess. 

"The  Cossacks"  —  Metro-Goldwyn. 
Story  of  "Lukashka,"  of  a  wild  tribe  of 
Russians,  who  is  accused  of  cowardice. 
He  later  proves  his  birthright  by  mur- 
dering a  dozen  or  so  Turks.  Is  spurned 
by  "Maryana,"  who  is  betrothed  to  a 
noble.  True  to  form,  "Lukashka"  ab- 
ducts her  on  the  eve  of  her  marriage. 
John  Gilbert  attacks  his  role  of  "Lu- 
kashka" with  gusto,  and  gives  fine  per- 
formance. Renee  Adoree,  Ernest  Tor- 
rence,  Nils  Asther,  Mary  Alden,  and 
Dale  Fuller  are  conspicuous. 

"Wheel  of  Chance"— First  National. 
Richard  Barthelmess  does  some  genu- 
inely fine  acting,  playing  the  dual  role 
of  twin  brothers  who  were  separated  in 
Russia.  Margaret  Livingston  is  vivid 
and  fascinating  as  the  wicked  lady, 
who  plays  a  part  in  the  life  of  both 
brothers.  Bodil  Rosing  is  sympathetic 
in  her  role. 

"Big  Killing,  The"— Paramount.  Last 
comedy  starring  the  team  of  Beery  and 
Hatton.  Not  quite  as  funny  as  prede- 
cessors, but  you  will  enjoy  Beery  and 
Hatton.  It's  a  farce  about  a  feud 
among  mountaineers.  Mary  Brian  has 
an  effective  part  as  the  mountaineer's 
daughter,  and  Lane  Chandler  is  good. 

"The  Actress"— Metro-Goldwyn.  The 
story  of  a  rich  boy's  love  for  an  ac- 
tress, back  in  the  Victorian  days.  At- 
mospherically perfect.  Based  on  the 
stage  play  "Trelawney  of  the  Wells." 
Norma  Shearer  as  "Rose"  succeeds  in 


being  sweet.  Ralph  Forbes  is  convinc- 
ing, if  silly.  Owen  Moore  is  perfect  as 
"Tom  Wrench." 

"Telling  the  World"— Metro-Gold- 
wyn. Poor  attempt  at  being  a  great 
newspaper  story,  but  is  worth  seeing 
because  of  William  Haines,  who  is  still 
prankish  and  juvenile;  and  because  of 
Anita  Page,  from  whom  the  fans  may 
expect  much. 

"Loves  of  an  Actress" — Paramount. 
Cannot  fail  to  please  those  who  are 
loyal  to  Pola  Negri.  Set  in  Paris,  and 
is  the  story  of  "Rachel,"  the  greatest 
tragedienne  of  her  day.  Nils  Asther 
heads  the  supporting  cast,  which  in- 
cludes Philip  Strange,  Paul  Lukas, 
Richard  Tucker,  and  Helen  Giere. 

"Mysterious  Lady,  The"  —  Metro- 
Goldwyn.  Greta  Garbo  endows  an- 
other picture  with  her  personality, 
rather  than  adjusting  herself  to  a  new 
role.  She  is  a  Russian  spy,  and  the 
picture  has  all  the  extra  trimmings  of 
missing  papers,  international  complica- 
tions and  a  court-martial.  Conrad 
Nagel,  with  a  romantic  marcel,  is  he- 
roic and  convincing. 

"Scarlet  Lady,  The"— Columbia.  An- 
other tale  about  a  Russian  prince  find- 
ing true  love  outside  regal  boundaries. 
The  picture  has  vigor  and  is  effective. 
Lya  de  Putti  has  a  magnetic  personality, 
but  is  hardly  sympathetic  or  sincere. 
Don  Alvarado  is  agreeable,  and  Warner 
Oland  is  ferociously  villainous. 

"Terror,  The" — Warner  Brothers.  A 
mystery  movie,  entirely  in  dialogue.  Is 
too  slow  to  make  the  most  of  thrilling- 
situations  and  a  murder  plot.  Louise 
Fazenda  has  an  unusual  role.  The 
rest,  all  of  whom  have  lots  to  talk 
about,  are :  May  McAvoy,  Edward 
Everett  Horton,  Alec  Francis,  Mathew 
Betz,  Holmes  Herbert,  John  Miljan, 
Otto  Hoffman,  Joseph  Girard,  and 
Frank  Austin. 

"Lilac  Time"— First  National.  A  little 
bit  of  everything  you've  seen  in  all  the 
other  war  pictures,  but  done  on  a  big 
scale,  with  sound  effects  and  an  ef- 
fective airplane  sequence.  '  Colleen 
Moore's  capers  dominate  the  first  part 
and  her  emotional  acting  the  second, 
so  you  can  take  your  choice.  Gary 
Cooper. 

"Powder  My  Back"— Warner  Broth- 
ers. A  frail  but  diverting  comedy.  All 
about  an  actress  who  wins  the  love  of 
the  man  who  publicly  denounced  her. 
Irene  Rich  gives  a  pleasing  perform- 
ance. Andre  Beranger  gives  a  pre- 
cisely comic  performance.  Anders 
Randolf,  Carroll  Nye,  and  Audrey  Fer- 
ris. 

"Four  Walls"— Metro-Goldwyn.  The 
rivalry  of  underworld  gangsters  is  the 
theme  of  this  film.  Not  particularly 
exciting.  John  Gilbert  fails  to  charac- 
terize the  Jewish  fellow,  and  plays 
himself  instead.  Joan  Crawford  is 
more  like  a  pretty  debutante  than  a 
gangster  moll.  Carmel  Myers  and 
Vera  Gordon  give  authentic  perform- 
ances. 

"At  Yale"—  Pathe-DeMille.  Rod  La 
Rocque  breaks  away  from  serious  roles 
and  is  seen  in  a  genuinely  amusing 
comedy.  All  about  an  Argentine  youth 
who  comes  to  Yale.  Yes,  there's  a 
professor's  daughter  mixed  up  in  the 
plot.  She  happens  to  be  Jeanette 
Loff. 


"Forbidden  Hours" — Metro-Goldwyn, 

Ramon  Novarro  is  a  king  of  a  myth- 
ical kingdom.  Falls*  in  love  with  a 
maiden,  renounces  his  throne,  and 
finally  obtains  both  throne  and  maid. 
Aimless  story.  Novarro  fans  will  like 
their  favorite,  however.  Renee  Adoree 
gives  excellent  performance.  Dorothy 
dimming,  Edward  Connelly,  Roy 
d'Arcy,  and  Alberta  Vaughn. 


RECOMMENDED— WITH 
RESERVATIONS. 

"Gateway  of  the  Moon,  The"— Fox. 

Inane  story  of  a  girl  who  goes  out  to 
get  her  man,  but  he  will  have  none  of 
her.  Finally  he  succumbs  to  her  charms 
— as  they  always  do  in  fillums.  Dolores 
del  Rio,  Walter  Pidgeon,  and  Leslie 
Fenton. 

"Girl  from  Chicago,  The" — Warner. 
A  refined  girl  mingles  with  crooks  to 
track  down  the  man  guilty  of  the  crime 
for  which  her  brother  was  sentenced. 
Myrna  Loy,  Conrad  Nagel,  and  William 
Russell  are  all  excellent. 

"Good=time  Charlie" — Warner.  Sen- 
timental, maudlin  picture  relieved  only 
by  Helene  Costello's  radiant  presence. 
Story  of  a  martyred  father,  who  sacri- 
fices everything  for  his  daughter.  War- 
ner Oland,  Clyde  Cook,  and  Montagu 
Love  are  in  the  cast. 

"Magnificent  Flirt,  The"— Paramount. 
Smooth,  polished  and  beautiful  to  the 
eye.  An  airy  story.  Albert  Conti  is 
nearly  Adolphe  Menjou.  Loretta 
Young  is  exquisite,  and  Matty  Kemp  is 
convincing.  Florence  Vidor  is  as  inno- 
cently wicked  as  ladylike  decorum  per- 
mits. Ned  Sparks  furnishes  many 
laughs. 

"Hawk's  Nest,  The"— First  National. 
Some  excitement,  much  effective  light- 
ing and  direction,  but  not  much  in  the 
way  of  good  acting  from  Milton  Sills, 
Doris  Kenyon,  Montagu  Love,  Mitchell 
Lewis,  and  Stuart  Holmes  in  this  un- 
derworld yarn. 

"Foreign  Legion,  The" — Universal.  A 
story  no  one  can  believe.  For  no  good 
reason,  Norman  Kerry  assumes  the 
blame  for  a  crime  committed  by  the 
husband  of  the  woman  he  loves.  He 
leaves  England  and  serves  in  the  For- 
eign Legion.  Not  much  sense  to  any  of 
it.  Acting  of  Norman  Kerry,  Lewis 
Stone,  and  June  Marlowe  is  not  much 
to  talk  about,  though  Mary  Nolan 
makes  a  fine  villainess. 

"Michigan  Kid,  The"  —  Universal. 
Commonplace  story,  told  strictly  in 
routine.  Conrad  Nagel,  in  title  role, 
meets  his  childhood  sweetheart  when 
she  comes  to  Alaska  to  marry  the  vil- 
lain. A  fight,  a  forest  fire  and  an  es- 
cape in  a  canoe  have  respective  places. 
Renee  Adoree  is  the  heroine,  and 
Lloyd  Whitlock  is  the  villain. 

"Beau  Broadway" — Metro- Goldwynj. 
The  pictures  has  bright  moments,  but 
is  absurdly  dull  in  theme.  The  story 
of  a  prize-fight  promoter  who  promises 
to  care  for  the  "child"  of  a  dying 
friend,  only  to  find  that  the  "child"  is 
a  high-powered  ingenue.  Inconsistent 
ending.  Lew  Cody  is  clever,  and  Sue 
Carol  makes  the  most  of  her  role. 
Aileen  Pringle  has  little  to  do. 


Advertising  Section 


121 


Information,  Please 

Continued  from  page  104 

leading  man,  and  promises  to  be  a  sen- 
sation. Lily  Damita  is  blonde.  "Glori- 
fying the  American  Girl"  is  not  to 
be  made  after  all.  Ruth  Elder  is  playing 
opposite  Richard  Dix  in  "Moran  of  the 
Marines."  Audrey  Ferris  was  born  in 
Detroit,  August  30,  1909.  Auburn  hair. 
Gloria  Swanson's  new  film  is  to  be  called 
"Queen  Kelly." 

Addresses  of  Placers 

Richard  Arlen,  Raymond  Hatton,  Pola 
Negri,  Esther  Ralston,  Mary  Brian,  Neil 
Hamilton,  Richard  Dix,  Adolphe  Menjou, 
Kathryn  Carver,  Wallace  Beery,  Florence 
Vidor,  Clara  Bow,  Chester  Conklin,  Clive 
Brook,  Charles  ("Buddy")  Rogers,  Fred 
Thomson,  Gary  Cooper,  James  Hall,  Doug- 
las MacLean,  William  Powell,  Bebe  Dan- 
iels, Louise  Brooks,  Noah  Beery,  Emil  Jan- 
nings,  Evelyn  Brent,  Doris  Hill,  Ruth  Taylor, 
Nancy  Carroll,  at  the  Paramount  Studio, 
Hollywood,  California. 

Gwen  Lee,  Ramon  Novarro.  Norma  Shear- 
er, John  Gilbert,  William  Haines,  Lon  Cha- 
ncy, Renee  Adoree,  Marion  Davies,  Lillian 
Gish,  Eleanor  Boardman,  Karl  Dane,  Dorothy 
Sebastian,  Lionel  Barrymore,  Tim  McCoy, 
George  K.  Arthur,  Joan  Crawford,  Nils 
Asther,  Ralph  Forbes,  Buster  Keaton,  Johnny 
Mack  Brown,  Marceline  Day,  at  the  Metro- 
Goldwyn-Studio,  Culver-  City,  California. 

Vilma  Banky,  Ronald  Colman,  Douglas* 
Fairbanks,  Mary  Pickford,  Norma  Talmadge, 
Constance  Talmadge,  Gilbert  Roland,  Don 
Alvarado,  and  John  Barrymore,  at  the 
United  Artists  Studio,  7100  Santa  Monica 
Boulevard,  Los  Angeles,  California. 

Colleen  Moore,  Jack  Mulhall,  Doris  Ken- 
yon,  Milton  Sills,  Billie  Dove,  Ken  Maynard, 
Richard  Barthelmess,  Dorothy  Mackaill, 
Harry  Langdon,  Mary  Astor,  Larry  Kent, 
Corinne  Griffith,  Alice  White,  Donald  Reed, 
and  Molly  O'Day,  at  the  First  National 
Studio,  Burbank,  California. 

Reginald  Denny,  Hoot  Gibson,  Mary  Phil- 
bin,  Laura  La  Plante,  Marian  Nixon,  Art 
Acord,  Barbara  Kent,  Barbara  Worth,  Eth- 
lyn  Claire,  William  Desmond,  Edmund  Cobb, 
Jack  Daugherty,  George  Lewis,  Raymond 
Keane,  at  the  Universal  Studio,  Universal 
City,  California. 

William  Boyd,  Rod  La  Rocque,  Leatrice 
Joy,  Edmund  Burns,  Vera  Reynolds,  H.  B. 
Warner,  Victor  Varconi,  Elinor  Fair,  Jacque- 
line Logan,  Kenneth  Thomson,  Joseph  Strik- 
er, Joseph  Schildkraut,  Virginia  Bradford, 
and  Lina  Basquette,  Marie  Prevost,  Harrison 
Ford,  Phyllis  Haver,  at  the  Cecil  DeMille 
Studio,  Culver  City,  California.  Also  Julia 
Faye. 

George  O'Brien,  Edmund  Lowe,  Earle  Foxe, 
Janet  Gaynor,  Richard  Walling,  Barry  Nor- 
ton, Charles  Farrell,  Madge  Bellamy,  Victor 
McLaglen,  Lois  Moran,  Nick  Stuart,  Virginia 
Valli,  Sally  Phipps,  Farrell  MacDonald, 
Charles  Morton,  Ben  Bard,  Sammy  Cohen, 
Warren  Burke,  Davis  Rollins,  George  Meeker, 
Marjorie  Beebe,  Margaret  Mann,  Nancy 
Drexel,  June  Collyer,  and  Mary  Duncan,  at 
the  Fox  Studio,  Western  Avenue,  Hollywood, 
California. 

Audrey  Ferris,  Dolores  Costello,  Louise  Fa- 
zenda,  Monte  Blue,  May  McAvoy,  Leila  Hy- 
ams,  at  the  Warner  Studios,  Sunset  and 
Bronson,  Los  Angeles,  California. 

Tom  Tyler,  Bob  Steele,  Frankie  Darro, 
Buzz  Barton,  Tom  Mix,  Martha  Sleeper,  at 
the  F.  B.  O.  Studio,  780  Gower  Street,  Holly- 
wood. California. 

Bill  Cody,  Buddy  Roosevelt,  Walter  Miller, 
at  the  Associated  Studios,  Mission  Road, 
Hollywood,  California. 

Allene  Ray,  6912  Hollywood  Boulevard, 
Hollywood,  California. 

Robert  Frazer,  6356  La  Mirada  Avenue, 
Los  Angeles,  California. 

Patsy  Ruth  Miller,  808  Crescent  Drive, 
Beverly  Hills,  California. 

Robert  Agnew,  6357  La  Mirada,  Hollywood, 
California. 

Dorothy  Revier,  1367  North  Wilton  Place, 
Los  Angeles,  California. 

Julanne  Johnston,  Garden  Court  Apart- 
ments. Hollywood,  California. 

Malcolm  McGregor,  6043  Selma  Avenue, 
Hollywood,  California. 

Jackie  Coogan,  673  South  Oxford  Avenue, 
Los  Angeles,  California. 

Ivor  Novello,  11  Aldwych,  London,  W.  C.  2, 
England. 

Harold  Lloyd,  6640  Santa  Monica  Boule- 
vard, Hollywood,  California. 

Anna  May  Wong,  241  N.  Figueroa  Street, 
Los  Angeles,  California. 

Eileen  Percy,  154  Beechwood  Drive,  Los 
Angeles,  California. 

Herbert  Rawlinson,  1735  Highland  Street, 
Los  Angeles,  California. 


Forrest  Stanley,  604  Crescent  Drive,  Bev- 
erly Hills,  California. 

Gertrude  Astor,  1421  Queen's  Way,  Holly- 
wood, California. 

Lloyd  Hughes,  616  Taft  Building,  Holly- 
wood, California. 

Virginia  Brown  Faire,  1212  Gower  Street, 
Hollywood,  California. 

Johnny  Hines,  Tec-Art  Studio,  5360  Melrose 
Avenue,  Hollywood,  California. 

Theodor  von  Eltz,  1722  y2  Las  Palmas,  Hol- 
lywood, California. 

William  S.  Hart,  6404  Sunset  Boulevard, 
Hollywood,  California. 

Vivian  Rich,  Laurel  Canon,  Box  799,  R. 
F.  D.  10,  Hollywood,  California. 

Betty  Blythe,  1361  Laurel  Avenue,  Holly- 
wood, California. 

Estelle  Taylor,  5254  Los  Feliz  Boulevard, 
Los  Angeles,  California. 

Pat  O'Malley,  1832  Taft  Avenue,  Los  An- 
geles, California. 

Gordon  Griffith,  1523  Western  Avenue,  Loa 
Angeles,  California. 

Ruth  Roland,  3828  Wilshire  Boulevard,  Los 
Angeles,  California. 

Gilda  Gray,  22  East  Sixtieth  Street,  New 
York  City. 

Bert  Lytell,  P.  O.  Box  235,  Hollywood, 
California. 

Kenneth  Harlan,  Hollywood  Athletic  Club, 
Hollywood,  California. 

Ben  Lyon,  1040  N.  Las  Palmas,  Hollywood, 
California. 


Statement  of  the  Ownership,  Manage= 
ment,  etc.,  required  by  the  Act  of 
Congress  of  August  24,  1912,  of 
PICTURE  PLAY,  published  month= 
ly,  at  New  York,  N.  Y.,  for  Octo= 
ber  1,  1928. 

State  of  New  York,  County  of  New  York  (ss.) 

Before  me,  a  Notary  Public,  in  and  for  the 
State  and  county  aforesaid,  personally  ap- 
peared Ormond  G.  Smith,  who,  having  been 
duly  sworn  according  to  law,  deposes  and 
says  that  he  is  President  of  Street  &  Smith 
Corporation,  publishers  of  Picture  Play, 
and  that  the  following  is,  to  the  best  of  his 
knowledge  and  belief,  a  true  statement  of 
the  ownership,  management,  etc.,  of  the  afore- 
said publication  for  the  date  shown  in  the 
above  caption  required  by  the  Act  of  August 
24,  1912,  embodied  in  section  411,  Postal 
Laws  and  Regulations,  to  wit : 

1.  That  the  names  and  addresses  of  the 
publisher,  editor,  managing  editor,  and  busi- 
ness managers  are :  Publishers,  Street  So 
Smith  Corporation,  79-89  Seventh  Avenue, 
New  York,  N.  Y. ;  editor,  Norbert  Lusk,  79 
Seventh  Avenue,  New  York,  N.  Y. ;  managing 
editors,  Street  &  Smith  Corporation,  79-89 
Seventh  Avenue,  New  York,  N.  Y.  ;  business 
managers,  Street  &  Smith  Corporation,  79-89 
Seventh  Avenue,  New  York,  N.  Y. 

2.  That  the  owners  are  :  Street  &  Smith 
Corporation,  79-89  Seventh  Avenue,  New 
York,  N.  Y.,  a  corporation  composed  of  Or- 
mond G.  Smith,  89  Seventh  Avenue,  New 
York,  N.  Y. ;  George  C.  Smith,  89  Seventh 
Avenue,  New  York,  N.  Y.  ;  Annie  K.  Smith, 
89  Seventh  Avenue,  New  York,  N.  Y. ;  George 
C.  Smith,  Jr.,  89  Seventh  Avenue,  New  York, 
N.  Y.  :  Cora  A.  Gould,  89  Seventh  Avenue, 
New  York,  N.  Y. ;  Ormond  V.  Gould,  89  Sev- 
enth Avenue,  New  York,  N.  Y. 

3.  That  the  known  bondholders,  mortga- 
gees, and  other  security  holders  owning  or 
holding  1  per  cent  or  more  of  total  amount 
of  bonds,  mortgages,  or  other  securities  are  : 
None. 

4.  That  the  two  paragraphs  next  above 
giving  the  names  of  the  owners,  stockholders, 
and  security  holders,  if  any,  contain  not  only 
the  list  of  stockholders  and  security  holders 
as  they  appear  upon  the  books  of  the  com- 
pany, but  also,  in  cases  where  the  stockholder 
or  security  holder  appears  upon  the  books  of 
the  company  as  trustee  or  in  any  other 
fiduciary  relation,  the  name  of  the  person  or 
corporation  for  whom  such  trustee  is  acting, 
is  given  ;  also  that  the  said  two  paragraphs 
contain  statements  embracing  affiant's  full 
knowledge  and  belief  as  to  the  circumstances 
and  conditions  under  which  stockholders  and 
security  holders  who  do  not  appear  upon  the 
books  of  the  company  as  trustees,  hold  stock 
and  securities  in  a  capacity  other  than  that 
of  a  bona  fide  owner,  and  this  affiant  has  no 
reason  to  believe  that  any  other  person,  as- 
sociation, or  corporation  has  any  interest  di- 
rect or  indirect  in  the  said  stock,  bonds,  or 
other  securities  than  as  so  stated  by  him. 

ORMOND  G.  SMITH,  President, 
Of  Street  &  Smith  Corporation,  publishers. 

Sworn  to  and  subscribed  before  me  this 
1st  day  of  October,  1928.  De  Witt  C.  Van 
Valkenburgh,  Notary  Public  No.  184.  New 
York  County.  (My  commission  expires  March 
30,  1930.) 


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Advertising  Section 


Who  Was  It?  Who  Killed- 

The  answer  to  the  crime  puzzle!  Gripping  mystery;  breathless  suspense,  the  exciting  sort  of 
story  that  keeps  you  burning  the  midnight  oil  to  get  to  the  dramatic  climax  and  learn  the 
identity  of  the  criminal 

The  best  mystery  and  detective  stories  are  now  obtainable  in  book  form  in  substantial  attrac- 
tive cloth  bindings,  gold  stamped,  with  good  paper  and  large  clear  print;  volumes  that  are  the 
equal  of  most  novels  published  at  $2.00.    These  books  are  known  as  the 

Chelsea  House  Popular  Copyrights 

They  are  all  new  stories,  that  have  never  before  appeared  in  book  form — not  reprints  of  other 
editions — and  they  sell  at 

75  Cents  a  Copy 

•  Some  of  the  latest  Detective  and  Mvstery  stories  in  the  CHELSEA  HOUSE  POPULAR 
COPYRIGHTS  are  described  below. 


The  Tunnel  to  Doom 

By  ROY  W  HINDS 

The  only  clew  to  the  fugitive  criminals  was 
a  bit  of  adhesive  tape  and  it  led  Jim  Person 
into  a  deadly  trap. 


The  House  of  Disappearances 

By  CHESTER  K.  STEELE 

One  person  after  another  vanished  from  the 
uncanny  old  house.  A  grim  crime  puzzle  to  sit 
up  o'  nights  over. 


Blundell's  Last  Guest 

By  ALBERT  PAYSON  TERHUNE 

A  clever  mystery  story  of  exciting  suspense 
•with  a  surprising  and  dramatic  ending. 


The  Sleeping  Cop 

By  ISABEL  OSTRANDER  and 
CHRISTOPHER  B.  BOOTH 

Patrolman  Larry  Moore  was  asleep  on  post 
when  Braddigan,  the  political  boss,  was  killed. 
So  Larry  set  about  finding  the  murderer. 


Alias  the  Thunderbolt 

By  JOHNSTON  McCULLEY 

How  John  Flatchley,  alias  the  Thunderbolt, 
restored  ill-gotten  wealth  by  playing  nocturnal 
bandit. 


The  Thunderbolt's  Jest 

By  JOHNSTON  McCULLEY 

More  of  the  engaging  adventures  of  John 
Flatchley  and  his  man  Saggs  in  squaring  a 
crooked  account. 


Hidden  Out  ™,  .,    n  , 

By  HOWARD  FIELDING  The  White  Rook 

One  of  the  oddest  mysteries  that  ever  baf-  By  HUGH  McNAIR  KAHLER 

fled  a  police  department  was  furnished  by  the  The  checkered  career  of  a  master  cracksman 

elusive.  Captain  Reddy  and  his  accomplice.  who  makes  a  laughingstock  of  the  police. 

THERE  ARE  ALSO  WESTERN,  ADVENTURE,  AND  LOVE  STORIES-ALL  THE 
MOST  POPULAR  TYPES  OF  FICTION— INCLUDED  IN  CHELSEA  HOUSE  POPU- 
LAR COPYRIGHTS.  WRITE  FOR  A  COMPLETE  LIST  OR  ASK  YOUR  BOOK- 
SELLER. 


CHELSEA  HOUSE,  Publishers,  79  Seventh  Ave.,  New  York 


All  the  World 
Loves  a  Good 
Love  Story  ^ 

It's  the  most  popular  kind  of  story  there  is. 
The  greatest  novels  of  all  time  are  love  stories. 
Romantic  love  never  loses  its  appeal.  The 
delights  and  heartbreaks,  the  tenderness  and 
bitterness  incidental  to  courtship  and  marriage 
furnish  a  never-failing  fund  of  material  for 
the  writer  of  romantic  fiction. 

That  is  why,  in  selecting  titles   for  the 
Chelsea  House  line  of  books,  it  was  thought 
well  to  include  several  love  stories.    These  books  are  known  as  the 

CHELSEA  HOUSE  POPULAR  COPYRIGHTS 

They  are  bound  in  cloth  with  gold  stamping,  printed  on  good  paper  from  new,  clear  type, 
and  in  general  appearance  are  the  equal  of  mos.  books  made  to  sell  at  $2.00.  They  are  all  new 
stories  that  have  never  before  appeared  in  book  form,  not  reprints  of  old  editions.  They  are 
sold  for 

75  Cents  a  Copy 

Some  of  the  Love  Stories  in  the  Chelsea  House  Popular  Copyrights  are  described  below 


The  Bayou  Shrine 

By  PERLEY  POORE  SHEEHAN 

The  story  of  a  pure  love  that  rose  above  con- 
ventions. A  romance  that  will  have  a  particu- 
lar appeal  to  the  modern  woman. 


The  Love  Bridge 

By  MARY  IMLAY  TAYLOR 

How  the  destinies  of  two  women  and  a  man 
were  vitally  influenced  by  a  bridge  across  a 
Western  canyon.  A  splendid  love  story  of  the 
outdoors. 


The  Awakening  of  Romola         Her  Wedding  Ring 


By  ANNE  O'HAGAN 

Romola  was  thirty-two.  She  had  a  husband 
and  two  children.  But  romance  insisted  on 
coming  into  her  life  again. 


By  MARCIA  MONTAIGNE 

The  call  of  youth  to  youth  and  a  love  that 
sought  to  override  obstacles  instead  of  finding 
a  way  around  them,  are  the  dominant  themes  of 
this  romance  of  the  younger  generation. 


Quicksands 

By  VICTOR  THORNE 

How  a  girl  reared  in  poverty  staged  a  cam- 
paign to  win  a  wealthy  husband.  A  story 
that  deals  with  many  of  the  vital  problems  of 
modern  life. 


Wanda  of  the  White  Sage 

By  ROY  ULRICH 

Marrying  a  girl  he'd  never  seen  before  and 
taking  her  out  West  was  a  pretty  experience 
for  Dan  Chadwick,  but  it  was  only  the  start 
of  his  romantic  adventures. 


Ask  Your  Bookseller  for  Chelsea  House  Popular  Copyrights 

There  are  also  Detective  and  Mystery  Stories,  Western  Stories,  and  Adventure  Stories — 
all  the  most  popular  types  of  fiction— included  in  the  CHELSEA  HOUSE  POPULAR  COPY- 
RIGHTS.   WRITE  FOR  A  COMPLETE  LIST. 


CHELSEA  HOUSE,  Publishers,  79  Seventh  Avenue,  New  York 


A  boon  for  a  breathless  age 


Bridge  .  .  .  tea  .  .  .  dinner  ... 
theater  .  .  .  shopping  .  .  .  settle- 
ment house  . . .  golf  . . .  correspon- 
dence. .  .  .  It's  a  mad  but  merry 
whirl.  And  sometimes  even  Youth 
likes  to  sit  down  and  rest  for  a 
golden  moment.  ...  At  which 
times  a  really  good  cigarette  is 


like  the  Dawn  of  a  New  Day, 


y. 


I  1928,  R.  J.  Reynolds  Tobacco  Company,  Winston-Salem,  N. 


,Pt* 


How  do 

When  you  enter  a  store  to  buy  anything,  how  do  you 
ask  for  it?  Do  you  call  for  the  articles  by  name,  or 
do  you  generalize — a  can  of  tomato  soup;  a  bag  of 
flour;  an  aluminum  kettle;  so  many  square  yards  of 
linoleum;  a  meat  grinder? 

It  is  much  better  and  far  more  satisfactory  to 
specify  the  articles  you  want  by  name,  for  merchan- 
dise that  is  good  enough  to  be  sold  by  name  is  almost 
always  better  in  quality,  and  no  higher  in  price,  than 
goods  of  uncertain  lineage  and  less  certain  quality. 

The  advertising  columns  carry  advertised  names 
that  are  familiar  to  millions  of  people.  They  repre- 
sent those  articles  that  stand  for  the  best  in  their  re- 
spective classes  of  merchandise — quality  all  through. 

Advertising  keeps  these  names  before  you  con- 
stantly. Advertising  is  a  constant  reminder  that  the 
articles  you  want  are  the  same  articles  you  see  adver- 
tised day  by  day — that  justify  their  being  by  the 
service  they  render.  And  advertising  brings  you  news 
— of  inventions,  discoveries,  improvements  that  keep 
you  up  to  date. 

Tell  the  sales-clerk  what  you  want  by  its  advertised 
name.  You'll  get  it — and  your  money  will  purchase 
full  value.  It  pays  to  read  advertising  and  remember 
advertised  names. 


you  buy? 


Advertising  Section 


3 


se  Talking  Shorts /^Really  Features 

Elaborately  Produced  at  FOX  Movietone  City 

Napoleon's 
Barber 

HORSE  and  other  famous 
Fox  productions   no.,  lor 
tbe  first  time, lets  you 
Uis  actors  in  this  play  by 
Arthur  Caesar. 

Packed  «»H  w>t  "^H- 

makes  you  tingle  vu«  1-^U_— =t 
nwK      '  an    obscure  | 

citement    as    an  thel^^^ 
-  I  barber   almost  sm»     ^  IWi^^ 

tyrant  Beware/-  ftl  cut  you  \  par  &  ea^ 


Charles  (Chic)  Sale 

has  given  a 

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Lincoln  in 

Marching  On 

Directed  by  Marcel  Sd.er 


*TelIine  f^out  M^jnc^Gi^^a 

Bf"     TiiMH>iiiiiiif||lp  1   '"^^Hiiiiiiiii111,"  I   *wM       111   » '*THi 


What  an  actor  thi s  Chic 
Sale  turned  out  to 

THEY'RE  COMING  J" 
GET  ME,  THE  STAR  ^1^, 
NESS  and  THE  LA" 
MAN. 

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.  _     ,.u«ns  on  the 


and" 


It- 


Be#  Pardon-Is  this*  baivth  e^^ed? 

Wfc?/        «Sr  SOUND  WAVES  Saying? 

FOX  MOVIETONE  is  the  ONLY  perfected  talking  film. 
The  Sound  Waves  are  photographed  right  on  the  celluloid 
and  you  therefore  hear 


You  never  nearu 
funnier  picture  than 

The  Bath 
Between 

'SvIewTW  HONOR 
and  see  them  too. 


ONLY  absolutely  "life 
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neighborhood  theatre 
when  these  Fox  Movie- 
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FOX  MOVIETONE 


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Picture  Play 

Volume  XXIX  CONTENTS   FOR  JANUARY,    1929  Number  5 

The  entire  contehts-of this  magazine  are  protected  by  copyright,  and  must  not  be  reprinted  without  the  publishers'  consent. 

What  the  Fans  Think  8 

Our  readers  express  their  convictions  in  no  uncertain  terms. 

Under  the  Mistletoe  Bough  .15 

Charles  Rogers  and  Mary  Brian  show  how  to  have  a  Merry  Christmas. 

Born  to  Comedy — The  S'ory  of  Fazenda  .    Elza  Schallert      .  .16 

The  character  and  career  of  Louise  Fazenda  are  sympathetically  portrayed. 

The  Prodigal  Returns  Margaret  Reid     .       .  20 

Talking  pictures  bring  Pauline  Frederick  back. 

Oh,  Those  Hollywood  Parties!  ....    Alma  Talley  .       .  .22 

A  highly  humorous  account  of  a  memorable  night. 

Roughnecks  Preferred  Myrtle  Gebhart    .       .  25 

William  Boyd  scorns  the  very  heroes  that  have  made  him  popular. 

If  Wishes  Come  True  .27 

What  certain  Christmas  trees  may  hold. 

Over  the  Teacups  The  Bystander     .       .  28 

Fanny  the  Fan  talks  first  and  thinks  between  times. 

No  Walking  Home  Here  :       .       .       .  .32 

Pictorial  evidence  of  Hollywood's  traffic  problem. 

Unveiling  Olive's  "Past"   .      .-.       .       .       .    Madeline  Glass     .       .  34 

It  is  as  interesting  as  Miss  Borden's  present. 

Favorites  of  the  Fans       .       .       .       .       ...       .       .       .  .35 

Full-page  portraits  in  rotogravure  of  eight  popular  players. 

Jetta  Steps  Down— But  Not  Out      .       .       .    William  H.  McKegg    .  43 

Miss  Goudal  relinquishes  stardom  with  a  smile. 

Manhattan  Medley      .  ....    Aileen  St.  John-Brenon  44 

A  bright  chronicle  of  New  York's  movie  news. 

The  Home  Dolores  Built  Margaret  Reid     .       .  48 

The  Del  Rio  residence  is  visited  with  enthusiasm. 

A  Modest  Chap  Myrtle  Gebhart    .  .51 

Will  Cornelius  Keefe  object  to  this  interview? 

The  Stroller  Carroll  Graham    .       .  52 

Ironic  commentary  on  vagaries  of  the  movie  colony. 

Texas  Guinan  Pans  Hollywood       .       .       .    A.  L.  Wooldridge  .       .  54 

Is  the  night-club  hostess'  bark  worse  than  her  bite? 

Hollywood  High  Lights    .....    Edwin  and  Elza  Schallert  56 

Authoritative  news  and  gossip  of  the  studios. 

Continued  on  the  Second  Page  Following 

Monthly  publication  issued  by  Street  &  Smith  Corporation,  79-89  Seventh  Avenue,  New  York  City.  Ormond  G.  Smith,  President;  George  C.  Smith.  Vice 
President  and  Treasurer;  George  C.  Smith,  Jr.,  Vice  President:  Ormond  V.  Gould,  Secretary.  Copyright,  1928,  by  Street  .t  Smith  Corporation,  New 
York.  Copyright,  1928,  by  Street  &  Smith  Corporation,  Great  Britain.  Entered  as  Second-class  Matter,  March  6,  1916,  at  the  Post  Office  at  New  York. 
N.  Y.,  under  Act  of  Congress  of  March  3,  1879.    Canadian  subscription,  $2.8(5.     Foreign,  $3.22. 

YEARLY  SUBSCRIPTION,  $2.50  SINGLE  COPIES,  25  CENTS 

ALL  MANUSCRIPTS    MUST   BE    ADDRESSED    TO    THE  EDITORS 

We  do  not  hold  ourselves  responsible  for  the  return  of  unsolicited  manuscripts. 


Advertising  Section 


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elect  your  motion  picture 
entertainment  on  the  basis  of  "who's  in  it?"  and  again  your 
answer  is  Paramount  —  more  stars,  greater  stars  than 
any  other  company!   <J  But  always  remember  —  the  im- 
portant thing  in  selecting  a  picture  is  not  " who's  in  it?" 
but  "who  made  it?"  Not  one  of  these  names,  nor  all 
of  them  together  is  as  great  as  Paramount — the 
name  that  stands  for  the  highest  quality  in  motion 
picture  entertainment.  Silent  or  in  Sound  —  "if  Ws 
a  Paramount  Picture  it's  the  best  show  in  town! 


Paramount 

AKAMOUNT   FAMOUS   LASKY  CORPORATION 


TRADE  wtC^^if  w  MARK 


ADOLPH  ZUKOR,  PRES.,  PARAMOUNT  BLDC,  IS.  Y.  C. 


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Admission  Twenty-five  Cents  '  . 

What  Hollywood's  movie  museum  offers  for  a  quarter. 

Five  Week-ends  

How  the  stars  do  not  kill  time  away  from  the  studio. 

A  Girl  Comes  to  Hollywood     ....    Alice  M.  Williamson 

The  eighth  installment  of  our  mystery  novel  is  packed  with  suspense. 

What  Price  Good  Nature?       ....    Helen  Louise  Walker 

Odd  and  humorous  experiences  of  the  stars  in  keeping  faith  with  the  public. 


A  Confidential  Guide  to  Current  Releases 

A  word  to  the  wise  is  sufficient. 

The  Screen  in  Review  .... 

Our  critic  reports  on  the  new  pictures. 

Norma — As  She  Is  

Miss  Shearer  is  subjected  to  keen  analysis. 

Life  Rides  in  a  Bus  ..... 

A  glimpse  of  movie  life  not  enjoyed  by  the  tourist. 

Jean  Hersholt's  Infinite  Variety 

Photographs  of  the  eminent  actor's  varied  roles. 

Some  Can  and  Some  Can't 

The  uncertainty  of  the  stars'  business  ventures. 

Carrying  On       .  ... 

How  widows  of  stars  are  upholding  the  family  traditions. 

The  High-hat  Quintet 

Turn  and  see  who  they  are! 

And  So  to  Bed  

Five  gentlemen  prepare  for  the  dream  world. 

Information,  Please  ..... 

Answers  to  readers'  questions. 


Norbert  Lusk 
Margaret  Reid 
Dunham  Thorp 

•         •  •  *  - 

Ann  Sylvester 
William  H.  McKegg 


The  Picture  Oracle 


.  60 
.  61 
.  62 
.  66 
.  69 
.  70 
.  74 
.  83 
.  84 
.  86 
.  89 
.  97 
.  101 
.  102 


Talking  Pictures  Are  Here  to  Stay 

IN  spite  of  the  crudities  and  imperfections  of  voice  recordings, 
retarded  action  and  unwanted  recruits  from  vaudeville,  the  new 
invention  will  play  a  far  more  important  part  in  the  destiny  of 
motion  pictures  than  most  fans  realize,  particularly  those  in  towns 
remote  from  the  big  cities,  where  dialogue  pictures  have  not  yet 
penetrated.  Indeed,  this  year  will  go  down  as  the  most  revolution- 
ary in  the  history  of  the  movies.  Now,  much  has  been  written  about 
various  aspects  of  talking  pictures,  but  the  subject  looms  large 
enough  to  fill  many  issues  of  PICTURE  PLAY.  Next  month  Edwin 
Schallert  will  follow  his  first  article  on  the  subject  with  another 
in  more  detail.  He  will  tell  you  just  how  important  the  talkies  are, 
and  will  disclose  facts  that  have  hitherto  never  been  published. 
Every  well-informed  fan  will  want  to  read  his  story,  because  no 
fan  who  is  seriously  interested  in  pictures  and  their  future  can 
afford  to  miss  it. 

PERSONALITIES  THAT  INTRIGUE 

NEVER  were  there  so  many  in  the  movies  as  there  are  to-day! 
Floods  of  letters  come  to  PICTURE  PLAY  from  fans  who  have 
made  their  own  discoveries  of  players,  old  and  new.  For  the  new- 
comers they  predict  success  or  failure,  and  they  want  to  know  all 
about  what  the  older  players  have  done.  That  is  why  the  editing 
and  publishing  of  PICTURE  PLAY  is  fascinating  work  to  those 
responsible  for  it.  We  enjoy  the  stimulation  of  bringing  together 
congenial  friends  when  we  publish  stories  of  the  stars.  The  Febru- 
ary number  will  be  especially  notable  in  this  respect,  for  it  will 
contain  unusual  glimpses  of  Estelle  Taylor,  Edmund  Lowe  and 
Lilyan  Tashman,  Phyllis  Haver,  Evelyn  Brent,  Eddie  Quillan,  Leslie 
Fenton  and  others  too  numerous  to  mention.  Also,  with  next 
month's  issue,  PICTURE  PLAY  will  offer  a  novelty  in  the  way 
of  a  cover,  about  which  we  hope  the  fans  will  express  their  opinions. 


i  iimmiiiimiiimmiiiimiiiiim  i  iiiiii  iiiiiiiiiiiifiiiiiiiiiiiiiiiiiiH   mi  ihiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii  minimi  iniimiiiiimii 


Advertising  Section 


Gtj$udiences  are  saying  if,  Everywhere ; 


At  last,  PICT  U  RE  S  that  TALK 
like  LIVING  PEOPLE/" 


Vitaphone  Talking  Pictures 
are  electrifying  audiences 
the  country  over! 

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

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

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


Do  not  confuse  Vitaphone 
with  mere  "sound  effects." 

Vitaphone  is  the  ONE 
proved  successful  talking 
picture  —  exclusive  product 
of  Warner  Bros. 

Remember  this  —  if  it's  not 
Warner  Bros.  Vitaphone, 
it's  NOT  the  real,  life-like 
talking  picture. 

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


BROS. 


a  WAitNEH    PICTURE  its 


Vfl¥APHONE 


8 


What  the  Fans  Think 


Refuting  a  Slander. 

WE  wish  to  defend  Richard  Barthelmess  against 
the  slander  directed  toward  him  by  Gene 
Charteris,  which  was  published  in  the  September 
Picture  Play.  After  reading  the  terrible  letter  he 
wrote  about  Mr.  Barthelmess,  we  think  he  is  very  nar- 
row-minded on  the  subject. 

If  "The  Patent  Leather  Kid"  was  lacking  in  any 
element  of  appeal  or  interest,  as  Gene  said,  why  is  it 
that  all  people,  whom  we  have  asked  about  the  picture, 
have  said  they  liked  it  very  much  ?  Maybe  "The  Patent 
Leather  Kid"  wasn't  his  best  picture,  but  we  think  the 
picture  was  good,  and  the  ending  was  great.  Maybe  the 
trouble  is  in  the  viewpoint  of  the  onlooker.  We  are 
inclined  to  believe  that  that  is  the  case  with  Gene. 

What  if  Mr.  Barthelmess  has  made  no  progress? 
Does  Gene  think  that  people  like  himself  are  of  any  as- 
sistance to  a  star's  progress  ?  We  are  not  pretending  to 
judge  his  progress ;  we  do  not  follow  film  news  enough 
for  that,  but  we  do  know  when  a  picture  is  enjoyed. 
And  we  would  like  to  add  that  we  have  never  seen  a 
film  of  Mr.  Barthelmess'  that  failed  to  interest  us. 

As  for  the  poor  appearance  of  Mr.  Barthelmess,  we 
have  our  doubts  as  to  Gene's  judgment  in  this  particu- 
lar case. 

What  if  Richard  Barthelmess  is  on  the  verge  of  middle 
age,  or  will  soon  have  a  bald  spot?  Will  a  bald  spot 
affect  his  acting  ?  We  think  not.  His  age  makes  it  seem 
all  the  more  wonderful  to  us  that  he  could  look  so  young 
in  "The  Little  Shepherd  of  Kingdom  Come."  We  won- 
der if  Gene  saw  that  picture,  or  if  he  was  too  narrowed 
by  his  prejudice  to  look  for  some  good  in  Dick  Barthel- 
mess and  Molly  O'Day. 

If  Mr.  Barthelmess  is  not  the  person  to  take  a  pugil- 
istic role,  why  blame  him  ?  There  are  others  besides 
ourselves  who  admired  him  in  this  role.  We  thought 
him  immensely  interesting  in  the  way  he  chewed  his 
gum.  He  has  a  personality  which  cannot  be  duplicated 
in  all  Hollywood. 

Though  Molly  O'Day  is  not  our  favorite  actress,  we 
don't  believe  you.  Gene,  are  helping  her  to  improve  her 
acting.  There  must  be  some  good  in  that  young  woman, 
or  she  certainly  would  not  be  cast  for  important  roles. 

'Bobbie  and  Bonita  Rogers. 

Ill  Twelfth  Avenue,  North, 
Seattle,  Washington. 


Doesn't  Like  "Kidlets." 

In  the  May  Picture  Play  there  appeared  an  article 
entitled  "They're  Going  to  School  for  a  Year." 

Of  the  eleven  players  named,  Gary  Cooper,  Fay  Wray, 
James  Hall,  Ruth  Taylor,  Buddy  Rogers,  Lane  Chandler, 
Louise  Brooks,  Jack  Luden,  Richard  Arlen,  Mary  Brian, 
and  Nancy  Carroll,  I  am  reasonably  certain  that  the  four 
who  will  be  highest  in  popular  favor,  and  most  worthy 
of  stardom,  will  be  Buddy  Rogers,  Louise  Brooks,  James 
Hall,  and  Richard  Arlen.  Their  performances  so  far 
have  proved  very  satisfactory,  and  there  is  no  doubt  but 
that  they  will  be  able,  by  their  own  efforts,  to  carry  a 
poor  story  to  the  heights.  Isn't  that  what  is  expected 
of  a  star?  Stars  seldom  are  given  roles  equal  to  their 
ability,  and  it's  usually  their  personal  popularity  that 
brings  in  the  shekels. 

Here  are  a  few  players  whom  I  think  are  exceptionally 
interesting  and  who  have  real  ability:  Betty  Bronson, 
Sally  O'Neil,  Molly  O'Day,  Lois  Moran,  Marian 
Nixon,  Barry  Norton,  Charles  Morton,  and  Anita  Page. 
Some  of  these  are  well  known  and  have  been  in  the 
movies  a  few  years.  Betty,  Sally,  and  Lois  are  given 
small  parts  in  equally  small  pictures.  Why?  Surely 
they  are  admired,  but  there  aren't  roles  for  all  of  these 
youngsters,  and  only  the  luckier  ones  survive.  Yet  the 
producers  are  screaming  from  the  housetops  that  the 
industry  needs  youth  and  the  public  ivants  youth !  Horse 
feathers !  We  want  youth,  yes,  just  as  we  want  every- 
thing else.  But  we're  being  fed  up  with  it.  And  the 
worst  part  of  it  is,  these  younger  ones  take  the  parts 
of  much  older  women.  You'll  understand  what  I  mean 
when  I  cite  Loretta  Young  as  an  example.  Only  fifteen, 
and  playing  leading  lady  in  rather  sophisticated  pictures. 
All  she  seems  to  do  is  to  pose,  and  she  has  that  "look- 
who-I-am"  air  about  her. 

If  they  start  out  at  fifteen,  or  thereabouts,  playing 
leads,  without  previous  experience,  how  long  do  they 
expect  their  success  to  last  ?  The  best  of  our  stars  have 
been  really  popular  only  about  six  years,  and  they  had 
real  beauty  and  ability.  But  these  prodigies  are  cut  f  rom 
the  same  pattern  and  don't  try  to  be  different.  In  six 
years,  at  about  tw«nty-one  or  so,  they  will  be  passe  and 
prematurely  old,  just  when  they  should  be  enjoying  life 
most.  Mary  Frances  Cooney. 

1012  Throop  Street, 

Chicago.  Illinois.  [Continued  on  page  10] 


Advertising  Section 


9 


He  carit  play ... 

turn  on  the  radio 


they  all  shouted 


'1ST 


but  my  revenge  was  sweet 


"OW  that  everyone  is  here,  let's 
tune  in  on  a  good  station  and  get 
some  snappy  dance  music." 
Olive  Murray  was  full  of  pep  as  she  ad- 
justed the  dials  of  her  radio.  "  Shucks,"  she 
said  as  she  discovered  someone  making 
a  speech.    "  Let's  try  another  station." 

But  there  wasn't  a  note  of  dance  music 
on  the  air.  "  Something  like  this  Would 
happen  the  night  of  my  party,"  she  moaned. 
"  Never  mind,  there'll  be  a  -good  orchestra 
on  at  10:30." 

You  could  see  disappointment  written 
all  over  the  guests'  faces.  Suddenly  I 
bucked  up  my  courage  and  took  Olive  aside. 
"What's  the  piano  closed  for?"  I  asked. 

"  Why  not?    No  one  here  plays.    I  only 
wish  somebody  could  play,  though." 
"  I'll  try  to  nll_  in  for  a  while,  Olive." 
"You're    joshing,    Dick!     You  never 
played  before  at  parties." 

"That's  right,  Olive,  but  I'll  play  to- 
night," I  assured  her. 

I  could  tell  she  didn't  believe  me.  For 
as  she  announced  that  I  was  to  entertain 
with  some  piano  selections  I  caught  her 
winking  to  one  of  the  fellows. 

And  what  a  roar  the  crowd  let  out  when 
I  sat  down. 

"He  can't  play,"  called 
out  a  voice  good-naturedly 
from  the  rear.  "  Let's  turn 
on  the  radio  and  listen  to 
the  speeches." 

"  Sure,"  added  one  of  my 
friends,  "  I  know  that  he 
can't  tell  one  note  from  an- 
other. It's  all  a  lot  of  Greek 
to  him.  How  about  it,  Dick?" 

I  said  nothing.  But  my 
fingers  were  itching  to 
play.  _ 

"  Give  him  a  chance,"  said 
Olive,  "  maybe  he  can  play." 


Pick  Your 
Instrument 


Piano 

Organ 

Ukulole 

Cornet 

Trombone 

Piccolo 

Guitar 


Hawaiian  Steel  Guitar 
Sight  Singing 
Piano  Accordion 
Voice  and  Speech  Culture 

Drums  and  Traps 
Automatic  Finger  Control 
Banjo  (Plectrum, 
5-String  or  Tenor) 


A  Dramatic  Moment 

That  settled  it.  There  was  no  maybe 
about  it.  I  played  through  the  first  bars 
of  Strauss'  immortal  Blue  Danube  Waltz. 
A  tense  silence  fell  on  the  guests  as  I 
continued.  Suddenly  I  switched  from 
classical  music  to  the  syncopated  tunes 
from  "  Good  News."  Every  one  started 
to  dance.  Pep  was  once  more  in  order. 
They  forgot  all  about  the  radio.  But 
soon,  of  course, .  they  insisted  that  I  tell 
them  all  about  my  new  accomplishment. 
Where  I  had  learned  .  .  .  when  I  had 
learned  .  .  .  how? 

The  Secret 

"  Have  you  ever  heard  of  the  U.  S. 
School  of  Music?"  I  asked. 

A  few  of  my  friends  nodded.  "  That's 
a  correspondence  school,  isn't  it?"  they 
exclaimed. 

"  Exactly,"  I  replied.  "  They  have  a 
surprisingly  easy  method  through  which 
you  can  learn  to  play  any  instrument  with- 
out a  teacher." 

"  It  doesn't  seem  possible,"  someone  said. 
"  That's  what  I  thought,  too.  But  the 
Free  Demonstration  lesson 
which  they  mailed  me  on  re- 
quest so  opened  my  ey  es  that  I 
sent  for  the  complete  course. 

"  It  was  simply  wonderful 
— no  laborious  scales — no 
heartless  exercises — no 
tiresome  practising.  My 
fear  of  notes  disappeared 
at  the  very  beginning.  As 
■the  lessons  came  they  got 
easier  and  easier.  Before  I 
knew  it  I  was  playing  all 
the  pieces  I  liked  best." 

Then  I  told  them  how  I 
had   alwavs   longed   to  sit 


Violin 

Clarinet 

Flute 

Saxophone 
Harp 
Mandolin 
'Cello 


clown  at  the  piano  and  play  some  old  sweet 
song — or  perhaps  a  beautiful  classic,  a  bit 
from  an  opera  or  the  latest  syncopation — ■ 
how  when  I  heard  others  playing  I  envied  them 
so  that  it  almost  spoiled  the  pleasure  of  the 
music  for  me — how  I  was  envious  because 
they  could  entertain  their  friends  and  family. 

"  Music  was  always  one  of  those  never- 
come-true  dreams  until  the  U.  S.  School 
came  to  my  rescue.  Believe  me,  no  more 
heavy  looking-on  for  me." 

Half  a  MUIion  People   Can't  Be  Wrong! 

Tou.  too,  can  now  teach  yourself  to  be  an 
accomplished  musician — right  at  home — in 
half  the  usual  time.  Tou  can't  go  wrjng  with 
this  simple  new  method  which  has  already 
shown  over  half  a  million  peonle  how  to  play 
their  favorite  instruments.  Forget  that  old- 
fashioned  idea  that  you  need  special  "talent." 
Just  read  the  list  of  instruments  in  the  panel, 
decide  which  one  you  want  to  play,  and  the 
TJ.  S.  School  will  do  the  rest.  And  bear  in 
mind  no  matter  which  instrument  you  choose, 
the  cost  in  each  case  will  average  the  same 
— iust  a  few  cents  a  day.  No  matter  whether 
you  are  a  mere  beginner  or  already  a  good 
performer,  you  will  be  interested  in  learning 
about  this  new  and  wonderful  method. 

Send  for  Our  Free  Pook 
and  Demonstration  Lesson 

Our  wonderful  illustrated  Free  took  and  our  Free 
demonstration  lesson  explain  all  about  this  remarkable 
method.  Thev  nrove  just  how  anvone  can  learn  to  play 
-his  favorite  instrument  by  note,  in  almost  no  time  and 
for  just  a  fraction  of  what  old  slow  methods  cost. 

Head  the  list,  of  instruments  to  the  left,  decido  which 
you  want  to  plav.  and  the  TT.  S.  School  of  Music  wilt 
do  the  rest.  Act  NOW.  Clio  and  mail  this  coupon  to- 
day, and  the  fascinating  free  book  and  Demonstration 
Lesson  will  he  sent  to  you  at  once.  No  obligation.  U.  S. 
P'-bnol  of  Music,  531  Brunswick  Bldg..  New  York  City. 
(Please  mite  plainly.) 

U.  S.  School  of  Music. 

531  Brunswick  Bldg..  New  York  City. 

Please  send  me  your  free  book,  "Music  Lessons  ia 
Tour  Own  Home,"  with  introduction  by  Dr.  Frank 
Crano.  Demonstration  Lesson  and  particulars  of  your 
easy  payment  plan.  I  am  interested  in  the  following 
course: 


Have  , you  above  instrument? 


Name. 


Address  

City  '.  ......State: 


10 

Continued  from  page  8 
Tut,  Tut,  Mr.  Maloney. 

Not  so  many  years  ago,  the  "road" 
flourished.  The  smallest  towns  saw  the 
greatest  actors.  Women  like  Modjeska 
played  night  after  night  in  the  "sticks." 
Now  the  small  town  that  wants  to  see  one 
of  the  Barrymores — whose  father  doubt- 
less visited  it  in  his  heyday — has  to  go 
down  to  the  railroad  tracks  when  the  lim- 
ited goes  through.  If  there  is  no  limited, 
or  Barrymore,  going  through,  the  villag- 
ers can  go  to  the  movies.  And  that,  dear 
children,  is  what  they  call  progress ! 

Now  the  movies  have  challenged  the 
stage  by  talking  out  loud.  Score  one  for 
another  step  in  American  standardization. 
But  the  movies  will  be  imitating,  not  du- 
plicating the  stage.  The  actors  will  con- 
tinue to  be  inspired  by  salary,  not  by  the 
spiritual  affinity  of  an  understanding  audi- 
ence. Unfortunately,  the  mental  condition 
of  the  stars  will  not  necessarily  be  im- 
proved. Some  of  the  dumbest  girls  have 
mildly  pleasing  voices,  just  as  the  dumbest 
girls  can  sign  their  names  in  beautiful, 
characterless  script.  That  kind  of  voice 
can  acquire  inflections  by  rote.  After  Sal 
U.  Loyd  has  finished  one  scene,  the  com- 
pany can  go  into  retirement  for  another 
month  while  she  memorizes  her  next  line. 
Perhaps  the  efficiency  experts  will  devise 
a  means  of  setting  up  Sal's  lines  in  huge, 
distinguishable  letters  to  her  right,  left, 
front,  back,  and  top — that  is,  if  she  can 
read  at  all. 

The  talkies  will  be  a  boon,  of  course. 
Everything  like  electricity  and  radio  has 
been  a  boon  to  some  dear  invalid,  who  now 
tats  with  greater  inspiration.  The  dear 
old  lady — let's  say  from  Quebec,  for  a 
change — will  marvel  that  Broadway  has 
been  brought  to  her  back  porch.  The 
farmer  will,  of  course,  drop  his  plow  in 
order  to  hear  a  Beethoven  symphony.  The 
possibilities  are  unlimited. 

I  am  a  die-hard,  of  course.  I  detest 
progress.  The  talkies  will  flourish  despite 
a  bombardment  of  criticism,  but  their 
flourishing  will  not  savor  of  martyrdom. 
Only  genuine  worth  can  be  martyred.  It 
is  my  belief — and  hope — that  the  movies 
have  bitten  off  a  bigger  chunk  than  they 
can  swallow.    Time  will  tell. 

Linus  Maloney. 

421  West  Luverne  Street, 
Luverne,  Minnesota. 

Are  Suggestions  Wanted? 

It  would  appear,  from  recent  outbursts, 
that  our  intelligentsia  is  still  inordinately 
agreeable  to  the  idea  of  deriding  and  ridi- 
culing what  it  is  pleased  to  call  "the  im- 
becility of  Hollywood.  The  "artier"  films, 
which  are  made  to  gratify  a  more  fas- 
tidious public,  are  panned  even  more  vio- 
lently than  the  frankly  slapstick  ones. 
Nothing  pleases  them ;  they  have  no  pa- 
tience with  the  screen's  lack  of  inspira- 
tion, no  understanding  of  the  now-and- 
then-obvious  crudities  of  a  story,  no  sym- 
pathy for  the  inadequacies  of  the  mar- 
celled players ;  no  other  name  for  the 
moving-picture  industry,  other  than  that 
"it  is  an  appealing  toy,  devised  to  amuse 
ten-year-olds." 

Now,  it  seems  to  me  that  it  would  be  in 
order  to  suggest  to  the  intellectuals  that 
they,  as  paragons  of  modern  mental  activ- 
ity, ought  to  do  something  to  improve  the 
movies.  But  to  that  they  inevitably  reply, 
"The  movies  are  a  trust,  dominated  by 
men  interested  merely  in  dollars  and  sen- 
sationalism." 

Now,  I  wonder   Is  it  true  that  the 

engineers  of  this  incomparable  industry 
have  formed  an  impregnable  barrier  to 
shut  out  all  suggestions  that  are  not 
6trictly  box-office? 


What  the  Fans  Think 

It  is  an  established  fact  that  some  of 
our  most  prolific  authors  have  gone  to 
Hollywood,  eager  to  do  what  they  could 
to  improve  this  interesting  upstart,  the 
moving  picture.  After  a  few  months  of 
bucking  the  craft  and  politics,  which  in 
the  movie  mecca  seem  to  have  taken  the 
place  of  creation  and  inspiration,  they  re- 
tire, angry  and  humiliated,  to  a  more  dis- 
creet distance,  where  they  resort  to  cyn- 
icism.   But  can  you  blame  them? 

I  love  my  movies ;  but,  in  view  of  out- 
rages like  "Helen  of  Troy"  and  "Circus 
Rookies,"  I  admit  they  need  improvement. 
As  they  stand  now,  they  provide,  probably, 
the  greatest  source  of  entertainment  the 
world  has  ever  known.  But  is  that 
enough  ? 

Rita  Dillon. 
Care  of  Siewert,  1244  Grand  Concourse, 
New  York  City. 

Why?    And,  Indeed,  Why? 

The  most  common  complaint  of  the 
movie  actor,  or  of  any  public  personage 
for  that  matter,  is  this:  "If  they" — mean- 
ing that  large,  conglomerate  mass,  the 
public — "if  they  would  only  leave  our  pri- 
vate lives  unmolested.  But  this  they  will 
not  do." 

And,  further:  "Why  should  they  be 
curious  as  to  whether  I  eat  ham  and  eggs 
for  breakfast,  or  if  I  drink  only  orange 
juice?  What  difference  is  it  to  them 
whether  I  wear  silk  teddies  or  have  a  thin- 
ning spot  on  my  scalp?" 

Yes,  indeed — why?  Why  is  it  that  we, 
the  public,  evidence  an  unquenchable,  pry- 
ing curiosity  in  these  matters?  That  we 
do  show  such  curiosity  goes  without  say- 
ing. Else  why  this  constant  cry  of  the 
actor?  Or  witness  the  champion,  Mr. 
Tunney,  in  his  unsuccessful  efforts  to  keep 
the  glare  of  publicity  from  his  fiancee. 
Or  take  the  case  of  Richard  Barthelmess, 
who  has  so  well  expressed  the  situation, 
and  taken  a  definite  stand. 

So,  therefore*  why? 

First  of  all,  let  us  dispose  of  that  group 
which  is  willing  to  enjoy  the  actors' 
work,  and  is  satisfied  with  a  moderate 
amount  of  news  concerning  him.  For 
there  is  such  a  group,  although  Hollywood 
might  be  surprised  and  dubious  of  the 
verity  of  such  a  statement.  This  group 
may  be  small,  compared  to  the  rest ;  but  it 
is  there,  and  it  is  a  cheering  thought. 

And  now,  what  have  we?  The  world 
to-day  is  a  vast  village.  In  this  vast  "vil- 
lage" certain  members  have  risen  above 
their  fellow  citizens  in  various  endeavors. 
Instantly,  then,  they  become  public  char- 
acters. Gossip  is  woven  about  them,  as  al- 
ways happens  in  any  community.  Prying 
curiosity  begins,  and  the  public  characters 
of  Hollywood  arouse  the  most  curiosity, 
because  of  the  nature  of  their  work.  Mys- 
tery, the  greatest  stimulant  of  life,  fans 
the  curiosity.  Adost  of  the  "villagers" 
will  never  see  them.  Therefore,  every  bit 
of  news  concerning  them  is  eagerly  de- 
voured. Particularly  those  things  con- 
cerning the  favorite  actor's  private  life. 
For  "the  village"  can  never  quite  believe 
that  the  actor  is  just  another  human  being. 

There  is  that  individual  who  states  in 
no  uncertain  terms — indeed,  a  contributor 
to  "What  the  Fans  Think"  has  said  that 
the  actor  is  public  property.  Therefore, 
he  should  raise  no  objection;  he  should, 
instead,  be  willing  that  every  smallest  ac- 
tion be  submitted  to  the  inexorable  curi- 
osity of  the  public. 

We  have  the  "crush"  type  of  fan.  She 
feels  for  her  star  in  a  big  way.  There- 
fore, she  must  have  all  the  details  in  a  big 
way. 

Then  there  are  the  idly  curious.  They 


are  curious  simply  because  the  person  is  a 
celebrity. 

Then,  again,  there  is  the  malicious 
minded.  He  craves  each  detail,  because  he 
hopes  to  find  some  dubious  shadow. 

Also,  we  have  the  individual  who  has  a 
brotherly,  sisterly,  fatherly,  or  motherly, 
or  what  have  you,  complex.  This  person 
has  the  same  great  curiosity,  because  he 
admires  the  stars  so  tremendously. 

And  so  it  runs.  This  analysis,  of  course, 
by  no  means  ends  the  list,  or  the  subject. 

There  are  two  very  simple  and  obvious 
conclusions  here,  which  the  actor  has  ap- 
parently forgotten  to  heed:  That  the 
great  portion  of  the  public,  which  is  so 
enormously  curious  concerning  the  actor's 
private  life,  gets  that  way  by  virtue  of 
his  individual  differences.  It's  the  way 
he's  built. 

And,  secondly,  because  of  those  things 
which  have  come  in  the  twentieth  cen- 
tury and  made  it  peculiarly  hysterical,  and 
entirely  different  from  all  past  life.  "The 
village"  must  have  its  curiosity  satisfied 
— even  unto  the  last  iota. 

Alice  Clifton. 

225  East  River  Street, 
Peru,  Indiana. 

Colman  Praises  Barthelmess. 

Don't  you  think  it  is  time  some  of  Rich- 
ard Barthelmess'  champions  appeared  in 
print?  In  September  Picture  Play  one 
of  his  detractors  had  his  innings,  and 
every  statement  he  made  was  a  flat  con- 
tradiction of  fact. 

Those  who  have  seen  "The  Patent 
Leather  Kid"  saw  Barthelmess  put  over  a 
superb  characterization  that  no  one  could 
have  bettered.  Those  who  have  not  yet 
been  so  fortunate  as  to  see  the  film  should 
read  how  highly  Norbert  Lusk  praised  it 
in  the  November  Picture  Play. 

Madeline  Glass'  article  on  Mr.  Barthel- 
mess was  very  interesting,  and  I  admire 
.her  candor  in  admitting  that  she  had  met 
her  Waterloo  in  him.  Some  interviewers 
would  have  given  us  the  "fiction"  about 
which  Mr.  Barthelmess  complains.  Even 
more,  I  admire  his  reserve  in  keeping  his 
heart  to  himself  even  at  the  expense  of 
losing  publicity — that  "bladder"  which 
keeps  smaller  stars  afloat  "in  a  sea  of 
glory,"  as  Shakespeare  puts  it. 

Who  should  know  him  if  his  friends  do 
not?  When  Ronald  Colman  was  in  Eng- 
land last  spring  he  wrote  in  a  newspaper: 
"Dick  Barthelmess  is  a  distinct  type  in 
Hollywood ;  he  is  somewhat  the  same  off 
the  screen  as  he  is  on.  While  in  films  he 
appeals  to  the  mother  instinct  in  every 
woman ;  in  Hollywood  he  makes  the  same 
appeal  to  the  mothers,  wives,  and  daugh- 
ters of  the  film  colony.  Women  would 
always  forgive  Dick  far  more  than  they 
would  forgive  most  of  us,  because  of  his 
wayward  boyishness. 

"When  the  door  of  a  schoolhouse  opens 
in  the  afternoon,  the  first  boy  to  rush  out 
is  a  boy  like  Dick.  He  plays  fully  as 
hard  as  he  works.  He  stays  up  at  night 
and  crashes  about,  but  he  is  just  as  fresh 
in  the  morning  as  if  he  had  gone  to  bed 
with  the  violets.  Lately  he  has  done  sev- 
eral pictures  with  terrific  boxing  in  them, 
just  to  keep  himself  fit. 

"There  is  nothing  I  enjoy  more  than  to 
go  off  with  Dick  on  a  trip.  He  has  a 
sixty-foot  schooner  called  Pegasus.  He 
heads  for  the  Catalina  Island  and  cries, 
'Now  I  am  Perseus  flying  over  the  waves 
to  rescue  Andromeda' — and  so  on." 

Evidently  Mr.  Barthelmess  shows  an- 
other side  of  his  nature  to  his  intimate 
friends.  J.  Ralegh. 

Mannamead,  Plymouth, 
Devon,  England. 


What  the  Fans  Think 


11 


About  This  and  That. 

Every  month  this  section  of  my  favorite 
film  magazine  starts  me  off  grimly  deter- 
mined to  butt  in  on  some  of  the  argu- 
ments expressed  in  its  columns ;  but  usu- 
ally, before  one  has  time  to  prepare  for 
battle,  along  comes  some  fresh  discussion 
to  tantalize  the  true  fan. 

But  some  remarks  of  Lorraine  Chan- 
dler's cannot  go  unchallenged.  I  refer  to 
the  paragraph  about  Charlie  Chaplin,  in 
which  she  finds  it  difficult  to  believe  he  is 
a  great  artist,  because  he  is  not  a  natu- 
ralized American,  and  because  he  took  no 
active  part  in  the  war. 

It  may  be  of  interest  that  no  less  au- 
thority than  the  noted  author  and  soldier, 
Major  "Ian  Hay"  Beith,  told  me  that  he 
himself  signed  Charles  Chaplin's  exemp- 
tion papers  in  the  belief  that  his  small 
stature  and  general  physique  rendered  him 
far  less  useful  as  a  fighting  unit  than  as 
a  mental  and  moral  stimulus  through  his 
service  as  an  artist  and  entertainer. 

Furthermore,  it  may  seem  strange  to 
Miss  Chandler  to  realize  that  there  are  a 
great  number  of  people  who  may  not  wish 
to  sell  their  birthright,  however  grateful 
and  appreciative  they  may  be  of  the  op- 
portunities to  succeed  materially  that  their 
adopted  country  has  given  them. 

Finally,  Mr.  Chaplin  is  not  entirely  in- 
nocent of  service  to  the  States,  which 
claims  a  large  portion  of  his  yearly  earn- 
ings as  revenue. 

May  I  also  add  a  word  of  praise  and 
gratitude  to  the  once-despised  quickies? 
To  Columbia,  in  particular,  the  fans  owe 
a  debt  of  gratitude  for  bringing  back  so 
many  of  their  old  favorites,  and  proving 
that  neither  their  acting  powers  nor  their 
box-office  value  has  decreased,  despite  the 
influx  of  new  faces  and  the  general  im- 
pression that  experience  is  unnecessary. 

It  was  with  great  pleasure  that  this  fan 
read  Margaret  Reid's  article  on  Conway 
Tearle,  proving  what  many  Tearle  fans 
have  long  suspected,  that  he  has  a  delight- 
ful sense  of  humor.  The  vexed  question 
of  the  real  difference  between  a  personal- 
ity and  an  actor  on  the  screen  will  prob- 
ably never  be  settled;  but  if  some  enter- 
prising producer  would  only  return  Mr. 
Tearle  to  us  in  Richard  Dehan's  "The 
Dop  Doctor,"  it  will  be  seen  that  he,  at 
least,  can  lay  claim  to  both  titles.  And  if 
Columbia  would  become  Betty  Bronson's 
sorely  needed  fairy  godmother,  we  should 
all  be  grateful.  Peter  Pan  was  a  hard 
thing  for  any  actress  to  live  up  to,  but 
Miss  Bronson  must  have  another  chance, 
and  ought  not  to  be  lost  in  a  sea  of 
blondes  and  type  actresses,  because  elusive 
personalities  are  so  rare. 

Jean  Webster  Brough. 

Woodleigh,  38  Woodstock  Road, 
Bedford  Park,  London,  England. 

Take  a  Bow,  Billy. 

While  seeing  "Excess  Baggage"  re- 
cently, I  had  an  experience  which  will 
prove  the  light  in  which  every  one  holds 
William  Haines.  There  was  a  very  old 
gentleman  sitting  next  to  me,  and  he  got 
very  excited  during  the  picture.  At  the 
conclusion  he  turned  to  me  and  said, 
"Isn't  that  boy  a  wonder?"  My  answer 
was,  "He  is,  and  the  greatest  actor  that 
we'll  ever  see." 

He  looked  around  at  the  crowd  of  us 
that  were  together,  and  wanted  to  know 
if  we  were  a  delegation  for  something. 
So  we  told  him  that  we  were  members  of 
the  William  Haines  Club,  and  he  asked 
if  he  could  join.  The  tears  had  been 
streaming  down  his  face,  because,  he  said, 
"he  was  so  glad  that  things  turned  out 
right  for  Eddie  that  he  just  couldn't  help 


crying."  And  then  he  told  us  about  a 
boy  of  his  that  had  died,  and  who,  if  he 
had  lived,  would  have  been  about  William 
Haines'  age.  "If  my  boy  had  lived,  I 
would  have  asked  nothing  better  than  to 
see  him  like  that  boy  on  the  screen.  No 
one  could  ask  more  than  to  have  a  son 
such  as  he.  May  he  always  be  true  to  the 
ideals  that  shine  from  his  eyes." 

And  he  meant  it.  I  am  proud  to  be  the 
president  of  a  fan  club  in  honor  of  the 
cleanest  and  finest  American  boy  on  the 
screen  to-day,  and  we  have  made  that  old 
gentleman  our  club  "grandpa." 

Vivian  Stephens. 

Perry,  Lake  County,  Ohio. 

Unfair  and  Unkind  to  Ridicule. 

Some  of  the  critical  letters  about  Ru- 
dolph Valentino  are  coolly  sensible,  but  I 
think  it  is  unfair  and  unkind  to  ridicule 
and  blame  those  fans  who  have  written  of 
their  grief  so  freely.  Their  exaggeration 
is  quite  natural  and  understandable.  That 
their  anguish  is  genuine  I  can  well  believe. 

Governors,  philanthropists,  and  the  like 
are  continually  being  honored,  not  only  in 
death,  but  while  they  are  living.  Every 
year  a  flood  of  honorary  degrees  from 
leading  universities  goes  out  to  notable 
persons.  It  seems  strange,  then,  and 
rather  pitiful,  that  the  praise  of  those  who 
loved  and  enjoyed  Valentino  should  be  be- 
grudged space  in  a  movie  magazine,  of  all 
places. 

Just  why  is  it  considered  morbid  to  re- 
member a  dead  player?  Why  is  it  silly 
and  ridiculous  to  speak  and  write  about 
Rudy?  He  was  a  talented,  picturesque, 
and  loved  personality.    Mabel  Warren. 

3201  West  Dauphin  Street, 
Philadelphia,  Pennsylvania. 

"Lay  Off  My  Favorite." 

Hark  ye,  Gilbert  fans !  The  latest  joke 
— for  it  can  be  nothing  but  a  joke — is 
presented  by  Bernice  Williamson  in  her 
October  letter.  Oh,  it  indeed  calls  for  a 
laugh !  She  says,  "Gilbert  has  ridden  to 
fame  on  the  light  of  Renee  Adoree's  re- 
flected glory."  Don't  some  people  think 
up  the  oddest  things?  That  is  positively 
the  best  I've  heard  yet.  It  is  so  ridicu- 
lous !  Miss  Williamson  is,  I  presume, 
harboring  the  impression  that  Mr.  Gil- 
bert's one  and  only  picture  was  "The  Big 
Parade."  She  doesn't  seem  to  realize  that 
"Shame"  and  "Monte  Cristo,"  two  of  his 
greatest  pictures,  were  made  before  little 
Miss  Renee  was  even  heard  of.  Nor  does 
the  fact  that  Jack  has  scored  success  after 
success  since  "The  Big  Parade,"  zuithotit 
the  aid  of  Miss  Adoree's  "reflected  glory," 
appear  to  matter  particularly.  Without  a 
doubt,  Miss  Adoree  added  considerable 
charm  to  both  "The  Big  Parade"  and 
"The  Cossacks,"  and  she  is  undeniably  a 
talented  actress;  but  it  seems  to  me  that, 
instead  of  her  reflected  glory  helping  Gil- 
bert to  fame,  the  very  opposite  is  true. 
Even  her  greatest  admirer  must  admit 
that,  no  matter  how  splendidly  she  por- 
trayed Nang  Ping  in  "Mr.  Wu,"  she  was 
not  the  same  spirited  Renee  who  gave  us 
Melisande. 

Come  now,  Bernice,  praise  your  favorite 
all  you  like,  for  she  surely  deserves  it ; 
but  lay  off  our  favorite.  His  glory  is  his 
own.  You'll  never  convince  his  fans  dif- 
ferently, and  he  has  done  nothing  to  you 
to  merit  your  bricks. 

Hazel  I,  Weatherston. 

Hamilton,  Ontario,  Canada. 

British  Studio  Gossip. 

I  have  often  read  in  the  "What  the 
Fans  Think"  an  account  cf  a  fan's  visit 
to  a  studio  in  Hollywood,  and  wondered 


if  the  fans  would  be  interested  in  the  stars 
working  in  a  British  studio.  I  shall  not 
bore  you  with  stories  of  stars  you  do  not 
know,  but  will  start  off  with  Monty 
Banks,  who  is  firmly  established  at  the 
Elstree  Studio. 

Whenever  I  have  seen  Monty  arrive  at 
the  studio  it  has  been  on  the  running  board 
of  his  car.  He  is  very  active,  as  one 
would  imagine  from  his  pictures.  He  has 
very  dark  skin,  black  hair,  and  black, 
sparkling  eyes.  He  is  just  lovely  to  every 
one  and  responds  to  every  call  to  be 
"snapped"  by  a  visitor. 

Anna  May  Wong  is  the  loveliest  crea- 
ture. She  is  making  "Piccadilly,"  and 
when  I  saw  her  she  was  wearing  a  gor- 
geous silver-and-blue  kimono  and  a  long 
pigtail.  I  was  very  surprised  to  hear  her 
speak  perfect  English,  with  a  lovely 
American  twang. 

Dorothy  Gish  proved  most  disappoint- 
ing. She  seemed  sulky  and  not  so  beauti- 
ful off  screen. 

Joseph  Striker  is  very,  very  handsome 
and  nice,  and  is  a  perfect  match  for  our 
own  darling  Betty  Balfour. 

The  last  time  I  saw  Walter  Byron,  he 
was  attired  as  a  clergyman,  and  was  en- 
gaged in  leaping  over  chairs  and  settees 
on  the  set,  while  waiting  for  the  director 
and  camera  man  to  come  along.  I  know 
every  one  will  love  Walter  when  they  see 
him  opposite  Vilma  Banky. 

But  the  most  gorgeous  creature  I  have 
seen  off  screen  was  Dolores  del  Rio.  She 
is  wonderful  and  has  won  the  hearts  of 
most  of  us  English  fans  with  her  excur- 
sion to  the  East  End.  She  was  very  anx- 
ious to  study  the  lives  of  the  slum  dwell- 
ers, as  she  intends  to  portray  one  of  them 
in  a  future  film,  and  I  am  certain  we  can 
absolutely  depend  on  something  very  ex- 
cellent from  Miss  del  Rio  in  that  film. 

Louise  E.  Johnston. 

211  Hampstead  Road, 

London,  N.  W.  1,  England. 

From  One  Artist  to  Another. 

There  are  ripples  like  a 
Silvery  wave  on  a  sleepy  ocean 
Running  round  your  mouth. 
In  the  molding  of  your  face 
There  is  inimitable  serenity. 
Your  eyes  see  far  to  the  end 
Of  things  accomplished. 
Only 

Lying  beneath  the  fringe  of 
Your  long  lashes 
Are  the  taut,  blue,  violet  lines 
That  strain  upon  the  leash 
That  holds  you  to  this  earth. 

Helen  Chandler. 
The  Theater  Guild,  New  York  City. 

For  Tamer  Love. 

I  have  not  acquired  the  spirit  of  cyni- 
cism to  the  extent  that  I  believe  woman  to 
be  the  base  and  blatant  creature  that  most 
of  the  recent  movies  depict  her.  A  good 
woman  is  too  wonderful  to  be  constantly 
represented  as  a  shallow,  sensuous,  wholly 
pleasure-seeking,  jazz-crazed  individual; 
and  a  young  person,  nowadays,  at  the  age 
where  he  begins  to  be  sex-conscious  has  a 
difficult  enough  time  living  straight  with- 
out having  love  represented  by  scenes  of 
debauchery.  The  worst  feature  is  that 
the  scene  for  such  rot  is  made  so  glamor- 
ous that  we  all  want  a  shot  at  it.  At 
the  same  time,  those  of  us  who  have  seen 
life  realize  that  this  lustful  pleasure  that 
is  supposed  to  be  so  enjoyable  is  all  a 
huge  pain.  I  enjoy  movies,  but  I'd  like, 
for  a  change,  to  see  some  clean,  pure 
love  stories.  Bring  back  some  of  those 
infinitely  tender  scenes  of  "Seventh 
Heaven,"  or  give  us  a  leading  lady  such 


12 


What  the  Fans  Think 


as  Anita  Page,  in  "Telling  the  World," 
who  can  radiate  holy,  soul-felt,  consum- 
ing love  from  her  eyes. 

In  my  opinion,  pictures  could  be  made 
a  potent  factor  in  propagating  higher 
standards,  instead  of  sponsoring  a  retro- 
gression to  the  days  of  licentious  Rome. 
A  splendid  opportunity  is  being  wasted. 
What  do  the  fans  think  about  it? 

I'd  like  to  suggest  that  we  refrain  from 
sending  intolerant  articles  to  this  column, 
such  as  the  one  contributed  by  Roderick 
Pank.  Such  articles  as  his  stint  public 
comment.        Arthur  W.  Gutekunst. 

Moberly,  Missouri. 

A  Brick  for  Grouches. 

This  department  could  be  such  a  pleas- 
ant one,  but  with  a  few  interesting  ex- 
ceptions the  contributors'  views  are  so  an- 
tagonistic that  at  times  it  is  positively 
amusing.  It  is  difficult  to  believe  they  can 
give  vent  to  such  thoughts  in  black  and 
white.  In  fact,  I  am  beginning  to  think 
the  narrow-mindedness  and  extreme  criti- 
cism is  conceived  in  order  to  get  letters 
in  print.  If  any  fan  is  irritated  by  the 
performance  of  a  certain  star,  let  him  for- 
get it,  and  praise  his  favorites. 

Colleen  Moore's  Jean-nine,  in  "Lilac 
Time/'  is  the  best  of  her  recent  roles. 
She  impresses  upon  us  that  her  ability  is 
of  a  greater  depth  than  suspected  from 
her  flapper  roles. 

Although  Mary  Pickford  never  left  us, 
she  seems  to  be  back  in  earnest,  and  love- 
lier than  ever.  I  am  sure  the  loss  of  her 
curls  will  not  lose  any  friends  for  her,  for 
it  is  Mary  herself  who  appeals  to  us  so 
deeply.  Mary  is  quite  the  loveliest  of 
stars,  with  Dolores  Costello  running  a 
close  second.  Their  beauty  is  natural, 
physically  and  spiritually.  Many  of  the 
stars  are  beautiful,  but  artificial. 

It  is  a  well-known  fact  that  stars  will 
not  permit  their  doubles  to  have  movie 
tests.  Marion  Davies  is  to  be  compli- 
mented on  her  graciousness  in  insisting 
that  her  double  have  a  test — and  the  re- 
ports are  favorable. 

A  star  who  has  not  appeared  in  pictures 
of  late,  and  who  has  showed  much  prom- 
ise but  suffered  through  poor  stories,  is 
Alice  Calhoun.  Her  many  devoted  fan 
friends  earnestly  desire  her  return. 

A  Reader. 

Chicago,  Illinois. 

Your  Turn  Next! 

Suppose — 

Donald  was  a  cattail  instead  of  a  Reed, 
Leatrice  was  a  pest  instead  of  a  Joy, 
Lawrence  was  black  instead  of  Gray, 
Laura  was  a  bush  instead  of  a  Plante, 
Wallace  was  a  plum  instead  of  a  Beery, 
Colleen  was  a  field  instead  of  a  Moore, 
Thomas  was  kind  instead  of  Meighan, 
Elinor  was  dark  instead  of  Faire, 
John  was  white  instead  of  Brown, 
Billie  was  an  eagle  instead  of  a  Dove, 
Esther  was  cornflakes  instead  of  Ralston, 
Kathryn  was  a  butcher  instead  of  a  Carver, 
Martha  was  a  nightmare  instead   of  a 
Sleeper, 

Patsy  Ruth  was  a  blacksmith  instead  of  a 
Miller, 

Virginia  was  a  mountain  instead   of  a 
Valli, 

Clara  was  a  knot  instead  of  a  Bow, 
Camilla  was  a  trumpet  instead  of  a  Horn, 
George,  was  a  sink  instead  of  a  Fawcett, 
Nora  was  a  road  instead  of  a  Lane ! 

James  Leland. 
32  Alain  Street,  Hamilton,  New  York. 

Pipe  Down,  Rooters. 

When,  oh,  when  are  the  distressingly 
rabid  rooters  for  and  against  Gilbert  and 


Novarro  going  to  give  us  a  rest?  I,  too, 
have  a  favorite — Ronald  Colman,  in  com- 
parison to  whom  most  of  the  other  play- 
ers seem  uninteresting  and  without  charm. 
But  who  cares  if  I  feel  that  way,  except 
myself  and  possibly  Mr.  Colman,  because 
the  more  admirers  he  has,  the  more  money 
he  can  make.  I  do  wish,  however,  that 
he  wouldn't  play  in  costume  pictures. 
"Two  Lovers"  was  a  distinct  disappoint- 
ment, principally  because  the  costumes  he 
wore  were  so  unbecoming. 

I  do  not  claim  that  Ronald  Colman  is 
the  best  actor  on  the  screen,  but  merely 
the  most  attractive  personality.  If  any 
one  is  in  doubt  as  to  who  is  the  best 
actor,  let  him  see  Emil  Jannings  in  "The 
Patriot"  and  be  convinced. 

Sylvia  Craft. 

50  Morningside  Avenue, 
New  York  City. 

Another  One,  Please! 

I  have  a  problem,  and  I  wonder  if  you 
would  be  so  kind  as  to  help  me.  In  Sep- 
tember Picture  Play  a  letter  of  mine  was 
printed,  for  which  favor  I  am  eternally 
grateful,  as  it  has  been  the  means  of  ac- 
quiring some  friends  in  your  country. 

My  problem  is  this :  A  fan  of  London 
has  written  to  me,  giving  neither  name  nor 
address,  and  I  wish  to  communicate  with 
him.  Could  you  make  an  announcement 
in  "What  the  Fans  Think"  that  I  should 
like  to  communicate  with  the  writer  in 
London,  S.  W.,  who  sent  me  a  letter  on 
August  18th?      J.  Ernest  Browne,  Jr. 

Cairo,  Bridge  Road,  East  Molesey, 
Surrey,  England. 

Felicitations. 

I  should  like  to  congratulate  Connaught 
Lee  on  his  very  charming  poem  which  was 
printed  in  the  October  Picture  Play. 

Greta  Garbo  is  my  prime  favorite,  and 
Mr.  Lee  has  expressed  so  admirably  all 
that  I  have  often  wanted  to  say  myself. 
It  is  difficult  to  praise  a  person  without 
sounding  sentimental  or  silly ;  and,  since  I 
have  no  ability  as  a  poet,  I've  never  at- 
tempted to  praise  her. 

It  was,  therefore,  very  gratifying  _  to 
read  the  poem,  and  for  the  pleasure  which 
it  gave  me  I  am  taking  this  opportunity 
to  thank  Mr.  Lee.  E.  B. 

Brooklyn,  New  York. 

Strong  Opinions. 

I  had  not  meant  to  write  again  so  soon, 
but  I  cannot  keep  still  after  reading  a  let- 
ter by  Gertrude  Hoffman  in  the  October 
Picture  Play.  It  is  all  very  well  to  say 
that  we  fans  who  dislike  the  talking  pic- 
tures should  stay  away  from  them,  and  I 
certainly  intend  to  do  so  as  long  as_  pos- 
sible, but  how  can  we,  when  practically 
every  picture  has  some  type  of  sound  in 
it?  As  some  one  said,  we  will  be  forced 
to  have  these  disgraces  whether  we  want 
them  or  not.  To  my  mind,  it  would  be 
far  more  of  an  accomplishment  for  the 
producers  to  have  pictures  all  in  natural 
color.  They  would  still  be  silent,  and 
their  charm  would  not  be  gone.  I  truly 
believe  the  talkies  are  but  a  novelty  that 
will  wear  off  soon.  And  I  think  the  pro- 
ducers should  leave  in  all  the  subtitles,  so 
that  if  we  did  not  understand  the  voices, 
or  missed  hearing  them,  we  could  still 
read  the  words  from  the  screen.  The 
article  which  appeared  in  Picture  Play 
recently  was  very  good,  and  it  will  be 
very  sensible  of  the  producers  if  there 
are  two  complete  versions  of  the  picture 
— one  silent  and  one  with  sound. 

Would  it  be  asking  too  much  to  tell  all 
the  Novarro  fans  to  keep  still?  It  is 
really  not  making  the  reading  of  this  de- 


partment at  all  interesting,  to  have  to  read 
seven  letters  in  one  issue  about  Novarro. 
We,  who  do  not  like  him,  know  he  has 
fans.  It  is  not  necessary  to  advertise  that 
fact  so  extensively. 

Another  thing.  I  am  an  ardent  Richard 
Dix  fan,  and  try  never  to  miss  his  pic- 
tures; but  I  object  to  being  forced  to 
look  at  Ruth  Elder.  Why  on  earth  can't 
the  studio  give  Dick  a  good  leading  lady 
once?  Now  that  he  is  rid  of  Mary  Brian, 
they  stick  Ruth  on  him.  Why  can't  these 
baseball  stars,  swimmers,  football  stars, 
aviators,  et  cetera,  stay  where  they  be- 
long, instead  of  inflicting  themselves  on 
the  fans? 

I  agree  with  Miss  Brenner  in  regard 
to  the  silly  two-reel  comedies  we  have  to 
endure.  I  like  "The  Collegians"  very 
much,  especially  George  Lewis.  I  avoid 
the  news  reel  whenever  I  can,  as  it  bores 
me.  However,  in  feature  pictures  I'm  not 
so  keen  on  reality,  if  to  be  like  real  life 
the  picture  must  have  an  unhappy  ending. 
I  am  very  bitter  against  unhappy  endings, 
and  if  I  know  beforehand  that  a  certain 
picture  will  end  that  way,  I  do  not  see  it 
There  is  enough  tragedy  in  the  world 
without  viewing  it  in  pictures. 

Marion  L.  Hesse. 

154  Elm  Street, 
Elizabeth,  New  Jersey. 

Now.  As  to  Pola  

Now,  that's  more  like  it — that  article 
on  Pola  Negri  in  the  October  Picture 
Play.  It  shows  that  a  person  can  be 
frank  without  being  prejudiced.  Edwin 
Schallert's  criticism  is  constructive  and  ex- 
cusing, with  most  plausible  excuses.  He 
speaks  both  pro  and  con.  Contrast  this 
with  Mr.  Oettinger's  article  in  which, 
though  I  admire  his  frankness  in  telling  . 
what  he  thinks,  he  was  certainly  preju- 
diced. Does  he  forget  that  Pola's  Eng- 
lish is  only  five  years  old? 

Why  shouldn't  she  frankly  admit  that 
only  a  few  of  her  German  pictures  were 
masterpieces?  And  when  those  few  were 
shown  in  America,  it  was  those  master- 
pieces that  made  her  reputation  as  an 
artist.  She  admits  it's  only  a  reputation. 
And  it  isn't  possible  to  achieve  greatness 
always.  Malcolm  criticizes  her  for  being 
artificial,  and  then  blames  her  when  she 
tells  the  truth.  I  don't  blame  her  for 
eying  him  sternly  when  he  asked  the  ques- 
tion every  interviewer  must  ask,  "But 
don't  you  think  that  nothing  you  have 
made  in  this  country  approaches  'Pas- 
sion'?" But  she  decided  to  be  polite  and 
answer  his  question. 

As  for  always  yearning  to  do  better 
pictures,  and  that  she  is  never  satisfied — - 
that  isn't  hard  to  swallow,  considering 
some  of  the  pictures  she's  made.  As  a 
matter  of  fact,  there's  only  one  thing  I 
have  to  criticize  Pola  for :  That  is,  hav- 
ing the  producers  at  her  mercy  with  her 
famous  temperament,  why  didn't  she  take 
advantage  of  this  and  demand  better  sto- 
ries?   I  mean,  do  as  Greta  Garbo  did. 

But  that  article  "Pola  Ends  an  Event- 
ful Chapter"  I  consider  the  best  story 
about  Pola  I've  ever  read.  Pola's  pic- 
tures do  not  make  much  money  in  Can- 
ada. That  is  too  bad.  But  I  hope  her 
luck  will  turn  and  she  will  regain  her 
popularity.  Mr.  Schallert  says  Pola's 
forte  is  tragedy,  and  Pola  is  often  re- 
ferred to  as  the  great  emotional  actress. 
Gloria  Swanson,  too,  is  referred  to  as  a 
great  dramatic  actress.  But  I  declare  that 
both  these  actresses  are  great  character 
actresses,  when  given  a  chance. 

Fraser  P.  Macdonald. 

8609  One  Hundred  and  Eleventh  Street, 
Edmonton,  Alberta,  Canada. 


What  the  Fans  Think 


13 


Conrad  Veidt  Praised. 

I  was  awfully  pleased  to  read  in  the 
September  Picture  Play  a  letter  praising 
Conrad  Veidt.  I,  too,  admire  him  ter- 
ribly! I  first  saw  him  in  "The  Beloved 
Rogue,"  and  though  I  thought  his  acting 
was  fine,  I  can't  say  I  was  particularly 
keen  on  Conrad  himself;  but  in  "A  Man's 
Past"  he  was  absolutely  wonderful.  I  en- 
tirely disagree  with  those  critics  who  said 
it  was  a  heavy  film  that  dragged  on  and 
on,  and  that  Conrad  Veidt  lacked  sympa- 
thy and  romance. 

Conrad  Veidt  is  a  refreshing  change 
from  the  empty  and  rather  sickly  sweet, 
boyish  heroes  that  seem  to  be  the  rage 
just  now.  He  has  an  air  of  experience, 
character,  and  culture  that  always  ap- 
peals to  me. 

"The  Man  Who  Laughs,"  if  possible, 
increased  my  regard  for  Mr.  Veidt.  His 
acting  and  make-up  were  marvelous,  and 
he  made  the  horrible-looking  Gwynplaine 
such  a  sympathetic  and  tragic  figure  that 
I  sighed  with  relief  when  the  film  ended 
happily,  though  usually  I  prefer  unhappy 
endings.  Somehow,  they  seem  to  make 
a  film  greater,  and  I  certainly  think  peo- 
ple remember  them  longer.  One  scene  in 
"The  Man  Who  Laughs"  particularly  ap- 
pealed to  me,  and  that  was  where  the 
blind  girl,  D-ea,  is  fondling  Gwynplaine 
and  saying  how  she  loves  him  and  how 
beautiful  he  is,  and  all  the  while  he  is 
watching  his  face  in  a  mirror,  with  the 
hideous  grin  stamped  upon  his  mouth  and 
ineffable  tragedy  in  his  eyes  and  heart 

In  conclusion,  I  will  say  that  I  admire 
Conrad  Veidt's  fine,  expressive  eyes  and 
humorous  mouth,  and,  above  all,  I  see  in 
him  some  of  that  peculiar  fineness  of 
character  that  makes  Ramon  Novarro  the 
outstanding  figure  on  the  screen. 

Renee  G.  Wallington. 

3  Wakeman  Road,  Kensal  Rise, 
London,  N.  W.  10,  England. 

Why  Byron  for  Butler? 

I  have  just  seen  Dolores  Costello  in 
"Glorious  Betsy,"  and  for  once  I  enjoyed 
a  picture  of  hers.  I  think  it  is  her  best 
since  "The  Sea  Beast." 

Pictures  like  "The  Little  Irish  Girl," 
"A  Million  Bid,"  and  "The  Heart  of 
Maryland"  are  enough  to  send  any  one  to 
sleep,  and  I  think  it  is  a  tribute  to  Miss 
Costello's  beauty  and  brilliance  that  her 
popularity  has  increased  in  spite  of  poor 
pictures.    May  the  good  work  keep  up ! 

I  wish  I  could  say  as  much  for  the  new 
Gaynor-Farrell  picture,  "Street  Angel." 
It  is  too  reminiscent  of  "Seventh  Heaven" 
and  has  too  much  sentimentality,  without 
the  charm  and  beauty  of  the  other  picture. 

I  see  that  Samuel  Goldwyn  has  signed 
Walter  Butler  for  Vilma  Banky's  leading 
man,  and  Lily  Damita  for  Ronald  Col- 
man.  And  why  has  Butler  been  changed 
to  Byron?  Any  fear  of  his  being  nick- 
named "Battling  Butler"?  He  has  done 
fine  work  in  British  films,  though  he  has 
never  been  properly  appreciated.  Lily 
Damita  is  not  as  beautiful  as  Vilma  Banky, 
but  she  has  the  same  womanly  charm  and 
did  fine  work  in  "The  Queen  Was  in  the 
Parlor,"  which  sounds  like  a  nursery 
rhyme  but  was  really  a  gripping  drama. 

Margaret  Munton. 

44  Chesson  Road,  W.  Ken,  W.  12, 
London,  England. 

Whoopee!    For  Dick  Arlen! 

Three  cheers  for  Richard  Arlen!  Long 
may  he  triumph !  Come  on,  Paramount, 
let's  have  bigger  and  better  pictures  for 
that  fellow  with  such  a  fine  character. 

If  there  is  a  mother  or  a  father  in  this 


world  who  wouldn't  feel  proud  to  call 
Richard  Arlen  "my  son,"  or  a  girl  who 
wouldn't  be  thrilled  to  call  Dick  Arlen 
"the  boy  friend,"  or  a  boy  or  girl  who 
wouldn't  get  a  big  kick  out  of  calling 
Dick  "big  brother,"  I  certainly  wish  he, 
or  she,  would  write  me  the  reason.  I'm 
sure  Jobyna  Ralston  gets  a  thrill  out  of 
calling  Dick  Arlen  "my  husband." 

I  do  hope  some  fans  will  send  me  items 
and  pictures  of  Richard  Arlen.  I  cannot 
afford  to  buy  all  the  magazines  which 
contain  his  interviews,  for  I  would  have 
been  penniless  long  ago. 

Jean  Browne  Harral. 

331  Riverview  Avenue, 
Drexel  Hill,  Pennsylvania. 

Pola  Criticized? 

Why  is  Pola  Negri  so  severely  criti- 
cized? I  think  she  is  one  of  the  finest 
actresses  on  the  screen.  Unfortunately, 
her  pictures  have  been  badly  chosen,  and 
consequently  she  has  suffered.  I  sincerely 
hope  her  European  career  will  be  more 
successful. 

I  do  not  understand  what  any  one  sees 
in  Renee  Adoree.  She  is  worse  than  me- 
diocre. If  she  could  act,  her  appearance 
would  not  be  so  much  against  her;  but 
she  is  no  actress  and  is  far  too  fat. 

Mildred  V.  Jaffee. 
1110  Bushkill  Street, 
Easton,  Pennsylvania. 

Talkies  and  Dixie  Ears. 

My  first  letter  to  your  department  is 
not  a  brickbat,  but  a  very  earnest  query: 
What  has  happened  to  Norma  Shearer's 
acting  ability  ?  She  has  given  us  so  many- 
fine  characterizations,  and  has  endeared 
herself  to  a  large  following  of  fans. 
Then  came  her  Kathie,  in  "The  Student 
Prince,"  which  nearly  ruined  the  beauty 
of  the  film  for  me.  In  "The  Actress" 
she  was  terrible.  Such  silly  simpering 
and  uncalled-for  grinning  throughout  the 
picture !  We  have  learned  to  love  her  for 
her  charm .  and  beauty  and  for  the  sin- 
cerity of  her  acting.  Cannot  something  be 
done  to  save  the  old  Nora  Shearer  for 
those  who  truly  admire  her? 

Approaching  tragedy  for  us  in  the 
South  is  the  revelation  that  our  dainty, 
feminine  stars  may  have  voices  of  fog- 
horns, as  witness  lovely  Dolores  Cos- 
tello in  "Tenderloin."  We  unconsciously 
have  invested  our  favorites  with  the  soft 
voices  we  have  been  used  to  all  our  lives, 
and  with  this  awful,  squawking  Vitaphone 
we  are  due  for  some  fearful  shocks,  I 
fear. 

There  ought  to  be  something  we  fans, 
who  like'  our  pictures  silent,  can  do  about 
having  sound  films  foisted  upon  us.  As  a 
novelty,  they  are  interesting,  but  as  a 
steady  diet — heavens,  no  ! 

Anne  Robinson. 

Selma,  Alabama. 

Buddy's  a  "Good  Egg." 

For  years  I  have  .read  "What  the  Fans 
Think"  and  have  derived  enjoyment  from 
the  controversies.  But  I  have  always 
vowed  a  vow,  to  wit :  that  I  would  never 
participate  therein  !  But  "  'The  time  has 
come,'  the  Walrus  said." 

It  is  to  protest  against  Eva  J.  Robinson 
in  behalf  of  Buddy  Rogers.  In  addition 
to  being  a  "good  egg" — he's  from  here, 
and  I  know — he  can  act.  Surely  he 
proved  that  in  "Wings"  and  "My  Best 
Girl."  Of  course,  he  isn't  a  great  actor. 
But  then,  very  few  are !  And  Buddy's 
young  yet,  and  hasn't  been  in  the  movies 
very  long.    Nevertheless,  he  has  ability. 

Furthermore,  Miss  Robinson  is  guilty 
of    contradicting    herself.      She  says, 


"Every  fan  to  his  tastes,"  and  then : 
"Why  doesn't  Paramount  stop  adopting 
Buddy  Rogers  and  other  well-meaning, 
but  not  very  inspiring  actors,  and  get 
Cullen  Landis  back?"  In  that  sentiment 
I  fear  Miss  Robinson  is  probably  one 
against  thousands.  Find  out  how  many 
prefer  Cullen  Landis  to  Buddy  Rogers! 

Ethel  Pierce. 

3910  Warwick, 
Kansas  City,  Missouri. 

What  Is  Acting? 

On  the  subject  of  Katherine  Lipke's 
article,  "What  Is  Acting?"  I  agree  with 
Clara  Bow.  It  is  not  a  question  to  ask  a 
star,  for  the  star  is  too  busy  with  work 
and  cannot  bother  to  analyze  it. 

To  act  is  to  have  the  ability  to  forget 
oneself,  momentarily,  in  order  to  im- 
personate a  character.  To  impersonate  a 
character  means  not  only  to  do  the  same 
acts,  but  also  to  feel  the  same  emotions 
and  to  think  the  same  thoughts.  An 
actor,  like  a  live  wire,  must  transmit  the 
current  of  emotions  to  the  public,  and 
here  is  where  John  Gilbert's  talk  on  vi- 
tality comes  in. 

Vitality  is  a  sign  of  good  acting,  for 
any  one  who  is  dumb  cannot  feel  or  trans- 
mit emotions,  but  it  is  not  the  chief  qual- 
ity. An  actor  must  be,  above  all,  sensi- 
tive, and  one  of  the  greatest  proofs  of 
this  statement  is  the  fact  that,  in  order  to 
film  a  play,  music  is  needed. 

Buddy  Rogers,  too,  is  right.  He  hasn't 
enough  experience  to  be  starred  yet,  and 
if  he  wants  to  gain  as  lasting  popularity 
as  Valentino  or  Wallace  Reid,  he'd  bet- 
ter wait  a  bit  longer.        Emma  Resti. 

10  Rue  du  President  Wilson,  Asnieres, 
Paris,  France. 

Thanks  All  Around. 

Picture  Play  has  been  so  very  kind  in 
bringing  me  lovely  friends  through  the 
medium  of  letters  in  this  column,  I  won- 
der if  I  may  use  it  to  thank  all  those  who 
have  written  to  me?  Even  though  I  can- 
not answer  all,  I  want  you  to  know  I  en- 
joyed and  appreciated  every  one  of  your 
lovely  letters.  To  those  who  ask  me  how 
I  receive  so  many  star  photos,  I  would 
like  to  say  that  there  is  no  secret  about 
it;  just  write  sincere  letters  to  your  fa- 
vorites, praising  or  criticizing  them,  as 
you  feel.    Perhaps  that  is  the  "secret" ! 

To  "Lilianette,"  I  wish  to  thank  you 
for  your  praise  for  my  Picture  Play  let- 
ter, and  to  you,  Frances  Bushman,  for 
your  lovely  letter  telling  me  all  about 
Francis  X.  Bushman,  and  to  you,  Miss 
Hunter,  for  your  wonderful  kindness. 
Fans,  she  has  sent  me  many,  many  beau- 
tiful photos  of  her  friends  among  the 
stars — large  portraits,  originals,  small 
ones,  personally  autographed  ones,  and 
stills  and  snapshots  of  the  stars.  I  won- 
der if  I  deserve  such  kindness! 

Elinor  Garrison. 
426  Thirtieth  Avenue, 
Seattle,  Washington. 

Brain  Fag. 

If  Alice  White  was  sick,  would  Bessie 
Love  to  help  her? 

If  Shirley  Mason  had  a  dog,  would  Bob 
Steele  it,  or  would  Charlie  Chase  it? 

If  Alberta  Vaughn  was  at  a  party, 
would  Johnny  Walker  home? 

If  Clara  Bow  has  red  hair,  has  Gilda 
Gray? 

If  Blanche  Sweet  is  tall,  is  Gertrude 
Short? 

If  Larry  Kent  had  a  fight,  would  Lewis 
Stone  him? 

Continued  on  page  100 


14 


Advertising  Section 


\xa§  it  aKv 


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Picture 

Takes  the  Guesswork  Out 
of  "Going  to  the  Movies" 


Delilah's  love  sent  Samson  into  slavery-- 

ForSalome,  King  Herod  sold  his  soul- 
AndPelleas  fell  at  his  brother's  hand 

in  the  arms  of  lovely  Mdisande. 


f  *  *  ' 


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

they  loved  .... 

How  much  greater,  then,  is  a  devo- 
tion that  dares  to  sacrifice  LOVE 
ITSELF  •  An  emotion  so  mighty 
'that,  when  Love  spells  Ruin  for 

the  Man,  a  glorious  beauty  re- 
nounces her  last  hopeofhappt- 

ncss  to  SAVE  HIM  FROM 

THEIR  LOVE! 

<  1  i  » 

No  wonder  the  romance  of 


luxurious  Lady  Hamilton  and  world- 
renowned  Lord  Nelson  has  been 
called  the  greatest  of  all  Great 
Loves  -  One  of  history"*  most 
thrilling  sirens  and  the  famous  hero 

of  Trafalgar,  united  in  a  reckless 
love  pact  that  was  at  once  the 
scandal  and  the  salvation  of  an 
Empire  


No  wonder  First  National  Pic- 
tures chose  this  qnc  story,  from 
E  Barrington  s  great  best-seller, 
asthemcfocavast  screen  spectacle 
ofunimaginedsplendor.planned 
to  mark  a  step  forward  in  picture 

art . . , ■ 

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


riifffeQRlFFITH 

.WVINEIADY 

147IU 


13 


PICTURE  PLAY,  January,  1929  Vol  ume  XXIX    Number  5 


Photo  by  Eugene  Eobcrt  Bichee 

Charles  Rogers  and  Mary  Brian  set  an  example  to  the  youth  of  the  land,  as  well  as  to  those  who  would  be 
young,  by  moving  the  calendar  backward  and  making  Christmas  Night  to-night.  It  is  easy  for  them,  because 
they  possess  the  magic  of  youth  which  accomplishes  seeming  miracles.  And  because  they  are  beloved  standard 
bearers  in  the  magical  procession  of  motion  pictures,  the  love  light  in  their  eyes  will  kindle  eyes  and  hearts 
through  all  the  illimitable  domain  of  the  screen,  and  make  them  true  harbingers  of  the  Christmas  spirit. 


lb 


Photo  by  Fryer 


Louise  Fazenda  inherits  from  her  mother  her  fondness  for  home  life,  and  the  virtue  of  thrift. 


B 


orn 


to  C 


ome 


THE  STORY  OF  FAZENDA 


Tracing,  from  its  humble  beginning,  the  fascinating  career  of  one  of  movies' outstanding  figures. 


By  Elza  Schallert 


THE  story  of  Louise  Fazenda  ostensibly  begins 
during  the  romantic  and  historic  period  of  1916, 
in  the  atelier  of  the  master  of  comedy,  Mack 
Sennett. 

Neither  in  flowing,  white  tunic, 
girdled  with  golden  cord,  nor  yet 
with  beflowered  coronet  on  her 
brow,  was  Louise  ushered  into 
the  arena  of  that  grand,  old 
amphitheater,  which  has  been  the 
training  ground  for  some  of  the 
greatest  talent  the  screen  has 
known. 

Her  actual  debut  was  made  in 
a  frayed  straw  hat,  calico  dress 
tightly  hugging  a  figure  of  threat- 
ening proportions,  white-cotton 
stockings  and  black-buttoned 
shoes.  Her  left  arm  clutched  an 
oversized  duck.  Her  right  arm 
laboriously  dragged  ninety-pound 
Teddy — genus  Great  Dane — the 
Roman  lion  of  his  day. 

The  first  chapters  of  screen 
comedy-history  had  just  been 
written,  when  Louise  entered  the 
ranks  of  Sennett  gladiators. 
Through  deeds,  of  drollery,  tum- 
bling, pie-hurling,  and  through 
grotesque  love-making,  the  early 
movie  sagas  were  created. 


Miss  Fazenda's  home  is  free  from  pretense 


Chaplin,  Mabel  Normand,  Ben  Turpin,  Chester  Conk- 
lin,  Charlie  Murray,  Ford  Sterling,  Mack  Swain — these 
personalities  had  already  inscribed  clear  outlines  on  the 

celluloid  Talmud  of  comedy. 

The  chronicles  of  the  bathing- 
girl  era  were  in  embryo.  The 
names  of  Gloria  Swanson,  Marie 
Prevost,  and  Phyllis  Haver  were 
yet  to  be  made. 

Wallace  Beery  and  Raymond 
Griffith  were  on  the  side  lines, 
helping  the  wheels  of  monkey- 
shines  spin  around.  Their  big 
turn  had  not  yet  arrived.  Nor 
had' Harry  Langdon's  figure  cast 
the  dimmest  shadow  on  the  Sen- 
nett sky  line.  It  was  many  years 
later  before  a  close-up  appeared 
of  his  hopeful,  expectant  eyes. 

Ostensibly  Louise's  career  be- 
gins to  unfold  in  its  casual, 
steady,  predestined  mode  from 
this  point.  But,  actually,  it  took 
form  at  a  much  earlier  date. 

It  was  already  in  the  hands  of 
fate  when  she  was  a  youngster 
in  awkward  pigtails,  sitting 
moodily  on  the  stoop  of  her 
house  right  next  to  the  old 
Southern  Pacific  station  in  Los 
Angeles. 


Born  to  Comedy — The  Stoiy  of  Faxenda 


17 


A  girl  with  strange,  half-humor- 
ous, half-melancholy  eyes,  who  once 
chose  to  enjoy  a  lonely  ride  in  the 
box  car  of  an  outgoing  train. 

A  girl  with  a  whimsical,  fantastic 
streak,  who  walked  miles  to  Rose- 
dale  Cemetery,  and  wept  bitter  tears 
over  unknown  tombstones,  while  she 
tenderly  laid  flowers  on  the  graves, 
yet  who,  before  the  tears  were  dry, 
was  seized  by  a  fit  of  caprice  and 
youthful  deviltry  that  caused  her  to 
leave  carrying  mortuary  vases  under 
her  arms,  as  souvenirs  of  the  occa- 
sion. These,  however,  immediately 
became  gifts  to  some  of  her  friends 
in  the  Mexican  section  of  town, 
whom  she  loved  to  visit — quaint, 
withered-looking  shopkeepers,  who 
reciprocated  her  favors  with  little, 
colored  baskets,  and  such  Spanish 
dainties  as  bunuelas  and  qiiesadillos 
— fritters  and  cheese  cakes.  Was 
this  barter  and  trade  ?   Who  can  say  ? 

If  ever  a  career  was  patterned  by 
that  indefinable  entity  called  fate,  it 
is  the  career  of  Louise  Fazenda.  It 
would  seem  that  i%  was  written  .in  the 
stars  that  she  should  become  a  co- 
median— not  comedienne.  There  is 
a  distinction,  however  subtle.  And 
nowhere,  so  well  as  in  the  Bagdad  of 
moviedom,  could  she  have  found  so 
flourishing  a  mart  for  her  picturesque 
wares. 

At  various  times  during  her  life, 
she  has  tried  to  change  the  architec- 
ture of  her  career.  But  she  has  only 
succeeded  in  slightly  altering  its  em- 
bellishments. There  was  a  period 
when  she  positively  yearned  and 
willed  that  she  should  become  a  dra- 
matic actress.  But  she  still  remained 
funny. 

It  appears  to  be  the  instinct  of  the 
born  comedian  to  play  tragedy  at  least  once  in  his,  or 
her,  life.    For  these  all-too-rare  types  the  laugh  and  the 
tear  are  composite. 

Chaplin  longs  to  play  Hamlet.  Fannie  Brice's  act  is 
never  complete  until  she  attempts  to  essay  the  court  jes- 
ter with  a  breaking  heart.  Jolson  would  impersonate 
Punchinello,  to  prove  to  the  world  that  he  can  cry  for 
more  than  "Mammy."  Louise  Fazenda  wanted  to  be  a 
tragedienne,  and  I  am  not  so  sure  that  she  ever  will 
be  able  to  quell  the  urge.  She  has  not  only  at  various 
times  emulated  Bernhardt  in  thought  and  action,  but 
every  now  and  then  she  has  circulated  portraits  of  her- 
self posed  in  raven  robes  and  immersed  in  an  aura  of 
gloom,  which  identified  her  as  the  image  of  the  "Divine 
Sarah"  herself. 

Notwithstanding,  Louise  was,  is,  and  always  will  be, 
a  comedian.  It  is  her  temperament,  her  talent,  her  heri- 
tage. Were  she  to  play  Ophelia  to  Barrymore's  dismal 
Dane,  the  poor,  unhappy  heroine  would  become  much 
more  daft  than  Shakespeare  intended. 

Louise  is  the  genuine  wag  among  women  screen  play- 
ers. Her  type  is  scarce.  She  and  Polly  Moran  hold  the 
particular  spotlight  alone.  They  are  the  bassoons  in 
Hollywood's  symphony  of  sweet-tuned  violins. 

The  Constance  Talmadge  and  Laura  La  Plante  type 
of  comedienne  is  a  special  genre.  They  become  amusing- 
through  ludicruous  situations  built  around  them.  Like 


This  unusual  photograph  of  Miss  Fazenda,  posed  expressly  for  PICTURE 
PLAY,  shows  the  depth  and  character  which  she   conceals  behind  her 

grotesque  characterizations. 

Mabel  Normand  of  the  early  days,  their  appeal  rests;  in 
large  part,  on  obvious  femininity  and  charm,  although 
Mabel  possessed,  in  addition,  a  native,  infectious  humor 
somewhat  similar  to  that  of  Fazenda  and  Polly  Moran, 
which  makes  everything  they  do  on  the  screen  appear 
funny,  whether  it  is  fundamentally  so  or  not. 

Louise,  of  course,  unlike  Mabel  and  Polly,  has  never 
been  absent  from  the  screen  for  any  appreciable  period, 
and  she  has  been  given  such  a  wide  variety  of  eccentric 
and  straight-comedy  roles  that  she  now  qualifies  as  one 
of  the  screen's  best  character  actresses,  with  a  slight 
accent  on  the  grotesque. 

The  blood  of  France,  Italy,  Spain,  and  the  Nether- 
lands mingles  in  Louise's  veins.  From  the  isle  of 
Corsica,  to  banishment  in  Mexico,  is  the  trail  her  for- 
bears made.  Among  them  was  a  sea-rover  and  a  priest, 
one  answering  the  call  of  rolling  seas,  the  other  speaking 
Avords  of  hope  to  troubled  souls. 

The  twilight  zone  between  the  temperaments  of  a 
roamer  and  a  priest  just  about  describes  the  prevailing 
mood  of  Louise.  She  has  inherited  the  wanderlust  spirit 
from  her  father,  who  at  some  sixty  years  of  age  is  set- 
ting out  on  a  world  tour,  and  from  her  mother  she  has 
been  endowed  with  a  strong  love  of  home,  and  also  the 
virtue  of  thriftiness. 

She  possesses  a  dominant  avidity  for  life,  and  the 
search  for  it  along  unbeaten  trails ;  a  mind  that  places 


18 


Born  to  Comedy—  The  Story  of  Faxenda 


Here  she  is  seen  with  Teddy  and  Mack  Sennett  not  long  after 

debut. 


alternate  burlesque  and  ironic  inflections 
on  practically  all  the  precious,  time-hon- 
ored, traditions  of  near  art  and  sham 
morals ;  and,  in  addition,  a  quiet,  medita- 
tive quality  that  suggests  the  dreamer. 

Many  people,  who  meet  her  for  the  first 
time,  are  a  trifle  disappointed  by  her  ap- 
parent indisposition  to  carry  on  in  real  life 
the  antics  that  she  indulges  in  on  the 
screen.  They  are  often  taken  aback 
by  her  silences.  But  if  they  knew 
her  better,  they  would  recognize  in 
her  an  exceptionally  good  listener/ 
whose  passion  is  waiting  for  the 
other  fellow  to  blow  off  steam. 

Louise  belongs  to  that  early  group 
of  film  pioneers  who  set  their  stakes 
in  Hollywood,  hoping  to 
make  money,  and  perhaps  ca- 
reers, in  the  industry  that 
was  beginning  to  look  like 
something  with  a  grand  fu- 
ture. 

She  was  attending  high 
school  when  the  urge  to 
work  in  the  movies  beset 
her.  Carmel  Myers  and  her 
brother,  and  Bessie  Love, 
were  also  pupils  at  the  same 
school. 

It  was  at  this  period 
that  Louise's  father,  a 
cooper  by  trade,  estab- 
lished a  small,  general 
store  which  met  the  de- 
mands of  the  neighbor-  A 
hood  for  overalls,  plug 
tobacco,  canned  goods 
and  writing  paper.  1 

Business  was  not  so 
good,  and  Louise  felt 
that  her  drain  on  the 


family  budget  for  books  and  shoes  and 
stockings,  and  the  many  little  things 
girls  need  during  school  years,  was  not 
swelling  the  fund.  So  she  decided  to 
help  matters  by  working  after  school 
and  on  Saturdays. 

Her  compensation  for  running  every 
sort  of  errand,  doing  housework,  and 
tending  babies,  was  sufficient  as  pin 
money,  but  was  otherwise  inadequate. 
She  was  unhappy.  She  wanted  to 
make  real  money — $3.50  or  $5.00  a 
day — as  they  did  in  the  movies.  Then 
she  could  substantially  help  her  father, 
and  buy  for  her  mother  the  things  that 
she  wanted  for  her. 

Adjoining  Louise's  parents'  cottage 
was  a  French  boarding  house.  One 
of  the  interesting  boarders  was  an  old- 
time  stage  actress  who  had  joined  the 
bonanza  rush  to  Hollywood,  and  was 
collecting  greenbacks  in  abundance  for 
playing  extras. 

Louise  heard  her  talking  about  the 
fascination  of  the  work — grease  paint, 
money,  location  trips  in  automobiles, 

.  free  lunches,  and  everything.    She  was 

her  screen     r     •    ,  ,     u     •     J  ■    , ? 

fascinated.    Her  imagination  was  on 

fire.  But  her  tongue  was  tied.  How  could  she 
ask  the  woman  to  help  her  get  a  job?  She  was  a 
graceless,  reticent,  somber  girl.  So  she  did  the 
next  best  thing  by  planting  herself  in  front  of 
the  woman's  door,  until  she  returned  from  the. 

studio  one  evening,  and  either  by  pan- 
tomime or  thought  waves  Louise  made 
her  wishes  known. 

"Well,  come 
along  to-morrow, 
maybe  we  can 
help  •  you,"  was 
the  stranger's 
sympathetic  ac- 
ceptance of  the 
situation. 

That  marked 
the  beginning  of 
her  career.  To 
Universal  they 
went,  and  for  al- 
most a  year  after- 
ward Louise 
worked  as  an  ex- 
tra. 

Ford  Sterling 
was  making  two- 
reelers,  running 
the  gamut  of  com- 
edy   to  Western 
thrillers,    at  this 
time.    He  was  a, 
power,    too,  be- 
cause he  headed 
his  own  company, 
such   as   it  was. 
Louise's  introduc- 
tion to  him  was  as 
informal  as  could 
be  expected. 
She  was  clinging  to  a  telegraph 
pole,  getting  ready  to  make  a  fly- 
ing leap,  when  Sterling  happened 
by. 


Louise  wears 
frills  and  fur- 
belows with 
grace  and 
charm,  when 
she  chooses. 

Photo  by  Monroe 


Born  to  Comedy—  The  Story  of  Fazend 


a 


19 


"No  one  would  make  the  jump,"  she  explained,  "so 
after  the  director  had  invited  all  the  extras  to  take  a 
chance,  he  turned  to  me.  I  was  hoping  he  would,  and 
I  climbed  up  the  pole  before  he  changed  his  mind.  I 
have  always  been  grateful  for  that  opportunity,  because 
it  marked  the  first  turning  point  in  my  career. 

"It's  a  curious  thing,  too,"  Louise  added,  "that  all 
through  my  years  in  pictures  I  have  accepted  roles  no 
one  else  wanted,  and  each  one  has  meant  a  stepping- 
stone  upward." 

Sterling  watched  Louise  make  the  leap  from  the  pole, 
and  when  she  hit  ground  safely,  he  rushed  up  to  the 
director  and  in  reproach  exclaimed  that  the  feat  was  a 
terrible  one  to  ask  a  girl  to  perform.  Needless  to  say, 
times  have  greatly  changed  andf 
women  since  then  have  performed! 
stunts  far  more  hazardous  and  dar 
ing.  Sterling's  slight  interruption  re-'1 
suited  in  an  introduction  to  Louise. 

She  subsequently  saw  him  often 
on  the  studio  lot,  and  one  day  when 
she  remarked  that  work  was  getting 
low,  he  advised  her  to  try  her  luck 
at  Mack  Sennett's,  adding  that  he 
was   planning  to  work 
for  Sennett  very  soon, 
himself,  and  that  if  she 
did  not  meet  with  suc- 
cess to  look  him  up. 

His  advice  she  remem- 
bered. And  to  this  day 
she  speaks  of  Sterling  as 
her  artistic  benefactor, 
because  when  he  started 
acting  and  directing  for 
Sennett,  he  helped  her 
get  bits  and  parts. 

There  is  an  incident  at 
this  stage  of  her  career 
that  reveals  again  the  shyness 
and  self -consciousness  which 
took  so  many  years  to  over- 
come, and  which  she  has  not 
yet  completely  conquered,  al- 
though the  qualities  have 
changed  to  a  certain  repose 
and  retirement  which  make 
her  rather  mystifying  at 
times. 

Recalling  Sterling's  invita- 
tion, she  made  her  way  to  the 
Sennett  studio,  and  day  after 
day  waited  for  him  without 
making  her  mission  known 
to  any  one  other  than  the 
gateman,  who  naturally  took 
for  granted,  because  of  the 
regularity  of  her  calls,  that 
she  was  seeing  Sterling  or 
maybe  working  in  his  com- 
pany. 

It  must  be  remembered 
that  there  were  no  casting  directors  in  those  days,  no 
highly  organized  departments,  no  efficiency  experts  who 
knew  precisely  the  business  of  every  person  on  the  lot. 
Consequently,  Louise  spent  day  after  day,  for  weeks, 
at  the  Sennett  studio,  just  hoping  to  see  Sterling,  until 
Vivian  Edwards,  who  was  playing  small  parts,  noticed 
her  long  waits  on  the  wooden  bench. 

Vivian  inquired  if  she  was  looking  for  some  one. 
Louise  broke  down  and  made  a  full  confession,  with  the 
result  that  Sterling  put  her  to  work. 


Miss   Fazenda,   with   Wallace  Beery, 
movies  were  very  young. 


For  a  year  she  was  given  extra  parts  and,  subse- 
quently, bits.  One  of  her  first  consequential  roles  was 
as  Mack  Swain's  mother.  She  built  herself  up,  out  and 
aft,  and  finished  the  job  with  a  pair  of  bushy  eyebrows. 
Rather  than  a  mother,  she  resembled  nothing  so  closely 
as  an  ocean  liner  with  flag  at  half  mast. 

Sennett  took  a  swift  look  at  her.  He  supervised  every- 
thing at  that  time,  not  to  speak  of  writing  the  stories, 
directing,  and  acting. 

"Well,  all  you  need  is  a  mustache!"  was  his  brief 
comment,  followed  by  a  command  that  she  beat  it  to  a 
mirror  and  look  at  herself. 

Momentarily  she  was  broken-hearted.    But  one  fact 
had  been  registered.    She  was  funny.    Even  Sennett 
laughed.    He  had  caught  her  feeling  for 
absurd  characterization. 

Every  sort  of  small  part  fell  her  way 
in  short-reelers  from  then  on,  with  Ster- 
ling, Chester  Conklin,  Charlie  Murray, 
and  Fred  Mace.    She  impersonated  ev- 
erything   from  Dumb 
Doras  to  one  of  the 
celebrated  Keystone 
cops. 

She  also  made  friends 
with  a  cat  named  Pep- 
per, whose  fame  at  that 
time,  rested  chiefly  in 
her  prowess  as  a 
mouser.  She  and  Pep- 
per became  shadows  of 
each  other. 

Ideas  came  thick  and 
fast  to  Sennett  under 
the  terrific  pressure  of 
grinding  out  short  reel- 
ers  fast  enough  to  sat- 
isfy the  exhibitors.  One 
of  these  ideas  was  to 
make  animal  comedies. 
Louise  and  Pepper  were 
an  interesting-looking 
pair- — why  not  feature 
them  ?    Forthwith  she 
became  leading  lady  to  Pep- 
per.    Next,  the  now-historic 
duck  was  added  to  the  cast, 
and    later    Teddy,   the  dog. 
The  comedies  proved  highly 
successful. 

Teddy,  alas,  is  no  more. 
Pepper,  too,  has  passed  to  the 
great  beyond,  but  not  her  mil- 
lion or  more  descendants  who 
populate  most  of  the  back 
yards  of  Hollywood.  The 
duck  alone  has  withstood  the 
ravages  of  a  comedy  lot,  but 
through  overnourishment  she 
is  gouty  and  virtually  incapaci- 
tated. 

A  five-year  contract  with 
Sennett  resulted  from  the  animal  comedies.  And  then 
her  first  big  opportunity  arrived  with  "Down  on  the 
Farm,"  which  started  out  as  a  two-reeler,  but  grew  to 
five. 

At  the  expiration  of  her  contract  with  Sennett,  Louise 
made  a  personal-appearance  tour,  and  it  was  one  of  the 
few  tours  of  the  kind  which  proved  well-timed  and  ad- 
vantageous. It  also  marked  Louise's  first  train  ride  since 
she  was  first  brought  to  Los  Angeles,  as  a  baby,  from  a 
little  town  near  Lafayette.  Indiana.     [Continued  on  page  111] 


when  the 


The  Prodigal 

Though  talking  pictures  are  blamed  by  the  fans  for 
name  of  entertainment,  they  should  be  praised  for 
the  screen,  where  her  clear  diction  and  vibrant 

By  Margaret 

EVEN  the  skeptics  who  frown  dourly  on  the  upstart 
talkies,  will  have  to  admit  one  point  in  their  favor,  an 
important  point  at  that.   Talking  pictures  have  brought 
Pauline  Frederick  back  to  the  screen. 

In  the  two  years  of  her  absence,  that  absence  has  never 
ceased  to  be  deplored.  Among  all  the  great  dramatic  ac- 
tresses the  screen  has  known,  Pauline  Frederick's  superiority 
has  not  been  disputed.  She  stood  alone,  and  by  the  grace  of 
the  unabated  clamor  for  her  return,  there  she  still  stands. 

Despite  the  mediocre  vehicles  which  probably  caused  her 
secession  to  the  stage,  her  position  in  the  film  firmament 
never  altered.  Now,  after  two  years,  she  is  back.  It  is 
unlikely  that  she  would  have  returned,  had  not  the  advent 
of  talking  pictures  promised  new  interest.  So  a  moment  of 
grateful  silence,  please,  in  respect  to  the  Brothers  Warner, 
whose  star  she  now  is. 

Although  she  has,  at  present,  made  only  one  picture,  and 
will  not  do  another  until  next  May,  when  her  two-year  con- 
tract begins,  this  article  is  made  timely  by  the  impatience  of 
the  fans.  Their  letters  demanding  information  about  Miss 
Frederick  have  been  too  insistent  to  ignore  any  longer. 

When  I  saw  her  she  had  just  finished  the  Vitaphone  pro- 
duction of  the  play  "On  Trial."  In  three  days  she  was  to 
leave  for  the  East,  to  tour  in  "The  Imperfect  Lady,"  which 
she  had  already  played  as  "The  Scarlet  Woman."  Sand- 
wiched between  fittings  and  retakes,  and  all  the  turbulent 
details  of  departure,  my  appointment  was  for  late  after- 
noon. 

In  the  sun  room  of  her  home  in  Beverly  Hills,  I  found 
this  vital,  magnetic  person.  A  slim,  boyishly  sturdy  figure 
of  medium  height,  with  a  firm  handclasp  that  is  no  casual 
gesture  of  politeness.  Gray-blue  eyes  rendered  more  striking 
by  the  dark  tan  of  her  skin.  No  powder,  no  bright-red  lip- 
stick ;  and  even,  white  teeth.  Thick,  dark-brown,  close- 
cropped  hair.  A  brief  tennis  dress,  brown  legs,  bare  down 
to  short  socks  and  sandals. 

If  I  had  been  prepared  for  the  sable  aura  of  a  tragedy 
queen,  I  was  better  satisfied  to  find  this  energetic,  humorous 
young — yes,  that's  what  I  mean ;  actual  statistics  are  irrele- 
vant— person,  who  would  just  as  soon  talk  about  dogs  and 
the  California  climate  as  her  art.  With  no  particular  attempt 
on  her  part,  she  is  completely  disarming.  You  go  to  revere 
her,  and  come  away  liking  her  tremendously. 

.  The  two  years  which  had  elapsed  since  her  last  picture  in 
Hollywood  have  been  spent  in  this  country,  England,  and 
Australia.  Her  love  for  the  stage  is  keen,  and  she  could 
never  relinquish  it  entirely.  She  is  essentially  an  aristocrat 
of  the  theater    Its  traditions  are  her  law,  and  her  loyalty  to 

them  is  voluntary.    The  mov- 


Her  first  talking  picture, 
"On  Trial,"  enlists  the  sup- 
port  of  Bert 
Lytell. 


ies,  though  important,  hold 
second  place  in  her  affections. 
Perhaps  because  they  leave 
her  too  much  leisure,  which  is 
incompatible  with  her  consum- 
ing energy. 

"Between  pictures  I  go  mad 
for  want  of  something  to  do. 
Idleness  wears  me  out.  O 
the  stage  you  are  always  a 
work.    If  not  in  actual  pro 


21 


Returns 

vocal  discords  perpetrated  in  the 
bringing  Pauline  Frederick  back  to 
voice  will  delight  the  fans. 

Reid 


duction,  then  in  rehearsal  and  plans. 
Warner  Brothers'  is  the  only  sort  of 
picture  arrangement  I  would  consider 
now.  It  allows  me  eight  films  in  the 
two  years,  and  freedom  to  accept  stage 
offers  between  them." 

Insatiable  in  her  appetite  for  work 
and  more  work,  she  looks  forward 
eagerly  to  the  two  busy  years  ahead. 
She  is  even  formulating  vague  plans 
for  a  theater  of  her  own,  to  be  main- 
tained during  her  picture  work. 

"It  is  a  fallacy  that  all  the  good  ac- 
tors are  in  New  York.  Right  here  in 
Hollywood  we  have  some  of  the  finest 
troupers  in  the  country." 

Her  idea  is  for  a  stock  company 
composed  of  carefully  selected  players, 
whose  film  engagements  shall  alter- 
nate with  their  picture  work.  Miss 
Frederick,  with  her  vast  knowledge  of 
the  theater,  would  stage  the  plays,  with 
the  exception  of  those  in  which  she 
herself  appeared.  Her  followers  hope 
she  can  carry  out  the  plan. 

"No  one  person  is  capable  of  hold- 
ing down  two  jobs  without  doing  one 
or  the  other,  or  both,  badly.  Natur- 
ally I  know  when  I  am  giving  expres- 
sion to  an  emotion,  but  I  am  incapable 
of  knowing  whether  or  not  the  result 
looks  as  it  should.  Players  should  not 
have  too  many  illusions  about  the  ex- 
tent of  their  power." 

If  Miss  Frederick  has  any,  they  are 
not  visible  to  the  naked  eye.  Her  re- 
marks about  her  work  are  casual,  and  her  answers  to 
questions  brief.  It  is  apparent  that  her  chief  interest  is 
in  the  profession  itself,  not  in  her  personal  share  in  it. 
The  adulation  she  receives  everywhere,  the  enthusiastic 
demonstrations  with  which  audiences  greet  her  appear- 
ances, are  gratifying  to  the  star.  But  gratifying  in  the 
sense  that  her  company  is  receiving  appreciation.  Even 
then  it  is  never  "my  company,"  but  always  "our." 

Her  return  to  the  screen  is  particularly  auspicious  at 
this  time.  No  actress  of  the  Frederick  caliber  is  visible 
on  the  film  horizon  and,  with  the  coming  of  talkies  and 
the  crying  want  for  voices  to  go  with  the  silent  faces 
that  did  well  enough  in  the  past,  her  presence  is  a  relief 
to  at  least  one  apprehensive  producer. 

No  need  here  for  either  elocution  lessons  ior  some 
shrill-voiced  beauty-contest  winner,  or  frantic  manipu- 
lation of  cameras  to  beautify  some  stage  player  who 
sounds  better  than  she  looks.  Talking  pictures  were  in- 
vented for  such  as  Pauline  Frederick,  whose  beauty  is 
now  supplemented  by  the  audibility  of  her  rich  voice 
and  pure  diction. 

But  Miss  Frederick  herself  is  less  sanguine. 

"When  I  heard  my  first  Vitaphone  test,  I  wanted  to 
rush  out  of  the  studio  and  buy  a  black  beard,  go  that  no 


rhoto  by  Fryer 

There  is  nothing  of  the  tragedy  queen  about  Miss  Frederick,  for  she  is 
humorous  and  direct,  and  though  one  is  prepared  to  revere  her,  she 
makes  one  like  her  tremendously  instead. 


one  should  ever  recognize  me  as  the  perpetrator  of  such 
a  voice.    It  is  a  far  from  flattering  experience." 

The  Warners,  however,  felt  differently  about  it.  and 
it  was  with  no  small  joy  that  they  obtained  her  signa- 
ture. They  bowed  gracefully  to  any  demand  she  might 
care  to  make,  even  that  she  conclude  her  tour  with  her 
play,  which  does  not  leave  her  free  to  begin  pictures 
again  until  May. 

This  initial  Vitaphone,  "On  Trial,"  is  Miss  Frederick's 
first  picture  in  two  years,  with  the  exception  of  one  made 
in  England  a  year  ago.  She  finds  conditions  greatly 
changed. 

"Before,  it  was  a  nice  business  which  you  could  com- 
fortably understand.  Now,  it  has  become  a  process  of 
black  magic.  I  am  as  lost  in  admiration  as  a  child.  It  is 
marvelous.  You  speak  your  lines,  and  a  few  minutes 
later  you  go  into  an  ante-room  and  listen  to  your  voice 
on  the  wax  print.  And  in  the  projection  room  you 
watch  this  moving  snapshot  of  yourself,  and  it  speaks 
with  your  own  voice.  I  feel  a  little  like  a  conjurer,  and 
the  business  is  sheer  legerdemain. 

"The  microphone  itself  is  a  terrifying  thing.  At  first 
I  had  to  fight  against  a  very  callow  self-consciousness 
Continued  on  page  103 


22 


OK,  TKose  Hollywood  Parties! 

Our  reporter  attends  one,  with  unexpected  results. 


One  of  the  objects  of  the  Thalians,  who  gave  the  party,  is  to  help  potential  writers  find  themselves. 


WHEN  you  go  to  Hollywood  you  think,  of  course, 
"Well,  now  maybe  I'll  see  one  of  those  famous 
wild  parties  we  hear  so  much  about."  Every 
time  you're  invited  out  at  night,  you  go  hopefully.  You 
say  to  yourself,  "At  last !    Perhaps  this  will  turn  out  to 
be  an  orgy." 

And  so  I  went  to  a  party  given  by  the  Thalians.  You 
don't  know  who  they  are,  of  course.  I  didn't,  either.  In 
fact,  in  all  the  stories  I  had  ever  heard  about  Hollywood, 
no  one  ever  told  me  a  word  about  the  Thalians.  And  if 
you've  never  heard  of  the  Thalians,  then  some  one  has 
been  holding  out  on  you.  First  I'll  gently  break  it  to  you 
about  them,  and  then  I'll  tell  you  about  their  party. 

Well,  the  Thalians  is — or  should  it  be  are? — a  club 
composed  of  the  younger  set  among  our  actors  and 
actresses,  those  of  about  Wampas-baby-star  age,  in  their 
late  teens  and  early  twenties.  In  February,  1926,  the 
club  was  organized  by  Leonard  Smith,  a  publicity  expert. 
And  they  decided  to  call  themselves  the  Thalians,  after 
the  Greek  muse  of  drama.  One  of  their  brighter  minds 
then  discovered  that  Thalia  was  really  the  muse  of  com- 
edy, but  that  was  quite  all  right.   The  name  still  fits. 

The  club  is  partly  social.  The  members  meet  every 
two  weeks  and  have  fun.  But,  also,  the  club  has  ideals. 
And  very  noble  ones,  too.  For  the  club  is  quite  boy 
scout  in  its  purpose. 

The  idea  is  to  extend  a  helping  hand  to  struggling 
extras,  writers,  and  others  who  insist  upon  joining  the 


starving  ■  ranks  of  those  trying  to  get  into  the  movies. 
An  extra  who  has  struggled  along  and  feels,  as  every 
extra  does,  that  all  he  needs  to  make  good  is  the  chance 
to  strut  his  stuff  before  a  director,  will  be  able  to  apply 
to  the  Thalians.  If  their  committee  in  charge  of  such 
things  passes  upon  him,  or  her,  then  a  screen  test  is 
taken  and  shown  before  a  group  of  directors.  This  is 
all  very  noble,  though  frankness  compels  me  to  tell  you 
that,  so  far,  most  directors  have  not  taken  the  Thalians 
quite,  quite  seriously. 

And  writers  who  feel  that  they  have  talent,  as  all 
would-be  writers  do,  can  show  examples  of  their  work 
to  the  committee.  If  the  work  seems  to  show  promise, 
then  something  will  be  done  to  help  the  writer. 

"What?"  I  asked  Leonard  Smith,  who  is  still  their 
publicity  expert. 

Well,  it  seems  they're  not  quite  sure  just  what  could 
be  done  to  help  a  writer.  Have  a  professor  give  lec- 
tures, or  something. 

"But  suppose,"  I  said,  "the  writer  lives,  say,  in  Peoria. 
How  can  he  attend  the  lectures  ?" 

"I  guess  we'd  have  to  bring  him  here  to  Hollywood." 

"And  then  what,  if  he  didn't  make  good?" 

"I  don't  know.  Would  we  have  to  send  him  back 
home  again,  do  you  think?" 

So  it's  going  to  be  a  little  complicated  when  writers 
apply  for  assistance,  for  potential  writers  need  more  than 
a  chance  to  make  good.  The  poor  things,  unfortunately, 
are  accustomed  to  need  food  and  a  bed  during  the  years 
they  are  acquiring  skill. 

But  the  Thalians,  if  a  little  vague,  a  little  impractical, 
are  at  least  helpful  in  their  motives.  They're  not  rich 
enough,  yet,  to  carry  out  these  noble  ideas ;  they're  sav- 
ing money  from  dues,  to  build  a  club  house,  with  a  stage 
where  actors  can  perform  and  find,  it  is  hoped,  an  en- 
thusiastic director  in  the  audience.  Or  anyhow,  a  di- 
rector. 

You  have  to  be  connected  with  the  movies  in  order 
to  join  the  Thalians.  They  have  about  eighty-five 
members.  Buddy  Rogers  belongs,  and  Sue  Carol,  Janet 
Gaynor,  Reginald  Denny,  George  Lewis,  Lois  Moran, 
Charlie  Farrell,  Mary  Brian,  Sally  Eilers,  Josephine 
Dunn,  Marceline  and  Alice  Day,  Marian  Nixon,  Mar- 
jorie  Bonner — oh,  there  are  plenty  of  prominent  mem- 
bers. 

They  meet  every  two  weeks — one  meeting  for  business, 
the  other  purely  social.  The  one  I  went  to  was  purely 
social.    And  "purely"  is  really  a  very  appropriate  word. 

This  Thalian  party  was  given  at  the  home  of  Jack 
Donovan,  who  has  made  lots  of  money  building  and 


Oh,  Those  Hollywood  Parties! 


23 


He 
plac 


furnishing  houses,  and  then  selling  them.  Mr. 
Donovan  is  by  way  of  being  a  film  actor,  when 
opportunity  arises.  He  has  starred  in  several 
Westerns,  and  made  personal  appearances  with 
the  pictures. 

Well,  four  of  us  came  in,  and  lots  of  young 
Thalians  leaped  out  from  behind  doors  and 
things  and  cried,  "Surprise !" 

There  was  a  large  living-room  patio,  with  a 
great  fireplace,  and  divans  and  chairs.  Stars 
were  shining  overhead,  since  the  patio  was  not 
roofed.  Hurray  for  the  California  climate! 
The  floor  was  of  red  tile,  except  in  the  corners, 
where  large  banana  trees  were  growing. 

When  we  had  all  managed  to  recover  from 
the  surprise,  Jack  Donovan  brought  groups 
together  to  see  the  house.  Much  of  the  furniture  he  and 
his  mother  themselves  had  made  and  "antiqued."  There 
were  other  odd  bits,  which  they  had  collected  here  and 
there  from  old  Spanish  missions,  and  so  on.  An  altar, 
at  the  end  of  the  hall,  with  candles  burning,  iron  bal- 
conies overlooking  the  patio,  an  old  church  bell,  and  a 
stairway  which  had  a  history,  and  so  was  brought  into 
the  living  room,  although  it  led  nowhere. 

After  we  had  seen  the  house,  and  Mr.  Donovan's  life- 
saving  medals  which  hung  on  the  wall,  he  called  for 
volunteers  to  go  out  to  the  garage  and  see  his  cars.  He 
had,  among  others,  a  big,  white  foreign  roadster  of  which 
he  was  very  proud,  but  which  he  feared  he  might  have  to 
sell,  because  it  was  too  conspicuous.  I'm  not  sure  just 
why  it  was  less  conspicuous  when  he  bought  it. 

In  the  back  yard  was  a  flagpole  sixty-five  feet  high. 
This  really  had  a  mission  in  life.  When  Mr.  Donovan 
is  out  at  sea  in  what  he  calls  his  yacht,  there  may  come  a 
call  from  a  studio.  In  case  there  should,  some  one  at 
home  runs  up  a  flag.  I  have  a  dreadful  feeling  that  Mr. 
Donovan  spends  most  of  his  yachting  time  with  a  tele- 
scope to  his  eye,  watching  the  top  of  the  flagpole. 

After  our  tour  of  the  premises,  the  party  really  began. 
If  you  think  of  Hollywood  parties  in  terms  of  big  "gin 
busts,"  then  you're  all  wrong.  There  was  no  hard  liquor 
at  this  one ! 

We  all  sat  around  in  a  room  full  of  interesting  furni- 
ture ;  indeed,  one  chair  was  so  interesting  that  Mr.  Dono- 
van seized  it  away  from  a  placidly  sitting  guest,  and  gave 
him  another  instead. 

And  then  we  played  numbers.  There  were  ten  of  us 
in  that  game,  which  soon  proved  so  fascinating  that  our 
little  group  was  increased  to  fifteen.  In  case  you've 
never  played  numbers — and  I  assure  you  that  I  never 
had — this  is  how  it  goes: 

The  head  of  the  line  is  No.  1,  the  next  2,  and  so  on. 
Say  your  number  is  5.  When  some  one  shouts  "No.  5  I" 
you  have  to  shout  another  number  quickly,  or  go  to  the 
foot  of  the  line.  The  object  of  the  game  is  to  be  the 
head  man  and  start  the  shouting. 

Well,  it  was  really  a  very  merry  game ;  every  time  the 
man  ahead  of  you  missed  his  cue  and  went  to  the  foot  of 
the  line,  that  changed  your  number.  So  you  see  it  was 
really  quite  a  mental  problem  to  remember  what  your 
number  was. 


seized    a    chair    from  a 
idly  sitting  guest,  and  gave 
him  another  instead. 


We  played  this  for  about  an  hour,  with  squeals  and 
arguments,  and  then  we  told  riddles. 

"What  is  it  that  you  find  in  an  apple,  in  a  lemon,  in  a 
pineapple,  but  not  in  a  cherry  or  a  peach?"  That  one 
had  us  all  guessing.  And  its  perpetrator  just  wouldn't 
relieve  our  suspense.    He  kept  adding  more. 

"It's  also  in  the  leg  of  that  chair,  and  in  the  mantel. 
But  not  in  the  carpet."  He  just  kept  naming  things 
which  had  this  mysterious  "It,"  and  other  things  which 
hadn't. 

And  you'd  never  guess  what  it  finally  turned  out  to  be. 
None  other  than  the  letter  "1" ! 

We  had  another  conundrum  to  puzzle  over.  "A  blind 
fiddler  had  a  son,  but  the  fiddler  was  not  the  son's  father. 
Who  was  it?" 

We  all  tried  and  tried  on  that  one.  We'd  guess  step- 
father, uncle  and  all  the  relatives  we  could  think  of. 
Each  time  the  puzzler  would  patiently  repeat  his  little 
riddle,  but  it  was  hours  before  we  learned  the  answer. 
It  seems  that  the  blind  fiddler  was  the  son's  mother ! 
And  I  really  don't  see  what  her  being  blind  had  to  do 
with  it,  anyhow. 

There  was  a  little  girl  there  from  the  South,  Laura 
Benham,  with  a  sugar-coated  accent. 

"You're  from  the  North,  aren't  you?"  asked  Jack 
Donovan,  with  a  very  straight  face. 

"What  makes  you  think  that  ?" 

"Because  of  the  accent,"  he  said,  restraining  his  glee. 

"Why,  that's  funny,"  said  Laura.  "Usually  everybody 
knows  right  away  that  I'm  from  the  South." 

Whereupon  there  were  great  chortles  of  laughter. 

I  understand  the  Thalians  usually  play  drop  the  hand- 
kerchief, and  once  in  a  while  they  play  post  office,  but 
it  was  just  my  luck  to  miss  out  on  these  merry  amuse- 
ments. 

Occasionally  some  one  got  up  to  dance  when  the  radio 
obliged  with  a  dance  tune ;  Laura  Benham  and  a  lank 
young  man,  Sally  Eilers  and  Matty  Kemp,  who  are  sup- 
posed to  be  engaged,  only  Mack  Sennett  won't  let  them 
get  married. 

It  was  a  very  merry  evening,  and  I  don't  understand 
all  this  worry  about  what  the  younger  generation  is 
coming  to.  And  I  haven't  given  up  hope  that  some 
day  I  am  really  going  to  find  one  of  those  famous  Holly- 
wood orgies. 


When  a  flag  is  run  up,  it  means  a  call  from  a  studio — just  the  thing 
when  an  actor  is  "yachting." 


24 


Music  Hatk  Ckarms 


Yet  it  isn't  so  much  the  melody  as  the  star  who  seems  to 
produce  it,  that  makes  pictures  of  musical  instruments  get 

into  print  so  often. 


Sally  Phipps,  left,  needs  only 
to  finger  a  mandolin  to  make 
us  think  of  college  days  and 
a  canoe  under  a  summer 
moon. 


Farrell  MacDonald,  above,  gets  out  his 
old  guitar  whenever  an  audience  of  one 
appears  in  the  offing. 


25 


gknecks 
Preferred 


William  Boyd  defends  his  partiality  for 
wise-cracking,  grubby  roles  in  preference 
to  the  romantic  heroes  which  have  brought 
him  popularity. 

By  Myrtle  GeMiart 

CRITICAL  observation  has  been  made 
that,  though  William  Boyd's  comedies 
are  welcome  occasionally,  his  following 
has  been  acquired  through  playing  romantic 
leads.  To  this  Bill  raises  strenuous  objections. 
He  makes  fun  of  "actor  parts," 
preferring  to  play  the  rough- 
neck wise  guys,  such  as  he  did 
in  "Skyscraper,"  "The  Cop," 
and  "Power,"  because  he  was 
practically  himself.  He  gets 
keen  enjoyment  out  of 
gering  around  with 
his  pal — picture  and 
person— Alan  Hale. 

Clad  in  rough, 
corduroy  pants  that 
probably  never 
were,  and  never 
will  be  cleaned,  and 
blue  denim  shirts  in 
need  of  that  which 
floats,  they  are  su- 
premely happy  in 
clowning  all  the 
time.  How  they  do 
enjoy  strutting 
their  stuff,  and  kid- 
ding in  the  vernac- 
ular of  their  roles ! 
It's  a  free  vaude- 
ville shoAv. 

"Our  pictures  are 
getting  bi 
they  insist 
better." 

Boyd  threatens  the 
scales  at  one  hundred 
and  ninety,  and  Hale 
almost  breaks  them  at 
two  hundred  and 
twenty.  When  these 
two  striplings  enter  a 
scene,  they  fill  it. 

To  get  us  both  in  a 
close-up,"  Bill  musec 
in  his  light,  bass  rum- 
ble, "they  have  to  take 
a  long  shot." 

And  I'm  afraid  they 
will  never  get  all  their 


-£ger, 
'if 


He   says   he   was  disci- 
plined by  being  cast  as 
the    German  officer-hero 
in  "The  Love  Song." 


not 


Gloom  is  utterly  foreign  to  William  Boyd's  nature,  but  he  is 
not  without  a  strong  sense  of  obligation. 

growth,  the  way  they  nibble  at  their  food.  Bill  was  satisfied 
with  a  huge  bowl  of  ,  chili,  having  just  breakfasted.  But  it 
had  been  an  hour  or  so  since  Alan  had  had  his  dejeuner,  so  he 
waded  into  a  plate  heaped  with  meat  and  vegetables,  and  when 
it  was  empty,  another,  identically  furnished,  took  its  place. 

"We'd  enter  him  in  a  pie-eating  contest,  but  that  might  stim- 
ulate his  appetite  too  much,"  Bill  confided.  "He  has  a  couple 
of  steaks  for  appetizers  before  dinner,  so  big  that  if  they  had 
horns  you  could  rope  'em.  Not  up  to  standard  to-day.  He's 
dieting,  to  keep  his  sylphlike  figure.  Look  at  those  feet.  For 
the  sole  of  one  shoe,  they  used  one  side  wall  of  a  'Wedding 
March'  set." 

"Gotta  have  my  footage,"  Alan  murmured  between  dives 
at  his  plate. 

Bill,  always  happy-go-lucky,  was  in  such  blithe  spirits  that 
he  almost  forgot  to  call  me  "Peanut,"  which  he  does  usually, 
because  it  annoys  me. 

"We  liked  our  dam  picture  best,"  he  said,  looking  innocent. 
"About  a  dam,"  he  explained.  "No,  it  didn't  break,  even  with 
us  on  it.  It  was  'Power,'  filmed  on  Pacoima  Dam,  the  high- 
est in  the  world. 

"We  were  college  boys,"  Bill  grinned.  "I  was  a  D.  E.  and 
he  was  an  I.  I.    Donkey  Engineer  and  Iron  Inspector." 

More  politely  speaking,  their  film  monikers  were 
Slick  and  Handsome.  They  were  deservedly  proud 
of  having  made  the  picture  in  nineteen  days. 

"One  of  those  grand  opening  titles,  'Our  story  deals 
with  two  earnest,  clean-cut  American  lads,  whose  minds 


26 


Roughnecks  Preferred 


are  on  noble  purposes.'  Fade-in  showed  me,  riding  the 
skip,  and  concentrating.  I  looked  at  my ,  buddy  and 
asked,  'Hey,  who  was  that  dame  you  was  out  with?'  We 
kept  our  balance  on  top  of  the  world's  highest  dam,  but 
when  a  skirt  blew  into  town,  how  we  fell !  Sweet  little 
school-teacher.    Treated  us  like  a  tornado  treats  Texas." 

They  make  up  many  comical  bits  of  business  after 
they  are  in  a  scene. 

"We  aren't  a  team,"  Hale  qualified.  "Bill's  the  star. 
Unless  you  notice  the  billing,  you'd  not  know  it.  He 
gives  me  half.  We've  learned  each  other's  reactions, 
until  it's  like  playing  into  a  mirror." 

"Half  the  time  I  forget  what  I'm  supposed  to  do,  but 
give  that  bird  anything — a  glass,  a  carpet,  and  he  im- 
provises." Bill  is  generous  in  giving  credit  to  his  part- 
ner. "He  can  play  four  hundred  feet  with  a  match  box. 
Lots  of  times  we  kid  around  with  whatever  we  can  grab. 
Once  the  director  was  sick  for  two  days,  but  we  never 
missed  him.  We  just  kept  knocking  around  and  doing 
things,  and  the  camera  man  trailed  us." 

Once,  high  on  the  girders  of  a  skyscraper,  Bill  forgot 
what  he  was  to  do.  Alan  went  through  his  act  and 
did  Bill's  scene,  and  Bill  sat  there  and  grinned  at  him. 
How  many  stars  would  chuckle  while  watching  another 
play  a  choice  scene  that  should  be  his  own? 

"We  have  to  watch  each  other  in  self-defense,  too," 
Hale  broke  in.  "Once,  in  a  scene,  that  bozo  couldn't 
think  of  anything  else  to  do,  so  he  gave  me  a  wallop 
that  bowled  me  over." 

They've  developed  a  Damon  and  Pythias  friendship. 
Neither  has  ever  been  as  happy  before.  It's  never  "my 
picture,"  though  sometimes  Hale  remembers  and  politely 
says  "his,"  only  to  be  kicked,  or  slapped,  or  otherwise 
mauled  until  he  becomes  himself  again. 

"Say,  we  can  have  more  fun  just  driving  along,  speak- 
ing to  everybody  we  see — we  aren't  particular — than 
most  folks  can  at  a  party,  plus  dynamite  lemonade.  Rid- 
ing to  location  in  my  new  car,  dressed  in  these  clothes, 
we  pretended  we'd  stolen  the  car  and  the  cops  were 
after  us." 

They  are  ready  all  the  time  with  quick,  pat  rejoinders. 
Many  of  their  jokes  they  admit  having  plucked  from 
some  slinger  of  smart  patter.  Many,  however,  are 
original,  and  always  spontaneous. 

Bill's  jovial  manner,  might  lead  the  casual  observer 
to  think  that  he  takes  life  too  lightly.  This  impression 
of  irresponsibility,  however,  is  merely  the  surface. 
Though  gloom  is  utterly  foreign  to  his  nature,  he  is  not 
without  a  strong  sense  of  obligation.  He  simply  doesn't 
talk  about  it.   He  has  a  lot  of  common  sense,  saves  and 


invests  his  money,  and  never  kicks  at  hard  work.  He 
remembers  the  time,  as  an  orphaned,  hungry  kid,  when 
he  worked  in  a  grocery  store  until  he  got  fired  for  eat- 
ing up  the  profits,  nor  has  he  forgotten  picking  oranges 
for  a  living,  or  working  in  the  oil  fields. 

While  he  makes  fun  of  the  Mertons,  he  is  ambitious. 
Perhaps  the  deepest  disappointment  of  his  career  came 
when  he  was  refused  the  lead  in  "The  Ten  Command- 
ments," because  Paramount  thought  his  name  did  not 
mean  enough. 

His  sense  of  responsibility  toward  his  work  is  great. 
Comedy,  as  you  may  surmise,  is  his  favorite.  Free  days 
are  spent  sleeping  and  golfing  and  dropping  into  the 
studio  to  tell  everybody,  whether  or  not  they  want  to 
hear,  what  a  good  time  he  had  on  the  last  picture,  and 
how  certain  scenes  were  done. 

Judging  by  his  conversation,  he  seems  unaware  of  the 
fact  that  he  is  receiving  the  biggest  fan  mail,  ten  thou- 
sand letters  a  month,  of  any  one  at  the  Pathe  studio, 
though  he  is  so  interested  in  his  work  that  this  must 
be  a  source  of  secret  gratification.  I  never  query  him 
about  things  like  that,  because  he  would  explode.  I  re- 
call a  young  reporter,  who  asked  him  how  it  felt  to  be  a 
star,  and  his  growling  reply,  "What  d'you  mean,  star?" 

When,  under  pressure,  he  makes  a  personal  appear- 
ance, or  is  recognized  on  the  street,  and  people  make  a 
fuss  over  him,  he  gets  ludicrously  embarrassed,  though 
he  will  never  admit  it  afterward. 

While  he  and  Elinor  believe  that  many  marriages  fail, 
because  too  much  is  made  of  their  seriousness,  and  there- 
fore regard  theirs  without  any  somber  thoughts,  it  has 
had  a  tremendous  influence  in  settling  him.  On  a  lazy 
drive  through  Santa  Ana,  he  and  Elinor  Fair  suddenly 
decided  to  get  married  on  sixty  cents,  without  even 
enough  money  in  their  pockets  for  a  ring.  Before,  his 
irresponsibility  had  been  much  more  pronounced.  Mar- 
riage has  steadied  him  a  great  deal,  underneath  his  light- 
heartedness. 

You  could  never  make  Bill  admit  anything  like  that. 
Of  Elinor  he  merely  says,  "She's  the  laziest  woman  on 
earth."  But  she  has  only  to  rest  those  languid,  dark  eyes 
on  him  and  hint,  and  she  gets  what  she  wants.  He  calls 
her  "Mom." 

Golf  and  swimming  are  his  sports,  though  he  goes  in 
for  gym  exercise  spasmodically.  He  is  a  radio  fan,  and 
many  a  time  has  spent  the  evening  getting  Chicago  or 
Timbuctu,  and  then  has  gone  to  sleep. 

The  oldest  clothes  he  has  suit  him  best.  The  only 
"doggy"  thing  he  has  is  a  new  car,  shining,  low-slung, 
Continued  on  page  114 


Bill  is  supremely  happy  in  the  oldest  clothes  he  can  find. 


27 


IfWish 


28 


Photo  by  Cliidnoff 

Bessie  Love  is  impatient  to  begin  the  picture  she 
is  to  do  for  M.-G.-M. 


A 


LL  is  forgiven,"  Fanny  announced  in  the 
grand  manner,  as  she  flounced  in  and  sat 
down  beside  me.  "I  begin  to  understand, 
now,  why  sound  pictures  came  into  the  world. 
They  really  have  a  mission.  They  have  struck 
a  blow  at  beaded  evening  dresses  on  the  screen  !" 

At  a  great  and  decisive  moment  like  that,  when 
one  learns  something  of  importance,  one's  throat 
is  all  choked  with  emotion.  I  could  not  speak. 
It  was  just  as  well.  Fanny  would  have  gone 
right  on  talking  anyway. 

"When  they  talk  about  'loud'  clothes  in  a 
studio  now,  they  really  mean  noisy.  Beaded 
dresses,  sequins,  all  those  old  joys  of  the  showy 
costumers,  have  gone  in  the  discard  because  they 
sound  so  funny  on  the  articulate  screen.  With 
really  sensitive  sound  apparatus  on  the  set,  a  girl 
in  a  beaded  dress  walking  briskly  about,  sounds 
like  the  beginnings  of  a  storm  at  sea.  I  only 
wish  that  beaded  eyelashes  could  be  done  away 
with,  too." 

Fanny  wants  too  much.  For  my  part,  I'd  be 
satisfied  if  there  were  some  good  reason  why 
middle-aged  leading  women  could  be  forbidden 
to  wear  collegiate  coats  with  high  belts. 

"And  sound  pictures  may  bring  Nazimova 
back  to  the  screen.  There  is  talk  of  her  signing 
a  contract  soon.  That  would  be  marvelous.  I've 
never  understood  why  Hollywood  let  her  go." 

"A  trivial  reason,"  I  granted.  "Her  pictures 
didn't  make  money." 


cr 


fjhe3 


Fanny  is 
jubilant 
over  the 
success  of 
Josephine 
Dunn. 


Fanny  glared  at  me.  She  loves  to  quote  figures  about  other 
people's  idols,  but  just  try  to  speak  disparagingly  of  one  of  hers ! 
I  didn't  have  the  heart  to  mention  Lillian  Gish,  and  the  troubles 
of  the  Metro-Goldwyn  sales  force  in  disposing  of  her  last 
picture.  They  tried  to  sell  it  by  leaving  out  all  mention  of  her 
name  and  boosting  it  as  a  rip-roaring  Western. 

"I  shudder  to  think  of  all  the  broken  hearts  dialogue  films 
will  be  responsible  for.  So  many  girls  who  have  enjoyed  huge 
salaries  and  fame  of  a  sort,  are  headed  for  the  discard.  Only 
the  ones  with  good  speaking  voices  will  survive.  And  several 
have  already  learned  to  their  sorrow  that  their  voices  are  all 
wrong." 

It  seems  to  me  that  Fanny  is  unduly  excited.  I  doubt  if 
many  players'  voices  could  sound  worse  than  Dolores  Costello's 
and  May  McAvoy's,  yet  they  are  making  pictures  as  usual. 

"There  will  be  an  entirely  new  line-up  of  stars,"  Fanny  an- 
nounced belligerently,  "and  I'm  willing  to  lay  bets  on  who  the 

leaders  will  be.  Mary  Pick- 
ford's  voice  is  charming;  it 
has  already  been  tested.  And 
I  am  sure  Gloria  Swanson's 
will  be  interesting,  because 
whatever  she  sets  out  to  do 
she  does  well.  I've  never  seen 
such  bulldog  tenacity  in  a  per- 
son." 

How  soon  our  dear  Fanny 
has  forgotten  "The  Loves  of 
Sunya." 

"Colleen  Moore's  voice, 
when  recorded,  has  lots  of  per- 
sonality and  is  very  individual. 
A    trained,    cultured  voice 
would  be  ridiculous  with  the 
kind  of  roles  she  plays.  But 
for  the  most  part,  players  with 
stage  experience  are  sure  to 
romp  off  with  all  the  honors. 
Ruth  Chatterton  is  slated  to 
be  a  bright,  particular  star  of  dia- 
logue films.    They  say  her  work  in 
'Half  An  Hour'  is  marvelous.  Pau- 
line Frederick  is  coming  into  her  own 
again,  of  course,  and  Mary  Duncan's 
voice  is  superb.     Lila  Lee's  stage 
training-  makes  her  a  natural  candi- 
date for  honors  " 

You  might  just  as  well  know  that 
at  that  admission  I  broke  down  and 
girlishly  clapped  my  hands  in  the 
manner  of  Betty  Bronson.  People 
who  know  Lila  get  so  attached  to  her,! 
that  her  welfare  is  terribly  important  to 
them. 

"Evelyn  Brent  is  bound  to  be  awfully 
good  in  dialogue  films,  and  a  lot  of  people 
like  Doris  Kenyon.  I  haven't  heard  her 
yet.  But  as  for  the  others,  all  you  can  do 
is  hope  for  the  best. 

"I  was  terribly  disappointed  in  Joseph- 
ine Dunn  and  Betty  Bronson,  in  'The 


29 


Fanny  the  Fan  discovers 
the  real  mission  of  sound 
pictures,  which  isn't  at  all 
what  the  producers  think. 


Singing  Fool,'  though  I  liked  them  in  the 
silent  parts.  That  Dunn  girl  has  a  charm- 
ing personality.  She's  so  sort  of — well, 
whatever  the  opposite  of  blatant  is. 

"Every  time  I  pick  up  a  newspaper  I 
read  of  some  stage  star,  who  has  been 
brought  to  Hollywood  under  long-term 
contract  to  make  dialogue  films.  It  is  ter- 
rible !  There  isn't  room  for  everybody. 
A  lot  of  people  will  just  naturally  be  out 
of  jobs !" 

Just  by  way  of  encouraging  her  mood,  I 
reminded  her  of  the  rumor  that  over  two 
hundred  well-known  stage  players  were 
headed  for  Hollywood  and  films. 

"There  ought  to  be  a  law,"  Fanny  de- 
clared vehemently.  "Can't  we  promote 
some  kind  of  immigration  law  forbidding 
any  more  actors  from  coming  to  Holly- 
wood until  some  of  the  present  ones  die 
off?  The  quota  is  more  than  filled  for  a 
long  time.    They  ought  to  give  us  a  year 


or  two  to  get  adjusted  to  new  conditions.  Then  if  all 
the  present  screen  stars  prove  to  be  washouts  vocally, 
they  could  let  the  bars  down  and  admit  a  few  strangers 
to  take  their  places." 

"It's  all  right  with  me,"  I  confided  to  her,  "if  they 
get  some  new  talent  on  the  screen.  I'm  willing  to  admit 
that  the  present  incumbents  can  be  improved  on." 

"Well,  maybe,"  Fanny  admitted  grudgingly,  "but  it 
complicates  social  life  so  terribly.    Here  we  were  a  nice, 


Alma  Rubens  is  playing  an  exotic  role  in  "She  Goes  to  War." 

provincial  little  town,  where  everybody  knew  every  one  else, 
and  a  night  at  the  May  fair,  or  an  opening,  was  just  like  old- 
home  week.  And  now  with  a  lot  of  new  people  coming  along, 
the  small-town,  know-your-neighbor  atmosphere  may  be  ruined. 

"Oh,  well,  we're  enjoying  it  while  we  can.  There  have  been 
more  things  going  on  lately  that  film  people  flocked  to.  First 
there  were  the  big  tennis  matches  and  everybody  was  there, 
even  Douglas  Fairbanks  and  Mary  Pickford.  They've  given 
up  being  social  recluses ;  the}'  go  almost  everywhere  nowadays. 

"Fred   Niblo  and  Enid   Bennett,   Mr.  and  Mrs.  George 
Archainbaud,  and  all  the  steady-playing  tennis  set  were  there, 
of  course.    What  I  can't,  understand,  though,  is  why  Jetta 
Goudal  always  haunts  the  tennis  matches.    She  sits  there  with- 
out a  spark  of  animation  all  afternoon.    In  fact,  she  has  a 
far-away  look  in  her  eyes,  and  I  wonder  if  she  goes  to  see,  or 
be  seen.    She  always  dresses  as  though  she  were  trying  to  look 
like  a  queen  in  exile.    On  a  particularly  hot  afternoon,  when 
every  one  else  was  in  thin  sports  clothes, 
she.  wore  a  tight,  black  dress,  a  velvet  ribbon 
around  her  neck,  and  a  large  black-velvet 
hat.    I  can't  understand  that  woman. 

"As  a  fashion  parade,  the  tennis  matches 
were  an  interesting  study.  Enid  Bennett,  Mrs.  Archain- 
baud, Doris  Kenyon,  and  a  few  others,  were  perfectly 
dressed  in  conservative  sports  clothes  of  intriguing,  light 
colors.  Patsy  Ruth  Miller  characteristically  romped 
right  over  from  her  own  tennis  court  in  playing  clothes. 
Norma  Talmadge  and  Gloria  Swanson  both  looked 
stunning  in  chic  street  costumes.  But  some  of  the 
people  arrived  all  decked  out  in  organdies  and  chiffons, 
quite  as  though  they  were  attending  a  garden  party. 


The    dream    of  Bodil 
Rosing's  life  is  to  play 
in  "Lummox." 


30 


Over  the  Teacups 


Photo  by  Brown 

Betty  Bronson  may  play  the 
title  role  in  "Sunny." 

"Just  when  the  tennis 
matches  were  about  over,  the 
opera  opened  and  the  same 
crowd,  and  a  few  others, 
were  there.  Every  time 
Jeritza  sang  the  whole  film 
colony  turned  out.  Even  if 
you're  not  interested  in 
music,  Jeritza  fascinates  you. 
Every  move  is  so  graceful, 
and  what  moves  she  makes ! 
In  'Fedora'  even  stunt  play- 
ers clutched  each  other  and 
exclaimed  in  admiration.  In 
the  first  act  she  fainted,  fall- 
ing backward  down  a  flight 
of  steps ;  in  the  second  act, 
in  a  love  scene,  she  made  a 
flying  tackle  of  the  tenor 
that  made  him  stagger,  and 
he  almost  fell  to  the  floor. 
And  in  the  third  act  she  took 
poison  and  flopped  around 
on  the  floor  like  a  Russian 
dancer. 

"The  first  night  the  audi- 
ence was  out  wearing  their 
largest  diamonds,  of  course. 
Norma  Shearer,  Leatrice 
Joy,  Ruth  Chatterton,  Flor- 
ence  Vidor,   Dick  Barthel- 


mess  and  his  wife,  Elise  Bartlett,  Jetta  Goudal 
and  a  lot  of  others  were  there,  including  Lilyan 
Tashman  and  Edmund  Lowe.  You  can  always 
count  on  them  at  a  good  opera  or  prize  fight. 
Jetta  walked  off  with  all  honors  for  the  weirdest 
costume.  She  looked  like  one  of  the  Borgias,  at 
least.  • 

"The  opera  was  just  well  under  way  when  the 
football  season  opened.  I  really  don't  see  how 
any  one  has  time  to  work  in  pictures.  Billie  Dove 
is  supposed  to  be  hard  at  work  on  a  picture  for 
First  National,  but  at  the  last  football  game  she 
looked  as  radiant  and  carefree  as  a  coed  of  six- 
teen. 

"All  the  contract  players  at  First  National  are 
in  the  position  of  stepchildren,  now  that  Warner 
Brothers  have  bought  control  of  the  company. 
The  only  family  that  is  entirely  satisfied  with  the 
arrangement  is  the  Edna  Murphy-Mervyn  '  Le 
Roy  menage.  Edna  is  under  contract  to  Warners,1 
and  Mervyn  to  First  National.  They've  both 
been  working  so  hard  they've  hardly  met  in  weeks. 
But  now  there  is  some  chance  of  their  working  in 
the  same  studio.  The  same  situation  exists  with 
Doris  Kenyon  and  Milton  Sills.  Doris  has  been 
working  at  Warners,  and  now  she  can  lord  it 
over  Milton  Sills,  because  he  is  just  one  of  the 
help  at  the  adopted  organization. 

"I  don't  see  why  those  two  companies  wanted 
to  combine.  It  knocks  out  all  competition  in  the 
making  of  the  worst  pictures.  But  I  really 
shouldn't  mention  their  awful  ones  when  they've 
taken  a  new  lease  on  life  and  made  some  good 
ones.  Warner's  have  the  picture  of  the  year  in 
'The  Singing  Fool.'  It  is  just  too  perfect.  And 
First  National  has  made  two — 'Lilac  Time'  and 
'The  Barker' — both,  you  will  notice  were  directed 

by  Fitzmaurice." 

"Is  the  public  ever 
going  to  be  let  in  on 
seeing  'The  Barker'?" 
I  asked  wistfully.  It 
seems  to  me  that  I've 
been  hearing  about  it 
ever  since  I  was  a 
child. 

"All  that's  holding  it 
up  now  is  the  making 
of  some  Vitaphone  se- 
quences. Think  what  a 
rotten  break  it  is  for 
Betty  Compson.  Just 
as  she  makes  a  magnifi- 
cent picture,  they  with- 
hold it  until  they  put 
in  sound  effects. 

"Speaking  of  sound 

effects  " 

And  Fanny,  like  ev- 
ery one  else  in  Holly- 
wood, does  just  that 
for  hours  at  a  stretch. 

"Have  you  heard  that 
Universal  is  to  make 
short  fashion  films,  in 
which  their  stars  not 
only  show  off  clothes, 
but  give  little  talks  ex- 

Lila  Lee's  stage  experi- 
ence makes  her  a  sure 
bet  for  talking  pictures. 


Over  the  Teacups 


31 


plaining  them?  Mary  Philbin  will  be  in  the 
first  one." 

"Well,  she  would  have  to  do  a  lot  of  explaining 
about  some  of  the  clothes  I've  seen  her  wear,  and 
I  still  wouldn't  like  them." 

''And  Elinor  Glyn  is  so  dissatisfied  with  the 
way  some  of  her  pictures  have  been  made,  she 
is  going  to  make  just  a  few  talking  pictures  in 
which  her  ideas  can't  be  changed.  She  says  she's 
through  forever  with  motion  pictures." 

"That  makes  it  practically  unanimous,"  I 
chimed  in. 

Fanny's  blithe  enthusiasm  was  •  not  to  be 
crushed.  She  beamed  with  pride  as  she  told  me 
about  what  her  various  friends  were  doing. 

"Alma  Rubens  has  a  perfectly  glorious  role 
in  'She  Goes  to  War.'  She  plays  an  Oriental 
cabaret  dancer.  I,  for  one,  am  terribly  fed  up 
on  war  pictures.  If  producers  insist  on  making 
them,  I  wish  some  one  would  get  up  another  war 
picture  in  which  the  women  wore  more  attractive 
clothes.  Those  1914  to  1918  clothes  are  atrocities 
now.  Lois  Moran  is  making  a  war  picture,  too. 
It  is  called  'Judith.' 

"I  think  the  hardest-working  player  I  know  is 
Bodil  Rosing.  She  is  always  rushing  through  one 
production  in  order  to  get  ready  for  another. 
Ever  since  'Sunrise'  she  has  been  in  great  de- 
mand. She  is  slated  for  a  part  with  John  Barry- 
more  in  the  Lubitsch  picture,  but  before  they  got 
to  her  scenes  Chuck  Reisner  insisted  on  having 
her  for  the  picture  he  is  making  with  Eddie 
.  Quillan. 

;i  "I  wish  that  some  one  would  put  Bodil  in  a 
part  that  shows  how  young  and  chic  she  is  off 
the  screen.  They  always  have  her  playing  suffer- 
ing mothers.  She  is  a 
grandmother  in  real 
life,  but  she  is  anything 
but  long  suffering.  She 
has  no  such  ambitions, 
though.  The  one  dream 
of  her  life  is  to  play 
Fanny  Hurst's  'Lum- 
mox.' She  has  studied 
that  book  over  and 
over,  thought  of  it  by 
day  and  dreamed  of  it 
by  night,  until  she  just 

feels  that  the  character 
belongs   to  her.  She 

knows  the  Scandinavian 

temperament  awfully 

well,  which  is  an  ad- 
vantage.    And  Fanny 

Hurst  is  eager  that  she 

should   play   the  part 

when  Herbert  Brenon 

makes  the  picture.  Oh, 

(well,  dreams  do  come 

true  in  pictures  occa- 
sionally, so  maybe  she 

will  get  it. 

"Bessie  Love  is  all 

set  to  do  a  picture  for 

Metro-Goldwyn  that 

she  is  crazy  about,  and 

the  poor  girl  can't  do 

Ruth  Chatterton  bids 
fair  to  be  a  new  lum- 
inary in  dialogue  films. 


photo  by  Bichee 


Photo  by  Richee 


Bebe  Daniels  clings  to  her 
beach    home,    even  though 
her  neighbors  have  fled  the 
wintry  blasts. 

anything  out  sit  around  and 
wait,  while  they  test  a  few 
dozen  actors  in  the  hope  of 
finding  a  leading  man.  He 
has  to  sing  and  dance  as 
well  as  act,  so  it  is  a  tough 
assignment. 

"An  awfully  attractive 
girl  named  Blanche  Le 
Clair  has  been  cast  for  a 
big  part  in  Bessie's  picture. 
It  is  the  first  real  break  she 
has  had,  though  she  was 
under  contract  to  Para- 
mount for  a  year.  I  think 
she  will  make  a  hit.  I 
know  that  every  time  I  have 
seen  her  anywhere,  people 
have  clutched  me  and  asked 
who  she  is.  And  any  one 
with  that  much  individual- 
ity should  make  good  on 
the  screen. 

"I' wonder  if  Mary  Pick- 
ford  will  ever  really  get 
around  to  make  'Coquette.' 
There  have  been  so  many 
distinguished  visitors  in 
California  recently,  that 
Continued  on  1  page  104 


32 


No  Walking 


With  all  this  land,  sea,  and  doubtful 
of  a  traffic  cop  must  be 


'How  about  a  lift?"  asks  Marion  Davies, 
ibove,  of  Johnny  Alack  Brown,  in  "The  Fair 
Coed." 


33 


When  men  were  dandies  and  ladies  divine,  they  traveled  in  this  fashion. 
Corinne  Griffith  and  Marie  Dressier,  above,  in  "The  Divine  Lady." 


Richard  Dix,  above,  demonstrates  the 
going  ability  of  the  tandem  bicycle  in 
"Easy  Come,  Easy  Go."  The  title  has 
no  reference  to  the  bicycle,  it  might  be 
added. 


Cleve  Moore,  above,  travels  at  a  merry  clip  when  at  play, 
cheating  the  camera  of  many  thrills. 


Monte  Blue,  below,  commutes  a  la  twentieth  century.  He 
is  shown  here  in  "Across  the  Atlantic." 


The  innocent  camera  man,  Buster  Keaton,  above, 
is  inclined  to  be  trustful,  but  is  still  suspicious. 
Harry  Gribbon  is  the  cop. 


34 


UnVeiling  Olive's  "Past" 

Miss  Borden  is  visited  by  one  who  knew  her  before  she  became  famous,  and  who  finds  no  grounds  for 

the  criticism  most  often  aimed  at  the  star. 


In  a  city  of  beautiful 
women,    Miss  Glass 
finds  Miss  Borden  the 
lovelies  t 
of  all. 


By  Madeline  Glass 


T 


Plioto  by  Autrey 


O  tell  this  story  of  Olive 
Borden,  it  will  be  necessary 
to  include  a  bit  of  personal 
history,  and  to  make  considerable 
use  of  the  personal  pronoun. 

It  all  began  about  five  years  ago, 
in  a  Los  Angeles  telephone  ex- 
change. I  was  then  an  operator 
in  one  of  the  largest  offices — and 
not  ashamed  of  it.  Speaking  from 
wide  experience,  I  know  ot  no 
business  that  maintains  a  finer  or 
more  intelligent  class  of  young 
women. 

One  morning  the  chief  operator 
took  me  from  the  switchboard  and 
introduced  me  to  a  very  young 
student  operator.  The  student  was 
small,  exceptionally  pretty,  and 
seemed  oddly  out  of  place  in  that 
darkened  room,  which  hummed 
like  a  giant  beehive.  She  looked. curiously  at 
the  rows  of  girls  whose  eyes  never  left  their 
boards,  and  whose  nimble  fingers  manipu- 
lated the  intricate  equipment  with  astonishing 
speed  and  dexterity.  The  student's  name  was 
Borden,  but  having  an  extremely  poor  mem- 
ory for  names,  I  promptly  forgot  it.  I  was 
asked  to  show  Miss  Borden  her  locker  and 
to  impart  any  necessary  information  about  rules  of  the  office. 
Since  I  couldn't  remember  her  name,  and  because  she  seemed  so 
childish  and  sweet,  I  began  calling  her  "Little  Girl."  And  Little 
Girl  it  was  thereafter. 

It  seems  that  Miss  Borden's  memory  was  also  defective,  for 
after  a  day  or  so  she  shyly  dubbed  me  "Nice  Lady." 

I  liked  Miss  Borden  immediately,  but  to  my  surprise,  she  did 
not  seem  to  be  popular  with  the  other  girls.  To  this  day,  I  do 
not  know  why.  Certainly  they  were  not  jealous  of  her  attractive- 
ness ;  beauty  does  not  make  a  woman  unpopular  with  her  own 
sex.  Possibly  they  sensed  that  she  was  not  one  of  them.  Olive 
was  born  for  a  more  colorful  career. 

Shortly  after  her  arrival,  I  came  upon  her  in  the  middle  of  the 
operating  room  looking  somewhat  petulant. 

"What  are  you  peeved  about,  Little  Girl  ?"  I  inquired. 
"I'm  not  peeved,"  said  she,  brightening  instantly. 
I  surmised  that  she  was  trying  to  make  the  best  of  a  wearying 
situation.    Certainly  I  never  heard  her  complain. 

A  day  or  so  later  I  found  her  in  the  locker  room  putting  on  her 
hat  and  coat. 

"Good-by,  Nice  Lady,"  she  said.  "They're  transferring  me 
to  Hollywood." 

Genuinely  sorry  to  lose  her,  I  tried  to  say  something  consoling. 
She  was  pathetically  forlorn  and  bewildered. 

Suddenly  she  ran  and  threw  her  arms  about  me,  blinking  her 
big  eyes  to  keep  back  the  tears.  When  she  had  gone,  I  spoke 
kindly  of  her  to  another  operator  who,  oddly  enough,  didn't  seem 
impressed. 

"She  is  very  affectionate,"  I  argued. 

"And  affected,"  added  the  girl,  with  such  smiling  composure 
that  I  wanted  to  throw  the  switchboard  at  her. 

Continued  on  page  116 


RUMORS  of  Olive  Borden's  temperament  and  ostentation  are  refuted 
by  Madeline  Glass,  opposite,  whose  story  describes  her  not  only  as 
she  is  to-day,  but  as  she  was  five  years  ago  when  a  telephone  operator 
in  the  same  exchange  with  the  writer. 


DORIS  KENYON'S  graciousness  and  charm  have  attracted  a  pub- 
lic all  her  own,  to  whom  her  appeal  will  be  all  the  more  manifest 
now  that  talking  pictures  have  opened  a  wider  field  for  her,  because  of 
her  experience  on  the  stage. 


HAVING  established  herself  as  a  delicious  comedienne,  Esther 
Ralston  abandons  her  light,  becoming  mood  in  signing  a  new 
contract  with  Paramount  to  play  more  serious  roles.  Btrt  with  such 
beauty  can  drama  be  less  becoming  than  comedy?    Oh,  say  not  so. 


WHAT  with  his  airplanes  and  his  kennels,  his  motor  boats  and  his 
mountain  lodges,  Reginald  Denny's  life  in  Hollywood  is  that  of 
an  English  gentleman,  with  American  innovations,  and,  yes,  the  screen 
claims  some  of  his  elegant  activities,  too. 


Photo  by  Buth  Harriet  Louise 

MEXICO  has  waited  patiently  for  her  opportunity  to  contribute 
stars  to  the  screen,  and  there's  no  holding  her  back  now  that  such 
a  delectable  morsel  as  Raquel  Torres  is  added  to  the  suddenly  increasing 
quota  of  dusky,  jet-eyed  charmers. 


40 


O  YNTHETIC  SIN"  may  be  all  right  as  a  title  for  Colleen  Moore's 
*J  next  picture,  but  it  is  safe  to  say  that  the  ability  she  will  inject 
in  it  will  be  not  at  all  synthetic,  but  the  purest  essence  of  skillful 
comedy. 


Photo  by  Henry  Freullch 


Photo  by  Walter  Frederick  Seely 


PICTURE  PLAY  called  Dorothy  Revier  "the  caviar  of  Poverty 
Row,"  because  her  beauty  was  more  delicate  than  the  pictures  in 
which  she  played.  Douglas  Fairbanks  evidently  agreed,  for  he  chose 
her  to  be  his  glamorous  Milady,  in  "The  Iron  Mask." 


DROPPING  from  stardom  to  supporting  roles  is  a  major  tragedy  1 
Hollywood,  but  to  Jetta  Goudal,  who  doesn't  deny  the  fact  tha 
she  has  done  it,  it  is  the  subject  of  a  shrewdly  philosophic  discourse,  a 
reported  opposite  by  William  H.  McKegg. 


43 


Jetta  Steps  Doxtfn 
But  Not  Out 

La  Goudal  proves  anew  that  she  is  a  law  unto 
herself  by  relinquishing  stardom  for  lesser  roles, 
with   smiling   indifference   to   what  Hollywood 

thinks. 

By  William  H.  McKegg 

AMID  the  glitter  of  the  ballroom  many  were  the 
dazzling  ladies  who  caught  the  attention  of  on- 
lookers. But,  as  if  magnetized,  all  eyes  roved 
across  the  gorgeous  set  until  they  rested  on  one  lady. 
She  stood  out  from  the  beautiful  background  like  a 
bird  of  paradise  among  a  flock  of  sparrows.  That  is 
Jetta  Goudal  for  you. 

Jetta  will  invariably  surprise  you.  She  has  just  sur- 
prised all  Hollywood.  It  was  on  this  topic  that  I  had 
come  to  the  studio  to  get  an  explanation. 

"I  understand,"  Jetta  remarked,  "that  many  stars 
feel  they  lose  caste  when  they  play  any  role  less  than  a 
stellar  one.  For  myself,  I  do  not  feel  that  way.  A 
good  part  is  a  good  part,  whether  it  be  a  star  part  or 
otherwise.  Think  of  the  stars  who  have  disappeared 
from  view  rather  than  step  from  the  pedestal  of  star- 
dom." 

La  Goudal  had  just  crossed  the  set  and  was  reclining 
in  her  chair.    All  eyes  were  on  her. 

This  caste  complex  has  been  one  of  Hollywood's 
blackest  blights.  Here,  at  last,  was  a  star  brave  enough 
to  smash  it  to  smithereens  and  toss  the  pieces  in  the  air. 

"Why  should  I  drop  out  of  pictures  through  conse- 
crating myself  to  stardom?"  Jetta  further  inquired,  in 
a  throbbing  crescendo,  her  eyes  widening.    "Mais,  non! 

"It  may  sound  strange,"  she  went  on,  faintly  arching 
her  delicate  brows,  "but  I  do  not  entertain  the  least  idea 
that  I  have  come  down,  or  lost  caste,  through  playing  a 
supporting  role.  I  like  my  work  too  much,  and  I  am 
very  sensible." 

Was  this  Jetta  Goudal,  the  supposed  terror  of  direc- 
tors, the  dread  of  producers,  speaking?  Did  ever  a 
•  reputedly  temperamental  star  talk  as  sanely  as  she  ? 

Nevertheless  it  was  Jetta  who  spoke.  Jetta,  the  mys- 
tery of  Hollywood.  Jetta,  the  so-called  firebrand.  Jetta, 
who  until  recently  had  not  appeared  on  the  screen  in  ten 
months,  because  of  a  disagreement  with  Cecil  DeMille. 
Tetta,  a  star  in  her  own  right,  is  now  playing  a  mere 
role  in  D.  W.  Griffith's  "The  Love  Song." 

Deprived  of  stardom  for  a  while,  Jetta  shed  no  tears, 
but  finally  accepted  a  part  in  "The  Cardboard  Lover." 
In  that  comedy,  she  who  was  born  to  reign  supreme, 
acted  quite  happily  as  the  butt  of  Marion  Davies'  pranks. 

La  Goudal,  of  whom  everything  pertaining  to  fire- 
works and  explosions  has  been  reported,  did  that  which 
one  would  expect  only  from  the  sanest  and  most  reason- 
able player. 

"I  .  feel,"  she  essayed  to  explain,  alluding  to  her 
startling  behavior  in  breaking  Hollywood's  caste  com- 
plex— "well,  I  do  not  know  how  to  say  it.  You  hear 
sometimes  of  a  millionaire  forsaking  his  luxurious  sur- 
roundings, to  live  for  a  while  in  a  mountain  camp.  It 
makes  him  very  happy.  I  feel  just  like  that  these  days. 
But  why  should  that  affect  my  standing?  Why  should  I 
be  supposed  to  lose  caste  by  playing  in  a  picture  of  which 
I  am  not  the  star? 


Jetta  Goudal  finds  a  role  to  her  liking  in  "The  Love  Song," 
and  that  is  more  important  than  stardom  to  the  true  artist. 

"The  millionaire  can  always  return  to  his  real  position. 
So,  too,  can  the  star." 

Jetta  was  very  enthusiastic  over  her  role  in  the  new 
film,  with  William  Boyd  and  Lupe  Velez.  It  is  a  cos- 
tume picture — and  who  knows  better  how  to  wear  cos- 
tumes than  Goudal  ?  She  portrays  a  striking  role — that 
of  the  mistress  of  Napoleon  III. 

•While  working  with  Marion  Davies,  it  is  said  that  all 
the  studio  thought  the  world  of  Jetta.  Mr.  Griffith 
thinks  her  very  clever,  sweet,  and  patient.  One  wonders 
what  they  think  of  this  at  the  erstwhile  DeMille  studio. 

A  young  man  approached,  to  show  Jetta  some  jewelry 
designs  for  one  of  her  costumes.  At  a  single  glance,  La 
Goudal  suggested  an  improvement.  She  made  the  set- 
ting more  striking  by  explaining  how  it  could  be  bettered. 
The  paste  diamonds  were  offered  for  her  comments. 
Jetta  scrutinized  them  through  a  little  glass  and  chose 
the  best  stones.  She  does  all  these  things  with  the  calm, 
indifferent  manner  of  a  connoisseur. 

Griffith,  who  always  supervises  the  costumes  Avorn  by 
his  players,  permitted  Jetta  to  design  her  own.  He  has 
only  allowed  Lillian  Gish  to  do  this  in  the  past. 

While  the  dressmaker  rushed  up  as  soon  as  the  young 
man  had  left,  I  wondered  if  many  vanished  luminaries 
would  to-day  be  in  the  public  eye  had  they  followed  the 
path  Goudal  is  treading.  Many  of  them  preferred  to 
wait  for  another  chance  to  star,  rather  than  accept  a 
good  part  and,  to  their  thinking,  thereby  lose  caste. 

With  a  slender  hand,  holding  a  painted  ivory  fan  on 
a  jeweled  chain,  her  head  bent  slightly  forward,  Jetta 
turned  to  me  and  went  on  with  the  frank  appraisal  of 
her  revolutionary  action. 

"It  is  bad,  you  know,  for  a  star  to  remain  out  of 
public  view  too  long.  After  my  break  with  DeMille,  I 
Continued  on  page  117 


44 


Photo  by  Hesser 

Sue    Carol's   romance   with   Nick  Stuart 
flourishes    in    spite    of    their  temporary 
separation. 

Rags  Are  Royal  Raiment  Here. 

,0  you  remember,  a  few  years  ago, 
a  little,  gaunt,  wistful  face  that 
periodically  peered  out  of  pictures, 
whenever  the  story  called  for  the  kind  of 
girl  that  men  forget?  Sometimes  you 
would  see  her  passing  around  a  tam- 
bourine at  an  obscure  Salvation  Army 
meeting.  Again,  you  would  find  her  lan- 
guishing in  the  last  stages  of  consump- 
tion, or  else  she  would  be  somebody's 
younger  sister,  whom  you  might  pat  on 
the  back,  and  overlook  thereafter.  Some- 
times she  hobbled  about  on  crutches,  un- 
ruffled by  her  hardships  and  the  city's 
din ;  or  you  would  discover  her  once  more 
earnestly  advocating  the  straight  and  nar- 
row path  to  some  hardened  offender, 
touched  for  a  moment  by  her  fragile  ap- 
peal. 

She  inevitably  aroused  that  "big- 
brother"  feeling  in  the  hearts  of  the  mas- 
culine sex,  but  it  was  the  other  girl  who 
always  captured  the  male  prize,  while 
the  noble  little  soul,  serene  and  content, 
remained  "the  little  sister  of  the  world." 
Her    appeal  to 


the  gentler  emo- 
tions has  long  since 
passed  away.  The 
hollows  in  her  thin 
cheeks  have  disap- 


an 


Florence  Vidor 
parted  with  Jascha 
Heifetz,  her  new 
husband,  whose  pro- 
fessional engage- 
ments called  him  to  Europe. 


Impressions,  news,  and  gossip  of  the  stars  who 
visit  New  York  for  work  or  pleasure. 


peared.  Bright  spots  of  carmine  now  liven  the  high  cheek 
bones,  once  colored  only  by  a  hectic  flush.  Rags  and  ginghams 
no  longer  are  her  raiment.  Spangles,  satins,  velvets,  crystals, 
and  the  latest  gewgaws  from  Paris  now  hang  gracefully  from 
her  willowy  form,  which  is  to  be  seen  passing  through  the 
maze  of  modern  frivolity,  without  so  much  as  a  backward 
glance  at  that  wistful,  shadowy  figure  of  some  years  ago. 

She  is  not  as  interesting,  not  as  distinctive,  as  she  used  to  be. 
In  fact,  there  is  nothing  to  distinguish  her  from  myriads  of 
other  up-to-date  girls,  who  feel  that  life  is  an  incomplete  and 
sorry  affair  without  the  adjuncts  of  diamond  bowknots  and 
mink  coats. 

She  is  Pauline  Starke  now,  just  as  she  was  Pauline  Starke 
then,  but  something  of  that  ineffable  quality  of  childlike  charm 
and  simplicity  were  doffed  with  her  cotton  stockings. 

Bessie  Love,  with  the  passing  of  the  years,  has  treasured  that 
quaint,  elfin  candor,  which  was  her  greatest 
charm,  but  Pauline  Starke  was  determined  to 
become  the  kind  of  girl  that  men  remember. 
This  ugly  duckling  pined  to  become  a  swan, 
and  succeeded. 

"You  might  say  I  have  grown  up,"  she 
volunteers,  by  way  of  explanation.  "Times 
have  changed,  and  I've  changed,  too.  The 
kind  of  girl  I  used  to  be  no  longer  has  any 
vogue,  even  in  pictures.    Her  type  isn't 
wanted.   And  then  I  adore  wearing  beauti- 
ful clothes.     Who  wants  to  wear  calico 
all  the  time?    I  wouldn't  be  my  old  self 
for  anything." 

Better  she  must  feel  to  play 
the  role  of  wife  at  home,  than 
to  resurrect  the  shabby,  spiri- 
tuelle,  glory  of  yesteryear. 

"I  am  miserable,  though, 
when  I  am  not  working.  I 
don't  know  what  to  do  with 
myself  staying  at  home.  I 
feel  I  am  just  wasting  my 
time." 

With  all  her  brilliants  and 
gay  plumage,  we  feel  that  if  Miss 
Starke  would  wrap  her  furs  in  tar 
paper,  put  her  jewels  in  the  vault, 
and  go  to  Mary  Pick  ford  and  borrow 
the  habiliments  of  little  Annie 
Rooney,  she  would  be  heeding  the 
call  of  the  megaphone  in  no  time. 
For,  despite  her  permanent  wave,  her 
highly  polished  finger  tips,  and  her 
chic  wardrobe,  Pauline  Starke  is  just 
little  Annie  Rooney  for  all  that. 


Persevering  Marion. 

Marion  Davies  is  an  example  of 
perseverance.  Of  course  she  has 
beauty,  charm,  and  grace.  But  who 
could  have  imagined,  a  few  years 
ago,  that  she  was  destined  to  become 
a  comedienne  of  the  first  rank  ? 

Miss  Davies.  in  her  first  screen  at- 
tempts, used  to  be  pointed  out  as  the 


45 


i/Iileen  Si  John-Brenotx 


shining  example  of  a  girl  who  couldn't  act,  and  yet 
went  doggedly  on.  She  never  argued  about  it.  Y"ou 
never  heard  from  her  lips  the  lame  excuse  given  by 
Estelle  Taylor,  on  her  own  behalf,  that  it  only 
seemed  that  she  was  a  bad  actress,  because  she  never 
had  any  good  roles. 

Miss  Davies,  determined  to  be  an  actress,  and  a 
good  one,  spent  all  her  energy  in  learning  her  trade. 
She  took  lessons  in  everything  imaginable.  She 
studied,  she  toiled,  she  watched  and  learned.  Not 
content  with  being  merely  just  one  of  the  pretty 
girls  of  the  screen,  she  was  eager  for  accomplish- 
ment and  recognition. 

Do  you  ever  hear  any  one  say  any  more  that 
Marion  Davies  cannot  act?  Far  from  it.  From  the 
gentle,  winsome,  rather  awkward  young  girl  of 
"Cecelia  of  the  Pink  Roses"  she  has  developed  into 
a  merry,  frolicsome  star  with  distinct  individuality. 
As  you  know,  she  stutters  a  little  bit,  and  it  will  be 
interesting  to  see  just  how  she  tackles  this  problem 
in  the  talkies.  Will  she  retain  her  stutter,  expecting 
the  world  to  like  it,  or  will  she  decide  to  over- 
come it  for  reproduction  purposes  ?  Returning"  from 
Europe,  she  spent  a  week  or  two  in  New  York,  mak- 
ing preparations  for  her  three  forthcoming  pictures, 
"Dumb  Dora" — surely  Dumb  Dora  should  stutter 
a  trifle— "The  Five  O'clock  Girl,"  and  "Buddies," 
one  of  which  will  decide  the  question. 

Frances  Marion  returned  to  America  on  the  same 
ship  as  Miss  Davies,  but  tripped  off  to  Holly- 
wood as  fast  as  the  train  could  carry  her. 

Art  Separates  Newlyweds. 
Being  a  wife  and  a  star — the  wife  of  a  star 
as  well — makes  for  complexities.    You  know, 
of  course,  that  Florence  Vidor  married  Jascha 
Heifetz.    The  magic  of  his  finger  tips  cast  their 
spell  upon  her,  and  the  stately  Florence 
cast  professional  discretion  aside,  and 
married  a  genius.    But  will  she  forsake 
her  art?   By  the  long  strips  of  celluloid, 
she  swears  she  will  not !    Eight  days 
after  her  marriage  to  the  great  violinist, 
she  whisked  him  back  to  Flollywood. 
After  a  short  session  in  the  film  *- 
colony,  it  was  New  York  again,  ( 
from  whence  the  genial  Heifetz 
sailed  for  Europe,  accompanied 
only  by  his  StradivariUs.  With 
her  cavalier  on  the  ocean, 
Miss  Vidor,  a  grass  wid-  /'' 
ow,  returned  to  Los  An- 
geles and  her  job — par- 
don, her  art. 

Dresses,  Women,  and 
Beauty. 

Not  only  the  fair  sex 
revel  in  a  shopping  tour. 
Gilbert  Adrian  came  all 
the  way  from  California  to. 
purchase  silks  and  satins 


Photo  by  Louise 

Will  Marion  Davies'  stutter  be  recorded  in  the 
talkies? 

and  furbelows.    And  he  did  it  with  enthusiasm. 

For  strange  as  it  may  seem,  this 
clever  young  man  has  such  a  flair 
for   what   the  charming  woman 
should  wear,  that  his  word  is  law 
on  matters  sartorial  with  many 
reigning  beauties.    He  is  a  keen, 
sensitive,  young  man  with 
a    creative    instinct  for 
clothes.    His  designs  are 
so  skillful  that  they  make 
buxom    women  slender, 
skinny    women  svelte, 
dowdy  women  chic,  and 

  awkward  women 

^  graceful. 

Metro-Goldwyn, 
,  *>'  very  touchy  in 
matters  of  dress, 
has  secured  his 
services  for  the 
exclusive  adorn- 
ment of  their 
stars.  He's  done 
wonders  for  them 
all.  He  has,  for 
example,  taken 
Aileen  Pringle 


Irene  Rich  is  a  great 
favorite  with  her 
daughters'  college 
chums. 


46 


Manhattan  Medley 


Photo  by  Brown 

The  visit  of  Alice  Day  to  New  York 
was  all  work  and  no  play. 


from  the  slouchy  set,  and 
given  her  height,  elegance, 
and  line.  His  nimble  fingers 
have  fashioned  fripperies  for 
the  piquant  charm  of  Lea- 
trice  Joy,  and  the  airy,  fairy 
beauty  of  Claire  Windsor,  as 
well  as  the  fresh  girlishness 
of  Norma  Shearer.  But  he 
will  tell  you  that  it  is  far 
more  entertaining  to  enhance  \' 
the  charm  of  the  woman  who  j; 
is  interesting  and  far  from 
beautiful,  than  merely  to 
glorify  the  magnificence  of 
the  real  beauty. 

"Mere  beauty,"  he  says, 
"means  nothing.  It  is  too 
perfect  to  stimulate  the 
imagination.  But  your  in- 
teresting woman; — she  may 
be  plain,  but  she  is  bewitch- 
ing. She  is  the  unexpected. 
There  is  a  sameness  about  a  beautiful 
woman.  She  is  invariably  beautiful. 
Her  beauty  is  static,  but  the  fleeting 


x 


glances  one  has  into  the  personality  of  an  in- 
teresting woman  are  far  more  stimulating.  An 
interesting  woman  changes  with  her  mood.  A 
beauty  is  always  content  to  be  a  beauty,  and 
why  not?  It  is  far  easier  for  an  ugly  woman 
to  be  interesting,  than  it  is  for  a  beautiful 
woman  to  be  interesting. 

"Take  Greta  Garbo,  for  example.  She  is 
one  of  the  most  fascinating  women  of  modern 
times,  but  she  is  not,  according  to  ordinary 
standards,  beautiful.  Her  charm  is  her  ex- 
pressiveness. She  is  difficult  to  fathom.  She 
is  elusive.  She  is  variable.  These  are  the  very 
qualities  which  appeal  to  the  imagination — and 
clothes,  beautiful  clothes,  are  the  product  of 
the  imagination.  An  interesting  woman  changes 
with  her  clothes.  They  make  a  subtle  differ- 
ence in  her  appeal  to  the  world.  You  take  your 
real  beauty,  like  Billie  Dove,  whether  she  is 
dressed  in  sport  clothes,  or  draped  with  Grecian 
folds,  she  is  always  beautiful  Billie  Dove,  late 
of  the  'Follies.'  .Hers  is  the  charm  of  ,the 
picture  gallery.  Then,  again,,  consider  Garbo. 
She  presents  a  vista  of  fascinating  possibilities. 
There  is  always  the  lure,  the  search  for  the 
unknown,  unsuspected  quality. 

"Women  in  Hollywood  have  not  yet  'found' 
themselves  in  the  matter  of  dress.  They  have 
not  yet  developed  clothes  sense,  but  they  are 
acquiring  it.  The  interesting  European  woman 
is  ever  intent  upon  being  individual.  She  de- 
mands that  her  clothes  reflect  her  personality 
and  hers  alone.  The  Hollywood  woman  is  an 
everlasting  procession  of  diminutive  Mary 
Pickfords,  Gloria  Swansons,  and  Clara  Bows. 
The  majority  of  women  are  doing  their  level 
best  to  reflect  a  personality;  yes,  but  not  their 
own — rather  the  personality  of  some  conspicu- 
ous type,  popular  at  the  moment  with  the  pro- 
ducers. The  repetition  is  merely  monotonous. 
The  procession  of  endless  types  merely  defeats 
its  own  purpose,  for  individuality  in  clothes  in- 
evitably wins  the  day.  That  is  why  a 
clever  woman  is  never  happy  unless  she 
is  well  dressed." 


An  Untamed  Hero. 

One  of  the  screen's  most 
unique  heroes  recently  made 
his  first  visit  to  New  York. 
Speak-easies  held  no  interest 
for  him.  He  was  never  to  be 
found  in  the  Ritz  Grill,  the 
Lambs  Club,  or  at  a  night 
club,  and  he  positively  refused 
to  take  any  interest  in  his  pub- 
lic. His  art  is  innate  with 
him,  and  he  makes  no  bones — 
and  bones  are  his  birthright — 
about  it.  No  amount  of  coax- 
ing could  induce  him  to  keep 
his  shoes  polished,  his  nails 
clean,  or  his  face  washed. 
"Smudges  on  mah  face  don't 
show,"  he  has  been  known  to 
inform  the  management,  of 
whom  he  is  the  despair. 

Even  though  he  is  an  actor, 
and  a  good  one,  he  has  never 
been  known  to 
shopped  for  complain  about 
not    dolls,    anj'thing,  not 


Farina 
baseball  bats, 


Manhattan  Medley 


47 


even  the  hotel  accommodations,  but  he  was 
noticeably  insistent  on  one  point.  He  went  to 
bed  regularly  at  ten,  said  his  prayers,  and  stud- 
ied diligently  daily  on  the  hotel  roof,  with  one 
proviso.  He  was  to  be  taken  to  the  Statue  of 
Liberty,  and  allowed  to  climb  up  into  the  torch. 

No  seasoned  veteran  of  the  stage  or  screen 
ever  demanded  the  star  dressing  room  with 
more  insistence  than  young  Farina  reminded 
the  management,  between  personal  appearances 
at  the  Capitol  Theater,  that  his  purpose  in  com- 
ing to  New  York,  and  remaining  on  his  good 
behavior,  was  a  leisurely  and  thorough  journey 
through  the  Statue  of  Liberty.  Of  course, 
"Our  Gang"  went  with  him.  And  the  lady 
was  most  gracious.  In  fact,  all  New  York 
was  gracious  to  this  juvenile  gang  of  playboys. 
Newspaper  offices  came  to  a  standstill  while 
tiny  fingers  thumped  out  one-syllable  messages 
to  the  columnists,  a  hotel  roof  was  transformed 
into  a  schoolroom,  a  motor  bus  was  ever  at 
their  disposal  for  a  trip  to  the  zoo,  the  aqua- 
rium, or  toyland. 

With  all  the  adulation  that  has  been  show- 
ered upon  his  ebony  person,  Farina  is  totally 
unlike  the  professional  child.  He  has  no  man- 
nerisms, no  self-assurance,  no  self-conscious- 
ness. He's  an  untamed,  little  black  boy,  with 
the  kind  heart  characteristic  of  his  race.  He's 
very  much  averse  to  showing  his  pigtail,  and 
terribly  worried  about  the  mistaken  idea  that 
he  is  a  girl.   His  interview  was  pointedly  brief. 

"You  know  those  fights  we  have.  I  never 
really  hurt  anybody  when  I  hits  'em.  I's  just 
foolin' — make-believe,  you  know." 

And  then  he  turned  to  inquire  where  was  the 
best  place  in  town  to  buy  a  baseball  bat,  and 
no  amount  of  irrelevant  questioning  could 
swerve  him  from  his  quest. 

Romance  is  Consoling. 

Only  romance — and  of  course  you  know  of 
the  romance  of  Sue  Carol  and  Nick 
Stuart — helps  to  buoy  the  drooping 
spirit  of  dainty  Sue  Carol.  Naturally, 
when  a  love  affair  is  in  progress,  and 
the  worries  are  merely  lucra- 
tive, the  dismal  dumps  are 
never  too  disheartening.  And 
anyway,   what   are   a  few 
ducats,  more  or  less,  when 
love's  young  dream  is  pro- 
gressing happily?    In  Miss 
Carol's  case  it  happens  to  be 
less — in  a  way,  that  is.  Her 
father  happened  to  be  a  very 
wealthy  man,  who  left  his 
pretty  daughter  a  very  tidy 
income.    She  has  never  even 
heard  the  wolf  barking  at 
the  door. 

On  the  other  hand,  she 
made  an  unfortunate  con- 
tract in  her  salad  days  which 
were,  oh,  just  a  few  months 
ago.  Of  course,  she  was 
thrilled  about  it  at  the  time, 
when  Douglas  MacLean  gave 
her  a  role  in  "Soft  Cush- 

Photo  toy  Bull 

Pauline  Starke,  in  satins,  recalls  the  day 
when  she  wore   ginghams   with  great  appeal 


Photo  by  Freulich 


Barbara  Kent  came  East  in  a  whirl  of 
personal  appearances. 

ions,"  and  signed  her  for 
the  next  five  years  for  the 
sum  of  two  hundred  and 
fifty  dollars  a  week.  All 
might  have  been  well,  from 
Miss  Carol's  point  of  view, 
had  she  not  registered  an  in- 
stantaneous hit.  To  be  sure, 
she  receives  her  two  hundred 
and  fifty  dollars  a  week,  but 
the  fact  that  she  can  earn 
fifteen  hundred  proves  to  be 
a  bitter  pill  for  the  young 
lady  to  swallow,  especially 
because  her  employer  takes 
advantage  of  her  pecuniary 
worth,  rents  her  out  at  her 
market  value,  and  pockets 
the  difference.  Sue,  being 
rich  in  her  own  right,  offered 
to  buy  back  her  freedom  for 
$25,000,  but  MacLean  wants 
a  cool  $1 50,000  for  his  fore- 
sight in  making  the  discov- 
ery. It  was  to  make  "Chasing  Through 
Europe"  that  she  came  to  New  York 
Continued  on  page  104 


48 


Photos  by  Charles  E.  Bulloch 

The  house  is  built  around  an  ancient  sycamore  tree,  with  four  separate,  gnarled  trunks. 


The  H 


ome 


ores 


It  is  Mexican,  of  course,  but  a  lovely  and  repressed  blending  of  beauty,  and  comfort  makes  the  Casa 

del  Rio  an  outstanding  place  in  Hollywood. 


B$  Margaret  Reid. 


T_T  OLLYWOOD,  with  the 
I  I  inclusion  of  Beverly 
Hills  understood,  has 
become  a  community  of  mag- 
nificent homes  not  surpassed 
in  any  part  of  America.  This 
center  of  princely  income  and 
lavish  expenditure  has  sprung 
into  civic  grandeur,  mush- 
roomlike, from  the  arid  fields 
and  inferior  pasture  lands  that 
was  Hollywood  fifteen  years 
ago. 

When  it  became  certain  that 
this  sunny  waste  was  destined 
to  be  the  headquarters  of  the 
motion-picture  profession, 
stars  began  the  building  of 
homes  with  gusto. 

Architects  with  pet  ideas 
found  Utopia  in  Hollywood, 
where  celluloid  earnings  made 
their  practice  extravagantly 
possible.  There  is  to  be  found, 
within  the  city  limits,  every 
type  of  architecture  under  the 
sun.  Experiment  in  design 
has  run  riot.  Many  home- 
building  stars  have  spent 
rather  more  lavishly  than 
wisely,  with  results  which  are 
pretty  terrible,  due  to  too 
much  supervision  from  owners 


who  should  have  stvtck  to  act- 
ing, or  to  having  given  free 
rein  to  architects  with  more 
enthusiasm  than  taste. 

There  are  pink  houses  and 
green  ones,  gorgeous  ones  and 
gaudy  ones,  spectacular  ones 
and  conservative.  Houses  built 
precariously  on  hillsides — pal- 
aces encompassing  whole 
mountaintops,  and  expensively 
quaint  bungalows  nestling  in 
canyons — houses  of  every  de- 
sign, from  Egyptian  to  colo- 
nial. When,  however,  Holly- 
wood homes  are  beautiful, 
they  are  beautiful  in  no  mean 
way. 

Ignoring  the  mercifully  in- 
frequent displays  of  architec- 
tural bad  taste,  and  concern- 
ing ourselves  only  with  the 
homes  to  which  we  point  with 
justifiable  pride,  it  is  appro- 
priate to  begin  with  the  resi- 
dence of  Dolores  del  Rio. 

The  Mexican  star's  phenom- 
enal success  making  it  evident 
that  Hollywood  was  her  own 
special  place  in  the  sun,  she 

A  cloistered  veranda,  tiled  in 
red,  faces  the  garden. 


The  Home  Dolores  Built 


49 


finally  disposed  of  her  home  in  Mex- 
ico City  and  set  about  acquiring  one 
here. 

Intending  to  build  a  permanent 
home,  Miss  del  Rio  waited  for  an  in- 
terval of  leisure  between  pictures  be- 
fore beginning  actual  construction. 
She  had  already,  more  than  a  year 
ago,  selected  and  bought  the  lot.  Orig- 
inally wild,  unused  land  with  a  crude 
highway  cut  through  it,  used  princi- 
pally by  bandits,  it  later  became  a 
ranch  in  possession  of  one  of  the  first 
Spanish  families  to  settle  here.  It 
was  a  thickly  wooded  section,  dense 
with  giant  sycamores  that  defied  specu- 
lations as  to  their  age.  When  it  was 
subdivided,  many  of  these  were,  of 
course,  preserved.  On  one  semicir- 
cular corner  lot  stood  the  daddy  of 
them  all — a  sycamore  of  tremendous 
proportions,  with  four  separate  and 
gnarled  trunks.  It  was  known  as 
"Hangman's  Tree"  bcause,  its  branches 
being  eminently  suitable  to  the  pur- 
pose, it  had  been  the  impromptu  gallows  for  the  victims 
of  the  bandits  who  traversed  the  road  which  ran  beside 
it,  tradition  says.  It  was  this  lot  which  Dolores  chose, 
and  directed  her  architect  to  build  the  house  around  the 
tree. 

At  the  conclusion  of  "The  Trail  of  '98."  with  the 
prospect  of  a  brief  holiday  before  "Ramona,"  construc- 
tion on  the  place  was  begun.  Dolores  was  on  hand  con- 
stantly to  see  that  things  went  as  she  wished.  Combin- 
ing the  talent  of  her  architect  and  Dolores'  own  excel- 
lent taste,  the  result  is  one  of  the  loveliest  houses  in 
Hollywood. 

The  grounds  comprise  tne  entire  semicircle  of  a 
corner,  and  are  surrounded  by  a  wall  of  whitewashed 
brick.  The  house  itself  is  white  stucco,  with  a  red-tile 
roof.  The  entrance  is  charmingly  inconspicuous — a 
heavy  oak  door  set  in  the  wall  on  the  east  side.  The 
door  has  a  small,  iron  grille  in  it,  and  directly  above, 
set  in  the  wall,  is  a  niche  containing  the  figure  of  a  saint. 

Instead  of  leading  into  the  house  itself,  the  door  opens 
onto  a  cloistered  veranda  facing  the  garden.  The  floor 
of  the  veranda  is  tiled  in  dull  red,  with  decorative,  vari- 
colored tiles  set  at  intervals.  To  the  left,  on  entering,  is 
the  broadest  part,  where  deep  bamboo  furniture,  up- 


Dolores  del  Rio's  bedroom  gives  the  impression  of  fragile,  green  sunlight. 


holstered  in  the  same  shade  of  red,  is  placed.  On  the 
wall,  here,  is  hung  a  hand-woven  rug  of  Aztec  design. 
To  the  right  of  the  entrance  is  a  large  niche  containing 
a  porcelain  figure,  while  facing  the  door  at  the  far  end, 
is  a  small  fountain  with  a  picture  in  tiles  above  it. 

In  the  center  of  the  garden  is  the  sycamore  mentioned 
above.  Around  the  wall,  on  the  inside,  cypresses  have 
been  set  and  will  soon  form  a  dense  hedge.  At  the  con- 
vergence of  the  paths  is  a  large  fountain  of  tiles. 

The  entrance  to  the  house  itself  is  at  the  far  end  of 
the  veranda — an  elaborately  carved  oak  door  almost  a 
foot  thick.  This  opens  into  a  hall  two  stories  high, 
whose  length  is  to  right  and  left  of  the  entrance.  To 
the  left  it  leads  to  the  living  room,  to  the  right  to  the 
dining  room.  The  stairway  is  midway  between  the  two. 
This  hall  is  also  tile  floored,  but  made  warm  by  small 
rugs,  and  a  small  red-velvet  settee  of  Spanish  design. 
Great  urns  of  beaten  brass  contain  flowering  shrubs 
and,  at  the  base  of  the  staircase,  is  a  huge  Pueblo  vase 
patterned  in  brilliant  greens,  blues,  and  yellows.  It  is  the 
only  bright  color  in  the  hall,  the  dominating  red  being  of  . 
a  very  dull  hue.  It  is  an  example  of  wise  discrimination 
in  the  use  of  color. 

Continued  on  page  118 


Miss  del  Rio's  study  adjoins  the  office  of  her  secretary. 


50 


Flashy  costumes  for  the  stage,  but  none  for 
the  modern  chorus  girl  the  rest  of  the  day, 
says  Nancy  Carroll. 


Nancy   Carroll,  left,  displays  a  chorus 
girl's    modest,    supper  -  after  -  the  -  show 
gown,  to  be  worn  when  she  is  not  sup- 
ping off  malted  milk  at  home. 


A  flesh-colored  satin 
nightgown  and  the 
simplest  of  negligees, 
left,  is  Miss  Carroll's 
choice  for  the  hour 
before  bedtime. 


Miss    Carroll,  right, 
shows  that  the  truly 
modern    girl    of  the 
chorus  looks  more 
like  an  alert  busi- 
ness  woman  than 
the  traditional, 
gaudy  butterfly. 


Gone  are  the  satins  and  pearls  from 
the  outfit  worn  by  the  chorus  girl  in 
search  of  a  job,  right. 


Just  to  show  you  that  Nancy  believes 
in  unconservative  costumes  in  their 
place,   she  poses,  outer   right,   as  a 
chorus  girl  expressing  her  art. 


51 


A  Modest  Chap 


Cornelius  Keefe  disdains  the  usual  interviews 
and  puffs,  but  here  is  a  story  that  tells  what 
kind  of  young  man  he  is. 

B?  Myrtle  Gebkart 


IF  this  were  an  interview  with  Cornelius  Keefe, 
I  might  know  how  to  start  it.  As  it  isn't,  I 
don't.  There  won't  be  any  repartee,  any 
searching  analyses,  nor  will  any  deep  dreams  be 
revealed.  I  shall  not  present  to  you  a  noble  hero. 
In  the  first  place,  he  isn't ;  and  secondly,  if  I  made 
too  much  of  him,  Con  would  thereafter  be  cour- 
teous toward  me,  with  that  careful  politeness  that 
is  a  greater  rebuke  than  a  thousand  outbursts.  I 
should  not  want  him  to  be  polite  that  way. 

This  boy  of  twenty-five  or  so,  who  within  a  year 
has  become  known  to  the  fans,  and  very  popular  in 
Hollywood,  has  distinctive  qualities.  He  has  cer- 
tain ideas  that  are  inflexible.  He  has  not  yet 
learned  to  separate  personal  convictions  from  cer- 
tain necessities  of  a  career.  The  stubbornness  of 
youth  will  not  make  concessions,  nor  admit  itself 
in  error. 

After  scoring  a  hit  on  the  New  York  stage  and 
on  the  road,  in  "The  Poor  Nut,"  he  was  brought 
West  to  play  in  the  picture  and  has  worked  almost 
continuously  since.  During  his  first  nine  months 
in  Hollywood,  he  established  a  record  by  playing 
leads  in  ten  films.  He  is  young  and  of  engaging 
personality.  But  he  presents  a  problem  rare  in 
Hollywood — he  honestly  does  not  believe  in  much 
publicity. 

Yes,  yes,  you've  heard  that  before.    I  have — 
and  then  listened   for  hours  while  they  talked. 
Peculiarly,  Con  means  it.    He  has  refused  to  give  four 
requested  interviews. 

"A  bit  of  news  in  the  papers  about  the  picture  is  fine, 
so  the  producers  will  know  there's  another  ham  actor  in 
town."  This  is  his  stand.  "But  suppose  lovely  young 
ladies,  or  clever  young  men.  come  to  interview  an  actor. 
Most  of  the  things  they  say  sound  sappy.  Such  ex- 
pressions as  'a  clean-cut  young  man— devoted  to  his 
mother — an  athletic  hero' — blah  !  And  if  not  blah,  they 
aren't  things  to  be  publicized.  When  I  reach  the  point 
where  there  is  something  to  say  about  my  work,  that  will 
be  different." 

Once,  some  years  ago,  before  interviews  became  more 
candid,  he  read  an  article  about  an  actor  whom  he 
greatly  admired.  It  said  something  sweet  about  the  lad 
among  his  roses  in  his  garden.  Con  quit  reading  fan 
magazines  then,  and  it  is  only  recently  that  he  has  been 
persuaded  to  look  at  one,  and  made  to  realize  that 
"gooey"  praise  is  passe. 

To  a  friend,  who  was  lecturing  him  on  his  attitude, 
he  said  one  day,  "There's  nothing  to  say  about  my  youth. 
What  does  it  matter  where  I  went  to  school,  what  sports 
I  played,  how  many  lickings  I  got,  whether  I  lived  at 
home,  or  what  I  did  in  an  ordinary,  normal  boyhood  ? 
If  I  had  run  away  and  sailed  before  the  mast,  or  clone 
anything  adventurous,  that  would  be  different.  When 
there's  no  story,  why  try  to  make  one  out  of  common- 
placeness?  And  now,  I  want  to  stand  on  the  merit  of 
my  work,  which  speaks  for  itself,  good  or  bad." 


During  his  first  nine  months  in  Hollywood,  Mr.  Keefe  estab- 
lished a  record  by  playing  leads  in  ten  films. 


That,  ladies  and  gentlemen,  is  Cornelius  Keefe,  a  lad 
who  consistently  disdains  certain  gestures  which  are  part 
and  parcel  of  an  actor's  career,  and  yet  you  must  respect 
•him  for  his  views. 

Anything  else  pertaining  to  his  work  is  carefully  con- 
sidered. He  is  conscientiously  studious  of  the  screen, 
and  spends  several  evenings  a  week  at  the  movies.  He 
will  see  a  John  Gilbert,  an  Emil  Jannings,  a  Charlie 
Murray,  or  a  Jack  Mulhall  film  over  and  over,  poring 
over  certain  scenes  and  bits  of  technique.  These  repre- 
sent to  him  varied  forms  of  acting.  His  own  pictures 
he  reviews  constantly,  conjecturing,  "If  I  had  done  that 
so-and-so,  would  it  have  been  better  ?  Boy !  what  a  boob 
I  made  of  myself  there  I  Pack  up  and  get  out,  you 
razzberry !" 

He  will  wax  eloquent  along  this  line :  "It's  all  a  mat- 
ter of  dollars  and  cents  !  Play  your  role  as  earnestly  and 
as  well  as  you  can.  Make  that  bozo,  whoever  he  is, 
seem  real,  but  manage  your  career  as  if  you  were  in  the 
commercial  world.  ■  I'm  giving  myself  three  years.  If 
by  then  I  don't  click,  and  make  such-and-such  an  amount. 
I'm  going  to  quit  and  go  back  to  selling  bonds  again." 

He  shakes  a  pencil  at  you  when  he  says  this,  his  very 
deep-set,  brown  eyes  looking  earnest.  I  believe  he  has 
talked  himself  into  thinking  he  means  it.  But  he  will 
follow  over  town  some  picture  that  he  has  missed,  and 
he's  boy  enough  to  be  thrilled  by  Westerns  and  North- 
west Mounted  Police  yarns. 

Continued  on  page  106 


52 


Th 


e  r 


Humorous  and  ironic  comments  culled  along  the  highways  and  byways  of  the  movie  capital. 

By  Carroll  Grakam  illustrated  by  Lui  Trug0 


HARKEN  to  the  sad  tale  of  Elmer  Thistlewaite. 
Elmer  Thistlewaite,  in  case  you  are  interested 
in  his  past,  was  born  in  Porterville,  California. 
His  parents  lived  on  a  farm,  and  it  was  on  this  farm 
that  Elmer  first  came  upon  Dodo.  Dodo  proved  to  be 
the  turning  point  in  his  entire  life. 

Dodo  was  a  goose  and,  to  every  one  but  Elmer,  not  a 
particularly  unusual  fowl.  But  to  Elmer,  Dodo  was  a 
goose  among  geese.  A  certain  swagger  in  his  waddle, 
a  jauntiness  in  his  feathers,  a  plaintive  note  in  his  honk, 
perhaps,  must  have  set  Dodo  apart  from  other  geese  in 
Elmer's  eyes. 

Elmer  set  about  training  Dodo,  and  over  a  period  of 
two  years  he  taught  the  goose  to  do  any  number  of  ex- 
traordinary feats.  Dodo  would  feign  sleep,  roll  over, 
flap  his  wings  or  honk  at  a  command.  And  for  no  one 
but  Elmer  would  he  do  these  things. 

The  training  of  Dodo  was  Elmer's  first  genuine  crea- 
tive effort  in  some  twenty-odd  years  of  existence.  This 
did  not  particularly  please  the  elder  Thistlewaites,  who 
had  vainly  attempted  to  thrust  Elmer  into  some  useful 
pursuit  about  the  farm.  Seeing  that,  with  Dodo  occupy- 
ing all  his  waking  hours,  he  was  even  less  likely  to  work- 
man before,  several  assaults  were  made  on  Dodo's  life. 
These  failing,  Elmer  was  finally  kicked  off  the  farm,  to 
shift  for  himself  in  a  world  he  was  obviously  incapable 
of  combating.  In  a  moment  of  rather  surprising  generos- 
ity, his  parents  permitted  Elmer  to  take  Dodo  with  him. 

Elmer,  with  Dodo,  eventually  turned  up  in  Hollywood, 
as  most  odd  people  generally  do, 
at  one  time  or  another  in  their 
lives.  The  screen,  he  believed, 
must  hold  a  place  somewhere  for 
the  world's  best-trained  goose, 
and  he  would  find  it. 

Eventually  he  did.  A  gag  man 
in  one  of  the  larger  studios  sat 
and  thought  and  thought  and 
thought.  One  day,  oddly  enough, 
he  had  an  idea.  He  told  it  to  a 
director,  and  laughed  so  heartily 
as  he  told  it,  that  even  his  su- 
perior thought  it  funny.  The 
idea  required  the  services  of  a 
goose. 

"But,"  said  the  director,  with 
that  clarity  of  thought  which  al- 
ways marks  the  truly  great,  "we 
have  no  goose." 

"There  must  be  a  trained 
goose  somewhere  in  Holly- 
wood," the  gag  man  argued, 
and  appealed  to  the  casting 
director.     Elmer  had  been 


So  goose  and  trainer  were 


Robert  Edeson  advertises  that  he  wants  to 
do  something  big,  like  washing  an  ele- 
phant. 


sitting  in  the  casting  director's  office  for  three  weeks 
with  Dodo  under  his  arm. 
engaged. 

The  picture  in  which  Dodo  first  appeared  was  a  suc- 
cess. Consequently  every  other  studio  promptly  made 
one  just  like  it,  and  Elmer  and  Dodo  were  soon  working 
constantly.  Goose  and  trainer  received  a  joint  salary 
of  seven  dollars  and  fifty  cents  a  day  and  felt  sorry 
for  Tom  Mix. 

Elmer,  at  this  stage  of  his  career,  was  ideally  happy. 
Nothing  gave  him  more  pleasure  than  to  put  Dodo 
through  his  paces  for  any  and  all  observers.  They  be- 
came familiar  figures  on  Hollywood  Boulevard.  Every 
one  knew  Dodo's  name.  No  one  knew  Elmer's.  He 
was  referred  to  as  "the  guy  that  owns  the  goose,"  and 
gloried  in  the  title. 

Then  Elmer  met  a  girl,  with  the  usual  results.  Her 
name  was  Pearl  Alexander.  She  had  flaming-red  hair, 
with  a  temper  to  match.  She  made  her  living  as  an  extra 
and  resided  with  her  parents  and-  an  elder  sister,  who 
clerked  in  a  store.  The  mother  took  in  washing.  The 
father  was  a  glass-blower  by  trade,  but  hadn't  blown  a 
glass  for  seven  years. 

Pearl  took  an  instantaneous  dislike  to  Dodo.  It  was 
returned.  Dodo,  sensing  a  menace,  nipped  Pearl  on  the 
ankle  at  every  opportunity. 

"Marry  me,"  said  Elmer,  ill-advisedly,  one  night. 

"And  what  would  we  live  on?" 

"Dodo  has  worked  three  days  a  week  for  the  last 
six  months." 

"That's  one  helluva  way  to 
make  a  living — off  a  trained 
goose." 

"Dodo  is  the  best  trained  goose 
in  the  world." 

"Get  rid  of  him  and  get  a  job 
and  I'll  marry  you." 

Thus  things  went.  Elmer 
wanted  desperately  to  marry 
Pearl,  but  couldn't  think  of  sep- 
arating from  Dodo.  Then  fate 
took  a  hand.  Pudgy  men  with 
prominent  noses  lighted  expen- 
sive cigars  and  bemoaned  condi- 
tions in  the  "pitcher"  business. 
Films  were  returning  a  profit  of 
only  three  hundred  per  cent  in- 
stead of  the  five  hundred  of  other 
years.  So  something  had  to  be 
done  about  it.  Studios  were 
shut  down.  Twenty-five-dollar-a- 
week  stenographers  were  fired, 
and  thousand-dollar-a-week  ac- 
tors remained  idle — on  pay. 


The  Stroller 


53 


No  one  required  the  services  of  a  trained 
goose,  or  of  Pearl  Alexander,  either.  With 
conditions  getting  steadily  worse  in  many  a 
Beverly  Hills  mansion  and  Hollywood  apart- 
ment, Christmas  bobbed  up  on  the  calendar. 
Studio  panics  always  occur  near  the  holidays. 
I  don't  know  why.  It  has  happened  too  often 
to  be  an  accident. 

On  Christmas  Eve  Pearl  bared  circum- 
stances in  the  Alexander  family  to  her  swain. 
The  sister  had  eloped  with  the  man  who  read 
the  gas  meter.  The  glass-blowing  father  had 
not  broken  his  seven  years  of  rest.  All  Holly- 
wood was  apparently  doing  its  own  washing. 

Elmer  was  invited  to  Christmas  dinner, 
with  an  excellent  prospect  of  there  being 
nothing  to  eat. 

"Elmer,"  said  Pearl,  "it's  up  to  you." 

"What's  up  to  me  ?" 

"We  ain't  got  no  money,  and  we  ain't  got  nothing  for 
Christmas  dinner.  You  gotta  promote  us  a  gump  some- 
where." 

"You  mean  "     Her  meaning  was  beginning  to 

penetrate  even  Elmer's  foggy  mentality. 

"I  mean  nuthin'.  You  just  gotta  get  us  a  fowl  of  some 
kind." 

Elmer,  stumbling  out  into  the  night,  wished  pro- 
foundly that  Pearl  were  not  so  vicious.  All  night  long 
he  wrestled  with  the  problem  of  his  divided  love.  At 
daybreak  Dodo  lost  by  a  small  margin.  One  blow  of 
an  ax  ended  the  career  of  the  world's  only  trained  goose. 

Elmer  writhed  as  the  savory  odor  of  the  cooking 
goose  smote  his  nostrils.  "As  soon  smell  Pearl  cooking," 
he  muttered.    He  probably  did  not  mean  it. 

Surrounded  by  mountains  of  potatoes,  all  that  re- 
mained of  Dodo  was  set  upon  the  table.  Alexander, 
pere,  jabbed  at  it  tentatively  with  a  fork.  The  tines 
bounced  back,  ringing  like  a  bell.  He  slashed  at  it  with 
a  knife.  The  blade  made  not  the  slightest  impression. 
Wrists  aching,  he  put 
down  his  weapons. 

"How  old  is  this  buz- 
zard?" he  asked. 

"  'Bout    six  years," 
said  Elmer,  morosely. 

With  a  sharp  excla- 
mation Pearl  pounced 
to  her  feet,  seized  the 
carving  implements  and 
began  to  heave  at  Do- 
do, her  teeth  clattering 
with  anger.  After  some 
moments  of  hacking 
and  sawing  she  seized 
the  fowl  by  a  drum- 
stick. 

"The  damn  thing's 
made  of  rubber,"  she 
cried,  and  brought  the 
carcass  down  on  El- 
mer's head.  The  goose 
trainer  scrambled  to  his 
feet,  terrifying  in  his 
wrath. 

"You — you  beazle !" 
he  cried.  Even  Pearl's 
razor-edged  tongue  was 
momentarily  stilled,  as 
Elmer  snatched  up  his 
cap  and  departed,  bang- 
ing the  door  behind 
him. 


Kicked  off  the  farm,  Elmer  Thistlewaite 
and  his  trained  goose  found  fame,  for- 
tune and  tragedy  in  Hollywood. 


The  Stroller 
sympathizes 
with  Lui 
Trugo, be- 
cause he  has 
to  read  this 
departm  e  n  t 
every  month. 


For  hours  he  wandered  the  streets.  It  should  have 
been  snowing,  but  was  not,  because  the  Los  Angeles 
Chamber  of  Commerce  will  not  permit  it.  He  might 
have  leaped  into  a  river,  but  there  is  no  river  within  a 
hundred  miles  of  Hollywood  large  enough  to  drown 
a  cat. 

He  had  lost  his  girl.  He  had  lost  his  goose.  He  had 
lost  his  Christmas  dinner.  He  had  lost  his  means  of 
livelihood. 

He  was  in  one  hell  of  a  fix. 

There  is  a  tale  current  in  Hollywood,  which  I  have 
mentioned  before,  of  the  actor  who  wanted  a  role  so 
desperately  that  he  cut  off  his  right  leg,  only  to  find  the 
role  required  a  Thespian  with  his  left  leg  missing. 

This  sad  tale,  however,  is  permanently  put  in  the  shade 
by  the  girl  who  came  to  Hollywood  and  couldn't  get  a 
break.  So  she  adopted  a  European  name  and  an  accent 
you  could  hang  a  hat  on. 

She  sprang  into  temporary  prominence.  Then  some- 
body invented  talking 
pictures  and  now  she's 
out  in  the  cold  again,  be- 
cause of  her  acquired  ac- 
cent. 

An  obscure  actress  and 
her  manager,  so  it  is  re- 
ported, sent  a  personal 
letter  to  Prince  George, 
while  he  was  in  southern 
California,  urging  him  to 
"drop  around  any  time." 

He  was  entertained  by 
Doug  and  Mary,  Gloria 
Swanson,  and  others. 
But,  oddly  enough,  he 
never  did  get  around  to 
accepting  the  invitation 
from  the  actress  of 
whom  he  had  obviously 
never  heard. 

She  and  her  adviser 
are  still  bewilderedly 
awaiting  a  reply. 

For  popular  acclaim 
the  stars  of  Hollywood 
ran  a  poor  second  to  the 
aviators,  during  the  Na- 
tional Air  Races  recently 
staged  in  Los  Angeles. 
Continued  on  page  109 


54 


Texas  Guinan,  above,  center,  is  the  star  of  the  picture  appropriately  entitled  "Queen  of  the  Night  Clubs." 

Texas  Guinan  Pans  Hollywood 


Peeved  because  of  the  snubs  administered 
by  the  movie  colony,  the  famous  night  club 
hostess  interrupts  her  labors  in  a  Vita- 
phone  picture  to  call  Hollywood  provin- 
cial, jealous,  discontented — and  other 
things. 

By  A*  L.  Wooldridge 

SO  now,  poor,  provincial  old  Los 
Angeles  in  general  and  Holly- 
wood in  particular,  you're  go- 
ing to  get  yours.  Texas  Guinan, 
after  a  few  weeks  in  your  midst, 
will  orate.  And  when  "Tex"  orates, 
something  usually  pops. 

The  night-club  hostess  reached 
Hollywood  a  little  while  ago  amid 
the  blare  of  horns,  the  ballyhoo  of 
press  agents  and  the  hum  of  an  in- 
quisitive throng.  Wearing  about  a 
million  dollars'  worth  of  pearls,  dia- 
monds, and  night-club  gems,  she 
climbed  down  from  a  Pullman  to  meet 
a  score  of  outstretched  arms. 

"Howdy,  folks  ?"  she  called.  "How's 
everybody?  Gee,  it's  great  to  be  back 
where  I  got  my  start !  Hcll-oh,  H on-ey ! 
Gosh,  you're  looking  fine !  Howdy, 
Bud!  You  look  just  like  Abraham  Lin- 
coln— he  didn't  shave,  either.  Hello, 
Al !  How's  the  mammy's  boy?  Muh 
gawd,  isn't  that  sunshine  tumble?" 

She  shoved  her  hat  aft  a  trifle,  gathered  a  few 
yards  of  pearls  into  a  more  compact  mass,  and 
bestowed  a  kiss  on  every  one. 

"Isn't  this  wonderful !"  she  exclaimed.  "Why, 
when  I  left  here  last  time — hello,  Harry,  how's 
the  wife  and  kid? — I  didn't  have  but  one  shirt- 
waist to  my  name.    Howdy,  Bill !    How  we've 


missed  you  in  li'le  ol'  New  York !    Did  they 
know  you  were  there  ?    Won't  those  police- 
men be  lonely  now  ?    And  the  censor  in 
Philadelphia — I  was  there  once  in  a  state  of 
coma.    He  came  to  the  station  to  see  me  off. 
He  wanted  to  be  s,ure  I  was  going.  Gawsh, 
it's  great  to  be  back  in  this  old  land  of 
flowers  !    Hello,  Tom !    How's  the  lad 
from  the  great  open  spaces?    Say,  isn't 
this  sun  awf  ul?" 

They  swept  her  into  a  waiting  auto- 
mobile placarded  with  a  huge  "Wel- 
come" sign. 

"Give  the  little  girl  a  hand !" 
shouted  some  one,  borrowing  the 
famous  Guinan  slogan.  Then 
they  handed  her  a  huge  hand 
made  of  papier-mache,  into 
which  she  slipped  her  own, 
and  waved  greetings  and  kisses 
as  the  automobile  sped  away. 

Texas  Guinan  was  back 
where  she  first  tried  her  wings, 
ten,  eleven,  twelve  years  ago. 
What  a  glorious  reception  to  the 
keen-minded,  wise-cracking  girl 
who  had  left  southern  California 
but  little  known,  and  made  New 
York  sit  up  and  take  notice !  And 
now — well,  the  old  home-town 
must  give  her  her  due. 

It  was  a  good-enough  reception 
at  the  train,  all  right,  but  the  great 
whoopee   to   follow   in  her  honor, 
somehow  went  into  a  tail  spin.  The 
mayor  refused  to  attend  a  testimonial 

dinner.    The  fash- 
"Why   doesnt    jonab,e  Breakfast 
Holly  w  o  o  d     r.,  ,         ...  . 
to'  live?"  asks   Miss    Club    politely  de- 
Guinan.  clined  the  use  of  its 


Texas  Guinan  Pans  Hollywood 


55 


pavilion  for  a  banquet  in  her  honor.  Aimee  McPherson,  the 
"hip-hip-hooray"  evangelist,  found  herself  too  busy  to  call, 
although  she  had  gone  to  the  Guinan's  club  in  New  "York. 
Even  Tijuana  evinced  no  interest  in  a  proposed  visit  from  her. 
and  the  Foothill  Breakfast  Club,  at  Arcadia,  withdrew  an  invi- 
tation asking  her  to  be  its  guest.  A  few  other  things  like  this 
happened,  and  pretty  soon  Texas  began  to  get  mad. 

"Say,  tell  me  something,"  she  said.  "Just  what  is  this  TNT 
effect  I  seem  to  have?  Every  time  I  go  some  place  I  get  into 
trouble,  or  get  somebody  else  into  trouble.  I'm  not  Uncle  Sam's 
worst  girl  by  any  means !  I  may  be  his  most  mischievous,  but 
I'm  not  his  enemy.    What's  it  all  about?" 

Somewhat  bewildered  by  the  crashing  of  castles  and  the 
closing  of  gates,  Miss  Guinan  called  in  the  overambitious  press 
agent  who  had  tried  to  maneuver  all  these  affairs,  and  held 
conversation  with  him — a  dialogue  which  has  not  been  repeated. 

Warner  Brothers,  with  whom  Texas  is  under  contract,  let  it 
be  known  that  they  had  nothing  to  do  with  plans  for  her  enter- 
tainment. Conrad  Nagel  announced  that  he  had  been  named 
on  the  reception  committee  without  his  consent,  so  presently 
Texas  had  something  to  say.  She'd  heard  enough  talk  and 
had  been  buffeted  sufficiently.  The  rollicking,  wise-cracking, 
vivacious  queen  of  the  night  clubs  unloaded  her  mind.  But 
not  until  she  had  been  in  Hollywood  for  about  three  weeks, 
visited  its  clubs,  and  learned  about  its  ways.  Then,  in  her 
dressing  room  at  the  studio,  she  delivered  her  oration.  The 
glamour  of  movieland  had  gone. 

"Hollywood  is  the  most  beautiful  spot  in  America,"  said 
Texas,  "with  the  most  provincial  people  on  earth,  victims  of 
restlessness,  discontent,  and  chasing  phantoms  and  rainbows. 

"In  this  little,  old  town  they  don't  know  how  to  play.  They 
don't  know  how  to  enjoy  themselves.  People  pay  $100,000  for 
my  entertainments  in  New  York,  but  when  I  come  out  here 
and  want  to  give  them  something  for  nothing,  they  don't  like 
it,  and  then  fight  like  cats.  Some  people — and  I'm  not  mention- 
ing any  names — are  so  narrow-minded  their  ears  overlap. 

"The  loneliest  man  in  New  York  is  a  millionaire,  whose 
pockets  are  stuffed  with  money,  and  with  no  place  to  go. 
That's  the  way  they  are  out  here.     Something  cramps  'em. 

"I  never  saw  so  many  laws  in  all  my  life. 
How  dare  they  tell  you  that  you  have  to 
»o  home  at  1  a.  m.  ?   Whose  business  is  it 


Here  she  is  seen 
in  one  of  her 
early  Westerns, 
with  Helen  Fer- 
guson. 


zvhcn  you  go  home?" 

"When  do  night  clubs  close  in  New 
York?"  I  inquired,  recalling  that  Federal 
agents  had  padlocked  her  club. 

"From  now  on!"  replied  Texas.  "The  trouble,"  she 
continued,  "is  that  your  lawmakers  haven't  got  the  lungs 
to  make  laws  to  fit  people.  They  take  away  your  private 
automobiles  out  here,  they  tell  me,  if  the  cops  find  you 
carrying  a  drink.  Think  of  it !  I've  been  out  to  your 
night  clubs,  and  say !  the  checks  the  patrons  pay  look 
like  street-car  transfers.  Seems  like  every  one  has  about 
one  shirt  and  one  dollar,  and  they  never  change  either. 
It  takes  money  to  buy  fun." 

"But  they  have  fun  at  Hollywood  parties,"  I  sug- 
gested. 

"Yeah,"  retorted  Tex,  "they  do !  Listen !  I  rented 
Marie  Prevost's  home.  Marie  went  to  Salt  Lake  City 
to  make  a  picture.  One  evening  I  invited  fifty  guests  to 
dinner.  Two  hundred  and  forty-nine  came,  and  there 
were  seventy-five  still  there  for  breakfast  in  the  morning. 
When  anybody  sees  as  many  as  five  cars  parked  in  front 
of  a  Hollywood  home,  he  says,  'Oh,  there's  a  party  on. 
Let's  go  in !'  And  in  they  stalk.  That's  Hollywood ! 
Anything  for  free  entertainment! 

"Everybody  knows  everybody  else's  business.  If  you 
get  an  idea  in  the  morning,  unless  you  sew  a  button  on 
it,  it's  all  over  town  by  night. 

"It's  all  so  terrible !  This  is  the  Riviera  of  America, 
but  what  do  you  do  with  it  ?  Shut  up  shop  at  1  a.  m. ! 
Your  city  officials  are  trying  to  take  all  the  joy  out  of 


living — all  the  spirit  out  of  Los  Angeles.  An  indiscre- 
tion a  day  keeps  depression  away — isn't  that  true?  But 
what  are  your  indiscretions  ?  You  have  liaisons  as  thick 
as  blades  of  grass.  I  never  saw  the  equal.  It's  because 
no  one  knows  what  else  to  do.  There's  no  such  thing 
as  innocent  fun. 

"Why  doesn't  Los  Angeles  and  Hollywood  learn  how 
to  live? 

"Remember,  I  was  in  Hollywood  in  the  good  old  days 
when  every  one  got  something  out  of  each  passing  day. 
I  was  with  the  old  Triangle  company  in  1917,  then  for 
five  years  I  made  pictures  of  my  own — horse  operas — 
two  hundred  and  twelve  in  all.  They've  reissued  them 
ten  times  and  they're  going  big.  I  was  the  first  two- 
gun  woman  in  films.  I  was  a  sort  of  a  successor  to 
Bill  Hart.  Because  I  was  born  and  reared  on  a  ranch 
near  Waco,  Texas,  and  could  ride  and  rope,  they  thought 
I  was  a  sensation. 

"An  executive  of  the  Triangle  company  came  to  me 
one  day  and  said  they  wanted  to  make  a  snow  picture. 
'We've  got  ten  trees  and  barrels  of  salt,'  he  said.  'That's 
sufficient.'  'Why  not  go  into  Bear  Valley,'  I  suggested, 
'and  get  real  snow  and  trees?'  'Well,'  he  said,  'do  you 
think  you  could  act  if  you  had  a  forest  around  you?' 

"I  got  his  inference.  There  was  an  inkwell  handy 
Continued  on  page  119 


56 


A WAR  between  the  stars!  This  is  the  latest  ' 
prophesy  as  a  result  of  the  talkies.  As  if  there 
weren't,  enough  trouble  already ! 
One  does  catch  little  evidences  of  friction  at  the 
studios,  due  to  the  resentment  of  the  tried-and-true 
screen  favorites  over  the  growing  invasion  of  territory 
that  has  long  belonged  to  them  exclusively,  by  a  lot  of 
new  "debs"  and  debutantes  recruited  from  the  stage. 

Maybe  it  will  develop  into  fist  fights  and  wrestling 
matches.  Who  knows  ?  Momentarily  we  expect  to  hear 
a  challenge  to  combat  issued  in  the  following  terms : 

"What,  ho,  thou  varlet  of  a  movie  speaker !  Vamose 
anon  from  this,  our  sainted  domain,  ere  we  inflict  upon 
thee  a  mighty  spear  thrust." 

Thereupon,  in  true  classic  fashion,  the  stage  player 
will  probably  retort,  "Odds  blood,  and  at  it  knave  of  the 
dumb  drama,  and  we  will  have  it  out  in  a  right  merry 
joust." 

Such,  indeed,  is  the  effect  of  declamation  upon  the 
actor ! 

Goats  Get  Goats. 

Ernst  Lubitsch  had  lots  of  trouble  with  goats,  while 
filming  "The  King  of  the  Mountains,"  starring  John 
Barrymore.  In  the  first  place,  the  players  in  the  pro- 
duction complained  that  the  four-footed  extras  were  too 
highly  "atmospheric."  That  part  of  it  was  tolerated,  but 
subsequently  the  goats  began  to  interfere  with  the  pro- 
duction by  bah-ing  all  over  the  place  during  the  tense, 
dramatic  scenes.  Lubitsch  and  the  cast  still  remained 
patient,  however. 

But  when  the  animals  added  to  their  other  sins  and 
transgressions  a  raid  upon  the  decor  of  the  sets,  that 
was  just  too  much.  They  were  expelled  with  no  un- 
necessary ceremony. 


The  Symphonic  Jetta. 

Jetta  Goudal  was  the  sensation  of  the  Los  Angeles 
opera  season.  No,  we  don't  mean  that  Jetta  sang  arias, 
but  she  did  fill  the  eyes  of  the  audience  with  wonder 
during  the  intermissions. 

"A  Zuloaga  portrait,"  somebody  remarked,  comment- 
ing on  her  appearance.    "Isn't  she  lovely?  Isn't 
she  pale  and  interesting?"   Wherever  one  went, 
there  was  comment  about  her. 

The  reason  was,  in  part,  the  remarkably  at- 
tractive costume  that  she  wore  on  one  occasion, 
in  particular.  It  was  a  symphony  in  black — a 
dress  that  nearly  touched  the  ground,  a  velvet 
cape  of  ebon  shade,  and  a  mushroom  hat  to 
match.  The  only  touches  of  white  were  her 
pallid,  slender  face,  and  ivory  beads  around 
her  neck. 

Aiding  Voice  Culture. 

More  stars  attended  the  opera  than  ever 
before.  Probably  this  was  due  to  their  de- 
sire to  gain  first-hand  impressions  of  the 


#  1 


f  ■ 


at     a  ft 


News  and  gossip  of  the  players  projected  in 
a  lively,  authoritative  manner. 


fruits  of  voice  culture.  Also  ^  was  very  largely  owing 
to  the  presence  of  Maria  Jeritza  in  the  cast,  whom  every- 
body raved  about — or  at  when  she  appeared  as  Carmen, 
in  which  role  she  was  nothing  short  of  terrible,  in  our 
opinion. 

The  stars  who  attended  most  industriously  included 
Milton  Sills  and  Doris  Kenyon,  Betty  Compson,  Rod  La 
Rocque  and  Vilma  Banky,  Colleen  Moore,  Edmund 
Lowe,  and  Lilyan  Tashman,  who  are  always  devotees, 
Leatrice  Joy,  Lois  Moran,  Norma  Shearer,  Mary  Dun- 
can, Agnes  Ayres,  and  Tullio  Carminati. 

Hollywood,  by  the  way,  is  looking  forward  to  hearing 
Hope  Hampton  a  year  from  now,  when  she  probably 
will  make  her  debut  in  opera  in  the  West.  She  has 
already  been  engaged  in  the  East  for  the  role  of  Mlmi, 
in  "La  Boheme." 

Enter  the  Songsters. 

A  girl  whom  we  have  long  known  has  been  chosen 
to  sing  the  soprano  role  in  "The  Desert  Song."  Her 
name  is  Carlotta  King.  Carlotta  has  a  very  lovely  voice, 
which  is  said  to  be  unusually  well  adapted  to  Vitaphone. 
She  also  photographs  exceedingly  well. 

The  cast  of  "The  Desert  Song,"  which  will  be  the 
first  movie  operetta,  includes  John  Boles,  Louise  Fa- 
zenda,  Myrna  Loy,  John  Miljan,  Johnny  Arthur,  Marie 
Wells,  Edward  Martindel,  and  others.  Don't  hold  any 
fond  anticipations  of  hearing  all  these  people  warble, 
however.  Louise  Fazenda  told  us  that  she  was  not  an- 
ticipating bursting  into  a  beauteous  contralto  just  yet, 
but  there  will  be  vocal  numbers  and  plenty  of  talking  in 
the  picture.  The  chorus  will  unfortunately 
have  to  be  eliminated. 


Over  the  Border  to  Wed. 

If  by  any  chance  Agua  Caliente  sounds  to 
you  like  the  name  of  a  new  Latin  star,  don't 
be  misguided.  Actually,  Agua  Caliente  is  an 
elaborate  hostelry  south  of  the  Mexican  bor- 
der, which  is  rapidly  becoming  the  Gretna 
Green  of  filmland. 

Priscilla  Dean  was  married  there 
recently  to  Leslie  P.  Arnold,  a  round- 
the-world  aviator,  and  about 
the  same  time  Rosa  Rudami 
became  the  bride  of  John  C. 

Fox,  a  Chicago  and 


"Old  Man  'Gator"  seems  to  smile — 
probably  at  the  thought  of  what  he 
would  do  to  Gwen  Lee  i£  he  were 
not  muzzled. 


57 


•  # 

I  1  ~*r*k  /i 

■     •  ■ 


J^dtfin  ^Elza  S dialler t 


Florida  realty  broker.  Jacqueline  Logan  was  also 
wedded  south  of  the  border,  to  William  L.  Winston,  but 
it  didn't  "take,"  because  the  California  courts  found 
fault  with  the  legality  of  the  ceremony.  You  see,  she 
had  been  divorced  only  about  six  months  from  her  prior 
husband.    She  intends  to  be  remarried  later  on. 

In  one  case  a  director  went  to  Agua  Caliente  to  be 
married  and  paid  all  the  expenses 
of  a  trip  there  by  airplane,  and  of 
the  big  wedding  party,  from 
large  winnings  on  a  gaming 

Time  Element  Emphasized. 

Elinor  Glyn  is  by  this 
time  famous,  or  notorious, 
as  you  will  have  it,  for  the 
titles  of  the  pictures  she 
writes.  Two  of  her  latest 
are  "Three  Week-ends" 
and  "The  Man  and  the 
Moment."  The  former 
stars  Clara  Bow,  and  the 
latter  Billie  Dove. 

"And  what  role  does 
Miss  Dove  play  in  her 
picture?"  somebody  asked 
George  Fitzmaurice,  who 
was  directing. 

"Ah,"  he  said,  raising 
his  eyebrows,  "she  is  the 
moment !" 

Over  the  Fence  Is  In. 

Studios  are  having  all 
sorts  of  curious  experi- 
ences with  people  attempt- 
ing to  break  into  the  mov- 
ies. At  Paramount,  one 
day,  a  Belgian  athlete 
scaled  a  fifteen- foot  fence, 
surmounted  by  barbed 
wire,  at  the  back  of  the 
studio  lot,  and  actually 
succeeded  in  getting  a  job 
from  Dorothy  Arzner,  who  was  directing  "Manhattan 
Cocktail"  at  the  time.  On  another  occasion  a  long-dis- 
tance call  came  into  the  studio,  from  New  Haven, 
Connecticut.  On  the  other  end  of  the  wire  was  a  young 
man  who  asked  if  he  could  obtain  extra  work,  should 
he  come  to  Hollywood.  The  phone  call  cost  $18,  but 
at  that  the  casting  director  who  received  it  estimated 
that  the  man  saved  money.  It  is  reputed  to  take  about 
$2,000  for  living  expenses,  et  cetera,  even  to  get  started 
on  a  movie  career. 

Toasted  in  Hawaii. 

It  doesn't  pay  to  be  too  zealous  in  the  cause  of  art. 
Dorothy  Mackaill  knows  this  now.  She  learned  her 
lesson  from  sunburn  in  Hawaii. 

Dorothy  was  told  she  would  have  to  get  good  and 
tanned  for  "Changeling,"  and  that  it  might  take  several 


Fred  Datig,  Paramount  casting  director,  measures  the 
height  of  two  recent  importations,  Robert  Castle,  left,  and 
John  Loder,  right,  and  finds  that  naught  is  lacking  in  inches. 


days  to  do  it.  Dorothy  decided,  however,  that  she  might 
be  able  to  help  the  company  out,  if  she'  crowded  Che 
tanning  into  a  single  afternoon.  So  she  lay  on  the  beach 
tor  several  hours,  without  regard  to  the  intensity  of  the 
rays  of  the  tropical  sun,  and  the  result  was  that  she  was 
laid  up  in  bed  for  two  or  three  days  afterward. 

"I  didn't  think  the  sunburn  would  attack  me  so  vio- 
lently as  that,"  she  said,  -because  I  was  a  little  tanned 
from  a  summer  at  the  beach  in  California.  But  evidently 
Hawaii  has  its  own  particular  brand  of  sunlight,  and  the 
blisters  that  it  brings  out  are  simply  terrible." 

Idols  Revivified. 

Matinee-idols-that-were  are  enjoying  the  chance  to 
become  matinee-idols-that-are,  if  we  read  the  signs  right 
Two,  who  are  in  line  for  a  revival  of  their  fortunes,  are 
Bert  LyteU  and  William  Desmond.    Lytell  is  a  featured 
player  in  "On  Trial,"  a  talkie  courtroom  drama,  and 

Desmond,  in  "No  Defense,"  sec- 
ond lead  to  Monte  Blue.  Lytell 
been  signed  by  Warner  Broth- 
and  it  is  not  unlikely  that 
Desmond  will  be  too,  if 
his  voice  records  as  well 
as  expected. 

Anti-feministic  Dwarf- 
land. 

Midgets  are  mostly 
men !  Metro-Goldwyn- 
Mayer  made  this  discov- 
ery while  filming  "The 
Mysterious  Island." 
They  hired  several  hun- 
dred of  the  little  fellows 
from  shows  and  circuses 
in  all  parts  of  the  coun- 
try— probably  the  largest 
aggregation  ever  brought 
together  in  one  place — 
to  impersonate  dwellers 
in  a  region  beneath  the 
sea. 

When  the  casting  of- 
fice came  to  count  the 
midgets,  they  found  that 
there  were  only  two  or 
three  women  among 
them,  and  that  practically 
no  more  were  to  be  pro- 
cured from  the  enter- 
tainment bureaus.  It 
was  explained  that  most 
of  the  feminine  midgets 
were  stay-at-homes,  but 
that  their  number  is  comparatively  fewer  in  any  event. 

The  smallest  dwarf  in  the  picture  is  two  feet  seven 
inches,  and  the  tallest  four  feet  eight.  During  their 
sojourn  here  they  stayed  at  a  hotel  in  Culver  City,  not 
far  from  the  studio,  and  their  daily  pilgrimage  along 
the  streets,  when  going  to  and  from  work,  drew  no  end 
of  sightseers. 

Death  Claims  Three. 

George  Beban,  Larry  Semon,  Arnold  Kent — these 
three  names  have  been  stricken  off  the  casting  books 
and  the  biographies  of  living  players.  It  is  the  largest 
toll  of  any  one  recent  month.  Two  names  are  rather 
well  known  to  picture  fans,  Beban  and  Semon,  while 
Kent  was  enjoying  the  beginning  of  success,  after  about 
two  or  three  years  of  striving. 

Beban  was  a  veteran  actor.    His  biggest  vogue  was 


58 


Hollywood  High  Lights 


eight  or  nine  years  ago.  Who  that  saw  it  does  not  re- 
member his  picture,  "The  Sign  of  the  Rose"?  It  was 
one  of  the  most  successful  productions  of  its  time. 

He  made  various  other  films,  and  with  most  of  these, 
as  well  as  with  "The  Sign  of  the  Rose,"  he  went  on 
personal-appearance  tours.  Beban  had  retired  at  the 
time  of  his  death,  and  was  living  comfortably  on  a 
rather  ample  fortune  that  he  had  accumulated.  He  was 
gifted  with  foresight  in  respect  to  saving  his  money, 
often  rare  in  the  actor,  and  furthermore,  he  was  for- 
tunate in  his  business  activities. 

Semon,  on  the  other  hand,  suffered  sundry  hardships 
in  recent  years.  He  tried  to  break  away  from  short 
reelers  several  years  ago,  and  made  "The  Wizard  of 
Oz,"  which  failed  financially.  He  underwent  other  re- 
verses which  led  eventually  to  the  bankruptcy  court.  The 
strain  and  worry  shattered  his  nerves,  and  led  to  his 
death.  Semon  was  very  well  liked  personally  in  Holly- 
wood. 

Kent's  career  was  cut  short,  when  he  was  struck 
down  by  an  automobile,  while  crossing  Sunset  Boule- 
vard. He  was  taken  to  the  hospital  with  a  broken  back 
and  other  serious  injuries.    He  died  within  a  day  or  two. 

Kent  will  have  several  posthumous  pictures.  He  is 
in  "The  Woman  Disputed"  with  Norma  Talmadge,  and 
"The  Sins  of  the  Fathers"  with  Emil  Tannings.  These 
are  just  now  being  released. 

The  Trials  of  Mae. 

Mae  Murray  seems  to  go  from  one  court  battle  into 
another.  A  New  York  modiste  recently  sued  her  for 
$1,065.  But  that  is  a  small  matter  compared  with  all 
the  ramifications  of  litigation  over  the  house  that  she 
purchased  a  few  years  ago  from  Jack  Donovan. 

At  latest  reports,  this  legal  battle  was  still  going  on 
in  about  the  twelfth  or  thirteenth  round,  with  the  honors 
just  about  even.  Mae  once  won  the  suit  for  $40,000, 
but  after  that  the  case  was  reopened,  right  in  the  midst 
of  a  very  pleasant  vaudeville  engagement. 


Slapstick  Exacts  Toll. 

Comedy  falls  have  serious  consequences, 
old  axiom,  perhaps,  but  can  be  reapplied 
Vernon.  He  re- 
cently underwent  a 
spinal  operation  for 
a  chronic  ailment, 
caused  by  repeated 
slight  injuries  to 
his  vertebrae  during 
the  filming  of  slap- 
stick comedies. 


This  is  an 
to  Bobby 


Harold  Lloyd  also  had  his  session  under  the  doctor's 
cnre,  but  this  was  due  to  breaking  a  rotary  bone  in  his 
elbow  while  playing  handball.  The  fracture  aggravated 
an  old  injury  that  he  had  once  suffered  in  the  same  arm. 

Harold  refused  to  miss  any  time  at  the  studio  on 
account  of  the  accident.  He  came  there  every  day  with 
his  arm  in  a  sling  and  supervised  the  making  of  scenes 
in  his  new  tong-war  comedy,  in  which  he  himself  did 
not  have  to  appear. 

Lupe  Calls  Camilla  Down. 

New  case  of  the  pot  calling  the  kettle  black,  so  to 
say,  Lupe  Velez  correcting  Camilla  Horn  for  her  pro- 
nunciation of  English.  She  did  this  recently,  we  are 
told,  at  the  United  Artists  studio. 

Camilla,  by  the  way,  surprised  everybody,  when  she  let 
it  be  known  that  she  is,  and  has  been  for  some  time,  the 
wife  of  a  wealthy  business  man  who  has  interests  in 
London  and  Berlin.  She  kept  the  secret  very  well  for  a 
whole  year,  and  she  says  that  she  loves  her  husband 
deeoly  and  is  hoping  that  some  day  he  will  come  to 
Hollywood. 

Family  Party  At  Premiere. 

Family  friendliness  is  duly  exemplified  by  film  folk. 
We  find  this  true,  at  all  events,  with  Norma  Shearer, 
Mary  Astor,  and  Sally  Eilers.  They  were  all  in  a  party 
at  the  opening  of  "Mother  Knows  Best."  As  you  know, 
Mary  and  Sally  are  about  to  become  related  through  the 
marriage  of  the  latter  to  Miss  Astor's  brother-in-law. 
A  relationship,  rather  indirect,  already  exists  between 
Miss  Astor  and  Miss  Shearer,  through  Norma's  sister's 
marriage. 

At  the  same  premiere,  we  were  surprised  that  Janet 
Gaynor,  who  sat  just  across  the  aisle  from  us,  was  un- 
attended by  any  of  her  sundry  male  admirers.  She  was 
with  her  mother,  to  whom  she  is  very  devoted.  They 
might  at  times  almost  be  taken  for  sisters,  as  Mrs.  Ga)'- 
nor  is  very  young  looking. 

An  Aquatic  Forecast. 

"Dynamite"  is  the  curious  title  of  Cecil  DeMille's  next 
picture.    Even  more  curious,  perhaps,  is  the  fact  that 

it  is  to  be  a  modern  society 
drama.  Probably  it  will  con- 
tain several  explosive  dowa- 
gers, or  one  or  two  crackling 
subdebs  !  However  that  may 
be  the  public  is  assured  of  see- 
ing one  of  those  much-dolled- 
up  bathrooms  in  this  picture, 
for  which  "C.  B."  was  at  one 
time  famous. 

In  the  latest  DeMille  film 
his  heroine  had  to  content  her- 
self with  rustic  ablutions  in 
the  babbling  brook.  Whicb 
isn't  doing  at  all  right  by  a 


Isn't  Gloria  Lloyd  get- 
ting to  be  a  dreat,  big 
dirl?  Mrs.  Lloyd  thinks 
so,  with  a  mother's  pride. 


Hollywood  High  Lights 


59 


charming  star,  if  past  records  of  the  master  of  aquatic 
improvisations  are  considered. 

Off  To  Dixieland. 

King  Vidor,  another  of  the  big-league  directors,  has 
set  forth  on  an  odd  expedition.  He  is  going  to  photo- 
graph the  colored  folk  of  the  South  in  a  story  dealing 
solely  with  their  lives,  apart  from  the  white  people.  The 
probabilities  are,  in  fact,  that  there  will  not  be  a  single 
white  person  in  the  cast,  and  the  plan  as  Vidor  described 
it  to  us  prior  to  his  departure,  is  most  interesting. 

Meanwhile,  Eleanor  Boardman  is  in  Hollywood,  fin- 
ishing a  starring  role  in  "She  Goes  to  War."  It  is  the 
first  good  break  she  has  had  in  a  long  time.  "I  would 
have  to  come  in  on  the  tag  end  of  war  films,"  she  told 
us,  "but  we  are  all  hoping  that  this  one  is  going  to  be 
absolutely  different.  Anyway,  I  wear  boy's  clothes  and 
that's  a  novelty — for  me  at  least." 

The  Stone  Separation. 

After  many  months  of  rumors,  the  separation  of  Lewis 
S.  Stone  and  his  wife,  Florence  Oakley,  finally  matured. 
It  had  been  bruited  about,  at  intervals,  that  there  was 
marital  discord,  but  nothing  was  admitted  until  the  news 
came  out  that  Miss  Oakley,  who  wedded  Stone  while 
they  were  both  acting  on  the  stage,  signified  her  intention 
of  returning  to  professional  life. 

Even  yet  the  causes  for  the  separation  are  uncertain, 
because  no  divorce  proceedings  have  been  filed.  And 
Stone  has  long  been  noted  for  his  reticence  on  all  mat- 
ters pertaining  to  his  private  life.  In  fact,  the  average 
interviewer  has  found  him  to  be  about  as  communicative 
as  the  Sphinx. 

Stone  has  recently  renewed  his  .prominence  on  the 
screen  by  virtue  of  his  performance  in  "The  Patriot." 

These  Plumaged  Opuses. 

Believe  it  or  not,  a  bird  fancier  did  actually  wander 
into  the  Paramount  studio  and  offer  to  supply  nice  Ger- 
man warblers,  while  "The  Canary  Murder  Case"  was 
under  way. 

Next  thing  we'll  be  hearing,  is  that  somebody  is  trying 
to  drum  up  trade  for  an  ostrich  farm  on  the  strength  of 
"Four  Feathers,"  which  is  the  name  of  another  feature. 

An  Unlucky  Seafarer. 

As  a  mariner,  Chester  Conklin  is  a  most  excellent 
comedian — literally !  He  started  out  on  a  little  cruise  in 
his  launch  not  long  ago,  and  landed  on  the  breakwater 
at  Los  Angeles  Harbor.  The  engine  went  dead  first, 
and  then  a  large  vessel  came  along  and  the  swells  from 
it  hoisted  Conklin's  boat  up  on  the  stone  harbor  struc- 
ture, where  it  perched.  After  fran- 
tic waving  of  signals,  he  was  finally 
towed  off  by  another  craft. 

"My  boat  is  now  for  sale  to  the 
highest  bidder,"  said  Chester.  "I 
am  convinced  that  I  am  not  a  navi- 
gator. The  worst  of  it  is  I  had  to 
take  my  director  along  with  me  on 
that  trip,  which  naturally  added 
doubly  to  my  embarrassment." 

Norman  Kerry  Returns. 

In  case  you've  been  wondering 
what's  happened  to  Norman  Kerry, 

Winifred  Bryson  and  Warner 
Baxter  have  Alice  Joyce  as 
their  playmate  at  the  beach 
between  scenes  of  "Adora- 
tion," in  which  Miss  Bryson  i 
returns  to  the  screen  after  a 

long  absence.  yff. 


it  may  be  just  as  well  to  mention  that  he  is  back  from  a 
four-month  trip  to  Europe.  While  he  was  away,  he 
played  in  "The  Bondman"  for  British  National  Pictures, 
and  met  Hall  Caine,  the  author  of  the  story,  while  on 
location  on  the  Isle  of  Man. 

Louise  May  Go  Abroad. 

There  is  talk  that  Louise  Brooks  may  go  abroad  to  do 
a  picture  with  Ufa.  She  has  completed  her  contract  with 
Paramount. 


Anent  Gilbert's  Future. 

Nothing;  very  definite  seems  to  have  been  decided 


about  Jack  Gilbert's  future  plans.  His  engagement  with 
Metro-Goldwyn  expires  in  May,  and  reports  indicate  he 
may  join  United  Artists,  with  Doug,  Mary,  and  Chaplin. 

We  saw  Jack  right  after  his  return  from  New  York, 
where  he  went  to  discuss  new  business  arrangements, 
but  he  was  blithely  noncommittal  about  his  plans.  Which  . 
generally  means  that  his  plans  aren't  very  definite. 

Altering  Times  Perplex. 

Every  star  we  talk  to  is  more  or  less  perplexed  about 
the  future,  nowadays.  If  the  talkies  become  as  popular, 
permanently,  as  the  present  rage  for  them  forecasts, 
there  will  be  no  end  of  shiftings  and  changings.  Even 
the  biggest  men  in  the  movies  don't  know  just  whither 
they  are  heading,  and  nearly  everybody  is  inclined,  at 
present,  to  live  from  day  to  day. 

Practically  all  resistance  to  sound  pictures  is  dying 
down,  even  on  the  part  of  those  stars  who  professed 
themselves  strongly  opposed  to  them  in  the  beginning. 
If  the  public  wants  them  to  talk,  they'll  talk  as  best  they 
can,  and  let  the  lisps  lisp,  and  the  "s's"  sizzle  as  they 
will. 

Just  the  same,  we  rather  surmise  that  deep  down  in 
their  hearts  most  of  the  older  silent  players  feel  that  fate 
has  played  them  a  grotesque  trick,  after  an  era  of  com- 
parative joy  and  peace  fulness. 

Charlie  Chooses  Blonde. 

Charlie  Chaplin's  new  leading  woman  is  a  blonde, 
and  her  name  is  Virginia  Cherrill.  She  will  be  seen  in 
"City  Lights,"  his  new  picture,  now  under  way. 

This  completes  a  cycle  for  Charlie.  In  Georgia  Hale, 
who  appeared  in  "The  Gold  Rush,"  he  chose  a  brunette, 
and  in  Merna  Kennedy,  his  lead  in  "The  Circus,"  an 
auburn-haired  girl.  Skipping  Lita  Grey,  who  never 
was  actually  seen  in  one  of  his  comedies,  though  she 
played  a  considerable  part  in  his  personal  life,  this  makes 
a  one-two-three  rotation,  as  regards  the  types  he  has 
selected.  [Continued  on  page  94] 


60 


A  glimpse  of  the  unique  museum  whose  counterpart  exists  nowhere  else  in  the  world. 

Admission  Tx^enty-fiVe  Cents 

Hollywood  now  has  its  movie  museum,  where  the  fan  may  see  a  collection  of  costumes  worn  by 
stars  in  notable  pictures,  as  well  as  rare  stills,  portraits  and  "props"  identified  with  the  history  of 

motion  pictures. 


THE  film  community  is  acquiring  its  own  brand  of 
culture.  The  years  having  brought  dignity,  it  no 
longer  feels  bound  to  duplicate  the  manners  and 
customs  of  other  cities.  Essentially  apart  from  any 
other  colony,  it  has  come  to  assert  its  individuality  boldly. 
Indicative  of  this  independence  is  its  recently  opened 
museum. 

Almost  every  city  has  a  museum.    Hollywood,  grow- 
ing to  maturity,  admits  the  need  of  one,  too.    But,  prop- 
erly, Hollywood's  museum  is  unique.  No- 
where in  the  world  has  it  a  counterpart.  It 
is,  of  course,  a  motion-picture  museum. 
Stills,  rather  than  Gauguins,  line  the  walls. 
Sets,  instead  of  medieval  furniture,  cover 
the  floors.    It  is  Sadie  Thompson's  dress, 
not  Marie  Antionette's,  in  that  show  case ; 
a  mechanical  dinosaur  from  "The 
Lost  World,"  not  a  Malayan  skele- 
ton, in  the  corner ;  that  armor  dates 
from    "Robin    Hood's"   time,  re- 
leased, you  remember,  about  five 
years  ago.     For  your  delectation, 
Hollywood   traditions   and  Holly- 
wood history — on  view  at  twenty- 
five  cents  a  head. 

Harry  Crocker,  well-known  young 
aid  to  Chaplin,  is  the  owner  of  the 
museum.  The  basic  scheme  was  to 
accommodate  tourist  fans,  the  ma- 
jority of  whom  have  no  entree  to 
the  studios.  These  visitors,  thwarted 
in  their  curiosity,  will  find  some 
degree  of  satisfaction  in  viewing  at 
close  range  the  accessories  of  pic- 
ture production  in  Mr.  Crocker's 
museum. 

This  enterprising  young  man  con- 
ceived the  idea  and  executed  it  with 
the  aid  of  indulgent  producers,  who 
looked  the  other  way  while  he  looted 
their  property  rooms.  His  friends 
rallying   nobly,   the   items   in  the 


Harry  Crocker,  founder  of  the  museum, 
stands  inside  "The  Iron  Lady,"  an  instru- 
ment of  torture  used  in  "The  Man  Who 
Laughs." 


museum  cost  him  nothing.  Some  are  gratuitous  loans, 
and  many  are  gifts.  Searching  for  a  suitable  location, 
Crocker  selected  a  spacious  one-story  building,  for- 
merly an  automobile  showroom,  across  from  Warner 
Brothers'  studio  on  Sunset  Boulevard.  The  rental  of 
this  and  the  salaries  of  two  attendants  are  the  only 
expenses. 

On  the  night  the  museum  opened  its  doors,  Hollywood 
turned  out  enthusiastically.  The  unprofessional  popu- 
lace, both  transient  and  permanent  was,  for 
the  moment,  more  interested  in  the  stars 
themselves  seen  there,  than  in  the  glass 
cases  containing  their  costumes.  The  occa- 
sion was  gala,  but  it  is  the  subsequent  in- 
terest in  the  museum  itself  that  augurs 
well  for  its  future. 

The  exhibits  will  be  changed, 
and  additions  made,  at  regular  in- 
tervals. Some  detail  of  every  no- 
table picture  will  find  its  way  to 
the  museum.  Among  the  present 
items  are  the  first  and  original  cos- 
tume worn  by  Chaplin,  the  derby 
rusty  with  age,  the  suit  threadbare, 
the  cane  battered,  which  is  insured 
for  $50,000,  and  would  doubtless 
bring  a  big  sum  if  offered  to  the 
British  or  any  other  national  mu- 
seum ;  Gloria  Swanson's  Sadie 
Thompson  costume  and,  in  the 
same  case,  a  Sadie  Thompson 
doll,  which  Gloria  herself  modeled 
in  wax  for  Crocker ;  the  bathing 
suits  made  famous  by  Mack  Sen- 
nett,  beginning  with  the  antiquated 
furbelows  of  Swanson,  Haver,  and 
Prevost,  and  continuing  down  the 
line  to  the  scant  trifles  of  Madeline 
Hurlock ;  the  entire  outfit,  in  all 
its  brocade  and  metal  embroidery, 
worn  by  Rudolph  Valentino,  in 
Continued  on  page  107 


61 


Five  Week-ends 


The  title  sounds  intriguing, 
but  it  is  only  to  show  you 
how  this  quintet  of  stars  do 
not  pass  the  time  between 
Saturday  and  Monday. 


Do  you  suppose 
Clara  Bow,  left, 
spends  many  of  her 
week-ends  in  soli- 
tary moping? 


Jean  Arthur,  be- 
low, much  as  she 
likes  sound  pic- 
tures, would  hardly 
enjoy  the  too  real- 
istic sound  of  the 
washboard. 


62 

A  Girl  Comes  to  Hollywood 

Circumstantial  evidence  continues  to  pile  up  against  Malcolm,  but  he  remains  cheerful  even  though  in 
jail,  while  Madeleine  Standish,  the  erstwhile  "Miss  Smith,"  takes  an  important  and  daring  step  in  this 

most  gripping  installment  of  our  great  mystery  serial. 

B)>  Alice  M.  Williamson 

ILLUSTRATED         BY        MODEST  STEIN 


CHAPTER  XXI. 

THE  TIGHTENING  NET. 

WHEN  Oscar  Sonnenberg 
heard  that  Malcolm  Al- 
len had  been  arrested 
for  the  murder  of  Lady  Gates, 
his  first  thought  was,  "Well, 
what's  this  going  to  do  to  my 
picture?  One  good  thing,  any- 
how," the  producer  reminded 
himself,  "is  that  the  guy's  not  in 
the  film.  That  would  bust  up  the 
show.  After  all,  he  only  wrote 
the  scenario.  If  I  find  the  name 
of  Allen  is  going  to  hurt  the  pic- 
ture, why,  I'll  take  it  off.  I  guess 
contracts  with  murderers  don't 
hold." 

Sonnenberg  wondered  how  it 
was  that  one  of  the  Los  Angeles 
newspapers  had  virtually  got  a 
scoop  in  the  case,  while  its  big 
rival  had  in  its  first  edition  little 
more  than  a  huge  headline,  with 
a  few  paragraphs  underneath. 

The  luckier  of  the  two  big  Los 
Angeles  newspapers  had  much  to 
tell.  After  summarizing  the  case, 
which  had  reached  its  climax  in 
the  arrest  of  the  dead  woman's 
nephew,  the  scene  in  the  restau- 
rant between  Lady  Gates  and 
Malcolm  Allen  was  reconstructed 
in  minute  detail,  with  disclosures 
which  amazed  those  who  had 
watched  the  actual  meeting  and 
had  heard  only  snatches  of  the  conversation  between 
the  two. 

No  sooner  had  Malcolm  Allen  sat  down  at  his  aunt's 
table,  than  a  quarrel  began  over  the  same  letter  shown  by 
Lady  Gates  to  Mary  Smith,  the  story  recounted.  Pres- 
ently, however,  Allen  said  something  which  subdued  his 
aunt  suddenly  and  surprisingly.  What  it  was  had  been 
overheard  by  Henri  Gault,  a  waiter  accustomed  to  attend 
Lady  Gates  at  her  table.  According  to  him,  Allen  had 
told  his  aunt  that  if  she  went  through  a  form  of  mar- 
riage with  "that  damned  swine  Lopez,"  her  dead  hus- 
band would  haunt  her.  This,  and  other  things  not  over- 
heard, had  upset  Lady  Gates  so  much  that  she  became 
hysterical.  Allen  produced  a  flask,  afterward  found  to 
have  his  monogram  on  it.  His  story  later  was  that  he 
had  presented  the  flask  to  his  aunt  by  her  request  some 
time  before,  and  had  on  several  occasions  bought  brandy 
from  a  bootlegger  whose  name  he  refused  to  give,  to 
refill  the  flask  for  Lady  Gates.    He  stated  that  she  had 

*  Copyright.  1928,  by  Alice  M.  Williamson. 


had  this  flask  in  her  possession 
at  dinner  and  had  drawn  it  cau- 
tiously from  a  pocket  in  the  lin- 
ing of  her  ermine  cloak.  So  far 
as  any  one  had  seen,  however, 
Allen  had  himself  produced  the 
flask  and  poured  brandy  from  it 
into  a  tumbler  partly  full  of 
water,  which  stood  near  Lady 
Gates'  plate.  He  had  then 
dropped  a  small  tablet  into  the 
glass.  The  waiter  had  noticed 
this,  but  had  not  seen  Allen  take 
the  vial  containing  it  and  one 
other  tablet  from  Lady  Gates' 
gold  bag,  as  Allen  insisted  that 
he  had  done.  When  Lady  Gates 
had  drunk  the  contents  of  the 
tumbler,  her  nephew  got  up,  went 
away,  and  had  returned  again 
when  Marco  Lopez,  the  dancer, 
arrived.  It  was  Lopez  who  dis- 
covered the  serious  condition  into 
which  Lady  Gates  had  fallen 
after  swallowing  the  liquid  which 
absorbed  the  tablet. 

Despite  protestations  from  Lo- 
pez, Lady  Gates,  apparently 
fainting,  was  carried  out  of  the 
restaurant  by  Allen  and  the 
waiter,  followed  by  Mary  Smith. 
Her  ladyship  was  driven  by  her 
nephew  in  his  car,  accompanied 
by  Mary,  to  a  private  hospital. 
Doctor  George  Nelson  arrived 
and  pronounced  the  English- 
woman dead.  Her  appearance 
was  peculiar,  and  after  Lopez  had  accused*  Allen  of 
murdering  his  aunt  by  poison  to  prevent  her  marriage 
with  him,  Lopez,  the  coroner  was  sent  for  and  an  autopsy 
performed.  The  presence  of  poison  was  discovered — a 
poison  lately  introduced  from  Mexico,  known  to  the 
medical  profession  as  granil.  In  very  small  doses  it  was 
occasionally  prescribed  as  a  stimulant  for  weak  heart 
action ;  but  almost  enough  was  found  in  the  stomach  of 
the  dead  woman  to  kill  two  persons.  Instead  of  stimu- 
lating the  heart,  so  powerful  a  dose  would  stop  it  almost 
instantly,  or,  in  the  case  of  a  strong  person,  such  as 
Lady  Gates  apparently  was,  it  would  take  effect  in 
from  three  to  five  minutes. 

Malcolm  Allen,  questioned  by  the  police  after  the 
autopsy,  volunteered  the  information  that  his  aunt  had 
had  a  small  vial  containing  a  couple  of  tablets,  in  her 
mesh  bag.  She  had  asked  him  to  open  the  bag  and  give 
her  a  handkerchief.  In  doing  so  the  vial  had  fallen  out 
and  rolled  across  the  table  to  his  place.  Lady  Gates, 
seeing  it,  had  then  taken  the  silver  flask  from  her  cloak 


Synopsis  of  Previous  Chaptersl 

Malcolm  Allen,  young  British  novelist  in 
Hollywood,  goes  to  the  rescue  of  a  beautiful 
girl  who  attempts  to  leave  the  fashionable 
Restaurant  Montparnasse  without  paying  for 
the  dinner  she  has  eaten.  He  is  impressed, 
and  later,  dazzled  by  her  beauty,  offers  her  a 
chance  in  the  movies.  He  is  dumfounded 
when  she  tells  him  she  prefers  to  be  a  cigarette 
girl  at  Montparnasse. 

Lady  Gates,  Malcolm's  aunt,  is  struck  with 
the  possibility  of  entering  the  gay  life  of  the 
movie  capital.  Soon  after  her  arrival  she  falls 
under  the  influence  of  Marco  Lopez,  a  profes- 
sional dancer,  who  is  attracted  by  the  wealth 
of  the  new  arrival.  He  causes  her  to  visit  a 
certain  seeress,  his  confederate,  who  tells  Lady 
Gates  she  can  have  youth  and  beauty  again. 
At  the  insistence  of  Malcolm,  she  employs 
"Miss  Smith,"  the  cigarette  girl,  as  a  compan- 
ion. 

Oscar  Sonnenberg,  movie  producer,  attempts 
to  get  Miss  Smith  in  his  pictures.  The  girl 
induces  Sonnenberg  to  produce  Malcolm's 
scenario. 

Upon  leaving  the  hospital,  Lady  Gates  sends 
for  her  nephew,  who  disapproves  of  her  ac- 
tions. Angered,  she  severs  relations  with 
him,  and  becomes  more  devoted  to  Lopez.  Miss 
Smith  admits  that  she  came  to  Hollywood 
because  of  the  dancer,  for  whom  she  procures 
a  place  in  the  picture  "Red  Velvet." 

Lopez,  with  the  seeress,  plans  greater  in- 
roads, and  even  marriage  to  Lady  Gates,  in 
order  to  have  her  will  changed.  At  dinner, 
Lady  Gates  receives  a  note  warning  her 
against  the  dancer.  She  insults  Miss  Smith 
publicly,  and  is  quieted  by  her  nephew,  who 
prepares  a  drink  for  hen  A  few  minutes  later 
she  is  carried  out  of  the  'restaurant,  dead. 
Lopez  accuses  Malcolm  of  having  murdered  his 
aunt. 


A  Girl  Comes  to  Hollywood 


63 


pocket,  asked  her  nephew  to  pour  out  some  brandy,  and  then  drop  in  the 
tablet.    He  had  obeyed,  and  later  absent-mindedly  slipped  the  vial  into 
his  own  pocket  instead  of  returning  it  to  the  bag.    His  aunt,  according 
to  him,  had  said  in  a  faint  voice,  "That's  a  pick-me-up  my  doctor  pre- 
scribed."   But  the  only  doctor  she 
was  known  to  have  consulted  denied 
having  prescribed  for  Lady  Gates 
any  medicine  whatever. 

The  one  remaining  tablet  in  the 
vial  had  proved  to  contain  a  large 
quantity  of  granil.    And  the  letter 
which  had  caused  sharp  words  be- 
tween Lady  Gates  and,  first  Mary 
Smith,  then  Malcolm  Allen,  had  also 
been  absent-mindedly 
pocketed  by  the  author  of 
"Red  Velvet."    It  was  an 
anonymous  letter  to  Lady 
Gates    prophesying  dire 
consequences  if  she  kept 
to  her  purpose  of  marry- 
ing the  dancer, 
young  enough  to 
be  her  son.  It 
accused  Lopez 
of  concealing  a 
marriage,  not 


dissolved,  with  a  woman  in  Buenos  Aires ;  and  Allen, 
while  insisting  that  he  was  not  the  writer,  acknowledged 
the  similarity  of  the  paper  with  some  he  had  been  in  the 
habit  of  using.  He  had  been  taken  to  jail,  on  the  accusa- 
tion of  Lopez,  and  the  evidence  against  him. 


"Dearest  one,' 
Madeleine  said, 
"I'm  going  to 
help  fight  for 
you.  And  I  know 
how  I'm  going  to 
do  it." 


Late  though  it  then  was,  Mary  Smith  had 
telephoned  a  famous  Hollywood  lawyer  and 
induced  him  to  visit  Allen  at  once. 

It  was  this  part  of  the  newspaper  scoop 
which  pleased  Sonnenberg  least.    It  remained 
to  be  seen  what  effect  on  the  public  an  accusa- 
tion of  murder  against  an  author  would  have. 
But  he  had  felt,  in  reading  of  Allen's  trouble, 
that,  "  Anyhow,  the  guy  was  wiped  out  of  Mary 
Smith's  life."    She  might  have  been  smitten 
with  him,  and  he  with  her,  but  girls  who 
wanted  to  succeed  in  pictures  didn't  marry 
accused  murderers,  even  if  the  latter  happened  to  be 
acquitted.    It  simply  couldn't  be  done.    It  was  the  wrong 
kind  of  publicity.    The  right  kind  was  to  marry  a  big 
producer.     The  situation  was  turning  very  much  to 
Sonnenberg's  favor. 


64 


A  Girl  Comes  to  Hollywood 


CHAPTER  XXII. 
"there's  nothing  to  fear  but  fear." 

"But  we  are  engaged  to.  be  married !"  Madeleine  Stan- 
dish  protested  when  those  in  authority  saw  no  reason 
why  Mary  Smith,  late  of  Montparnasse,  should  be 
allowed  to  visit  the  prisoner. 

Prisoner !    Horrible  word  ! 

Madeleine  flung  herself  against  it  as  against  a  wall 
that  has  been  built  up  in  a  night  by  some  devilish  magic 
and  must  be  destroyed. 

It  was  not  true,  in  the  more  obvious  sense,  that  they 
were  engaged  to  be  married.  But  it  was  true  in  the 
girl's  heart,  and  she  believed  it  to  be  true  in  the  man's 
heart,  also.  They  loved  each  other,  had  loved  each 
other  almost  at  first  greeting  of  eyes!  From  that  first 
evening  when  Malcolm  had  come  to  her  rescue,  and  had 
given  her  the  name  of  "Mary  Smith,"  Madeleine  had 
known  that  he  was  her  man.  If  life  parted  them,  she 
would  never  love  any  other,  she  had  told  herself. 

And  then  it  had  seemed  as  if  life  meant  to  part  them. 
She  had  her  mission  to  accomplish,  and,  more  easily  than 
not,  its  accomplishment  might  stain  her  name  with  scan- 
dal. She  had  determined  not  to  let  Malcolm  Allen's 
career  be  injured  because  of  his  chivalry  to  her.  But 
now  everything  was  changed.  Black  shadows  had  fallen 
upon  him,  while  no  one,  if  not  in  her  secret,  could  see 
as  yet  that  the  same  darkness  lay  across  her  path. 

Evidence  was  strong  against  Malcolm,  but  it  was 
circumstantial  evidence,  and  Madeleine  felt  that  she 
alone  of  all  people  in  the  world  could  bring  out  its  false- 
ness. 

"  "Not  the  greatest  detective  in  the  world,  coming  into 
this  case  without  knowing  my  story,  could  do  for  Mal- 
colm what  I  can  do — what  I  will  do !"  the  girl  thought. 
And  she  knew  that  it  was  not  a  vain  or  boastful  thought. 

To  Malcolm,  her  rush  to  his  rescue  at  the  expense  of 
a  lie  about  their  relations,  brought  such  a  shock  of  joy- 
ful amazement  that  for  a  little  while  he  forgot  his 
trouble. 

They  were  not  permitted  to  be  alone  together  for  their 
interview,  but  Madeleine  had  reached  a  stage  of  reck- 
lessness that  turned  witnesses  into  blocks  of  wood. 

Malcolm,  of  course,  wouldn't  give  her  away  by  dis- 
puting their  alleged  "engagement."  She  was  sure  of 
that  in  being  admitted  to  see  him,  and  the  rest  didn't 
matter. 

"Dearest  one,"  she  said,  "I'm  going  to  help  fight  for 
you.   And  I  know  how  I'm  going  to  do  it." 

"But,  you  adorable  child,  you  mustn't  mix  yourself 
up  in  this  sordid  business,"  Malcolm  said,  worshiping 
her.  "Just  to  know  you  do  care  for  me,  and  not  for 
any  one  else,  is  enough  to  keep  up  my  courage.  I'm  not 
guilty!  What  with  this  smart  lawyer  you've  found  for 
me  and — well,  what  they  call  the  'power  of  innocence,' 
ought  to  get  me  out  of  this  mess,  without  your  going 
down  into  the  depths  for  me." 

"Wherever  you  are,  I'm  with  you,"  Madeleine  said. 
"I'll  be  doing  my  own  work  as  well  as  yours,  if  I  can 
help  you  out  of  this  snare.  It  is  a  snare,  and  I'm  going 
to  prove  it." 

The  lawyer  Madeleine  had  engaged  for  Malcolm  on 
the  night  of  his  arrest  was  a  young  man  named  John 
Barrett.  He  had  gained  a  certain  amount  of  fame 
through  winning  a  case  for  a  client  accused  of  theft, 
and  as  the  client  was  an  actress,  a  pretty  Cinderella  in 
the  ranks  of  extras,  the  affair  had  made  more  of  a  sensa- 
tion than  it  would  have  done  had  Kitty  Carson  remained 
a  stenographer. 

"In  a  way,  it's  just  such  another  case  as  Miss  Car- 
son's," Madeleine  explained  to  the  busy  man  who  had 
too  much  to  do  already.    "Your  kind  of  case — all  cir- 


cumstantial evidence."  And  then,  later,  when  Barrett 
consented  to  act,  Madeleine  went  to  his  office  for  a  confi- 
dential talk. 

She  hadn't  meant  to  tell  any  one  her  own  secret  busi- 
ness in  Hollywood,  and  even  now  she  would  have  pre- 
ferred to  keep  silent,  but  she  saw  that  by  doing  so  she 
would  hinder  rather  than  help  Barrett. 

Barrett  listened  in  silence  to  the  story  of  Madeleine 
Standish's  coming  to  Hollywood,  and  her  transformation 
into  Mary  Smith  of  Montparnasse. 

"Yes,  I  see  just  why  you  came  such  a  long  way  to 
Hollywood,  and  had  to  hide  your  identity  when  you  got 
here,"  Barrett  said  thoughtfully  when  she  paused.  "You 
were  a  brave  girl  to  go  in  for  such  an  adventure !  No 
money  except  what  you'd  scraped  together  for  the 
journey!    Yet  you  didn't  hesitate!" 

"I  had  very  little  to  lose  and  a  great  deal  to  gain," 
Madeleine  answered.  "At  worst  it  was  a  good  gamble. 
I  repeated  to  myself — I  had  to  do  it  again  and  again  at 
first — 'There's  nothing  to  fear  but  fear.'  Well,  I  got 
just  where  I  wanted  to  be,  thanks  to  Mr.  Allen.  And  if 
I  haven't  gone  ahead  as  fast  as  I  hoped,  I  know — I  abso- 
lutely knozv — I'm  on  the  right  track.  These  people  are 
even  cleverer  than  I  thought  they  were,  which  is  saying 
a  good  deal ;  but  I'll  prove  cleverer  than  they  in  the  end, 
with  you  to  help  me,  and  Malcolm  to  work  for.  I'm  a 
thousand  times  keener  than  I  was  for  myself  alone,  now 
his  affairs  and  mine  are  tangled  together  in  this  strange 
way." 

"You  see  the  connection,"  said  John  Barrett,  "or  think 
you  do.  But  there  is,  on  the  face  of  it,  I  must  point  out, 
no  proof  whatever  against  Lopez  and  company.  Lepez 
had  nothing  to  gain  by  Lady  Gates'  death.  On  the  con- 
trary, he  could  gain  only  by  her  continuing  to  live  till 
they'd  gone  through  a  marriage  ceremony,  or  at  least 
till  she'd  made  a  new  will.  Allen  is  the  one  person  who 
had  a  compelling  motive  for  removing  Lady  Gates  before 
she  could  marry,  or  disinherit  him.  Every  detail  of  the 
murder  appears — on  the  surface,  mind  you — to  have  been 
planned  by  Allen.    There  is  the  anonymous  letter  " 

"We  know  Malcolm  didn't  write  it !" 

"You  think  you  know.  I  know  I  think  so !  But  Allen 
had  the  motive.  And  he  had  the  stationery.  As  for  the 
handwriting,  it  was  disguised,  and  several  experts  may 
all  pronounce  differently  upon  it  when  the  case  comes  to 
trial." 

"I  don't  want  it  to  come  to  trial !"  exclaimed  Made- 
leine. "I  want  to  get  a  confession  from  the  killer  before 
the  time  arrives  for  that !" 

"You'll  have  to  be  a  quick  worker,"  said  Barrett,  with 
rather  a  grim  smile  on  his  keen,  lantern-jawed  face,  so 
eminently  the  face  of  a  born  lawyer. 

"I  mean  to  be,"  Madeleine  answered,  with  perhaps  a 
little  more  confidence  than  was  in  her  heart.  "I  shall 
try  to  find  a  bit  of  that  writing  paper  in  a  place  where 
somebody,  not  Malcolm  Allen,  had  it  to  experiment 
with !" 

"If  you  mean  in  Lady  Gates'  suite  at  her  hotel,"  Bar- 
rett warned,  "you  must  realize  that  her  rooms  have 
been  thoroughly  gone  over." 

"I  don't  mean  there.   Why  should  I  ?"  the  girl  asked. 

"Well,"  Barrett  argued,  "the  murderer  might  have 
pilfered  a  little  from  her,  if  she'd  got  hold  of  some 
while  her  nephew  was  living  in  the  bungalow." 

"That's  just  what  I  think  happened,"  agreed  Made- 
leine, quickly.  "But  I  wouldn't  look  for  it  in  her 
rooms." 

"Don't  you  mean  to  tell  me  where  you  would  look 
for  it  ?"  the  lawyer  wanted  to  know. 

"Wherever  she  is — or  has  been,"  Madeleine  replied. 

Barrett  had  listened  carefully  to  the  girl's  story,  and 
understood  without  explanation  who  was  indicated. 


A  Girl  Comes  to  Hollywood 


05 


"There  are  worse  things  against  our  friend  Allen 
than  the  anonymous  letter  of  which  he  denies  knowl- 
edge," Barrett  added.  "There's  the  silver  flask  with 
his  monogram  on  it,  given  him  as  a  present,  which  he 
gave  to  his  aunt,  he  says.  Oh,  I  know !  His  explana- 
tion is  that  he -seldom  drinks  liquor  of  any  kind.  But  he 
did  buy  brandy.  That's  proved  and  admitted.  And  it 
has  to  be  proved  in  future  that  he  didn't  buy  it  -for 
himself,  but  at  the  request  of  Lady  Gates.  No  one  has 
been  found  yet,  who  ever  saw  her  use  the  flask  which 
Allen  vows  she  handed  him  at  the  table  before  she  died." 

"Somebody  will  be  found  who  saw  her  use  it,"  Made- 
leine doggedly  insisted. 

"And  then  the  poison  tablets  themselves!"  Barrett 
went  on.  "Forgive  me  for  dwelling  on  the  dark  side. 
We  must  face  facts,  in  order  to  sort  them  out,  and 
know  just  where  we  stand.  No  prescription  was  given 
Lady  Gates  for  the  grand,  so  far  as  we  can  learn.  And 
even  if  she  had  had  one  from  a  doctor,  the  dose  would 
have  been  about  fifty  per  cent  less  strong.  If  she  had 
had  those  tablets,  each  containing  a  fatal  dose  of  poison, 
who  could  have  given  them  to  her  and  induced  her  to 
carry  them  about  as  a  tonic  or  pick-me-up,  to  use  when 
she  felt  'down,'  according  to  Allen's  statement?" 

"That's  one  of  the  things,"  Madeleine  said,  "that  I'm 
going  to  devote  myself  to  finding  out." 

CHAPTER  XXIII. 

FOR  SALE  A  BUNGALOW. 

In  Hollywood  there  is  no  excuse,  except  sudden  death 
— and  that  your  own — for  dropping  out  of  a  picture. 
Your  husband,  your  wife,  your  lover,  may  summon  you 
from  the  ends  of  the  earth.  You  will  stop  your  ears  and 
finish  the  film.  On  the  stage  you  may  have  an  under- 
study, but  not  on  the  screen,  save  for  long  shots.  Once 
you  have  begun,  on  you  must  go,  if  it  costs  your  life's 
happiness.    Consequently  Mary  Smith  went  on. 

She  worked  all  day,  but  often  she  thought  all  night; 
and  sometimes  she  got  a  free  evening  when  no  scenes 
of  hers  were  being  shot. 

It  was  much  the  same  with  Marco  Lopez,  who  now 
confined  his  dancing  activities 
to  the  studio,  having  terminated 
his  engagement  at  Montpar- 
nasse  on  the  night  of  Lady 
Gates'  murder. 

Pierre  would  gladly  have  re- 
tained his  services.    There  was 
not  a  breath  of  suspicion  against 
Lopez,  as  he  had  lost  a  pros- 
pective   fortune    through  the 
death  of  Lady  Gates.  Whether 
or  not  Malcolm  proved  eligible 
as  heir  to  the  woman  he  was 
accused  of  killing,  the  will  in 
his  favor  had  been  found  in  a 
safe    in    his  aunt's 
room.  This  document, 
which  Katherine  Gates 
had   intended  chang- 
ing, left  her  collection 
of  jewels  also  to  her 
nephew,  so  that  noth- 
ing at  all — not  even 
the  brooch  pinning  his 
orchids  to  her  peach- 
blossom   dress — could 
be  claimed  as  a  sou- 
venir by  the  man  she 
would  undoubtedly 
have  married. 


It  seemed  to  the  girl 
that  she  smelled 
faint  fragrance  of  in- 
cense, which  made  the 
house  "come  alive"  in 
a  frightening  and  sin- 
ister way. 


As  for  the  much-talked-of  jewels,  though  they  had  van- 
ished, and  their  disappearance  seemed  to  be  more  of  a  mys- 
tery than  her  death,  Lopez  apparently  had  not  got  them. 
People  suggested  that  Malcolm  had  contrived  to  spirit 
the  collection  away,  in  order  to  be  sure  of  reaping  some 
advantage  from  Lady  Gates'  death,  in  case  he  failed  to 
inherit  by  the  will.  In  any  case,  however,  the  fact  that 
Lopez  had  failed  in  all  his  expectations  made  him  a  cen- 
ter of  interest,  if  not  of  sympathy. 

It  was  thought  that  he  had  done  the  right  thing  in 
resigning  his  position  at  Montparnasse.  Perhaps  he  had 
really  cared  for  the  dead  woman,  not  only  for  her  money, 
but  for  herself.  It  looked  well  for  Marco  Lopez  that 
sentiment  prevented  him  from  yielding  to  the  temptation 
Pierre  dangled  before  him.  These  Latins  had  feeling, 
you  know !  The  man  couldn't  bear  even  to  enter  again 
the  room  where  he  had  seen  his  promised  wife  die. 

And  then  that  bungalow  of  his,  where  he  had  lived  so 
quietly.  He  could  no  longer  endure  that,  either,  it 
seemed.  He  was  bent  on  beginning  all  over  again,  to 
chase  away  haunting  memories.  A  day  or  two  after 
Lady  Gates'  death,  her  heartbroken  fiance  moved  out  in 
haste  and  rented  a  small  and  quite  humble  apartment 
near  the  studio  where  he  was  working. 

Having  contracted  a  few  debts  in  the  expectation  of 
becoming  Lady  Gates'  husband,  he  explained  to  his 
fellow  actors  in  "Red  Velvet,"  he  felt  bound  to  econo- 
mize. Immediately  after  the  film  was  finished,  he  added, 
he  would  shake  the  dust  of  Hollywood  off  his  feet  for- 
ever. The  place  was  a  place  of  sadness  to  him  now, 
and  no  prospects  of  future  film  fame  could  induce  him 
to  stay. 

The  first  one  to  learn  that  Marco  Lopez  was  moving 
from  his  bungalow  was  Madeleine  Standish.  It  had 
occurred  to  her  that  he  might  have  serious  reasons  for 
breaking  up,  and  even  as  early  as  the  second  morning- 
after  the  murder  at  Montparnasse,  the  girl  took  her 
exercise,  before  starting  for  the  studio,  by  walking 
through  the  street  which  interested  her  beyond  all  others 
in  Hollywood. 

"For  Sale,"  she  read  on  a  big  card,  amateurishly 
printed,  and  tacked  onto  the  front  door.    Fie  had  lost  no 
time,  that  one !    She  was  intensely  ex- 
cited, but  she  did  not  "inquire  within." 
Instead,  she  instructed  some  one  else  to 
undertake  the  business— an  employee  of 
John  Barrett's.    She  wanted  that  bun- 
galow, and  intended 
to   have   it.  What 
was  more,  she  wished 
to  move  in  as  soon 
as   the   tenant  had 
moved  out. 

The  man  sent  post-  • 
haste  by  Mr.  Bar- 
rett, at  Madeleine's 
request,  was  the  first 
to  cill  at  the  little 
Spanish  bungalow. 
He  introduced  him- 
self as  James  Jones, 
a  bond  salesman, 
who  expected  to 
marry  and  wanted 
to  buy  a  bungalow 
cheap.  He  had  often 
passed  this  place,  he 
went  on  to  explain, 
and  had  now  no- 
ticed the  sign  "For 
Sale." 
Continued  on  page  92 


66 


/_ 


Doug  and  Mary  are  their  own  good-natured  selves  in  the 
greatest  of  fan  stormings. 

AT  the  last  Wampas  frolic  I  sat  in  a  box  just 
in  front  of  Doug  and  Mary.    All  evening 
long    they    were    surrounded    by  eager 
throngs,  who  wanted  them  to  autograph  pro- 
grams,  or   who   wanted   to   shake  their 
hands,  or  who  just  wanted  to  stand  and 
gaze  at  them  with  wide-eyed,  unblinking  A 
stares,  as  children  gaze  at  a  boa  constrictor  > 
in  the  zoo.    They  made  audible  comments       ,  * 
upon  the  appearance  of  the  famous  pair, 
discussed  the  details  of  their  attire,  and 
speculated  upon  their  ages. 

Never  once  did  the  patient  cordiality  of 
Doug  or  Mary  falter.  Never  once  did 
either  of  them  indicate  by  so  much  as  a 
bored  expression,  that  they  would  have 
liked  to  sit  back  quietly  and  enjoy  the  en-  y 
tertainment. 

Doug  listened  with  enthusiastic  attention 
to  a  lady,  who  talked  for  twenty-five  min-  \ 
utes — by  my  watch — about  her  twelve- 
year-old  son  who  did  so  admire  Mr.  Fair- 
banks, and  whose  teacher  said  he  was  the 
smartest  boy  in  school — the  very  smartest ! 
—and  guess  what  he  said  when  he  was 

only  three  and  a  half?     T   ,  ,ff  m  n  ,  ,   t,a  ■■■ 

™  J     •  ,    ^    ,,     Jack  Mulhall  managed  to  be  1 

The  cutest  thing !    Could    calm  when  an  admirer  gave 

you  imagine  it  ?   .  him  a  whole  family  of  puppies 


M 


What  Price 


People  often  take  selfish  advantage  of  stars,  using 
them    into    situations   which    sometimes  prove 

amazing  examples  o£ 

B$  Helen 


And  Mary  smiled  and  nodded,  and  got  ink  on  her 
fingers  from  the  proffered  fountain  pens,  and  nudged 
Doug  anxiously  when  he  ventured  one  tiny,  private, 
jocular  remark  about  one  of  the  dancers.  "Her  mother 
might  be  right  behind  you !"  whispered  Mary. 

Can  any  one  wonder  that  these  two  seldom  appear 
in  public? 

For  your  actor,  being  a  public  figure,  must  never 
betray  any  natural  human  resentment  at  any  attention 
wdiich  is  paid  him,  be  it  ever  so  rude  and  unwelcome 
attention.  He  must  never  indicate  that  he  is  not  ever 
so  happy  to  meet  any  one  at  all  who  can  manage  to 
meet  him — even  though  they  bore  him  to  death  for 
two  hours  and  a  half  with  inanities,  merely  for  the 
sake  of  being  able  to  say  to  their  friends,  "Now,  when 

I  was  talking  to  Ronald  Colman  " 

He  must  never  fail  to  evince  polite  interest  in  the 
personal  histories  of  people  he  never  saw  before.  He 
must  shake  hands,  and  kiss  babies,  and  patronize  char- 
ity bazaars,  and  appear  grateful  for  the  privilege. 

Otherwise  he  is  called  high-hat,  or  "ritzy,"  and  he 
becomes  very  unpopular  with  the  people  involved. 

And,  since  his  salary  and  his  position  in  the  picture 
industry  are  measured  by  his  popularity  with  the  pub- 
lic, you  can  see  for  yourself  that  he  must  guard  that 
popularity  with  exceeding  tenderness. 

When  Nancy  Carroll  and  Buddy  Rogers  attended  a 
preview  in  a  small  theater  in  Santa  Monica,  word  got 
about  that  they  were  in  the  audience. 

When  the  lights  went  up  for  intermission,  they 
were  nearly  smothered  in  the  rush  of  patrons, 
and  the  management  had  to  call  policemen  be- 
fore the  eager  crowds  could  be  persuaded  to 
return  to  their  seats. 

When  the  two  unfortunate  starlets 
left  the  theater,  the  entire  house  left 
with  them  and,  being  good-natured 
youngsters,  they  made  an  earnest  at- 
tempt to  satisfy  the  demands  of  this 
section  of  their  public  for  autographs. 
At  one  o'clock  next  morning  they  were 
still  autographing.  People  had  dashed 
home  after  their  "albums"  and  had 
dashed  back,  panting,  to  the  theater 
lobby. 

The  climax  was  reached,  Nancy 
thought,  when  an  agitated  young  man, 
having  nothing  upon  which  she  could 
write  her  name,  plucked  out  his  shirt  tail 
and  demanded  that  she  autograph  that. 

The  helplessness  of  actors  in  this  po- 
sition inspires  people  to  use  them  to  fur 
ther  their  own  affairs  very  often. 

When  Ruth  Taylor  made  a  per- 
sonal-appearance tour  not  long" 
ago,  a  great  many  clothing  shops 
and  modistes  attempted  to  use  her 
for  advertising  purposes. 


07 


Good  Nature? 


their  carefully  guarded  popularity  as  a  club  to  force 
quite  distressing.  This  article  recounts  some 
misguided  enthusiasm. 

Louise  Walker 


In  one  city  she  was  asked  to  display  dresses  for  a  ready- 
to-wear  shop.  The  dresses  were  very  cheap  affairs,  and 
Ruth  was  not  happy  when  she  saw  herself  in  one  or  two 
of  them.  She  protested  that  she  was  willing  to  lend  her 
presence  as  a  drawing  card  at  the  showing,  but  she  did 
not  wish  to  model.  She  was  just  off  the  train  and  was 
tired,  she  explained. 

The  dealer  was  indignant  and  threatened  to  wire  ahead 
to  cities  which  she  was  to  visit  later,  and  spread  exceed- 
ingly unpleasant  reports  about  her.  Since  the  purpose  of 
the  tour  was  to  promote  friendship  for  the  little  blonde 
star  and  her  company,  she  hesitated  to  antagonize  this  truc- 
ulent and  high-handed  gentleman.  So,  as  a  compromise, 
she  put  on  one  or  two  of  the  frocks  and  paraded  back  and 
forth.  Then  she  discovered  that  die  had  at  least  thirty 
more  which  he  wished  her  to  show.  And  he  would  know 
the  reason  why,  if  she  didn't  go  through  with  it ! 

Publicity  men  in  charge  of  the  tour  intervened  and 
rescued  her.  But  the 'indignant  dealer  did  all  he  could  to 
mar  the  remainder  of  her  trip,  by  telegraphing  to  the  cities 
she  was  to  visit  and  reporting  that  she  was  high-hat  and 
unobliging. 

Colleen  Moore  and  her  husband,  John  McCormick,  gave 
up  a  projected  .trip  to  Europe,  because  of  this  very  thing. 
And  Colleen  is  one  actress  who  actually  enjoys  meeting 
people  who  admire  her  on  the  screen. 

"But,"  she  confided,  "I  am  not  a  very  good  sailor.  And 
it  is  embarrassing  to  have  the  whole  world  look  on  while 
one  is  seasick !" 

So  they  acquired  a  modest  yacht  and  cruised  along  the 
Atlantic   coast    for   a  few 
weeks. 

Off  the  coast  of  Florida, 
Colleen    suddenly    had  the 
idea  that  she  would  like  to 
fun  over  to  Tampa, 
where  she  had  lived 
as  a  very  young  girl, 
and    spend   a  week- 
end   with    a  school 
friend.    So  she  packed  •'• 
up,  sent  a  wire  to  her  IP 
friend,    and  arrived 
the  next  morning. 

The  reception  which 
greeted  her  impulsive 
and  informal  arrival 
was  pleasing.  Brass 
bands  tootled  in  the 
railway  station.  There 
was  a  ceremony  which 
entailed  her  receiving 
keys  to  the  city  and 
what  not.  Bunting 
streamed  from  every 
telephone  pole,  and 
throngs  packed  the  streets  for  blocks 
near  the  home  of  her  friend. 


A  crowd  stampeded  a 
to  see  Colleen 


Once    Ramon    Novarro   was    rescued   from  a 
crowd,  but  then  faced  five  "parties." 

"Never,"  says  Colleen,  "did  a  reception 
please  me  quite  so  much.  It  was  so  unexpected 
and  spontaneous !" 

The  official  letter  of  greeting  from  the  mayor 
is  framed  and  hangs  on  the  wall  of  her  dress- 
ing room  now.  She  was  a  native  daughter  and 
Tampa  welcomed  her  home. 

But  even  that  ovation  had  its  drawbacks. 
During  the  whole  of  her  stay  the  crowd  milled 
about  her  friend's  home,  trampling  and  utterly 
ruining  the  beautiful  gardens.  They  managed 
to  break  into  the  house  time  after  time,  in  an 
effort  to  glimpse  the  little  star  at  close  quarters. 
People  demanded  to  see  her  "wardrobe,"  and 
Colleen,  with  twinkling  eyes,  produced  the  one 
modest,  extra  dress  she  had  brought  in  the 
The  crowd  was  astounded. 
Her  brief  stay  cost  her 
friend's  home  friends  hundreds  of  dollars  in 
Moore.  'Continued  on  page  108 


overnight  bag. 


68 


69 


A  Confidential  Guide  to  Current  Releases 


WHAT  EVERY  FAN  SHOULD  SEE 

"Singing  Fool,  The"— Warner.  Al 
Jolson  as  singing  waiter,  with  "Sonny 
Boy"  the  theme  song.  Thin  story,  but 
the  star's  voice  is  excellently  exploited. 
There  are  good  speaking  parts  for 
Betty  Bronson  and  Josephine  Dunn. 
David  Lee,  a  child  newcomer,  is  noth- 
ing less  than  a  sensation. 

"Patriot,  The"— Paramount.  A  story 
of  Russia  in  1801.  As  magnificent  and 
inspired  a  production  as  any  that  Emil 
Tannings  has  done.  Shows  masterly 
direction  of  Lubitsch.  A  perfect  cast, 
including  Lewis  Stone,  Florence  Vidor, 
Neil  Hamilton,  Tullio  Carminati.  Harry 
Cording,  and  Vera  Voronina.  Sound 
effects  are  least  commendable  part  of 
otherwise  exceptional  picture. 

"Mother  Knows  Best" — Fox.  A  pic- 
ture that  gives  a  side  of  mother  love 
hitherto  untouched  by  the  movies — the 
loving  domination  of  an  ambitious 
parent.  It  is  entertainment  cut  to  the 
pattern  preferred  by  many.  Beautiful 
performance  by  Madge  Bellamy,  an- 
other by  Louise  Dresser,  and  Barry 
Norton's  fan  mail  will  grow. 

"Cardboard  Lover,  The"— Metro- 
Goldwyn.  Amusing  comedy  concern- 
ing an  American  girl's  quest  of  auto- 
graphs— and  a  tennis  champion.  Fluffy 
yarn  with  farcical  complications,  su- 
perbly produced.  Marion  Davies,  Nils 
Asther,  and  Jetta  Goudal  brilliantly 
successful. 

"Air  Circus,  The" — Fox.  Pleasant, 
somewhat  thrilling  picture  in  which 
aviation  is  treated  from  a  peace-time 
angle,  refreshingly  played  by  David 
Rollins,  Sue  Carol,  Arthur  Lake  and 
Louise  Dresser,  all  of  whom  speak  dia- 
logue. 

"Submarine"— Columbia.  Honest-to- 
goodness  thriller,  showing  horrors  of 
impending  suffocation  in  submarine 
and  at.  same  time  glorifies  deep-sea 
diver.  Players  include  Jack  Holt, 
Dorothy  Revier,  and  Ralph  Graves. 
As  "Snuggles,"  the  wife,  Miss  Revier 
is  clever. 

"Camera  Man,  The" — Metro-Gold- 
wyn.  Buster  Keaton,  as  a  tintype 
man,  lets  ambition  lead  him  into  the 
news  camera  game,  and  gets  mixed  up 
in  a  tong  war  and  things  like  that.  He 
creates  a  big  guffaw  in  taking  a  Lind- 
bergh demonstration  for  his  own. 
Marceline  Day,  Harold  Goodwin,  and 
Sidney  Bracy  are  in  the  cast. 

"Docks  of  New  York,  The"— Para- 
mount. A  water-front  picture,  with 
stokers  and  their  ladies.  Honest  real- 
ism. Doubly  important  to  admirers  of 
George  Bancroft,  Betty  Compson, 
Clyde  Cook,  Mitchell  Lewis,  and  Olga 
Baclanova.  Sudden  marriages,  equally 
sudden  separations,  brawls,  all  devoid 
of  usual  sentimentality. 

"Trail  of  '98,  The"— Metro-Goldwyn. 
Magnificent  glorification  of  the  historic 
gold  rush  to  Alaska,  directed  with  great 
care  and  skill.    .Effective  performances 


given  by  Dolores  del  Rio,  Ralph  Forbes, 
and  Harry  Carey. 

"Sunrise" — Fox.  One  of  the  best  of 
the  season.  Skillfully  directed  tale  of 
a  farmer,  his  wife  and  a  city  vamp. 
George  O'Brien,  Janet  Gaynor,  and 
Margaret  Livingston. 

"Tempest" — United  Artists.  A  story 
of  the  Russian  Revolution.  Moments 
of  great  pictorial  beauty.  John  Barry- 
more  excellent.  Camilla  Horn,  Boris 
De  Fas,  and  Louis  Wolheim. 

"Lights  of  New  York" — Warner.  Re- 
gardless of  merits  or  demerits,  picture 
stands  unique  as  the  first  of  its  kind 
ever  made — entirely  in  spoken  dia- 
logue. Not  much  of  a  story.  A  trust- 
ing country  boy  duped  by  a  couple 
of  bootleggers.  Gladys  Brockwell  ex- 
cellent in  her  part.  Cullen  Landis  is 
effective.  Robert  Eliot  and  Tom  Dugan 
are  fine.  Mary  Carr,  Wheeler  Oak- 
man,  and  Helene  Costello. 

"Four  Sons" — Fox.  A  simple  and  su- 
perbly told  tale  of  the  effects  of  the 
war  on  a  German  mother  and  her  four 
sons — three  of  whom  are  killed,  the 
other  migrating  to  America.  Margaret 
Mann,  James  Hall,  Francis  X.  Bush- 
man, Jr.,  and  June  Collyer. 

"Man  Who  Laughs,  The"— Universal. 
No  one  should  fail  to  be  engrossed  by 
itj  strange  story,  or  fascinated  by  its 
weird  beauty.  Conrad  Veidt's  character- 
ization is  magnificent,  Mary  Philbin 
pleasing,  and  Olga  Baclanova  gives  dis- 
tinctive performance.  Brandon  Hurst, 
Josephine  Crowell,  Sam  de  Grasse,  Stu- 
art Holmes,  Cesare  Gravina,  and  George 
Siegmann. 

"King  of  Kings,  The"— Producers  Dis- 
tributing. Sincere  and  reverent  visual- 
ization of  the  last  three  years  in  the 
life  of  Christ.  H.  B.  Warner  digni- 
fied and  restrained  in  central  role. 
Cast  includes  Jacqueline  Logan,  Joseph 
Schildkraut,  Victor  Varconi,  and  Ru- 
dolph Schildkraut. 

"Laugh,  Clown,  Laugh" — Metro-Gold1 
wyn.  Lon  "Chaney  gives  one  of  his 
finest  portrayals.  Story  inspires  entire 
cast  to  do  their  best.  Loretta  Young 
plays  with  heart-breaking  quality.  Nils 
Asther  is  good,  as  well  as  Bernard 
Siegel. 

"The  Racket" — Paramount.  Thomas 
Meighan  gives  a  fine  performance  in 
a  fine  picture.  Best  of  recent  under- 
world films.  Louis  Wolheim  is  superb 
in  the  role  of  "Scarsi."  Marie  Prevost, 
now  a  blonde,  is  wholly  convincing. 

"White  Shadows  in  the  South  Seas" 

— Metro-Goldwyn.  Filmed  on  authentic 
locations,  and  has  much  to  offer  in 
natural  beauty  and  pictorial  loveliness. 
Purports  to  show  the  corrupting  influ- 
ence of  white  men  among  the  islanders. 
Monte  Blue  is  capable  in  the  lead,  and 
Raquel  Torres  makes  the  native  girl, 
"Fayaway,"  vital,  naive  and  charming. 

"Perfect  Crime,  The"— F.  B.  O.  The 

story  of  a  detective  who,  in  despair  of 
there  ever  being  a  perfect,  unsolvable 
crime,  commits  one.    Don't  miss  this 


picture,  especially  if  Clive  Brook  is  a 
favorite.    The  cast,  as  a  whole,  is  A-l. 

"Lost  in  the  Arctic" — Fox.  A  photo- 
graphic record  of  the  recent  expedition 
to  Herald  Island.  Picture  is  distin- 
guished by  remarkable  photographic 
scenes,  moving  in  rapid  and  interesting 
sequence.  There  is  a  Movietone  pro- 
logue in  which  Vilhjalmur  Steffansson 
describes  the  object  of  the  expedition. 
A  fine  musical  score,  directed  by  Roxy, 
comprises  the  Movietone  accompani- 
ment. 

"Forgotten  Faces" — Paramount.  Un- 
derworld melodrama,  shrewdly  directed, 
interestingly  photographed  and  well 
acted.  First  honors  go  to  Olga  Bacla- 
nova, the  fascinating  Russian  and  con- 
summate screen  artist.  Good  work  is 
also  done  by  Clive  Brook,  Mary  Brian, 
William  Powell,  Fred  Kohler,  and  Jack 
Luden. 

"Hot  News" — Paramount.  This  pic- 
ture crackles  with  spontaneous  com- 
bustion. It  is  a  story  of  the  rivalry 
between  two  news-reel  camera  men, 
Neil  Hamilton  and  Bebe  Daniels— 
really  a  camera  girl.  Story  is  peppy  and 
thoroughly  engaging,  giving  Neil  Ham- 
ilton an  outlet  for  his  comedy  possi- 
bilities. 


FOR  SECOND  CHOICE 

"Whip,  The"— First  National.  Society 
melodrama  laid  in  England,  in  the 
hunting  and  racing  set.  Wrecks, 
forged  marriage  certificate  and  the 
hero's  amnesia  provide  a  diverting,  if 
old,  mixture.  Ralph  Forbes,  Dorothy 
Mackaill,  Anna  Q.  Nilsson,  Lowell 
Sherman,  and  Marc  McDermott. 

"River  Pirate,  The"— Fox.  "Sailor 
Frink,"  played  by  Victor  McLaglen, 
goes  up  and  down  the  river  robbing 
warehouses  and  displaying  his  muscu- 
lar prowess.  "Sandy,"  a  young  recruit, 
is  doing  well  at  the  trade  until  he  re- 
sponds to  the  influence  of  a  good 
woman.  Effective,  particularly  to  those 
who  have  not  seen  too  many  under- 
world films  lately.  Nick  Stuart  and 
Lois  Moran  are  the  young  people. 

"Oh  Kay"— First  National.  Colleeu 
Moore  in  a  cream-puff  story  based  on 
musical  comedy.  "Lady  Kay"  runs 
away  from  an  unwelcome  marriage 
and,  picked  up  by  rum  runners,  is  soon 
in  the  midst  of  complications  on  Long 
Island.  She  gets  another  man,  right 
out  of  the  arms  of  his  snobbish  fiancee. 
Cast  includes  Lawrence  Gray,  Alan 
Hale,  Ford  Sterling,  and  Julanne 
Johnston. 

"Heart  to  Heart" — First  National. 
Thoroughly  pleasant  little  picture,  with 
characterization  more  important  than 
plot.  A  princess  visits  her  old  home  in 
Ohio  and  is  mistaken  for  a  seamstress, 
among  other  amusing  things.  Plenty 
chances  to  laugh.  Mary  Astor,  Lloyd 
Hughes,  Louise  Fazenda,  and  Lucien 
Littlefield. 

Continued  on  page  120 


70 


rp. 


^HE  pity  of  it  is  that  "Four  Devils"  isn't  all  it 
should  be,  considering  that  the  great  Murnau 
directed  it,  the  Murnau  of  "Faust"  and  "Sun- 
rise." It  has  moments,  sequences,  and  even  reels  which 
bear  the  stamp  of  that  which,  for  lack  of  a  better  word, 
we  shall  call  Murnau's  genius ;  but  the  result  is  not  sat- 
isfying and  is  far  from  unforgetable.  This  is  chiefly 
because  the  latter  half  of  the  picture  is  lethargic,  and 
the  role  of  The  Lady,  as  the  siren  is  called,  is  beyond  the 
bounds  of  reason,  or  even  seriousness.  To  see  her  try 
her  blanishments  on  the  muscular  young  acrobat  is 
laughable,  yet  the  intention  is  to  reveal  the  tragedy  of 
a  soul.  It  is  all  quite  distressingly  funny — first,  because 
the  director  has  already  validated  his  claims  to  pre- 
eminence, and  second,  because  Mary  Duncan,  who  plays 
the  role,  is  a  stage  actress  of  finesse  and  distinction, 
whose  screen  presence  is  magnetic  and  individual.  Quite 
evidently  she  placed  herself  in  the  hands  of  the  director, 
with  dire  results.  But  let  us  to  pleasanter  aspects  of 
the  picture.  It  is  a  story  of  circus  life,  concerning  four 
trapeze  artists  who,  beginning  as  children  in  an  humble 
show,  rise  to  stardom  in  the  capitals  of  Europe.  For 
once  the  bustle,  the  glamour  and  the  thrills  of  the  circus 
are  shown  as  never 
before,  and  the 
charming  comrade- 
ship of  the  children 
is  portrayed  with  ex- 
quisite tenderness  as 
they  mature  with 
success.  The  ro- 
mance of  one  pair, 
Barry  Norton  and 
Nancy  Drexel,  de- 
velops quietly,  but 
the  love  of  Charles 
Morton  and  Janet 
Gaynor  is  ill-starred 
from  the  moment 
that  Mary  Duncan 
fastens  her  baleful — • 
yes,  that's  the  word 
— -eyes  upon  the 
dare-devil  athlete. 
She  all  but  leads  him 
to  utter  destruction, 
when  Miss  Gaynor, 
broken-hearted  and 
desperate,  deliber- 
ately falls  from  the 
trapeze.  The  immi- 
nence of  death  brings  Mr.  Morton  to  his  senses,  he 
spurns  The  Lady  for  his  true  love,  and  the  doctor's 
verdict  presages  a  happy  ending. 

It  is  not  the  story  wherein  lies  the  magic  of  "Four 
Devils,"  but  in  the  director's  telling  of  it — all  but  the 
liaison  of  the  athlete  and  the  voluptuary.  But  we  shall 
not  return  to  that.  Going  farther  back,  we  see  the  meet- 
ing of  the  children  when  two  of  them  are  brought  to 
join  the  pair  already  being  trained  by  the  old  clown — 
surely  one  of  the  most  poignantly  moving  sequences  ever 
filmed,  because  of  the  beauty  of  the  children  and  the 
simplicity  of  their  reactions.  "Four  Devils"  should  not 
be  missed  on  account  of  its  individuality.  Its  faults  are 
overshadowed  by  a  quality  that  defies  analysis. 

A  Cynic  Sees  Life. 

Awaited  for  two  years,  Erich  von  Stroheim's  "The 
Wedding  March"  has  at  last  been  released  to  a  world 
that  has  not  forgotten  the  stories  told  about  its  delay  in 
coming  to  light — the  enormous  sums  spent  on  its  pro- 
duction, the  wrangling  between  producer  and  director 


Nancy  Drexel,  Janet  Gaynor,  Barry 
over  Farrell  MacDonald,  as  the 


]\forbert]usk 


and  the  insistence  of  the  latter  in  telling  his  story  in 
forty  reels,  for  release  as  two  pictures  on  consecutive 
days,  not  to  mention  a  performance  of  such  merit  on  the 
part  of  Fay  Wray  that  she  was  bound  to  a  contract  by 
Paramount,  proclaimed  a  rare  artist,  and  given  the  con- 
sideration due  a  duchess.  With  the  exception  of  "Ben- 
Hur,"  never  before  has  interest  in  a  picture  been  sus- 
tained over  so  long  a  period.  It  goes  without  saying  that 
it  would  be  an  extraordinary  film  indeed  to  have  justified 
such  suspense.  "The  Wedding  March"  does  not  quite 
achieve  that  distinction,  though  it  has  all  the  earmarks 

of  Von  Stroheim's 
viewpoint  and  ex- 
ecution, as  well  as 
Von  Stroheim  him- 
self acting  a  lead- 
ing role.  Decidedly 
it  should  not  be 
overlooked  by  the 
fan  in  quest  of  vi- 
tality, impressive 
atmosphere  and 
merciless  exposure 
of  human  weakness 
and  depravity.  The 
story  is  tolerably 
familiar,  for  it  is 
another  love  affair 
of  a  peasant  girl 
and  an  Austrian 
aristocrat ;  but  its 
manner  of  narra- 
tion and  its  detail 
are  wholly  in  Von 
Stroheim's  unique 
style.  The  effect  is 
somewhat  marred 
by  the  slowness  of 
the  picture,  unin- 
teresting photography  and  subtitles  of  the  old  school ; 
but,  after  all,  there  is  that  Von  Stroheim  touch ! 

There  is  also  the  Von  Stroheim  personality,  this  time 
called  Prince  Nicki,  whose  conquests  range  from  parlor 
maids  to  princesses.  He  is  the  son  of  penurious  parents, 
who  maintain  their  palace  as  befits  their  position  at  the 
emperor's  court,  and  who  expect  Nicki  to  restore  their 
fortunes  by  a  rich  marriage.  They  do  not  know,  noi* 
would  they  care,  that  Nicki  and  Mitzi,  a  harpist  in  a  beer 
garden,  spend  their  evenings  in  the  shadow  of  the  old 
apple  tree,  where  the  girl  gives  her  love  to  the  officer 
and — but  you  decide  for  yourself  how  sincere  Nicki  is 
in  accepting  it.  He  consents  to  marry  the  heiress  of  the 
corn-plaster  king,  who  limps  and  is  plain,  and  Mitzi 
learns  of  the  impending  nuptials  through  the  taunts  of 
the  butcher,  whose  advances  she  spurns.  With  him  she 
stands  dejectedly  outside  the  cathedral  during  the  cere- 
mony, and  to  save  Nicki  from  the  butcher's  bullet  she 
offers  to  marry  the  man  she  loathes.  The  marriage 
ceremony  is  magnificent,  and  the  spectacular  appeal  of 
the  picture  is  earlier  emphasized  in  the  Corpus  Christi 


Norton,  and  Charles  Morton  watch 
dying  clown,  in  "Four  Devils." 


71 


»Rgi?ieui7 


The  mantle  of  charity  is  thrown 
over  more  than  a  few  pictures  this 
month,  but  between  its  folds 
seen  some  good  performances. 


are 


celebration,  photographed  in  color.  Surprisingly,  Fay 
Wray  plays  Mitzi  with  passion,  abandon,  and  charm. 
Every  one  else  in  the  picture  is  also  effective,  with  the 
honors  naturally  centering  on  Zasu  Pitts,  a  tragic  figure 
of  infinite  pathos,  as  Cecelia  Schzvcisscr,  the  lame  heiress. 

Lo,  Here  is  a  Man  and  Artist. 

The  strength  and  delicacy  of  Lon  Chaney's  acting  were 
never  more  apparent  than  in  "While  the  City  Sleeps." 
His  fans  should  not  even  think  of  missing  it.  I  can 
imagine  no  casual  moviegoer  witnessing  it  without  re- 
sponding emotionally 
to  Mr.  Chaney's  char- 
acter in  the  picture, 
and  feeling  the  sus- 
pense and  thrills  of 
the  picture  itself, 
while  the  dyed-in- 
the-wool  fan  must 
honor  the  man  whose 
service  on  the  screen 
has  never  caused  him 
to  attempt  "artiness" 
at  their  expense.  He 
communicates  his 
thoughts  and  feel- 
ings in  the  language 
of  pictures,  with  such 
graphic  skill  that  the 
spectator  never  finds 
himself  watching 
Mr.  Chaney  imper- 
sonally, or  with  his 
thoughts  elsewhere. 

In  his  new  film  he 
assumes  no  disguise 
or  distortion,  for  his 
role  is  that  of  a 
plain-clothes  man  at- 
tached to  the  New  York  police  department.  Dan  Cogh- 
lan  is  zealous,  fearless,  and  footsore,  as  human  as  a 
father  and,  beneath  his  gruff  and  forbidding  exterior,  as 
emotional  as  a  lover.  Among  all  the  criminals  Skeeter 
is  his  especial  quarry,  and  his  pursuit  of  the  crook  in- 
volves him  in  the  love  affairs  of  Myrtle,  a  girl  of  the 
tenements,  whom  he  has  seen  grow  up,  and  Marty,  the 
young  fellow  she  loves,  who  is  weakly  drawn  into  the 
operations  of  Skeeter  and  his  cohorts.  Mr.  Chaney's 
usual  sacrifice  is  brought  about  with  heartbreaking  ten- 
derness and  strict  logic.  Marty,  whom  he  has  saved 
from  the  police,  leaves  town  by  Dan's  order,  and  Myrtle, 
grateful  to  the  detective  for  having  saved  her  life,  prom- 
ises to  marry  him.  She  tells  Marty  this  and  sends  him 
away,  but  to  Dan  her  sobbing  behind  a  closed  door  re- 
veals the  truth,  and  he  brings  the  young  lovers  together. 

All  this  is  related  with  the  maximum  of  authority, 
reality,  and  fineness  of  feeling.  Nor  are  the  thrills  of 
physical  conflict  lacking.  The  gunplay,  cruelty  and 
treachery  of  the  underworld  are  here  unglossed  by  senti- 
mentality, or  fictitious  romance.    In  so  sturdy  a  picture 


Fay  Wray  gives  a  surprising  performance  in  "The  Wedding  March," 
with  Erich  von  Stroheim  as  her  director  and  foil. 


good  acting  should  abound,  ai\d  it  does.  Anita  Page, 
Carroll  Nye,  Wheelerman  Oakman,  Mae  Busch,  and 
Polly  Moran  are  in  keeping  with  Mr.  Chaney's  high 
standard,  but  it  is  his  picture,  first,  last,  and  always. 

An  Eclair. 

"Our  Dancing  Daughters"  is  so  clearly  marked  with 
the  stamp  of  enormous  box-office  success,  that  my  ob- 
jections to  it  are  overruled  before  they  are  written.  If  a 
lone  fan  agrees  with  me  I  shall  feel  that  my  criticism  is 
not  in  vain.  Come,  now,  won't  some  one  stand  by  me 
in  the  face  of  all  the  acclaim  the  picture  is  getting? 
There's  no  denying  that  it  is  entertaining,  lively,  richly 
produced  and  at  times  well  acted.  To  this  are  added 
sound  effects,  wild  parties  among  the  younger  set  and 
considerable  jazz  dancing  on  the  part  of  Joan  Crawford, 
who  is  a  spangled  dart  of  pure  light  and,  as  such,  is  a 
joy  to  behold.  All  this  activity  purports  to  be  the  life 
of  what  has  come  to  be  known  as  flaming  youth. 
Whether  it  is,  or  isn't,  doesn't  matter  in  the  least.  It  is 
what  flaming  youth  likes  to  see  itself  doing.  What 
affords  me  cynical  amusement  is  that  the  motives  of  the 
characters  are  really  mid-Victorian,  and  as  an  expose 

of  jazz-mad  youth 
"Our  Dancing 
Daughters"  is  as 
empty  as  an  un- 
filled eclair  and  as 
unsubstantial. 

In  the  first  place, 
we  have  two  mod- 
ern girls,  Diana  and 
Anne,  maneuvering 
for  the  heart,  hand 
and  millions  of  one 
Ben.  Diana  is  care- 
less, though  good 
as  gold,  and  Anne 
is  mercenary  while 
posing  as  a  shy  in- 
genue. Each  brings 
her  respective  wiles 
to  bear,  and  when 
Anne  trumps  Diana 
she  openly  exults, 
while  Diana  mopes, 
languishes,  and  acts 
the  martyred  hero- 
ine generally. 

My  point  is  that 
girls,  if  they  are 
really  modern,  do  not  so  glorify  the  male  by  openly  pur- 
suing him  and  proclaiming  themselves  rivals.  Also,  the 
modern  girl  has  developed  a  philosophy  which  she  brings 
to  bear  in  her  defeats.  She  does  not  pine  in  picturesque 
costumes  and  try  to  look  like  St.  Cecelia,  as  Joan  Craw- 
ford does  when  she  ceases  to  dance  and  be  her  own 
vibrant  self.  We  also  have  another  so-called  modern 
in  Beatrice,  a  flapper  with  a  "past."  How  she  fondles 
and  exhibits  that  "past"!  No  heroine  of  an  old-time 
melodrama  ever  traded  more  upon  what  Beatrice  trem- 
ulously calls  "her  indiscretion."  Evidently  it  cost  her 
nothing  more  than  idle  regrets,  for  her  atonement  is 
spent  at  parties  with  the  people  she  likes  best.  She  even 
marries  the  man  she  wants  and  enjoys  some  nice  scenes 
when  he.  she,  or  both,  harp  on  that  past  of  hers.  Do 
professed  moderns  take  on  like  this?  All  that  Beatrice 
needed  was  a  black  frock,  a  baby  wrapped  in  a  shawl 
and  a  snowstorm  to  remind  me  that  she  really  belonged 
in  "East  Lynne."  All  these  doings  come  to  a  machine- 
made  climax  when  Anne,  who  is  playing  fast  and  loose 
with  the  millionaire,  topples  drunkenly  on  the  landing 


72 


The  Screen  in  Review 


"The  Mating  Call 

and  plunges  downstairs 
to  her  death,  leaving 
Diana  to  marry  Ben  and 
spend  the  rest  of  his 
money.  For  my  part,  I 
should  have  preferred  to 
see  Anne  live,  hard- 
hearted though  she  was. 
This  is  because  she  is 
played  by  Anita  Page, 
the  young  newcomer 
who  is  destined  to  be  an 
important  star,  and  who 
is  the  most  interesting 
member  of  the  cast. 
When  you  see  her  you 
will  understand  why. 
Dorothy  Sebastian  is  Beatrice,  and  the  large 
cast  boasts  such  favorites  as  Kathlyn  Wil- 
liams, Nils  Asther,  Edward  Nugent,  Dor- 


and  dressing  extremely  well  on  her  salary  as  a  "hostess"  in  a  dance 
hall,  where  tickets  cost  a  dime.  Also,  her  morals  are  above  re- 
proach, she  is  easily  insulted  and  her  admirers  include  practically 
the  entire  navy.  This,  if  you  please,  is  Peachy!  She  is  sprightly 
and  amusing,  because  she  is  Miss  Bow.  The  picture  is  likewise, 
mostly  because  of  Miss  Bow.  It  won't  stand  analysis,  but  who 
bothers  to  analyze  when  he  is  diverted?  Enough  to  say  that  when 
the  fleet's  in  the  sailors  make  for  the  dance  hall,  Eddie  Briggs  and 
"Searchlight"  Doyle,  whose  wise-cracking  endears  one  to  the  other, 
leading  the  onslaught.  When  the  lights  go  down,  Eddie  accidentally . 
becomes  Pcachy's  partner  and  they  win  a  cup.  The  rest  of  it  con- 
sists of  Peachy' s  resentment  of  Eddie's  insult  to  her  virtue,  Search- 
light's acceptance  of  a  bribe  to  insult  her  so  that  Eddie  may  step 
in  and  avenge  the  insult,  and  so  on.  Peachy  is  so  touchy  that  one 
would  have  no  patience  with  her  were  she  played  by  an  actress  less 
engaging  than  Miss  Bow.    Finally  there  is  a  brawl  and  Eddie  is 

brought  to  the  bar  of  justice,  charged 
with  inciting  it.  Whereupon  Peachy, 
as  womanhood  ennobled  by  a  great  love, 
swaggers,  bedizened,  into  the  courtroom. 
By  boasting  that  she  is  a — I  lower  my 
eyes — a  bad  girl,  she  somehow  saves 
Eddie  from  jail  and  promises  to  wait 
for  him  till  the  fleet  comes  in  again. 
Knowing  your  Peachy,  you  feel  there 
is  nothing  she  won't  do  for  love  while 
waiting.  James  Hall  will  vastly  please 
his  admirers,  as  Eddie,  and  a  new  co- 
median named  Jack  Oakie  will  at  once 
attract  a  legion  of  his  own. 


"Our  Dancing  Daughters." 


"The  Night  Watch.: 


othy  Gumming,  Huntly  Gordon,  Evelyn 
Hall,  and  Sam  de  Grasse.  In  casting  John 
Mack  Brown  as  Ben,  I  suppose  some  one 
acted  on  the  premise  that  the  richest  youth 
in  any  gathering  is  usually  the  most  unin- 
teresting. 

Jolly,  Though  Lonely. 

"Lonesome"  is  a  picture  that  is  supposed 
to  "get"  you  with  its  simplicity.  Its  strength 
is  supposed  to  lie  in  its  weakness.  The  re- 
sult is  interesting,  though  nothing  to  get 
wrought  up  about.  Two  young  people,  the 
boy  a  machine  operator,  the  girl  a  switch- 
board operator,  without  companionship  in  the  big  city,  are  restlessly  lone- 
some. Separately  they  go  to  Coney  Island,  where  a  flirtation  brings  them 
together.  On  the  scenic  railway  they  become  separated,  and  a  sudden  shower 
complicates  their  desperate  search  for  each  other.  The  boy  is  arrested  for 
annoying  girls  in  his  frantic  efforts  to  find  the  one  he  has  lost,  but  finally 
both  he  and  Mary  discover  each  other  in  their  joint  rooming  house. 

More  interest  and  suspense  are  derived  from  this  chronicle  of  the  lost 
and  found  than  you  might  think,  and  it  is  told  at  a  rapid  pace.  Unexpected 
camera  angles  are  an  important  factor  in  keeping  the  spectator  interested, 
though  poor  photography  does  its  share  to  distract  and  annoy.  At  any  rate, 
the  picture  reveals  Glenn  Tryon  as  a  remarkably  intelligent  and  resourceful 
actor.  This  time  his  bumptiousness  is  happily  subdued  by  a  real  characteri- 
zation that  calls  for  skill,  and  in  two  dialogue  sequences  he  is  sincere  and 
likable.  Barbara  Kent,  as  the  girl,  is  unaffected  and  charming.  "Lonesome" 
is  worth  seeing  on  the  score  of  its  novelty  and  Mr.  Tryon's  redemption. 

Virtue  Triumphant. 

In  her  new  picture,  "The  Fleet's  In,"  Clara  Bow  performs  the  economic 
feat  of  maintaining  a  sizable,  well-furnished  apartment,  supporting  a  mother 


How  Are  the  Mighty  Fallen! 

Fie,  Mr.  Griffith,  and  likewise  tut, 
tut !  Pray  what  excuse  have  you  to 
offer  for  "The  Battle 
of  the  Sexes"?  You 
produced  it  once  be- 
fore, years  ago,  with 
Dorothy  Gish,  Robert 
Harron,  and  Fay 
Tincher  among  others, 
and  the  earlier  version 
seemed  far  more  in- 
teresting and  signifi- 
cant than  the  present 
one,  which  has  noth- 
ing more  to  recom- 
mend it  than  the  pres- 
ence of  Jean  Hersholt, 


"Women  They 
About." 


Talk 


The  Screen  in  Review 


73 


Belle  Bennett,  Phyllis  Haver,  Don  Alvarado,  and  Sally  O'Neil. 
That  is,  until  one  sees  them  play  the  conventional  sex  story  of  the 
middle-aged  husband  and  father,  who  strays  from  the  path  of 
rectitude  until  his  daughter  turns  the  tables  on  him,  and  is  dis- 
covered in  the  same  love  nest  where  daddy  is  the  king  pin.  After 
seeing  the  players  in  action,  one  charges  them  with  overacting  and 
finds  it  difficult  to  forgive  them  in  spite  of  their  restraint  in  other 
pictures.  All  except  Belle  Bennett,  as  the  wife.  Her  restraint  is 
no  less  marked  in  this  than  in  any  other  picture.  She  seems  to 
enjoy  herself  by  running  to  meet  the  sufferings  imposed  upon  her 
by  the  story,  and  being  martyred  by  them.  But,  really,  Miss  Haver, 
who  practices  restraint  when  permitted,  and  is  a  splendid  actress, 
is  called  upon  to  behave  outrageously  as  the  vamp,  evidently  with 
the  notion  that  the  picture  had  to  be  pepped  up  with  suggestive 
scenes.  Altogether,  the  picture  is  clumsy,  undistinguished,  and  its 
sound  effects  are  inept.  This  is  especially  noticeable  in  a  scene 
where  Miss  Haver  is  supposed  to  warble 
"Rose  in  the  Bud."  But  the  soprano  who 
supplies  the  words  does  not  even  glance 
at  Miss-  Haver's  lip  movements. 

Mr.  Meighan's  Strange  Story. 

Thomas  Meighan's  casual  acting  fits 
his  role  in  "The  Mating  Call,"  that  of 
Leslie  Hatton,  who  secretly  marries  Rose 
Henderson,  the  village  belle,  and  goes  to 
war.    On  his  return,  he  finds  the  mar- 
riage annulled  and  Rose  the  wife  of  a 
rich  man.    She  pursues  him  openly — so 
openly,  in  fact,  that  Leslie  literally  throws 
her  out  of  the  house.    Finally  she  com- 
promises him  and  Leslie,  disgusted,  his 
ideal  shattered,  picks  out  Catherine,  an 
immigrant,  and  offers 
her  a  home  if  she  will 
marry    him.  The 
lowly,  timid  girl  pre- 
fers the  role  of  serv- 
ant   until  circum- 
stances bring  them  to- 
gether.   In  addition  to 
all  this  there  are  the 
activities  of  the  Ku 
Klux  Klan,  and  the 
unmasking  of  Rose's 
husband  as  the  Klan's 
local   head,   and  the 
tragic  termination  of 
his  affair  with  a  girl. 


"Tenth  Avenue. 


The  Battle  of  the  Sexes. 


"Lonesome.' 


The  picture  has  an  in- 
teresting undercurrent 
which  places  it  above 
the  ordinary,  though  it 
is  not  exactly  a  satisfy- 
ing film.  Some  of  the 
characters  are  not  un- 
derstandable, and  their 
actions  are  startlitigly 
abrupt,  probably  be- 
cause in  transferring 
the  novel  to  the  screen 
the  psychology,  and 
therefore  the  motiva- 
tion, of  the  characters 
proved  too  complicated. 
However,  it  is  far  from 
routine  and  the  acting  is  first  class.  Eve- 
lyn Brent,  as  Rose,  is  flamboyantly  wicked, 
yet  irresistibly  fascinating,  and  Renee 
Adoree,  as  Catherine,  is  as  elusive  as  a 
woodland  fay. 

A  Pat  for  Billy  Haines. 

William  Haines  is  at  his  best  in  "Excess 
Baggage,"  because  in  addition  to  a  good 


'The  Fleet's  In." 


picture,  he  has  a  role  which  enables  him  to 
be  serious  and  to  show  what  a  convincing 
actor  he  is,  but  not  at  the  expense  of  his 
tomfoolery.  When  administered  homeo- 
pathically,  this  is  most  engaging.  So  it  is 
in  the  new  picture,  a  story  of  vaudeville, 
with  Mr.  Haines  as  a  small-time  juggler 
who  marries  a  dancer  and  loses  her  when 
she  goes  into  the  movies.  Disheartened,  he  decides  that  the  best  way  out 
of  it  is  to  fall  when  he  does  his  "slide  for  life,"  the  climax  of  his  act.  But 
as  he  slides,  he  hears  the  voice  of  his  wife  who  stands  with  outstretched 
arms  in  her  old  place  on  the  stage,  and  Eddie  Kane  slides  in  triumph  to  a 
joyous  reconciliation.  This  brings  about  a  thrilling  finish  and  atones  for 
dull  moments  earlier  in  the  picture. 

Besides  the  excellent  characterization  of  Mr.  Haines,  there  are  capital 
performances  by  Josephine  Dunn,  as  his  wife,  Ricardo  Cortez,  and  Neely 
Edwards. 

The  Heart  of  a  Hobo. 

As  a  welcome  change  from  the  comic  louts  Wallace  Beery  has  played 
for  several  years,  he  gives  us  something  of  more  substance  and  significance 
as  Oklahoma  Red,  in  "Beggars  of  Life,"  a  hobo  picture.  Sordid,  grim 
and  unpleasant,  it  is  nevertheless  interesting  and  is  certainly  a  departure 
from  the  usual  movie.  Its  salient  features  are  excellent  acting  on  the  part 
of  Mr.  Beery,  Richard  Arlen,  and  Louise  Brooks,  distinguished  direction 
and  photography  and  undeniable  sincerity  of  intention.    One  feels  that 

Continued  on  page  96 


74 


Norma — As  She  I 


s 


Strictly  self-made,  Miss  Shearer  is  shown  in  this  study  to  be  now  serenely  and  gracefully  enjoying 

the  security  of  stardom,  for  which  she  worked  so  hard. 


By  Margaret  Reid 


T,  O  Norma  Shearer  alone  goes  the  credit  for  Norma 
Shearer.  She  herself  has  wrought  the  person 
and  personality  which  make  her  pictures  popular. 
Consciously  and  with  unflagging  endeavor,  she  has 
evolved  the  Norma  Shearer  of  to-day  from  the  shy, 
uncertain  and  moody  youngster  who  left  Montreal  in 
pursuit  of  a  nebulous  rainbow.  Her  career  has  seemed 
meteoric.  Actually,  it  was  slow  in  formation,  painful  in 
progress.  As,  perhaps,  are  all  brilliant  careers  when 
examined  minutely. 

Now  one  of  the  first  rank  stars,  her  position  has  set- 
tled, after  a  flashing  rise  from  obscurity,  into  an  even 
security.  Her  reputation  firmly  established  by  a  series 
of  well-constructed,  workmanlike  pictures,  she  is  an 
important  element  in  the  business.  A  few  of  her  per- 
formances, chiefly  before  she  became  a  recognized  star, 
have  been  especially  notable.  The  full  range  of  her 
abilities  has  not  yet  been  tested  and,  unfortunately,  may 
never  be  while  her  vehicles  are  chosen  as  only  the  con- 
ventional shroud  draped  around  the  star.  It  is,  how- 
ever, encouraging  that  she  is  not  being  limited  to  type, 
but  is  allowed  to  exercise  an  unusual  versatility. 

The  background  on  which  her  talent  acquired  form 
was  in  the  turbulent  era  following  her  venture  from 
home.  From  a  sheltered  childhood  in  Montreal,  she 
went  to  New  York  as  the  first  step  toward  fame.  Here 
followed  lean  years  of  extra  work  in  pictures,  posing 
for  advertisements,  with  an  occasional  role  in  some 
quickie  thriller  that  left  her  bruised  and  sore.  Even 
when  Louis  B.  Mayer  saw  her  and  imported  her  to  his 
California  studio,  it  indicated  no  immediate 
rift  in  the  general  gloom.  In  Hollywood  she 
was  given  extra  work  and  infrequent  bits. 
It  was  predicted  that  she  did  not  photograph 
well  enough  to  progress  beyond  this.  That 
her  eyes  lacked  the  accepted  enormous  baby 
stares,  was  pointed  out  as  precluding  her 
from  beauty. 

At  this  period  Norma  was  prey  to  an  in- 
feriority complex.    With  the  acute  dolor  of 
youth  in  difficulties,  she  felt  herself  to  be  the 
least  of  mortals.    There  was  no  place  for 
her  in  the  world.  Nowhere, 
and  to  no  one,  was  she  of 
value.    Desperately  she  tried 
to  mask  her  inadequate  self 
in  semblances  of  scintillating 
personality.      Nervous,  un- 
happy, without  hope,  she  was 
convinced  that  her  doom  was 
total  obscurity. 

It  was  inevitable  that  some 
discriminating  person  should 
finally  realize  her  capabili- 
ties.   She  was  given  a  role. 
With   her   success   in  this, 
Norma    Shearer    began    to        Photo  by  Louise 
emerge  from        Norma    Shearer   has  emerged 
the  chrysalis  in        from  her  chrysalis  of  shyness 
which  she  had  and  moodiness. 


concealed  herself.  To-day  devoid  of  pretense  or  pre- 
tentions, poised,  confident,  and  keenly  aware,  she  is  one 
of  the  dominant  personalities  of  Hollywood. 

To  the  interviewer's  delight,  Norma  can  discourse 
intelligently  on  any  subject  one  cares  to  broach.  Her 
opinions  are  definite,  but  only  formed  after  careful 
thought.  She  is  never  rash  in  her  statements,  never 
flippant  in  her  decisions.  Shrewd  common  sense  is  her 
motivating  impulse,  a  sane,  normal  mind  that  is  infinitely 
refreshing  in  this  community  of  extremes. 

The  tranquillity  suggested  in  her  clear,  lovely  brow  is 
now  a  part  of  her  nature.  It  sometimes  disturbs  her  a 
little  that  she  so  completely  lacks  temperament.  She  is 
a  little  ashamed  of  the  fact  that  she  can  spend  the  morn- 
ing in  a  trying,  emotional  scene  and  then  drop  into  a 
peaceful  nap  in  her  dressing  room.  Nerves  are  foreign 
to  her.  It  is  the  gift  for  relaxation  that  sustains  her 
vitality  throughout  the  duration  of  a  picture. 

And  her  vitality  is  magnificent.  She  is  tremendously 
alive,  essentially  vital — vivacious  without  being  effer- 
vescent. She  is  a  crack  tennis  player,  an  expert  horse- 
woman, and  her  swimming  prowess  is  already  common 
knowledge.  Norma,  driving  from  a  high  springboard, 
cleaving  the  water  as  neatly  as  a  dart,  is  one  of  the 
reasons  for  swimming-pool  parties. 

Her  beauty  is  a  trifle  breath  taking.  Supplemented  by 
very  little  make-up,  her  fair  skin,  high  color  and  clearly 
etched  features  make  her  appearance  dazzling.  She 
dresses  extremely  well,  shopping  principally  in  New 
York.  One  of  those  maddening  people  who  never  seem 
to  rumple  or  perspire,  she  always  looks, 
even  at  the  end  of  a  hard  day,  or  a  fast  set 
of  tennis,  as  if  she  had  just  stepped  from 
her  dressing  room,  freshly  bathed,  powdered 
and  combed. 

Instinctive  good  taste  is  reflected  in  the 
things  with  which  she  surrounds  herself. 
Her  dressing-room  suite  she  recently  had 
done  over  in  the  modern  mode.  Pale  green, 
silver  and  lavender  dominate — essentially 
Shearer's  colors.  Her  long  Rolls-Royce  car 
is  pale  tan.  Her  jewels  are  gorgeous,  but 
never  gaudy. 

The  wife  of  Irving  Thal- 
berg,  her  social  position  de- 
mands dignity  and  tact.  Both 
these  qualities  Norma  has, 
together  with  an  impulsive 
friendliness.  An  abundance 
of  charm  draws  people  to 
her,  but  intimacy  is  difficult. 
This  is  explained  by  the  nat- 
ural shyness  she  has  never 
quite  outgrown.  Back  of  the 
barrier  it  raises,  is  a  warm 
kindliness  for  people  in  gen- 
eral, a  tolerant  understand- 
ing of  their  foibles,  a  refusal 
to  pass  judgment  on  any  one* 
Continued  on  page  114 


83 


Life  Rides  in  a  Bus 

Humorous  and  pathetic  glimpses  of  Hollywood  which 
are  not  included  in  a  sight-seeing  tour  of  stars'  homes. 

Dunham    Thorp  Illustration  by  Lui  Trugo 


THERE  are  three  redheads  roaming  the  streets  of 
Hollywood,  and  the  years  have  brought  them 
wisdom  in  the  ways  of  the  movie  world.  They 
it  is  who  first  greet  the  aspiring  youngster,  who  bid  a 
final  farewell  to  his  broken  elder,  and  who  know  every 
stage  in  the  transition  between  these  two  extremes. 

I  say  "broken  elder"  with  intention,  for  if  those  first 
aspirations  are  realized,  and  our  youngster  rises  upward, 
there  comes  an  inevitable  parting  of  the  ways. 

And  there  should  be  a  parting  here.  I  should  use 
plainer  language. 

There  are,  then,  three  red-roofed  busses  running  from 
Universal  City,  through  Hollywood,  to  Culver  City.  All 
who  have  business  with  Metro-Goldwyn,  DeMille,  Roach, 
or  Universal,  and  cannot  yet  afford  a  car  of  their  own, 
must  ride  these  "redheads."  Any  one  riding  these  busses 
regularly,  and  with  open  eyes,  gets  a  good  view  of  a 
certain  stratum  of  the  movie  colony — a  stratum  that  is 
not  interviewed,  nor  "symposiumed,"  nor  "general  ar- 
ticled." For  none  in  it  have  yet  arrived.  Very  few,  in 
fact,  ever  will.  'But  they  also  serve ;  they  are  as  surely 
a  part  of  any  true  and  complete  picture  as  are  the 
Wampa's  baby  grandmothers,  or  the  latest  dog-star's 
puppies ! 

"Lights!  Camera!" 

No,  that  mascaraed,  lip-sticked  gentleman,  the  one  in 
evening  clothes,  sitting  next  to  the  cowboy,  is  not  re- 
turning at  this  morning  hour  from  one  of  Hollywood's 
fabled  parties.  It  is  simply  that  he  must  report  on  the 
set,  and  in  make-up,  at  nine  thirty,  if  he  is  to  earn  his 
seven  fifty  or  ten  dollars.  If  he  dresses  and  applies  his 
make-up  at  home  he  can  grab  a  few  minutes'  extra  sleep. 
And  as  he  may  be  working  until  midnight,  you  surely 
cannot  blame  him. 

You  will  notice  that  perhaps  half  of  those  in  the  bus 
have  followed  his  example.  In  fact,  it  is  a  general 
practice  among  all  extras  to  put  on  their  make-up  before 
leaving  home,  and  to  travel  in  the.  clothes  they  are  to 
act  in.  Notice,  too,  how  careful  they  are  lest  they  be- 
come soiled.  Though  the  sun  is  quite  hot,  our  friend 
wears  an  overcoat,  and  has  a  silk  scarf  wrapped  around, 
even  tucked  into,  his  collar  and  tie.    Why  are  his  collar 


and  shirt  front  pink  instead  of  white  ?  The  camera 
prefers  it  so. 

Evening  clothes  of  both  sexes — sports  outfits,  cowboy 
regalias,  beards,  and  bandannas — these,  and  much  more, 
are  commonplace  during  almost  any  run  of  these  busses. 
That  hobo  and  that  exquisite  are  roommates,  and  to- 
morrow both  may  be  Cossacks  ! 

But  after  a  few  trips  one  becomes  used  to  such  pas- 
sengers, and  does  not  give  them  a  second  glance — just 
as  one  becomes  used  to  skyscrapers  in  New  York,  or 
palms  in  the  tropics.  It  is  then  that  one  begins  to  look 
for  the  little  bits  of  comedy  and  pathos. 

Stray  scraps  of  conversation: 

"I  got  a  letter  of  introduction,  but  he  always  seems 
to  be  away  on  location.    I  can't  understand  it." 

"I  shoulda  got  that  part!  If  she  looks  Spanish.  I'm 
a  swordfish !  She's  much  too  big.  She  nearly  busted 
the  seams  of  the  costume  when  they  gave  it  to  her!" 

"I  got  the  inside  dope — naw,  it's  not  that  at  all.  The 

real  reason  they're  closing  down  is   I  got  it  straight, 

I  tell  yuh !    Sammy's  a  pal  o'  mine !" 

"But  how  could  I  help  it  ?  Does  he  think  I'm  a  mind 
reader?  He  should  take  each  one  aside,  separately,  and 
explain  just  what  he  wants." 

"It's  them  foreigners.  They  all  stick  together.  A 
real  American  ain't  got  a  chance !" 

And  so  on,  and  on — a  chorus  mighty  as  the  thund'rous 
surf  that  pounds  eternally  the  shores  of  all  the  world. 
Woof! 

After  the  storm — the  calm. 

A  mother  and  her  three-year  daughter  sit  opposite  a 
man  who  is  just  becoming  elderly.  The  baby,  a  would- 
be  star,  is  precocious — and  spoiled ;  the  mother,  pushing ; 
the  man,  meek  and  apologetic.  But  they  will  not  be 
without  fame,  even  if  they  must  manufacture  it  for 
themselves.  The  mother  shows  her  baby's  stills ;  the 
man  admires,  and  then  proffers  his.  For  a  little  praise 
given  the  other,  each  can  bask  in  the  praise  returned — 
in  the  glory  of  "recognition."  True,  the  man  must 
praise  three  of  the  baby's  pictures  to  get  a  return  on  one 
of  his,  but  the  years  have  taught  him  to  be  thankful  for 
Continued  on  page  112 


84 


These  photographs  give  some  idea  of  the  con 
Hersholt's  genius  in  portraying  a  wide  variety 


The  drunken,  crude,  happy-go-lucky, 
good-for-nothing  Ed  Munn,  in  "Stella 
Dallas,"  above,  was  one  of  his  finest 
pieces  of  work. 


Jean  Hersholt,  left,  gave  a  finished  por- 
trayal of   Gustave  Schmidt,  a  cruel,  war 
profiteer  in  "The  Greater  Glory." 


Infinite  Variety 


summate  art  of  make-up,  as  well  as  Jean 
of  types  and  characters,  in  some  notable  films. 


85 


As  a  calculating,  shrewd  card  sharper, 
above,  in  "Alias  the  Deacon." 


As  a  dapper,  booby,  corset  salesman,  As  0le  0lson>  in  "Flames,"  above,  Jean 
above,  in  "The  Wrong  Mr.  Wright."        Hersholt  was  a  stupid,  illiterate  Swede. 


With  Constance  Talmadge,  in  "The  Gold- 
fish," he  appeared,  above,  as  a  German 
shoe  salesman. 


In  "the  Girl  on  the  Barge,"  Hersholt's 
part  was  that  of  Skipper  MacCadden, 
a  cruel,  browbeating,  riverman,  above, 
a  brute  and  a  religious  fanatic. 


One  of  Hersholt's  finest  characterizations  was 
that  of  Doctor  Juttner,  above,  in  "The  Student 
Prince." 

Hersholt  gives  a  perfect  performance  as  the 
mild,   benign   music   master,   right,   in  "Jazz 
Mad." 


86 


Photo  by  Spurr 

Huntly  Gordon,  despite  the  business  man 
he  usually  plays  on  the  screen,  failed  to 
put  over  his  venture. 


d 


ome  ^.an  an 


A  few  stars  are  highly  successful  in  their 
terrible  luck.      What  do  you  think  about 


B?  A 


SOME  do  and  some  don't.    I  mean 
make    a    success    in    the  business 
world,    through    investments  they 
have  made  with  their  picture  earnings. 

Actors  have  the  reputation  for  being 
notoriously  bad  business  men.  It  has 
become  a  legend  that  art  and  commerce 
are  not  compatible.  But,  on  the  other 
hand,  there  is  Ruth  Roland,  who  has  the 
Midaslike  gift  of  turning  everything  she 
touches  into  gold— via  real  estate. 

In  considering  the  players  who  have 
made  money  in  business  investments,  and 
those  who  have  not,  it  must  be  remem- 
bered that  temperament,  previous  experi- 
ence and  adaptability  enter  into  both  sides.  They  are  the  important 
factors,  and  sex  has  little  or  nothing  to  do  with  it.  In  fact,  in  direct 
contrast  to  other  professions,,  the  most  successful  business  people  of 
the  movies  are  women.  Huntly  Gordon,  who  is  the  screen's  perennial 
business-man  type,  has  lost  many  thousands  in  his  investments  outside 
of  his  own  profession.    So  has  Edmund  Lowe. 

Out  of  these  experiences  in  the  commercial  world,  .the  picture  people 
have  evolved  strangely  divergent  ideas.    Those  who  have  increased 


nn 


their  earnings  are  loud  in  their  boasts  that  actors 
are  good  business  men.  Those  who  have  failed 
are  just  as  noisy  in  the  negative. 

Just  for  the  fun  of  it,  let's  review  some  of 
these  business  experiences  of  your  favorites,  and 
see  what  conclusions  we  can  draw  for  ourselves. 

In  speaking  of  those  who  have  made  their 
money  talk,  Ruth  Roland  comes  immediately  to 
mind.  It  is  pretty  safe  to  say  that  Ruth,  in  her 
own  name,  is  one  of  the  most  financially  inde- 
pendent women  of  the  screen.  She  cannily  in- 
vested her  savings  in  Los  Angeles  real  estate — 
when  it  was  on  the  verge  of  its  greatest  boom. 
Now  she  owns  Roland  Square,  in  the  Wilshire 
district,  which  is  one  of  the  most  valuable  pieces 
of  property  in  that  exclusive  neighborhood.  All 
through  her  experiments,  Ruth  has  had  the  advice 
of  her  ex-husband,  Lionel  Kent,  for  even  a  divorce 
did  not  come  between  their  business  partnership. 
She  has  been  so  successful  in  her  own  ventures, 
she  naturally  feels  that  art  and  business  not  only 
mix,  but  that  one  should  be  the  logical  outcome 
of  the  other.  "Pooh,"  say  Ruth,  "for  the  idea 
that  actors  can't  hold  their  own  in  a  swivel  chair."  - 
On  the  other  hand  there  is  Huntly  Gordon. 
Consider  his  case. 

Huntly  has  played  business 
men  so  often  on  the  screen, 
that  he  rather  fancied  himself 
in  the  role,  and  stepped  out  in 
private  life  to  see  what  could 
be  done  about  making  himself 
a  millionaire.  When  a  man 
makes  up  his  mind  to  invest, 
you  just  know  that  it  isn't 


Priscilla    Bonner    suffered  an 
awful  flop  with  her  dressmak- 
ing shop. 


Jobyna  Ralston 
she    has  failed 


admits 
her 


in 


investments 


Photo  by  Kerschner 


87 


ome 


business  ventures,  and  others  have  had 
it,  after  reading  these  conflicting  cases? 


Silvester 


going  to  be  long  before  somebody  will  get  him 
into  something.  One  day  Hollywood  woke  up 
to  learn  of  the  H.  A.  Gordon  Silk  Hosiery 
Mills. 

At  first  glance  it  looked  like  a  pretty  good 
idea — even  to  Huntly,  who  had  sunk  twenty 
thousand  dollars  in  it.  It  stood  to  reason  that 
women  were  going  to  wear  silk  hosiery,  and  it 
wasn't  unreasonable  to  presume  that  they  might 
be  induced  to  wear  H.  A.  Gordon's  silk  hosiery. 
The  logic  was  all  right,  and  the  big  boys  in 
Wall  Street  might  have  been  in  great  danger  of 
a  silk-hosiery  monopoly,  if  the  business  hadn't 
suddenly  taken  ill  and  died  on  its  feet.  Even 
the  excellent  logic  back  of  the  investment 
couldn't  keep  it  alive,  and  so  crape  was  hung 
on  the  door  and  the  hosiery  mills  were  buried, 
together  with  Huntly's  twenty  thousand.  We 
live  to  learn,  and  while  the  hosiery  business 
was  a  rather  expensive  little  lesson  to  Mr. 
Gordon,  he  at  least  salvaged  some  advice  from 
the  wreckage. 

'Actors  aren't  particularly  successful  busi- 
ness men,"  he  expresses  it.  In  the  first  place, 
they  aren't  in  close  contact  with  the  commercial 
world,  and  don't  know  just  what  is  and  what 
is  not  a  good  investment.  In  the  second  place, 
they  do  not  have  the  time  to  devote  to  com- 
mercial business.  I  don't  think  it  is  possible 
to  make  a  success  in  two  fields  at  once." 

That  makes  Kathleen  Clifford  laugh.  And 
how!  Kathleen  put  a  little  money  in  a  small 
flower  shop  in  the  Ambassador  Hotel,  and  it 


Photo  by  Witzel 

Ruth  Roland  is  always  successful  in  her  business  enterprises,  and 
is  perhaps  the  most  financially  independent  actress  in  Hollywood. 


was  so  successful  that  she  now  has  branches  all  over  tion  Lilyan  Tashman  will  probably  never  understand, 
Los  Angeles  and  Pasadena.    Kathleen  doesn't  believe    because  it  was  a  beauty  parlor  and  barber  shop  situated 


you  need  a  lot  of  time  and  tonic  for  your  investments 
If  they  are  sound,  they  take  care  of  themselves.  All 
the  time  she  devotes  to  the  flower  shops  is  to  bank  her 
profits  every  week. 

Viola  Dana  has  had  almost  the 
same   experience   with  her  sister's 
beauty  parlor.  Viola  backed 
Edna  Shaw  in  the  Gains- 
borough Beauty  Shop,  and 
it  was  like  casting  bread 
upon  the  water.  It 
came  back  in  loaves. 
The   business  is 
flourishing,  and  the 
profits   are  grand. 
Which  is  a  condi- 

Lilyan  Tashman  and 
Edmund  Lowe 
found  that  invest- 
ments made  by  each 
had  petered  out  mis- 
erably. 


right  in  the  heart  of  Hollywood  that  cost  Lilyan  con- 
siderable money  when  it  went  broke. 

Lilyan,  with  a  few  other  players,  drew  out  most  of 
her  savings,  and  invested  in  the  shop, 
expecting  it  to  succeed  like  Viola's. 
But  the  little  band  of  actors  didn't 
have  time  to  watch  over  the 
business,  and  soon  the  doors 
were  closed.   Lilyan  felt  so 
badly  about  it  that  she  now 
makes  a  definite 
statement  like  this : 
"No  actor  is 
capable  of  running 
a  business.  Artistic 
and  business  tem- 
peraments are  too 
widely  divergent. 
Every  successful 
artist,    it    will  be 
found  upon  investi- 
Continued  on  page  110 


88 


Joan  Crawford,  at 
top,  and  Johnny 
Mack  Brown  show 
how  the  boy  friend 
proposed  years  ago, 
and,  above,  a  mod- 
ern courtship  is 
pictured  while  in 
action. 


Tkis  Changing 
World 


Joan  Crawford  and 
Johnny  Mack  Brown 
demonstrate  the 
"progress"  made  dur- 
ing the  last  century, 
and  give  cause  for 
the  futurists  to  im- 
agine the  mode  of 
2000! 


Above  is  a  modern 
afternoon  "tea" 
— well  shaken — in 
contrast  to  the  se- 
date procedure  ob- 
served in  the  pic- 
ture at  left. 


89 


c 


anting 


On 


The  widows  of  stars  you  once  loved 
and  admired  have  not  had  an  easy  road 
to  travel,  and  they  deserve  not  only 
sympathy,    but    genuine  admiration. 

B$  William  H.  McKegg 

IF  your  recollection  of  cinema  person- 
alities extends  back  about  a  dozen 
years,  you  possibly  remember  Harold 
Lockwood.  He  was  the  star  of  his  time. 
So  famous  and  popular  was  he  that  he  is 
frequently  spoken  of  even  to-day.  And 
it  is  significant  that  the  world  should  re- 
call one  who  has  long  since  disappeared 
from  its  gaze.  Yet,  oddly  enough,  it  is 
invariably  only  the  fans  who  remember 
him.  High  officials  and  the  men  of  business 
in  the  profession  cease  to  think  of  those 
who  no  longer  bring  dollars  to  their  coffers. 

Mrs.    Harold    Lockwood    was  forgotten 
within  a  few  years  after  the  passing  of  her 
husband,  the  most  popular  star  of  his  day. 
Harold,  Jr.,  is  much  like  his  father. 


Photo  by  Duncan 

Not  only  was  Marion  Mack's  happiness  swept  away 
by  the  death  of  Charles  Emmett  Mack,  but  she 
was   faced   with  the   problem   of   caring   for  her 
little  daughter  and  son. 

In  1918,  Harold  Lockwood,  then  at  the  height  of 
his  fame,  died  of  pneumonia.  He  left  a  wife  and 
young  son.  I  doubt  if  more  than-  a  handful  of 
picture  people  know  that  Mrs.  Lockwood  and  her 
son  are  now  earning  a  livelihood  in  films. 

On  visiting  them  at  their  home,  I  learned  a  few 
things  that  may  interest  those  fans  who  admired 
Harold  Lockwood,  unquestionably  the  greatest  star 
of  his  day. 

After  his  death,  his  widow  sought  work  in  pic- 
tures. 

"Twelve  years  ago,"  Mrs.  Lockwood  said,  "stars 
did  not  receive  the  big  salaries  they  collect  to-day. 
It  was  necessary  for  me  to  earn  something,  too. 
At  that  time,  however,  things  were  not  so  good 
in  Hollywood. 

"In  1920  I  went  to  Australia  with  some  friends, 
in  a  touring  company.  I  went  on  this  tour  because 
I  had  heard  that  pictures  were  coming  to  the  fore 
in  Australia.  I  planned  to  leave  the  stage  com- 
pany, and  attempt  to  make  a  connection  in  pictures 
there.  Things  were  bad  in  the  picture  profession 
in  Hollywood  when  I  left,  but  in  Australia  they 
proved  to  be  much  worse.  Practically  no  pictures 
were  being  made  at  all." 

After  a  couple  of  years,  Mrs.  Lockwood  re- 


90 


Carrying  On 


Mrs.  Wallace  Reid  would  probably  have  been  forgotten  had  she  not  made  pictures  after  Wally's  untimely  death. 
Her  professional  work  is  not  for  self-aggrandizement,  as  her  heart  is  in  her  home  and  the  future  of  Billy  and  Betty. 


turned  to  California.  Everything  was  altered.  No  one 
knew  her. 

"Harold  Lockwood  ?"  asked  one  director,  when  the 
late  star's  widow  mentioned  who  she  was.   "Who  is  he?" 

"Jimmie  Cruze  was  one  of  those  who  had  not  for- 
gotten me.  He  gave  me  a  bit  in  'Merton  of  the  Movies,' 
but  I  had  worried  so  much  that  I  did  not  look  very  well 
on  the  screen,  and  so  my  bit  brought  me  no  other  offers. 
Then,  much  later,  Richard  A.  Rowland,  who  used  to  be 
the  head  of  the  old  Metro  Company,  where  my  husband 
made  his  last  pictures,  came  across  me.  He  was  very 
kind,  and  saw  to  it  that  I  obtained  work  with  First 
National." 

Harold  Lockwood,  Jr.,  will  soon  appear  in  pictures. 
He  is  now  about  twenty,  and  with  the  vague  recollection 
I  have  of  his  father,  I  should  say  he  is  very  much  like 
him.  He  is  very  well  thought  of  at  the  studios.  At 
present  he  is  with  First  National,  and  it  is  not  unlikely 
he  will  one  day  be  as  popular  as  his  famous  father. 

Only  last  year  the  picture  industry  experienced  mo- 
mentary sorrow  in  the  sudden  death  of  Charles  Emmett 
Mack,  who  was  killed  in  a  motor  accident.  Yet  that 
terrible  catastrophe  was  soon  forgotten — even  by  those 
who  knew  him  well.  There  were  very  few  who  thought 
of  his  young  wife,  left  alone  with  her  twelve-year-old 
adopted  daughter,  and  her  three-year-old  son. 

Just  now,  Marion  Mack  is  feeling  the  pulse  of  a  new 
life,  though  no  one  can  appreciate  the  bitter  suffering 
she  has  been  through. 

"I  was  new  to  Hollywood,"  Marion  remarked.  I 
knew  very  few  picture  people.  Yet,  though  I  only  knew 
May  McAvoy  on  the  screen,  she  came  to  me  and  was 


perfectly  wonderful.  I  could  not  say  anything  at  the 
time.  I  just  let  her  take  me  here  and  there,  and  do 
things  for  me." 

Charlie  Mack  and  his  young  wife  had  the  thrill  of 
their  young  lives  when  they  finally  possessed  their  own 
home.  It  was  a  nice,  attractive  place  out  in  Westwood, 
several  miles  outside  Hollywood. 

"We  were  just  like  silly  kids,"  Marion  related.  "When 
Charlie  came  home  at  night,  we  would  draw  the  curtains, 
turn  on  all  the  lights  and  sit  down  and  look  at  the  rooms. 
We  didn't  have  very  much  furniture,  but  it  was  all  very 
dreamlike." 

Most  of  Charlie  Mack's  money  had  been  invested  in 
his  home.  What  little  they  had  saved  went  for  funeral 
expenses. 

Marion,  alone,  had  weeks  of  nightmare  in  worrying' 
about  bills,  about  the  home  she  might  lose,  and  about 
the  children.  No  one  bothered  about  her.  It  hardly 
seemed  that  she  knew  any  one.  She  nearly  went  blind 
from  excessive  crying. 

"It  was  then  that  May  McAvoy  came  forward,"  she 
said.  "Warner  Brothers  had  also  been  most  kind  to  me. 
They  later  gave  me  work.  Of  course  I  started  only  in 
bits,  but  I  love  it  now.  Dolores  Costello  and  her  sister, 
Helene,  who  only  knew  me  slightly,  came  over  and  made 
me  feel  at  home.  Paul  Panzer  also  made  himself  known 
to  me,  and  made  me  much  happier." 

Percy  Westmore,  a  young  make-up  artist  at  Metro- 
Goldwyn,  was  a  complete  stranger  to  Mrs.  Mack,  but  he 
spent  two  hours  on  her  make-up  one  day,  because  he 
thought  she  was  to  be  given  a  test  for  a  role  in  "The 
Enemy."  [Continued  on  page  107] 


Live  through  the  drama... the 
thrills.. .the  hopes.. .the  loves  of 
the  Epic  Klondike  Gold  Rush! 


with 

SOUND 

or 

SILENT 

If  your  theatre  is 
equipped  for 
Sound  Pictures, 
you  can  hear  "The 
Trail  of  '98"  in 
Metro  Movietone. 


Fighting  the  perilous  White  Horse  Rapids 
is  the  biggest  thrill  you  ever  had. 


The  desperate  struggle  to  cross  Chilkoot  Pass  is  shown  vividly 
together  with  the  gigantic  snow  slide  engulfing  hundreds'. 


TWO  years  in  production 
15,000  people  in  the  cast! 
IT  comes  direct  to  you 
FROM  months  on  Broadway 
AT  $2  admission ! 
METRO- Goldwyn-Mayer  gave  you 
"THE  Big  Parade"  and  "Ben-Hur" 
NOW  comes  the  mightiest  of  all ! 
THE  greatest  romance  of  all  time — 
GET  ready  for  your  biggest  thrill  1 


with  beautiful 

DOLORES 
DEL  RIO 


The  burning  of  Dawson  City,  the 
screen's  greatest  spectacle  to  date! 


THE  TRAIL  OF' 

Clarence  Brown's  OSm^l^  Robert  W.  Service 

Adaptation  by  Benjamin  Glazcr.  Continuity  by  Benjamin  Glazer  and 
Waldemar  Young.  Titles  by  Joe  Farnham.  Directed  by  Clarence  Brown. 


oA  METRO-GOLDWYN- 


"More  Stars  Than  There  Are  In  Heaven" 


DOLORES 
DEL  RIO 
RALPH 
FORBES  and 

KARL 
DANE 

Picture 


Beginning  in  the  December  Issue  of 

LOVE  STORY  MAGAZINE 
Tne  Fair-v?eatker  Wife 

A  nextf  serial  by  the  popular  Writer 

BEATRICE  BURTON 


LOVE  STORY  MAGAZINE 


Published  Every  Week 


Fifteen  Cents  per  Cop)? 


93 


Dance,  Girl,  D 


ance 


This  array  of  toe-dancing  talent  may  be  the  if 
long-sought  answer  to  why  boys  leave  the 

farm. 


Polly  Ann  Young, 
Loretta's  sister, 
left,  wears  a  ballet 
costume,  too. 


Nancy  Carroll,  above, 
danced  on  the  stage 
once  upon  a  time. 


Toe-dancing   for  Madge  Bel- 
lamy, above,  is  as  easy  as  writ- 
ing, reading  and  good  acting. 


94 

Continued  from  page  59 
Miss  Cherrill  resembles,  though 
very  slightly,  Edna  Purviance,  who 
was  Chaplin's  lead  in  so  many  pic- 
tures. She  is  a  Chicago  girl,  twenty 
years  of  age,  and  a  friend  of  Sue 
Carol.  She  was  introduced  to  Chap- 
lin at  the  Hollywood  boxing  stadium. 

Ex-in-laws  Star  Together. 

Just  about  the  most  exciting  the- 
atrical event  that  has  occurred  in  a 
long  time  was  the  premiere  of  a  new 
stage  play,  with  Alice  Joyce  and 
Owen  Moore  as  the  principal  actors. 
All  Hollywood  turned  out  to  see 
them.  The  play  was  called  "The 
Marriage  Bed,"  and  seemed  to  be  a 
deadly  serious  treatise  on  a  domestic 
triangle,  but  everybody  had  a  most 
enjoyable  time  applauding  Owen  and 
Alice. 

In  a  way,  it  was  a  curious  com- 
bining of  talents,  since  at  one  time 
Miss  Joyce  was  married  to  Owen's 
brother,  Tom.  We  noted,  incidentally, 
that  Tom  himself  was  in  the  audi- 
ence, and  we  have  no  doubt  that  one 
of  the  baskets  of  roses  which  Miss 
Joyce  received  was  a  tribute  from  her 
former  husband. 

Ramon's  Dual  Career. 

Ramon  Novarro's  dream  of  a  life- 
time is  to  be  realized.  He  is  to  go 
into  grand  opera — or  if  not  grand 
opera,  some  sort  of  musical  work, 
aside  from  pictures.  And  he  will 
also  appear  in  pictures. 

The  new  contract  that  he  has 
signed  with  Metro-Goldwyn  provides 
for  this  double  life,  if  you  want  to 
call  it  that.  For  six  months  of  the 
year  he  will  devote  his  talents  to  the 
uplift  of  the  cinema,  and  the  remain- 
ing six  months  he  will  study  singing 
until  such  time  as  he  can  make  his 
debut. 

Incidentally,  he  may  go  on  a  re- 
cital tour  with  Elsie  Janis.  And, 
there  are  whispers  of  an  engagement. 

Gretchen  Hartman  Returns. 

Do  you  remember  Gretchen  Hart- 
man,  or,  as  she  was  also  known, 
Sonia  Markova?  That  goes  back  a 
long  way  into  the  distant  film  past. 

Gretchen  Hartman  is  Mrs.  Alan 
Hale,  and  has  been  away  from  pic- 
ture work  for  six  or  seven  years,  but 
she  is  shortly  to  be  seen  again  in  the 
Rupert  Hughes  story  "She  Goes  to 
War,"  which  we  have  mentioned  else- 
where in  this  department. 

Mrs.  Hale  is  the  mother  of  two 
children,  and  as  her  family  is  begin- 
ning to  grow  up,  she  feels  that  she 
can  very  well  pursue  her  career  again. 
Meanwhile,  her  husband  has  become 
a  very  popular  actor. 

Two  Acquire  Step-parents. 

Both  Gloria  Swanson  and  Clara 
Bow  have  acquired  new  step-parents. 


Hollywood  High  Lights 

Gloria's  mother  was  married  at  Ti- 
juana, to  a  Chicago  capitalist  and  pa- 
tron of  the  opera,  by  the  name  of 
C.  C.  Woodruff,  while  Miss  Bow's 
father  was  married  to  Tui  Lorraine, 
former  secretary  to  Clara.  It  seemed 
all  manner  of  trouble  developed  for 
Mrs.  Bow,  right  after  the  wedding, 
over  her  rights  to  enter  this  country 
under  the  immigration  law.  She  is  a 
citizen  of  New  Zealand,  and  is  of 
Irish  descent.  Clara  herself  did  not 
attend  the  wedding.  Gloria's  mother 
was  twice  married  before  her  wed- 
ding to  Woodruff. 

Bright  Trio  Reunited. 

Our  pretty  dancing  daughters  will 
be  together  again ! 

By  this  we  mean  that  Joan  Craw- 
ford, Anita  Page,  and  Dorothy  Se- 
bastian, the  clever  trio  which  made 
"Our  Dancing  Daughters"  a  delight- 
ful and  interesting  picture,  will  re- 
join their  talents  in  "Brass  Band," 
written  especially  for  them. 

"Our  Dancing  Daughters"  is  un- 
questionably one  of  the  brightest  hits 
of  the  year,  and  here's  hoping  "Brass 
Band"  will  be  another  just  as  good. 

Bancroft  a  Cup  Winner. 

Can  you  imagine  George  Bancroft 
winning  a  dancing  cup  in  competition 
with  Hollywood's  gay  flapper  set? 
Well,  neither  could  we,  quite,  until 
we  saw  him  do  it  one  night  at  the 
Montmartre.  And  be  it  known  that 
George  does  step  more  than  grace- 
fully. It  was  the  first  cup  he  had 
ever  won,  though. 

In  case  you  are  anxious  to  know 
who  are  the  most  famous  dancers  in 
Hollywood,  it  will  be  just  as  well  to 
remark  that  Joan  Crawford  still 
heads  the  list.  She  has  about  forty 
dance  cups  to  her  credit.  Oh,  no, 
we're  forgetting  that  Reed  Howes 
has  more  than  a  hundred,  but  among 
the  girls  Joan  leads.  Other  leaders 
are  Audrey  Ferris  and  Ethel  Jack- 
son, who  are  running  a  pretty  close 
race  for  second,  all  the  time ;  Marion 
Nixon,  Ruth  Roland,  and  Duane 
Thompson. 

Clara  Bow  at  one  time  was  regu- 
larly victorious,  but  doesn't  take  part 
in  contests  so  much  any  more. 

Eddie  Active  Speaker. 

Edmund  Lowe  goes  from  talkie  to 
talkie.  He  appeared  in  "Making  the 
Grade,"  one  of  the  first  produced  by 
Fox,  and  now  he  is  in  another  called 
"In  Old  Arizona."  Both  will  be  di- 
alogued throughout. 

Eddie  told  us  the  last  time  we  saw 
him  that  Raoul  Walsh  would  not  lose 
his  eyesight  as  a  result  of  the  acci- 
dent that  occurred  on  location  in 
Utah.  Walsh  was  riding  in  a  car 
at  night,  when  a  jack  rabbit  took  a 


sudden  leap  across  the  road,  and  was 
catapulted  in  some  fashion  from  the 
hood  of  the  machine  through  the 
windshield.  The  broken  glass  caused 
a  gash  across  Raoul's  eye,  and  it  was 
thought  that  it  might  permanently 
blind  him. 

Walsh  was  directing  and  acting  in 
the  film  "In  Old  Arizona,"  at  the 
time. 

Separation  Will  Stay  Put. 

The  plan  of  Marie  Prevost  and 
Kenneth  Harlan  to  forget  about  sep- 
aration, divorce,  and  such  unpleas- 
antness, didn't  work  out.  They  have 
decided  it  is  better  to  live  apart  per- 
manently. Marie  also  had  a  little 
squabble  over  a  picture  she  was  to 
make  for  Columbia,  but  even  this 
doesn't  convince  us  that  she  has  sud- 
denly become  pugnacious.  Marie  is 
too  happy-go-lucky  and  good  natured 
for  that. 

Don't  Tell  Connie. 

Buster  Collier  and  Louise  Brooks 
attended  the  first  Mayfair  dance  of 
the  season  together. 

An  Infrequent  Emissary. 

Visits  of  the  stork  have  become 
less  frequent  in  filmland  than  a  year 
or  so  ago.  Still  he  hovers  occasion- 
ally, and  we  understand  will  pay  a 
call  at  the  Monte  Blue  domicile  about 
Christmas  time.  He  also  flitted  over 
the  roof  tree  of  Constance  Howard 
Jones  not  long  ago.  She  is  the 
mother  of  a  baby  girl. 

Youngster  Causes  Trouble. 

"Nize  Baby,"  the  motion  picture, 
turned  out  to  be  a  naughty  child. 
But,  fortunately,  only  in  the  prelim- 
inary part  of  its  history.  There  is 
therefore  a  chance  for  the  wayward 
infant's  reform. 

What  happened  was  that  it  was  de- 
cided practically  to  remake  the  film 
based  on  the  Milt  Gross  story,  after 
it  had  been  some  time  under  way. 
The  cast  was  changed,  as  was  the 
director.  Of  the  original  group  of 
players  only  Vera  Gordon  and  Hank 
Mann  survive. 

Another  picture  that  encountered 
trouble  is  "The  College  Coquette." 
So  rah-rah  girls  and  small  children 
seem  to  be  responsible  for  most  cur- 
rent movie  perplexities. 

As  Polly  Says  Tete-a-tete. 

Polly  Moran  is  always  the  life  of 
the  party.  Whenever  she  is  off  duty 
she  visits  the  publicity  department 
and  entertains  the  boys  by  the  hour. 
Whenever  Polly  is  around,  a  crowd 
generally  gathers,  too. 

"I  always  did  like  a  big  audience," 
said  Polly,  "but  I'm  not  much  good 
on  a  toot-a-triot." 


95 


Joan  Crawford,  above,  seems  to  have  un- 
limited confidence  in  Doug  Fairbanks,  Jr.'s, 
ability  to  tell  what  the   future  holds  for 
them  both,  especially  as  they're  engaged. 


Iris  Lee,  reputed  seeress,  left,  looks  serious 
and  alarmed  as   she  views   the  king  of 
spades,  but  Josephine  Dunn  doesn't  seem 
to  be  "taken  in." 


96 

Continued  from  page  73 
hobo  life  is  made  more  romantic  than 
it  really  is,  and  that  it  is  sentimental- 
ized a  bit,  too,  but  "Beggars  of  Life" 
is  well  worth  seeing.  Sound  effects 
add  to,  rather  than  detract,  for  once, 
and  Wallace  Beery  sings  a  rollicking 
ditty  somewhat  self-consciously. 
Though  slight,  the  story  is  poignant 
and  concerns  the  aid  Jim,  a  young 
tramp,  gives  Nancy,  who  has  fled 
from  the  consequences  of  a  murder 
disguised  as  a  boy,  and  their  adven- 
tures with  the  organized  hobos. 

Dregs  of  the  Underworld. 

The  underworld  is  still  attractive 
to  directors  who  easily  follow  the  ex- 
ample of  others,  but  fortunately  for 
the  sake  of  those  who  set  a  vogue, 
their  imitators  generally  fall  short. 
"Tenth  Avenue,"  a  mediocre  stage 
play  of  the  underworld,  turns  out  to 
be  a  dull  underworld  movie.  If,  how- 
ever, it  points  to  the  waning  of  crook 
pictures  it  should  be  considered  a 
milestone.  Phyllis  Haver,  out  of  her 
element  here,  runs  her  sick  mother's 
rooming  house.  Two  lodgers  are  in 
love  with  her — one,  Victor  Varconi, 
as  a  gambler,  the  other,  Joseph 
Schildkraut,  as  the  gangster  Miss 
Haver  is  trying  to  reform.  There  is 
snarling  rivalry  between  the  two  men 
and  a  lot  of  uneventful  footage  be- 
tween their  snarls.  A  third  lodger  is 
shot,  suspicion  pointing  to  the  gang- 
ster. Finally  his  confession  is  brought 
about  unexpectedly,  and  Mr.  Schild- 
kraut shines  in  this  opportune  mo- 
ment. "Tenth  Avenue"  is  just  a 
filler. 

Should  a  Wife  Tell? 

Given  an  unusual  story  like  "The 
Night  Watch,"  Billie  Dove  proves  her 
ability  to  act  as  well  as  look  doll-like. 
Her  performance  is  sincere  and  she 
suffers  only  as  much  as  a  very  pretty 
woman  should,  and  show  it.  She  is 
the  wife  of  the  captain  of  a  French 
warship,  who  permits  his  officers  to 
entertain  their  wives  at  dinner  aboard 
on  the  last  night  in  port.  During  din- 
ner Captain  Corlaix  gets  word  that 
France  has  declared  war  on  Germany. 
He  orders  all  the  women,  including 
his  wife,  to  go  ashore,  without  telling 
the  reason.  Piqued,  Yvonne  Corlaix 
accepts  the  invitation  of  D'Artelle,  a 
young  officer,  to  remain  in  his  cabin 
an  hour  longer.  They  discover,  too 
late,  that  the  vessel  is  steaming  out 
to  sea.  D'Artelle  is  killed  during 
the  sinking  of  an  enemy  ship,  a 
treacherous  officer  who  attempts  to 
take  advantage  of  Yvonne's  compro- 
mising position  is  murdered,  and 
Captain  Corlaix  is  court-martialed 
and  convicted  of  the  crime.  How 
Yvonne  makes  herself  the  star  wit- 
ness and  sacrifices  her  reputation, 
without  losing  the  love  of  her  hus- 


The  Screen  in  Review 

band — this  is  just  another  proof  of 
what  beauty,  when  allied  with  good 
acting,  will  do.  Paul  Lukas,  Donald 
Reed,  and  Nicholas  Soussanin  give 
performances  of  distinction  and  dra- 
matic power,  all  making  for  Billie 
Dove's  best  picture  since  I  don't  know 
when. 

Who  Talks  About  Them? 

All  told,  there  are  fourteen  min- 
utes of  dialogue  in  "Women  They 
Talk  About,"  so  not  much  is  said  of 
the  ladies  in  question — a  mother  and 
daughter.  It  will  take  you  consid- 
erably less  time  to  read  what  is  said 
of  the  picture.  It  is  a  tolerably  in- 
teresting yarn  which  deals  with  a 
feud  between  two  families  in  a  small 
town.  One  gets  the  impression  that 
it  would  have  been  more  interesting, 
if  it  hadn't  been  directed  and  acted  in 
so  obvious  a  manner,  and  if  the  dia- 
logue had  been  less  banal.  Irene 
Rich,  as  the  mother  of  Audrey  Fer- 
ris, is  running  for  mayor  against 
Anders  Randolf,  who  is  the  candi- 
date for  a  second  term.  Without  the 
knowledge  of  the  mayor,  one  of  his 
henchmen  compromises  Miss  Ferris 
in  order  to  bring  about  the  defeat  of 
Miss  Rich,  who  denounces  the  mayor 
for  his  supposedly  unscrupulous  tac- 
tics. Mr.  Randolf  protests  his  inno- 
cence, he  is  shot  by  an  enemy  and 
Miss  Rich  withdraws  from  the  cam- 
paign, by  means  of  an  audible  speech 
so  coy,  that  one  blushes  to  hear  a 
woman  of  her  intelligence  say  it.  Her 
daughter  and  Mr.  Randolf 's  son, 
played  by  William  Collier,  Jr.,  have 
been  flirting  against  the  opposition  of 
their  parents,  so  now  a  double  ro- 
mance comes  to  a  jell.  The  high 
light  of  the  picture  is  Claude  Gilling- 
water,  as  an  aristocratic  grouch,  a 
role  he  has  made  familiar  on  the  si- 
lent screen,  but  which  he  now  makes 
audible  by  means  of  the  Vitaphone. 
He  is  irresistibly  funny.  John  Mil- 
jan  is  also  present. 

Our  Patience  is  Tried. 

What  are  we  coming  to?  Richard 
Dix  in  a  dull,  uninteresting  picture ! 
"Moran  of  the  Marines"  would  be 
less  than  that  without  Mr.  Dix, 
whose  geniality  keeps  one  in  good 
humor  whatever  his  role  may  be,  but 
there  seems  to  be  no  excuse  for  wast- 
ing him  on  this  one.  He  is  Michael 
Moran  who,  after  a  brawl  in  a  cafe, 
finds  himself  in  the  Marines  with  a 
boon  companion,  a  taxi  driver.  He 
has  already  met  and  flirted  with 
General  Marshall's  daughter,  Vivian, 
who  mistakes  him  for  a  man  of 
standing,  but  who  later  sees  him  ex- 
posed as  a  private.  He  is  court-mar- 
tialed for  kissing  her,  but  the  sce- 
nario conveniently  sees  to  it  that  he 
retrieves  his  honor  by  rescuing  her 


from  a  Chinese  bandit.  If  this  ap- 
peals to  you  as  an  exciting  or  amus- 
ing plot,  go  to  it.  Ruth  Elder,  the 
aviatrix,  wears  the  pretty  dresses  of 
the  heroine. 

Half-baked. 

Another  picture  about  adolescent 
collegians  !  Can  you  bear  it  ?  This 
time  it's  called  "Red  Lips."  It  might 
just  as  well  have  been  entitled  "Pink 
Cheeks,"  or  "Long  Legs."  There's 
nothing  to  the  title  and  only  slightly 
more  to  the  picture,  which  is  a  re- 
hash of  all  the  campus  situations 
made  exasperating  by  repetition,  only 
in  this  collection  the  sequences  are 
arranged  in  a  different  order.  How- 
ever, Charles  Rogers,  who  doesn't  ap- 
pear often  enough  to  please  those 
who  enjoy  him,  will  probably  attract 
those  who  won't  give  a  hoot  for  the 
rest  of  the  cast.  As  a  freshman,  he 
falls  in  love  with  a  college  widow, 
who  causes  him  to  break  his  train- 
ing, which  eliminates  him  from  the 
"big"  game. 

Hark  Ye,  Pidgeon  Fans! 

Giving  every  evidence  of  having 
been  hurriedly  whipped  into  shape  to 
compete  with  other  talking  pictures 
more  carefully  produced,  "The  Mel- 
ody of  Love"  at  least  has  the  virtue 
of  making  Walter  Pidgeon  audible  to 
his  fans.  This  is  done  in  good  meas- 
ure, for  not  only  does  he  negotiate 
considerable  dialogue,  but  he  sings 
several  solos  and  contributes  to  vari- 
ous choral  numbers.  He  registers 
excellently  both  in  song  and  speech, 
and  if  I  am  not  entirely  wrong,  he  is 
due  for  a  decided  leap  in  popularity 
and  more  frequent  appearances.  The 
story  is  that  of  a  piano  player,  who 
loses  his  arm  in  the  war  and  is  de- 
serted by  his  faithless  sweetheart. 
He  is  followed  to  America  by  the 
usual  French  girl,  who  causes  him  to 
regain  the  skill  of  his  playing  hand. 

A  Clever  Trio. 

Less  boisterous  than  Bebe  Daniels' 
recent  comedies,  "Take  Me  Home" 
is,  in  my  opinion,  better  for  it.  Sly 
humor  and  deft  satire  replace  stunts 
and  gags,  and  there  is  a  semblance 
of  real  character  in  the  roles  of 
Peggy  Lane,  the  chorus  girl  who 
falls  in  love  with  David  North,  the 
chorus  boy  from  the  country,  and 
worsts  Derelys  Devorc,  the  conceited, 
upstage  prima  donna  in  a  hot  fight 
for  the  young  man's  affections.  Not 
that  he  had  ever  been  lured  by  the 
prima  donna,  but  Peggy  just  wanted 
to  put  a  stop  to  her  tactics.  The 
backstage  scenes  are  among  the  best 
I  have  ever  seen,  Miss  Daniels  is  a 
convincing  chorus  girl,  Lilyan  Tash- 
man  a  humorously  tempestuous  prima 
donna,  and  Neil  Hamilton  is  an  ace. 


97 


The  High-kat  Quintet 

Literally,  not  figuratively,  these  well-dressed  gentlemen  are 
showing  the  fans  the  high  hat. 


Gary  Cooper,  left, 
never  wore  that 
outfit  on  his  Mon- 
tana ranch,  but  'he 
seems  perfectly  at 
home  in  it. 


To  Lew  Cody,  above, 
belongs  the  distinc- 
tion of  being  one  of 
the  first  stars  to 
wear  a  high  hat  as 
if  it  belonged  on  his 
head  and  not  in  the 
studio  wardrobe. 


98 

Oddments  and  Remainders 

Scattered  reminiscences  of  the  days  when  certain  stars  were  treading  the  boards 
behind  the  footlights,  in  prelude  to  their  fame  beneath  the  light  of  the  Kleigs. 

By  Harold  Seton 


IN  going  over  a  private  collection  of  theater  pro- 
grams, the  writer  has  been  amused  and  interested 
in  discovering  various  names  that  are  now  well 
known  in  the  movies.  And,  believing  that  the  fans  will 
share  this  amusement  and  interest,  some  of  these  dates 
and  details  are  herewith  recorded, 

George  Fawcett,  for  some  years  past  a  favorite  ex- 
ponent of  father  roles  in  pictures,  made  his  stage  debut 
in  1886,  but  first  appeared  in  New  York  in  1887,  at  the 
long-since-demolished  theater,  Niblo's  Garden,  in  "She." 
This  story,  by  H.  Rider  Haggard,  was  screened  some 
years  ago  by  -William  Fox,  with  Valeska  Suratt  in  the 
title  role. 

In  1900,  a  melodrama  called  "Hearts  Are  Trumps" 
was  produced  at  the  old  Garden  Theater  in  New  York. 
And  who  do  you  suppose  played  a  minor  role,  that  of 
Arthur  Dyson?  A  young  actor  destined  for  fame  and 
fortune  as  a  movie  director  and  producer — Cecil  B. 
DeMille!  In  1902  Mr.  DeMille  was  in  "Alice  of  Old 
Vincennes."  This  title  recalls  a  curious  coincidence. 
Alice  Terry,  now  a  movie  star,  was  originally  Alice 
Taafe,  and  she  was  born  and  bred  in  Vincennes,  Indiana! 

Also  in  1900,  Blanche  Bates  starred  in  "Madame  But- 
terfly," at  the  Herald  Square  Theater,  New  York,  and 
in  her  support  appeared  Claude  Gillingwater,  now  well 
known  in  the  movies.  In  1901,  Mr.  Gillingwater  was 
in  "Du  Barry,"  at  the  Criterion  Theater,  and  Charles 
Stevenson  played  a  leading  part.  Mr.  Stevenson  is 
also  in  the  movies,  nowadays. 

James  Kirkwood  was  in  "The  Girl  of  the  Golden 
West,"  a  1903  production,  and,  like  "Du  Barry,"  it  was 
staged  by  David  Belasco. 

Jesse  Lasky,  in  1908,  graduated  from  the  ranks  of 
vaudeville  performers  into  a  vaudeville  producer.  Hav- 
ing previously  played  the  cornet  for  the  entertainment 
of  the  two-a-day  audiences,  Mr.  Lasky  offered  an  act, 
"The  Pianophiends,"  at  Proctor's  Fifth  Avenue  Theater, 
New  York.  Later  that  same  year,  he  offered  "The  Love 
Waltz,"  featuring  John  Bunny.  Some  years  later  Mr. 
Bunny  became  internationally  popular  in  pictures. 

Also  in  1908,  a  young  and  beautiful  girl  attracted 
attention  in  Ziegfeld's  "Follies."  She  was  Mae  Murray, 
and  during  that  year  she  married  William  Schwenker. 
Her  fourth  and  present  husband,  Prince  David  Mdivani, 
is  Mae's  junior  in  years  but  not  in  looks,  for  she  could 
still  pass  for  a  flapper. 

In  1909,  a  musical  comedy,  "The  Queen  of  the  Moulin 
Rouge,"  was  produced  at  the  Circle  Theater,  New  York, 
now  a  movie  house,  and  Francis  X.  Bushman  was  in 
the  cast.  He  had  but  little  to  do,  and  the  featured 
players  were  Carter  De  Haven  and  Flora  Parker,  who 
years  later  starred  in  film  comedies. 

"The  Florist  Shop"  was  presented  on  Broadway  in 
1909,  the  company  including  Johnnie  Hines. 

That  season  De  Wolf  Hopper  starred  in  "A  Matinee 
Idol,"  and  the  name  Elda  Curry  appeared  on  the  pro- 
gram. Later  this  actress  married  and  divorced  the  star, 
and  became  Hedda  Hopper.  The  leading  lady  in  that 
show  was  Louise  Dresser.  Now  Miss  Dresser  and  Miss 
Hopper  are  both  in  the  movies. 


Still  another  play  of  1909  was  "The  Patriot,"  at  the 
Garrick  Theater.  The  star  was  William  Collier,  and 
the  leading  lady  was  Paula  Marr,  who  is  Mrs.  Collier. 
The  boy  who  was  programmed  as  Buster  is  now  William 
Collier,  Jr.,  a  favorite  juvenile  of  the  films. 

At  Maxine  Elliott's  Theater,  in  1909,  Milton  Sills 
was  leading  man  in  "This  Woman  and  This  Man," 
and  in  1912  he  played  a  leading  role  in  "The  Governor's 
Lady,"  at  the  Republic  Theater. 

In  1924,  "Dancing  Mothers,"  a  play  by  Mr.  Goulding 
and  Edgar  Selwyn,  was  produced  in  New  York,  and 
Frances  Howard  was  engaged  as  leading  lady.  She  re- 
hearsed the  part,  but,  when  the  play  opened,  Helen  Hayes 
enacted  the  role.  Miss  Howard  had,  within  a  few  weeks, 
been  wooed  and  won  by  Samuel  Goldwyn,  the  movie 
magnate. 

In  1918  Alice  Brady,  formerly  a  star  in  pictures,  was 
in  the  stage  play,  "Forever  After,"  at  the  Central  The- 
ater, New  Yot'k,  and  her  leading  man  shared  in  the 
success  of  the  production.  Shortly  after  that,  Conrad 
Nagel  left  the  stage  for  the  studios,  and  prospered. 

That  same  year,  1918,  Give  Brook  made  his  stage 
debut  in  England,  acting  in  "Fair  and  Warmer."  He 
did  not  reach  London  until  1920,  when  he  was  in  "Just 
Like  Judy,"  at  the  St.  Martin's  Theater.  Coming  to 
America,  he  soon  developed;  into  a  film  favorite. 

By  an  odd  coincidence,  two  of  David  Belasco's  pro- 
ductions of  1919  afforded  opportunities  to  players  des- 
tined to  marry  and  migrate  to  Hollywood.  Edmund 
Lowe  was  in  "The  Son-Daughter,"  and  Lilyan  Tashman 
was  in  "The  Gold  Diggers."  Miss  Tashman  was  pre- 
viously in  "The  Follies." 

Some  years  ago  Kathleen  Clifford  went  to  Hollywood 
to  act  in  the  movies,  after  a  lifetime  on  the  stage.  As 
a  side  line  she  opened  a  florist  shop,  and,  doing  well, 
started  a  chain  of  them.  However,  she  still  appears  in 
pictures  now  and  then.  In  1903  she  was  in  "The  Girl 
from  Kay's,"  at  the  Herald  Square  Theater,  New  York, 
a  fellow-player  being  Elsie  Ferguson,  who  later  starred 
in  pictures. 

Toby  Claude  is  another  veteran  of  the  stage,  who 
occasionally  acts  in  the  movies.  In  1897  she  appeared 
at  the  Casino  Theater,  New  York,  as  Fifi  Fricot,  in 
"The  Belle  of  New  York."  This  role  was  created  by 
Phyllis  Rankin,  who  later  went  to  London  to  play  the 
part.  Miss  Rankin  is  the  mother  of  Arthur  Rankin, 
who  now  acts  in  the  movies. 

Nine  out  of  ten  who  act  in  the  films  received  their 
original  training  on  the  stage.  Among  the  very  few 
exceptions  to  the  rule  are  Norma  and  Constance  Tal- 
madge.  Reversing  the  process,  Theda  Bara,  after  hav- 
ing been  very  popular  in  the  movies,  tried  her  luck  in 
the  theater,  ill-advisedly  starring  in  a  piece  called  "The 
Blue  Flame."  She  failed  so  dismally  that  her  career 
was  practically  ended. 

Most  of  the  film  directors  formerly  acted  on  the  stage, 
including  Albert  Parker,  Robert  Z.  Leonard,  Sydney  01- 
cott,  and  John  Robertson.  David  W.  Griffith  was  for 
several  seasons  in  support  of  the  late  James  K.  Hackett. 
Herbert  Brenon  was  in  vaudeville.    So  was  Tom  Terriss 


9«J 


Th 


e 


w 


o  r  m 


Tu 


r  n  s 


Having  done  her  share  to  help 
the  undraped  heroine  to  popu- 
larity, Madge  Bellamy  prom- 
ises not  to  risk  catching  cold 
any  more. 


Miss  Bellamy,  right,  in  "Strictly  Con- 
fidential," "The  Play  Girl,"  "Silk 
Legs,"  and  other  frothy  farces, 
showed  that  she  could  caper  as  gayly 
as  any  of  the  less-serious  stars,  and 
divest  herself  of  most  of  her  clothing 
without  losing  her  daintiness  and 
modesty,  though  she  had  never  played 
frolicsome  roles  before. 


But  with  the  success  of  "Mother 
Knows  Best,"  and  the  high  praise 
won  by  Madge  on  the  score  of  her 
sensitive,  serious  portrayal  of  Sally 
Quail,  the  girl  who  wanted  a  home,  a 
husband  and  children,  but  whose 
mother  preferred  fame  before  the 
footlights  for  her,  Miss  Bellamy  has 
found  her  metier  and  means  to  stick 
to  it. 


She  is  seen,  left,  as  the 
serious  girl  she  -really  is, 
as  unlike  the  carefree 
daughter  of  the  night 
clubs  she  is  playing, 
right,  as  any  two  individ- 
uals could  'be. 


mm 


100 

Continued  from  page  13 
If  Lawrence  Gray  is  sore,  is  Monte 
Blue? 

If  Al  Jolson  is  poor,  is  Irene  Rich? 
If    Peggy    Joyce    is    old,    is  Loretta 
Young  ? 

If  Sue  Carol  gave  a  party,  would  Louise 
Dresser? 

If  Tom  Mix  is  high,  is  Edmund  Lowe? 

Helen  Daily. 

259  Main  Street, 

Stamford,  Connecticut. 

Her  Views  Expressed. 

I  do  wish  to  extend  my  appreciation  and 
gratitude  to  M.  F.  F.,  whose  letter  was 
published  in  the  September  Picture  Play, 
for  her  surprisingly  accurate  analysis  of 
Rudolph  Valentino.  She  has  adequately 
expressed  my  own  reason  for  the  admira- 
tion and  friendship  I  felt  for  him,  as  a 
man  and  actor.  The  last  paragraph,  espe- 
cially, told  me  why  I  saw  him  again  and 
again  in  the  same  picture.  He  never 
palled,  but  grew  more  beautiful  to  me, 
and  by  that  I  do  not  mean  physical  beauty. 

Mrs.  R.  E.  Scholz. 

Boonton,  New  Jersey. 

Agrees  with  Gene. 

I  certainly  agree  with  Gene  Charteris, 
who,  in  September  Picture  Play,  stated 
that  the  years  have  made  no  change  for 
the  better  in  Richard  Barthelmess.  How 
could  they?  Dick  could  not  possibly  get 
any  better  in  his  acting.  He  has  long  ago 
reached  the  pinnacle  of  success,  and  has 
managed  to  stay  at  dizzy  heights  in  spite 
of  some  poor  pictures  and  disconcerting 
-notoriety.  Three  cheers  for  Dick !  Give 
us  some  more  acting  like  the  dual  char- 
acters in  "Wheel  of  Chance." 

Lillian  Vernier. 

St.  Louis,  Missouri. 

It's  Beyond  Him! 

Am  I  peeved?  Well,  not  much!  I 
wonder  if  there  ever  was  an  actor  in  the 
world  besides  Rudolph  Valentino?  Some 
one  is  continually  howling  about  his  super- 
being,  superacting,  et  cetera.  I  believe 
in  giving  due  credit  to  every  one.  But 
why  all  this  ballyhooing?  It's  far  beyond 
me  to  comprehend.  I  admit  I'm  perfectly 
dumb.  But,  as  I  was  saying,  he  was  a 
fine  actor.  He  worked  hard,  and  deserved 
all  that  was  given  him.  Yes,  he  deserved 
more,  though  nothing  was  done  to  help 
him  while  he  was  with  us,  at  a  time  he 
was  in  need  of  us  most.  Why  all  the  flow- 
ers now? 

Rudolph  Valentino  is  a  memoiy.  Let's 
wake  up  and  give  some  praise  to  the  lit- 
tle "dark  angels"  who  are  working  like 
Trojans  to  make  a  name  in  the  screen 
world.  One  little  forget-me-not  now  is 
far  better  than  a  whole  carload  of  flowers 
after  stars  are  gone. 

Billy  Holtsberry. 
Flamenco  Signal  Station, 
Fort  Amador,  Canal  Zone. 

A  He-man  Face. 

There  are  stars  of  all  kinds  in  Holly- 
wood— high,  low,  and  handsome — but  this 
particular  one,  just  recently  elevated  to 
stardom,  has  attracted  my  admiration  more 
than  any  other  for  a  long  time.  Forceful, 
dominant,  rugged,  and  all  man. 

Not  Bull  Montana  by  all  means, 
Nor  the  gun  toter,  Tom  Mix; 

It  couldn't  be  Rin-Tin-Tin,  you  know, 
In  fact,  nor  Richard  Dix. 

But,  leaving  the  rhyme  unfinished,  let's 
finish  what  we  started  in  the  first  place. 
When  it  comes  to  furnishing  a  real,  man- 


What  the  Fans  Think 

sized  face  for  a  close-up,  there  is  no  one 
with  a  countenance  more  typical  of  mas- 
culine supremacy  than  Victor  McLaglen. 

And,  so  far,  McLaglen  has  been  very 
fortunate.  In  all  the  pictures  in  which  he 
has  participated,  his  role  was  "the  pick  of 
the  bushel."  And,  with  the  dawning  of  a 
brilliant  future,  I'm  sure  the  measure  will 
not  dwindle  down  to  a  peck.  Assuredly 
no  Apollo,  this  McLaglen ;  but,  as  Atlas, 
he  would  qualify — first-class. 

John  Poda. 

312  Sumner  Street,  Akron,  Ohio. 

Good-by  Forever. 

The  talking  pictures  will  revolutionize 
the  motion-picture  industry.  One  year 
and  the  silent  drama  will  be  silent  forever. 
The  peace  and  quiet  of  pictures  will  soon 
be  a  thing  of  the  past.  The  modern  pub- 
lic demands  action  and  life.  The  talking 
picture  will  give  it  to  them.  My  opinion, 
as  a  fan  for  fifteen  years,  is  that  it  is  the 
greatest  step  toward  improvement  that  the 
screen  has  yet  made.  The  sound  effects 
of  storms,  fights,  wrecks,  et  cetera,  will 
greatly  emphasize  the  entertainment  value 
of  pictures. 

The  possibilities  of  talking  pictures  are 
unlimited.  The  silent  pictures  reached 
perfection  and  were  found  wanting.  The 
greatest  advantage  of  the  talking  pictures 
will  be  to  the  small  villages  with  one  the- 
ater. They  will  hear  the  original  score  to 
the  picture,  as  rendered  on  Broadway. 
They  will  see  famous  musical  comedies, 
operas,  and  plays.  They  will  see  and  hear 
celebrities  of  all  professions.  It  is  im- 
possible to  think  of  what  this  means  to  the 
small  towns.  It  means  more  than  the 
newspapers  and  radios  combined.  They 
will  see  and  hear  things  at  a  small  price 
that,  without  the  aid  of  the  talking  pic- 
tures, would  have  always  remained  a 
dream  never  to  come  true. 

Yes,  it's  a  marvelous  invention,  new 
and  undeveloped  as  yet,  it  is  true.  The 
hundreds  who  protest  against  it  now 
would  do  so  against  any  innovation.  They 
are  unable  to  realize  that  nothing  is  sta- 
tionary, that  progress  will  bring  perfec- 
tion. 

Let  us  consider  this  radical  change  from 
the  actor's  angle.  We  have  heard  rumors 
that  'the  change  will  affect  hundreds  of 
popular  stars  in  Hollywood.  I  do  not  be- 
lieve this  is  true.  We  all  know  if  a  star 
has  a  voice  that  is  not  adaptable  to  the 
sound  pictures,  that  some  one  who  has  a 
suitable  voice  can  be  substituted. 

It  makes  me  very  happy  to  know  the 
day  of  the  talking  picture  is  here.  Only 
recently,  while  visiting  in  a  small  town,  I 
had  to  suffer  with  Norma  Talmadge  while 
the  piano  played  "Moonbeams  Kiss  Her 
For  Me."  Can  you  imagine  Camille  leav- 
ing this  earth  with  such  a  melody?  Nei- 
ther can  I !  And  to  think  that  such  con- 
ditions will  soon  be  a  thing  of  the  past ! 

Let  us  fans  bid  the  silent  drama  a  sad 
good-by. 

J.  E.  Bailey. 
16  Rossonian  Apartments, 
Houston,  Texas. 

Who  Says  They're  Great? 

What  a  perverted  conception  most  peo- 
ple have  of  the  word  great,  and  how 
carelessly  they  brandish  it  in  expressing 
their  personal  enthusiasms  ! 

The  word  should  be  reserved  for  those 
screen  artists  whose  work  is  of  that  cali- 
ber which  entitles  them  :o  be  compared  to 
the  great  of  other  professions — the  Drew, 
Barrymore,  Bernhardt  Duse  of  the  stage ; 
the  Edison  and  Steinmetz  of  scientific  re- 
pute ;  the  Farrar,  Melba,  and  Patti  of 
grand  opera.    The  measure  of  greatness 


in  any  profession  is  based  on  achievement 
— certainly  not  sex  appeal ! 

There  will  never  be  another  screen  per- 
sonality to  supplant  that  of  Mary  Pick- 
ford.  Had  Wallace  Reid  lived,  his  con- 
summate performance  in  "Peter  Ibbetson" 
was  indicative  of  the  artistry  he  would 
have  achieved.  Charlie  Chaplin  is  an  out- 
standing genius.  Pola  Negri  is  a  sensi- 
tive woman  capable  of  feeling  exactly 
what  she  thinks  she  feels,  and  registering 
that  emotion  effectively.  Gloria  Swanson 
in  "Sadie  Thompson"  was  a  supreme  art- 
ist. Olga  Baclanova  is  the  epitome  of 
intense,  vital  life,  and  has  given  us  per- 
formances that  shall  not  soon  be  forgot- 
ten. There  are  two  or  three  others,  in- 
cluding Valentino  and  Lillian  Gish,  whose 
work  has  had  a  significant  effect  on  a  tre- 
mendous number  of  people. 

And  there  you  are.  There  are  scores 
and  scores  of  others  whose  names  are 
prominent,  whose  work  is  excellent,  and 
who  are  widely  beloved. 

No  one  gives  me  more  pleasure  than 
Buddy  Rogers,  whose  youthful  vitality  is 
a  tonic,  and  whose  personality  is  alto- 
gether pleasing.  Greta  Garbo  is  vital  and 
interesting,  which  is  also  true  of  John 
Gilbert.  Norma  Talmadge  is  a  beautiful 
screen  personality.  Nick  Stuart  is  another 
for  whom  I  cherish  an  enthusiastic  re- 
gard. Richard  Barthelmess  has  never 
made  a  picture  that  I  have  not  made  it  a 
point  to  see. 

And  what  does  it  mean,  after  all?  The 
major  portion  of  the  motion-picture  pub- 
lic, the  fans,  regard  the  movies  as  the  ideal 
recreation.  The  movie  theaters  are 
crowded  nightly  by  workaday  people  who 
want  to  be  entertained,  who  want  just  the 
right  measure  of  sadness  and  just  the 
right  measure  of  laughter — with  a  news 
reel  about  the  current  events  thrown  in  to 
balance  things  up. 

Entertainment — not  artistry — is  the  par- 
amount service  of  the  screen  in  the  scheme 
of  things.  But,  nevertheless,  when  you 
come  right  down  to  it — the  great  people 
of  the  screen,  as  the  great  of  any  pro- 
fession, are  those  whose  performances  and 
achievements  cannot  be  judged  by  popular 
standards. 

"And  so — to  bed,"  as  Samuel  Pepys 
might  conclude. 

What  Does  It  Matter. 
New  York  City. 

Taking  a  Lot  for  Granted. 

In  my  opinion,  the  film  producers  are 
taking  a  lot  for  granted  when  they  think 
the  public  wants  talking  pictures.  To  me, 
there  is  nothing  more  wonderful  than  si- 
lent drama.  It  is  the  mechanical  talking 
that  takes  away  the  reality  from  the  pic- 
ture. 

When  I  go  to  see  silent  dramas  I  be- 
come so  engrossed  in  the  picture  that  I 
forget  it  is  only  a  play.  Now  they  bring 
in  this  mechanical  talking  that  makes  it 
impossible  to  forget  you  are  just  in  a 
theater. 

All  the  Vitaphone  orchestras  sound 
alike ;  the  volume  is  terrific  and  the  ex- 
pression sadly  lacking. 

Doesn't  Conrad  Nagel  realize  that  he 
should  be  seen  and  not  heard?  He  has  a 
lovely  voice,  but  he  is  not  his  attractive 
self  when  he  talks  and  uses  such  grimaces 
in  the  close-ups. 

Won't  some  one  deliver  us  from  the 
talking  pictures? 

A  Silent-Drama  Fan. 
4180  Emerald  Street, 
Oakland,  California. 


101 


And  So  to  Bed 

In  keeping  with  the  colorful  life  of  a  star,  you  aren't  surprised 
that  these  gentlemen  choose  shrieking  colors  to  sleep  in, 

are  you? 


John  Loder,  left,  clings  to  his  English  fur- 
lined  slippers,  even  in  warm  Hollywood,  but 
he'll  get  over  it. 


Stifling  a  yawn,  as  the  stories  say,  Neil 
Hamilton,  center,  bids  you  good  night. 


Lane  Chandler,  lower  left, 
never  wore  silk-crape  pa- 
jamas like  these  on  his 
ranch,  but  times  have 


Doctors  may:.. dis- 
approve, but  Rich- 
ard Arlen,  above, 
insists  on  his  good-  ' 
night  puff. 

Jack  Oakie,  below, 
has  a  weakness  for 
loud  plaids. 


102 


Information,  Please 


LOUVERNE  LA  TOURRE.— You're 
one  of  the  fifty  million  that  can't  'be 
wrong,  I  see !  To  start  a  fan  club,  write 
and  ask  the  stars'  permission  to  include 
them  as  honorary  members,  then  get  a 
group  of  your  friends  together,  as  a  be- 
ginning, and  procure  new  members  through 
movie  magazines.  Norma  Shearer  has  a 
brother,  Douglas,  and  a  sister — and  there 
may  be  more  of  them.  I  can't  answer 
questions  about  stars'  religions.  Yes, 
Norma  uses  her  real  name  and  so  does 
Dick  Barthelmess.  Billie  Dove  was  chris- 
tened Lillian  Bohny.  Loretta  Young  was 
born  in  1912. 

Norma  Harrington. — If  you  think 
you're  "awfully  inquisitive,"  just  take  a 
look  at  some  of  the  other  answers  on  this 
page.  This  is  curiosity  month !  Ralph 
Forbes'  hair  is  a  golden  brown.  As  to 
your  wish  that  Metro-Goldwyn  make  him 
a  star,  you're  out  of  luck — and  so,  I  sup- 
pose, is  he.  His  contract  with  them  has 
been  concluded.  Loretta  Young  is  with 
"First  National.  John  Boles  is  now  play- 
ing in  a  Vitaphone  film,  "The  Desert 
Song."  Grant  Withers  was  born  in  Ash- 
land, Kentucky,  about  1904.  Nils  Asther's 
birth  date  was  January  17,  1902.  I  don't 
know  the  day  of  Garbo's  or  Adoree's 
births. 

Catheryn  Taylor. — Yes,  indeed,  you 
may  have  a  list  of  fan  clubs  if  you  send 
a  self -addressed,  stamped  envelope.  You 
don't  tell  me  what  stars  are  honorary 
members  of  your  Theatrical  Fan  Club. 
I  have  only  space  to  mention  clubs  in 
honor  of  stars  specifically  asked  about. 
Lupe  Velez  is  with  United  Artists ;  Martha 
Sleeper  and  Sharon  Lynn  with  F.  B.  O. 
Martha  is  eighteen.  Sharon  about  the 
same. 

A.  M.  Johnson. — Sorry,  my  waiting  list 
is  so  long  I  couldn't  get  to  your  letter  in 
time  for  the  October  issue.  Ramon  No- 
varro  was  born  February  6,  1899.  No,  he 
doesn't  go  with  girls  much.  Metro-Gold- 
wyn handles  his  fan  mail  for  him,  I  sus- 
pect. Joan  Crawford  was  born  in  San 
Antonio  and  lived  in  Kansas  City,  Mis- 
souri. She  is  twenty-two.  As  this  goes 
to  press  she  and  Doug.,  Jr.,  have  an- 
nounced their  engagement  and  there  are 
rumors  that  they  already  are  secretly  mar- 
ried. And  if  you  ask  me,  I  think  Novarro 
gets  a  tremendous  lot  of  publicity. 


Jackie   Coogan    Admirer. — You'll  be 

glad  to  know  that  your  favorite  was  a  sen- 
sation in  his  personal  appearance  tour  with 
his  father,  on  the  Publix  circuit.  I  don't 
know  whether  Jackie  still  sends  out  his 
photos  or  not ;  the  Coogan  home  is  at  516 
S.  Western  Avenue,  Los  Angeles.  He  at- 
tended Urban  Military  Academy  last  win- 
ter. Clara  Bow  and  Buddy  Rogers  are 
both  Paramount  stars.  It  is  customary  to 
send  twenty-five  cents,  with  a  request  for 
a  photograph. 

Juanita  Custer. — Copies  of  Picture 
Play  for  the  past  year  or  two  can  be  ob- 
tained from  this  office,  by  sending  twenty- 
five  cents  for  each  issue  requested.  Billie 
Dove  is  twenty-five  years  old,  Clara  Bow 
twenty-three.-  I  understand  that  photo- 
graphs of  Valentino  may  be  obtained  from 
his  former  manager,  S.  Georr .  Ullman, 
Hollywood. 

Erna. — Yes,  Erna,  send  a  quarter  when 
you  ask  for  a  star's  picture.  Nils  Asther 
is  with  Metro-Goldwyn. 

Angel  A. — That's  a  good  one!  Has 
Clara  Bow's  hair  always  been  red !  It's 
been  every  color  except  green  and  blue. 
She  tells  me  it  started  out  red  and  she 
dyed  it  black.  No,  Pola  Negri  is  not  a 
blonde,  but  wears  her  own  hair.  May 
Allison  was  born  in  Georgia,  Ivy  Harris  in 
New  Orleans.  Ivy  is  twenty-three  and  her 
newest  film  is  "Just  Married."  Marian 
Nixon  is  twenty- four.  Leatrice  Joy  was 
born  in  New  Orleans  thirty-one  years  ago. 
Her  real  name  is  Leatrice  Joy  Zeidler. 
Gloria  Swanson  uses  her  own  name.  Bebe 
is  pronounced  Bee-bee.  No,_  indeed,  Wil- 
liam Desmond  is  not  dead ;  his  new  film  is 
"The  Mystery  Rider,"  a  Universal  serial. 
Gwen  Lee  was  born  on  November  12th. 

Dot. — What  a  lot  of  curiosity  you've 
got !  See  Angel  A.  above.  No,  Jack  Holt 
did  not  play  in  "To  the  Last  Man" ;  Rich- 
ard Dix  was  the  hero.  Richard  has  a  fan 
club;  headquarters  with  Harold  Revine, 
179  Arthur  Street,  Ottawa,  Ontario,  Can- 
ada. Mary  Brian  Club,  Clara  Fochi,  53 
Villa  Avenue,  Yonkers,  New  York.  Mary 
was  born  in  Corsicana,  Texas,  February 
17,  1908.  Five  feet  tall,  weight  100,  bru- 
nette. First  film,  "Peter  Pan."  She  and 
Dix  have  both  played  in  too  many  pic- 
tures to  give  a  complete  list  of  them  here. 
Fred  Thomson  is  very  much  alive,  and 


I'd  like  to  know  where  these  whispering 
campaigns  start  anyhow.  Ivan  Mosjaukine 
was  with  Universal  for  one  picture.  Yes, 
William  Boyd's  hair  is  gray.  I'm  sorry, 
but  the  cast  of  "College"  does  not  use  char- 
acter names — it  says  A  Girl,  Her  Friend, 
and  so  on.  Jack  Daugherty  is  now  play- 
ing in  a  serial,  "The  Vanishing  Western." 
Walter  Pidgeon  is  a  free-lance  player; 
just  "Hollywood,  California,"  would  un- 
doubtedly reach  him.  Grant  Withers  is 
now  with  Warner. 

Fruryne. — I  don't  think  I've  got  your 
name  right,  but  it's  the  best  I  can  do. 
Greta  Garbo — born,  Stockholm,  1906. 
Blonde,  blue  eyes,  five  feet  six,  weight 
125.  Speaks  English  with  a  strong 
Swedish  accent  and  doesn't  like  many 
people.  Yes,  she  and  John  Gilbert  are  to- 
gether often.  John  was  born  in  Logan, 
Utah,  July  10,  1895.  Black  hair  and  eyes, 
five  feet  ten,  weight  160. 

Cleopatra. — You  just  want  to  make  life 
hard  for  me,  I  can  see  that.  Paul  Guertz- 
man,  Jesse  L.  Lasky's  new  Russian  "find," 
hasn't  appeared  on  the  screen  yet,  so  his 
official  biography  has  not  been  compiled. 
He  is  fifteen.  As  to  Mr.  Lasky — pro- 
ducers don't  give  out  their  ages,  heights 
and  weights,  and  so  on.  Yes,  I  think  go- 
ing on  the  stage  is  the  best  way  of  get- 
ting into  the  movies,  because  stage  work 
gives  you  the  chance  to  develop  person- 
ality, to  make  a  reputation,  and  to  meet 
movie  people,  so  that  screen  tests  are 
possible  to  obtain.  Thanks  for  the  com- 
pliment to  Picture  Play  and  my  depart- 
ment. 

Margaret  Erurn. — So  your  three  R's 
are  Richard  Barthelmess,  Ronald,  and 
Ramon.  You  have  very  diverse  tastes,  I 
should  say !  The  heroines  you  ask  about 
are  as  follows :  "Tol'able  David,"  Gladys 
Mulette;  "Amateur  Gentleman,"  Dorothy 
Dunbar;  "Drop  Kick,"  Barbara  Kent; 
"The  Idol  Dancer,"  Claire  Whitney. 
Ronald  Colman  played  opposite  Lillian 
Gish  in  "Romola" ;  Doris  Kenyon  was  the 
heroine  in  "A  Thief  in  Paradise,"  May 
McAvoy  in  "Lady  Windermere's  Fan," 
though  Irene  Rich  had  the  more  impor- 
tant role.  Wasn't  "The  Flower  of  Spain" 
one  of  the  tentative  titles  of  "Two  Lov- 
ers," in  which  Ronald  and  Vilma  Banky 
costarred? 

Continued  on  page  115 


103 


P, 


Little  Birdi 


The  fate  of  a  canary  who  flew  from  her  cage  to  freedom 
is  told  in  pantomime  by  Louise  Brooks,  in  "The  Canary 

Murder  Case." 


Miss  Brooks,  right,  as 
Margaret  Odcll,  in 
"The  Canary  Murder 
Case,"  is  a  dancer  in 
the  "Follies,"  whose 
death  is  one  of  the 
mysteries  of  the  story. 

The    canary,  below, 
looks  through  the  bars 
of  her  cage  and  longs 
for  freedom. 


104 

Continued  from  page  47 
on  her  way  abroad,  returning,  when 
the  picture  was  completed,  to  make 
still  another  Fox  film. 

Of  course,  it  was  glorious  in 
Europe,  and  just  the  place  to  forget 
unfortunate  contracts,  for  Nick — 
Miss  Carol's  particular  Nick — was  a 
member  of  the  same  troupe,  and  the 
whole  company  in  the  course  of  their 
travels  went  to  Venice.  It  needs  no 
effort  of  the  imagination  to  picture 
two  young  people  in  love  in  Venice. 

"Every  night,"  says  Miss  Carol, 
who  is  not  inhibited,  "Nick  and  I 
used  to  practice  our  love  scenes  for 
the  picture  in  a  gondola  in  the  Grand 
Canal."  In  the  new  era  it  seems 
that  one  may  still  live,  but  does  not 
have  to  suffer  for  one's  art.  At  any 
rate,  there  is  no  record  that  Director 
David  Butler  had  any  complaint 
about  the  realism  which  found  its 
way  into  the  film. 

The  Younger  Set. 

For  Alice  Dayr  the  comely  sister 
of  Marceline,  life  in  New  York  was 
mostly  work  and  little  play,  for  she 
was  obliged,  while  in  the  East,  to 
spend  most  of  her  time  in  Water- 
bury,  Connecticut,  for  the  talking  se- 
quences of  "Times  Square." 

Barbara  Kent,  too,  was  obliged  to 
indulge  in  the  exacting"  process  of 
clock  punching.  While  "Lonesome" 
was  playing  at  the  Colony  Theater, 
she  made  daily  appearances  on  the 
stage,  and  after  the  first  week  she 


Continued  from  page  31 

Mary  has  done  nothing  but  act  as  a 
sight-seeing  guide.  Sir  Austen  Cham- 
berlain and  his  family  had  no  more 
than  left,  when  Lord  and  Lady  Al- 
lenby  arrived.  Mary  must  be  quite 
an  accomplished  spieler  by  now." 

"Well,  for  that  matter,  is  Chap- 
lin ever  going  to  get  around  to  make 
his  picture?" 

"It  looks  promising,"  Fanny  said 
thoughtfully.  "Almost  every  night, 
now,  he  paces  up  and  down  the 
Boulevard  and  goes  into  Henry's  for 
a  late  sandwich,  and  when  he  takes 
up  night  prowling  you  can  be  sure 
a  story  has  begun  to  bother  him. 

"Bebe  Daniels  is  to  play  a  news- 
paper reporter  in  her  next  picture," 
Fanny  rattled  on.  "She  is  having 
more  fun  kidding  her  newspaper 
friends.  She  goes  around  interview- 
ing people,  giving  most  adroit  imita- 
tions of  the  worst  interviewers  who 
have  made  her  suffer. 

"Right  next  door  to  Bebe's  house, 
Townsend  Netcher  is  building  a 
home.  He  has  hopes  of  being  Con- 
stance Talmadge's  next  husband,  if 
Constance  doesn't  change  her  mind. 
He  is  a  nice  chap,  tremendously  pop- 


Manhattan  Medley 

was  whisked  off  to  Washington,  to 
open  a  bazaar  for  the  benefit  of 
widows  and  orphans  of  soldiers  and 
sailors. 

Miss  Kent  left  New  York  joyfully 
for  Hollywood,  having  found  little 
pleasure  in  the  personal-appearance 
racket.  However,  en  route  home  it 
was  decided  that  she  must  grace  the 
boards  at  Cleveland,  Milwaukee,  and 
Chicago  before  she  was  permitted  to 
proceed  to  the  land  of  sunshine, 
which  she  so  admires. 

Betty  Bronson  likewise  improved 
the  autumn  days  by  a  trip  to  New 
York,  object — strictly  play.  During 
her  ten-day  visit  she  went  to  the  the- 
aters, saw  friends  and,  of  course, 
went  to  the  Winter  Garden  to  see  Al 
Jolson  and  herself  in  "The  Singing 
Fool."  Incidentally,  Miss  Bronson  is 
quite  a  rarity  in  the  younger  set. 
Apart  from  her  piquant  charm,  she 
has  the  added  distinction  of  being 
one  of  the  few  younger  players,  to 
whom  it  is  a  pleasure  to  listen  in  the 
much-discussed  talkies.  Her  voice 
has  none  of  the  nasal  twang,  or  the 
self-conscious  assurance  of  many  of 
the  brash  young  things  who  seem  to 
think  that  to  be  born  pretty  is  to  be 
born  cultivated,  and  who  inform  you 
that  if  the  voice  is  natural,  that  is  all 
which  is  necessary  for  successful  re- 
production. When  she  returns  to 
California,  Miss  Bronson  may  take 
a  stage  role  in  "The  Constant 
Nymph,"  or  again  she  may  be  per- 


suaded, though  somewhat  against  her 
will,  to  appear,  in  the  stage  version  of 
"Peter  Pan." 

A  Campus  Favorite. 

Irene  Rich  has  joined  the  great 
army  of  cross-continent  commuters. 
Two  or  three  times  a  season,  at  least, 
she  can  be  counted  on  to  visit  New 
York,  her  purpose  being  either  to  put 
a  daughter  in  college,  to  spend  the 
holidays  with  her,  or  to  take  her 
home. 

Miss  Rich's  womanly  charm  is  set- 
ting a  new  fashion  in  the  college  set, 
where  she  is  adored ;  for,  of  course, 
she  always  makes  a  point  of  meet- 
ing her  daughters'  school  friends. 

Miss  Rich  has  always  stood  for  the 
good,  old-fashioned  qualities  on  the 
screen.  Her  virtues  are  those  of  the 
woman  of  the  older  generation,  who 
always  had  dinner  ready  when  the 
children  came  home,  prepared  by  her 
own  loving  hands,  whose  day  was 
long  in  the  service  of  her  family,  and 
whose  sufferings  were  borne  almost 
with  the  same  sweet  smile.  Naturally 
Miss  Rich  carries  this  aura  about  with 
her,  and  when  the  younger  generation 
is  presented  to  the  pretty,  talented 
mother  of  the  Rich  girls,  they  whis- 
per to  each  other,  "Oh,  isn't  she  won- 
derful!  Wouldn't  it  be  grand  to  be 
just  like  her !"  And  then  quietly  be- 
gin to  let  their  hair  grow,  and  de- 
termine to  use  a  little  bit  less  lipstick. 


Over  trie  Teacups 

ular  with  the  film  colony,  and  every 
one  hopes  that  Constance  will  marry 
him,  and  that  the  marriage  will  prove 
a  little  more  lasting  than  her  others. 

"Anna  Q.  Nilsson  has  recovered 
at  last,  and  gone  to  work  in  an  F. 
B.  O.  picture.  Her  old  friend  Claire 
du  Brey,  who  was  constantly  at  her 
side  during  her  illness,  is  so  wor- 
ried about  her  that  she  insists  on 
staying  at  the  studio,  standing  in  for 
Anna  while  they  arrange  lights,  and 
even  doubling  for  her.  That's  friend- 
ship !  All  the  hard  work  and  none 
of  the  glory. 

"I  wonder  how  Anna  will  sound  in 
dialogue  pictures.  I  think  her  accent 
should  be  fascinating.  But  it  is  such 
a  willful  accent.  She  drops  it  for 
days  at  a  stretch,  and  then  suddenly 
she  loses  her  temper,  or  gets  all 
thrilled  over  something,  and  her 
words  come  tripping  out  over  one 
another  with  a  heavy  Swedish  tinge. 
It  is  delightful  in  real  life. 

"Anna's  thrilled  because  her  chum 
of  many  years,  Alice  Joyce,  is  mak- 
ing her  stage  debut  out  here.  And 
Anna  is  not  alone  in  pleased  antici- 
pation of  it.    The  list  of  reservations 


for  first-night  tickets  reads  like  the 
Blue  Book  of  the  picture  world. 
Owen  Moore  is  playing  opposite  her. 

"It  just  seems  as  though  a  week 
never  passes,  nowadays,  without  some 
occasion  that  demands  telegrams  of 
congratulation.  Mrs.  Lewis  Stone  is 
returning  to  the  stage,  in  'The  Royal 
Family.'  Barbara  Bedford  is  to 
make  her  stage  debut  with  the  Henry 
Duffy  players.  And  Warner  Bax- 
ter's and  Alan  Hale's  wives  are  both 
returning  to  pictures.  Oh,  well, 
there  always  seems  to  be  room  for 
one  more." 

But  don't  let  any  ambitious  young 
folks  out  in  the  hinterlands  hear  that 
remark  of  hers.  There  really  isn't 
room  for  any  more.  Not  even  for 
the  man  in  Salt  Lake  City,  who  so 
eloquently  wrote  to  Doris  Dawson 
boosting  his  qualifications  for  sound 
pictures.  He  had  it  all  figured  out 
that  he  could  save  producers  a  lot  of 
money,  because  he  could  double  for 
the  sounds  in  a  barnyard  scene,  being 
particularly  proficient  in  imitating  the 
folk  songs  of  cows,  pigs,  chickens, 
and  horses ! 


Advertising  Section 


105 


A  Girl  Comes  to  Hollywood 


Continued  from  page  92 


recommended  by  a  mysterious  lady,  it 
was  impossible  to  learn  anything 
from  them  about  the  existence  of 
the  "invalid  lady." 

When  Madeleine  went  to  the  bun- 
galow, as  stealthily  as  she  suspected 
Lopez's  companion  had  moved  in,  the 
girl  had  gained  no  actual  proofs  of 
a  woman's  presence  there,  though 
for  weeks  she  had  been  spying. 

It  was  evening  when  Madeleine 
took  up  her  residence,  walking  in 
alone  after  dusk,  with  no  luggage 
save  a  suit  case.  She  let  herself  in 
with  the  key  Lopez  had  turned  over 
to  James  Jones,  shut  the  door  behind 
her  without  noise  and,  breathing  a 
slight  sigh  of  relief,  set  the  heavy 
suit  case  on  the  floor. 

The  sound  of  that  small  sigh 
seemed  to  echo  through  the  vestibule. 
It  was  almost  dark  there,  the  sole 
illumination  coming  from  outside,  fil- 
tering through  the  glass  panes  of  the 
front  door,  shimmering  mistily  in  a 
mirror,  and  Madeleine  longed  to 
switch  on  a  flood  of  light.  But  she 
would  not  do  this.  First  she  would 
feel  her  way  through  the  dimness  and 
draw  curtains  over  windows,  so  that 
lights  in  the  house  should  not  be  seen 
from  the  street.  She  did  not  want 
any  one  to  know  or  suspect  that  the 
bungalow  was  not  empty  that  night. 

It  was  only  with  a  strong  effort  of 
will,  however,  that  the  girl  kept  her 
finger  from  the  switch. 

'"Stupid  !"  she  scolded  herself.  But 
she  was  afraid.  The  sound  of  that 
sigh  which  in  imagination  echoed, 
sent  a  shiver  through  her  veins. 

What  if  that  woman  were  here — - 
if  she  had  secretly  stolen  back  to  find 
some  forgotten  thing?  Or  what  if 
Marco  Lopez  had,  after  all,  suspected 
a  hidden  motive  behind  the  quick  sale 
of  his  house  and  were  hiding  to  see 
what  would  happen? 

John  Barrett  hadn't  wanted  Made- 
leine to  go  alone  to  the  bungalow 
after  nightfall  as  she  proposed  to  do. 
"Haven't  I  proved  that  I'm  no  cow- 
ard ?"  she  had  asked,  and  he  had 
agreed,  while  maintaining  his  point. 
She  would  find  this  ordeal  a  strain. 
Of  course,  as  she.  argued,  she  was 
less  likely  to  be  noticed  going  into  the 
house  after  dusk  than  at  any  other 
time.  All  the  same,  he  persisted,  it 
was  easy  enough  to  snatch  a  chance 
by  day  and  slip  unseen  into  a  house 
in  a  quiet  street. 

Madeleine  had  refused  to  take 
chances  of  any  kind,  so  here  she  was, 
and  hardly  had  she  closed  the.  front 
door  with  a  click  when  she  wished 
that  she  hadn't  refused  Mr.  Barrett's 
company. 

'T  can  feel  some  one  here,"  she 


'Or  maybe  the  place  is 


thought, 
haunted. 

She  took  up  the  suit  case  again 
after  a  minute's  rest,  and  groped  her 
way  into  a  room  whose  large  window 
suggested  that  it  had  been  a  studio. 
Lopez  had  left  the  thick  curtains  of 
dark-blue  velveteen,  and  when  the 
girl  had  pulled  them  across  the  un- 
covered panes,  she  ventured  to  use  a 
flash  light  she  had  brought. 

By  means  of  the  tiny  light  she  dis- 
covered an  electric  switch  by  the  door 
and  produced  a  bluish  glow  in  -two 
hanging  lanterns.  There  were  other 
switches,  but  the  less  light  risked,  the 
better  it  would  be,  she  thought. 

The  girl  stood  still  and  looked 
around  her. 

Everything  was  blue  here — blue 
and  mysterious,  except  the  few  pieces 
of  furniture,  and  a  divan  covered 
with  purple  velvet.  The  carpet  was 
blue,  the  walls  and  ceiling  were  blue, 
of  a  lighter  shade  than  the  thick  cur- 
tains, and  the  glass  in  the  hanging 
lanterns  was  blue  as  a  sapphire. 

"This  isn't  like  the  coloring  an  art- 
ist would  want  for  his  studio,"  Made- 
leine thought.  "Lopez  could  easily 
have  painted  the  walls  and  ceilings 
himself — for  some  one  he  loved.  And 
he  must  have  loved  her — once,  any- 
how, if  not  now.  Maybe  he  grew 
tired  of  her — and  of  hiding  her. 
Maybe  he  really  meant  to  marry  Lady 
Gates  and  get  all  that  money  for  his 
own.  Or  maybe  it  was  just  a  scheme 
worked  out  with  the  woman,  to  bene- 
fit her  in  the  end.  Whichever  way 
it  was,  he  loved  the  woman  and  did 
his  best  for  her  when  he  brought  her 
here." 

The  big  window,  looking  on  the 
patch  of  lawn  and  the  street,  faced 
north.  Opposite,  on  the  opposite 
wall  of  the  room,  another  window, 
only  slightly  smaller,  was  set.  Made- 
leine had  not  been  in  such  haste  to 
cover  this  with  its  blue  curtains  be- 
cause, even  had  Jones  had  described 
the  interior  of  the  house,  she  was  able 
to  see  that  smaller  window  looked 
onto  a  little  patio.  A  door  placed 
near  the  window  led  into  a  short  pas- 
sage, with  a  wall  of  glass  running 
along  this  patio,  and  .  beyond  that, 
Madeleine  knew  that  she  should  come 
to  the  room  decorated,  Jones  said, 
"more  to  please  a  woman  than  a 
man." 

It  seemed  to 
smelled  a  faint 
which,  somehow,  made  the  house 
"come  alive"  in  a  frightening  and 
sinister  way. 

[to  be  continued.] 


the 


girl 


that  she 


fragrance  of  incense 


EARLE  LIEDERMAN,  The  Muscle  Builaer 

Author  of  "Muscle  Buildingt  "  "Science  of  Wrestling," 
"Secrets  of  Strength,"    *'Here'»    Health,"    "Endurance,"  eto. 

Does  She  Love  You  Enough  ? 

Give  ajhought  to  y6ur  Physical  Self 

If  your  wife  or  sweetheart  acts  cool  and  dissatisfied 
with  you,  give  a  thought  to  your  physical  self.  A 
woman  looks  at  more  than  a  man's  face.  She's  thinking 
of  his  ability  to  protect  her;  provide  for  her;  of  her 
pride  in  his  appearance  in  a  bathing  suit,  on  the  ath- 
letic field,   on  the  dance  floor. 

When  you  hear  a  woman  exclaim:  "Oh,  what  a  hand- 
some man!"  she's  not  looking  at  his  face  alone.  She's 
sized  him  up  from  top  to  toe.  Those  broad  shoulders, 
that  graceful  athletic  stride,  the  well-shaped  neck,  and' 
head,  those  strong,  muscular  arms  and  legs.  They  thrill; 
any  woman.  Every  wife  and  every  sweetheart  wants  her1 
man  to  be  like  that.    Are  you? 

Well,  you  can  be! 

I  Build  Strong,  Handsome,  Healthy 
Bodies 

People  call  me  the  Muscle-Builder.  By  a  method 
of  scientific  body-building  I  go  all  over  your  body, 
strengthening  your  internal  organs,  broadening  your 
shoulders,  cutting  off  fat,  and  generally  turning  you  in- 
side out  until  you're  a  healthy,  handsome  fighting  he- 
man  any  woman  will   be  proud  of. 

In  just  30  days  1  add  one  whole  inch  of  live,  flexible 
steely  muscles  to  each  of  your  arms  and  two  full  inches 
of  rippling,  muscular  strength  across  your  chest.  Your 
legs  will  become  straight  and  strong,  your  head  snap 
back  erect,  and  little  lumps  of  red-blooded  muscle  will 
begin  to  stand  out  on  your  broadening  shoulders. 

90  Days  and  You  Have  One 

But  I'm  not  through  with  you  yet.  I  don't  make  men 
by  halves.  Give  me  just  GO  days  more  and  then  look 
yourself  over.  Now  you  sure  are  somebody!  The  pathway 
to  happiness  and  success  is  easy. 

People  will  ask  to  meet  you.  .  Successful  business  men- 
will  realize  that  here  is  another  man  to  accept  as  one  of 
their  own  group.  Your  boss  will  treat  you  with  a  new 
respect,  and  that  girl  of  yours  will  have  that  look  of  love 
and  affection  in  her  eyes  that  in  itself  will  more  than 
repay  you. 

I  Do  More  Than  Promise:  f  Guarantee  it 

With  a  body  like  that  the  thrill  of  living  is  as  great 
as  the  thrill  you  get  when  you  fall  in  love.  It's  wonder-, 
ful!  Just  check  off  on  your  fingers  what  such  a  body 
gives  you — pep,,  vitality,  health,  strength,  love,  affection- 
- — everything  a  man  desires. 

What  a  picture  you'll  be  in  a  bathing  suit  I  What  a 
sight  in  a  gymnasium!  You'll  be  a  magnet  for  all  wom- 
en's eyes.  That  healthy,  aggressive,  erect  stride  of  the 
man  who  knows  what  he  wants  and  is  going  to  get  it, 
just  commands  attention. 

Send  for  my  New  Book, 

"MUSCULAR  DEVELOPMENT" 

64  pages  and— it  is  FREE 

What  do  you  think  of  that?  I  don't  ask  one  cent  for 
48  full-page  photos  of  myself  and  some  of  my  prize- 
winning  pupils.  This  is  the  finest  art  gallery  of  strong 
men  ever  assembled.  If  you  don't  get  a  kick  out  of  this 
book,  you  had  better  roll  over — you're  dead.  Come  on, 
then.  Take  out  the  old  pen  or  pencil  and  sign  your 
name  and  address  to  the  coupon.  If  you  haven't  a 
stamp,  a  postal  will  do.    But  snap  into  it.    Do  it  now. 


EARLE  LIEDERMAN 


Dept.  1401 
j,  _  — 

1  It 

!«- 

I  F 

IS 

E 


305  Broadway,  New  York  City 

EARLE  LIEDERMAN,  i 

Dept.   1401,  305  Broadway,  New  York  City  j 

Dear    Sir:    Please    send    me,    absolutely  ■ 

FREE  and  without  any   obligation  on  my  ■ 

part  whatever,  a  copy  of  your  latest  book,  I 

"Muscular  Development,"  m 


Street 


  i; 

City   State    J 

{Please  write  or  print  plainly.) 


106 


Advertising  Section 


>■>... 


WHILE  at  the  George 
Inn  in  Vermont, 
Anette  meets  and  falls  in 
love  with  Roy  Legarde. 
She  is  engaged  to  Mark 
Seccombe,  but  even  as 
she  writes  to  break  off 


A  Modest  Chap 

Continued  from  page  51 


Having  been  bitten  by  the  acting 
bug,  he  will  never  leave  the  game. 
His  real  ambition  is  to  direct.  "I'd 
hate  to  think  I  had  to  spend  my  life 
with  this  mug  stuck  in  front  of  a 
camera,"  he  will  exclaim.  But  he 
admits  to  a  thrill  the  minute  he  steps 
on  the  set — the  thing,  whatever  it  is, 
that  makes  actors  want  to  act,  and 
act. 

He  has  a  cyclonic  way  of  arriving. 
For  every  girl  he  has  a  pretty  com- 
pliment that  smacks  of  a  certain 
Celtic  stone,  and  has  too  much 
kidding  in  it  to  be  convincing.  One 
evening,  tall,  gayly  smiling,  he 
swooped  into  a  girl  friend's  home. 
"Two  of  my  masterpieces — we 
worked  all  of  six  days  on  one — at  one 
theater,  and  both  for  fifteen  cents ! 
Main  Street !  Come  on  and  see  how 
rotten  I  am.  You'll  never  again  see 
so  much  bad  acting  for  fifteen  cents. 
Nope,  you  can't  go,  child,"  to  an- 
other. "You  have  to  wait  until  I  get 
into  a  twenty-cent  theater." 

His  popularity  in  Hollywood  is  not 
to  be  wondered  at.  He  isn't  hard  on 
feminine  eyes  and  he  has  a  vital, 
fun-loving  personality.  You  see  him, 
correct,  polished,  at  premieres  and 
social  functions.  Everything  just 
right.  That  easy,  untrained  Tight- 
ness which  is  a  heritage.  Or,  in  old 
clothes,  he  will  amble  along  the 
crooked  streets  of  Chinatown  for  an 
inquisitive  and  diverting  evening,  or 
walk  along  drab  Main  Street. 

The  things  that  are  most  genuine 
and  important  to  him  are  matters  to 
be  discussed  only  with  his  friends. 


His  work  comes  in  that  category,  and 
of  it  he  will  talk  indefinitely. 

He  has  his  stake  among  the  inde- 
pendents' diggings,  and  is  panning 
gold  from  Poverty  Row  quickies,  at 
a  salary  that  few  of  the  better-known 
leading  men  are  receiving.  None  of 
those  "discovered"  within  the  past 
year  come  within  a  good  many  yard- 
sticks of  his  weekly  checks. 

He  is  choosing  these  finger-snap 
movies  deliberately,  in  preference  to 
hanging  around  the  big  lots  between 
pictures,  waiting  for  some  executive 
to  notice  him.  His  idea,  rather  new 
and  startling,  but  after  all  reasonable, 
is  to  make  the  public  acquainted  with 
him.  If  other  actors  didn't  believe  it 
a  loss  of  caste  to  play  in  the  quickies, 
there  would  be  fewer  idle  actors  in 
Hollywood.  Con,  however,  isn't  an- 
noyed by,  or  pleased  by,  or  otherwise 
acquainted  with,  the  fact  that  his 
name  means  anything,  so  he  peddles 
it  and  his  face  where  the  work  and 
the  cash  are  found. 

He  has  faults— plenty.  The  sort 
your  brother  has,  and  that  you'd  like 
to  shake  him  for.  If  it  weren't  for 
them,  he  might  be  the  model  boy  he  is 
afraid  some  one  will  call  him. 

He  doesn't  know  I  have  written 
this.  How  he  will  take  the  surprise 
may  change  for  me  the  tenor  of  the 
day  on  which  he  comes  across  it.  He 
was  finally  persuaded  that  a  photo- 
graph in  Picture  Play  would  be  a 
fine  thing  for  him ;  that's  how  I  got 
that.  If  I  haven't  said  anything  nice 
about  him,  he  will  like  this  article. 
And  I  haven't,  have  I? 


The  Prodigal  Returns 

Continued  from  page  21 


her  engagement,  she 
hears  he  is  injured  for 
life  in  an  accident.  What 
does  she  do?  Does  she 
give  up  the  man  she 
really  loves  and  marry 
Mark?  Read 

The  Inn  with 
the  Red  Blind 

By  Georgette  MacMillan 

in  the  December  issues 
of 

LOVE  STORY 

MAGAZINE 

Every  Week 
15  Cents  per  Copy 


in  front  of  it.  Then,  too,  the  task  of 
combining  two  mediums,  pantomime 
and  speech,  is  no  easy  one.  On  the 
stage  it  is  different.  There,  your 
work  is  directed  at  a  mass.  You 
don't  have  to  be  constantly  careful 
of  the  right  angles,  and  the  right  tim- 
ing and  approach  of  the  'mike.'  It 
means  the  beginning  of  new  methods. 
In  the  end  I  think  they  will  be  more 
natural  ones,  since  the  scope  has 
broadened." 

There  are  persistent  rumors  of  the 
possibility  that  Miss  Frederick  will 
remake  "Madame  X"  for  Vitaphone. 
This  provided  her  most  popular  char- 
acter on  the  stage  and  screen,  and  the 
title  role  has  come  to  be  closely  iden- 
tified with  the  actress.  The  success 
of  its  revival  is  already  assured,  but 
Miss  Frederick  is  reluctant. 

"I  wish  I  never  had  to  think  of  the 
part  again,"  she  said,  suddenly  vehe- 


ment. "Madame  X  is  a  curse  to  any 
one  who  plays  her.  You  don't  con- 
trol her — she  controls  you.  When- 
ever I  play  her  I  feel  old,  hopeless, 
drab.  I  can't  bear  to  go  out,  and  I 
mope  and  am  generally  insufferable. 
She  is  too  absorbing.  It  isn't  health- 
ful." 

Miss  Frederick  hopes  to  be  allowed 
a  variety  of  roles  and  types.  Her 
restless  nature  can  never  be  satisfied 
with  two  consecutive  pictures  or  plays 
in  the  same  mood.  But  whatever  she 
does  will  be  thankfully  received  by 
the  public.  She  has  been  away  too 
long,  but  not  long  enough  for  the 
fans'  devotion  to  lessen. 

Such  warm,  vibrant  and  powerful 
personalities  as  Pauline  Frederick's 
are  rare.  Only  she  can  fill  the  gaping 
void  her  absence  caused.  And  now, 
inadequate  substitutes  need  no  longer 
be  accepted. 


Advertising  Section 


107 


L.arrying  On 

Continued  from  page  90 

A  fan  club,  with  a  huge  following, 
has  made  Marion  Mack  one  of  its 
honorary  presidents.  It  is  possible 
that  Marion  will  work  up  to  leads  in 
pictures.  Just  now  she  is  with 
Warner  Brothers. 

She  is  not  new  to  screen  work. 
She  played  leads  down  in  the  Argen- 
tine several  years  ago.  .Born  in  Italy, 
she  came  to  America  when  she  was 
three  years  old.  She  was  educated 
here,  and  looks  upon  this  country  as 
her  native  land. 

Marion  is  clever.  She  can  write 
and  do  almost  everything.  All  the 
electricians  and  stage  hands  on  the 
Warner  Brothers'  lot  show  her  every 
attention  and  respect.  In  a  year  or 
two,  perhaps,  .we  shall  see  Marion 
Mack  in  leads,  or  possibly  a  star. 

It  is  very  probable  that  Mrs. 
Wallace  Reid  would  also  have  been 
forgotten  had  she  not  made  pictures 
herself,  after  her  husband's  untimely 
death.  To-day  she  has  quite  a  large 
following  among  those  who  admired 
and  loved  Wally. 

Mrs.  Reid  has  no  idea  of  self- 
aggrandizement.  Her  work  in  pic- 
tures provides  extra  money  for  her 
children's  education.  She  is  the  do- 
mesticated type  of  woman,  rather 
than  the  publicity-seeking  sort,  and 
deserves  much  respect  and  admira- 
tion. 

■  To  these  widows  we  should  accord 
some  allegiance.  They  all  stood  by 
their  husbands,  in  both  sorrow  and 
happiness,  in  struggle  and  success. 
Is  it  not  fair  that  they  should  now 
share  some  of  the  praise? 


Admission  TvC'enty-five  Cents 

Continued  from  page  60 

"The  Sheik" ;  a  detailed,  miniature 
set  of  the  snowslide  in  Chaplin's 
"The  Gold  Rush";  and  one  of  the 
dinosaurs  from  "The  Lost  World," 
a  masterpiece  of  craftmanship.  On 
the  walls  are  oil  paintings  of  stars, 
decorative  stills  from  their  pictures, 
etchings  and  caricatures  by  Bert 
Levy,  celebrated  for  his  sketches  of 
film  luminaries.  A  complete  studio 
set,  with  dummies  illustrating  the 
functions  of  actors,  director,  camera 
man,  et  cetera.  Particularly  enter- 
taining are  stills,  discovered  in  heaven 
knows  what  attic,  from  the  earliest 
Biograph  days,  which  form  an  un- 
published and  invaluable  collection. 
A  large  camera  advertisement  dis- 
plays a  girl  in  the  strange,  volumi- 
nous dress  of  twelve  years  ago — 
Eleanor  Boardman,  when  she  was  an 
artists'  model. 

It  is  unquestionably  a  fine  racket. 


Where  Is  the  Fat 

of  Yesterday? 


Have  you  noted  how 
fast  excess  fat,  with  men 
and  women,  has  dis- 
appeared in  late  years? 
Slender  figures  are  the 
rule.  Think  what  mil- 
lions have  gained  in 
youth  and  beauty,  health 
and  vigorby  that  change. 

A  great  factor  has 
been  a  discovery  made  \'A 
some  25  years  ago.  ; 
Medical  research  found  f'„r, 
a  cause  of  excess  fat.  It  JT* 
lies  in  weakness  of  a 
gland  which  largely  controls  nutrition.  Too 
much  of  the  food  goes  to  fat. 

Modern  physicians  in  treating  obesity 
now  feed  that  gland  substance.  And  that 
is  the  main  factor  embodied  in  Marmola  pre- 
scription tablets. 

Marmola  was  perfected  by  a  famous 
medical  laboratory.  Its  chief  factor  is  a  gland 
food.  People  have  used  it  for  over  20  years 
— millions  of  boxes  of  it.  Users  have  told 
the  results  to  others — the  loss  in  weight, 
the  gain  in  health  and  vigor.  Thus,  year  by 


year,  the  use  has  grown 
to  very  large  propor- 
tions. In  the  past  year 
alone  it  has  doubled. 

The  results  are  seen 
everywhere.  Excess  fat 
has  been  banished  to  a 
large  degree. 

Every  box  of  Marmola 
contains  the  formula, 
also  the  scientific  rea- 
sons for  results.  When 
fat  departs  and  new 
vigor  comes,  you  know 
exactly  why.  No  hard 
work,  no  starvation.  Just  take  four  tablets 
daily  until  weight  comes  down  to  normal. 

Try  this  method  which  for  over  20  years 
has  brought  new  joys  to  so  many.  You  owe 
that  to  yourself.  Watch  the  gradual  loss  of 
fat.  Enjoy  the  new  energy  that  comes.  You 
will  be  delighted.  Don't  wait  longer.  Get 
Marmola  now. 


Marmola  prescription  tablets  are  sold  by  all 
druggists  at  SI  per  box.  If  your  druggist  is) 
out,  he  will  get  them  at  once  from  his  jobber. 


MARMOLA 


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The  Pleasant  Way  to  Reduce 


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My  old  original  Three  Part  Treatment, 

tjtandby  of  women  for  21  years,  has  made  thou- 
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DEVELOPMENT  v^ithout  bathing,  maBsage,  ex- 
ercises, pumps  or  dangerous  appliances. 

Send  10c  for  14-Day  Demonstration — 
to  cover  postage.  Why  pay  more  when  I  give 
big  proof  treatment  FREE  to  all  except  men 
curiosity  seekers.  Dime  back  if  not  satisfied 

Madame  Williams,  Dfc-13.  Buffalo.  N.  V, 


0VIE  STAR  PHOTOS 


LATEST 

POSES 


|j|  24  photos,  Bize3Mx5M.  (including  75  FREE  miniature  ART 
ti  1  pictures)  $1.00.  8x10— $5  am.  One  band-colored  FREE 
WOmmK    each  $5  order.    Complete  list  FREE.    Also  Ltathim?  Girl 

Ehotos:  24-S1.00.   FILM  STARS  PORTRAIT  CO.,  Dept.  A.  424  So. 

Broadway.  Los  Angeles,  Calif.  


STRAIGHTZtor 

i  can  be  rnade^ 

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Why  envy  other  peonle 
blessed  with  wavy  hair? 
Wonderful  new  preparation  known  as  VLOTO 
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v<S> 


Puzzle  fans  attention:  J.  C. 
Long,  Charles  Vogtmann,  Mrs.  J.  E. 
Fields,  Viola  Javins,  Alvin  Smith,  Mrs.  John 
,    Gillies,  Jacob  Brauchert  each  won  sedans  in  our  last 

auto  puzzles.  Over  800  prizes  awarded  in  one  year.  Over 
$11,000.00  in  prizes  paid  by  us  in  October,  1928.  In  next  few 
months  will  award  between  300  and  400  prizes  through  our  puz- 
zles. Here's  the  new  one  for  you. 

FIND  THE  "DIFFERENT"  AUTO 

The  cars  in  the  oval  a'l  look  exactly  alike  at  first  glance.  They  are  not 
all  alike.  One  is  different  from  all  the  others.  There  is  a  real  difference. 
Something  is  purposely  left  off  all  the  other  cars  but  this  one.  The  difference 
may  be  in  the  fenders,  bumper,  nameplate,  radiator  or  top.  The  one  that 
is  different"  is  the  real  Buick  Sedan  I  am  giving  away  in  addition  to  three 
other  cars  in  my  great  friendship  advertising  campaign.  You  may  be  the  one 
who  will  find  it 

AND  WIN  BUICK  SEDAN  OR  $1800.00  CASH 

4  sedans  and  28 other  prizes  totaling  over  $5,000.00.  32  prizes  and  duplicate 
prizes  paid  in  case  of  ties.  If  you  can  find  the  "different"  auto  you  may 
be  the  one  to  get  this  great  prize. 

Certiorate  for  $480.00  to  apply  on  grain!  prize  sent 
immediately  as  below  if  you  find  the**different"ear. 

Immediate  quick  action— no  delay— we  send  certificate  for  8430.00  to  add  to 
the  first  prize  at  once  if  you  win  and  directions  for  getting  Buick  bedan. 
We  Bpend  over  $150,000.00  this  wav  each  year  to  advertise  our  products. 
NO  MORE  PUZZLES  TO  SOLVE.  Nolista  of  words  to  makeor  write  ' 
or  any  other  puzzles.  This  is  all.  Everyone  rewarded  if  actively  inter- 
ested. Nocontorobligation.  Nothing tobuy  now, later, or  ever. 
Just  send    the  number  of  the     different"  auto  in  a 
letter  or  on  a  postcard.  That'sall,  send  no  money. 
B.  H.  France,  Dept.  153f 
500  N.  Dearborn  St., 
Chicago,  BBS. 


©J 


108 


Advertising  Section 


5W 


The  Brand  of 
a  Good  Book 





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GUN  GENTLEMEN  David  Manning 

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YOUNG  LIGHTNING  Charles  Wesley  Sanders 

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What  Price  Good  Nature 


Continued  from  page  67 


property  damage,  and  brought  poor 
Colleen  the  knowledge  that  a  star 
cannot  obey  her  impulses  in  the  mat- 
•ter  of  making  friendly  visits. 

The  people  who  seek  to  meet  and 
talk  to  actors  are  not  always  moti- 
vated by  mere  hero  worship.  As 
often  as  not,  they  have  some  private 
ax  to  grind.  They  want  to  sell  some- 
thing, or  make  use  of  the  stars'  names 
for  some  purpose  of  their  own.  Per- 
haps they  want  to  get  into  the  movies. 
Or  maybe  they  merely  want  to  bor- 
row money. 

Richard  Dix,  who  has  the  reputa- 
tion of  being  one  of  the  best-natured 
chaps  in  Hollywood,  is  a  constant  tar- 
get for  people  who  are  aware  of  his 
inability  to  say  "No!"  His  loans  to 
temporary,  or  permanent,  down-and- 
outers  make  serious  inroads  upon  his 
income  every  week. 

But  even  Richard's  good  nature  al- 
most deserted  him  once,  when  he  was 
asked  for  money  twenty-seven  times 
sin  one  day! 

Ramon  Novarro  made  a  personal 
appearance  at  some  function  in  New 
York.  The  crowd  descended  upon 
him  afterward  and  nearly  tore  his 
clothes  from  his  body  in  their  efforts 
to  touch  him,  to  secure  a  button  or  a 
scrap  of  his  coat  as  souvenirs. 

Five  men  in  the  crowd  finally  res- 
cued him  by  massing  themselves 
about  him,  and  whisking  him  into 
their  car.  Ramon,  bruised  and  tat- 
tered, was  grateful  to  his  new  friends, 
and  said  so. 

But  the  worst  was  not  yet.  Hav- 
ing rescued  him  and  thus  got  the  lion 
to  themselves,  the  five  insisted  that 
he  have  dinner  in  the  apartment  of 
one  of  them.  Ramon,  still  striving 
to  be  a  good  fellow,  was  forced  to 
assent,  and  they  proceeded  from  that 
apartment  to  another  in  a  sort  of  pro- 
gression of  festivities,  each  host 
doubtlessly  wishing  to  be  able  to  tell 
his  friends  that  he  had  entertained 
Ramon  Novarro. 

Any  move  to  go  home  on  the  part 
of  the  tired,  bedraggled  actor  was 
met  with  protests,  which  threatened 
to    become    sulky.      "We're  your 


friends,  old  boy !  Didn't  we  get  you 
out  of  that  mob?  You're  not  going 
to  let  us  down !" 

So  poor  Ramon  went  on  for  hours 
and  hours  being  a  good  chap  and 
avoiding  his  admirers'  disappoint- 
ment. Eventually,  however,  weari- 
ness won,  and  Ramon,  seeing  no  in- 
dication that  things  would  not  go  on 
like  this  all  night,  hopped  out  of  a 
window,  fled  down  a  fire  escape, 
jumped  into  a  taxi  and  made  his  es- 
cape. 

No  doubt  his  five  rescuers  were 
very  much  annoyed  with  him. 

There  was  the  time  a  man  ap- 
proached Jack  Holt  when  he  was  eat- 
ing in  a  restaurant,  touched  him  on 
the  shoulder  and  said;  "I  wonder  if 
you  would  mind  moving  your  table 
around  a  bit,  old  chap.  My  wife 
can't  see  what  you  are  eating !" 

And  the  time  a  lady,  watching 
Adolphe  Menjou  in  a  love  scene  on 
the  set,  bleated  loudly  to  her  daugh- 
ter, "Wouldn't  it  be  wonderful,  my 
dear,  if  Mr.  Menjou  were  to  say 
sweet  things  like  that  to  you?" 

Well!  Even  the  perfect  Menjou 
poise  was  not  quite  equal  to  that  oc- 
casion. And  Adolphe,  after  one  look 
at  the  candidate  for  his  sweet  mur- 
murings,  retired  to  his  dressing  room 
in  quite  a  state  of  nerves  and  blushes. 

And  an  excited  admirer  approached 
Jack  Mulhall  in  the  lobby  of  his  ho- 
tel in  San  Francisco,  where  he  was 
on  a  location  trip,  and  presented  to 
him  a  mother  dog  and  a  large  litter 
of  wriggling  puppies.  Jack  thanked 
him  with  helpless  effusion. 

These  things  may  sound  funny  to 
you.  But  that  is  because  they  don't 
happen  to  you.  The  fact  is,  that 
those  portions  of  the  public  who  man- 
age to  meet  a  player,  can  hold  his 
popularity  over  him  as  a  sort  of  club. 
If  he  doesn't  do  what  they  want  him 
to  do,  if  he  is  not  always  gracious 
and  obliging  and  cordial,  they  can 
spread  unpleasant  reports  about  him. 

And  enough  unpleasant  reports 
tell,  eventually,  in  the  box  office. 

A  star  must  wear  his  "company 
manners"  at  all  times. 


SUPPER'S  ON  THE  DOT 


Sometimes  nights  when  I  come  home 

Hungry  as  can  be, 
I  have  to  wait  an  awful  time 

For  supper,  seems  to  me. 
Mother's  got  so  much  to  do, 

Taking  care  of  us, 
And  doing  all  the  housework,  too. 

We  don't  dast  make  a  fuss. 


But  Friday  nights  I'm  always  glad 

When  I  get  out  of  school ; 
I'm  never  late  in  getting  home, 

I'd  scarce  be  such  a  fool. 
That  night  we  see  the  movie  show 

I  like  that — sure — a  lot. 
But  something  else  I  like  as  well : 

Our  supper's  on  the  dot ! 

— A.  B.  Crisman. 


Advertising  Section 


109 


The  Stroller 

Continued  from  page  53 


The  grand  stands  were  spotted 
with  the  cinema  great  every  day  of 
the  races,  and  all  were  introduced 
over  the  microphone  to  the  echoes  of 
^thunderous  silence,  while  the  crowds 
whooped  and  yelled  at  the  exploits  of 
oil-bespattered  fliers. 

One  well-known  actress  arrived, 
escorted  by  a  noted  flier.  Both  were 
introduced,  the  actress  being  received 
in  morose  silence,  the  flier  cheered  as 
though  he  were  a  football  star. 

If  one  wants  to  become  a  director 
nowadays,  apparently  all  that  is  nec- 
essary is  to  make  a  single  independ- 
ent, inexpensive  and,  so-called,  artis- 
tic picture. 

I  recently  mentioned  "Rhythms  of 
a  Great  City  In  Minor,"  and  "The 
Loves  of  Mr.  Zero,"  produced  and 
directed  by  Harry  Sweet  and  Robert 
Florey  respectively. 

Doctor  Paul  Fejos  made  "The  Last 
Moment,"  and  Charles  Klein  filmed 
Poe's  "The  Tell-tale  Heart." 

Fejos  is  directing  for  Universal, 
that  company  having  purchased  for 
distribution  his  initial  production. 
Charles  Klein  has  been  signed  as  a 
director  by  Fox,  and  has  made  "The 
Fog."  Florey  is  directing  for  Metro- 
Goldwyn. 

Sweet  turned  actor  after  his  $165 
production.  He  was  formerly  a  two- 
reel  comedy  star  and  played  as  team- 
mate to  Sammy  Cohen  in  a  comedy. 
Following  this,  he  was  signed  as  a 
director  by  Fox  and  is  now  directing 
Cohen  in  a  full-length  comedy. 

Oddly  enough,  all  these  gents  seem 
to  drop  their  policy  of  economy  and 
brevity,  once  they  have  landed  with 
their  artistic  gems.  It  is  not  on  rec- 
ord that  any  of  their  subsequent  pro- 
ductions have  set  any  new  records 
for  low  production  costs.  And  for 
this  last  craCk  I'm  going  to  hear  from 
Mr.  Sweet  as  soon  as  he  reads  it. 

Some  of  Hollywood's  more  promi- 
nent actors  have  a  lot  of  fun  with 
their  professional  advertisements  in 
the  directories  published  to  aid  the 
casting  of  pictures. 

In  a  current  issue  of  one  of  them 
Robert  Edeson,  displaying  a  highly 
dramatic  portrait,  says,  under  the  pic- 
ture, "Robert  Edeson,  who  would 
like  to  do  something  big — like  wash- 
ing an  elephant." 

The  other  night  I  attended  a  movie 
show  in  a  hot,  little  desert  town  sev- 
eral hundred  miles  from  Los  Ange- 
les. My  return  train  didn't  leave  un- 
til ten  o'clock  and  there  wasn't  any- 
thing else  to  do  except  listen  to  the 
Mexican  band  in  the  plaza. 


I  was  quite  interested  in  the  re- 
action of  the  audience  to  the  an- 
nouncements of  coming  attractions, 
heralded  by  colored  slides. 

The  news  that  "Ramona,"  with  Do- 
lores del  Rio  and  others,  was  to  be 
one  of  next  week's  features  meant 
nothing.  The  fact  that  Pola  Negri 
was  coming  in  something  or  other 
meant  even  less. 

The  audience  showed  some  signs 
of  interest  when  it  was  announced 
that  a  Western,  starring  Fred  Humes, 
was  scheduled,  but  lapsed  back  into 
disapproving  silence  as  the  slide  ad- 
vertising Clara  Bow  was  on  its  way. 

Then  came  a  slide  announcing 
"Casey  Jones,"  an  independent  pro- 
duction, with  Ralph  Lewis,  the  only 
actor  in  the  cast  I'd  ever  heard  of. 
The  audience  broke  into  loud  huzzas 
and  applauded  uproariously. 

One  director,  who  recently  rose  to 
heights  of  prominence,  is  disliked  in- 
tensely by  almost  every  one  who  has 
the  slightest  business  connection  with 
him. 

He  answei'ed  the  telephone  in  his 
office  the  other  day. 

"Is  this  Mr.  Whoozis?"  asked  the 
voice. 

"Yes.    Who  is  this?" 

"This  is  Henry  Some  One.  I  was 
going  down  to  the  beach  this  after- 
noon, and  I  wanted  to  make  sure  you 
wouldn't  be  there." 

Hollywood  is  viewing  with  alarm 
the  movement  to  repeal  the  California 
law  which  permits  professional  box- 
ing in  the  State.  A  great  deal  of 
agitation  against  boxing  is  being  car- 
ried on  by  several  newspapers,  and 
experts  predict  that  the  presidential 
election  will  end  prize  fights  in  the 
State. 

The  Hollywood  American  Legion 
post  sponsors  the  fights,  and  every 
Friday  night  finds  half  the  town 
there.  Many  stars  buy  their  seats  by 
the  year. 

The  Hollywood  post  is  the  richest 
of  its  size  in  America,  because  of 
profits  from  the  boxing  bouts,  and 
many  veterans  who  sustained  perma- 
nent injuries  in  the  war  are  thus 
supported. 

I  hold  a  kindred  and  sympathetic 
feeling  for  a  man  I  have  never  met. 
His  name  is  Lui  Trugo,  who  draws 
the  sketches  which  adorn  this  de- 
partment. He's  the  only  man,  besides 
the  linotype  operator,  who  is  abso- 
lutely forced  to  read  what  I  write 
every  month.  And  the  poor  fellow 
has  been  doing  it,  now,  for  almost 
two  years. 


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Advertising  Section 


A  Volume  of  a 

Thousand  Wonders 

The  Marvel 
Cook  Book 

by 

Georgette  MacMillan 


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Some  Can  and  Some  Can't 


Continued  from  page  87 


gation,  has  a  clever  business-manager 
attending  to  the  dollars  and  cents. 
Actors  are  inclined  to  become  too 
enthusiastic  over  some  fly-by-night 
scheme." 

Edmund  Lowe  says  "Amen"  to 
that,  for  Eddie  well  remembers  that 
an  oil  enthusiasm  cost  him  the  first 
eight  thousand  dollars  he  ever  saved. 
He  listened,  with  attentive  ear,  to  a 
promoter  who  predicted  great  things 
for  a  well  that  was  being  sunk  in  a 
California  oil  field.  At  the  time, 
Eddie  was  just  a  little  short  of  hav- 
ing eight  thousand  dollars.  He  bor- 
rowed enough  to  round  out  the 
amount,  and  turned  it  over  to  the 
promoter. 

The  well  didn't  boom  as  expected. 
Lowe  gets  an  occasional  dividend 
check — a  few  dollars.  But  he'll  never 
get  his  money  back,  and  the  bit  of 
dividend  he  has  drawn  isn't  equal  to 
one  per  cent  of  his  investment. 

"Movie  stars  should  not  attempt 
to  invest  in  other  fields,"  says  Eddie 
sadly.  "They  have  a  business  of 
their  own  to  manage.  After  all,  I 
consider  that  I  am  a  business.  I  look 
upon  the  screen  Eddie  Lowe  as  my 
job,  and  I  want  to  handle  him  as 
carefully  as  I  would  handle  any  other 
business  I  might  control. 

"If  I  were  president  of  a  shipping 
company,  I  should  certainly  have  to 
give  my  time  to  that  business.  I 
wouldn't  be  rushing  around  trying  to 
toss  my  money  into  other  businesses 
that  I  had  no  time  to  investigate. 
Why  attempt  it  now?  I  put  my 
money  into  bonds  these  days.  They 
don't  run  away  when  I'm  not  look- 
ing." 

Louise  Dresser  might  dispute  that. 
Louise  put  part  of  her  savings  in  a 
bakery  business,  and  nothing  but  nice 
dividend  checks  came  out  of  it.  It 
just  goes  to  show,  as  I  said  in  the 
beginning,  some  can  get  away  with  it, 
and  some  can't. 

Jobyna  Ralston  is  one  of  those  who 
admits  she  can't.  Jobyna's  one  ven- 
ture into  the  business  world  was 
rather  disastrous.  Like  all  other 
schemes,  it  promised  wonderful  re- 
turns, but  the  promise  is  about  as  far 
as  it  got. 

It  was  like  this :  One  day  Jobyna 
received  a  letter  from  an  old  friend 
down  in  her  home  State  of  Tennes- 
see, to  the  effect  that  she  should  in- 
vest some  of  her  savings  in  c  tomato 
farm  that  was  sure  to  be  a  profitable 
investment.  They  didn't  want  much 
capital,  just  a  few  hundred  dollars, 
and  so  Jobyna,  blinded  by  the  chance 
to  make  some  easy  money,  sent  a' 
good  sized  check. 

All  went  well  for  a  time.  The 


plants  were  all  out  and  growing 
lustily,  and  Jobyna  was  congratulat- 
ing herself  on  her  business  sense. 
But,  alas,  she  had  not  counted  on  the 
rainy  season  that  sets  in  at  almost  any 
time  in  Tennessee.  Just  when  she 
was  planning  how  she  would  invest 
the  profits,  she  received  another  letter 
stating  that  the  rain  had  ruined  the 
crop  and  the  investment  was  all  wet. 
Jobyna  is  through  with  being  a  busi- 
ness woman.  From  now  on  she  is  a 
movie  player  exclusively.  No  more 
business  speculations  for  her ! 

Food  may  have  wrecked  Jobyna, 
but  it  was  the  making  of  Raymond 
Keith's  chicken  shack.  Raymond  put 
a  little  money  into  a  fried-chicken 
shack  near  Ventura  Boulevard,  and 
the  first  two  months'  business  jus- 
tified their  enlarging  the  place.  Now 
it  is  one  of  those  places  you  don't 
want  to  miss  if  you  come  to  Holly- 
wood. What  food!  What  fun! 
What  finances ! 

It  is  only  fair  to  add  that  even  the 
players  who  have  been  successful  in 
some  business  outside  of  pictures 
often  run  into  "flivers."  Viola  Dana's 
beauty  parlor  pays  well,  it  is  true,  but 
Viola  invested  in  a  garage  that  didn't 
do  enough  business  to  keep  its  doors 
open. 

Priscilla  Bonner,  usually  very 
canny  in  investments,  put  money  into 
a  modiste  shop  that  made  about  one 
dress,  and  then  went  under. 

Lina  Basquette  once  put  some 
money  into  a  dancing  school  that 
didn't  exactly  turn  out.  But  even  at 
that,  Lina  continues  to  be  rather  op- 
timistic. 

"I  see  no  reason  why  actresses 
should  not  be  able  to  invest  in  an 
outside  business,"  she  declares. 
"Business  people  in  other  professions 
do  not  always  confine  themselves  to 
one  endeavor.  As  a  matter  of  fact, 
most  successful  business  men  are  in- 
vestors and  holders  in  numerous  or- 
ganizations. However,  I  do  believe 
that  it  is  wise  for  an  artist  to  have 
a  business  manager. 

"They  say  a  burnt  child  fears  fire. 
I  disagree.  I  say  a  burnt  child  uses 
more  caution  in  regard  to  fires.  One 
business  loss  won't  frighten  me  out 
of  future  investments ;  it  will  only 
make  me  more  cautious." 

Now  what  do  y°u  think  of  movie 
actors  in  business  ? 

The  records  of  successful  business 
men  doubtlessly  contain  many  in- 
stances where  their  judgments  were 
entirely  wrong,  but  they  are  not  in- 
clined to  speak  of  their  failures.  The 
business  errors  of  the  artists  are  likely 
to  be  made  much  of  by  their  fans. 


Advertising  Section 


Born  to  Corned? —  The  Story  of  Fazenda 


Continued  from  page  19 


The  tour  ended  in  New  York. 
With  her  was  a  girl,  who  has  since 
gained  fame  as  a  writer  of  animal 
stories.  Together  they  landed  in 
Greenwich  Village,  where  they  estab- 
lished themselves  with  all  the  "arty" 
affectations  of  first  attempts  of  this 
nature. 

Louise  did  a  sleight-of-hand  change 
while  in  the  Village,  and  became 
Czecho-Slovakian  in  her  ancestry, 
her  accent,  her  mental  attitude ,  and 
her  dress.  Nothing  but  peasant  em- 
broideries filled  her  wardrobe. 

The  idea  for  this  change  of  iden- 
tity was  born  on  the  train  Eastward, 
when  she  met  a  Polish  woman  who 
had  often  seen  her  pictures,  and  ex- 
pressed the  opinion  that  Louise,  too, 
looked  Polish  and  could  easily  pass 
for  a  native  of  that  country.  She 
did,  from  that  moment  on. 

It  was  an  impish,  springtime  ex- 
travaganza, and  when  recounting  it 
she  shrieks  with  merriment  and  be- 
rates herself  as  a  "crazy  nut." 

On  her  return  West  she  entered  the 
ranks  of  free-lance  players  and  made 
four  comedies  for  Educational  at  a 
salary  of  $600  a  week.  Her  next 
step  was  a  five-year  contract  with 
Warner  Brothers,  which  only  re- 
cently expired.  She  is  once  again  a 
free  lance  and  in  demand. 

In  roles  such  as  she  played  in  "The 
Beautiful  and  Damned,"  with  Marie 
Prevost,  an  engagement  that  was 
filled  with  joyous  memories  of  their 
time  together  at  Sennett's,  and  in 
"The  Gold  Diggers"  and  "Cradle 
Snatchers,"  she  had  the  opportunity 
to  dress  up  and  disclose  a  charming 
attractiveness  that  is  usually  sub- 
merged in  "freak"  costumes  of  one 
exaggeration  or  another. 

The  natural  talent,  and  the  quali- 
ties of  inventiveness  and  facility 
which  have  won  for  Louise  her  place 
in  the  films,  have  never  been  allowed 
to  lose  flexibility  through  lack  of  ex- 
ercise. 

It  is  obvious,  judging  by  the  suc- 
cessful careers  on  the  screen  to-day, 
that  the  players  who  withstand  the 
constant  shifts  which  are  bound  to 
come  in  an  industry  so  large,  are 
those  who  swing  along  with  the  tide. 
Such  players  accommodate  them- 
selves to  the  changes.  They  do  not 
defy  them. 

And  while  in  many  ways  the  field 
of  character  comedian  is  more  de- 
sirable than  that  of  leading  woman, 
Louise,  too,  would  soon  be  forced 
out  of  the  game  if  she  did  not  con- 
stantly apply  herself  to  its  variations 
of  mood  and  style.  For  some  time 
she  prepared  herself  to  meet  the 
changes  which  talking  pictures  are 


bringing  on,  instead  of  smugly  sit- 
ting back  and  arguing  whether  they 
have  a  chance  to  last  or  not. 

The  home  life  of  Louise  has  been 
described  many  times.  I  can  only 
add  that  it  is  devoid  of  pretense,  and 
abundant  in  wholesomeness  and  true 
hospitality.  She  cares  for  few 
people.  Her  devotion  to  her  mother 
and  father  and  numerous  relatives 
has  ever  been  one  of  her  virtues.  And 
those  persons  to  whom  she  is  at- 
tached, experience  friendship  in  its 
most  kindly  and  generous  expression. 

She  was  married  a  little  over  a  year 
ago  to  Hal  Wallis,  a  very-well-liked 
chap,  in  charge  of  exploitation  at 
Warner  Brothers.  It  is  her  second 
marriage,  the  first  dating  back  to  her 
early  years  at  Sennett's.  That  union 
was  kept  more  or  less  a  dark  secret 
until  last  year. 

Louise  has  made  many  wise  invest- 
ments in  real  estate,  and  were  she  to 
give  up  pictures  to-morrow  she  would 
not  have  to  worry  about  her  future. 

I  imagine  if  she  ever  engaged  in 
any  work  which  she  enjoyed  next  to 
movies,  it  would  be  running  a  quaint, 
little  tea  room,  or  restaurant,  some- 
where in  the  colorful  section  of 
Chinatown,  or  near  the  fast-crum- 
bling mission  church  off  the  Mexican 
plaza,  erected  one  hundred  and  fifty 
years  ago  by  the  faithful  padres, 
when  Los  Angeles  was  known  as  La 
Reina  de  Los  Angeles. 

In  closing,  it  might  be  just  as  well 
to  record  that  Louise  was  the  original 
discoverer,  many  years  ago,  of  the 
tiny,  barnlike  theater  on  a  narrow, 
curved  street  in  the  Chinese  quarter 
of  town,  where  native  opera,  dramas 
and  cinemas  are  proffered  with  elab- 
orate ceremony.  Hollywood  has 
recently  developed  an  Oriental  yen, 
but  Louise  has  nurtured  one  for  ever 
so  long. 

I  can't  think  of  any  excursion  quite 
so  delightful  as  one  of  Louise's, 
which  includes  only  a  few  congenial 
souls,  and  begins  with  a  twelve-course 
Japanese  dinner  served  on  the  lantern- 
lighted  balcony  of  a  slender,  brick 
building  in  the  still  heart  of  China- 
town, and  ends  with  a  series  of  plays 
interpreted  by  superlative  actors  from 
the  Imperial  Theater  of  Tokyo. 

And  in  the  mise-en-scene,  entr'acte 
— and  if  you  don't  like  that,  all  dur- 
ing the  show — one's  genial  hostess 
serves  one  abalone  chips,  which  are 
by  the  odor  unmistakably  a  by-prod- 
uct of  fish,  also  tangerines  out  of 
noisy  paper  bags,  and  at  the  final  cur- 
tain forces  into  one's  tired  hands  a 
bottle  of  ice-cold  soda  pop. 


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112 


Advertising  Section 


Life  Rid  es  in  a  Bus 

Continued  from  page  83 


CHELSEA 
HOUSE 

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small  favors.  The  mother  believes 
she  is  getting  only  what  is  due;  the 
man  believes  he  is  giving  only  what 
is  due,  and  that  what  comes  back  is 
as  sincere  as  what  he  gives.  He 
seems  to  have  had  little  happiness, 
but  he  is  happy  now. 

I  hate  to  leave  him,  but  there  are 
also  other  bids  >for  fame. 

A  very  brisk  and  hearty  back- 
slapper  hops  aboard,  and  hands 
"Dad,"  the  driver,  three  dimes. 
"Brand  new!  Just  made  'em  myself  !" 

Dad  pays  no  attention  to  him ;  nor 
do  I,  who  am  the  only  other  passen- 
ger in  the  bus.  He  comments  on 
various  things  and  passes  the  time  o' 
day,  but  still  he  gets  no  "rise."  We 
then  pass  a  company  that  is  shooting 
some  scenes. 

His  chance  has  come !  Without 
the  slightest  warning,  he  proclaims: 
"That  don't  interest  me  no  more.  I 
been  right  in  the  business  for  years. 
Seen  it  all — from  top  to  bottom.  I 
could  tell  you  some  things."  But 
neither  Dad  nor  I  seem  interested. 

The  busses  have  painted  on  their 
sides  the  name  "Studio  Stage  Line," 
and  all  the  drivers  assure  me  that 
many,  many  people  have  thought 
these  vehicles  far  too  grand  .for  them 
— that  only  those  who  have  already 
made  a  name  before  the  camera  could 
be  permitted  to  enter  therein  !  To 
many  an  aspiring  and  awe-struck 
newcomer,  riding  in  them  has  been 
looked  upon  as  just  one  step  below 
electric  lights! 

One  evening  the  drivers  lingered 
after  hours,  and  we  sat  gossiping  for 
a  time.  They  ceserve  an  introduc- 
tion. Meet  Dad  Willard,  Eric  Swan- 
son,  Bill  DeBeck,  the  "regulars,"  and 
Harry  Friendson,  who  subs  when  one 
of  them  is  sick. 

"Usually,  you  can  tell  if  a  person 
is  waiting  for  you,  whether  they 
signal  or  not',  but  one  time  I  got 
fooled!  When  I  had  passed  this  girl 
she  yelled  and  waved  so  frantically 
that  I  stopped  to  see  if  I  had  hit  her. 
But  it  was  simply  that  she  wanted  to 
get  on.  'But,  madam,  I  didn't  see 
your  signal!'  'What,  didn't  you  see 
me  wink?'  " 

"The  best  one  I  ever  heard  came 
from  a  woman  who,  after  fumbling 
through  her  bag  for  at  least  ten  min- 
utes, couldn't  find  her  ticket.  'Now, 
that  is  queer.  I'm  sure  I  had  it  in 
my  hand  when  I  kissed  Eddy  good- 
by!'  " 

j  And  in  return,  told  the  story  of 
i  the  new  roadster  presented  to  James 
!  Murray  by  the  studio.  The  story,  as 
told,  is  this :  Jimmy  missed  the 
busses  with  such  remarkable  persist- 
I  ency  that  the  studio  was  finally  forced 


to  buy  him  a  car  in  order  to  take  that 
excuse  away  from  him. 

But  the  real  reason  for  which  I 
had  come  was  to  get  the  drivers'  im- 
pressions of  movie  people,  as  com- 
pared with  other  passengers.  Con- 
trary to  my  expectations,  they  were 
absolutely  unanimous  in  their  praises 
of  them. 

"They  never  kick  at  anything.  If 
you're  overcrowded,  if  you're  late,  if 
the  road  is  bumpy,  they  take  it  all  in 
good  spirit.  They  seem  to  have 
learned  to  make  the  best  of  any  situa- 
tion, without  complaining. 

"They'll  even  help  you  change 
tires !  And  one  time  when  I  busted 
a  fan  belt,  I  had  all  the  extra  'beef 
I  needed  to  pull  the  ends  together 
when  I'd  shortened  it! 

"I  remember  when  a  section  of  the 
road  to  Universal  City  was  being 
paved,  and  the  detour  we  had  to  make 
included  a  very  steep  and  long  hill.  I 
soon  found  that  the  bus  couldn't 
make  it  with  a  full  load.  During  all 
the  time  that  those  repairs  were  un- 
der way,  whenever  I  had  a  heavy  load 
they'd  get  out  and  walk — and  with- 
out a  peep!" 

Lest  this  seem  too  idyllic  a  paradise, 
let  me  recount  one  incident  I  ob- 
served. 

It  was  a  Monday  morning.  There 
had  been  a  big  call  for  extras,  and  the 
bus  was  loaded  to  the  gills.  The  aisle 
was  filled  right  to  the  front,  with 
people  seated  on  camp  stools,  and  in 
front  of  them  people  were  jammed 
against  the  door.  Two  girls  in  make- 
up hailed  the  bus.  The  driver,  Bill 
DeBeck,  stopped,  and  then  turned  to 
those  seated  in  the  aisle  behind  him: 

"Here  are  two  girls  who  want  to 
get  to  work  just  as  much  as  you  do; 
if  some  of  you  guys  in  the  aisle  will 
stand  up,  we'll  have  more  room. 
Otherwise,  I  can't  take  'em."  Not  a 
single  person  budged!  The  girls 
pleaded,  and  Bill  finally  made  room, 
but  not  by  the  grace  of  the  extras. 

But  though  I  mentioned  this  to 
them,  and  Bill  recalled  it,  the  drivers 
all  stuck  to  their  guns.  There  is  an 
occasional  exception,  true;  but,  as  a 
general  rule,  they  insisted  that  what 
they  had  said  is  so.  And  I  will  admit 
that  it  is  the  only  such  instance  I 
have  seen.  So,  on  the  whole,  our 
extras  seem  likable  as  well  as  inter- 
esting. 

Tourists  come  to  Hollywood  every 
day,  hoping  to  glimpse  the  life  of  the 
film  world.  They  pay  big  prices  to 
ride  on  "rubbernecks,"  that  show 
them  the  ontsides  of  studios  and 
stars'  homes.  And  these,  the  red 
sight-seeing  busses  of  Hollywood, 
they  pass  completely  by. 


Advertising  Section 


113 


CLASSIFIED  ADVERTISING 


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1 


114 


Advertising  Section 


Fashions  in  Etiquette  Change 

Good  Form  To=day  is  Different  from 
the  Good  Form  ©f  a  Few  Years  Ago 

The  Very  Last  Word  on  the 
Subject  of  Correct  Behavior  is 

The  Book  of 

ETIQUETTE 


Laura  Alston  Brown 

Every  Possible  Topic 

dealing  with  the  social  relation- 
ships in  which  human  beings  par- 
ticipate is  covered  in  this  compre- 
hensive volume  of  244  pages.  In 
all,  176  topics  are  treated.  These 
include : 


The  Etiquette  of 

Christenings 
Conduct  of  the 

Engaged  Girl 
Conduct  of  the 

Engaged  Man 
Entertaining 

Guests 
Table  Manners 
Calling  Customs 
Letters  of  lntro= 

duction 
Wording  of  Invi= 

iations 


Accepting  or  Declin= 

ing  Invitations 
Funeral  Etiquette 
Courtesy  to  Servants 

The  Woman  who 
Travels 

Automobile  Etiquette 

Public  Dances 

Street=car  Etiquette 

The  Etiquette  of 
Sport 


Norma — As  She  Is 

Continued  from  page  74 


OTHER  VOLUMES  OF  ETI- 
QUETTE—MANY OF  THEM 
NOTHING  LIKE  AS  COM- 
PREHENSIVE AS  THIS  ONE 
—ARE  SOLD  AT  FROM  $2.50 
TO  $5. 

"The  Book  of  Etiquette,"  by  Laura 
Alston  Brown,  the  most  complete, 
up-to-date  and  authoritative  work 
of  the  kind  ever  issued,  is  priced  at 

ONE  DOLLAR 

In  an  Attractive  and  Durable  Fabrikoid  Binding 
Order  from  Your  Bookseller  or  from 

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Publishers 
79  Seventh  Avenue,  New  York 


She  has  a  keen  sense  of  responsi- 
bility in  her  work.  There  are  no 
ragged  details  in  a  Shearer  produc- 
tion. With  infinite  care  she  ap- 
proaches every  new  picture,  efficient 
in  her  knowledge  of  its  requirements. 
Of  her  recent  pictures,  she  liked  best 
"The  Actress,"  her  first  costume  pic- 
ture. She  deplores  the  fact  that  cos- 
tume pictures  are  not  popular,  but 
does  not  condemn  the  public's  dis- 
taste for  them.  It  amazes  her  that 
she  has  been  successful  in  comedy. 
She  thinks  she  has  no  gift  for  it,  and 
would  like  to  be  able  to  clown  as 
Marion  Davies  does.  She  is  looking 
forward  to  doing  "The  Last  of  Mrs. 
Cheyney,"  the  stage  play  which 
starred  Ina  Claire.  It  will  be  inter- 
esting to  watch  for  Norma's  first 
talking  picture.  Her  voice  is  clear, 
and  her  pure,  English  enunciation  is 
well  adapted  to  the  innovation.  While 
every  one  else  is  running,  frightened, 
to  voice  cultivators,  Norma  is  mak- 
ing no  preparations.  It  is  her  con- 
tention that  the  screen  is  in  danger 
of  being  swamped  with  exponents  of 
the  Shakespearean  method  of  speech, 
regardless  of  the  modern  inclination 
toward  naturalness. 


A  serenely  happy  person,  she  is  al- 
most humbly  grateful  for  the  indul- 
gence of  the  gods.  Her  marriage  is 
a  particularly  auspicious  one,  roman- 
tically successful.  She  and  her  bril- 
liant young  husband  share  every  in- 
terest and  every  pleasure.  Outside 
working  hours,  they  seek  quiet  enter- 
tainment rather  than  large  parties. 
On  frequent  week-ends  they  fly  down 
to  Tijuana.  At  other  times,  they 
prefer  the  indolence  of  Sundays  at 
their  beach  house.  They  have  not 
bought  a  home,  to  avoid  being  tied 
down.  For  a  while  they  rented 
Gloria  Swanson's  house,  then  after 
their  return  from  Europe,  the  house 
they  now  have  at  Santa  Monica.' 

When  they  were  in  Europe,  Norma 
was  dismayed  at  her  ignorance  of 
history,  when  confronted  by  histori- 
cal places  that  fascinated  her.  Since 
their  return  she  has  been  methodi- 
cally studying  every  period,  and 
adoring  it.  And  her  youthful  en- 
thusiasm will  not  abate  before  she 
has  acquired  a  thorough  knowledge 
of  the  subject.  This  in  itself  indi- 
cates her  character,  and  points  be- 
yond her  inherent  gayety  to  the 
earnestness  which  made  of  her  a  star. 


Roughnecks  Preferred 

Continued  from  page  26 


huge.  He  wipes  it  off  at  least  three 
times  a  day.  Before  he  splurged,  he 
drove  a  Ford  coupe  with  pride. 

He  can  be  persuaded  to  attend  pai  - 
ties  and  premieres  only  upon  rare 
occasions,  and  then  it  requires  partic- 
ularly skillful,  wifely  tact  and  per- 
suasion. He  seldom  attends  the  the- 
ater on  first  nights,  but  is  a  prize 
movie  fan.  Several  evenings  a  week 
they  go  to  the  neighborhood  theater. 
He  is  one  of  the  best-informed  people 
I  know  on  things  cinematic. 

"Discipline,"  he  characterizes  his 
being  lent  last  summer,  to  United 
Artists  for  the  German  officer  in 
"The  Love  Song,"  to  fulfill  an  agree- 
ment made  at  the  time  he  appeared 
so  successfully  in  "Two  Arabian 
Knights." 

"A  uniform — in  summer,"  he 
growled.  "This  is  supposed  to  be  a 
serious  role.  But  wait.  It  may  turn 
out  a  comedy  yet." 

With  memory  of  the  steel  riveter, 
cop  and  engineer,  I  predict  that  the 
punctilious,  aristocratic  German  offi- 
cer, who  is  involved  in  war  intrigue 
will,  if  Bill  has  his  way,  be  a  swag- 
gering fellow,  proud  of  his  way  with 
the  ladies. 

"Drawing-room  drama,"  he  said 


with  a  grunt.  "Who  wrote  the  story? 
Everybody  wrote  it.  It's  like  Topsy 
— only  it's  still  growing.  The  idea 
was  'musically  inspired  by  Irving  Ber- 
lin'— that's  what  it  says  in  the  pub- 
licity copy.  Four  or  five  people,  ev- 
erybody except  me,  have  rewritten  it. 
All  that's  left  of  the  original  idea  is 
the  vague  hint  that  it  came  from 
Germany." 

The  story,  occurring  during  the 
Franco-Prussian  War  of  1870,  con- 
cerns the  adventures  of  beautiful 
spies  and  an  officer  attached  to  the 
German  embassy  in  Paris.  A  plot  is 
formed  to  compromise  him  into  mar- 
rying a  little  outcast  of  the  streets, 
so  of  course  he  falls  in  love  with  her. 
Lupe  Velez's  singing  was  recorded  by 
Movietone.  A  colorful  story,  with 
the  same  sort  of  dash  and  spirit  that 
"The  Volga  Boatman"  had,  it  should 
serve  as  a  reminder  that  Bill  can  get 
away  with  the  romance. 

Following  "The  Love  Song,"  Bill 
and  Alan  will  appear  together  again 
in  a  series — wise-cracking  marines, 
rival  spielers  in  a  carnival  show,  and 
other  regular,  hard-boiled  guys.  Bill 
says  the  prospect  made  the  tight,  hot 
uniform  and  the  hand-kissing  endur- 
able. 


Advertising  Section 


115 


Information,  Please 

Continued  from  page  102 

A  Jean  Arthur  Fan. — Everybody  asks 
such  a  lot  of  questions  this  month  my 
poor,  old  brain  is  reeling  and  tottering. 
As  to  which  actresses  smoke,  I  can't  say. 
We  in  New  York  are  so  used  to  women 
smoking  that  I  never  even  notice  which 
do  and  which  don't.  I  do  recall  that  Janet 
Gaynor  doesn't.  Jean  Arthur's  films  are 
too  numerous  for  a  complete  list ;  her 
1928  pictures  are  "Wall  Flowers,"  "Fly- 
ing Luck,"  "Warming  Up,"  "Brotherly 
Love,"  "Sins  of  the  Fathers,"  "The 
Canary  Murder  Case,"  though  that  is  con- 
stantly being  recast.  In  "We  Americans," 
Sarah  Schmidt  was  played  by  Flora 
Bramley.  The  hero  in  "Zander  the  Great" 
was  Harrison  Ford.  In  "The  Midnight 
Sun,"  Pat  O'Malley  played  the  Grand 
Duke,  Raymond  Keane  his  bodyguard. 
It  would  take  a  whole  page  to  give  you 
the  casts  of  all  those  big  specials  you  ask 
about,  but  the  leads  are  as  follows :  "Ten 
Commandments,"  Richard  Dix,  Rod  La 
Rocque,  Leatrice  Joy,  Nita  Naldi,  Estelle 
Taylor,  John  De  Roche.  "Golden  Bed," 
Lillian  Rich,  Vera  Reynolds,  Henry  B. 
Walthall,  Rod  La  Rocque,  Warner  Baxter, 
Theodore  Kosloff.  "Don  Q,"  Fairbanks, 
Mary  Astor,  Donald  Crisp,  Warner  Oland, 
Jean  Hersholt,  Jack  MacDonald.  "The 
White  Monkey,"  Barbara  La  Marr, 
Thomas  Holding,  Henry  Victor,  Charles 
Mack,  Flora  Le  Breton.  "Rose  of  the 
World,"  Patsy  Ruth  Miller,  Allan  For- 
rest, Pauline  Garon,  Rockcliffe  Fellowes. 
'Wallflowers,"  Hugh  Trevor,  Jean  Ar- 
thur, Mabel  Julienne  Scott,  Lola  Todd. 
The  villain's  wife  in  "Josselyn's  Wife" 
was  Josephine  Hill.  You  made  me  what 
I  am  to-day — a  wreck — and  I  hope  you're 
satisfied. 


CharmainE. — Yes,  Mary 
Imogene   Wilson   are — or  is 
girl.    She  isn't  married  and 
twenty-five.    Jack  Pickford  i 
five  feet  seven,  weight  130.  I 
Bill  Reid,  Wallace's  son,  is 
teen  by  now;  I  haven't  kept 
age.    Dorothy  Davenport  is 
thirties. 


Nolan  and 
? — the  same 
she  is  about 
s  forty-two  ; 
should  think 

about  four- 
track  of  his 
in  her  early 


Two  Curious  Fans.— And  here  I've 
kept  you  curious  all  these  months,  but 
after  all,  I  can't  perform  miracles  and  put 
your  answers  in  the  "next  issue,"  which  is 
already  in  print,  now  can  I?  Lois  Moran 
was  born  in  Pittsburgh,  March  11,  1909. 
She  made  a  picture  or  two  in  Europe  be- 
fore Samuel  Goldwyn  discovered  her  and 
gave  her  the  lead  in  "Stella  Dallas,"  in 
1925.  Her  1928  films  are  "Sharpshooters," 
Love  Hungry,"  "Don't  Marry,"  "The 
River  Pirate,"  "Fog,"  and  "Making  the 
Grade."  Those  latter  titles  may  be 
changed  before  release.  Lois  is  not  mar- 
ried. 

Cicero  Bath.— Yes,  I  suppose  it  is  puz- 
zling to  a  South  American  to  understand 
our  slang.  "Buddy"  is  Charles  Rogers' 
nickname.  A  "hick  town"  is  a  provincial 
town  that  is  slow,  not  very  lively,  and  not 
up  to  date.  A  "ritzy  girl"  is  a  girl  who 
is  snobbish  and  puts  on  airs  of  superiority. 
"To  make  the  grade"  means  to  come  up  to 
standard,  or  to  achieve  something  success- 
fully. "Goofy"  is  slang  for  crazy.  I  hope 
this  helps  you  to  understand  our  odd  lan- 
guage; I  feel  just  like  a  dictionary. 

Dee. — Thanks  for  those  three  cheers; 
my  collection  of  cheers  was  getting  all 
used  up.  Joseph  Striker  was  the  man  you 
liked  in  "Annie  Laurie."  He  went  to  Eu- 
rope this  year — last  year  he  was  with  De- 
Continued  on  page  119  t 


Safe  to  End jt 

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116 


Advertising  Section 


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Unveiling  Olive's  "Past" 

Continued  from  page  34 


It  seemed  that  Miss  Borden  left 
the  telephone  company  shortly  after 
that.  As  time  went  on,  I  read  items 
in  the  papers  telling  of  her  budding 
career  in  pictures.  Finally  she  was 
given  a  contract  by  Fox. 

Although  I  had  liked  the  girl,  I 
seldom  went  to  see  her  pictures.  Two 
or  three  experiences  taught  me  to 
save  my  time  and  money.  She  was 
not  sufficiently  trained  to  warrant 
her  high  casting,  and  had  she  pos- 
sessed the  combined  talents  of  Gish, 
Garbo,  and  Bow,  she  could  not  have 
humanized  the  stilted  roles  allotted 
her. 

On  the  heels  of  poor  pictures  came 
rumors  of  temperament  and  ostenta- 
tion. Success,  said  Hollywood,  had 
gone  to  Olive's  head.  One  could 
scarcely  pick  up  a  magazine  without 
reading  some  comment  on  her  per- 
sonal or  professional  affairs.  This 
attitude  struck  me  as  being  unneces- 
sarily severe.  Bored  writers  hurled 
their  two-edged  swords  at  Olive  for 
doing  things  that  wealthy  and  power- 
ful stars — the  "sacred  cows"  of  the 
industry — could  have  done  with  im- 
punity. 

Then  there  was  that  famous  tea  in 
New  York  that  nearly  "ruint"  the 
poor  girl.  Miss  Borden  was  unaware 
that  it  was  being  given  in  her  honor 
until  she  was  in  the  midst  of  it. 
Amazed  at  her  strange  and  thrilling 
position,  she  attempted  to  hide  her 
terror  by  assuming  an  attitude  of  in- 
difference.   The  result  was  pitiable. 

Not  long  ago  Miss  Borden  and 
Fox  came  to  a  parting  of  the  ways. 
More  rumors.  She  wanted  too  much 
money.  She  was  hard  to  handle.  She 
was  a  "flop"  as  an  actress.  After 
four  months  of  idleness,  Olive  began 
making  pictures  for  the  smaller  com- 
panies. For  a  long  time  I  wondered, 
then  decided  to  investigate. 

I  was  not  surprised  that  Miss  Bor- 
den did  not  recognize  me  when  we 
met  for  luncheon  at  the  Roosevelt 
Hotel.  Five  brimming,  throbbing 
years  could  easily  obliterate  my  face 
from  her  memory.  In  the  presence 
of  a  third  person — she  was  accom- 
panied by  a  publicity  director — it  did 
not  seem  the  time  or  the  place  to  hold 
a  post-mortem.  These  I-knew-you- 
when  people  can  be  very  disturbing 
at  times. 

"Let's  you  and  I  eat  a  whole  lot," 
said  she.    I  enthusiastically  agreed. 

Miss  Borden  does  not  need  to  diet. 
Nature  has  been  kind  to  her  in  that 
and  many  other  ways.  In  a  city  of 
lovely  women,  she  is,  I  believe,  the 
loveliest  of  all.  The  black-and- 
white  carbon  copy  we  see  on  the 
screen  gives  only  a  hint  of  her  deli- 


cate, sumptuous  beauty.  She  was 
wearing  a  tailored  suit  of  dark  red, 
with  a  splendid  fur  about  her  shoul- 
ders, tier  thick,  black  hair  is  nat- 
urally curly  and  clusters  about  her 
neck  and  cheeks  in  a  fetching  man- 
ner. Possibly  one  might  criticize  the 
largeness  of  her  teeth,  but  even  so, 
they  are  well  formed  and  pearly 
white. 

A  night  or  two  before  our  meeting, 
I  attended  a  preview  of  her  newest 
picture,  "Sinners  in  Love."  I 
thought  her  more  human  and  inter- 
esting in  this  than  in  any  of  her  pre- 
vious efforts,  and  I  told  her  so. 

"It  is  one  of  the  few  real  oppor- 
tunities I  have  had,"  said  she.  "We 
hear  a  great  deal  about  the  inferior 
methods  of  the  quickie  producers,  but 
I  have  found  them  very  agreable  to 
work  for.  I  don't  call  them  quickies. 
They  really  aren't.  Before  they  start 
to  film  a  story,  every  detail  is  care- 
fully prepared  in  advance,  and  then 
it  can  be  made  in  a  short  while.  I 
worked  in  pictures  for  Fox  where 
we  didn't  even  have  a  scenario. 

"Fox  treated  me  extremely  well,  ex- 
cept in  the  matter  of  stories.  That  is 
what  we  disagreed  about.  I  knew 
my  pictures  were  poor.  I  didn't  ex- 
pect the  critics  to  like  them. 

"As  for  the  stories  of  my  so-called 
temperament,  there  is  no  truth  in 
them.  I  was  kept  running  around 
in  nightgowns  and  negligees  so  much, 
that  I  did  use  a  car  to  go  from  my 
bungalow  to  the  set,  on  the  other  side 
of  Western  Avenue.  But  it  was  my 
car  and  my  chauffeur,  so  why  should 
any  one  object? 

"Several  times  when  my  pictures 
turned  out  to  be  unusually  bad,  I  was 
called  back  and  additional  scenes 
were  made.  I  wouldn't  have  objected 
to  that,  but  they  made  me  wear  very 
suggestive  clothes  in  the  hope  of  pep- 
ping up  the  picture!  I  resented  it, 
but  there  seemed  nothing  I  could  do." 

Miss  Borden  was  not  registering 
complaints ;  she  was  cheerfully  offer- 
ing explanations.  People  about  us 
looked  admiringly  at  her  vivid,  ani- 
mated face. 

"An  unfortunate  thing  happened 
in  one  of  my  recent  pictures,"  she 
went  on.  "I  was  supposed  to  have  a 
struggle  with  an  actor  who  was  very 
new  in  the  business.  I  can  stand  a 
good  bit  of  rough  treatment,  but  he 
was  too  realistic.  We  struggled,  and 
he  tore  my  clothes  until  they  were  in 
ribbons.  Finally  he  got  my  arm 
twisted  behind  me  and  I  couldn't  get 
away.  At  that  point  I  was  supposed 
to  fall  on  the  bed,  and  then  get  up 
and  go  to  the  window.  I  certainly 
fell  on  the  bed,  but  I  couldn't  get  up. 


My  left  side  felt  paralyzed,  and  I  was 
never  in  such  pain  in  my  life.  Some 
one  was  saying,  'Get  up,  get  up,'  and 
I  managed  to  slide  off  the  bed  onto 
my  knees.  I  was  trying  to  get  to  my 
feet  when  everything  went  dark  be- 
fore me,  and  I  fell  half  under  the 
bed.  When  I  regained  consciousness, 
they  found  that  my  shoulder  had  been 
dislocated  and  one  of  my  back  mus- 
cles torn  loose.  The  scene  was  pho- 
tographed and  every  one  liked  it,  but 
the  censors  objected  on  the  grounds 
that  it  was  too  brutal,  so  it  will  not 
be  shown. 

"I  do  wish  that  I  could  learn  to  cry 
beautifully  before  the  camera.  I  am 
the  ugliest  person  in  the  world  when 
I  cry.  My  face  wrinkles  up  and  my 
eyes  get  bloodshot.  Janet  Gaynor 
can  cry  wonderfully.  I  used  to  ask 
her  how  she  did  it.  The  best  crying 
I  ever  saw  was  done  by  Gloria  Swan- 
son,  in  'The  Humming  Bird.'  It  was 
the  scene  where  she  was  lying  on  the 
floor." 

Olive  Borden  is  an  only  child.  Her 
father  died  when  she  was  fourteen 
months  old,  and  the  tie  between 
mother  and  daughter  is  uncommonly 
strong.  I  imagine  that  Olive,  in  the 
midst  of  ^movies  and  Hollywood,  is 


Advertising'  Section 

subjected  to  far  stricter  parental  su- 
pervision than  many  of  her  girl  fans. 

Inevitably,  of  course,  some  one 
mentioned  talking  pictures.  Olive's 
opinion  was  so  odd  as  to  warrant 
quotation.  "They  make  me  feel  the 
same  way  I  feel  when  somebody 
shows  me  a  picture  of  a  corpse  beau- 
tifully laid  out  in  a  shroud !" 

Luncheon  over,  Olive  opened  her 
bag  and  began  to  refurbish  her  make- 
up. "It's  a  wonder  I  don't  get  paint- 
er's colic  from  eating  so  much  lip 
rouge,"  she  remarked. 

She  took  me  home  in  her  Rolls- 
Royce,  and  all  the  time  I  looked  and 
listened  for  some  verification  of  those 
horrid  stories  of  ostentation.  The 
truth  is,  Miss  Borden  has  changed 
but  little  since  that  day  five  years  ago 
when  she  told  me  good-by.  She  is 
happier  now,  and  more  philosophical. 
She  has  learned  to  "take  it  on  the 
chin."  Her  recent  pictures — "quick- 
ies," if  you  must — are  getting  good 
notices,  and  that,  of  course,  is  en- 
couraging. I  predict  that  she  will  yet 
surprise  her  critics  by  developing  into 
a  first-rate  actress. 

All  she  needs  is  a  helping  hand — 
and  good  stories. 


Jetta  Steps  Do\tfn — But  Not  Out 

Continued  from  page  43 


had  one  or  two  offers  to  go  on  the 
stage  in  New  York.  One  in  particu- 
lar was  a  starring  role  in  a  Broadway 
production.  It  was  very  flattering; 
oh,  yes,  but  would  it  have  turned  out 
well? 

"By  permitting  insistence  on  star- 
dom to  lead  me,  I  would  have  ac- 
cepted it.  The  play  might  have  been 
a  success,  running  for  a  year  or  two. 
In  that  case,  I  would  have  been  off 
the  screen  for  just  so  long  and  the 
fans  would  have  forgotten  me.  It  is, 
ah,  so  very  easy  to  be  forgotten  in 
pictures. 

"I  had  offers  to  star  in  Europe. 
I  could  have  gone  to  England,  Ger 
many,  or  France.  If  I  had  let  the 
craze  for  stardom  lead  me,  as  it  has 
led  many  others,  I  would  have  jumped 
at  one  offer  or  the  other.  But  wnat 
would  have  happened  to  my  standing 
in  Hollywood? 

"Foreign  pictures,  aside  from  big 
productions,  are  never  seen  in  Amer- 
ica. Besides,  it  was  in  this  country 
I  first  started  in  pictures.  I  like  the 
public.  I  am  now  quite  used  to 
American  methods  of  production. 
Were  I  to  go  abroad,  where  I  have 
acted  on  the  stage,  but  never  on  the 
screen,  I  would  find  studio  conditions 
and  methods  vastly  different." 

Jetta  has  a  way  of  making  you  ac- 
cept everything  she  says  as  irrevo- 


cable and  undeniable.  I  let  her  con- 
tinue. 

"I  hear  that  many  were  amazed 
when  they  learned*  I  had  accepted 
subordinate  roles  after  stardom,"  she 
said  in  a  surprised  tone.  "Why  that 
should  be  I  do  not  know.  My  role 
in  'The  Cardboard  Lover'  pleased  me 
very  much.    It  was  high  comedy. 

"You  know,  for  two  years  I  was 
a  star.  I  had  always  appeared  as 
the  suffering  heroine,  and  had  to 
worry  about  whether  the  picture 
would  be  good  or  bad.  Now,  in  this 
picture" — Jetta  languidly  waved  a 
slender  arm,  laden  with  diamonds — 
"I  have  no  responsibility." 

Her  dark  eyes  glittered  against  the 
pallor  of  her  face.  The  upturned 
corners  of  her  lips  parted  in  a  smile. 
I  could  not  yet  get  over  the  dazzling 
surprise  she  had  dealt  me.  Here  was 
Jetta,  a  real  star,  calmly  and  sensibly 
talking  about  the  merits  of  "a  part" 
in  "a"  picture — and  a  Griffith  picture 
at  that. 

Jetta  must  be  credited  with  cour- 
age. She  is  the  first  star  ever  to  re- 
linquish stardom  with  a  smile.  Many 
have  been  financially  forced  to  make 
a  come-back  in  that  way,  but  Jetta 
has  kept  right  on. 

Let  it  be  well  understood.  Goudal 
is  still  here.    She  is  here  to  stay. 


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Opening  oft"  the  hall  is  Miss  del 
Rio's  library  and  writing  room.  It  is 
particularly  interesting,  because  of 
the  only  decoration  in  the  room — the 
antique  tapestries  which  hang  before 
the  windows.  One  row  of  shelves 
is  devoted  to  Dolores'  collection  of 
old  Mexican  china.  Off  this  room  is 
the  office  of  her  secretary. 

The  living  room  is  reached  by  a 
flight  of  three  low  steps  down  from 
the  hall.  It  extends  a  short  distance 
to  the  right,  but  its  main  length  is  to 
the  left.  The  ceiling  is  high,  with 
beams  of  unpolished  oak  across  it. 
The  walls  are  of  smooth  plaster, 
tinted  a  deep  ivory.  In  this  room, 
too,  dull  red  predominates.  Against 
the  wall  is  a  long,  Spanish  divan,  up- 
holstered in  velvet,  with  small  end- 
chairs  at  each  corner.  On  the  wall, 
directly  above,  is  a  richly  embroidered 
ecclesiastical  tapestry.  In  furnishing 
this  room,  Dolores  was  sparing  in  the 
use  of  the  ponderous,  impractical 
pieces  that  are  more  Spanish  than 
comfortable.  Yet  there  is  not  one 
perceptible  deviation  from  the  Span- 
ish feeling  of  the  whole.  The  deep, 
inviting  chairs  hide  their  modernity 
under  brocades  of  strictly  Spanish 
design.  The  parchment-shaded  lamp 
is  set  on  a  heavily  carved  coffee  table 
that  is  purely  Spanish.  It  is  a  skill- 
ful blending  of  the  old  and  new,  and 
the  result  is  a  cleverly  executed  Span- 
ish room.  And  it  doesn't  need,  as 
most  of  our  pseudo-haciendas  seem 
to,  an  abundance  of  Spanish  shawls 
to  identify  it. 

The  room  is  lighted  by  a  three- 
tiered  wrought-iron  chandelier,  hung 
by  brackets  of  similar  design  on  the 
walls,  and  by  two  or  three  lamps. 
Two  really  fine,  old  paintings  orna- 
ment the  walls  and,  in  a  corner,  there 
is  an  interesting  screen  made  of  an 
oil  painting.  The  spacious  fireplace 
is  severely  plain.  In  front  of  it  is  an 
iron  grille,  on  the  ends  of  which 
hang  tongs  and  bellows. 

Three  autographed  photographs, 
the  only  ones  in  the  house,  are  in  this 
room.  On  a  table,  one  of  Edwin 
Carewe,  the  director,  on  another 
table,  one  of  Rita  Carewe,  his  daugh- 
ter, and  on  the  piano,  one^-of  Queen 
Victoria  of  Spain.  All  are  in  heavy, 
beaten-silver  frames.  It  is  a  digni- 
fied and  conservative  room,  but  at 
the  same  time,  warm  rather  than  for- 
mal, and  restful  to  a  high  degree. 

To  the  right  of  the  entrance  door 
is  the  dining  room.  This  is  reached 
by  a  flight  of  three  steps  up,  giving 
an  interesting  irregularity  of  height 
— the  hall  being  fully  two  stories,  the 
living  room  more  than  ordinarily 
high,  and  the  dining  room  low-ceil- 


inged.  This  gives  it  a  nice  suggestion 
of  intimacy  and  informality.  At  the 
top  of  the  flight  of  steps  leading  to  it, 
is  a  double  gate,  half  the  height  of 
the  arch.  This  is  of  iron,  gold-leafed 
and  wrought  in  the  form  of  grape- 
vines. 

The  dining-room  furniture  is  of 
oak,  the  top  of  the  table  and  sideboard 
unplaned.  The  chairs  are  upholstered 
in  tangerine-colored  velvet,  with 
massive  nailheads  along  the  sides. 
On  the  wall  at  the  head  of  the  table  is 
an  ecclesiastical  robe,  its  satin  back- 
ground the  same  shade  of  tangerine. 
Above  the  table  hangs  a  chandelier 
which  Dolores  brought  from  her 
home  in  Mexico.  It  is  of  hammered 
silver,  in  the  form  of  a  bowl.  Ferns 
effectively  hang  over  the  edge  of 
this. 

From  this  room  a  door  leads  into 
the  pantries,  the  kitchen  and  the  laun- 
dry. All  these  are  done  in  a  pale, 
fresh  green,  even  to  the  built-in  re- 
frigerator which  covers  one  wall. 

Back  in  the  hall  again,  we  ascend 
the  staircase,  which  is  against  the 
wall  facing  the  main  entrance.  It  is 
railed  in  wrought  iron,  and  the  steps 
are  of  red  tile.  The  fronts  of  the 
steps  are  done  in  decorative  tile  of 
blue,  on  a  white  background.  Cor- 
responding tiles  form  a  panel  along 
the  ascending  wall. 

Another  door  in  the  little  hall 
opens  into  Miss  del  Rio's  spacious 
room.  Here  the  walls  and  ceiling, 
the  carpet  and  brocaded-satin  dra- 
peries are  of  a  pale,  delicate  green. 
The  effect  is  breath-taking  for,  as  the 
curtains  color  even  the  light  from 
outside,  it  gives  the  impression  of 
stepping  into  fragile,  green  sunlight. 

This  room  frankly  departs  from 
the  majestic  formality  of  Spanish 
furnishings,  and  is  French  and  fem- 
inine, but  free  of  the  rococo  details 
often  found  in  French  rooms. 

The  bed,  on  a  low  dais,  Dolores 
brought  from  her  room  in  her  child- 
hood home.  It  is  Italian,  but  more 
essentially  French,  and  is  elaborately 
carved  and  painted,  the  colors  grown 
indistinct  through  the  generations  of 
its  existence.  It  is  covered  with  pale- 
yellow  silk.  The  one  painting  on  the 
walls,  the  incidental  chairs  and  tables, 
the  crystal  chandelier,  the  Sevres 
ornaments  on  one  table,  the  em- 
broidered shawls  thrown  over  the 
long  couch,  all  bespeak  the  femininity 
of  the  room  in  their  delicacy. 

The  house  is  innately  a  home,  de- 
signed to  be  lived  in,  an  illustration 
of  what  a  thoughtful  person  can  make 
of  a  combination  of  the  right  amount 
of  beauty  and  comfort. 


Advertising  Section 


110 


Texas  Guinan  Pans  Hollywood 


Continued  from  page  55 


and  I  heaved  it  at  him,  or  at  least 
in  his  general  direction.  It  went 
through  a  window.  After  a  while 
there  came  a  knock  at  my  door. 

"  'Never  mind !'  I  replied,  'I'm 
packing.' 

"They  took  me  downstairs  and 
showed  me  Mr.  Davis  with  his  head 
in  bandages.  He  was  just  kidding, 
of  course,  so  I  went  on  with  the  pic- 
ture. 

"Why  doesn't  Hollywood  get  a 
kick  out  of  anything,  now? 

"At  my  club  in  New  York  I  enter- 
tain the  best  people  in  the  world.  If 
you  want  to  see  a  famous  jockey,  a 
famous  playwright,  a  famous  movie 
star,  he's  there.  I  figure  it  costs  them 
fifty  dollars  a  head.  Do  you  think 
you  could  do  that  in  Hollywood? 
What  a  squawk  it  would  bring  if  you 
handed   out   a   fifty-dollar  ticket!" 

The  night-club  queen  saw  in  Holly- 
wood an  utter  lack  of  that  thing 
called  camaraderie.  She  says  the 
movie  colony  abounds  in  petty  jeal- 
ousies, restlessness,  beautiful  nouses, 
but  few  homes,  a  longing  for  some- 
thing— no  one  knows  what.  A  pa- 
pier-mache structure,  gilded  with  tin- 
sel, which  could  be  torn  down  like  a 
picture  set  and  not  be  missed. 

"It  was  all  right  to  call  off  the  re- 
ception they  planned  for  me,"  she 


said.  "My  only  regret  is  that  they 
didn't  tell  Mayor  Rolph,  of  San 
Francisco,  in  time  to  stop  his  making 
that  long  drive  to  act  as  toastmaster. 
When  he  heard  I  was  coming  to  Cali- 
fornia, he  sent  me  a  telegram  of  wel- 
come. 

"I  didn't  know  that  jealousy  ex- 
isted between  Los  Angeles  and  San 
Francisco.  It  seems  the  mayor  of 
Los  Angeles,  poor  thing,  didn't  want 
to  attend  a  dinner  with  the  mayor  of 
San  Francisco  acting  as  toastmaster 
and — oh,  well,  you  know  what  hap- 
pened !  Do  you  think  that  would 
occur  in  any  place  east  of  the  Rocky 
Mountains?  It  is  typical  of  be- 
nighted Hollywood." 

It  was  almost  noon  and  the  hectic 
day  was  progressing.  The  "pro- 
vincial, restless,  discontented  town" 
she  had  flayed,  was  half  through  with 
its  labor.    She  hadn't  even  started. 

In  a  downtown  office  an  attorney 
was  drawing  up  a  set  of  papers.  They 
would  soon  be  filed  in  court.  The 
papers  asked  $100,000  damages  from 
the  Los  Angeles  Railway  Company. 
Texas  Guinan's  car  was  alleged  to 
have  been  hit  by  a  motor  truck,  and 
she  had  been  bruised  and  her  feelings 
hurt.  She  had  also  suffered  from 
shock.  Yes,  that's  right — Texas  had 
been  "shocked." 


Information,  Please 

Continued  from  page  115' 


Milk,  and  appeared  in  "King  of  Kings," 
"Harp  in  Hock,"  "Wise  Wife."  Also 
"Cradle  Snatchers"  and  "The  Climbers." 
Movie  titles  are  frequently  changed  for  re- 
lease outside  New  York,  after  a  Broadway- 
run.  "Peter  Ibbetson"  meant  something  in 
New  York,  but  elsewhere  it  was  called 
"Forever,"  with  an  eye  to  the  box  office. 
Nils  Asther  is  six  feet  one ;  John  Gilbert's 
and  Ramon's  official  heights  are  five  feet 
ten,  but  Ramon  is  not  that  tall,  I'm  sure. 

Genette  Helexe  Jimmon. — It's  very 
careless  of  Jobyna  Ralston,  but  she  just 
won't  tell  when  she  was  born.  The  where 
is  South  Pittsburgh,  Kentucky.  She  is 
five  feet  four,  weight  about  110.  Blonde, 
with  hazel  eyes.  She  lives  at  Taluca 
Lake,  Burbank,  California.  She  has 
played  in  too  many  films  to  give  them  all 
here,  but  her  1928  pictures  are:  "Little 
Micky  Grogan,"  "The  Count  of  Ten," 
"The  Night  Flyer,"  "The  Toilers,"  and 
"The  Big  Hop,"  Buck  Jones'  first  film  "on 
his  own."  She  free  lances.  Rex  Lease 
was  born  in  Central  City,  Washington, 
February  11,  1903.  He  is  about  five  feet 
ten  and  is  a  brunet.  His  1928  films  are 
"Red  Riders  of  Canada,"  "Broadway  Dad- 
dies," "Phantom  of  the  Turf,"  "Queen  of 
the  Chorus,"  "Law  of  the  Range,"  "Riders 
of  the  Dark,"  "Candy  Kid,"  and  "Stolen 
Kisses."  I  believe  he  also  made  some 
bridge-lesson  films.  Elinor  Fair  was  born 
in  Richmond,  Virginia,  December  21,  1904. 
Height  five  feet  four  and  a  half  inches, 


weight  120.  Blonde  with  brown  eyes.  Her 
1928  films  are  "Let  'Er  Go,  Gallagher," 
"Sin  Town,"  "My  Friend  from  India." 
Virginia  Bradford's  first  film  was  "The 
Wreck  of  the  Hesperus,"  followed  by 
"Chicago;"  "Two  Lovers,"  "Craig's  Wife," 
and  "Marked  Money."  Philippe  De  Lacey 
was  born  in  Nancy,  France,  July  25,  1917. 
His  newer  films  are  "Love,"  "Mother 
Machree,"  "The  Broken  Mask,"  "Four 
Devils,"  and  "Redeeming  Sin."  There, 
now,  I'm  all  worn  out  with  that  carload 
of  questions. 

Frances. — Gladys  Hulette  still  plays  on 
the  screen  now  and  then — recently  in 
"Combat,"  "Bowery  Cinderella,"  and 
"Faithless  Lovers."  She  doesn't  give  her 
age.  Yes,  I  think  she  is  still  married.  I'm 
afraid  there's  not  enough  public  interest  in 
her,  now,  to  warrant  an  interview.  Mary 
Pickford  is  to  make  "Coquette"  on  the 
screen.  Conway  Tearle,  in  the  past  year, 
was  in  "Isle  of  Forgotten  Women"  and 
"Smoke  Bellew."  I  understand  he  has  re- 
turned to  the  stage  on  the  West  Coast. 

Pat. — Hooray  for  the  compliments  to 
Picture  Play  and  to  me !  And  Clara  Bow 
ought  to  give  you  a  rising  vote  of  thanks 
also.  Yes,  Clara  has  many  friends,  so  I 
assume  she  is  popular.  I'm  sorry,  I  don't 
know  her  home  address ;  her  father  still 
lives  with  her,  I  think.  Clara  has  been  in 
pictures  five  years.    She  has  several  fan 

Continued  on  page  121 


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Advertising  Section 

A  Confidential  Guide  to  Current  Releases 

Continued  from  page  69 


120 

pillllllllllllllIM 

|  Twice  a  Month  | 

a  a  magazine  appears  on  the  news  jj 

|  stands  which  you  ought  not  to 

j  be  missing.    Possibly  you  are 

:  one  of  its  many  enthusiastic  1 

1  readers.    If  so,  don't  bother  to  jj 

jj  read  more  of  this.   If  not,  there  1 

1  is  a  big  new  treat  in  store  for  jj 

J  you.     This  magazine,  as  you  g 

1  ha\re  probably  guessed,  is  | 

i=  = 

1  Complete  [ 
|  Stories  ( 

S      No    serials — no    continued  B 

B  stories.    A  brilliant  variety  of  B 

B  long  and  short  stories,  written 

j  by  the  hest  of  the  new  fiction  B 

g  writers  to-day.    You  will  find  B 

jj  tales  from  all  parts  of  the  earth 

■  V— China,    India,    Africa,    the  B 

m  South    Seas,    the    Northland,  B 

1  South   and   Central   America,  jj 

jj  and,  of  course,  the  various  sec-  | 

jj  tions  of  our  own  country.   The  1 

jj  people  you'll  meet  in  these  tales  1 

|  will  be  just  as  varied.  The  only  g 

I  thing  you  won't  find  in  this  j 

1  magazine  is  a  dull  story.  1 

jj  On  the  stands  the  1st  and  1 

j  15th  of  the  month.  jj 

p.  = 

|  LOOK  FOR  IT!  | 
|  20  cents  per  copy  j 

■iiiiiliiirt 


"State  Street  Sadie"— Warner.  Fair 
melodrama  of  the  underworld,  with 
machine  guns  and  "gats"  popping,  and 
a  crook  smarter  than  the  police.  Con- 
rad Nagel,  George  Stone,  and  Myrna 
Loy  are  exploited,  and  William  Rus- 
sell contributes  a  gripping  character 
study  as  the  principal  crook.  Plenty  of 
quick  movement. 

"Man=made  Woman" — Pathe.  Distin- 
guished settings,  good  acting,  and  bril- 
liant direction,  all  for  trite  story. 
Leatrice  Joy  loves  her  husband,  but 
objects  to  being  made  over  into  a  con- 
ventional mold,  so  has  her  fling.  John 
Boles,  H.  B.  Warner,  and  Seena  Owen. 

"Water  Hole,  The"— Paramount.  The 
taming  of  a  flapper  by  Jack  Holt,  as  a 
strong,  silent  man  of  the  outdoors, 
with  Nancy  Carroll  as  the  girl.  The 
hero  "kidnaps"  her,  with  her  father's 
consent,  as  the  first  step  in  the  tam- 
ing. Genuinely  entertaining. 

"Mother  Machree"--Fox.  Maudlin 
film  of  a  sacrificing  Irish  mother  who 
does  all  for  her  son.  Belle  Bennett, 
Neil  Hamilton,  and  Victor  McLaglen. 

"Patent  Leather  Kid,  The"— First  Na- 
tional. Richard  Barthelmess  in  unusu- 
ally good  film  of  conceited  little  prize 
fighter  who  tries  to  evade  the  war,  is 
drafted,  proved  a  coward,  but  finally 
redeemed  by  an  heroic  act. 

"Show  Down,  The"  —  Paramount. 
Convincing  and  well-acted  film  of  two 
oil  prospectors  in  the  tropics,  both  lov- 
ing the  same  girl.  All  ends  happily. 
George  Bancroft,  Neil_  Hamilton,  Eve- 
lyn Brent,  Leslie  Fenton,  and  Fred 
Kohler. 

"Abie's  Irish  Rose"  —  Paramount. 
Good  acting  and  sincere  direction.  No 
emotional  thrills.  Charles  Rogers  is 
good,  as  Abie.  Nancy  Carroll  perfect, 
as  Rosemary,  Jean  Hersholt,  Bernard 
Gorcey,  and  Ida  Kramer. 

"Glorious  Betsy"— Warner.  A  nice 
picture,  tearful,  charming,  lingering. 
Vitaphone  dialogue  unpleasant,  but  Do- 
lores Costello  and  Conrad  Nagel  are 
charming  and  agreeable  in  their  roles. 
John  Miljan  and  Marc  McDermott. 

"Hangman's  House" — Fox.  Common- 
place story,  with  exceptionally  beauti- 
ful atmosphere,  a  tribute  to  the  skill 
and  imagination  of  the  director.  June 
Collyer  is  an  aristocratic  beauty,  but 
not  an  emotional  one.  Larry  Kent, 
Victor  McLaglen,  and  Earle  Foxe. 

"Ramona"— United  Artists.  Another 
beautifully  scenic  picture.  Mild  story. 
Dolores  del  Rio  is  picturesque  in  title 
role.  Warner  Baxter  is  vital  and 
Roland  Drew  proves  languishingly  ro- 
mantic. 

"End  of  St.  Petersburgh,  The"— No 

continuity  of  action  or  characterization. 
Excellent  photography.  Story  is  told 
in  symbols.  If  you  like  this  sort  of 
thing  this  Russian  picture  is  as  good 
as  any. 

"Dawn."  Careful,  impartial  and  rev- 
erent attempt  to  picture  events  culmi- 
nating in  the  death  of  Edith  Cavell. 
Sybil  Thorndike  is  restrainedly  effec- 
tive. Marie  Ault,  Micky  Brantford, 
and  Maurice  Braddell  give  fine  per- 
formances. 

"Lion  and  the  Mouse,  The" — Warner. 
Old-fashioned  story  of  a  great,  grasp- 
ing capitalist.  Vitaphone  not  very  sat- 


isfactory in  instances  of  May  McAvoy 
and  William  Collier,  Jr.  Alec  B.  Fran- 
cis is  effective.  Also  Lionel  Barry- 
more. 

"Fazil" — Fox.  Expensive  and  beauti- 
ful production,  but  a  hollow  attempt  to 
revive  interest  in  the  private  life  of  a 
sheik.  Charles  Farrell  and  Greta  Nis- 
sen  are  not  at  their  best.  John  Boles^ 
Mae  Busch,  and  Tyler  Brooke. 

"News  Parade,  The" — Fox.  Agree- 
able comedy.  More  so  for  the  pres- 
ence of  Nick  Stuart.  Sally  Phipps 
does  too  little  to  suit  most  of  us. 
Palm  Beach  setting,  Lake  Placid  and 
Havana.  Brandon  Hurst  is  amusing  as 
millionaire  with  antipathy  for  camera. 

"Dragnet,  The" — Paramount.  Should 
be  seen  if  you  like  these  "gang"  pic- 
tures. George  Bancroft  stands  for  the 
law  instead  of  against  it.  Admirable 
work  by  Francis  MacDonald.  William 
Powell  good.  Leslie  Fenton  and  Fred 
Kohler  complete  excellent  cast. 

"Street  of  Sin"— Paramount.  Emil 
Jannings  is  good,  but  does  not  reach 
heights  attained  in  previous  roles. 
Story  of  a  Limehouse  bully  and  crook. 
Uncompromisingly  sordid  and  senti- 
mental. Olga  Baclanova  displays  a 
torrential  personally,  nothing  short  of 
genius.  Fay  Wray  is  the  Salvation 
lassie. 

"Red  Dance,  The"— Fox.  Another 
story  about  the  downtrodden  Russian 
peasants,  and  the  annihilation  of  those 
poor  Romanoffs.  Charles  Farrell,  as  a 
grand  duke,  falls  in  love  with  Dolores 
del  Rio,  who  is,  of  course,  a  girl  of  the 
people.  Ends  happily  enough.  Ivan 
Linow  gives  a  distinctive  performance. 
Dorothy  Revier  is  a  princess. 

"The  Cossacks"  —  Metro-Goldwyn. . 
Story  of  "Lukashka,"  of  a  wild  tribe  of 
Russians,  who  is  accused  of  cowardice. 
He  later  proves  his  birthright  by  mur- 
dering a  dozen  or  so  Turks.  Is  spurned 
by  "Maryana,"  who  is  betrothed  to  a 
noble.  True  to  form,  "Lukashka"  ab- 
ducts her  on  the  eve  of  her  marriage. 
John  Gilbert  attacks  his  role  of  "Lu- 
kashka" with  gusto,  and  gives  fine  per- 
formance. Renee  Adoree,  Ernest  Tor- 
rence,  Nils  Asther,  Mary  Alden,  and 
Dale  Fuller  are  conspicuous. 

"Wheel  of  Chance"— First  National. 
Richard  Barthelmess  does  some  genu- 
inely fine  acting,  playing  the  dual  role 
of  twin  brothers  who  were  separated  in 
Russia.  Margaret  Livingston  is  vivid 
and  fascinating  as  the  wicked  lady, 
who  plays  a  part  in  the  life  of  both 
brothers.  Bodil  Rosing  is  sympathetic 
in  her  role. 

"Big  Killing,  The" — Paramount.  Last 
comedy  starring  the  team  of  Beery  and 
Hatton.  Not  quite  as  funny  as  prede- 
cessors, but  you  will  enjoy  Beery  and 
Hatton.  It's  a  farce  about  a  feud 
among  mountaineers.  Mary  Brian  has 
an  effective  part  as  the  mountaineer's 
daughter,  and  Lane  Chandler  is  good. 

"The  Actress"— Metro-Goldwyn.  The 
story  of  a  rich  boy's  love  for  an  ac- 
tress, back  in  the  Victorian  days.  At- 
mospherically perfect.  Based  on  the 
stage  play  "Trelawney  of  the  Wells." 
Norma  Shearer  as  "Rose"  succeeds  in 
being  sweet.  Ralph  Forbes  is  convinc- 
ing, if  silly.  Owen  Moore  is  perfect  as 
"Tom  Wrench." 


Advertising  Section 


121 


Information,  PI  ease 


Continued  fr 

clubs.  Write  Louise  C.  Hinz,  2456  Sheri- 
dan Avenue,  Detroit,  or  Romolus  Gooding, 
93  Broad  Street,  Newbern,  North  Caro- 
lina. 

Joseph  Smith. — It's  funny,  that  almost 
no  one  asks  about  Peggy  Shaw,  though 
she  is  very  beautiful.  She's  from  Pitts- 
burgh, and  went  on  the  stage  in  Gus  Ed- 
wards' revue;  after  that  with  Ziegfeld. 
Her  recent  films  have  been  westerns — "His 
Rise  to  Fame,"  "Hoof  Marks,"  "Little 
Buckaroo,"  and  before  those  in  two-reel 
films,  "Songs  of  Old  Spain,"  et  cetera. 
Harry  Crocker  is  better  known  as  Charlie 
Chaplin's  adviser  and  friend  than  as  an 
actor. 

Neal. — I  don't  seem  to  be  catching  up 
with  my  work  very  fast  this  month.  Every 
one  asks  such  a  long  list  of  questions,  I 
can't  get  many  replies  into  my  space. 
Carol  Dempster  says  she  will  make  an- 
other picture  when  D.  W.  Griffith  has  a 
role  which  suits  her.  Alma  Rubens  has 
recently  played  in  "Mask  of  the  Devil" 
and  "Show  Boat."  Susan  Fleming's  screen 
career  consisted  of  one  picture.  Mae 
Marsh  retired  from  the  screen  shortly 
after  her  marriage  to  Louis  Lee  Arms; 
she  is  now  "just  a  wife,"  and  the  mother 
of  three  children.   Blanche  Sweet  made  a 


om  page  119 

film  in  England;  Joyce  Compton  played  in 
"Soft  Living"  some  months  ago,  but  isn't 
very  active  on  the  screen.  Harriet  Ham- 
mond appeared  recently  in  "Queen  of  the 
Chorus";  Lillian  Rich  in  "Web  of  Fate" 
and  "That's  My  Daddy";  Sally  Rand  in 
"Golf  Widows."  Sally  is  now  in  vaude- 
ville. Kathryn  Perry  in  "Blood  Will  Tell" 
and  "Husbands  For  Rent."  It  isn't  easy  to 
keep  working  when  you  free  lance; 
there's  too  much  competition.  Ivan  Petro- 
vitch  plays  only  in  European  films,  which 
will  continue  to  be  shown  here  occasion- 
ally. Percy  Marmont  is  in  England  just 
now,  and  Wallace  MacDonald  is  direct- 
ing. He  also  appears  in  "Fancy  Bag- 
gage." The  Anna  Q.  Nilsson  Fan  Club 
has  headquarters  with  Rowena  Moling, 
3120  Penn  Street,  Kansas  City,  Missouri. 
Esther  Ralston  Fan  Club,  Mabel  Hill, 
1250  South  Normal  Street,  Chico,  Cali- 
fornia. Bebe  Daniels  Fan  Club,  Dorothy 
Helgren,  146  Ballou  Avenue,  Dorchester, 
Massachusetts.  The  heroine  in  "Puppets" 
was  Gertrude  Olmsted,  who  plays  con- 
stantly in  independent  films.  Marguerite 
Clark  still  lives  in  New  Orleans,  and  long 
since  left  the  movies  for  good.  Addresses 
are  given  in  the  list  at  the  end  of  this 
department. 


Addresses  of  Placers 


Richard  Arlen,  Raymond  Hatton,  Pola 
Negri,  Esther  Ralston,  Mary  Brian,  Neil 
Hamilton,  Richard  Dix,  Adolphe  Menjou, 
Kathryn  Carver,  Wallace  Beery,  Florence 
Vidor,  Clara  Bow.  Chester  Conklin,  Clive 
Brook,  Charles  ("Buddy")  Rogers,  Fred 
Thomson,  Gary  Cooper,  James  Hall,  Doug- 
las MacLean,  William  Powell,  Bebe  Dan- 
iels, Louise  Brooks,  Noah  Beery,  Emil  Jan- 
nings,  Evelyn  Brent,  Doris  Hill,  Ruth  Taylor, 
Nancy  Carroll,  at  the  Paramount  Studio, 
Hollywood,  California. 

Gwen  Lee,  Ramon  Novarro,  Norma  Shear- 
er, John  Gilbert,  William  Haines,  Lon  Cha- 
ney,  Renee  Adoree,  Marion  Davies,  Lillian 
Gish,  Eleanor  Boardman,  Karl  Dane,  Dorothy 
Sebastian,  Lionel  Barrymore,  Tim  McCoy, 
George  K.  Arthur,  Joan  Crawford,  Nils 
Asther,  Ralph  Forbes,  Buster  Keaton,  Johnny 
Mack  Brown,  Marceline  Day,  Conrad  Nagel, 
at  the  Metro-Goldwyn  Studio,  Culver  City, 
California. 

Vilma  Banky,  Ronald  Colman,  Douglas 
Fairbanks,  Mary  Pickford,  Norma  Talmadge, 
Constance  Talmadge,  Gilbert  Roland,  Don 
Alvarado,  and  John  Barrymore,  at  the 
United  Artists  Studio,  7100  Santa  Monica 
Boulevard,  Los  Angeles,  California. 

Colleen  Moore,  Jack  Mulhall,  Doris  Ken- 
yon,  Milton  Sills,  Billie  Dove,  Ken  Maynard, 
Richard  Barthelmess,  Dorothy  Mackaill, 
Harry  Langdon,  Mary  Astor,  Larry  Kent, 
Corinne  Griffith,  Alice  White,  Donald  Reed, 
and  Molly  O'Day,  at  the  First  National 
Studio,  Burbank,  California. 

Reginald  Denny,  Hoot  Gibson,  Mary  Phil- 
bin,  Laura  La  Plante,  Marian  Nixon,  Art 
Acord,  Barbara  Kent,  Barbara  Worth,  Eth- 
lyn  Claire,  William  Desmond,  Edmund  Cobb, 
Jack  Daugherty,  George  Lewis,  Raymond 
Keane,  at  the  Universal  Studio,  Universal 
City,  California. 

William  Boyd,  Rod  La  Rocque,  Leatriee 
Joy,  Edmund  Burns,  Vera  Reynolds,  H.  B. 
Warner,  Victor  Varconi,  Elinor  Fair,  Jacque- 
line Logan,  Kenneth  Thomson,  Joseph  Striker, 
Joseph  Schildkraut,  Virginia  Bradford, 
and  Lina  Basquette,  Marie  Prevost,  Harrison 
Ford,  Phyllis  Haver,  at  the  Pathe  Studio, 
Culver  City,   California.     Also  Julia  Faye. 

George  O'Brien,  Edmund  Lowe,  Earle  Foxe, 
Janet  Gavnor,  Richard  Walling,  Barry  Nor- 
ton, Charles  Farrell,  Madge  Bellamy,  Victor 
MeLaglen,  Lois  Moran,  Nick  Stuart,  Virginia 
Valli,  Sally  Phipps,  Farrell  MacDonald, 
Charles  Morton,  Ben  Bard,  Sammy  Cohen, 
Warren  Burke,  Davis  Rollins,  George  Meeker, 
Marjorie  Beebe,  Margaret  Mann,  Nancy 
Drexel,  June  Collyer,  and  Mary  Duncan,  at 
the  Fox  Studio,  Western  Avenue,  Hollywood, 
California. 

Audrey  Ferris,  Dolores  Costello,  Louise  Fa- 
zenda,  Monte  Blue,  May  McAvoy,  Leila  Hy- 
ams,  at  the  Warner  Studios,  Sunset  and 
Bronson,  Los  Angeles,  California. 

Tom  Tyler,   Bob   Steele,  Frankie  Darro, 


Buzz  Barton,  Tom  Mix,  Martha  Sleeper,  at 
the  F.  B.  O.  Studio,  780  Gower  Street,  Holly- 
wood, California. 

Bill  Cody,  Buddy  Roosevelt,  Walter  Miller, 
at  the  Associated  Studios,  Mission  Road, 
Hollywood,  California. 

Allene  Ray,  6912  Hollywood  Boulevard, 
Hollywood,  California. 

Robert  Frazer,  6356  La  Mirada  Avenue, 
Los  Angeles,  California. 

Patsy  Ruth  Miller,  808  Crescent  Drive, 
Beverly  Hills,  California. 

Robert  Agnew,  6357  La  Mirada,  Hollywood, 
California. 

Dorothy  Revier,  1367  North  Wilton  Place, 
Los  Angeles,  California. 

Julanne  Johnston,  Garden  Court  Apart- 
ments, Hollywood,  California. 

Malcolm  McGregor,  6043  Selma  Avenue, 
Hollywood,  California. 

Jackie  Coogan,  673  South  Oxford  Avenue, 
Los  Angeles,  California. 

Ivor  Novello,  11  Aldwyeh,  London,  W.  C.  2, 
England. 

Harold  Lloyd,  6640  Santa  Monica  Boule- 
vard, Hollywood,  California. 

Anna  May  Wong,  241  N.  Figueroa  Street, 
Los  Angeles,  California. 

Eileen  Percy,  154  Beechwood  Drive,  Los 
Angeles,  California. 

Herbert  Rawlinson,  1735  Highland  Street, 
Los  Angels,  California. 

Forrest  Stanley,  604  Crescent  Drive,  Bev- 
erly Hills,  California. 

Gertrude  Astor,  1421  Queen's  Way,  Holly- 
wood, California. 

Lloyd  Hughes,  616  Taft  Building,  Holly- 
wood, California. 

Virginia  Brown  Faire,  1212  Gower  Street, 
Hollywood,  California. 

Johnny  Hines,  Tec-Art  Studio,  5360  Mel- 
rose Avenue,  Hollywood,  California. 

Theodore  von  Eltz,  1722 1£  Las  Palmas, 
Hollywood,  California. 

William  S.  Hart,  6404  Sunset  Boulevard, 
Hollywood,  California. 

Vivian  Rich,  Laurel  Canyon,  Box  799,  R. 
F.  D.  10,  Hollywood,  California. 

Betty  Blythe,  1361  Laurel  Avenue,  Holly- 
wood. California. 

Estelle  Taylor,  5254  Los  Feliz  Boulevard, 
Los  Angeles,  California. 

Pat  O'Malley,  1832  Taft  Avenue,  Los  An- 
geles, California. 

Gordon  Griffith,  1523  Western  Avenue,  Los 
Angeles,  California. 

Ruth  Roland,  3828  Wilshire  Boulevard,  Los 
Angeles,  California. 

Gilda  Gray,  22  East  Sixtieth  Street,  New 
York  City. 

Bert  Lytell,  P.  O.  Box  235,  Hollywood, 
California.  .  >  _," 

Kenneth  Harlan,  Hollwood  Athletic  Club, 
Hollywood,  California. 

Ben  Lyon,  1040  N.  Las  Palmas,  Hollywood, 
California. 


re 


Wealthy! 

Help  them 
stay  that  way 

BUY 
CHRISTMAS 
SEALS 


THE  NATIONAL,  STATE,  AND  LOCAL 
TUBERCULOSIS  ASSOCIATIONS 
OF  THE  UNITED  STATES 


Advertising  Section 


acne 


Meet  the  Master 
Criminal  of  the 
Century 

Cruel,  diabolical,  cunning  and  pitiless 
is  the  Chinese  supercriminal,  Mr.  Chang, 
as  he  steals  sof't-footedly  through  the 
mazes  of  his  startling  adventures. 

Pitted  against  him  is  the  hardly  less 
clever  Chinese  detective,  Doctor  Ling. 

In  a  desperate  battle  of  wits,  these  two 
play  out  "fneir  thrilling  game  of  life  and  death  in  one  of  the  most  absorbing  detec- 
tive stories  ever  written.    It  is 

Mr.  Chang's  Crime  Ray 

By  A.  E.  APPLE 

Author  of  "Mr.  Chang  of  Scotland  Yard" 

This  is  one  of  the  famous  CHELSEA  HOUSE  POPULAR  COPYRIGHTS 
— a  line  of  popular  fiction  in  book  form  selling  at 

75  CENTS  A  COPY 

The  stories  in  CHELSEA  HOUSE  POPULAR  COPYRIGHTS  are  all  new 
titles  that  have  never  before  appeared  in  book  form.  The  volumes  are  substan- 
tially bound  in  cloth  and  are  quite  the  equal  of  most  $2  books. 

ASK  YOUR  BOOKSELLER  TO  SHOW  YOU  "MR.  CHANG'S 
CRIME  RAY"  AND  OTHER  TITLES  OF  THE  CHELSEA 
HOUSE  POPULAR  COPYRIGHTS,  OR  WRITE  THE  PUB- 
LISHERS FOR  A  COMPLETE  LIST. 


CHELSEA  HOUSE,  Publishers,  79  Seventh  Ave.,  New  York 


All  the  World 
Loves  a  Good 
Love  Story  ^ 

It's  the  most  popular  kind  of  story  there  is. 
The  greatest  novels  of  all  time  are  love  stories. 
Romantic  love  never  loses  its  appeal.  The 
delights  and  heartbreaks,  the  tenderness  and 
bitterness  incidental  to  courtship  and  marriage 
furnish  a  never-failing  fund  of  material  for 
the  writer  of  romantic  fiction. 

That  is  why,  in   selecting  titles    for  the 
Chelsea  House  line  of  books,  it  'vvas  thought 
are  known  as  the 

CHELSEA  HOUSE  POPULAR  COPYRIGHTS 

They  are  bound  in  cloth  with  gold  stamping,  printed  on  good  paper  from  new,  clear  type, 
and  in  general  appearance  are  the  equal  of  most  books  made  to  sell  at  $2.00.  They  are  all  new 
stories  that  have  never  before  appeared  in  book  form,  not  reprints  of  old  editions.  They  are 
sold  for 

75  Cents  a  Copy 

Some  of  the  Love  Stories  in  the  Chelsea  House  Popular  Copyrights  are  described  below 


well  to  include  several  love  stories.    These  book^ 


The  Bayou  Shrine 
By  PERLEY  POORE  SHEEHAN 

The  story  of  a  pure  love  that  rose  above  con- 
ventions. A  romance  that  will  have  a  particu- 
lar appeal  to  the  modern  woman. 


The  Love  Bridge 
By  MARY  1MLAY  TAYLOR 

How  the  destinies  of  two  women  and  a  man 
were  vitally  influenced  by  a  bridge  across  a 
Western  canyon.  A  splendid  love  story  of  the 
outdoors. 


The  Awakening  of  Romola         Her  Wedding  Ring 


By  ANNE  O'HAGAN 

Romola  was  thirty-two.  She  had  a  husband 
and  two  children.  But  romance  insisted  on 
coming  into  her  life  again. 


By  MARCIA  MONTAIGNE 

The  call  of  youth  to  youth  and  a  love  that 
sought  to  override  obstacles  instead  of  finding 
a  way  around  them,  are  the  dominant  themes  of 
this  romance  of  the  younger  generation. 


Quicksands 

By  VICTOR  THORNE 

How  a  girl  reared  in  poverty  staged  a  cam- 
paign to  win  a  wealthy  husband.  A  story 
that  deals  with  many  of  the  vital  problems  of 
modern  life. 


Wanda  of  the  White  Sage 

By  ROY  ULRICH 

Marrying  a  girl  he'd  never  seen  before  and 
taking  her  out  West  was  a  pretty  experience 
for  Dan  Chadwick,  but  it  was  only  the  start 
of  his  romantic  adventures. 


Ask  Your  Bookseller  for  Chelsea  House  Popular  Copyrights 

There  are  also  Detective  and  Mystery  Stories,  Western  Stories,  and  Adventure  Stories — 
all  the  most  popular  types  of  fiction— included  in  the  CHELSEA  HOUSE  POPULAR  COPY- 
RIGHTS.   WRITE  FOR  A  COMPLETE  LIST. 

CHELSEA  HOUSE,  Publishers,  79  Seventh  Avenue,  New  York 


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OUREPIA 


FEBRUARY  1 


1£>2 


NEIL  HAMILTON 

Painted,  by 
MODEST  STEIN" 


What' s  become  of  all  the 
homely  women? 


Women  simply  aren't  homely  any  more.  You  meet  plain 
women,  yes  .  .  .  but  their  smart,  trim  air  is  the  envy  of 
many  who  are  only  beautiful. 

In  the  old  days,  when  a  girl  gave  promise  of  becoming 
"hopelessly  plain,"  she  was  frankly  informed  of  the  fact  to 
save  her  from  hurt  pride  in  later  years.  She  remained 
frumpy  and  tried  to  convince  herself  that  she  didn't  care! 

Not  today! 

Advertising  has  played  a  remarkable  part  in  making 
every  woman  attractive. 

It  has  taught  her  to  use  the  beauty  and  charm  that  are 
her  heritage,  regardless  of  the  shape  of  her  features.  Her 
teeth,  her  hair,  her  hands,  her  complexion,  her  clothes,  and 
even  her  erect,  athletic  figure  have  been  "brought  out"  by 
methods  constantly  before  her  in  advertising. 

The  great  beauty  and  style  specialists  of  the  country  have 
been  her  consultants,  as  they  are  yours,  if  you  are  taking 
fullest  advantage  of  the  opportunities  before  you,  in  the 
advertising  pages  of  this  magazine. 

/        /  / 


Read  the  advertisements.    They  hold 
secrets  of  beauty  and  style  that  were 
denied  the  women  of  yesterday 


Advertising  Section 


EVERYBODY 

IALIi3  in  this 

FIRST  ALLTa  I  king 
FARCE-COMEDY 

#\  / 


.«  Gtion 

TALK// 


There's  a  thrill  a  minute  in 
the  action  and  a  laugh  every 
other  second  in  the  side- 
splitting dialog  written  by 
Frederick  11.  Brennan  and 
Harlan  Thompson! 

WILLIAM  FOX,  in  this  newest 
Movietone  Feature,  introduces  a 
new  technique  on  the  screen 
...  don't  miss  this  all- 
talking  farce  comedy  when 
it  comes  to  your  favorite 
motion  picture  theater! 


(The 
GHOST 
TALKS 

and  so 
does  the 


in  this 
latest^ 


MOVIETONE 


Directed  in  dialog  by 

LEWIS  8EILER 


with 


Cnaiies  Eaton      Helen  Twelvetrees      Earle  Fox      Carmel  Myers 


 i 

HOKfiPSPEP 


DEC  29  I9?8 


©C1B  11252 

iiiiiiiiuiiiiiii]iiiniiiiiiiii]]iiiiii]iiiiiiiiii]iiimiiii]]iiiiiiiiiiiiiiii]iiiitiiiiHiiii&  MONTHLY 


Volume  XXIX 


Picture  Play 

ux  '  Contents  for  February,  1929 


/ 

Number  6 


The  entire  contents  of  this  magazine  are  protected  by  copyright,  and  must  not  be  reprinted  without  the  publishers'  consent. 


Reginald  Fenton 


What  the  Fans  Think  

An  open  forum  for  and  by  our  readers. 

Our  Dancing  Sisters  

A  photograph  of  Bessie  Love  and  Anita  Page  as  they  appear  in  "The  Broad- 
way Melody." 

An  Infant  Learns  Its  Syllables  ....    Edwin  Schallert 

Amusement  and  information  are  cleverly  combined  in  this  article  about  talk- 
ing pictures. 

They  Know  Their  Caviar  Myrtle  Gebhart 

An  intimate  story  of  Edmund  Lowe  and  Lilyan  Tashman. 

The  Boy  Friend  

Pictures  that  prove  the  stars  choose  safely. 

Should  a  Brother  Tell?  .... 

Leslie  Fenton's  brother  thinks  so,  and  does. 

There's  No  Place  Like  Home  ....    Margaret  Reid 

In  all  Hollywood  there  is  none  like  Raymond  Hatton's. 

The  Fatal  Number  Three  .....    Ann  Sylvester 

Do  deaths  of  stars  always  occur  in  threes? 

Came  the  Yawn  

The  camera  catches  some  celebrities  in  the  act  of  oscitation. 

Over  the  Teacups  The  Bystander 

Fanny  the  Fan  again  invites  comparison  with  Tennyson's  brook. 

Hollywood's  in  the  Air  Now     ....    Myrtle  Gebhart 

Few  are  spared  inoculation  with  the  germ  of  airplaning. 

Evelyn — As  She  Is  

A  truly  brilliant  analysis  of  Miss  Brent. 


Margaret  Reid 


Favorites  of  the  Fans 

Portraits  in  rotogravure  of  eight. 

Shy — But  She's  Getting  On 

An  interview  with  Jean  Arthur  tells  why. 


.    Patsy  DuBuis 
Carroll  Graham 


The  Stroller  

Biting  comment  on  Hollywood  and  some  of  its  people. 

A  Kingdom  Under  the  Sea       ....    Edwin  Schallert  . 

"The  Mysterious  Island"  is  a  film  that  promises  to  be  unique. 

Polly's  Back  Helen  Louise  Walker 

Dynamite  couldn't  dislodge  Polly  Moran  from  the  screen  now. 

Pride  of  the  Clan       .       .       ...  .       .    Ann  Sylvester 

Eddie  Quillan  introduces  his  large  family  to  the  fans. 

Continued  on  the  Second  Page  Following 


8 
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Monthly  publication  issued  by  Street  &  Smith  Corporation,  70-89  Seventh  Avenue,  New  York  City;  Ormond  G.  Smith,  President;  George  C.  Smith,  Tico 
President  and  Treasurer;  George  C.  Smith,  Jr.,  Vice-President ;  Ormond.  V.  Gould,  Secretary,  Copyright,  1928,  by  Street  &  Smith  Corporation,  Nevt 
York  Copyright,  1928,  by  Street  '&■ Smith  Corporation,  Great  Britain.  Entered  a's  Second-class  Matter,  March  6,  1910,  at  the  Post  Office  at  New  York, 
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We  do  not  hold  ourselves  responsible  for  the  return  of  unsolicited  manuscripts. 


KlllillllllllllllllllillllllllllllM 


Advertising  Section 


now  it's  on  the  screen— with 
talking,  singing  and  sound! 


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


And  watch  for! 
" Interference" 

ThefirstQUALITY All-Talking 
Picture 


Emit  Jannings  in 

"Sins  of  the  Fathers' 


'The  Canary  Murder 
Case" 

With  Sound  and  Dialog 
♦ 

"The  Case  of  Lena 
Smith" 

Starring  Esther  Ralston 
♦ 

Richard  Dix  in 

"Redskin" 

Sound  and  Technicolor 


St 


eo  every  rec-"**^,  «•  >°»^ 


1  P""*         ..le.*""1  * b,        or  «*  9°°°     ,.„,.*»  or.. 

—  •  ■  'J  ,„  #  *    of  r~— *  Z  »  — 

A  are  sure  i«  reSourcei=>  make  i* 

see  — -•"£*.  p^rty*" «■•*-*" " 

orgaoi**1  ,    m0st  *aVua         ..  ,vaS  a*  a  in  town? 

neater  a*  -  p^m""*  P'£  «  * 


mo«o»  f  t  picture  «■ 

IBs* 


9ommo«n/ 

PARAMOUNT  FAMOUS  1 ASK Y  CORPORATION 


Pictures 

ADOLPH  ZUKOR,  PRES.,  PARAMOUNT  BLDG.,  N.  V. 


Contents — Continued  ma  111111111  ■ 


They  Pause  for  Reflection 

Pictures  of  the  stars  in  a  favorite  pastime. 

Manhattan  Medley  .... 

A  gay  chronicle  of  film  doings  in  New  York. 

That  Reminds  Me  


*     •       •       •       •       .  o2 
Aileen  St.  John-Brenon  54 
.....  58 


Monte  Blue  listens  to  a  joke  and  tells  one. 


A  Girl  Comes  to  Hollywood     .       .       .  Alice  M.  Williamson    .  59 

We  dare  you  to  put  down  this  ninth  installment  of  our  mystery  novel! 

Lya  Waves  the  Flag  Herbert  Knight    .  .63 

Miss  De  Putti,  the  erstwhile  vamp,  makes  herself  over  into  a  girl  of  the  great 
outdoors. 

A  Confidential  Guide  to  Current  Releases  .65 

Brief  tips  on  pictures  now  showing. 

The  Screen  in  Review       .....    Norbert  Lusk       .       .  66 

Our  critic  shows  that  all  is  not  gold  that  glitters  among  new  pictures. 

Hollywood  High  Lights  Edwin  and  Elza  Schallert  70 

What's  doing  in  the  film  colony. 


Earthy  and  Square     .       .       .       .       .       .    Esther  Carples 

Estelle  Taylor  and  Jack  Dempsey  are  strictly  on  the  level  with  each  other  and 
with  life. 

Aren't  'Women  Funny?  H.  A.  Woodrnansee 

The  dearth  of  female  comedians  is  deplored. 

When  They  Faced  Oblivion      .       .       .       .    Joseph  W.  Kaye  . 

Crucial  moments  in  careers  are  revealed,  when  to  falter  would  have  meant  last- 
ing failure. 


The  Temperamental  Dumb 

Amusing  instances  of  "actoritis"  among  animal  stars. 

Information,  Please  ..... 

Answers  to  questions  of  our  readers. 


Ruth  M.  Tildesley  i 
The  Oracle  . 


74 

83 
86 

89 
102 


earing  House  for  Dreams 

HAT  is  it?  Where  is  it?  You  ask  these  questions,  because 
your  imagination  is  stirred,  and  perhaps  you  have  dreams  of 
your  own  which  you  are  eager  to  change  into  realities.  Well,  we 
cannot  exactly  tell  you  where  this  magic  may  be  wrought — who 
can? — but  in  the  March  PICTURE  PLAY  you  will  find  Adele 
Whitely  Fletcher's  article  on  the  subject  extremely  interesting. 
It  deals,  of  course,  with  the  movies  and  an  unusual  phase  of 
the  stars'  responsibilities  to  those  who  have  dreams,  and  who  con- 
fide them  to  the  stars.  That's  all  we  can  tell  you  about  the  story 
just  now.  Read  it  without  fail.  You  will  surely  agree  that  it  is 
one  of  the  most  entertaining,  informative  and  amusing  features 
PICTURE  PLAY  has  ever  offered.  Nor  will  it  be  the  only  one. 
Far  from  it.  To  enumerate  them  all  would  cover  this  entire  page, 
and  there  is  something  else  to  remind  you  of.    It  is  this 

This  is  Your  Magazine — Hov?  Are  You  Going  to  Run  It? 

YOU  want  to  make  it  more  successful  than  it  is,  of  course;  you 
want  to  make  those  read  it  who  have  never  read  it  before;  you 
want  to  make  it  talked  about.  Well,  how  are  you  going  to  bring 
this  about?  What  are  you  going  to  add  to  it,  and  what  do  you 
think  should  be  taken  away?  We  know  you  have  many  sugges- 
tions for  the  betterment  of  PICTURE  PLAY,  so  why  not  write 
them  to  the  editor?  Your  letters  will  be  given  careful  attention 
and  your  wishes  will  be  carried  out  wherever  it  is  feasible  to  do  so. 
Whatever  you  do,  express  an  opinion  of  PICTURE  PLAY.  It  is 
only  by  this  means  that  the  magazine  can  be  made  to  realize  your 
hopes  for  it,  and  it  is  only  thus  that  the  pulse  of  its  readers  may 
guide  its  policy.  The  interest  and  loyalty  of  its  readers  have 
made  PICTURE  PLAY  what  it  is,  so  let  us  all  get  together  and 
make  it  still  better — an  enduring  and  shining  link  between  the 
movies,  the  stars  and  the  fans.  Write! 


Advertising  Section 


Marvel  of  this 
yf^arvelous  Age 


Given  to  the  World  by  Warner.  Bros 


Vitaphone  is  a  scientific  achievement — far 'reaching  in  its 
influence  on  the  human  family.  It  immeasurably  widens  the 
sphere  of  knowledge  and  enjoyment.  Brings  the  whole: 
world  of  SOUND  and  ACTION  to  all  people  everywhere. 

Through  Vitaphone,  the  foremost  entertainers  of  the  age 
re-live  before  you — they  act,  talk,  sing  and  play  — like 
human  beings  in  the  flesh! 

Remember — Warner  Bros,  pioneered  the  talking  picture. 
Warner  Bros,  perfected  the  talking  picture.  Warner  Bros. 
Vitaphone  has  PROVED  its  nation' wide  success  and  tri' 
umph  in  hundreds  of  leading  theatres  from  Coast  to  Coast, 

Make  no  mistake.  See  and  hear  Warner  Bros.  Vitaphone.  It1 
will  confirm  your  conviction  that  here  at  last  is  the  lifci 
like  talking  picture— the  marvel  of  this  marvelous  age. 


IF  ITS  NOT  A  WARNER  P  S  CTU  RE...  ITS  NOT  VITAPHONE 


StEand  HEAR. 

Vitaphones 

Supreme  Dramatic  Triumph 

DOLORES  COSTELLO 
in *NQAHS  ARK" 

with  G  EO  RG  E  OB  R I  E  N 

Mightiest  entertainment  achieve- 
ment since  the  birth  of  Motion 
Pictures!  Awe-inspiring — heart- 
gripping — unprecedented!  See  and 

hear  "NOAH'S  ARK" 


8 


The  Talkies  Ab!y  Defended. 

ALL  the  letters  concerning  talking  pictures  have 
been  very  much  against  them,  so  I've  decided 
to  argue  on  the  other  side.  Not  just  to  be 
contrary;  no,  indeed.  I  like  the  talking  movies,  but 
please  don't  misunderstand  me  when  I  say  I  don't  care 
for  them  as  they  are  now.  I  like  the  idea,  and  any  one 
with  half  an  eye,  who  cares  to,  can  see  that  they  "have 
a  future." 

Of  course  there  are  many  imperfections  as  yet,  but 
gradually  these  things  will  be  overcome. 

I've  seen  all  the  talking  pictures  that  have  been  re- 
leased, and  I'm  frank  to  admit  that  I  don't  care  for 
the  half-and-half,  now  they  talk,  now  they  don't.  It's 
too  great  a  shock.  There's  a  let-down  in  tension  when 
the  characters  suddenly  stop  talking,  all  at  once.  It 
seems  ridiculous  to  see  people  whose  lips  go  through 
all  the  movements  of  talking,  and  yet  you  can't  hear 
them,  after  the  talking  parts. 

As  for  the  all-talking  pictures,  I  saw  "Lights  of  New 
York"  and  had  a  great  time,  and  all  because  the  charac- 
ters talked  out  loud.  Where  would  it  have  been  without 
tha1"?  For  the  story  was  hopeless.  It  would  have  been 
frightfully  boring  without  the  talking. 

You  folks  who  say  the  public  doesn't  care  for  talkies 
are  trying  to  kid  yourselves,  trying  to  bring  other  people 
around  to  your  way  of  thinking.  The  public  does  like 
them.  If  not,  why  does  "Lights  of  New  York"  pack 
them  in  ?  Why  does  it  run  here  for  weeks  and  weeks  ? 
Why  does  the  management  put  on  extra  midnight  per- 
formances, as  it  has  had  to  do?  Of  course,  it  may  be 
that  in  Detroit  we  are  a  little  crazier  than  the  rest  of 
the  country,  but  I  hardly  think  so. 

There  are  some  people  whose  letters  have  appeared 
in  Picture  Play,  to  whom  I  should  like  to  talk  for  a 
few  minutes. 

I  should  like  to  ask  Edna  Chapin  if  she  objects  to 
an  orchestral  accompaniment  when  the  orchestra,  is  in 
the  pit,  or  just  when  it  is  done  by  Movietone,  by  an 
orchestra  playing  a  score  specially  prepared  for  that 
picture,  so  as  to  aid  the  director  in  getting  over  the  im- 
pression he  wished  to  convey,  to  add  to  the  intensity  of 
certain  scenes,  the  comedy,  the  drama,  the  tragedy  of 
others.  The  Movietone  in  "Sunrise"  was  a  large  part 
of  that  picture,  and  if  Miss  Chapin  didn't  appreciate  it — 
well,  it's  just  too  bad.  To  be  facetious  for  a  second, 
I'd  like  to  ask  Edna  if  she  is  sure  her  headache  was 


caused  by  the  "canned  music"  ?  Maybe  you  sat  too  near 
the  front  and  abused  your  eyes.  If  you  are  the  least 
bit  tender-hearted  you  probably  wept  many  tears  during 
the  course  of  the  picture,  as  I  did,  and  that  has  been 
known  to  start  a  headache.  Anyway,  don't  blame  it  on 
the  Movietone  unless  you're  absolutely  sure. 

I  should  like  to  ask  Editha  L.  Watson  just  why  she 
thinks  that  talking  slows  up  the  action  of  a  story  ? 
Maybe  it  does  to  a  certain  extent,  but  goodness  knows 
there  is  plenty  of  slow  action  in  the  movies  as  they 
are  now. 

Yes,  indeed,  Editha,  and  also  E.  W.,  of  London,  I  do 
prefer  the  trained  voices  of  stage  folk,  but  where  am  I 
to  hear  them  ?  We  can't  all  live  in  New  York.  Some 
of  them  come  to  Detroit,  but  not  very  many.  I  have 
seen  Ethel  Barrymore  just  once  in  all  my  years  of 
theatergoing. 

E.  W.,  I  know  where  to  look  for  talking  actors,  but 
it's  not  so  easy  to  get  there.  When  you  call  them  "talk- 
ing actors"  you  hit  the  nail  on  the  head,  because  there 
are  very  few  silent  actors.  There  are  plenty  of  people 
in  the  movies  with  looks,  lots  of  boys  and  girls  who  are 
able  to  register  love,  hate,  fear,  et  cetera,  at  the  bid  of 
the  director.  But  that's  not  acting,  and  that's  why  I'm 
so  excited  about  talking  pictures.  Think  of  the  people 
they  will  bring  us,  people  who  are  artists.  Don't  you 
get  a  thrill  over  the  possibility  of  seeing  and  hearing 
John  Barrymore  in  "Hamlet"?  Have  you  ever  seen 
Ethel  Barrymore  act  ?  You  should ;  she's  very  much 
worth  it.  And  there  are  Pauline  Frederick,  Elsie  Fer- 
guson, Peggy  Wood,  Katherine  Cornell,  Ann  Harding : 
oh,  any  number  of  lovely  ladies  who  can  act,  but  whom 
we  cannot  see  merely  by  going  down  to  the  nearest 
theater.    The  talkies  can  bring  them  to  us. 

Fans  who  say  the  talkies  won't  last,  I  ask  you  this : 
Why  is  all  Hollywood  so  excited,  why  are  directors  and 
producers  feverishly  spending  millions  installing  speak- 
ing apparatus  in  their  studios  ?  They're  nobody's  fools. 
They  aren't  throwing  away  their  cash  on  a  fad,  a  mere 
whim.    They  all  believe  in  the  talkies. " 

Novarro  fans,  wouldn't  you  be  overjoyed  if  you  could* 
hear  Ramon  sing  or  speak,  with  his  glorious  voice? 
Doesn't  it  thrill  you  to  think  of  it?    It  does  me.  You 
can  now  hear  him,  thanks  to  the  talking  pictures. 

Don't  be  impatient.    Don't  judge  too  quickly.  Rome 
wasn't  built  in  a  day,  and  the  talking  movies  won't  be 
Continued  on  page  10 


Advertising  Section 


0 


I  Guarantee  New  Hair 


in  These  Three  Places 


o 


0N 


-\  PAY  ME  A 


ARE  you  sincerely  anxious  to  be  done 
with  dandruff,  itchy  scalp,  falling- 
hair  and  baldness?  Do  you  really  want 
to  grow  new  hair? 

Perhaps  you've  already  tried  hard  to 
overcome  these  afflictions.  Perhaps 
you've  put  faith  in  barbershop  "tips," 
and  used  all  kinds  of  salves,  massages, 
tonics,  all  with  the  same  results  .  .  .  lots 
of  trouble  and  expense  but  no  relief  ! 

Now,  consider  what  /  offer  you.  And 
figure  out  for  yourself  what  a  handsome 
proposition  it  is.  I  GUARANTEE  to 
grow  new  hair  on  your  head — on  the  top, 
front  or  temples— IN  30  DAYS  ... 
or  not  one  red  penny  of  cost  to  you. 

Isn't  that  a  different  story  from  those  you've 
heard  before?    I  don't  say,  "try  my  wonderful 
remedv — it  grows  hair !"    I  say,  and  I  put  it  in 
tontmg,  "I  GUARANTEE  to 'grow  hair 
or  no  cost  !". 

My  Method  is  Unique! 

Naturally,  you  ,  say  to  .  yourself,  "How  can 
anyone  make  such  a  guarantee  ?  It's  hard  to 
grow  hair.  I  know,  for  I've  tried  a  lot  of 
things  and  failed." 

Ah,  that's  exactly  the  reason  thousands  who 
formerly  suffered  from  scalp  troubles  bless  the 
clay  they  heard  of  me.  For  my  treatment  is  based 
on  science,  on  years  and  years  of  research.  I 
studied  scalps,  riot  how  to  sell  treatments.  And  I 
found,  as  did  leading  dermatologists,  that  ordinary 
surface  treatments  of  the  scalp  are  futile.  Bald- 
ness, begins  at  the  ROOTS.  If  roots  are  dead, 
nothing  can  grow  new  hair.  But  in  most  cases, 
roots  are  only  sleeping,  waiting  for  the  right  treat- 
ment to  bring  them  back  to  healthv.  normal  life. 

I  Reach  the  Roots 

Npw,  I  leave  it  to  you.  How  can  ordinary 
treatments  penetrate  to  the  roots  of  your  hair? 
How  can  ordinary  tonics  or  salves  remove  the 
real  cause  of  baldness? 

My  treatment  goes  below  the  scalp,  right  down 
to  the  hair  roots,  awakening  them  to  new  action. 
My  treatment  works  surely  and  quickly,  all  the 
while  stimulating  the  tiny  blood  vessels  around 
the  roots  to  new  life  and  action.  And  with  just 
the  mere  investment  of  a  few  minutes  a  day, 
thousands  get  these  results  from  my  treatment 
...  or  they  never  pay  a  cent ! 


FRONT 

Here  thinning  hair  does  great- 
est damage  to  your  appear- 
ance. Don't  wait  till  forelock 
disappears  entirely.  ACT 
NOW  to  forestall  baldness  1 


TOP 


Most  Tjaldness  begins  here. 
Is  this  YOUR  thinnest  spot? 
Decide  today  to  get  that  hair 
back  and  MORE ! 


TEMPLES 

Thinner  and  thinner  on  each  side 
until  they  meet  and  forelock  too 
goes.  Dandruff  and  itchy  scalp 
are  common  to  these  cases.  Why 
suffer  a  lifetime  of  regret  ?  MAIL 
THE  COUPON  TODAY! 


I  Welcome  Investigation 

Do  you  want  absolute  proof  of  the  true 
causes  and  proper  treatment  of  bald- 
ness ?  Consult  your  family  physician. 
Or  look  up  medical  reference  books. 

Do  you  w  ant  positive  proof  that  I  can 
and  do  apply  these  accepted  scientific 
principles?  I  offer  you  the  best  proof 
of  all  ...  my  personal  guarantee, 
backed  up  by  the  Merke  Institute,  Fifth 
Avenue,  New  York. 

A  Square  Deal  Guaranteed! 

Others  may  make  rosy  but  flimsy  prom- 
ises. I  could  do  that  too!  But  I  don't..  I 
couldn't  afford  to,  tor  every  statement  I 
make  is  guaranteed  byi  the  Merke 
Institute.  This  scalp  research  bu- 
reau, established  13  years,  is  known: 
to  thousands  from  Coast  to  Coast. 
It  has  a  reputation  to  keep  up.  It 
wouldn't  dare  to  back  me  if  I  didn't 
tell  the  truth.  So  when  I  guaran- 
tee to  grow  hair  or  not  a  penny  of  : 
cost,  you're  absolutely  sure  of  a 
square  deal. 

Why  Suffer  Years    of  Regret? 

Before  you  turn  this  page  take  a 
look  in  the  mirror  '  at  those  thin  s 
spots,  on  youi?  bead, I,,  Think  how 
you'll  IdoK  when  all  your  hair  is 
gone.    Consider  how  touch'  prestige 
and  attractiveness  you'll  lose.  Then 
decide  to  act  at  once!    Bight  now.' 
tear  out  the  coupon  shown  ,  below 
and  mail  it  in  for  the  FREE  book- 
let .  giving"  my  complete  story.  '  Ire; 
it  you'll  find,  not  mere  theories,  but , 
scientific   PACTS,    and   the    details  of 
my  "hair,  grown  or  no  pay"  offer.  ..My; 
treatment   can   bei  used    in   any  home 
where   there   is   electricity.     Send  the 
coupon  NOW!    And  by  return  mail  the 
booklet   is   yours   without  -the  slightest'-, 
obligation'.      Allied    Merke    Institutes'; ' 
Inc.,  Dept.  352,  512  Pifth  -Avenue,  Ntjw. 
York  City. 


DANGER:  One,  two,  three— BALD!  And 
perhaps  total  baldness,  say  leading  dermatolo- 
gists, if  you  neglect  any  one  of  the  three 
places  shown  above.  But  so  gradually  does 
hair  depart,  so  insidiously  does  baldness  creep 
up  on  the  average  man,  that  thousands  fail  to 
heed  the  warnings.  But  there  is  hope  for 
everyone,  no  matter  how  thin  the  hair.  Read 
my  message  to  men  growing  bald.  Study  my 
guarantee.    Then  ACT! 


"MAIL  IT  TODAVA 


Allied  Merke  Institutes,  Inc. 

Dept.  352,  512  Fifth  Ave.,  New  York  City. 

Please  send  me — without  cost  or  obligation 
—in  plain  wrapper,  copy  of  your  book,  "The 
New  Way  to  Grow  Hair,"  describing  the 
Merke  System.  .      .  . 

Name  

Address. . ,  i  :...;..,.....:....<, 

City  State  

(My  age  is  ) 


10 

1       Continued  from  page  8 
perfect  for  a  while.    But  in  the  mean- 
time, please  look  at — or  maybe  I  should 
say   listen  to — them,  -  unprejudiced.     The  . 
imperfections  will  be  ironed  out,  and  I'm 
willing-  to  bet  you'll  like  them. 

And  just  a  few  words  about  'little  Anita 
Page.    I  have  seen  her  just  once,:  but  Fve 
fallen  for  her  hard.     She's  very  lovely, 
to  look  at;  she's  sweet  and  refined;  she" 
is  very  natural  on  the  screen ;  she  is  not  : 
a  jazz  baby,  praises  be;  she.  is  different. 
The  next  time  I  see  her,  she  may  upset 
all  my  ideas  about  her  by  being  just  the 
opposite  to  what  I  think  she  is,  but  "them's 
my  "sentiments"  and  I'm  going  to  stick 
to  'em.  Helen  E.  Hunt. 

845  Blaine  Avenue, 
Detroit,  Michigan. 

Give  Greta  Nissen  a  Hand! 

I  am  mighty  glad  to  see  that  in  Picture 
Play  you  are  giving  that  little  girl,  Greta 
Nissen,  a  big  hand. 

Picture  Play,  with  its  vast  circulation, 
must  carry  a  certain  amount  of  influence 
with  the  movie  powers-that-be,  and  per- 
haps my  letter,  indirectly,  may  cause  them 
to  exploit  Miss  Nissen  a  little  more,  and 
if  more  pictures  starring  her  are  forth- 
coming, I'll  be  as  happy  as  a  skylark.. 

Your  interviewer  states  that  the  cast- 
ing folk  don't  know  what  to  do  with  this 
girl,  Such  casting  cut-tips  should  be  sent 
home  on  long,  long  vacations  and,  for  the 
betterment  of  the  industry,  their  jobs 
given  to  folks  who  saw  the,  full  beauty 
and  genius  of  a  golden-haired-  dryad  in 
"The  Wanderer"  and  other  not-so-old 
photoplays. 

A  short  while  ago,  there  was  much  ado 
about  picking  a  perfect  type  to'  play  the 
principal  charmer'in  "The  Private  Life  of 
Helen  of  Troy."  There  was  also  a  mild 
riot  to  discover  the  best  reason  why  gen- 
tlemen prefer  'em  blond.  If  Helen  of 
Troy  looked  and  acted  as  did  Maria  Cord  a, 
Helen  in  her  birthday  suit  couldn't  have 
lured  me  away  from  my  own  fireside  for 
five  minutes!  And  .if  Ruth  Taylor  is  the 
perfect  type  that  gentlemen  prefer,  I'd 
rather  be  a  pal  of  Jim  Tully's. 

The  above  proves  beyond  all  doubt  that 
there's  enough  parking  space  in  the  heads 
of  movie  executives  to  house  all  the  fliv- 
vers in  operation.:'  These  two  roles  cer- 
tainly belonged  to  Greta  Nissen. 

Your  interviewer  also  -states  that  tem- 
perament has  something  to  do  with  Miss 
Nissen's  setbacks.  Lord !  Temperament 
is,  and  always  has  been,  the  running  mate 
of  genius  or  exceptional  talent  '  After  a 
recent  visit  or  two  to  studios,  I  am  con- 
vinced that  all  the  stars  are  afflicted  with 
temperament,  more  or  less.  At  least,  I 
am  sure  that  Miss  Nissen  would  have  to 
perform  weirdly  to  equal  the  tempera- 
mental antics  of  her  near  neighbor,  Greta 
Garbo. 

We  shouldn't  be  too  inquisitive  about 
the  private  lives  of  photoplay  people. 
They  have  a  right  to  privacy,  and  it  is 
little  of  our  business  whether  or  not  the 
stars  are  temperamental  off  the  sets,  pro- 
viding they  stay  on  the  sets  long  enough 
to  create  a  few  hours  of  happy  make-be- 
lieve for  a  hungry  public.  But  when  an 
all-round,  wonderful  girl  like  Greta  Nis- 
sen is  barred,  maybe  for  being  herself, 
and  the  fact  leaks  out,  it's  time  thought- 
ful fans  got  together  and  kicked  like  a 
Fourteenth  Cavalry  mule,  in  order  to  keep 
out  the  fluffy-heads  that  are  getting  in, 
and  keeping  \n  the  screen  sweethearts  who 
are  almost  getting  the  gate.  It's  not  all 
good,,  clean  fun  to  foist  fluffy-domed  Ruth 
Taylors  and  Alice  Whites,  sexy  Greta  Gar- 
bos,  and  fat  Maria  Cordas  on  the  public, 


What  tke  Fans  Think 

and  leave  girls  with  the  genius  of  Miss 
Nissen  out  in  the  rain. 

If  Miss  Nissen  sees  this,  I  can  say  sin- 
cerely, "Good  hunting,  Greta,  and  may 
Lady  Luck  let  me  meet  you  some  day !"  . 
If  any  Nissen  fans  read  this,  for  the 
sake  p'  better  movies,  yell  until  they  put 
this  little  girl  where  she  belongs — sky- 
high  with  the  rest  of  the  big  stars ! 

Pat  Costello. 

26  Rutland  Street, 

New  Bedford,  Massachusetts. 

Substitutes  in  Ta!kies? 

Now  that  we  are  definitely  to  have  the 
Vitaphone,  does  it  mean  that  at  last  we 
are  to  have  an  opportunity  of  hearing  our 
favorites?  Or  are  we  to  be  hoodwinked, 
as  in  other  branches  of  acting,  by  dou- 
bles? 

I  am  very  much  afraid  that  if  some  of 
the  fans  could  hear  the  voices  of  the 
players  they  idolize,  their  ideals  would 
be  shattered  and  their  illusions  killed  with 
one  blow.  But  will  they  be  allowed  to 
hear  the  raucous  ones  who,  up  to  now, 
have  hidden  their  "culture"  behind  a  con- 
venient silence? 

Perhaps  we  shall  hear  the  exquisite 
playing  and  singing  of  some  of  the  stars 
that  the  interviewers  insist  on  broadcast- 
ing; but  tell  me,  in  an  age  where  nothing 
seems  impossible  and  everything  probable, 
can  we  ever  be  sure  that  we  are  getting 
the  genuine  article?  I  am  inclined  to 
think  that  we  are  not,  in  many  cases,  go- 
ing to  have  tine  real  thing.  Can  you  im- 
agine the  effect  of  the  slang  and  unfin- 
ished words  that  we  know  are  used  by  a 
number  of  players  will  have  on  an  intel- 
ligent audience?-" 

Haven't'  any  of  the  fans  ever  heard  of 
Reginald  Denny?  I  had  the  pleasure  of 
meeting  him  when  he  was  over  here,  and 
for  a  player  of  his  repute  he  was  most 
unassuming  and  courteous.  He  had  a 
nicely  modulated  voice,  entirely  without 
accent.  It  is  to  players  such  as  he  that 
we  shall  have  to  look  for  the  success  of 
the  Vitaphone  in  this  country. 

Lawrence  Boyer. 

10  Colton  Street, 

Harpurhey,  Manchester,  England. 

Those  Suffocating  Blondes! 

A  year  ago  it  would  not  have  seemed 
possible  that  I  should  remain  away  from 
a  picture  because  Conrad  Nagel  was  In 
i  it.  I  had  quite  a  genuine  'liking  for  him 
until  the  advent  of  the  talkies.  But  while 
desirous,  of  seeing  Greta  Garbo  in  "The 
Mysterious  Lady,"  I  could  not  stand  the 
idea  of  sitting  through  another  Conrad 
Nagel  picture.        '  "    ■  * 

Any  man  is  tiresome  when  seen  too 
often  on  the  screen,  particularly  a  blond 
man,  and  more  particularly  when  he  is 
cast  with  a  blond  star.  It  is  not  to  be 
imagined  that  hlond  women,  far  less  vain 
than  brunettes,  can  sit  through  a  succes- 
sion of  films  with  fair  heroines  and  he- 
roes without  a  feeling  of  suffocation,  and 
Conrad  Nagel  never  seems  to  be  cast  with 
any  one  of  a  different  complexion. 

I  haven't  heard  him  in  a  talking  pic- 
ture, but  have  heard  and  seen  him  on  the 
stage,  and  cannot  suppose  that  any  one, 
who  thinks  his  voice  is  anything  to  write 
home  about,  has  any  acquaintance  with 
the  voices  of  great  actors.  It  lingers  in 
my  memory  merely  as  a  good,  average 
.actor's  voice.  ,  '        -.  '•-  ■  J- 

Moreover,  in  "Glorious  Betsy,"  the  si- 
lent version,  he  was  unconvincing  as  a 
Frenchman,  and  he  borrowed  from  some 
one  an  unpleasant  trick  of  much  tiresome 
kissing.   •  . 

In  "Quality '  Street,"  another  blond  af- 


fair, he  seemed  remarkably  good,  largely 
because  Marion  Davies  wasn't. 

When  Conway  Ttaste  and  Milton  Sills' 
were  leading  men  in  nearly  -  every  film 
shown,  they  began  to  seem  absolutely  ob- 
noxious, and  I  hope  Conrad  Nagel  won't 
come  to  appear  in  the  same  light.  He  de- 
serves a  better  fate.     A.  J.  Campbell. 

4667  Germantdwn  Avenue,  Germantown, 
Philadelphia,  Pensylvania. 

Fair  Exchange. 

Since  reading  the  constructive  and  in- 
teresting contribution  of  William  Mitch- 
ell in  the  October  issue,  I  heartily  agree 
with  him  in  saying  that  "British  films  will 
be  more  popular  when  they  are  one  hun- 
dred per  cent  British."  It  is  unfair  that, 
in  order  to  obtain  a  showing  of  our  pro- 
ductions in  the  United  States,  we  have  to 
suffer  the  outrageous  custom  of  placing 
in  the  stellar  role  an  American  has-been, 
such  as  Dorothy  Gish,  Blanche  Sweet, 
and  others  who  have  long  ago  fallen  from 
favor  in  American  films,  while  our  own 
talented  artists  take  a  back  seat. 

It ,  seems  rather  strange  that,  while 
America  has  a  very  large  percentage  of 
our  splendid  actors,  we  are  beginning  to 
have  an  invasion  of  her  played-out  stars ; 
so  it's  no  wonder  British  films  are  not 
setting  the  Atlantic  aflame! 

Perhaps  some  of  the  American  fans  who 
raved  against  the  foreign  invasion  would 
be  horrified  if  we  fans  here  started  to 
boycott  these  former  Hollywood  stars. 

Don't,  please,  mistake  my  complaint,  for 
I  am  not. in  the  least  opposed  to  Ameri- 
can stars  coming  here,  provided  that  we 
have  some  popular  first-raters. 

"In  fact,  I  firmly  believe  that  the  inter- 
change of  each  country's  stars  is  an  ad- 
mirable practice,  and  to  the  mutual  advan- 
tage of  both  public  and  producers,  so  long 
as  it  is  a  fair  exchange  and  not  one-sided. 

Stanley  Bowden. 

34  Caistor  Street, 

Stockport,  Cheshire,  England. 

"Gush"  and  Sour  Critics. 

In  the  October  number  of  Picture 
Play,  Frances  Smith  expressed  un- 
bounded faith  in  Malcolm  H.  Oettinger, 
which  is  really  touching  and  unaccount- 
able ;  while  another  correspondent,  probably 
male,  despises  the  "gush".  oF  the  female 
magazine  writers.  I  fail  to  see  that  Myr- 
tle Gebhart  gushes,  and  I  have  read  many 
of  her  articles.  Margaret  Reid  inclined 
that  way  over  Ben  Lyon,  it  is  true,  but 
she  isn't  a  patch  on  the  male  writers 
when  it  comes  to  an  actress  they  admire. 
Not  a  word  from  Mr,  Oettinger  in  criti- 
cism of  Dolores  del  Rio,  and  her  ubiqui- 
tous, tireless,  boresome  press  agent 

As  to  Clara  Bow,  her  success  is  hon- 
estly her  own.  Songs  haven't  been  writ- 
ten for  her,  so  exploited  that  they  shall 
be  sickeningly  broadcast  on  every  radio 
program.  Paragraphs  haven't  been  sent 
to  newspapers  about  her,  till  one  almost 
hates  to  open  the  sheets.  Her  photo- 
graphs aren't  continually  affronting  the 
e}re. 

I  am  not  a  Clara  Bow  fan.  In  fact,  the 
last  picture  in  which  I  saw  her  was 
Lubitsch's  "Kiss  Me  Again."  But  I  do 
think  that  Clara  has  more  talent  and  more 
kindliness  of  disposition  than  she  is  cred- 
ited with.  Her  face  is  really  attractive, 
to  my  mind.  And  I  do  not  think  Frances 
Smith  has  much  loyalty  or  independence 
of  judgment  if  she  is  willing  to  believe 
everything  Malcolm  H.  Oettinger  says 
about  her.  Miss  Bow  had  probably  heard 
of  him,  and  wore  her  defensive  armor. 

Somehow,  the  -  word  "yellow"  always 
Continued  on  page  12 


Advertising  Section 


11 


WILLIAM  HAINES  in 

ALIAS  JIMMY  VALENTINE 

with 

LIONEL  BARRYMORE-KARL  DANE -LEILA  HYAMS 


A  Jack  Conway  Production 
From  the  play  by 
Paul  Armstrong 
Adaptation  by  A.  P.  Younger 
Continuity  by 
Sara  Y.  Mason 
Titles  by  Joe  Farnham 


JIMMY  GETS 
THE  THIRD  DEGREE 


Slowly  .  .  .  silently  ...  ominously  .  .  .  the  great  steel 
door  swung  shut,  locking  within  that  airless  vault  a 
helpless  little  child — the  sister  of  the  girl  he  loved . . . 

He  had  endured  the  third  degree — could  he  stand 
that  pitiful  appeal?  To  "crack"  the  safe  was  a  con- 
fession— not  to,  was  —  murder!  What  did  "Jimmy 
Valentine"  decide? 

It's  an  evening  you'll  remember  all  your  life.  A 
smash  hit  on  Broadway  at  $2  admission  ... 

acclaimed  the  perfected  dia- 
logue accompaniment.  You'll 
have  all  the  same  thrills 
when  your  local  theatre  shows 
this  record-breaking  Metro- 
Goldwyn-Mayer  film,  either 
silent  or  with  dialogue. 


\  THE  CONSPIRATORS 

WILLIAM  HAINES- KARL  DANE— TULLY  MARSHALL 


METRO-GOLD 

"More  stars  than  there  are  in  Heaven" 


WILLIAM  HAINES  WITH 
LOVELY  LEILA  HYAMS 

It's  in  our  safe— $50! 

Have  you  the  right  combination? 
Answer  these  simple  questions 
and  win  the  prize! 

Come  all  you  safe-crackers  with  bright  ideas! 
There's  $50  and  a  valuable  prize  waiting  for 
you  in  the  M-G-M  safe!  The  best  set  of  answers 
to  these  five  questions  turns  the  trick.  Read 
the  rules  below  and  send  in  your  safe-cracking 
answers. 

To  the  man  winning  the  contest,  William 
Haines  will  give  $50.00  and  the  electric  flash 
lamp  he  uses  in  "Alias  Jimmy  Valentine".  To 
the  woman,  Leila  Hyams  will  send  $50.00  and 
the  beautiful  handbag  she  carries  in  the  same 
picture.  The  next  fifty  lucky  ones  will  receive 
my  favorite  photograph  specially  autographed  by 
Yours  cordially  ' 


1 —  Name  the  six  popular  young  players  who 
appear  in  "Our  Dancing  Daughters." 

2 —  Which  do  you  prefer^— Sound  Or  Silent 
movies?  Give  your  reasons  within  75  words. 

3 —  What  popular  murder  story  listed  as!  a  best 
seller  novel  and  serial  story  last  year  has 
been  made  into  a  talking  picture  by  M>G-M? 

4 —  Name  the  Indian  Chief  in  an  M-G-M 
western  who  posed  for  the  head  on  the 
Buffalo  nickel. 

5 —  Who  is  directing  the  first  all  Negro  feature 
planned  as  an  epic  production  of  'the  col- 
ored race? 

Write  your  answers  on  one  side  of  a  single  sheet  of  paper 
and  mail  to  Question  Contest,  3rd  Floor,  1540  Broad- 
way, New  York.  All  answers  must  be  received  by 
February  15th.  Winners*  names  will  be  published  in  a 
later  issue  of  this  magazine. 

Note: — If  you  do  not  attend  the  pictures  yourself  you 
may  question  your  friends  or  consult  motion  picture 
magazines.  In  event  of  ties,  each  tying  contestant  will  be 
awarded  a  prize  identical  in  character  with  that  tied  for. 

Winners  of 
The  William  Haines  Contest  of  October 
Mr.  A.  Humphrey        Mrs.  John  Maloney 
Redwood  City,  California    Racine,  Wisconsin 


mmm 


TALKING: 
PICTURE 


It's  Great  with  Dialogue  or  Silent  I 


12 

Continued  from  page  10 
occurs  to  me  in  connection  with  these 
smart,  self-satisfied  critics.  Fans  do 
enough  criticizing,  but  we  are  all  aware 
that  our  remarks  do  not  carry  as  much 
weight  as  the  accredited  press  representa- 
tives'. Even — I  purposely  make  this  a 
separate  sentence  to  point  the  hint — though 
it  takes  no  special  training  to  be  a  critic. 
Any  reporter  can  be  put  on  the  job.  It 
does  take  training  to  be  a  painter,  an 
actor,  a  singer,  or  a  writer  of  reputation. 

The  film  actor  or  actress,  no  matter 
how  sourly  noticed,  has  no  way  of  get- 
ting even.  As  The  Stroller  remarks,  he 
is  under  the  direction  of  men  who  often 
do  not  know  as  much  of  his  own  art  as 
he  does,  and  I  add  that  he  is  also  at  the 
mercy  of  any  reporter  who  writes  without 
knowing  anything  at  all. 

Fans  really  have  more  right  to  criti- 
cize. They  pay  for  their  seats,  and  they 
must  set  up  some  defense  against,  for  in- 
stance, the  nerve- jangling  talkies  and  the 
too-obtrusive  press  agents ;  also  against 
the  utter  stupidity  of  some  movie  on  which 
they  have  squandered  money.  The  smart 
critics  have  no  defense ;  they  only  want  to 
sound  clever,  not  to  be  just.  The  regular 
critic  with  a  conscience  and  sense  of  pro- 
portion is  different. 

I  own  that  I  am  -in  sympathy  with  The 
Stroller's  merely  suggested  views  on  Mary 
Pickford's  estimate  of  the  importance  of 
her  bob.    He  was  not  offensive'  about  it. 

S.  W. 

Philadelphia,  Pennsylvania. 

Be  Patient  with  Talkies. 

As  a  critical  observer  of  the  movies  for 
the  past  fifteen  years,  I  would  like  to  say 
a  few  words  in  regard  to  the  advent  of 
talking  pictures  that  has  recently  threat- 
ened to  revolutionize  the  movie  industry. 
We  must  not  be  too  critical,  however,  for 
we  must  realize  that  they  are  still  in  their 
infancy;  and,  judging  by  the  sensation 
they  have  already  created,  there  are  won- 
derful possibilities  for  their  steadfast 
growth  and  favor  with  the  movie-going 
public.  As  for  imy  reasons  in  stating  this 
fact,  allow  me  to  cite  a  few  instances 
where  we  are  benefited. 

The  movie  industry  was  rapidly  reach- 
ing a  point  in  which  it  was  threatened 
with  a  terrible  "slump."  Witness  the  re- 
cent fade-out  of  prominent  stars  of  ex- 
ceptional acting  ability  and  stage  experi- 
ence, who  ha^/e  been  replaced  by  sweet 
young  things,  their  only  assets  their  dim- 
ples and  shapely  limbs.  This,  of  course, 
is  a  good  substitute  for  acting  ability 
when  we  are  inclined  not  to  be  too  criti- 
cal. Were  they  to  rely  solely  on  their 
merits,  and  were  devoid  of  "it,"  they 
would  be  complete  washouts. 

The  second  and  most  important  is  that 
the  talking  pictures  enable  us  to  see  and 
hear  famous  artists  at  a  cost  no  greater 
than  going  to  our  neighborhood  movie 
theater.  This  is  a  luxury  when  compared 
to  the  price,  we  would  pay  to  see  them  in 
person.  I  cannot  say  too  much  for  the 
Movietone,  as  it  is  indeed  marvelous  to 
see  important  events  from  all  over  the 
world  recorded  in  voice  and  sound.  And 
as  for  drama,  that  has  had  its  tender 
love  scenes  -disillusioned  by  the  high- 
pitched  voices.  Give  us.  some  of  the  stars 
who  have  ,  had  stage  experience  and  know 
how  to  speak  their  parts  correctly.  As 
I  said  before,  we  must  realize  that  the 
talking  pictures  are  ,in;  their  infancy,  and 
great  inventions  have  developed  from  ideas 
thought  by  many  to  be  worthless. 

William  W.  Allen. 
Overlea,  Baltimore,  Maryland. 


What  the  Fans  Think 

A  Sprinkling  of  Cayenne. 

Ever  since  this  "new-face"  thought  hit 
the  directors  and  producers  between  the 
eyes,  I  have  to  say  that  I've  never  seen 
so  many  plain-looking  girls  on  the  screen. 
There  are  almost  as  many  young  fellows 
in  the  same  class.  Can  you  tell  me  what 
any  director  or  producer  sees  in  the  "flat- 
as-a-pancake"  Marceline  Day?  I  abso- 
lutely fail  to  see  anything  but  plainness, 
which  we  can  see  enough  of  all  around 
us,  without  going  to  a  movie  to  be  fur- 
ther annoyed  by  what  we  go  there  to 
avoid.  She  has  no  acting  ability  what- 
ever. And  when  sex  appeal  was  passed 
around,  poor  Marceline  seemed  to  have 
been  sadly  forgotten.  This  quality  is 
vitally  important  to  a  rising  young  star 
of  to-day,  if  one  is  to  judge  by  what  one 
reads  in  movie  periodicals. 

Another  poor  girl  who  is  wasting  her 
time  is  Leila  Hyams. 

Although  Lina  Basquette  is  awkward 
and  ordinary  looking,  she  has  possibilities, 
providing  she  reduces  at  least  ten  pounds 
and  lets  her  hair  grow  out  into  a  longer 
bob. 

June  Collyer's  retrousse  nose  won't  get 
her  as  far  as  Blanche  Sweet's  bulbous 
nose  got  her,  and  that  isn't  far. 

The  screen  calls  for  perfection,  unless, 
of  course,  one  is  fortunate  enough  to 
possess  that  pleasing  imperfection  of  Col- 
leen Moore's  and  Lillian  Gish's  faces  and 
figures.  Greta  Garbo's  name  can  also  be 
included  here.  We  do  not  go  to  the  mov- 
ies to  see  plain  people;  we  want  to  get 
away  from  plain  people,  things,  and 
places ;  that's  why  we  go  to  the  movies  in 
the  first  place — to  get  ourselves  into  an- 
other world ;  and  if  we  see  lots  more  plain 
people  who  can't  act,  the  movies  wouldn't 
appeal  to  us  nearly  as  much. 

The  most  beautiful  blonde  on  the  screen 
is  Vilma  Banky.  No  doubt  lots  of  peo- 
ple who  read  this  will  say,  "If  you  saw 
her  in  person  you  wouldn't  think  so." 

You  rarely  see  beauty  of  face  and  fig- 
ure in  the  same  person.  A  fitting  illus- 
tration is  the  perfect  body  of  Joan  Craw- 
ford compared  to  her  face,  which  is  not 
as  perfect  as  her  figure,  as  far  as  actual 
"beauty"  is  concerned.  On  the  other 
hand,  Billie  Dove  has  a  perfectly  beautiful 
face,  but  her  body  is  very  much  out  of 
proportion.  And  I  am  voicing  the 
thoughts  of  countless  others  when  I  say 
she  can't  act. 

I  hope  those  whom  I  have  criticized  will 
see  this  letter  and  profit  thereby. 

Irene  Gandreau. 

1419  Tangerine  Avenue, 
St.  Petersburg, .  Florida. 

Against  All  Talkies. 

Talking  comedies  are  monotonous, 
cheap,  and  common.  They  are  never 
funny,  and  whenever  possible  I  skip  them. 
As  to  feature-length  pictures  with  talk- 
ing in  them,  I  believe  they  would  be  far 
more  interesting  if  only  parts  were  in 
dialogue,  and  all  the  explanatory .  sub- 
titles kept  in.  A  full-length  talking  pic- 
ture, or,  as  the  companies  call  them,  "one- 
hundred-per-cent  talking  pictures,"  are 
very  apt  to  be  monotonous  and  boring. 
It  is  not  that  I  do  not  like  to  hear  the 
stars'  voices,  but  the  girls  are  likely  to 
disappoint,  as  the  Vitaphdne  distorts  and 
makes  their. voices  sound  affected.  I  did 
like  Conrad  Nagel's  voice  in  "Tender- 
loin," but  the  very  opposite  for  Dolores 
Costello's  voice.  Yet  I  liked  her  per- 
formance, and  when  silent  she  was  splen- 
did. Sound  pictures  are  not  so  bad,  but 
I  do  not  think  the  Vitaphone  Symphony 
Orchestra  is  particularly  good.  This  sub- 
ject makes  it  a  problem  for  the  movie- 


goer, in  my  opinion,  and  what  seems  so 
unfair  to  me  is  that  the  producers  jus* 
stick  them  on  us.  Because  they  are  t 
novelty,  the  public  falls  for  them,  when 
they  are  not  a  wonderful  invention  at  all. 
As  usual,  the  directors  and  producing  com- 
panies are  going  too  far.  If  we  fans  who 
dislike  talkies  are  in  the  minority,  then 
give  us  a  chance  for  once!  The  majority 
should  not  always  have  its  way.  And 
most  people  only  think  they  like  them, 
when  they  don't  know  their  own  minds. 

Next,  I  believe  another  mistake  is  to 
give  us  "canned  vaudeville"  in  the  talkies. 
I  suppose  I  don't  appreciate  music,  but  I 
really  have  no  desire  to  hear  orchestras, 
comedians,  singers,  et  cetera,  appear  in  a 
short  sketch  on  the  screen  and  screech 
through  the  Vitaphone  at  the  top  of  their 
lungs  with  voices  that  are  worse  than  bad. 
The  Vitaphone  is  unnecessarily  loud,  any- 
way, and  its  shrillness  is  very  apt  to  give 
one  a  headache.  I  have  often  tried  to 
shut  it  out  by  holding  my  hands  over  my 
ears,  but  it  is  practically  impossible.  It 
could  be  toned  down  a  whole  lot.  This 
also  makes  the  program  longer,  and  it  is 
unfair  to  the  patrons  of  the  theaters  which 
have  the  feature  picture  come  on  at  an 
unreasonable  time  in  the  evening,  because 
every  one  cannot  go  at  supper  time,  nor 
can  they  go  very  late.  The  audiences  of 
small-town  theaters  are  suffering  for  this 
reason,  and  are  forced  to  listen  to  some- 
thing which  is  really  enough  to  drive  a 
sensible  person  crazy.  M.  L.  H. 

Elizabeth,  New  Jersey. 

A  Happy  Fan  Speaks. 

Truth  is  stranger  than  fiction.  Per- 
haps that  is  why  this  story,  though  true, 
may  sound  like  a  fairy  tale. 

A  pen  pal  of  mine,  a  patient  in  a  Mis- 
souri hospital,  was  soon  to  celebrate  her 
birthday.  Learning  that  Doris  Kenyon 
had  composed  a  book  of  poems,  I  thought 
that  would  prove  the  ideal  gift. 

I  didn't  know  the  title,  but  that  did  not 
worry  me.  After  searching  unsuccess- 
fully in  the  principal  stores  in  the  city,  I 
wrote  Miss  Kenyon,  explaining  the  cir- 
cumstances, and  requesting  the  name  of 
the  publishers  so  that  I  might  purchase 
the  book. 

It  takes  at  least  six  days  for  a  letter 
to  reach  California,  yet  exactly  fifteen 
days  later  a  package  from  Miss  Kenyon 
arrived.  Imagine  my  surprise  when  I 
found  it  to  be  a  beautifully  bound  copy  of 
"Spring  Flowers,"  by  Doris  Kenyon  and 
her  father,  inscribed  "To  Helene  C.  Braeu- 
ner's  friend,  with  my  very  best  wishes. 
Sincerely,  Doris  Kenyon  Sills." 

My  aunt  in  California  recently  had  an 
opportunity  to  observe  Doris  and  her  hus- 
band, Milton  Sills,  at  close  range,  when 
they  spent  several  days  at  the  hotel  where 
she  is  employed. 

Auntie  wrote:  "Mr.  and  Mrs.  Sills  are 
both  very  quiet — the  type  one  likes  to  as- 
sociate with.  Mrs.  Sills  has  lovely  hair, 
of  the  shade  that  gentlemen  prefer.  Her 
graciousness  is  what  attracts  me.  I've 
worked  a  good  many  years  among  stage 
and  screen  folks,  and  I  know  the  genuine 
article." 

There  really  are  good  folks  in  Holly- 
wood— look  for  the  good.  It  is  a  great 
deal  more  fun. 

Helene  C.  Braeuner. 
210  French  Street,  Buffalo,  New  York. 

Listen,  Miss  Perula. 

This  is  only  one  of  the  insignificant 
sparks  from  the  bombshell  which  has  burst 
over  the  head  of  Joan  Perula.  However 
unworthy  of  note  as  this  may  be,  I  trust  it 


Advertising  Section 


13 


will  cast  a  new  light  on  our  diabolic 
friend. 

In  the  first  place,  my  analytic  eye  tells 
me  that  the  lady  has  neglected  to  make 
known  her  address.  In  the  face  of  her 
invective,  I  can  ascribe  it  only  to  igno- 
rance or  cowardice. 

I  do  not  intend  to  waste  time  in  discuss- 
ing Miss  Perula's  arguments.  I  wish 
merely  to  attempt  to  disprove  them.  Hav- 
ing several  times  visited  the  studio  where 
both  her  Gilbert  and  our  Novarro  are  cm- 
ployed,  and,  more  pertinently,  having  seen 
both  of  these  idols  in  action  before  the 
camera  within  the  last  month,  I  feel  per- 
fectly competent  to  contradict  her. 

Ramon  Novarro  certainly  has  a  diligent 
press  agent;  that  is  all  too  true.  But, 
having  seen  Ramon,  and  having  been  in 
somewhat  close  contact  with  him,  I  be- 
lieve that  Mr.  Novarro's  press  agent  is, 
like  the  rest  of  us,  suffering  from  a  heavy 
case  of  hero-worship,  for  Ramon  himself 
is  the  most  ingratiating  and  lovable  crea- 
ture ever  put  on  earth.  All  Mr.  Press 
Agent  has  to  do  is  tell  the  truth.  The 
pity  of  it  is  that  poor,  blind  worms  can- 
not believe  qualities  such  as  his  exist. 

However,  we  will  leave  his  off-screen 
attributes  alone  for  the  present.  Critics 
all  over  the  world  who  are  better  judges 
than  she,  have  dubbed  him  great.  They 
remark  that  he  was  triumphant  as  Mo- 
tauri,  splendid  as  Scaramouch?,  and  mag- 
nificent as  Ben-Hur.  It  has  also  been  said 
that  Ramon  Novarro  alone  saved  that  un- 
fortunate opus,  "A  Certain  Young  Man," 
from  utter  oblivion  by  his  ability  and 
charming  personality.  Now,  I  insist  that 
any  man  who  can  make  convincing  two 
such  contrasting  roles  as  Ben-Hur  and 
Lord  Brinsley  deserves  some  distinction  as 
an  actor. 

I  will  not  attempt  to  disillusion  our 
lady  friend  about  John  Gilbert.  Gilbert, 
the  actor,  I  admire;  Gilbert,  the  -man,  I 
despise.  ;  I  can  only  say  that  I  pleasantly 
anticipate  the  reception  of  Messrs.  Gil- 
bert and  Novarro  over  the  new  sound  de- 
vices. Then  Ramon  will  live  and  John 
will  disillusion  you.         Robert  Orem. 

781  Arguello  Boulevard, 
San  Francisco,  California. 

Give  Bix  Better  Roles. 

I'd  like  to  shake  hands  with  and  thank 
Alice  L.  King  and  Una  B.  Cowan  for 
their  pleas  in  behalf  of  Richard  Dix. 

I,  too,  could  name  instances  where  I 
have  seen  him  wasted  to  support  some 
one  whose  only  excuse  for  being  a  leading 
woman  was  her  attempt  to  fly  to  Europe, 
or  some  one  whose  only  excuse  was  a 
pretty  face  and  amateur  acting.  I  know 
Mr.  Dix  is  capable  of  acting  any  role 
given  him — to  the  best  advantage — and  he 
deserves  a  far  better  fate  than  mediocre 
stories  and  comedy  roles. 

I  say  Richard  Dix  will  be  one  of  our 
great  American  actors,  if  given  half  a 
chance.  He  doesn't  need  a  whole  chance 
— just  give  him  half  a  chance  and  he  will 
do  the  rest. 

Another  letter  was  headed  "Isn't  Mr. 
Dix  Treated  Fairly?"  I  answer,  "No," 
emphatically,  "No."  Comedy  is  all  right 
for  slapstick  comedians,  and  I  like  comedy 
in  its  place;  but  its  place  is  not  near  a 
finished  actor  like  Richard  Dix.  Give  him 
an  Emil  Jannings  role  for  a  change.  It 
has  long  puzzled  me  why  the  good  stories 
and  roles  are  given  to  mediocre  actors,  and 
the  poor  stories  to  good  actors.  I  say, 
"Why  not  fire  the  poor  actors  and  con- 
sign the  poor  stories  to  the  wastebasket?" 

And  I  would  suggest  that  all  those  in- 
Continued  on  page  122 


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Advertising  Section 


to  foe  BA0.  •  :\ 

could  you  -inJke 
GOOD:" 


/  A 


YllTHf  TIC 

William  A.  Seitet 


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vo<>> 


production, 

Have  you  a  talent  for  turpitude? 
How  Bad  could  you  he  —  if  you 
really  tried? 

Suppose  someone  told  you  you 
HAD  to  be  BAD  to  be  Famous .  .  . 

Could  you  become  a  really  first- 
class  Sinner  in  your  spare  time? 

Betty  Lee  picks  Broadway  as  her 
Co-respondence  School.  .  . 

But  right  on  the  edge  of  evil  —  at 
the  very  crossroads  of  crime  — -  a 
farcical  fate  detours  her  off  the 
Easiest  Way! 

A  Hut  Flctiona 

Takes  the  Guesswork  Out  of  "Going  to  the  Movies" 


Picture 


Pla^ 


February,  1929 


Volume  XXIX 


Number  6 


DESSIE  LOVE,  who  is  seen 
■  on  the  screen  too  little, 
and  Anita  Page,  who  can't  be 
seen  often  enough,  form  a 
captivating  team  of  vaudeville 
dancers  in  "The  Broadway 
Melody,"  a  picture  which  will 
add  to  the  glamour  and  ro- 
mance of  backstage  life.  Miss 
Love,  as  "Hank"  Mahoney, 
and  Miss  Page,  as  her  sister, 
Queenie,  come  to  New  York 
to  dance  in  a  musical  comedy 
through  the  influence  of  Eddie 
Kerns,  a  song  writer,  who  ex- 
pects to  marry  Hank.  But  his 
affections  take  a  surprising 
turn  when  he  sees  Queenie 
grown  up,  and  after  consid- 
erable emotional  upheaval, 
Hank  makes  a  sisterly  sacrifice 
and  leaves  Broadway  with  a 
breaking  heart  and  another 
partner. 


Photo  by  Ruth  Harriet  Louise 


16 


An  Infant  L  earns 


Syllabi 


es 


Edtfin  Schallert 


Funny    things   are   happening    during  the 
babyhood  of  talking  pictures,  but  the  lusty 
youngster  is  here  to  stay. 


Illustrations    by    Lui  Trugo 


Though  puzzled  over  vowels,  the  newcomer  is  preparing  for  bigger  things  in  spite  of  much  unfavorable  comment. 


THE  year  1929  will  go  down  as  the  most  revolu- 
tionary in  the  history  of  motion  pictures ! 
Probably  50,000  to  60,000  persons,  more  or 
less  connected  with  the  world's  largest  amusement  enter- 
prise— to  quote  the  Will  H.  Hays  office ! — have,  at  one 
time  or  another,  made  this  prophecy  during  the  past  few 
months.  With  all  due  quiet  and  reserve  that  may  be 
given  to  what  seems  to  be  a  momentous  occasion,  I  may 
as  well  add  one  more  voice  to  the  chorus. 

Therefore,  here  goes :  The  movie  year  1929  will  be 
all  that  folks  say  it  will  be — hot,  and  conversational ! 

As  is  quite  needless  to  emphasize,  this  forecast  is  in- 
spired by  talking  pictures — now  don't  run  away  ! — in 
answer  to  which,  many  fans  may  feel  in  a  humor  to  re- 
tort, "Well,  what  about  it?" 

Some  of  those  who  have  heard  the  films  with  dialogue, 
plus  sundry  variations,  may  even  be  impelled  to  exclaim, 
"Yes,  two  times,  what  about 
it?    We  have  had  enough  of  .^slBCs'"' 
them  already !" 

However,  that  isn't  taking 
token  of  what  people  think  in 
the  new  "land  of  cinenoisea" 
■ — not  that  that  matters  a 
squawk — nor  of  the  clinking 
shekels  at  the  box  office.  The 
shekels,  especially,  seem  to  say 
that  the  public  no  longer 
wants  the  silence  on  the  screen 
that  once  was  gilt,  if  it  was 
not  actually  golden. 

Maybe  you  don't  like  talk- 
ies, but  you're  going  to  have  to  accept  them  sooner  or 
later,  if  you  intend  going  to  the  movie  theater.  Even 
stopping  one's  ears  with  cotton  can't  be  recommended, 
because  pictures  made  with  dialogue  aren't  very  much 
to  cheer  about  without  it. 

So  here's  a  pretty  mess,  any  way  you  look  at  it,  and 
the  question  is,  what  to  do  about  it? 

Not  to  sound  like  a  recent  political  campaign,  it's  really 
up  to  the  fans  to  speak  out  in  meeting  and  say  what  they 
think  about  aural  pictures.  Mind  you,  even  the  movie 
people  aren't  all  enthusiastic  about  them.  They  are 
probably  as  divided  in  their  views  as  are  the  mass  of 
filmgoers.  A  large  number  believe,  for  instance,  that 
competition  with  talking  films  is  only  going  to  give  new 
stimulus  to  the  silent  drama,  and  that  the  screen  plays 
without  tender  and  humorous  colloquys  will  come  back 
with  a  grand  fanfare  ere  the  year  is  over. 

Even  yet,  very  little  can  be  adequately  settled  from 
mere  observations  in  the  colony.   Sound  stages  at  several 


studios,  big,  imposing  structures,  have  only  recently 
been  completed.  Comparatively  few  tests  have  been 
made  of  players'  voices.  As  yet,  only  a  limited  number 
of  theaters  can  exhibit  synchronized  productions  satis- 
factorily. 

Many  ardent  film  seers  live  in  a  sort  of  dark,  medieval 
ignorance  as  to  what  all  the  racket  is  about,  while  others 
have  been  thoroughly  disgusted  with  the  inefficient  ef- 
forts made  by  their  home-town  theater  owner  in  provid- 
ing noise  a  la  mode,  without  adequate  equipment. 

In  some  cases  the  small-town  manager  has  resorted  to 
all  sorts  of  freak  expedients  to  keep  pace  with  the  sound 
development,  of  which  the  least  obvious,  perhaps,  is 
phonograph  music.  He  has  procured  back-stage  talent 
to  imitate  the  voices  of  players  in  song,  and  to  speak 
subtitles,  which  he  has  diligently  deleted  from  the  silent 
film.    He  has  contrived  other  effects,  like  the  whir  of 

airplane  motors,  the  crying 
_^f§j§r      .-s  of  a  baby,  and  even  the 

bleating  of  sheep  and  the 
braying  of  a  donkey.  Much 
of  this  is  done  without  ref- 
erence to  its  general  suita- 
bility or  quality,  on  the  the- 
ory that  the  public  must 
have  something  that  "hits" 
the  ear,  as  well  as  the  eye. 

Too,  machines  for  repro- 
ducing regulation,  studio- 
made  sound  effects  and  dia- 
logue, are  operated  with 
considerable  ineptitude,  at 
times,  by  the  man  up  in  the  projection  room  of  the  small- 
town theater.  This  is  natural,  because  of  his  lack  of 
experience.  Devices  so  far  put  forth  are  not  absolutely 
foolproof. 

I  recall  an  instance  told  me,  not  long  ago,  of  a  hap- 
pening in  a  rural  section,  which  reveals  the  mix-ups  that 
can  occur.  The  theater  was  showing  a  locally  made 
film  of  a  county  fair,  including  some  glimpses  of  fine 
stock  on  display.  A  handsome  cow,  a  prize  winner,  was 
on  view  before  the  audience.  She  was  calmly  munching 
her  cud,  looking  placidly  sentimental,  as  cows  have  a 
fashion  of  doing,  when  suddenly,  to  the  accompaniment 
of  her  working  jaws,  a  high-pitched  feminine  voice 
emerged  from  the  screen,  with  the  words,  "Is  there  no- 
body here  who  will  believe  me  to  be  a  good  girl?"  Upon 
which  the  audience  went  into  hysterics,  and  the  manager 
had  to  come  out  and  explain  that  the  machine  operating 
the  records  had  been  started  accidentally,  in  the  middle 
of  a  sequence. 


Soon  there  will  be  no  escape  from  the  talkies,  even 
by  this  method. 


An  Infant  Learns  Its  Syllables 


17 


Still  another  case  is  told  of  a  theater  not  far  from 
Los  Angeles,  where  nothing  but  a  blank  setting,  the  ex- 
terior of  a  house  in  the  picture  "Tenderloin,"  was  being- 
projected,  and  the  voice  of  Lionel  Barrymore,  as  heard 
in  "The  Lion  and  the  Mouse,"  an  entirely  different  pic- 
ture, distinctly  fell  upon  the  ears 
of    the    astonished  spectators, 
without  any  reference  to  what 
was  going  on  before  their  eyes. 
The  records  had  become  mixed 
in  being  shipped  from  San  Fran- 
cisco, and  again  an  explanation 
from  the  manager  was  necessary, 
which  was  laughingly  accepted  by 
an  understanding  audience. 

One  can  perhaps  hear  sound 
pictures  to  the  best  advantage  to- 
day, in  only  a  comparatively 
small  number  of  theaters.  There- 
fore, do  not  judge  them  too 
harshly !  Those  who  handle  their 
destiny  will  learn  better  how  to 

operate  the  equipment,  in  a  year  or  so,  and  this  goes  not 
only  for  the  theaters,  but  also  for  the  studios.  , 

What  has  happened  in  Hollywood  recently  is  an  inter- 
esting topic.  A  great  deal  has  happened,  it  must  be 
admitted. 

First  of  all,  a  hubbub  of  monumental  proportions  not 
caught  in  any  microphone.  If  all  the  talk  that  went  on 
about  talking  pictures  were  captured  on  records,  there 
would  be  enough  vocalism  to  last  until  the  day  of  doom, 
and  perhaps  longer. 

Here,  there,  and  everywhere  to-day,  one  finds  groups 
in  the  midst  of  tense  debates'on  the  subject.  Even  mass 
and  general  meetings  of  stars,  directors,  technicians,  and 
various  high-powered  experts  from  the  big  electrical 
companies,  Who  sponsor  the  devices,  are  held  for  discus- 
sion of  the  subject.  Most  of  these  take  place  under  the 
auspices  of  the  Academy  of  Motion  Picture  Arts  and 
Sciences,  formed  a  year  and  a  half  ago,  and  active 
educationally  in  the  films,  whatever  that  may  be  con- 
strued to  mean. 

Then  the  financial  aspect.  The  cost  of  stages  already 
built  runs  into  several  millions  of  dollars — and  not  simply 
movie  millions,  for  these  stages  are  of  stone  and  steel, 
and  are  enduring. 

There  are  many  who  regard  this  wild  investment  of 
money  as  ridiculous  and  crazy.  What  is  good  to-day  in 
talking  equipment,  may  not  be  worth  a  single  whoop 
from  a  loud  speaker,  if  some  great  improvement  in  the 
mechanics  of  recording  sound  comes  along  to-morrow. 
It  may  compare  as  the  old  crystal  set  does  with  the 
radio  of  to-day,  with .  some  unexpected  innovation  in 
recording  devices. 

The  bigger  companies  reas- 
sure themselves  with  the  fact 
that .  they  are  guided  in  their 
plans  by  the  radio  and  tele- 
phone organizations  that  have 
developed  the  sound-film  de- 
vices. These,  it  is  averred, 
feel  that  all  has  been  done  that 
can  be  done  for  the  present. 
As  may  be  seen,  there  is  no 
single  viewpoint  on  the  talkie 
situation. 

Most  unusual  is  the  new 
note  of  secrecy  that  surrounds 
many  of  the  operations.  The 
Fox  company,  for  instance, 
not  long  ago  withheld,  and  en- 
deavored to  call  in,  all  photo- 


The  small-town  theater  has  been  known  to  furnish  home-made  sounds  in  place  of 

mechanical  devices. 


graphs  that  they  had  issued  for  publicity  purposes,  show- 
ing players  making  speakies,  or  even  of  any  part  of  the 
equipment  for  sound  pictures.  They  announced  that 
hereafter  all  pictures  pertaining  to  sound  movies  would 
simply  be  views  of  actual  scenes  from  productions,  stills, 
as  they  are  called,  which  you  often  find  displayed  in 
theater  lobbies.  Also,  anybody  who  told  anything  of 
how  talking  films  were  made,  was  threatened  with  some- 
thing closely  approaching  extermination. 

Other  companies  have  adopted  a  similar  mysterious- 
ness  about  certain  details  of  their  methods.  It  seems  to 
mean  that  they  are  afraid  somebody  may  "steal  their 
stuff."  In  a  way,  this  secrecy  is  very  much  like  that 
which  prevailed  in  the  early  days  of  the  silent  films, 
when  a  writer  from  a  newspaper  or  a  magazine,  unbeliev- 
able as  it  may  seem,  was  about  as  welcome  on  a  movie 
set  as  smallpox.  In  this  respect,  it  would  appear  film 
history  is  repeating  itself. 

The  matter  of  visitors  on  a  talking  set  is  out  of  the 
question.  Even  for  the  writer  for  the  fan  magazine,  or 
newspaper,  who  goes  to  a  studio  story  bent,  and  gen- 
erally gets  the  glad  hand,  obstacles  are  multitudinous. 
It  isn't  so  much  that  the  company  dreads  a  disclosure 
of  what  is  going  on,  because  very  little  can  actually  be 
observed  while  one  is  sight-seeing  in  this  manner.  It  is 
simply  that  some  untoward  or  unexpected  sound,  like  a 
sneeze,  may  throw  a  monkey  wrench  into  the  whole  scene. 

■  In  some  studios,  it  is  related — though  this  may  be 
hokum — that  even  high  executives  are  regarded  askance, 
when  they  venture  onto  the  set  while  a  sound  picture  is 
in  production.    Color  is  lent  the  report  by  the  fact  that 
one  executive,  while  on  a  set,  did 
actually  have  a  nasal  explosion,  and 
the  company  was  out  $2,500,  be- 
cause the  scene  had  to  be  remade. 

If  anybody  should  giggle  audibly 
from  the  side  lines,  while  a  picture 
was  being  taken,  it  would  also  wreck 
everything.  A  squeaky  shoe,  or 
brand-new  puttees  worn  by  a  direc- 
tor, might  disturb  things. 

Somebody  said  a  wrist  watch  does, 
too,  but  I  doubt  it.  The  tinkle  of  a 
slave  bracelet  might.  The  mega- 
phone is  in  the  discard,  while  the  as- 
sistant director's  whistle  is  silenced. 
Nobody  dare  even  whisper.  I  have 
seen  a  small  "clicker,"  similar  to 
those  used  by  the  starter  of  eleva- 
Continued  on  page  94 


The  records  got  mixed  and  suddenly  bossy 
broke   out   in  speech,   while   the  audience 
rocked  in  hysterics. 


IS 


Ultramodern  wordliness  is  the  tie  that  binds 
marriage    that   has   survived    many  'ideal" 

guy  opt 


By  Myrtle 


Edmund  Lowe's 
easy-going  man- 
ner   permits  .  no 
quarrels. 


Photo  by  spun- 
Shrewd,  gray  eyes  penetrate  from  a  white  face 
slashed  with  a  crimson  mouth. 


THE  Edmund  Lowe  menage  is  the  only 
domicile  in  Hollywood  where  a  villain, 
and  a  vi Hairiness  live  together  in  peace  and  amity. 
Of  the  marriages  between  professionals,  most  are  di- 
rector-actress relationships.  In  few  cases  both  hus- 
band and  wife  act,  and  then  one  plays  nice  roles  and 
the  Other  contributes  the  sin  element.  In  no  other  home 
do  you  find  two  so  very  sophisticated  people,  who  make 
no  secret  "of  their  worldliness,  being  in  both  real  and 
reel  life  ultramodern  and  cosmopolitan. 

True,  though  Libyan  Tashman  is  a  celluloid  cat,  Ed 
can't  exactly  be  labeled  a  villain.  However,  you  could 
never  refer  to  him  as  the  sappy  hero  he  played  before 
marriage,  which,  instead  of  reforming  him,  sent  him  out 
gayly  to  sow  his  screen  wild  oats.: 

He  revels  in  the  snappy,  wise-cracking  roles  that 
Sergeant  Quirt  started,  like  the  confidence  man  in  Col- 
leen Moore's  "Happiness  Ahead,"  the  social  parasite 
and  snob  of  "Making  the  Grade."  and  the  debonair 
Geoffrey  of  Corinne  Griffith's  "Outcast." 

He  plays  than  with  gusto  and  bravado  and  humanness, 
and  makes  them  likable,  because  he  believes  that  people 
are  actually  a  mingling  of  good  an*d  bad. 

Lil  and  Ed  are  both  refreshingly  candid.  She  has  tact 
that  she  brings  out  when  a  sociai  dilemma  requires  it, 
but  around  home  and  among  their  friends  it  gets  lost. 
And  Ed  never  had  any. 

He  had  training  with  the  Jesuits,  he  had  acting  ability 
and  urge  and  varied  experience,  he  had  euccess  as  a 
hero  of  stock  and  screen,  he  had  nostalgia  with  iife — 


until  marriage  with  Lil  turned  the  pomaded  leading 
man  into  a  cocky,  but  human,  individual.  1 
A  certain  sleek  magnificence  seems  to  touch 
everything  in  the  Lowe  domicile.   Splendor  of  tall, 
green  glassy^are  gleaming  on  the  long,  candle-lit  - 
table  for  a  perfectly  appointed  dinner,  sparkle  of 
conversation  about  the  glowing  hearth  on  winter  ; 
evenings,  brilliant  , rather  than  ;erudite,'  crackling  ) 
with  spontaneous-  satire.    Domesticity  with  a"  con-  • 
tinental  veneer. 

The  house  is  a  mosaic  of  well-ordered  beauty. 
The  luxury  there  has  brilliance.  Tapestries,  rich 
damasks,  cabinets  of  ebony  and  pearl  and  lacquer, 
parquet  floors,  heavy  bronzes,  delicate  enamels,  a 
corner  of  etchings.  In  Lil's  room,  all  bright  frip- 
peries, but  not  jumbled  ;  Ed's 
dim,  restful,  massive  furni- 
ture, maroon  and  bronze  and 
mellow.     .  - 

They  are  stellar  attractions 
at  premieres,  the  Mayfair,  so- 
cial affairs  in  the  colony.  Ed, 
tall,  correctly  groomed,  genial, 
and  Lil,  her  lithe,  sinuous  fig- 
ure sheathed  in  some  gleaming 
stuff  of  daring  cut,  arms  and 
throat  and  fingers  and  ears 
ablaze  with  jewels. 

They  make  an  arresting 
pair.  Lil  is  opalescent,  su- 
premely self-confident.  She  is 
original,  adventurous  and  ex- 
ecutive all  at ;  once.  Luxury 
seems  to  breathe  from  her. 
As  she  reclines  with  feline 
grace  upon  a  lounge,  joying  in 
the  material  comforts,  you  as- 
sociate with  her  Oriental  ' 
spices  and  scents  and  jewels- — 
until  she  laughs,  echoing  her  vi- 
brant, Manhattan  personality. 

I  shouldn't  want  her  for  an 
enemy.  But  she  would  be  a 
friend  for  life.  Life  taught 
her  truths  which  bred  a  cer- 
tain ruthlessness,  more  admirl 
able  in  a  candid  person  than 
polite  hypocrisies. 

Each  marcel  of  her  shining; 
blond  hair  is  in  its  perfect  rip- 
ple. Wise,  shrewd,  gray  eyes, 
skill  full  v  made  up,  penetrate 
you  from  a  white  face  slashed 
with  a  crimson  mouth  that  is, 
by  turns,  playful  and  tender, 
and  that  can  make  an  art  of 
sneering.  She  can  flay  you 
with  her  sarcasm,  rip  you  up ' 
the    back    with    her  throaty 


10 


Their  Caviar 


Edmund  Lowe  and  Lilyan  Tashman  in  a 
matches,  and  incidentally  has  made  a  regular 
of  a  sap. 

Gebhart 

laugh,  each  hur  of  it  a  satire.  Only  once  have  I  seen 
her  crumple  Up  with  hurt,  and  I  shall  not  forget  it. 
I  do  not  like  to  see  strong-willed  people  cry. 

From  her  father,  a  Russian  army  officer,  she 
gets  her  arrogance,  and  a  sweep  and  swish  under 
a  poised  control,  that  may  be  traced  back  to  a 
phlegmatic  German  mother. 

The  luxurious  part  of  her  likes  fruits  out  of*' 
season,  rich  foods,  barbaric  music.    The  practical 
side  of  her  designs  homes  for  a  Beverly  Hills  con- 
tractor, and  bargains  shrewdly  over  financial  rec- 
ompense. 

I  have  seen  her  reigning  over  a  supper  party — 
resplendent,  gayly  sophisticated,  accoutered  with 

the  latest  from  Paris. 

Lilyan  Tashman  proves  that 
household   efficiency  is  not 
always  apron-clad. 


And  I  have  seen  her 
in  a  tweed  walking 
suit  on  the  Boule- 
vard, munching 
cookies  from  a  bag, 
with  a  library  book 
— "Four  cents  over- 
due!"— under  her 
arm. 

Like  most  women 
of  her  restless,  keen 
temperament,  she  is 
a  radical,  superfi- 
cially, delighting  in 
shocking  hypocritical  sen- 
sibilities, but  at  heart  she 
holds  tenaciously  to  a 
tapeline  convention,  with 
'  a  positive  greed  for  those 
basic,  sure  fundamentals 
that  a  helter-skelter  the- 
atrical life  denied  her. 

Lil  is  domesticity  in  a 
Paris  frock.  The  spoiled 
darling  of  fashion,  the 
sort  who  flies  to  pieces  if 
a  corsage  bouquet  isn't  per- 
fect, there  is  beneath  this 
frivolity;  the  art  of  manag- 
ing without  seeming  to.  ! 

"The  house  is  run  sys- 
tematically," Ed  loves  to 
tell  you.  "Nothing  ever 
goes  wrong.  I  always 
find  things  where  they 
ought  to  be.  I  never  hear 
about  household  troubles. 
Lil  orders  the  meals,  su- 
perintends everything." 

But  domesticity  doesn't 
always  have  to  be  apron- 
clad.    Sheathed  in 
brocade  of  abbre- 
HH^      viated     cut.  her 


Photo  by  Ball 

Edmund  Lowe  revels  in  the  snappy,  wise-cracking  roles 
which  started  with  Sergeant  Quirt,  in  "What  Price  Glory?" 


hair  marcelled  back  off  her  ears,  her  feet  in  glittering, 
stilt-heeled  slippers,  her  fingers  gemmed,  she  sees  that 
.things  are  done  correctly,  and  clogging  of  the  machin- 
ery kept  hidden- 
Ed  has  his  favorite  dish,  lamb  curry,  often.  When . 
he  has  a  headache,  she  contrives  that  he  is  not  an- 
noyed.■.  '  ; 

No  less  an  anomaly  is  Ed.  Though  unable  to  thrust 
aside'  the  religious  training  that  made  an  adolescent  im- 
pression, the  things  of  the  world  beckon.  He  used  to 
say  that  he  thought  too  much.  Mqntal  peace  he  has 
achieved,  except  that  he  worries  too  much  about  his 
work  ever  to  stagnate.  But  from  one  recess  of  his 
mind  to  another  he  goes,  propounding  theories  of  this 
and  that,  in  words  I  don't  know  the  meaning  of,  the 
while  sipping  fine,  old  wine  with  the  appreciation  of  a 
Spanish  grandee. 

Lil  has  a  superb  scorn  of  other  women,  in  so  far  as 
their  lives  touch  Ed's.  Speaking  of  the  flappers  who 
rush  about  every  good-looking  man  at  parties,  she 
laughed,  "Little  powder  puffs  !  If  they  want  to  dust  Ed 
off  for  an  evening,  /  should  be  annoyed."  Annoyed? 
With  a  dozen  sheiks  cutting  in  on  her  dances !  She 
knows  her  caviar. 

Their  main  traits  in  common  are  candor  and  humor. 
But  that's  enough,  the}'  say,  to  make  marriage  a  success,. 
Their  most  intimate  friends  are  of  the  theatrical  world 
— jane  Cowl,  Ethel  and  Lionel  Barrymore,  and  H.  B. 
Warner.  " 

When  they  married,  there  was  a  [Continued  on  page  104] 


f 


20 


Boy  Fri 


You  will  have  to  admit  that  these  stars 
are  safe  from  scandal  at  least. 


Esther  Ralston,  above, 
picked  her.  v  boy"  ._  friend 
from  her  film,  "The  Case 
of  Lena  $mith,'\.where  he 
was  playing  an.  Alpine 
mountain  climber,  and  here 
she  is  waiting  for  him  to 
yodel. 

Audrey  Ferris,  "right,  has  < 
her  boy  friend  completely 
in  subjection,,  even  tweak- 
ing his  nose  in  public  with- 
out remonstrance,  and  gen- 
erally showing  "who"  is  boss.- 


Mr 


Sally  Eilers,  upper  right, 
one  of  the.  most  delightful 
of  the  newcomers,  chose 
her  boy  friend  for  his 'abil- 
ity to  take  hard  knocks, 
rather  than  his  intelligent 
expression. 


Karl  Dane,  left,  a  cautious 
Scandinavian,  finds  it  safer 
to  confide  in  a  mummy  than 
in  some  people  he  knows. 
No,  he  does  not  mention  any 
names,  but  


Louise  Fazenda,  right,  has 
adopted  this  dear  little  fel- 
low she  found  lost  in  the 
property  room  of  the  studio.; 
She  is  raising  him  to  be  a 
tragedian  for  the  Vitaphone. 


Snould 


21 


a 


Tell? 


.Whether  he  should  or  shouldn't,  Leslie  Fenton's  brotherly  biographer  reveals  much  about  him  that  has 
never  before  been  published,  and  which  only  a  brother  could  know. 


By  Reginald  Fenton 


IT  was  a  boy!    A  large,  blue-eyed,  laughing  baby, 
and  he  was  ushered  into  the  world  in  a  little,  rustic 
home  in  the  countryside  adjacent  to  Liverpool,  Eng- 
land.   His  mother  was  a  buxom,  Irish  colleen ;  Flanni- 
gan  by  maiden  name. 

In  time  the  little  fellow  grew  up  and,  at  the  age  of 
nine,  he  romped  through 
the  surrounding  fields 
with  Laska,  an  English 
setter,  his  boon  compan- 
ion. Laska  would  al- 
ways bring  him  home 
from  their  long  mean- 
derings  to  his  anxious 
mother. 

Then  there  was  awak- 
ened in  the  heart  of  this 
growing  boy  his  first  deep 
emotion — grief.  Laska 
was  found,  a  limp  and 
broken  thing,  in  the  road- 
way. The  trail  of  a 
motor  car's  tires  in  the 
dust  told  the  pathetic 
story.  And  then,  his  first 
reaction  over,  he  dried 
his  eyes,  filched  his  moth- 
er's carpet  tacks,  and 
sprinkled  them  in  the 
dust. 

Many  dogs  have  gone 
into  and  out  of  Leslie's 
life,  but  he  will  always 
cherish  the  memory  of 
his  first  love. 

He  went  to  live  with 
his  grandmother,  near 
the  Liverpool  docks. 
Here  his  grief  was  for- 
gotten in  the  atmosphere 
of  wharfs,  the  river  and 
ocean  liners.  He  loved 
this  inspiring  neighbor- 
hood. Sans  shoes  and 
stockings  and  cap,  he 
watched  the  stevedores 
unloading  the  ships,  with 
awe  at  the  greatness  of 
their  task.  The  steve- 
dores were  a  generous 

lot,  and  gave  him  fruit  from  South  America.  With 
open-mouthed  wonder  he  thanked  them  in  monosyllables. 
Here,  too,  he  waited  for  his  grandfather,  an  old  mariner, 
who  made  trips  to  the  Orient.  He  always  recognized 
his  grandfather's  ship  as  soon  as  it  rounded  the  bend  in 
the  river.  Invariably  he  brought  home  souvenirs — once 
he  brought  Les  a  monkey ! 

Leslie's  dreams,  as  a  rule,  centered  around  tempestu- 
ous seas  and  mammoth* ocean  liners,  and  soon  his  dreams 
of  a  voyage  were  realized.    At  the  age  of  eleven  he, 


Photo  by  Fieulich 

Leslie  Fenton  was  born  in  Liverpool,  England, 

school  in  Ohio. 


with  his  family,  crossed  the  Atlantic,  and  after  a  number 
of  incidents  exciting  to  the  boy,  arrived  in  New  York 
harbor.  Here  occurred  his  first  fishing  experience.  His 
mother  discovered  him  hanging  over  the  rail  of  the 
ship  with  a  long  line,  to  which  was  attached  a  teacup, 
angling  for  his  cap  dropped  in  his  excitement. 

The  events  in  the 
years  that  followed 
were  characteristic  of 
every  American  boy. 
He  knew  the  sensation 
of  stubbing  a  naked  toe 
on  a  misplaced  brick  in 
the  sidewalk,  of  being 
led  to  stick  his  tongue 
on  frigid  doorknobs. 
He  waded  in  the  neigh- 
boring creeks  with  a 
willow  pole  and  pin 
hook.  As  to  his  an- 
gling ability,  many  a 
little  sunfish  took  a  solo 
flight  through  the  ether 
in  a  silvery  arc.  He 
lunched  on  green  corn 
and  apples  which  grew 
conveniently  near  the 
stream.  The  noon  re- 
past was  preceded  by  a 
splash  in  the  swimming 
hole  in  the  nude. 

But  don't  get  the  im- 
pression that  all  his 
hours  were  spent  along 
the  creeks.  These  es- 
capades were  on  truant 
days,  and  were  punish- 
able by  several  sound 
whacks,  if  caught. 

He  attended  a  coun- 
try school  in  Mifflin 
Township,  near  Colum- 
bus, Ohio.  He  and  the 
teacher  were  congenial 
friends,  and  he  soon 
finished  the  grade  work. 
Then  to  East  High 
and  went  to     School    in  Columbus. 

He  did  not  take  part  in 
athletics,  unless  it  was 
swimming,  but  in  that  he  gave  all  the  contenders  a  race 
for  the  title.  He  was  intensely  interested  in  literature, 
and  when  the  school  social  affairs  demanded  him,  the 
tyro  yvas  usually  found  lying  under  a  tree  delving  into 
Keats. 

His  father's  death  changed  his  environment  and  his  . 
outlook  on  life.    In  his  third  year  of  high  school,  he 
was  forced  to  leave  his  books  and  join  the  personnel  of 
Fenton's,  Incorporated,  a  la  "An  American  Tragedy"; 
Continued  on  page  116 


22 


Photos  by  Frasher 


The  living  room  is  typical  of  the  cool  yet  mellow  charm  of  the  entire  house. 


There's  N 


o 


ace 


This    Duncan    Phyffe  card 
table  is  a  prized  possession, 
with   the    Georgian  mirror 
above  it. 


Above  an  original  Martha 
Washington  sewing  table 
hangs  a  sampler  dated  1750. 


This  is  especially  true  of  the  Raymond  Hattons'  homestead,  for  it 
Spanish,  rococo,  and  modernistic  furnishings  found  on  all  sides,  it 

deceiving,  as  you  will  learn  on  reading 

UNIQUE  among  Hollywood  homesteaders  are  Raymond  Hatton  and 
his  wife.    Practically  alone  of  all  the  cinema  celebrities,  they  sport 
not  one  tiled  patio,  Spanish  desk,  or  priest's  cassock.    In  this,  the 
paradise  of  hot-blooded  Spanish  decorators,  their  house  stands  out  as  in 

bas-relief.  In  the  midst  of  our  luxuriance  of 
villas,  haciendas,  and  chalets,  the  Hatton  home 
stands  like  a  prim  New  England  dame  in 
starched  skirts.  And  the  simile  continues,  for 
it  is  a  rehabilitation  of  the  period  when  all 
America  was  New  England,  its  interior  replete 
with  the  charm  of  the  craftmanship  of  Sheraton, 
Hepplewhite,  Duncan  Phyffe,  and  their  contem- 
poraries. 

The  Hattons  are  well-nigh  passionate  on  the 
subject  of  early  American  furniture.  To  say  it 
is  their  hobby  would  be , a  feeble  way  of  laugh- 
ing it  off.  To  them  the  beginning  of  culture 
was  in  1725,  when  Duncan  Phyffe  set  up  in  busi- 
ness. At  the  sight  of  a  Georgian  footstool,  they 
lose  all  control  and  are  down  on  hands  and 
knees,  peering  at  the  carving  to  ascertain  who 
made  it,  when  and  where.  Every  book  by  Lock- 
wood,  the  authority  on  the  period,  is  dog-eared 
within,  a  week  after  it  comes  to  the  house.  And 
the  result  of  their  absorption  is  that  they  have 
one  of  the  finest  collections  of  early  American 
furnishings  in  California. 

It  began  about  five  years  ago,  when  Raymond 
was  making  "Java  Head."  The  company  had 
gone  to  Salem,  Massachusetts,  for  locations. 
Frances,  who  accompanied  her  husband,  amused 
herself  by  prowling  among  old  houses  in  the 
-       .  -      J      vicinity.    Salem  is  the  heart  of  the  early  Ameri- 


The  dining  room  contains  perhaps  the  most  valuable  antiques  of  the    entire  collection. 


ei 


stands  apart  from  the  rest  of  Hollywood.  Instead  of  the  excesses  of 
offers  the  cool  serenity  of  New  England.  But  its  prim  simplicity  is 
about  the  owners'  almost  priceless  antiques. 


can  faction.  Its  homes,  and  the  furnishings  in  them,  have  stood  unchanged 
since  the  days  of  the  Declaration. 

Mrs.  Hatton  was  intrigued  by  the  age  and  mellow  dignity  of  those  rooms 
she  visited.    Here  was  the  beginning  of  real  American  tradition,  evidence  of 
the  substantial,  conservative  taste  of  the  first 
Independents. 

Gradually  the  simplicity  and  charm  of  the 
period  grew  upon  her.  She  began  to  take  note 
of  individual  pieces ;  began  to  appreciate  the 
combined  delicacy  and  strength  of  their  work- 
manship. The  casual  purchase  of  old  bits  of 
Sandwich  glassware  led  to  explorations  for 
more  important  items.  Her  husband  con- 
tracted the  fever  from  her,  and  by  the  time 
the  company  left  for  home  the  Hattons  had 
acquired  a  carload  of  furniture.  Hitherto 
quite  happv  in  apartments  and  hotels,  on  their 
return  to  Hollywood  they  now  had  to  buy  a 
house  for  their  new  possessions. 

It  is  their  intention  to  build  a  perfect  and 
authentic  Colonial  house;  but  because  it  must 
be  perfect  in  every  detail,  they  are  taking  ample 
time  to  collect  data,  plans,  and  sketches.  In 
the  interval,  they  selected  a  simple  bungalow, 
resembling  as  much  as  possible  the  plain  struc- 
tures of  New  England.  It  stands  on  the  corner 
of  a  quiet  street  in  West  Hollywood — white 
frame,  shining  and  spotless ;  green  shutters, 
immaculate  lawn,  with  primly  clipped  .  ever- 
greens and  rose  trees,  and  a  white  picket  fence 
surrounding  the  back  garden. 

•The  front  door. gives  directly  into  the  living 
room,  which  is  long  and  rendered  cool  looking 


A  choice  piece  is  this  Shera- 
ton desk,  its  legs  and  feet 
exquisitely  carved. 


This  maple  desk  is  a  perfect 
example  of  early  American 
craftsmanship. 


24 


There's  No 


Georgian  silver,  Sandwich  glass  and  rare  examples 
of  American  china  are  kept  in 
this  beautiful  corner-cupboard. 

by  virtue  of  dull-green  carpet- 
ing and  the  same ,  shade  pre- 
dominating, in  the !  upholstery.. 
At  the  windows  are  ruffled, 
glazed  .curtains,  ,  looped  back, 
outer  curtains >"bf  chintz  and, 
at  the  top,  green  valances. 
Across  the  floor  are  a  few 
hooked  rugs,  their  intricate 
workmanship '  Still '  intact  de- 
spite their  antiquity.  Against, 
the  front  wall  is  a  deep  divan, 
upholstered  in  '  green  linen. 
This,  the  grand  piano,  and 
radio-victrbla' : .  are  the  only 
modern  articles  in  the  room ; 
and  these  are  carefully  placed 
to  be  submerged  into  the  mel- 
low atmosphere  the  other 
pieces  create.    , .. 

On  either  side  of  the  door 
stand  two  .  mahogany  side- 
chairs  of  the  fiddle-back  de- 
sign created  by  Duncan  Phyffe, 
and  two  or  three  incidental 
chairs  are  Chippendale.  For 
practical  comfort:  there  are 
high-backed  wing  chairs,  up- 
holstered in  bright  chintzes. 
Beside  one  of  them  stands  a 
Martha  Washington  sewing 
table  of  mahogany.  '  This  '!is! '' 
bv   Sheraton,   with   rows  of 


Place  Like  Home 

shallow  drawers  and  barrel  ends,  the  tops  of  which  lift  and 
disclose  deep  little  spaces. 

Against  the  wall  is  a  roomy  Duncan  Phyff e  table  in  curly 
maple,  with  the  deft  insets  of  mahogany  by  which  his  work 
is  recognized.  On  the  other  side  of  the  room  is  a  pie-crust 
table  in  walnut.  This  is  a  small  table,  deriving  its  name 
from  the  edges  of  the  top,  which  are  meticulously  carved 
in  the  form  of  pie  crust. 

In  this  room  is  also  a  Sheraton  card  table,  the  top  of 
which  is  turned  flat  to  the  wall  when  not  in  use.  A 
Georgian  footstool,  with  heavily  carved  feet,  is  upholstered 
in  rich,  worn  tapestry.  In  corresponding  positions  on 
either  wall  hang  two  Georgian  mirrors,  their  massive  gold- 
leaf  frames  dim  with  age.  On  the  rear  wall  is  a  grand- 
mother's clock,  severely  wrought  in  natural  pine,  the  patina 
of  which  has  darkened  to  honey  color,  with  the  smoke  of 
many  decades  in  the  same  New  England  kitchen. 

Other  wall  decorations  are  two  small  silhouettes  in  wal- 
nut frames,  a  sampler  that  is  a  miracle  of  tedious  labor, 
and  two  or  three  etchings.  In  a  far  corner  of  the  room  is 
one  of  the  finest  pieces,  a  mahogany  Sheraton  desk,  with 
intricate,  tambour  doors  and  exquisite  carving  on  legs  and 
feet.  This  piece,  by  the  way,  is  some  day  to  be  given  to 
Henry  Ford  for  his  famous  Wayside  Inn.  Mr.  Ford,  who 
is  a  friend  of  the  Hattons,  shares  their  passion  and  already 
owns  the  sewing  table  and  washstand  corresponding  to 
the  desk. 

At  the  end  of  the  living  room  French  doors  open  onto  the 
veranda,  which  faces  the  back  garden.  While  to  the  right, 
at  the  front,  an  arch  leads  to  a  small  sitting  room.  In  this 
room  are  a  couple  of  prim  little  incidental  chairs  by  Phyffe. 

Against  the  wall  is  a 


No  New  England  interior 
would  be  complete  without  a 
pie-crust  table,  but  few  can 
boast  one  by  Duncan  Phyffe. 


long,  low  couch — a  love 
seat,  to  name  it  correctly 
— with  arched  back  and, 
woven  upholstery.  ■  Above 
it  hangs  a  landscape, 
dated  1704,  and  at  one 
end  stands  a  maple  duck- 
foot  table,  which  sup-, 
ports  a  lamp  of  Sandwich 
glass.  In  one  corner  is 
a  small  Phyffe  table — a 
clover-leaf  tip-top — its 
top,  which  tips  up,  being 
wrought  in  the  form  of 
a  clover. 

From  this  sitting  room 
is  reached  the  dining 
room.  This  is  done  in 
mahogany,  the  broad, 
-shining  table  with  its 
delicately  curved  and 
carved  legs  by  Chippen- 
dale, as  are  the  corre- 
sponding chairs.  In  the 
triangle  of  a  corner 
stands  a  high  chest  with 
glass  doors.  On  the, 
shelves  are  examples  of  \ 
the  earliest  American 
glass  and  china.  Whole 
sets  of  Sandwich  glass, 
accumulated  by  slow,  re- 
lentless searchings.  A 
platter  of  the  extinct 
beehive  design.  Ruby 
wine  glasses,  a  Georgian 
tea  service  in  black  silver, 
hand-hammered  pewter, 
quaint,  historical  china. 
Continued  on  page  117 


25 


Arnold  Kent. 


Larry  Semon. 


Ward  Crane. 


e  rata 


1 


umber 


Three  times  death  has  visited  the  film  colony,  taking  a  toll  of  three  and  bearing  out  the  superstition 

that  one  death  is  followed  by  two  others. 


B$  Ann  Sylvester 


TF  Hollywood  has  an  unfortunate  or  sorrowful  digit 
in  the  scale  of  numerology,  it  must  be  three. 

There  is  an  old  theatrical  superstition  that  the 
death  of  one  actor  will  be  followed  by  the  deaths  of 
two  others.  Actors  are  notoriously  superstitious,  and 
sadly  enough,  this  has  worked  out  with  fatal  precision 
in  three  cycles  of  Hollywood  casualties. 

Several  years  ago,  Hollywood  mourned  the  passing 
of  beautiful  Barbara  La  Marr.  Not  long  after  her 
death,  Lucille  Ricksen  passed  away,  and  then  Rudolph 
Valentino. 

Last  summer  the  colony  was  shocked  by  the  death  of 
George  Siegmann,  the  well-known  character  actor.  Soon 
enough  to  be  in  the  same  cycle  went  Frank  Currier  and 
Ward-  Crane. 

Lately  Larry  Semon,  George  Beban,  and  Arnold  Kent 
have  been  snatched  from  the  cast  of  Hollywood  by  acci- 
dent or  illness.    Death ! 

Three  times  the  cycle  of  the  Grim  Reaper  has  rolled 
around,  harvesting  from  the  studios  young  men  in  the 
prime  of  their  careers,  old  men  on  the  outer  edge  of 
theirs.  In  three  periods,  Death  has  cast  the  mantle  of 
mourning  on  Hollywood  for  three  deaths ! 

A  superstition  ?   Possibly.   A  coincidence  ?  Certainly. 

Now  that  the  cycle  of  three  has  been  completed,  will 
the  studios  be  freed  of  their  dread  superstition?  Or  will 
the  sorrowful  coincidence  of  two  deaths  following  one 
repeat  itself  in  future  movie  history,  as  it  has  in  the 
past? 

Oddly  enough,  it  was  Ward  Crane  who  first  spoke  of 
actors'  deaths  in  threes  to  me.  He  asked  if  I  had  ever 
noticed  that  death  came  to  the  colony  where  it  was  so 
little  expected.  Barbara  La  Marr,  of  course,  had  been 
ill.  So  had  little  Lucille  Ricksen.  Those  who  knew 
them  best  realized  that  only  a  miracle  of  strength  could 
pull  them  through.  But  Rudy  ?  He  had  been  in  the  very 
glow  of  health  and  enthusiasm  one  week  before  he 


started  on  that  New  York  trip,  from  which  he  never  re- 
turned to  Hollywood. 

Ward  and  I  had  both  seen  him  a  couple  of  days  be- 
fore his  departure.  I  had  gone  up  to  Falcon's  Lair  for 
an  interview.  To  my  mind,  Valentino  never  looked  bet- 
ter or  happier  in  all  the  time  I  had  been  seeing  him  about 
Hollywood.  His  feet  were  planted  firmly  on  the  road  to 
greater  fame.  He  was  no  longer  worried  with  financial 
or  domestic  difficulties.  And  yet  he  spoke  entirely  of 
futility — and  death! 

The  title  of  that  story  was  "If  I  Had  It  To  Do  Over 
Again."  It  was  never  printed.  It  would  have  been  too 
sad.  For  throughout  that  last  interview,  Rudy  had 
spoken  only  of  his  past — reviewing  his  mistakes,  dis- 
cussing the  things  he  would  like  to  do  over  again,  if  he 
had  the  opportunity.  There  was  not  one  word  of  his 
future,  or  his  plans.  When  I  told  Ward  that  story,  he 
remarked,  "Just  another  coincidence  of  that  cycle  of 
three  deaths." 

It  is  ghastly  that  Ward  should  have  been  in  another 
cycle  of  three  deaths !  Late  in  1927  he  was  taken  ill  with 
serious  lung  trouble,  and  died  several  months  after  Sieg- 
mann and  several  weeks  after  Frank  Currier.  In  the  last 
cycle  the  element  of  unexpected  death,  of  which  Ward 
spoke,  was  shocking. 

Arnold  Kent  was  in  the  midst  of  filming  "Four  Feath- 
ers," which  is  to  be  one  of  Paramount's  most  important 
releases  of  the  season.  It  was  the  biggest  role  the  young 
Italian  actor  had  landed  since  he  came  to  Hollywood, 
and  his  career  was  opening  brightly  before  him. 

On  the  fatal  evening  of  the  accident  that  resulted  in 
his  death,  he  had  invited  Ruth  Chatterton's  secretary  to 
dine  with  him  at  The  Cliff  Dwellers,  a  popular  cafe  be- 
tween Hollywood  and  Los  Angeles.  The  restaurant  is 
situated  at  a  dangerous  crossing,  and  as  Kent  was  escort- 
ing the  young  lady  across  the  street,  he  was  struck  by 
Continued  on  page  111 


26 


c 


ame 


It  came  and  it  conquered  man  and  maid,  stately- 
nature  makes  the  whole  world  kin,  even  in  Holly 


Audrey  Ferris,  above,  fatigued 
by  tearing  her  acting  to  tatters  in 
a  great,  big  emotional  fracas, 
politely  yawns  to  let  the  director 
know  that  he  had  better  not  ask 
her  to  go  through  the  ordeal 
again. 

Myrna  Loy,  right,  was  just  say- 
ing "Ah— ah — ah  !"  in  a  talking- 
picture  test,  when  she  lost  control 
of  her  lips  and  they  expanded 
into  a  yawn !  The  life  of  an 
actress  is  just  one  mishap  after 
another,  isn't  it? 


Wheezer,  above,  of  Our  Gang,  isn't 
bored  with  life,  or  acting— he  just 
misses  his  afternoon  nap.  He's  only 
a  little  over  two  years  old,  you  see, 
and  needs  lots  of  sleep. 

Doris  Hill,  below,  says  that  the  first 
requisite  of  popularity  in  the  movies 
is  the  ability  to  look  pretty  at  all  times. 
So  she  obliges  with  a  demonstration 
which  might  tax  the  beauty  of  other 
girls. 


.J 


Certainly  no  lady 
should  yawn  so  openly 
as  Corinne  Griffith, 
left,  but  Miss  Griffith, 
if  confronted  by  a 
book  on  etiquette  for 
stars,  would  tell  you 
that  she  is  no  lady  in 
"Outcast,"  and  that  is 
where  she  yawned. 


—J 


27 


the  If  a^n 


star  and  cavorting  comic,  proving  that  one  touch  of 
wood — and  especially  if  the  camera  is  looking  on. 


28 


Photo  by  Brows. 

Mary  Nolan  will  play  opposite  John 
Gilbert  in  "Thirst." 

I JUST  met  four  girls  who  wanted 
to  know  if  they  could  be  arrested 
for  sending  arsenic  to  radio  an- 
nouncers," Fanny  said  breathlessly, 
as  she  rushed,  in  and  .slid,  into  the 
chair-, by., mine,:  "and  I  assured  them 
they  would  probably  .  be  acquitted,  . 
even  "if  it  was,  fatal.  ,  Surely  the  pub- 
lic would  be  on  their  side,  if  they 
knew  the  whole,  sad  story." 

I  settled  myself  comfortably,  and 
even  .got  out  a  handkerchief  to  show 
my  preparedness  for  a  really  touching 
story. 

"It  was  like  this,"  Fanny  began. 
"The  night  that  'Noah's  Ark'  opened, 
a  lot  of  picture  executives  felt  un- 
equal to  the  struggle  of  getting 
through  the  crowd  to  the  theater,  so 
they  settled  down  comfortably  at  a 
friend's  house  and  turned  on  the 
radio.  As  luck  would  have  it,  they 
tuned  ,  in  on  the  announcements  of 
who  was  arriving  at  the  theater,  what 
was  worn,  and;  so  forth. 

"In  a  burst  of  what  he  probably 
considered  inspiration,  the  announcer 
grabbed  several  celebrities,  and  asked 
them  to  say  a  few  words  into  the  mi- 
crophone. One  nice,  young"  ingenue 
started  to  speak,  and  the  producers 
groaned.. , ,.  H[er, .  .voice  . ,  was  tei$#>le-h 
'And  I  thought  of  Using  her  in  a  pic- 


PIiQto  by  Chidnoff 


ture  with  dialogue,'  one  of  them  lamented.  'Excuse  me  a 
minute.  While  it's  on  my  mind,  I'll  call  up  our  casting 
director  and  tell  him  to  forget  her.' 

"Then  another  girl  came  on  the  radio.  The  announcer 
asked  her  to  describe  the  dress  she  was  wearing.  She  got 
just  awfully  coy  and  saccharine,  as  she  gushed,  T  have  on 
a  little  frock  that  has  lace  ruffles  going  round  and  round, 
with  a  little  rhinestone  buckle  in  front.'  The  producers 
chorused  that  they  had  never  heard  of  her,  but  they  jotted 
her  name  down  for  the  taboo  list,  in  case  she  ever  came 1 
up  for  a  part.  By  the  time  the  audience  had  filed  into  the 
theater,  a  lot  of  girls  had  unwittingly  talked  themselves  out 
of  perfectly  good  roles. 

"One  producer  was  indignant,  because  none  of  his  stars' 
was  ballyhooed  as  being  present  at  the  opening,  and  another 
was  furious  because  a  girl  working  for  him  was  there.  He 
said  she  ought  to  be  at  home  resting  for  the  next  day's 
close-ups.  Oh,  well,  players  can't  please  them,  no  matter 
what  they  do. 

"Anyway,  the  girls  who  talked  over  the  radio  that  night 
are  indignant.  It  never  occurred  to  them  that  it  might 
mean  losing  a  good  part. 

"It  was  a  resplendent  opening,  even  if  the  picture  was  ay 
little  like  something  made  out  of  pieces  from  the  rag  bag. : 

  The    flood    scenes  are! 

marvelous,  of  course. 
They  are  a  real  triumph 
of  direction.  But  the 
modern  story  is  just  too 
sill)'  for  words,  and  the 
dialogue  is  childish." 

"And  did  I  hear  you 
say  that  Dolores  Costeb- 
lo's  voice  had  improved  ?" 
I  asked,  in  my  most  po- 
lite manner. 

"Well,  any  one  would 
admit  she  looked  gqr- . 
geous.  But  Twill  never 
believe  she  appears  in 
talking  pictures  of  her 
own  free  will.  Why  can't 
they  feature  Dolores  in  a 
picture  about  a  mysteri- 
ous woman  who  never 
speaks  ?  Let  all  the  other 
characters  talk,  and  spare- 
the  audience  the  shock 
of  hearing  Dolores.  I've 
never  seen  any  one  else?  ' 

quite  so  beautiful  

An    interrupting    cry : 
came    from    me,  "I've-' 
seen  Betty  Compson." 
"And  I've  never  heard 

Margaret  Livingston  has 
made  sixteen  pictures  in 
eleven    months.      Fanny ! 
tells  a  secret  about  Miss 
Livingston. 


.V ..; 


29 


Fanny  the  Fan  discloses  the 
secret  of  how  several  players 
talked  themselves  out  of  roles, 
and  tells  the  latest  news  about 
first-night  box-holders. 

any  one  with  quite  so  misfit  a  voice. 
While  speaking  of  voices,  Norma  Shearer 
was  the  envy  of  every  one  on  the  Metro- 
Goldwyn  lot  for  a  while,  because  it  was 
said  that  she  had  the  most  perfect  of  all 
voices  for  recording.  Then  Anita  Page 
made  a  voice  test,  and  simply  knocked 
them  cold.  Her  voice  isn't  so  interesting 
when  you  talk  to  her,  but  on  the  sound 
film  she  is  a  knock-out.  She  collapsed 
from  exhaustion  the  other  day  at  the 
studio ;  maybe  it  was  the  shock  of  finding 
out  she  had  nothing  to  worry  about. 

"All  the  youngsters  in  pictures  are  a 
little  worried.  Since  Eva  von  Berne  was 
shipped  back  to  Germany  after  one  pic- 
ture, they  all  wonder  whether  they  have 
careers  or  not.  I  am  wondering  what  is 
going  to  happen  to  Dita  Parlo.  Para- 
mount imported  her  from  Germany  to 
play  opposite  Maurice  Chevalier  in  his 
first  American  picture.  The  poor  child 
doesn't  speak  English,  and  she  is  terribly 
bewildered  at  being  in  a  strange  country. 
She  has  the  most  tragic  look  on  her  face, 
as  though  she  didn't  know  quite  what  was 
coming  next." 

Nobody  in  Hollywood  knows  what  is 
coming  next,  but  most 
have  schooled  them- 
selves not  to  show  it. 

Taking  advantage 
of  a  momentary  lull, 
I  demanded  to  know 
of  Fanny  where  she 
had  been  the  many 
noons  that  she  hadn't 
joined  me  for  lunch- 
eon. , 

"Oh,  I  belong  to 
a  club,"  she  an- 
nounced, airily.  "It's 
broken  up  for  a 
while,  maybe  for- 
ever, but  it  was  great 
while  it  lasted.  Mar- 
garet Livingston  has 
been  working  in 
Phyllis  Haver's  pic- 
ture down  at  the 
Pathe  studio,  and  we 
made  that  the  occa- 
sion for  general  re- 
joicing and  the  for- 
mation of  a  lunch 
club.  It  was  very 
exclusive — just  Mar- 
garet, Phyllis,  and  myself — 
oh,  yes,  and  Margaret's  chauf- 
feur, who  prepared  the  lunch- 
eons. 


f  the  players  L 


Photo  by  Freulich 


Besides  two  recent  pic- 
ture openings,  Patsy  Ruth 
Miller  has  made  her  stage 
debut  in  "Nightstick." 


Photo  by  Richee 

Betty  Compson  again  plays  opposite  Dick 
Barthelmess,  in  "Weary  River." 

"The  studio  fixed  up  a  gorgeous  dress- 
ing room  for  Phyllis  months  ago,  but  she 
has  never  used  it,  because  it  is  away  up  at 
the  top  of  the  studio,  and  she  didn't  like  to 
climb  the  stairs.  So  she  just  goes  on  using 
one  of  the  plebeian  dressing  rooms  down 
on  the  ground.  Margaret  is  more  ambi- 
tious. She  moved  right  into  Phyllis' 
rooms,  and  set  her  chauffeur  to  work  get- 
ting luncheon  in  the  electric  kitchenette. 
And  Phyllis  conquered  her  aversion  to 
climbing  stairs. 

"Those  two  girls  have  been  close  friends 
for  years.  They  admire  each  other  tre- 
mendously, and  love  to  work  together.  I'm 
not  so  sure  I  should  like  to  .  work  with 
Phyllis.  She  is  a  realist.  In  one  scene 
she  had  to  grab  Margaret  by  the  arms  and 
shake  her,  and  she  pinched  her  so  hard  her 
arms  were  all  black  and  blue. 

"Phyllis  has  a  will  of  iron,  when  it  comes 
to  dieting.  Every  time  she  gains  a  pound, 
she  .eats  .nothing,  but.  fruit,  until  she.  has 
lost  it.  She  sat  there  munching  an  apple, 
and  looking  pathetically  on,  while  Margaret  and  I  ate 
cheese,  nut  cake,  and  all- sorts  of  things  she  wanted. 

"Phyllis  endangered  her  life  by  letting  out  a  secret 
about  Margaret,  and  ^ow  I'm  letting  myself  in  for 


30 


Over  trie  Teacups 


Photo  by  Ball 

Silent  drama  by  day,  and  dialogue  pictures  at  night  keep 
Phyllis  Haver  busy. 


trouble  by  repeating  it.  Margaret  has 
secret  ambitions  to  be  a  writer.  She 
has  a  typewriter,  and  almost  every  day 
she  jots  down  thoughts  that  occur  to 
her.  Most  of  her  writing  is  satirical, 
and  according  to  Phyllis  it  is  awfully 
clever.  But  Margaret  is  shy  about  it. 
She  tears  the  things  up  after  she  has 
written  them.  But  Phyllis  got  hold  of 
one;  and  is  keeping  it  to  send  to  her 
friends  as  a  greeting  next  Christmas. 
She  is  furious  that  Margaret  didn't 
write  it  sooner,  so  that  she  could  have 
used  it  for  the  holidays  this  year.  It 
is  a  shopping  hint  for  the  tired  business 
man.  It  tells  men  just  how  they  can 
get  rid  of  all  their  Christmas  worries. 
All  they  have  to  do  to  please  a  girl  is  to 
buy  a  Rolls-Royce,  or  a  few  acres  of 
real  estate,  taxes  paid,  and  any  girl 
would  appreciate  the  thoughtfulness  of 
their  Christmas  remembrance ! 

"Margaret  has  made  sixteen  pictures 
in  the  last  ,  eleven  months,  and  Phyllis 
hasn't  had  a  day  off  since  she  can  re- 
member. While  she  is  making  one  pic- 
ture by  day,  she  is  making  dialogue  se- 
quences for  the  preceding  picture  at 
night.  It  seems  to  agree  with  her.  She 
never  looked  better.  If  you  want  to 
be  thrilled  by  the  most  bewilderingly 
lovely  clothes  you  have  seen  in  ages, 
just  go  to  see  her  in  'The  Shady  Lady.' 

"Speaking  of  clothes,'  we  decided  that 


no  one  ought  to  be  allowed  to  select  her  own.  Margaret 
has  always  had  very  definite  ideas  of  just  ^what  was 
most  becoming  to  her.  She  always  went  in  for  tight- 
fitting  waists,  sort  of  basque  effects.  Travis  Banton, 
the  designer  at  Paramount,  made  a  negligee  for  her 
to  wear  in  'His  Private  Life,'  and  she  didn't  like  it  at 
all.  It  wasn't  according  to  her  ideas:  of  what  looked 
best  on  her..  She  started  off  to  the  set,  all  disgruntled, 
because  she  thought  she  looked  terrible,  and  every  one 
simply  raved  that  she  had  never  looked  so  well.  .  The 
things  that  Margaret  used  to  design  for  herself  were 
pretty,  but  they  weren't  smart.  They  had  a  Hollywood 
look  about  them.  But  from  now  on,  Margaret  has 
sworn  to  put  herself  in  the  hands  of  expert  designers 
and  never  venture  a  suggestion  of  her  own." 

"Would  you  mind  going  over  and  repeat  that  lecture 
at  the  table  in  the  center  of  the  room?"  I  asked. 

Fanny  turned  pale.  Right  there  in  Montmartre  was 
a  gathering  of  Hollywood  stars  who  needed  to  learn  the 
lesson  that  Margaret  learned.  Every  one  of  them  had 
on  a  dress  that  looked  like  every  other  dress  she  had 
ever  worn.  It  is  all  right  for  a  star  to  have  ideas  about 
what  is  becoming  to  her,  but  she  shouldn't  be  stubborn 
about  it. 

That  reminds  me  of  the  designer  who  came  out  here 
for  a  while.  She  asked  all  her  prospective  customers 
whom  they  considered  the  best-dressed  girls  in  pic- 
tures. If  they  said  Corinne  Griffith,  Florence  Vidor, 
Lilyan  Tashman,  or  Norma  Talmadge,  the  designer 
knew  she  could  please  them.  But  if  they:  said  Claire 
Windsor,  Billie  Dove,  or  any  of  the  ostrich-feather- 
and-sequin  group,  the  designer  showed  them  the  door, 
knowing  she  could  never  be  true  to  her  own  ideas  of 
smartness,  and  design  anything  they  would  wear.  . 

"I  suppose  you  have  heard  that  Paramount  has  given 
Evelyn  Brent  a  new  contract.  Wouldn't  they  be  foolish 
if  they  didn't?   All  the  other  big  companies  were  just 

waiting  to  grab  her  when 
tier  contract  expired.  I  The 
opening  night  of  'Inter- 
ference' was  a  triumph 
for  her.  She  is  simply 
ideal  for  talking  pic- 
tures," Fanny  went.  on. 

"Openings  at  the  Car- 
thay  Circle  always  re- 
mind me  of  the  box- 
holders  there.  There's  a 
society  to  break  into ! 
The  people  who  live:  in 
the  neighborhood  ."-save 
up  their  wooden  boxes, 
bring  them  out  on 
premiere  nights,  and 
stand  on  them  to  watch 
the  celebrities  arrive.  So- 
ciety notes  really  -  should 
feature  them,  instead  of 
the  interminable  accounts 
of  how  many  stars  'ar- 
rived in  ermine  coats. 
For  instance,  they  could 
tell  that  Alma  McDougail 
stood  on  her  usual  break- 
fast-food packing  case, 
two  sweaters 


Mary  Duncan  proved  to 
the    Fox    studio  scribes 
that  she  could  write  her 
own  speeches. 

Photo  by  Ball 


Over  trie  Teacups 


31 


and  an  old  ulster.  That  is  a  graphic  comment  on  Los 
Angeles  night  air  that  the  .chamher  of  commerce  might 
not  appreciate,  but  it  is  true.  And  Blink  Case)',  sad  to 
relate,  was  found  to  be  wearing  three  watches  in  his 
coat  pocket  when  he  left,  so  he  attended  an  after-theater 
party  at  the  police  station.  His  hosts  were  most  en- 
thusiastic in  their  welcome ;  in  fact,  they  insisted  on 
detaining  him,  but  no  refreshments  were  served. 

"As  though  two  big  openings  in  one  month  weren't 
enough,  Patsy  Ruth  Miller  had  to  go  and  make  her 
stage  debut.  Every  one  turned  out  for  that.  Patsy 
never  did  anything  by  halves.  She  did  her  stage  debut 
by  threes.  First  she  'debutted'  at  the  Gamut  Club, 
then  at  the  Beverly  Hills  Community  Theater,  and  now 
she  is  in  a  real  professional  company,  playing  the  lead 
in  'Nightstick.'  She  is  charming  on  the  stage,  and  she 
had  the  courage  to  appear  in  a  rather  unsympathetic 
role.    Her  voice  is  marvelously  effective." 

"I'm  not  worried  about  that,"  I  assured  her.  "What 
bothers  me  are  the  opening-night,  wishing-you-great- 
success  ■  telegrams.  Who  could  send -Pat-  a  message 
half  as  clever  as  the  ones  she  sends  to  her  friends?" 

"No  one,"  Fanny  had  to  admit.'  "I  don't  suppose  it 
ever  occurred  to  Pat  to  send  herself  one.  For  a  while 
it  looked  as  though  she  would  never  be  ready  to  go  on 
at  the  first  performance,  because  seventy  telegrams 
arrived  in  rapid  succession  and,  of  course,  she  wanted 
to  open  them  all  herself.  I  liked  Buster  Collier's  best. 
It  just  said,  'Success,  success,  success/  over  and  over. 

"United  Artists  are  making  'Nightstick,'  but  they 
started  it  before  Pat  played  it  on  the  stage.  They  sent 
to  New  York  for  Eleanor  Griffith  to  play  the  lead.  I 
hope  they  are  sorry  now.  Lee  Patrick,  a  tremendously 
clever  New'  York  'actress,  has. come  West  to  play  in 
'The  Missing  Man,'  a  "dialogue  film  for  Pathe.  These 
jumps  from  screen  to  stage,  and  stage  to  screen,  are 
like  the  old-fashioned  game  of  puss  in  the  corner. 

"Louise  Glaum  is  open- 
ing in  a  stage  play  here, 
and  all  the  old-timers  are 
planning  to  turn  out  and 
give  her  an  ovation.  It  is 
years  since  her  old  friends 
in.  pictures  have  seen  her. 
J  saw  her  jn  vaudeville  in 
the  East,  so  I  won't  be  the 
least  bit  nervous  for 
Louise  when  she  makes 
her  entrance. 

"Apparently,  the  stage 
fever  is  contagious.  Gloria 
Swanso'n  is  to  make  her 
stage  debut  in  a  play  with 
Edward  Everett  Hbrton, 
just  as  soon  as  she  finishes 
'Queen  Kelly.' " 

There  was  a  sudden 
kill.  I  knew  conversation 
wouldn't  stop  all  around 
us  like  that,  without  some 
good  reason.  I  glanced 
over  at  the  door,  and  no- 
ticed that  Mary  Duncan 
was  coming  in.  She  walks 
so  beautifully  it  is  a  pleas- 
ure to  watch  her. 

Marian  Nixon  is  getting 
bouquets  for  her  work  in 
"Geraldine,"  which  proves 
that  her  voice  records  ex- 
ceptionally well. 

Pboto  by  Spun- 


Photo  by  Hesser 

Lila  Lee  is  playing  in  a  thrilling  mystery  called 

Black  Pearl." 


The 


i  J 


"You  should  have  heard  her  make 
the  dedicatory  address  out  at  the  Fox 
Hills  studio.  It  was  thrilling."  Ob- 
viously Fanny  was  trying  to  imitate 
the  vibrant,  throaty  quality  of  Miss 
Duncan's  voice. J 

"For  days  every  writer  at  the  Fox 
studio  was  busy  composing  a  speech 
for  her  to  deliver.  They  were  all  so 
impressed  with  the  auspiciousness  of 
the  occasion  that  they  became  statis- 
tical and  dull.  After  all,  a  person 
doesn't  have  a  chance  every  day  to 
dedicate  something  costing  eight  mil- 
lion dollars.  Well,  when  the  day  came, 
it  was  discovered  that  the  speech  she 
wrote  for  herself  was  infinitely  better 
than  any  of  those  written  by  the  pro- 
fessional scribes.  *  I  hope  that  puts 
them  in  their  place,  wherever  that  may 
be." 

"I  wonder  if  you  could  start  a 
movement,"  I  suggested  in  all  sincer- 
ity, "to  keep"  any  more  girls  named 
Mary  from  entering  pictures?  I'm  all 
confused.  There's  Mary  Duncan  and 
Mary  Nolan  and-  Mary  Doran,  and  I 
can't  remember  which  ones  I  like." 

"Well,  it  wouldn't  hurt  you  to  go 
to  see  them  all,"  Fanny  retorted  indig- 
nantly. "Mary  Duncan,  you  know,  be- 
cause you  just  saw  her.  Mary  Doran 
was  in  'Rio  Rita'  in  New  York,  and 
Continued  on  page  120 


32 


WITH  the  motion-pic- 
ture companies  lift- 
ing the  ban  against 
their  players  flying,  all  Hol- 
lywood is  up  in  the  air. 

For  some  time  several  stars 
have  been  flying  secretly. 
That  is,  nobody  knew  any- 
thing about  it  except  the  film 
colony  and  the' public.  And 
insurance  men  did  not  ap- 
prove, so  perhaps  they  were 
not  told. 

Now,  however,  with  avia- 
tion being  developed  com- 
mercially, and  considered  al- 
most as  safe  as  automobile 
or  train  travel,  some  of  the 
companies  are  still  a  trifle 
apprehensive,  but  others  give 
their  players  permission  to 

Aviation  causes  almost  as 
much  talk  in  Hollywood, 
now,  as  the  subject  of  articu- 
late pictures.  It  is  no  longer 
a  thrill  merely  to  go  up :  you 


David  Rollins 
is  one  of  the 
several  actors 
who  pilot  their 
own. 


Ben  Lyon  was 
given  his  pilot's 
license  after 
only  a  few 
hours  of  solo 
flying. 


Sue  Carol  can  put  a  plane 
through  all  its   tricks,  but 
not  alone. 


Holly  vtfoods 

Flying  restrictions  against  the  movie  people  being 
pilots,  and  the  feminine  stars  are 

By  Myrtle 

must  pilot  your  own  plane.   Filmtown's  favorite  joke  b£! 
the  moment  is  to  quote  an  actor  as  having  said,  "Imagine;' 
my  embarrassment  when  I  discovered  that  I  had  ordered 
two  fifteen-thousand-dollar  planes,  instead  of  just  one, 
and  with  only  one  hangar  finished,  too !" 

You  are  not  of  the  elite  unless  you  can 
turn  a  few  loops,  stand  a  plane  on  its  tail, 
make  it  shimmy  in  a  wing  dance,  and' 
otherwise  cut  capers  with  the  clouds  for' 
footstools. 

It's  no  longer,  "Have  you  your  roller 
skates  along  ?"  Now  it's,  "Be  careful, 
young  man,  I  have  my  parachute !" 

Peggy  Hamilton,  Los  Angeles'  fashion 
expert,  stages  air-fashion  shows.  Her 
models  take  off  from  one  field  and  land 
at  another,  where  the  crowd  is  assembled 
to  view  races  and  air  stunts.  The  young 
matrons  of  cinemaland — wives  of  direc- 
tors and  stars — occupy  lazy  afternoons 
with  air-bridge  parties,  the  Ford  twelve- 
passenger  planes  being  equipped  with  card 
tables. 

A  fast  motor  spin  to  a  smart  Santa 
Barbara  dinner  used  to  be  an  event.  Now, 
one  works  until  six,  dons  one's  evening 
gown,  and  flies  up  the  Coast.  ,  ', 

Owning  a  yacht  is  still  an  fait,  but  not,' 
as  fashionable  as  piloting  one's  own  gray;J 
bird. 

Soon  there  will  be  styles  in  planes,  as 
there  are  in  stars'  palaces  and  poodles. 

The  air-transportation  companies  carry 
movie  passengers  most  frequently  to  San 
Diego,  Santa  Barbara,  San  Francisco, 
Catalina,  and  Salt  Lake  City,  where  a 
picture  troupe  was  recently  on  location. 
Agua  Caliente  is  a  popular  port  of  call 
'  for  ships  from  the  Hollywood  air. 


33 


gradually  dropped,  many  o£  the  men  have  become 
quite  enthusiastic  as  passengers. 

Gebhart 

Will  Rogers  pioneered  transcontinental  air  travel,  but 
Bebe  Daniels  was  the  first  picture  girl  to  hop  from  Los 
Angeles  to  New  York.  Ben  Lyon,  a  licensed  pilot,  com- 
mutes to  location  daily  by  plane.  It  is  becoming  a  cus- 
tom to  fly  for  an  hour  or  so  at  Tiajuana, 
and   return   home   on   the    same  after- 


Reginald  Denny 
is  considered  a 
logical  con- 
tender for  the 
title  of  Ace  of 
Hollywood. 


It  was  no  trou- 
ble to  identify 
this  pilot  when 
he  was  forced 
to  land  in  a 
Wyoming  hay- 
field. 


noon. 

With  a  group  from  the  M.-G.-M.  stu- 
dios, I  flew  to  San  Diego  to  watch  Ramon 
Novarro  at  work  on  seaplane  scenes,  and 
taking  off  from  the  carrier  Langley, 
lunched  at  the  Coronado  Hotel,  visited  the 
naval  air  depot  and  the  army  and  navy 
bases,  and  was  home  at  sunset.  I  have  also 
gone  to  the  matinee  hops  and  Peggy  Ham- 
milton's  fashion  flights.  Like  other  Holly- 
wood girls,  I  affect  a  blase  boredom  to 
conceal  the  thrill. 

Wallace  Beery,  perhaps,  has  flown  more 
than  have  any  of  the  others,  not  counting 
working  hours  in  air  epics,  with  Reginald 
Denny  a  possible  contender  for  the  title  of 
Hollywood  ace.  At  least  Beery  has  en- 
countered the  greatest  aerial  dangers.  His 
most  thrilling  flight  occurred  when,  in  the 
face  of  a  driving  rain,  pelted  by  sleet, 
lapped  in  by  fog,  he  crossed  the  Rockies 
and  landed  at  a  Los  Angeles  airport  after 
a  thousand-mile  fight  with  the  elements, 
high  in  the  sky.  On  this  trip  -  he  was 
forced  to  zoom  down,  and  make  a  perilous 
landing  in  a  hayfield  near  a  small  Wyoming 
town,  where  a  plane  had  never  before 
landed.  He  had  to  resort  to  an  old  stage- 
coach and  its  team  to  haul  his  precious 
"bird"  two  miles  to  a  spot  where  hexould 
take  off.  What  a  laugh  that  would  have 
handed  the  old  Western  movies — the  trusty 
stagecoach  towing  an  airplane ! 


Ruth  Elder  enjoys  her  fa- 
vorite sport,  which  brought 
her  to  the  film  colony. 


One  of  Beery 's  planes  is 
a  snug  little  sedan  of  the 
air,  with  a  writing  desk  and 
accommodations  for  six.  It 
is  beautifully  upholstered, 
and  has  wicker  chairs. 

Reginald  Denny  owns 
two  Sopwith  planes  and  two 
Travelair  speedsters. 

Ben  Lyon  had  had  so 
much  training  during  his 
work  in  aviation  pictures— 
the  actors  really  pilot  in 
such  scenes,  but  the  planes 
have  dual  controls,  with  a 
real  aviator  on  board  to 
take  the  wheel  in  case  of 
danger — that  he  was  given 
his  pilot's  license  after  only 
four  hours  of  solo  flying, 
instead  of  the  regulation 
twenty. 

Howard  Hughes,  the  pro- 
ducer, has  a  flock  of  about 
eleven  planes,  including 
Spads,  bombers,  and  fleet 
Continued  on  page  105 


 ^.re*- —  .^t^innunmuiggaaaianaiataaai 


34 


Evelyn — As  She  Is 

This  notable  analysis  of  Miss  Brent  reveals  the  many-sided  character  of  a  distinguished  artist  and  one 

of  Hollywood's  most  inconspicuous  personalities. 

B$>  Margaret  Reid 


SHE  has  common  sense,  but  not  enough  to  be  calcu- 
lating. She  has  sanity,  but  not  enough  to  be  dull. 
She  has  determination,  but  not  enough  to  be  arro- 
gant. She  is  regular,  but  not  average;  normal,  but  not 
prosaic. 

Conservative  by  instinct,  Evelyn  Brent  avoids  the  spec- 
tacular in  everything.  The  celebrity  of  her  position  does 
not  incline  her  to  gallery  play.  It  would  embarrass  her 
to  be  conspicuous,  to  be  unique  or  startling.  Even  her 
appearance  is  indicative  of  this.  Vividly  beautiful,  she 
could  accentuate  her  exotic  type  by  the  habiliments  of  a 
Negri,  or  a  Goudal.  Instead,  she  dresses  well  and  un- 
obtrusively, following  the  accepted  mode.  Keenly  in- 
telligent and  widely  read,  she  could  well  achieve  mention 
among  the  local  intelligentsia,  but  rates  superficial  cul- 
ture low,  and  prefers  to  read  her  books  rather 
than  be  photographed  with  them.  Or,  having  an 
innate  flair  for  the  amenities,  she  could  easily  go 
in  for  the  ultra-refinement  of  a  Florence  Vidor, 
but  wearies  of  etiquette  at  the  wrong  moment, 
and  would  rather  be  comfortable  than  correct. 

Not  one  of  the  acquired  little  graces 
arid  diplomacies,  considered  so  vital  to 
celebrity,  has  been  adopted  to  em- 
broider her  honesty.  She  is  devoid  of 
artifice,  and  makes  no  effort  to  attract. 
Likewise  she  is  impressed  only  by  the 
reality  in  others,  their  conscious  nice- 
ties leaving  her  unresponsive.  To 
those  accustomed  to  the  professional 
graciousness  of  Hollywood,  Evelyn 
Brent's  directness  is,  at  first,  discon- 
certing. It  is  only  at  a  second  or  third 
meeting  that  her  charm  penetrates,  and 
then  it  is  inescapable. 

Sedulously  avoiding  the  melee  of  a 
large  circle  of  acquaintances,  she  has  a 
few  very  close  friends,  intimacies  ex- 
tending over  a  period  of  years.  Slow 
to  form  friendships,  once  they  are 
made  she  retains  them.  When  she 
likes  people,  she  likes  them  a  great  deal 
and  with  enthusiasm.  Her  friends 
adore  her.  To  them  she  is  known  as 
"Betty,"  a  name  that  seems 
with  her  appearance,  but  is  eminently  suit- 
able to  her  candor  and  simplicity  of  manner. 

She  can't  endure  gala  parties,  or  large 
gatherings.  The  din  of  too  many  voices 
makes  her  want  to  cover  her  ears  and  run 
away.  Nervous  and  tense  at  all  times,  noise 
distresses  her  and  she  must  have  quiet.  She 
would  like  to  be  able  to  be  alone,  for  the 
peace  it  should  bring,  but  when  she  is,  be- 
comes restless  and  introspective. 

It  annoys  her  that  she  is  prey  to  moods. 
Frequently  she  is  plunged  into  abysmal 
melancholy,  for  which  there  seems  no  cause. 
She  tries  to  analyze  its  unreason  and  to 


shame  herself  out  of  it,  but  with  little  success.  At  such 
times  she  is  discouraged,  cynical,  without  hope.  Nothing 
interests  her,  and  she  broods  on  the  unimportance  of  her- 
self and  of  the  world.  Yet,  even  when  such  moods  are 
upon  her,  she  can  make  light  of  them — laugh  at'"  her 
moroseness. 

She  is  superbly  pictorial  in  appearance,  a  nocturne  in 
black  and  white.  Pale-olive  skin,  devoid  of  color,  dusky 
hair  and  shadowed  dark  eyes — no  make-up  other  than 
powder  and  a  little  lip  rouge — features  so  exquisitely 
modeled  as  to  invite  comparison  to  Greek  coins.  She 
would  like  to  have  her  hair  cut  short,  but  thinks  her  jaw 
line  bad  and  too  determined,  and  feels  she -must  cover 
it  up  to  seem  yielding  and  feminine.  Her  figure  is  slim, 
and  she  is  not  susceptible  to  that  bogy  of  actresses,  over- 
weight. During  a  picture  she  loses,  five  pounds, 
then  regains  it  immediately — just  that,  and  no 
more. 

Few  stars  are  good  reportorial  conversation- 
alists. Of  the  few,  Evelyn  Brent  stands  toward 
the  head.  She  talks  in  consecutive  sentences, 
following  a  subject  right  to  its 
conclusion.  Also,  she  talks  en- 
tertainingly. She  never  offers 
herself  as  a  topic  of  conversation, 
but  will  answer  questions  com- 
prehensively, and  then  changes 
the  subject.  Her  personal  opin- 
ions are  not  ventured  until  they 
are  carefully  thought  over,  and 
she  believes  them  to  be  sound. 
Her  statements  are  never  rash, 
never  sweeping.  She  likes  dis- 
cussion, and  an  argument  with 
her  cannot  degenerate  into  a 
wrangle,  because  she  never  gets 
excited  or  swerves  from  logic. 

She  has  a  light,  ready  wit 
which  pervades  all  her  conversa- 
tion, and  which  she  employs  even 
in  serious  matters  to  prevent  a 
conversation's  descent  into  the 
the  ponderous  or  maudlin. 

She  detests  personal  theatrics 
and  considers  people  who  dramatize  their  sor- 
rows absurd.  Herself  too  analytical  to  ac- 
cept events  at  their  emotional  value,  she  rele- 
gates them  to  the  past  the  moment  they  are 
over.  Although  she  becomes  melancholy  over 
abstractions,  she  does  not  brood  on  actual 
happenings,  or  allow  them  to  warp  her 
thoughts.    She  has  known  acute  sufferine, 


despair,  adversity, 

Evelyn  Brent  pre- 
fers to  read  her 
books  rather  than 
b  e  photographed 
with  them. 


but  does  not  continue  to 
wear  them  like  funereal 
decorations  on  her  breast. 
Unpleasant  things  hap- 
pen. All  right,  they  hap- 
pen to  everybody.  Seeing 
Continued  on  page  109 


Photo  by  Kussell  Ball 

EVELYN  BRENT  possesses  the  elements  of  a  spectacular  personage,  but  she  ignores  them 
in  favor  of  her  innate  conservatism,  because  it  means  more  to  her  to  be  honest  with 
herself  than  talked  about  by  others,  as  Margaret  Reid  points  out  on  the  opposite  page. 


36 


WILLIAM  HAINES  must  have  his  joke,  so,  at  a  loose  end  for  the  moment,  he  posed  for 
this  serious  picture — that  is,  as  far  as  his  eyes    But  he  couldn't  make  them  behave, 
so  he's  laughing  at  you  and,  as  usual,  at  himself. 


THERE'S  good  in  talking  pictures— honest,  there  is.    Take  Walter  Pidgeon,  as  a  genius 
example.    Some  voices  disappoint,  but  not  his,  for  it  is  easy,  natural,  and  gives    I  he 
Melody  of  Love"  a  meaning  all  its  own  when  Walter  sings. 


Photo  by  Max  Mun  A  u  trey 

CHARLES  MORTON  did  so  well  in  loving  Janet  Gaynor,  straying  from  her  and  return- 
ing, in  "The  Four  Devils,"  that  he  will  be  given  the  opportunity  to  do  right  by  the 
girl  in  "Christina,"  and  be  a  good  actor  as  well. 


MARIAN  NIXON  is  one  of  the  littlest  girls  in  the  movies,  but  she  appears  in  more  pic- 
tures than  you  can  shake  a  stick  at,  much  as  you  would  like  to  at  some  of  them.  How- 
ever, her  next,  "Geraldine,"  is  different,  they  say. 


40 


FOR  years  the  fans  have  clamored  for  Richard  Dix  to  follow  "The  Vanishing  American" 
with  another  dramatic  role.   Now  the  powers  that  be  have  broken  their  resistance  to  this 
plea,  and  soon  the  genial  favorite  will  be  seen  in  "Redskin." 


■  -  v    <  £$33(91 


Pboto  by  Bussell  Ball 


WILL  any  one  who  has  ever  seen  Renee  Adoree  give  a  performance  less  than  delicately 
distinguished,  shimmering  and  charming,  please  step  forward,  produce  evidence  and  pre- 
pare to  take  punishment?   We  knew  it— there  is  silence.    Her  next  will  be  "The  Spieler." 


MMMMMMBBBMUMM— 1 


SOME  stars  fos- 
ter their  popu- 
larity by  cultivat- 
ing an  attitude,  or 
by  acting  their 
screen  roles  when 
away  from  the 
camera,  and  some 
even  have  the 
courage  to  affect 
commonplaceness. 
But  Jean  Arthur 
does  none  of  these 
things,  as  you  will 
discover  by  read- 
ing her  story  on 
the  opposite  page. 


Photo  by  Otto  Dyar 


43 


Sky — But  She's  Getting  On 

Jean  Arthur  was  literally  forced  into  the  movies  by  Norma  Shearer  when  both  were  posing  for  artists, 
and  she  hasn't  quite  recovered  from  the  surprise  of  making  good. 

By  Patsy  DuBuis 


TWO  young  girls  raced  down  Hollywood  Boule- 
vard in  a  high-powered  roadster.  They  were 
hurrying  to  the  Montmartre  to  finish  luncheon 
before  the  big  midday  rush  began  at  that  popular  cafe. 
Soon  they  were  seated  in  a  remote  corner  of  the  res- 
taurant. And,  taking  simultaneous  breaths,  they  turned 
to  regard  one  another. 

It  happened  to  be  the  first  time  they  had  met.  In  the 
rush  of  introductions  and  hurrying  from  the  studio, 
they  had  not  had  a  chance  even  to  become  acquainted. 
So  now  here  they  were  at  last,  looking  at  one  another. 

The  lovely,  brown-haired  girl  in  the  white 
hat  and  sports  dress  was  Jean  Arthur.  The 
other  girl  was  the  interviewer. 

"How  long  have  you  done  interviewing? 
Do  you  like  it?    Did  you  ever  work  on  a 


newspaper?    Why  didn't  you  introduce  me 


Jean  Arthu 
and  talks 
well-bred 
girl. 


r  looks 
like  a 
college 


to  Gary  Cooper?" 

This  was  the  opening  sally  of  the  "inter- 
view" and,  as  you  may  see,  the  questions 
were  all  on  the  part  of  Miss  Arthur.  She 
was  thrilled,  because  she  thought  interview- 
ing must  be  exciting,  that  newspaper  work 
was  more  so,  and  because  Gary  Cooper  had 
stopped  in  the  studio  corridor  to  speak  to 
me.  He  is  one  of  her  favorites  and,  though 
they  work  on  the  same  lot,  she  had  never 
met  him. 

With  such  queries  being  volleyed  at  me 
by  such  an  eager  questioner,  I  was  soon  lost 
in  their  answers.  Eventually  we  were  both 
deep  in  finding  out  all  about  one  another. 
The  interview  was  forgotten.  We  had  found 
in  each  other  a  friendly  soul.  The  fact  that 
one  was  an  actress  and  the  other  a  business- 
like interviewer,  completely  eluded  us. 
We  were  merely  two  girls  indulging 
in  confidences. 

It  is  for  this  reason  that  I  cannot 
tell  you  the  things  about  Jean  Arthur 
that  other  interviewers  might  consider 
important.    I  haven't  the  faintest  idea 
where  she  was  born.    I  don't  know 
whether  her  parents  are  English  or 
Tasmanian.    Nor  did  I  learn  where 
she  went  to  school.    I  was  not  interested  in 
these  stock  details.    I  was  vitally  interested 
in  her  immediate  likes  and  dislikes,  in  her 
rather  unusual  personality,  and  concerning 
her  first  days  in  Hollywood.    So,  I  warn 
you,  that  is  what  this  story  offers  you. 

In  the  first  place,  I'll  try  to  describe  Jean 
Arthur.  She  is  small,  and  unusually  good 
looking.  Not  beautiful,  nor  languid,  nor 
ethereal.  She  does  not  look  like  an  actress, 
in  the  least.  She  talks  and  acts  like  a  sensi- 
ble, well-bred  college  girl. 

Jean  Arthur  apparently  has  always  been 
shy,  even  in  New  York  when  she  was  posing 
for  commercial  artists.    She  could  not  un- 


derstand why  they  chose  her  to  pose  for  them.  She 
was  very  sure  that  she  had  no  personality  and  only  a  fair 
amount  of  good  looks.  And  there  were  such  beautiful 
girls  who  wanted  to  pose. 

She  and  Norma  Shearer  posed  for  the  same  artist. 
Jean  thought  Norma  the  most  beautiful  girl  in  the  world, 
and  still  does.  She  talks  about  how  successful  Norma  is, 
and  what  a  wonderful  person  she  is. 

It  was  Norma  Shearer  who  urged  Jean  to  take  her 
first  screen  test.  Fox  was  looking  for  a  promising  girl 
to  play  leading  roles,  and  quite  a  number  of  beautiful 
girls  in  New  York  took  tests  for  the  place.  But 
it  was  shy,  little  Jean,  pushed  into  the  Fox  offices 
by  Norma  Shearer,  who  won  the  coveted  honor. 

"And  so,"  Jean  told  me,  "I  came  to  California 
with  my  mother,  father  and  two  brothers." 

That  was  four  years  ago.  And  Jean  has  never 
played  extra  or  bits  in  pictures.  She's  been  the 
heroine  of  countless  obscure  dramas  and  horse 
operas.  She  had  a  background  of  fine  training 
when  the  big  chance  came,  and  Paramount  of- 
fered her  a  five-year  contract. 

"When  I  was  called,"  she  said,  "to  play  op- 
posite Richard  Dix  in  'Warming  Up,'  I  was  so 
S^-v  excited  that  I  didn't  sleep  and  couldn't  eat.  I 
thought  I'd  be  afraid  of  Mr.  Dix.  And 
I  thought  he'd  high-hat  me.  But  did 
he?  Well,  I  should  say  not.  He 
changed  little  scenes  around  so  that  I'd 
have  more  to  do  in  them — he  made 
everything  perfectly  wonderful,  and 
taught  me  a  lot  about  acting  and  direc- 
tion that  I'd  never  known,  and  could 
have  learned  in  no  other  way.  I'll  never 
cease  tQ,  be  grateful  to  him." 

I  wish  I  could  really  describe  little 
Jean  to  you.  She  is  so  entirely  different 
from  other  starlets  I've  known.  She 
gives  such  a  definite  impression  of  be- 
ing on  the  outside,  looking  at  the  in- 
side of  the  industry  to  which  she  gives 
her  time  and  talent. 

She  asked  if  I  had  seen  Mr.  Dix  since 
his  illness.   When  I  replied  in  the  nega- 
tive she  volunteered  that  neither  had 
she,  and  wondered  how  he  appeared. 
Her  voice  told  me  that  she  looks  upon 
Dix  of  the  film  world  as  of  another  and 
higher  sphere.    She  thinks  of  herself  as  a  pro- 
saic little  home-body,  who  periodically  acts  before 
a  camera  with  these  glorified  personalities. 

She  was  busy  hanging  curtains  when  I  visited 
her  home.  Her  hair  was  tousled,  her  hands  were 
grimy,  and  she  was  ridiculously  happy.  She  had 
just  been  notified  that  she  was  to  play  Emil  Jan- 
ning's'  daughter  in  "Sins  of  the  Fathers." 

Only  the  day  before  she  and  I  had  gone 
to  the  studio  to  see  the  test  made  of  her 
for  the  role.    We  had  vowed  to  one  another 
Continued  on  page  105 


44 


h 


e 


r 


i 


e  r 


Acute  comment  on  the  foibles  of  Hollywood  by  an  omniscient  pedestrian. 


By  Carroll  Graham 


Illustrations  by  Lui  Trugo 


ARL  VAN  VECHTEN'S  novel  about  Hollywood, 
"Spider  Boy,"  is  further  and  almost  irrefutable 
evidence  that  a  good  novel  cannot  be  written  about 
Hollywood. 

Authors,  good  and  bad,  famous  and  obscure,  have  had 
a  fling  at  it.  As  the  boys  at  the  Writers'  Club  would  say, 
all  the  attempts  have  been  flops. 

The  celluloid-packing  industry  is  the  only  subject  in 
the  world  which  could  possibly  attract  the  literary  efforts 
of  Mr.  Van  Vechten  and  Jim  Tully.  One  attacked  it 
from  the  superhighbrow  standpoint,  and  the  other  from 
the  super — oh,  well,  let's  not  finish  that  sentence. 

Mr.  Van  Vechten  spent  some  weeks  in  Hollywood, 
then  went  away  and  wrote  the  strangest  collection  of 
stuff  anybody  ever  put  on  paper.  The  only  new  fact  I 
can  gather  from  his  book  is  that  there  must  be  a  lunatic 
asylum  in  Beverly  Hills.  I  didn't  know  there  was  one, 
but  it  is  apparent  that  the  author  lodged  there  during 
his  stay  in  the  West. 

Joseph  Hergesheimer,  Adela  Rogers  St.  Johns,  Harry 
Leon  Wilson,  Frank  Condon.  Alice  M.  Williamson,  and 
a  whole  lot  of  other  writers  have  tried  to  get  Hollywood 
between  the  covers  of  a  book. 

The  subject  has  been  approached  from  every  conceiv- 
able standpoint  and  attitude,  thus  demonstrating  that 
there  is  no  standpoint  or  attitude  toward  the  place  which 
resembles  sanity.  ■  * 

To  mention  the  extremes  again,  Mr.  Van  Vechten  tried 
to  be  satirical  and  Mr.  Tully  tried  to  be  realistic,  and  one 
is  as  impossible  as  the  other.  It  is  impossible  to  bur- 
lesque a  burlesque  without  getting  something  resembling 
the  stenographic  report  of  a  nightmare.    And  it  is  no 


"She's  up  on  the 
roof — been  there  for 
hours,"  was  the  re- 
ply given  by  a  fel- 
low with  a  mania  for 
answering  any  tele- 
phone in  sight. 


more  possible  to  be  real  about  such  an  improbable  com- 
munity, than  it  is  to  find  an  actor  who  will  not  read  you 
his  press  notices. 

Harry  Leon  Wilson  probably  got  along  better  than 
any  one  else,  because  he  regarded  Hollywood  with  frank 
and  amazed  humor  and  wrote  about  it  that  way.  Even 
so,  "Merton  of  the  Movies"  is  not  comparable  to  his 
other  comedies.  Mr.  Hergesheimer  seemed  so  taken  in 
by  the  town  that  he  was  almost  incoherent.  Mrs.  St. 
Johns  writes  about  it  in  the  manner  of  the  "confessions" 
magazines. 

There  must  be  some  deep-seated  reason  for  all  this. 
Some  of  these  authors  have  written  good  books,  and 
some  have  written  great  books  on  other  subjects.  But 
they  become  hysterical,  one  way  or  the  other,  on  the 
movies. 

Unfortunately,  Lewis  Carroll  did  not  live  to  see  Hol- 
lywood, or  he  would  have  found  the  Wonderland  into 
which  he  sent  Alice  with  all  his  characters,  the  Duchess, 
the  Cheshire  Cat,  the  Walrus  and  the  Carpenter,  the 
March  Hare,  the  White  Rabbit,  the  Gryphon,  the  Mad 
Hatter — plenty  of  Mad  Hatters — and  all  the  rest. 

Now,  there  is  a  man  who  might  have  written  the  real 
novel  of  Hollywood.  Had  he  soaked  himself  in  Russian 
tragedies  for  ten  years,  then  read  the  Elsie  Dinsmore 
series  as  an  antidote,  taken  to  hashish,  become  a  Christian 
Scientist,  married  a  "Follies"  girl,  then  come  to  Holly- 
wood as  a  film  supervisor,  and  leased  an  apartment  in 
the  Garden  of  Allah,  he  might  have  got  his  fantastic 
imagination  in  a  sufficiently  weird  state  to  have  written 
the  real  novel  about  the  movies. 

Some  one  will  write  a  good  one  some  day.  Now  if  I 
only  had  the  time  

Telephonitis  is  a  dread  disease  prevalent,  I  suppose, 
all  over  the  world,  but  the  citizens  of  Hollywood  seem 
particularly  susceptible  to  it.  In  case  you've  never 
come  down  with  it,  or  had  your  immediate  friends  under 
quarantine,  I  might  explain  that  its  symptoms  are  a 
foaming  at  the  mouth  whenever  a  telephone  is  sighted, 
together  with  an  uncontrollable  desire  to  start  calling 
friends  and  strangers  alike. 

I  was  awakened  at  one  thirty  in  the  morning  recently 
by  an  unfamiliar  and  somewhat  uncertain  voice,  urging 
me  to  "come  on  over."  A  little  piece  of  paper  under  the 
bell  now  stops  that. 

One  young  man  in  Hollywood  has  the  telephonic  dis- 
ease, I  am  told,  to  a  spectacular  extent,  which  will  one 
day  probably  bring  unlimited  woe  and  grief  into  his 
life.  He  moves  frequently,  as  most  young  men  do  who 
live  in  Hollywood  apartment  houses,  and  at  each  move 
he  lists  his  telephone  number  under  an  assumed  name. 


Tke  Stroller 


43 


or 


The  last  night  in  each  residence  he  celebrates  by  a 
telephone  party,  during  which  he  calls  old  friends  in 
Chicago,  Cleveland,  New  York  and  way  points,  de- 
parting for  new  and  unrevealed  quarters  early  the 
next  morning,  leaving  no  trail  by  which  the  bill  can 
be  traced  to  him. 

Another  acquaintance  of  mine  has  a  mania  for 
answering  any  telephone  in  sight,  in  the  hope  that 
some  one  has  the  wrong  number.  Some  of  his  reputed 
conversations  are,  as  G.  B.  Shaw  would  say,  pips. 

"Hello,  George?"  came  a  voice  over  the  wire. 

"Yes,"  said  the  answerer,  whose  name  was  dis- 
tinctly not  George. 

"Is  Mamie  there?"  was  the  next  question. 

"Yes,"  the  reply  was  very  dubious,  "but — she's  up 
on  the  roof." 

"What?" 

"Yes,  she's  up  on  the  roof.    Been  there  for  two 
three  hours  and  we  can't  get  her  to  come  down." 
"I — I  don't  quite  understand." 

"That's  just  it.  Nobody  understands  how  she  got  up 
there,  or  what  she  wants  to  stay  for.  Why  don't  you 
come  over?    Maybe  she'll  come  down  for  you." 

I  see  by  the  morning  prints  that  John  Gilbert  is  to  be 
starred  in  a  picture  called  "Thirst."  A  lot  of  merry- 
andrews  are  going  to  make  funny  cracks  about  this  in 
print,  but  I  see  no  reason  why  I  should.  Nor  does  John, 
I  fancy. 

It's  just  Hollywood  again.  Cecil  DeMille's  "The  King 
of  Kings"  is  back  in  Los  Angeles  for  a  second-run  en- 
gagement at  a  downtown  theater.  And  of  all  the  miracles 
and  spectacular  scenes  and  mountains  toppling  over, 
that  the  biblical  production  contains,  the  most  intriguing 
thing  the  advertising  wizards  could  find  to  put  on  the 
billboards  was  a  colored  picture  of  Jacqueline  Logan  in 
scanty  costume,  driving  a  team  of  zebras. 

By  the  way,  that  photoplay  edition  of  the  story,  illus- 
trated with  stills  from  the  picture,  which  I  suggested 
some  months  ago,  hasn't  been  issued  yet. 

Arthur  Lake,  the  kid  himself,  who  starred  in  "Harold 
Teen,"  is  doing  a  little  Harold  Teening  in  real  life. 

He  is  the  largest  shareholder  in  a  confectionery"  store 
and  ice-cream  parlor  situated  conveniently  near  the  Los 
Angeles  high  school.  It  is  patterned  after  the  soda  foun- 
tain of  the  comic  strip  and  picture,  featuring  the  Gedunk 
sundae.  Arthur  spends  all  the  time  there  he  can,  when 
not  working  in  pictures,  to  look  after  his  business  inter- 
ests and  also,  I  presume,  to  provide  what  drawing  power 
his  screen  prominence  may  have. 

Jesse  Hibbs,  incidentally,  captain  of  the  University 
of  Southern  California  football  team,  and  an  All- Ameri- 
can choice  last  year,  works  in  the  place  at  odd  hours  to 
help  pay  school  expenses. 


Telephonitis  is  a 
disease  which  has 
many  otherwise 
healthy  people  in 
its  grip. 


Many  of  these  are  pictures  which  were  made  before 
Warner  Brothers'  first  talking  productions.  When  the 
sound  rage  burst,  the  films  were  synchronized  by  re- 
cording plants  in  the  East,  and  in  some  instances  a  few 
dialogue  scenes  were  faked.  But  if  that  makes  them 
the  all-talking  pictures  they  are  heralded,  then  I  can 
compose  an  entire  opera  in  Chinese  and,  moreover,  I  can 
play  it  on  a  ukulele. 

If  you  don't  think  this  village  has  not  gone  completely 
one  hundred  per  cent  balmy  over  the  screechies,  just  let 
me  quote  a  few  of  the  advertisements  from  a  morning 
paper. 

"Beggars  of  Life,"  says  the  advertisement.  "You 
hear  Wallace  Beery  sing !"  Goodness  gracious !  And  in 
"Beware  of  Bachelors,"  another  blurb  relates,  "you  hear 
delightful  dialogue,  thrilling  sound  effects  and  perfect 
voice-vision  synchronization." 

Another  theater  comes  forward  with  the  astonishing 
attraction  of  a  lion's  roar  recorded  for  the  first  time !  As 
an  added  inducement,  that  theater  also  has  "The  King 
of  Kings,"  which,  by  the  way  is  also  a  sound  picture 
now.  In  all  the  downtown  first-run  houses  only  two  pro- 
ductions are  not  advertised  on  the  basis  of  sound  effects. 

Off  on  another  tack,  the  opening  gun  for  the  showing 
of  "Noah's  Ark"  at  the  Chinese  Theater  reproduces  a 
statement,  signed  by  Sid  Grauman,  that  it  is  "the  great- 
est production  I  have  ever  seen."  Now  I  cannot  quote 
the  earlier  statements  verbatim,  but  it  seems  to  me  that 
Mr.  Grauman  has  said  perilously  near  the  same  thing 
about  two  or  three  other  of  his  attractions.  And  it  also 
occurs  to  me  that  those  superextravagant  declarations 
have  always  been  reserved  for  pictures  that  were,  tech- 
nically speaking,  not  so  hot. 


I  am  expecting  momen- 
tarily the  announcement  that 
some  irate  theater  patron  has 
started  suit  against  several 
Los  Angeles  show  houses  for 
fake  advertising. 

Every  week  several  new 
productions  are  advertised  as 
"all-sound"  pictures,  and  a 
few  even  as  "all-talking"  pic- 
tures, the  latter  under  the 
theory,  I  presume,  that  talk- 
ing picture  is  a  standard 
name  for  every  production 
with  sound  effects. 


Hollywood  is  full  of  earnest  young  men  who  are  wont 
to  gather  together  and  talk  about  motion  pictures  and 

art  seriously.  . 

You  find  them  grouped  in  corners  at  parties,  and  lean- 
ing over  tables  in  restaurants,  and  whispering  together 

on  the  curbs  fronting 

Hollywood  is  full  of  earnest  souls  out  of  a  job,  who  talk      studios   on  Poverty 

about  art  and  are  just  about  to  do  "something  fine."  ™0™' 

They  are  invari- 
ably just  about  to  do 
"something  fine,"  or 
they  have  just  done 
"something  fine,"  al- 
though the  latter  is  a 
great  deal  less  likely 
than  the  former. 

They  are  cutters 
or  scenario  writers, 
just  at  the  moment 
out  of  work — now 
don't  be  catty,  Mr. 
Continued  on  page  117 


I 


46 


om 


At  last  "The  Mysterious  Island"  has 
it  was  begun,  and  you  will  be  taken, 
land  of  the  unknowable  for  the 


By  Edwin 


A  strange  little  creature,  a  gnome 
of   the   sea,    is   drawn   into  the 
submarine. 

URRAY!  A  picture  with 
imagination — at  last !" 
That's  |  the  shout,  one 
may  predict,  that  will  go  up 
when  "The  Mysterious  Island" 
is  shown.  Yes,  believe  it  or  not, 
this  movie  opus  of  many  trials 
and  sundry  tribulations,  is  soon 
to  be  released.  And  it  will  be  a 
shining,  new  adventure  for  the 
magic  camera,  leading  to  a  never- 
never  land  far  down  in  the  depths 
of  the  sea. 

Lest  this  might  sound  like  the 
ramblings  of  some  overenthusi- 
astic  publicity  agent,  I  may  as 
well  mention  that  I  have  seen 
the  rushes  of  the  film,  and  also 
viewed  a  number  of  its  scenes  in 
the  making.  It  will,  I  can  assure 
you,  be  the  strangest  picture  seen 
in  several  none-too- fantastically 
exciting- cinema  years. 

There  were,  of  course,  "The  Thief  of 
Bagdad,"  "Peter  Pan,"  and  "The  Lost 
World"  adding  to  the  glamour  of  the  un- 
knowable, and  the  unknown-made-real,  in 
the  pattern  and  tapestry  of  screen  light  and 
shadow.  But  pictures  like  those-^and  like 
"The  Mysterious  Island"  will  be,  I  am  sure 
— which  tear  aside  the  familiar  curtains 
of  the  everyday  are  all  too  rare. 
Let  me  sketch  an  impression. 
I  was  looking  at  cool,  dim  depths  of 
mystic  green — a  visionary  realm  upon  the 
ocean's  floor.  Glints  of  light  filtered 
through  a  seemingly  moving  mass  of  water, 
subtly  illumining  strange,  pallid,  waving 
trellises  of  deep-sea  vegetation.  In  the 
distance  was  the  suggestion  of  mysterious 
castlelike  rocks,  scarcely  glimpsed  through 
a  shimmering  movement  of  currents  and 
tides. 

Suddenlv  from  behind  a  little  wall  of 


stone  in  the  foreground,  three  odd-looking 
heads  appeared.  Gray  and  half-helmeted 
they  seemed,  with  huge,  goggling,  white 
eyes  and  distinctly  black  pupils.  Small, 
finlike  arms  hung  to  the  top  of  the  walls. 
Inquisitive  glances  were  cast  penetratingly 
to  the  front,  and  then  the  faces  of  the 
three  were  turned  one  toward  the  other  by 
turns,  with  curiosity,  while  hands  beckoned 
and  pointed,  as  their  short,  bandy  legs  with 
webbed  feet  clambered  into  view. 

It  was  in  the  projection  room 
at  the  M.-G.-M.  studio.  This 
was  one  of  the  underwater  se- 
quences of  "The  Mysterious 
Island,"  where  the  inhabitants 
of  a  deep-sea  kingdom  come 
upon  a  submarine  manned  by 
human  characters.  The  spec- 
tator was  supposed  to  be  look- 
ing at  these  queer,  little  marine 
gnomes  through  the  glass  aper- 
ture of  a  porthole.  It  was  a 
novel  revelation  of  photographic 
effect,  because  while  one  gazed 
at  the  screen  he  might  easily 
have  imagined  himself  suddenly 
transported  to  a  weird  fairy- 
land. 

Jane   Daly   and   Lloyd  Hughes 
discover  that  Lionel  Barrymore, 
as  the  inventor  of  the  submarine, 
is  dying. 

Lloyd  Hughes  and  Lionel  Barry- 
more   see   disaster  approaching 
many  fathoms  below  the  ocean's 
surface. 


47 


Under  the  S 


ea 


been  filmed  two  and  a  half  years  since 
through  its  medium,  into  the  weird 
climax  of  a  fantastic  romance. 


Schallert 


The  episode  was  to  constitute  the  cli- 
max as  told  in  the  picture.  The  three 
little  sea  dwellers  became  legion  in  a  few 
minutes,  so  the  screen  disclosed.  They 
had  a  king,  and  a  city.  They  had  warlike 
maces  and  a  huge  battering-  ram  recov- 
ered from  a  submerged  Roman  galley. 
They  walked  on  the  bottom  of  the  ocean, 
and  they  swam,  living  gayly  in  their  own 
happy  sphere. 

Those  who  remember  their  Jules  Verne 
will  realize  by  this  time  that  "The 
Mysterious  Island,"  as  it  is  com- 
ing to  the  screen,  will  have  very 
little  to  do  with  the  original  plot. 
Indeed,  it  is  changed  utterly 
from  the  narrative  of  the  bal- 
loonists  who  were  marooned,  and 
of  Captain  Nemo,  of  "Twenty 
Thousand  Leagues"  fame,  his 
mother-of-pearl  sea  cavern  and 
his  electric  bullets.  However,  I 
do  not  believe  the  alteration  of 
the  story  will  prove  a  momentous 
tragedy,  since  in  many  respects 
"The  Mysterious  Island,"  as 
Verne  wrote  it,  was  a  sort  of 
"Swiss  Family  Robinson,"  lack- 
ing a  love  theme  and  other  need- 


Lloyd  Hughes  is  the  young  assist- 
ant of  the  inventor,  whose  sister 
he  loves. 


Because  the  picture  is  entirely 
fanciful,  the  scientific  parapher- 
nalia is  extremely  imaginative. 


Color  photography  will  make  the 
undersea     episodes  extraordi- 
narily beautiful. 

ful  and  dependable  material  for 
the  film  theater. 

The  plot  that  has  been  con- 
trived for  the  picture  is  differ- 
ent, even,  from  the  one  planned 
two  and  a  half  years  ago,  when 
camera  work  was  first  started. 
An  effort  is  to  be  made  in  the 
new  version  to  achieve  that  rar- 
est of  all  screen  creations,  a 
semiscientific  romance.  Prac- 
tically the  only  precedent  in  re- 
cent years  for  this  sort  of  thing 
has  been  the  very  popular  "Lost 
World" — though  ' '  Mysterious 
Island"  is  more  fantastic  than 
that — with  its  prehistoric  ani- 
mals discovered,  on  a  remote 
South  American  plateau. 

"The  Mysterious  Island"  will 
have  no  prehistoric  animals,  but 
it  will  have  plenty  of  fish. 
Enough,-  in  fact,  to  make  an 
aquarian  jealous !  It  will  also 
introduce  several  new  maritime  beasts,  in- 
cluding a  supertype  of  octopus,  and  a  sea 
dinosaur  that  will,  so  I  am  told,  look  like 
a  mammoth  lobster  or  crab,  and  inspire  all 
the  nightmares  ordinarily  associated  with 
the  normal  size,  plus  a  few  more.  Inci- 
dentally, this  sea  dinosaur  will  be  blown 
to  smithereens  by  a  torpedo  from  a  sub- 
marine. 

The  story  of  the  picture  concerns  a 
scientist  and  inventor,  Count  Andre  Dak- 
kar,  who  lives  in  the  mythical  kingdom 
of  Hetvia  in  the  Balkans.  His  dwelling 
place  is  a  castle  on  a  "mysterious  island," 
which  serves  to  justify  the  picture's  title. 

In  connection  with  some  sort  of  politi- 
cal imbroglio,  he  has  built  two  submarines 
— not  the  modern  type,  for  the  story  is 
laid  in  1845 — but  craft  purely  imaginary 
in  design,  though  embodying  in  various 
forms  certain  modern  contrivances,  like  a 


48 


A  Kingdom  Under  the  Sea 


Montagu  Love,  Lionel  Barrymore,  Edward  Connelly,  and  Dolores  Brinkman  receive  a  radio  message  from  the  sub- 
marine at  the  bottom  of  the  sea. 


sort  of  radio  used  for  communication  while  under  the 
sea. 

Owing  to  the  activities  of  the  villain  in  the  plot,  one 
submarine,  with  the  inventor,  his  young  assistant  and 
the  crew  aboard,  is  fired  upon  by  a  company  of  hus- 
sars, is  disabled  and  sinks.  The  second  submarine  comes 
info  the  villain's  possession.  The  inventor's  sister  has 
made  a  futile  attempt  to  prevent  this,  and  during  the 
fracas  that  results,  the  craft  is  damaged  by  a  bomb 
thrown  by  the  girl. 

Lest  this  should  all  appear  too  confusing,  it  may  be 
noted  that  the  purpose  is  to  have  the  two  crippled  sub- 
marines-meet five  miles  beneath  the  waves,  and  in  that 
very  unusual  locale,  allow  their  occupants  to  settle  their 
dispute  with  each  other.  It  should  also  be  recorded,  in 
passing,  that  the  sister 

Members  of  the  submarine  crew, 


of  the  inventor  and 
his  young  assistant  are 
in  love. 

Everything  turns 
out  very  differently 
from  what  anybody 
might  anticipate,  in- 
cluding the  audience, 
because  the  inventor 
and  his  enemy  and  the 
rest,  encounter  the 
denizens  of  the  strange 
monarchy  in  the  oce- 
anic deep,  who  were 
never  heard  of  before 
nor  since,  but  who,  as 
somebody  connected 
with  the  film  blithely 
remarked,  may  exist 
for  all  of  that.  These 
are  the  little  creatures 
with  the  helmet  heads 
and  goggling  eyes  I 
have  described. 

"The  Mysterious 
Island"  will  be  a  pic- 
ture dealing  in  imagi- 
native possibilities, 
laid  in  a  remote  time 
and  place,  as  far  as  its 
historical  aspect  goes, 


but  mostly  in  a  might-be-if-you'll-let-it-be  land — I  mean 
"sea."  In  other  words,  it's  the  stuff  that  dreams  are 
made  of,  and  of  such  the  screen  affords  examples  all 
too  few. 

"What  will  be  done  with  the  film  taken  two  years 
ago?"  you  may  ask.  Well,  that's  admittedly  a  question, 
although  I  am  told  that  some  of  it  will  be  used.  M.- 
G.-M.  spent  no  less  than  $500,000  in  an  expedition  to 
the  Bahama  Islands,  where  they  photographed  undersea 
scenes.  Much  of  the  celluloid  contained  beauteous  im- 
pressions of  the  realities  of  marine  life. 

"Even  if  only  a  portion  of  that  film  is  used,"  an  official 
of  the  company  told  me,  "it  could  hardly  be  said  that 
the  expedition  was  in  vain.  The  experience,  too,  was 
more  than  valuable  to  us,  and  furnished  the  foundation 

for    what    we  have 

incased  in  these  strange  suits, 


prepare  to  investigate  the  kingdom  under  the  sea. 


since  accomplished." 

You  may  remember 
that  the  company  met 
with  most  disastrous 
storms  while  in  the 
Bahamas,  which  de- 
stroyed equipment, 
wrecked  boats,  and 
caused  other  heavy 
loss.  So  relentless  this 
setback  had  seemed  at 
the  time,  work  on  the 
picture  was  not  re- 
sumed until  last  Sep- 
tember, and  it  looked 
for  a  while  as  if  "The 
Mysterious  Island" 
was  by  way  of  becom- 
ing as  much  of  a  Jo- 
nah as  "Ben-Hur," 
only  more  appropri- 
ately a  Jonah,  consid- 
ering the  rather  mari- 
time experiences  of 
that  estimable  person- 
age. 

When  work  was 
started  again  on  "The 
Mysterious  Island,"  it 
was  on  a  new  basis, 

Continued  on  page  92 


Polly's  Back 


In  fact,'  all  of  Polly  Moran  has 
returned  to  the  movies — and  with 
a  bang! 

Bv 

Helen  Louise  Walk 


49 


er 


LOOKIE !  I'm  a  senorita  !" 
It  was  Polly  Moran,  herself. 
The  inimitable,  irresistible  Polly 
was  all  dressed  up  in  a  flounced  or- 
gandie dress,  with  a  Spanish  comb  in 
her  hair,  a  mantilla,  and  a  fan  to  com- 
plete the  picture. 


Photo  by  Louis 


Polly  Moran  likes  the  contact  with  an  animate  audience  which 
the  stage  affords,  but  thinks  making  movies  is  lots  of  fun. 


Photo  by  Louise 

Polly  is  just 
naturally 
funny,  wheth- 
er amusing  sit- 
u  a  t  i  o  n  s  or 
lines  are  pro- 
vided or  not. 


They  were 
m  a  k  i  n  g  a 
Spanish  fi- 
esta scene  in 
"Tide  of 
Em  pir  e," 
and  some- 
body had 
thought  of 
a  funny  se- 
quence that 
m  i  g  h  t  be 
introduced. 
So  they  had 
sent  for  Polly,  and 
had  written  her  into 
the    story.  Which 
often  happens  to 
Poll}-.    She  is  that  kind  of 
a  comedienne. 

"Look  at  the  waspish  waist 
I  have  now !"  she  cried,  twist- 


ing herself  about  to  show  the  safety  pins  in  the  back 
of  her  dress,  where  it  had  been  pinned  over  to  accommo- 
date her  new  thinness. 

"I've  been  sick  and  I've  lost  twenty-two  pounds.  Makes 
me  look  like  a  gopher — what  with  these  buck  teeth  of 
mine.  But  at  that,  it's  better  than  I  was  before — when 
I  was  so  fat  I  looked  like  a  quartet ! 

"It  was  getting  this  contract  that  did  it,"  she  babbled 
on.  "As  soon  as  I  had  signed  I  began  eating  my  way 
through  big,  thick,  beefsteaks.  Steaks  and  steaks  and 
steaks.  They  made  me  sick.  Now  I  have  to  live  on  let- 
tuce !    Oh,  well !  i 

"You  know — the  only  unpleasant  thing  to  eat  that  they 
haven't  thought  of  is  dog  biscuits.  I  thought  I'd  suggest 
them  to  the  doctor.  He'd  be  so  pleased  to  know  about 
something  else  nasty  that  he  could  recommend  to 
people !" 

She  interrupted  herself  to  exclaim,  "Gee !    It's  great 
to  be  back  in  pictures !    I  was  so  downright  homesick ' 
for 'em.    Oh,  ye-yuss!" 

Polly  has  a  way  of  droning  out  her  "yeses"  like  that. 
It  is  most  engaging. 


50 


Polly's  Back 


And  Folly  is  back.  Oh.  ye-yuss,  indeed !  Everybody 
remembers  Polly,  ;way  back  in  the  early  days  when  she 
was  a  star  with  Sennett.  She  was  Sheriff  Nell,  in  the 
series  of  comedies  of  that  name.  Then  she  drifted  out 
of  pictures  and  back  into  vaudeville,  from  whence  she 
had  come  in  the  first  place. 

"Pictures  were  fun,"  she  said,  reminiscing".  "All  the 
old  bunch  was  at  Sennett's  then.  Gloria  and  Mabel  Nor- 
marid  and  Chaplin  and  Doug — all  the  old-timers ! 

"But — oh,  I  don't  know!  You  missed  the  audience. 
You  missed  trouping,  seeing  your  public  and  playing 
with  them.  There  is  a  lift,  a  stimulation  that  you  get 
when  your  audience  is  right  out  there  in  front  of  you. 
You  get  a  feeling  of  the  people,  and  you  know  what  you 
can  do  with  them.  It  is  a  sort  of  instinct,  a  sort  of 
power. 

:  "I  always  loved  the  impromptu  stuff  I  could  put  into 
my  act.  The  little  gestures,  the  little  gags  and  asides 
that  I  thought  of  as  I  went  along. 

"You  know,  these  talking  pictures  are  going  to  be  a 
great  break  for  people  like  me.    We  who  know  how  to 
use  our  voices — we  who  have 
had  stage  training — whee ! 

"Only  I'm  afraid  that  they'll 
have  me  standing  behind  a  cur- 
tain, talking  for  some  of  these 
birds  who  don't  know  how,  and 
I'll  never  get  to  show  myself  in 
a  picture !  On  the  other  hand , 
maybe  they'll  let  me  sing !  Or 
wise-crack  a  little. 

,  "But  with  talking  pictures,  the 
stage  and  the  screen  just  get 
married.  We  old  troupers  who 
love  'em  both  can  have  'em  both 
at  once ! 

"Where  was  I  ?  Oh,  yes. 
Well,  when  I  left  pictures, 
I  went  to  Europe.  I  have 
made  fourteen  trips  back 
and  forth.  I  played  in 
England,  and  then  I  went 
to  south  Africa  and  played 
all  over  that  country. 

"D'you  know — when  I 
was  in  England,  everybody 
thought  I  was  British.  I 
look  it,  you  know.  I  have 
a  face  the  color  of  a  Cali- 
fornia sunset,  and  a  sort  of 
cockney  look  about  me.  I 
let  'em  think  it.    Why  not? 

"I've  been  reported  to 
have  been  born  nearly  ev- 
erywhere, on  the  globe.  :  I 
was  really  born  in  Chicago. 
When  I  was  doing  Shcriff 
Ncll  they  used  to  say  I  was 
born  in  Death  Valley.  It 
seemed  original.  No  one 
ever  was  born  there,  I 
guess. 

"Well,  then  I  got 
homesick  for  pictures.  I 
wanted  to  come  back. 
So  I  returned  to  Holly- 
wood to  see  what  I  could 
do.  It  didn't  seem  as  if 
I  could  do  very  much. 
They  kept  telling  me  I 
was  'not  the  type' — you 
know,  that  old  line  ! 


Just  let  St.  Peter  try  to  keep  Polly  from 
entering  the  pearly  gates,  and  some  one  else 
will  have  to  take  care  of  the  keys. 


"But  I  wouldn't  ask  favors  of  any  one.  No-o-o, 
ma'am!  They  all  knew  me.  They  knew  what  I  could 
do.    I  wouldn't  go  round  pulling  the  old  stuff  about, 

'Listen,  old  pal,  we  used  to  be  friends  '    No,  sir !  I 

waited.  There  was  something — pride,  I  guess — that 
wouldn't  let  me  ask  favors  from  any  one. 

"It  was  about  a  year  before  anything  happened.  Then 
one  day  Frances  Marion — God  love  her ! — saw  me  in 
the  commissary  at  M.-G.-M.,  having  lunch  with  some- 
body. She  walked  right  out  of  there  and  up  to  the  front 
office  and  said,  'Polly  Moran  is  going  to  play  in  "The 
Callahans  and  the  Murphys"  !' 

"And  I  did.  Right  after  that  I  got  my  contract,  and 
began  eating  all  those  steaks ! 

"There's  a  wonderful  woman — Frances  Marion ! 
What  a  woman !" 

Polly  finds  many  amazingly  wonderful  people  to  ad- 
mire— Marion  Davies,  Norma  Talmadge,  Fanny  Brice. 

"Mention  'em  in  your  story!"  she  begged.  "Just  say 
something  about  how  good  they  are  !  Gorgeous  people !" 
What  Polly  failed  to  mention  in  her  little  tale  of  her- 
self, and  her  come-back,  was  the 
fact  that  once  Hollywood  realized 
that  she  really  was  back,  and  that 
she  was  just  as  funny  as  she  had 
been  in  the  old  days,  there  was  a 
sudden,  lusty  demand  for  her  in 
pictures.  Directors  on  the  M.- 
G.-M.  lot  actually  squabbled  over 
her.  And  once  she  was  working 
in  three  pictures  at  once. 

For  Polly  is  funny,  really 
funny.  She  can  walk  through  a 
scene  and  pro- 
duce a  loud 
guffaw,  with- 
out having  to 
have  special 
business  in- 
vented for 
her. 

Somebody  said,  "If  all 
the  laughs  caused  by  Polly 
Moran  could  be  gathered 
together,  the  battle  of  the 
Marne  would  sound  like 
small  boys  shooting  pop- 
guns, beside  the  roar  which 
would  result." 

She  is  a  natural  clown 
and  her  quips  keep  any  set, 
on  which  she  happens  to  be 
working,  in  an  uproar. 

"Have  you  ever  been  in 
an  Uh!  Uh!  house?"  she 
asks.  "Gosh,  how  I  hate 
an  Uh  !  Uh !  house.  You 
know,  where  everything  is 
too  nice  to  use,  and  you 
have  to  be  so  careful,  and 
they  keep  saying,  'Uh  !  Uh  ! 
Don't  tip  over  that  lamp!' 
'Uh  !  Uh  !  Don't  sit  on  that 
chair,  it's  a  real  antique.' 
'Uh!  Uh!  Look  out  for 
those  ashes  on  our  Oriental 
rug — — '  Ugh !  I  like  a 
house  where  you  can  be 
comfortable !" 

Her  make-up  box  is  an 
old  cigar  box.     Inside  it 
Continued  on  page  106 


51 


Pride  of  trie  Clan 

Eddie  Quillan's  papa  took  exception  to  his  son's 
pie-throwing  roles  with  Mack  Sennett  lingerie  girls, 
but  he  soon  found  a  place  that  comes  up  to  the 
family  standard  of  humor. 

By  Ann  Sylvester 

EDDIE  QUILLAN  left  the  Sennett  lot  "for  purity." 
Like  Iris  March,  in  "The  Green  Hat,"  Eddie  had  his 
ideals — or  Eddie's  Scottish  papa  did — and  throwing 
pies  at  ladies  in  lingerie  was  not  one  of  them.  Fortunately 
for  the  censors,  and  unfortunately  for  Sennett,  Eddie 
comes  of  a  stern,  Scotch-Presbyterian  clan  whose  motto 
is,  "Clean  fun  for  the  public,  or  we  quit,  by  crackety." 

For  years  the  Quillans,  mere,  pere,  and  many  kids,  had 
been  touring  these  more  or  less  United  States  as  a  vaude- 
ville act  of  genteel  saxophone  tooting,  refined  hoofing  and 
funny,  but  clean,  jokes.  Eddie's  father  was  very  proud  of 
that  record,  and  when  he  woke  up 
one  morning  to  find  his  next-to- 
the-youngest  making  a  name  for 
himself  in  Sennett  pranks  of  the 
more  boisterous  variety,  he  thun- 
dered into  the  Sennett  office  and 
thundered  right  out  again  with 
Eddie — minus  a  contract. 

The  leave-taking  of  the  Quillans  from  the  comedy  lot 
was  almost  as  startling  as  their  advent  had  been. 

To  get  at  the  very  beginning,  it  all  started  back  on 
i  Hollywood  Street  in  Philadelphia,  with  the  birth  of 
Eddie.  From  the  time  he  was  old  enough  to  realize 
that  he  had  been  born,  into  a  theatrical  family,  he  had 
his  eye  on  the  movies.  Other  actors  standing  in  the 
wings,  watching  Eddie  as  a  kid  performer  in  his  imita- 
tion of  Harry  Lauder,  used  to  say,  "That  boy  ought  to  be 
in  the  movies."  Eddie  felt  the  same  way  about  it.  Even 
when  he  was  re- 


Although  Eddie  had 
longed  for  years  to  see 
himself  in  pictures,  he 
ran  away  from  his  first 
screen  test,  and  it  took 
a  detective  to  find  him. 


:  moved,  by  com- 
pulsion, from  the 
stage,  and  entered 
in  school,  he  con- 
tinued to  nurse  a 
yen  for  the  mov- 
ies. 

About  eight  or 
nine  years  dragged 
by  before  Eddie 
.was  legally  per- 
mitted to  join  his 
father's  act  again, 
and  by  that  time 
the  yen  had  grown 
into  a  complex. 
Before  he  started 
out  on  the  road 
with  his  two 
brothers  and  a  sis- 
ter, he  made  his 
father  promise  by 
all  the  bagpipes 
in  Scotland,  that 
when  they  reached 
Hollywood  Eddie 
should  get  a 
chance  at  the  stu- 
dios. 


Papa  Quillan  promised  elaborately.  After  all,  it  ought 
to  be  comparatively  simple  to  get  a  clever  kid  like  Eddie 
in  pictures. 

The  first  day  the  troupe  landed  in  Los  Angeles,  Quil- 
lan, Sr.,  hied  himself  out  to  the  Sennett  Studio  and  de- 
manded an  audience  with  none  other  than  Mack  himself. 
Strange  things  happen  in  Hollywood — he  was  '  granted 
an  audience.  He  told  Sennett  he  had  a  couple  of  movie- 
struck  kids  who  wanted  to  work  in  his  comedies,  and 
then  he  sat  back  as  though  willing  to  sign  a  contract  any 

time.  Sennett,  was 

The  entire  Quillan  family  will  be  in  the  cast  of  "Noisy  Neighbors,"  with     not  interested,  ^He 
Jane  Keckley,  second  from  the  right.  said  so,  in  np' un- 

certain terms.  But 
the  lust\-  vaudevil- 
'  liail  wouldn't  have 
it  that  way.  He 
appealed  to'  his 
ancestry.  As  .One 
Scotsman  to '  an- 
other, wouldn't  he 
give  the  kids,  par- 
ticularly Eddie,  a 
chance?  More  to 
get  rid  of  him 
than,  anything 
else,  Sennett  con- 
sented to  test  -the 
Quillans. 

Bright  and  early 
the  next  day,  Ed- 
die and  family 
presented  them- 
selves. ■ 

"I  didn't  know 
a  thing  about  the 
movies,"  said.  Ed- 
die, picking  uphis 
story  at  this  point, 
Continued  on  page  114 


52 


P 


ause 


But  the  overworked  mirrors  of  Hollywood  do  not  crack  in  protest,  for 

beauty 


| 


Ruth  Taylor,  left,  com- 
pletes her  daily  dozen  and 
then  earns  the  reward  of 
increased  circulation  and 
a  blooming'  countenance. 


Lois  Wilson,  below,  her 
make-up  finished,  gives  her 
mirror  a  smile  of  thanks  for 
having  lent  such  valiant  aid 
as  she  progressed,  step  by 
step,  from  cold  cream  to 
ipowder,  to  say  nothing  of 
mascara,  which  couldn't  have 
been  used  at  all  if  the  look- 
ing-glass   hadn't    shown  the 


Mildred  Davis,  above,  tries  to.  teach  Pal 
the   virtues    of   mirror  gazing,   but  the 
canine  isn't  interested  in  his  art  at  the 
moment. 

Dione  Ellis,  left,  with  the  help  of  the 
mirror,  compares  her  costume  with  the 
original  sketch  made  by  the  studio  de- 
signer and,  as  might  be  expected,  finds 
not  a  scallop's  difference. 


53 


for  Reflection 

nowhere  in  all  the  world  do  looking-glasses  so  constantly  reflect  only 
and  charm. 


There  can't  be  too  much 
of  a  good  thing,  though 
Corinne  Griffith,  right, 
would  be  the  last  to  re- 
mind her  mirror  of  it. 


Irene  Rich,  above,  ignores  her  mirror  to 
greet  a  visitor  to  her  dressing  room,  but 
the  looking-glass  is  not  to  be  cheated  of 
her  clear  reflection,  so  catches  it  just  the 
same. 


Jetta,  the  great  Goudal,  left,  be- 
ing original  in  her  every  waking 
moment,  coolly  turns  her  back 
to  her  mirror,  but  said  mirror, 
not  to  be  snubbed,  says  that  it 
will  get  even  with  Jetta  ,  when 
she  is  tired. 


Louise  Fazenda,  below,  a  queen 
of  comedy,  rewards  a  faithful 
subject,  whose  truth  she  values 
highly,  with  a  smile  of  quiet 
understanding. 


Dorothy  Gulliver,- 
left,  ready  for  a 
fancy-dress  party, 
lingers  before  the 
hall  mirror  before 
her  beau  arrives. 


54 


anhattan 


Photo  by  Hesser 

Mary  Pickford  made  her  brief  visit  to  New  York  inci- 
dental  to   a   trip   to    Washington,    to   argue    over  her 
;  -.  income  tax. 


BETTY  BLYTHE  has 
raised  her  pretty,  jeweled 
hand  in  final  farewell  to 
Hollywood.  And  like  Tosti's 
song,  it's  good-by  forever.  _ 

Miss  Blythe,  you  know,  is  the 
girl  who  made  the  bead  a  val- 
uable adjunct  to  a  siren's  life  on 
the  screen.  Give  her  a  box  of 
beads  and  a  few  necklaces,  and 
she  could  vamp  her  way  through 
the  most  tragic  situation.  The 
noblest  hero  who  ever  trod  the 
lot  could  not  withstand  her. 
That  was  a  few  years  ago.  But 
since  beads  went  out  of  fashion, 
and  tinsel  has  come  in,  Miss 
Blythe  finds  herself  without  a 
vocation.  Her  type  is  out  of 
style,  and  Betty  understands  the 
writing  on  the  wall. 

In  all  her  regal  splendor  she 
has  taken  possession  of  quaint 
quarters  in  Sniffen  Court,  the. 


Photo  by  Studio  Lorclle 

Maurice  Chevalier 


Intimate  glimpses  of  players  new  and  old,  who  are 


haunt  of  writers,  authors,  and  painters.  Daily  she  sallies 
forth  with  all  the  ardor  of  the  neophyte,  in  quest  of  a 
job.  And  moreover,  she  likes  it.  She's  thrilled  about 
it,  good  sport  that  she  is,  and  she  is  bringing  to  the  quest 
all  the  enthusiasm  she  first  bestowed  upon  the  bead. 

She's  bent  on  a  new  profession.  Would  you  like  to 
know  how  a  star  feels  when  her  day  is  done,  when  for 
some  reason  or  other,  the  men  who  produce  pictures  look 
over  her  head  when  casting  time  comes  around  ?  When 
she  finds  that  younger  girls,  new  faces,  and  fresh  fads 
and  fancies  have  taken  the  place  she  once  held  so  royally  ? 

Let  Miss  Blythe  tell  you.  She's  outspoken,  not  too 
timid  to  look  a  situation  in  the  face,  not  anxious  to  throw 
dust  in  your  eyes  lest  you  suspect  the  truth. 

"I'm  through  with  the  screen,"  says  Miss  Blythe  in  her 
clear  voice,  "because  the  screen's  through  with  me !  Not 
from  choice,  mind  you,  but  from  necessity.  I've  loved 
everything  about  it,  and  I'm  going  to  miss  it,  of  course. 
But  I'm  no  longer  in  demand,  and  I  don't  want  to  stamp 
around  like  an  old  war  horse  till  some  one  takes  pity  on 
me,  and  puts  me  out  to  pasture. 

"I'm  not  old,  of  course,  but  I'm  not  in  my  teens.  Ex- 
treme youth  is  one  of  the  greatest  assets  on  the  screen, 
and  we  older  ones  have  got  to  admit  that  cheerfully  and 
stand  by.  I'm  no  longer  in  demand,  and  I  must  submit 
gracefully. 

"The  screen  doesn't  owe  me  anything.  It's  given  me 
everything  a  girl i  could  ask  for  from  her  profession — 
financial  security,  recognition,  fame,  travel.  I've  made 
pictures  in  every  part  of  the  world  and  loved  every  mo- 
ment of  it.  Why  should  I  weep  and  wail,  because  the 
younger  set  has  come  on?  It's  not  in  the  cards  to  have 
your  day  forever.  I'm  still  young  enough  to  conquer 
other  worlds.  I've  ten  or  fifteen  years  left  of  the  prime 
of  life.  And  I  can  do  other  things.  I'm  going  to  begin 
all  over  again  on  the  stage.  It  will  be  adventure  for  me 
— the  daily  adventure  of  something  new ;  a  step  forward, 

perhaps,  one  day,  a  step  back- 
ward, perhaps,  the  next,  but 
always  marching  on. 

"I  couldn't  sit  by  this  fire- 
\  side,  cozy  as  it  is,  and  twid- 

dle my  thumbs  after  years 
of  activity.  So  I'm  not  only 
ready,  but  eager,  to  begin  at 
the  bottom,  if  need  be." 

Thus  Betty  Blythe,  be- 
decked in  furs  and  jewels 
and  slinky  gowns,  goes  mer- 
rily about  the  task  of  getting 
a  job,  and  the  last  we  heard 
of  her,  she  was  in  vaudeville. 

"Just  a  stepping-stone," 
she  told  me.  "I'm  going  to 
act  on  the  legitimate  stage. 
You'll  see !" 


Sophie  Tucker's  Confidences. 

Sophie  Tucker  heaved  a 
mighty  sigh  and  threw  her- 
idol  of  the  Paris  music  halls,     self  prone  upon  the  dressing- 
room  floor. 


charmed  all  who  saw  him  on  his  way  to  Hollywood. 


58 


o/eV 


JiAileen  St.Jol\n-3renon 

in  New  York  for  one  reason  or  another. 


Her  diamonds  clinked  as  she  fell  and  her 
silks  rustled,  as  an  osteopath  rolled  her  from 
side  to  side.  Her  colored  maid,  who  has  been 
with  her  since  the  early  days,  known  collo- 
quially as  "when,"  sighed  sympathetically,  as 
soft  music  from  the  Palace  Theater  orchestra 
played  a  touching  accompaniment. 

Miss  Tucker  grunted  amiably  as  the  call  boy 
warned,  "Ten  minutes,  please,"  and  emitted 
the  first  few  strains  of  "Yiddishe  Mamma"  in 
a  husky  voice,  for  she  was  suffering  from  a 
cold,  and  hence  the  osteopath.  She  smiled 
broadly  from  the  depths  of  her  avoirdupois,  all 
of  which  she  is  to  bring  to  the  screen  through 
the  Vitaphone — "Yiddishe  Mamma,"  avoirdu- 
pois, deep  voice,  and  all. 

"I  never  change  anything  for  my  audiences," 
said  Miss  Tucker  as  she  agitated  herself  into 
.a  chair,  and  put  the  finishing  touches  to  her 
make-up.  Audiences  are  the  same  the  world 
over.  They  laugh  at  the  same  things,  cry  at 
the  same  things,  and  rave  over  the  same  things 
on  both  sides  of  the  water.  My  act,  whether  it 
is  before  royalty  in  England,  or  a  Monday 
matinee  at  the  Palace  on  Broadway,  is  always 
comprised  of  the  same  songs,  the  same  jokes, 
and  the  same  skits.  While  I  get  my  ideas  for 
them  from  the  best  writers  of  the  day,  I  usually 
change  them  about  to 
suit  my  own  taste,  and 
thus  they  become  a 
part  of  my  individu- 
ality. And  there  you 
are!" 

Here  the  page  boy 
knocked  loudly  on  the 
door.  "Miss  Tucker's 
act,  please,"  and  Miss 
Tucker's  confidences 
were  abruptly  halted. 


Miss  Banky's  New 
Hero. 

The  talkies  continue 
to  steal  talent  from 
the  stage.   Now  Vilma  \ 
Banky  has  come   to  \ 
Broadway  for  her  new  \ 
leading  man.     His  \ 
name  is  Robert  Mont-  \ 
gomery,  late  juvenile 
of  the  play  "Posses-  \ 
sion,"  which  enjoyed  \ 
a  brief  run.  ^ 

Montgomery  is  still 
a    comparative  new- 
comer to  Broadway, 
and  thereby  hangs  a 
tale.   Not  so  long  ago  Edgar  Sel- 
wyn  produced  a  play  called  "The 
Garden  of  Eden,"  and  he  wanted 
one   Douglass    Montgomery  to 


Photo  by  Seely 


SI 


Robert  Montgomery,  re- 
cruited   from    the  stage 
to   play   opposite  Vilma 
Banky. 


Laura  La  Plante  treated  herself  to  a 
holiday  after  six  months'  work  on 
"Show  Boat,"  by  seeing  as  many  plays 
as  she  could  crowd  in  a  few  days  and 
nights. 

play  in  it.  Douglass  was  quite  willing, 
but  a  previous  engagement  prevented 
his  playing  the  part  on  the  road.  Rob- 
ert Montgomery  took  the  role  for  the 
two  weeks  out  of  town,  gracefully 
stepping  aside  when  the  play  came  to 
New  York.  He  was  good  in  the  part, 
too. 

"Never  mind,"  said  Mr.-  Selwyn, 
smiling  his  handsome  smile:.  "I'll  re- 
member you  again.  Yours  was  . a  gen- 
erous spirit  and  a  darned  good,  per- 
formance." 

He  was  as  good  as  his  word,  and 
Robert  Montgomery  got  the  juvenile 
lead  in  his  next  play,  "Possession." 
One  of  Samuel  Goldwyn's  scouts  saw 
him  act,  and  forthwith  he  was  engaged 
to  play  opposite  Miss  Banky  in  her 
new  picture,  a  talkie,  to  be  made  in 
New  York  under  Alfred  Santell's  di- 
rection. 


Another  Talkie  Recruit. 

"God  is  watching  me,"  said  Jeanne 
Eagels  between  scenes  at  the  Paramount  studio  in 
Astoria.  "He  won't  forget  little  Jeanne."  Miss 
Eagels,  you  may  remember,  has  been  banned  by 
Equity  from  playing  on  the  stage,  because  they 


56 


Manhattan  Medley 


Though  Jeanne  Eagels  was  banished  from  the  stage  by  decree  of 
Actors'  Equity  Association,  she  will  be  heard  on  the  screen  in 

"The  Letter." 


were  convinced  she  played  ducks  and  drakes,  as  it  were, 
with  the  tour  of  "Her  Cardboard  Lover."    Miss  Eageis 
denies  it.    Be  that  as  it  may,  the  stage's  loss  has  been 
the  screen's  gain,  and  Miss 
Eagels',  too.    To  the  tune  of  a 
nice,  big  salary,  she  removed 
her  make-up  kit  and  her  slim, 
graceful  person  over  to  the 
studio,  to  be  piloted  gently  by 
Jean  de  Limur  through  her 
first    talkie,    "The  Letter," 
Somerset  Maugham's  play,  in 
which  Katharine  Cornell  once 
starred  on  the  stage. 

Take  it  from  those  who 
work  with  her,  Jeanne  has 
been  a  model  of  good  behavior 
on  the  set.  The  first  to  come, 
the  last  to  leave,  and  the  hard- 
est working  of  them  all.  No 
one  will  believe  that  in  her 
stage  days  not  so  long  ago,  she 
was  a  naughty,  naughty  girl, 
and  had  to  have  a  metaphori- 
cal spanking. 

Dorothy  Goes  Over. 

The  Gish  girls  are  always 
having  fun  with  each  other. 
Dorothy  took  it  upon  herself 

to  embark  upon  •  a  stage  career  while  Lillian  was  in 
Germany,  conferring  with  Max  Reinhart  about  her  new 
picture.  Dorothy,  left  on  her  own,  launched  forth  in 
"Young  Love"  with  her  husband,  James  Rennie. 


To  the  further  amazement  of  every  one,  the 
younger  Gish  is  to  date  the  only  recruit  from 
the  movies  to  the  stage  to  go  over  with  a  loud, 
loud  bang. 

Demure  Lillian,  who  was  still  in  Germany  at 
the  time,  sent  the  erstwhile  Little  Disturber,, 
of  "Hearts  of  the  World,"  a  wire  on  the  open- 
ing night,  preparing  her  for  the  worst.  It  read 
simply,  "No  matter  what  happens,  remember 
your  family  still  loves  you." 

Telltale  Silence. 

Being  a  business  woman  at  heart,  when 
Mary  Pickford  takes  a  trip,  she  has  always  a 
definite  purpose  for  her  journey.  She  doesn't 
believe  in  wasting  time.  She  doesn't  know 
how,  as  a  matter  of  fact.  Nothing  is  so  fa- 
tiguing to  little  Mary  as  enforced  idleness. 

When  she  came  to  New  York  on  her  last 
visit,  plays  and  people  were  merely  incidental. 
She  came  East  to  assume  a  woman's  privilege 
— to  argue  with  the  government  over  the  re- 
current problem  of  the  income  tax.  Her  visit 
took  her  right  into  the  White  House,  where 
she  laid  her  woes  before  the  chief  executive, 
and  thereafter  she  took  a  page  out  of  the  presi- 
dent's own  book.  She  had  nothing  more  to 
say  about  it.  Merely,  "I  do  not  choose  to 
talk." 

Dix  Will  Be  Heard. 
Richard  Dix  came  East  with  his  chin  thrust 
forward.    In  other  words,  he  came  prepared 
for  a  struggle,  not  fisticuffs,  but  a  tussle  with 
the  boss.    What  husky  hero  would  not  prefer 
a  thousand  times  to  fight  it  out  in  brawn,  rather 
than  go  to  the  mat  politely  on  his  employer's 
Persian  carpet? 
But  Dix's  pleading  won  the  day,  and  hereafter  the 
Eastern  studio  of  Paramount  will  record  Mr.  Dix's 
histrionic  contributions  to  a  palpitating  world.  No 

sooner  had  he  won  his  cause, 
than  the  energetic  young 
man  returned  to  California 
to  pack  up  ,  his  belongings 
and  ship  them  East.  When 
he  arrives  in  this  part  of  the 
world  again,  he  will  start  to 
work  on  a  picture  which  will 
be  another  of  those  talkies, 
of  course. 

Maurice  Chevalier  Arrives. 

Dix,  however,  was  here  to 
extend  the  glad  hand,  as  it's 
now  known,  on  behalf  of  his 
associates  in  California,  to 
Maurice  Chevalier,  at  the 
dinner  given  in  honor  of  the 
idol  of  the  Paris  music  halls 
on  his  arrival  in  America. 

All  theatrical  New  York 
turned  out  to  do  honor  to 
the  remarkable  young  man 
whose  naughty  songs — not 
too  naughty — and  infectious 
humor  have  had  all  Paris 
laughing  for  years.  At  the 
midnight  supper  dance  which  followed  the  dinner,  all 
the  stars  of  Broadway  were  present,  stealing  only  five 
minutes  after  the  curtain  went  down  to  doff  their 
make-up  and  don  evening  clothes. 


Photo  Copyright  by  Dorothy  Wilding 

Sophie  Tucker,  the  vaudeville  favorite,  is  to  make 
a  Vitaphone  feature. 


Manhattan  MedleV 


57 


Judith  Anderson,  Ina  Claire,  Francine  Lar- 
rimore,  Edna  Best,  Helen  Ford,  Irene  Bordoni, 
Richard  Bennett,  and  Fannie  Ward  were 
among  those  present,  not  forgetting  for  a  mo- 
ment Hope  Hampton  who,  in  case  you  have 
not  heard  about  it,  is  now  an  opera  singer. 
She  made  her  debut  as  Manon  in  Philadelphia 
recently. 

A  gracious  act  on  Chevalier's  part  occurred 
just  after  dinner,  while  coffee  was  being 
served.  In  response  to  Mr.  Lasky's  request — 
a  delightful  host  is  Mr.  Lasky  at  functions 
such  as  these — Chevalier  sang  some  of  his  most 
popular  songs  for  the  benefit  of  those  who  had 
not  heard  him  abroad. 

American  audiences  in  the  great,  open  spaces 
have  something  to  look  forward  to.  He  is  re- 
freshing, this  young  man  from  France,  with 
the  merry  eyes  and  jolly  ways,  and  brings 
an  enviable  vitality  and  humor  to  his  interpre- 
tations. 


Photo  b 


A  Working  Girl's  Holiday. 

Laura  La  Plante  hid  her  dimples  and  her 
flaxen  hair,  not  beneath  the  proverbial  bushel, 
but  within  the  recesses  of  her  hotel  suite  on 
her  arrival  in  New  York  for  an  abbreviated 
holiday. 

It  was  scarcely  more  than  a  week-end,  when 
you  come  to  think  of  it,  but  the  poor  working 
girl  seized  on  it  as  a  reward  for  six  months' 
steady  toil  in  the  studio  on  "Show  Boat." 

During  her  brief  stay  she  improved  the  shin- 
ing hour  by  watching  the  other  fellows  at  work, 
if  you  know  what  I  mean.  She 
spent  all  her  afternoons  and  eve- 
nings in  the  theater,  denying  her- 
self to  all  visitors,  but  dashed 
about,  meantime,  in  the  busy 
marts  of  the  city,  shopping,  being 
fitted,  and  what  not.  She  man- 
aged, somehow  or  other,  to  catch 
the  Twentieth  Century  back  to 
Hollywood,  despite  the  handicap 
of  numerous  bundles,  hat  boxes, 
and  gift  bags. 


On  the  Wing. 

George  Jessel  has  been  "dou- 
bling in  brass" — working  morn- 
ing, noon,  and  night,  that  is  to 
say.  In  the  evenings  he  dons  his 
make-up  and  goes  on  the  stage 
in  "The  War  Song,"  and  in  the 
daytime  he  transfers  his  little 
song  and  dance  to  the  talkies. 
Margaret  Quimby  came  all  the 
way  from  the  Coast  to  be  his 
leading  lady,  with  the  influx  of 
people  from  Hollywood. 

Among  them  is  Vilma  Banky, 
who  arrived  under  the  Goldwyn 
banner,  accompanied  by  a  battery 
of  assistants,  to  make  an  un- 
named picture  under  Alfred  San- 
tell's  direction,  in  which  she  will 
play  a  waitress. 

It  was  difficult  for  the  fair  Vilma  in  the  scenes  which 
were  taken  near  a  public  school,  because  she  was  mobbed 
when  the  school  disgorged  its  excited  horde  at  three 
o'clock.  Not  only  was  she  stampeded  daily  _  in  the 
Bronx,  but  the  responsibility  of  making  a  talking  film 


Richard  Dix  at  last  has 
and  will  work  in  New 
has  always  preferred 


Betty  Blythe  sets  a  record  by  saying 
she  is  through  with  the  screen,  because 
the  screen  is  through  with  her. 


was  great.  When  Vilma  arrived  in 
America  some  years  ago,  her  Ameri- 
can vocabulary  consisted  of  "lamb 
chops"  and  "pineapple."  Rod  La 
Rocque  has  naturally  proved  an  ardent 
and  devoted  teacher  of  the  language, 
and  she  has  become  fairly  fluent  in 
the  new  tongue.  With  the  speakies, 
however,  it  is  a  different  matter.  One 
must  be  more  than  fluent — one  must 
be  expert.  So  Vilma's  days  in  New; 
York,  in  addition  to  her  acting  activi- 
ties, were  necessarily  devoted  to  the 
mastery  of  her  role  in  good,  colloquial 
English. 

Nick  Stuart  barely  took  time  to  look 
the  old  town  over  before  he  hurried 
off  to  Hollywood.  He  arrived  one  day 
and  took  the  train  out  of  the  city  next 
morning.  While  in  Europe,  like  Uncle 
Sam's  navy,  he  saw  the  world  in  mak- 
ing "Chasing  Through  Europe."  He 
literally  chased  the  Prince  of  Wales 
from  one  end  of  France  to  the  other, 
and  likewise  he  "captured"  Mussolini 
on  his  tour  through  Italy.  Thence  the 
party  went  over  to  Morocco,  where  the 
sultan's  physiognomy  was  added  to  the 
list  of  celebrities  who  will  appear  in' 
the  picture.  Spain  also  was  fitted  into  the  proceedings,, 
and  pictures  were  taken  of  the  famous  bullfight  in  which, 
Valencia  II.  lost  his  life.  These  and  other  incidents, 
such  as  flying  over  Mount  Vesuvius,  will  be  seen  in  the 
picture. 


gained  his  point 
York,  which  he 
to  Hollywood. 


58 


The  chap's  a  droll 
spinner  of  y. a  r  ns  , 
after  all,  even  if 
there  isn't  any. point 
to  the  story.  Monte, 
above,  grins  encour- 
agingly but  a  little 
doubtfully. 


Ha!  He  jumps  ahead 
of  the  speaker  and  has 
already  guessed  i  it. 
A  pretty  good  one  at 
that ! 


left,  Monte 
recovers  from  his 
hearty  laugh  at  the 
joke,  and  gives  the 
speaker  a  still  better 
one  when  the  "  yarn  is 
finished.  ' 


59 


A  Gi 


omes 


to  Ho 


oo 


a 


Our  heroine  makes  a  startling  discovery  in  the  lonely,  dismantled  bungalow,  and  reveals  the  tragic  cause 
of  her  presence  in  Hollywood,  as  her  quest  for  the  criminal  takes  on  added  impetus  in  this  exciting 

installment  of  our  mystery  serial. 


By  Alice  M.  Williamson 


Illustrated  by  Xena  Wright 


CHAPTER  XXV. 
Madeleine's  great  discovery. 

GALLING  up  all  her  re- 
serve of  courage,  Made- 
leine walked  through  the 
glass-walled  passage  and  opened 
a  door  at  the  other  end. 

The  rose  perfume  of  incense 
was  stronger.  Jones  hadn't  men- 
tioned it.  He  couldn't  have  a 
strong  sense  of  smell !  No  doubt 
— no  doubt  at  all  was  left  in  the 
girl's  mind  now,  that  this  had 
been  the  woman's  room. 

It  had  only  one  window,  a  wide 
one,  which  was  door  and  window 
both,  opening  onto  the  small 
garden  court.  No  wonder  Lo- 
pez had  been  able  to  conceal  the 
existence  of  a  second  occupant 
of  this  house.  No  wonder  the 
bungalow  had  suited  his  purpose 
so  well,  that  he  had  spent  an  in- 
convenient sum  of  money  in  or- 
der to  buy  it. 

This  room  had  been  almost 
completely  stripped  of  its  furni- 
ture. ,  "Too  much  like  a  woman's 
room,  for  Lopez  to  dare  leave 
any  traces,"  Madeleine  thought. 
"Even  the  walls  tell  the  story  of 
a  woman's  presence.  But  he 
wouldn't  have  worried  too  much 
about  such  trifles.  No  one  can 
prove  anything  definite  from  a 
wall  paper  of  one  kind  or  other. 
He  doesn't  dream  that  somebody 
here  in  Hollywood  is  on  the  track 
of  the  woman.  If  he  did,  he'd 
have  been  extra  careful,  even  in 
his  hurry  to  get  her  away.  As  it 
is,  he's  almost  sure  to  have  for- 


Synopsis  of  Previous  Chapters. 

Malcolm  Allen,  a  young  British  novelist  in 
Hollywood,  goes  to  the  rescue  of  a  beautiful 
girl  who  attempts  to  leave  the  fashionable 
Restaurant  Montparnasse  without  paying  for 
the  dinner  she  has  eaten.  He  is  impressed,  and 
later,  dazzled  by  her  beauty,  offers  her  a 
chance  in  the  movies.  He  is  dum founded 
when  she  tells  him  she  prefers  to  be  a  ciga- 
rette girl  at  Montparnasse. 

Lady  Gates,  Malcolm's  aunt,  is  struck  with 
the  possibility  of  entering  the  gay  life  of  the 
movie  capital.  Soon  after  her  arrival  she  falls 
under  the  influence  of  Marco  Lopez,  a  pro- 
fessional dancer,  who  is  attracted  by  the  wealth 
of  the  new  arrival.  He  causes  her  to  visit  a 
certain  seeress,  his  confederate,  who  tells  Lady 
Gates  she  can  have  youth  and  beauty  again  by 
undergoing  scientific  rejuvenation. 

Upon  leaving  the  hospital,  Lady  Gates  sends 
for  her  nephew,  who  disapproves  of  her  ap- 
pearance. "Angered,  she  severs  relations  with 
him,  and  becomes  more  devoted  to  Lopez. 
"Miss  Smith,"  the  strange  beauty  for  whom 
Malcolm  has  procured  the  position  of  cigarette 
seller"  in  the  restaurant,  admits  that  she  came 
to  Hollywood  because  of  Marco  Lopez. 
Though  naturally  mystified  and  jealous,  Mal- 
colm knows  that  he  loves  her. 

Lopez,  with  the  seeress,  plans  greater  in- 
roads, and  even  marriage  to  Lady  Gates,  in 
order  to  have  her  will  changed  in  his  favor. 
Lady  Gates  receives  an  anonymous  letter  warn- 
ing her  against  the  dancer.  She  accuses  Mal- 
colm of  writing  it,  but  he  succeeds  in  quiet- 
ing her  and,  at  her  request,  prepares  a  drink 
for  her.  A  .  few  minutes  later  she  is  carried 
out  of  the  restaurant,  dead.  Lopez  accuses 
Malcolm  of  having  murdered  his  aunt,  and  the 
young  author  is  arrested. 

Miss  Smith,  whose  real  name  is  Madeleine 
Standish,  prevails  "upon  a  noted  lawyer  to  take 
the  case.  Together  they  set  about  to  solve 
the  mystery  of  Lady  Gates'  murder,  which  the"" 
girl  is  sure  was  committed  by  the  same  per- 
sons who  brought  tragedy  into  her  own  life 
some  time  before.  Unknown  to  Lopez,  she  and 
the  lawyer  purchase  the  bungalow  the  dancer 
is  eager  to  sell  at  a  sacrifice,  and  Madeleine 
goes  there  alone,  under  cover  of  darkness,  to 
run  down  a  secret  clew. 


gotten  something — something  for 

me  to  find.  Whatever  there  is,  will  be  in  the  studio,  or 
more  probably  here  in  this  room  where  she  must  have 
lived." 

The  wall  paper  had  a  dull-gold  ground  splashed  irreg- 
ularly with  black,  and  was  thickly  patterned  with  huge 
roses  of  every  shade  from  palest  pink  to  deepest  red. 
The  floor  was  painted  black,  but  it  was  easy  to  guess 
from  the  brighter,  cleaner  patches  here  and  there  that 
several  rugs  had  been  removed. 

Sockets  in  the  wall  revealed  the  fact  that  there  had 
been  two  portable  lamps ;  but  the  one  remaining  lamp 
hung  from  the  ceiling— a  basket  of  alabaster,  stained 
rose  color. 


*  Copyright,  182S.  by  Alice  If.  Williamson. 


"He  studied  her  beauty  in  his 
whole  scheme  of  decoration !" 
Madeleine  thought.  "And  her 
name,  too !"  The  girl  had  never 
seen  the  woman  whom,  with  that 
woman's  lover,  she  had  followed 
to  Hollywood,  but  she  had  in  her 
possession  a  torn  photograph 
found  by  the  side  of  a  dead  man, 
and  she  could  picture  such  a  face 
as  had  brought  about  the  fall  of 
Troy.  Pale  it  would  be,  and 
faded  perhaps  by  illness,  but 
lovely  to  look  on  still,  in  the  rose- 
colored  dusk  of  this  hidden  room. 

In  the  soft,  rosy  light  Made- 
leine walked  about,  searching  the 
walls  for  any  sign"  of  a  secret 
safe,  masked  by  the  pattern  of 
the  paper.  But  there  was  no  such 
sign,  and  the  woodwork,  modern 
and  new,  apparently  had  no  con- 
cealments. 

The  girl  was  not  surprised  at 
this.  She  had .  told  herself  that 
the  man  and  woman  who  lived  ha 
this  house  would  have  been  wise 
-to  keep  their  valuables  in  some- 
thing portable,  something  that 
could  be  snatched  up  -and  run 
away  with -at  an  instant's  notice^ 
"  "And  now  it  has  been  snatched 
up  and  run  away  with !"  she  said, 
half  aloud,  startled  yet  relieved 
to  hear  the  sound  of  her  own 
voice. 

When  she  had  peeped  into  the 
bathroom  and  looked  out  into  the 
patio,  Madeleine  returned  to  the 
dismantled  bedroom.  No-  furni- 
ture was  left  in  it  except  a  large 
divan  stripped  of  its  cover,  a 
card  table  and  an  armchair  also 
stripped.  In  this  chair,  wheeled 
to  the  center  of  the  room,  Madeleine  sat  down  to  think. 
She  had  made  up  her  mind  before  coming  into  the 
bungalow  that  some  very  urgent  motive  had  prompted 
Marco  Lopez  to  move.  And  what  motive  could  be  more 
urgent  than  the  hidden  woman's  sudden  illness? 

She  had  been  out  x>f  health  for  months.  That  was 
why  the  two  had  come  to  California.  Lopez  had  planned 
their  flight  from  the-  East  cleverly,  so  that,  in  case  the 
theft  of  the  jewels  and  maybe  even  a  murder  should  be 
traced  to  the  woman,  she  should  be  safe  from  pursuit. 
But  no  crime '  had  been  traced  to  her.  The  proof  had 
not  been  clear. enough  except  to  the  mind  of  a  girl  ;  and 
after  so  long  a  time  the  pair  must  have  felt  themselves 
comparatively  safe.    They  might  have  continued  to  live 


60 


A  Girl  Comes  to  Hollywood 


hiding  place  in  his  car,  and  was  keeping  in  touch  with 
her,  at  least  through  the  mail.  Probably  it  had  seemed 
wise  to  both  that,  as  Lopez  would  soon  be  freed  from 
the  film,  she  should  be  safely  out  of  Holly- 
wood before  he  was  ready  to  go.  Then 
he  could  join  her  secretly,  and  somewhere 
far  away — with  a  fortune  in  jewels— they 
could  begin  a  new  life  under  new  names. 

"The  woman  could  pass  as  a  Russian 
princess  in  Paris  or  London,"  Madeleine 
thought,  "for  nobody 
would  be  surprised  there 
that  a  Russian  refugee 
should  have  lots  of  jew- 
els to  sell.  For  Lady 
Gates'  things  are  hand- 
some,  but   not  historic 


on  in  this  bungalow 
as  they  had  lived 
for  months,  until 
the  woman  died,  or 
grew  well  enough 
to  go  with  her  lover 
to  another  land, 
where  stolen  jewels 
might  be  turned  in- 
to money  with  little 
danger.  Yet,  sud- 
denly, they  had  left 
their  snug  hiding 
place,  Marco  Lopez  to  remain  in  Hol- 
lywood, quietly  finishing  his  part  in 
the  film  "Red  Velvet,"  the  woman  to 
go — where  ? 

The  pair  had  moved  from  the  bun- 
galow directly  after  the  death  of 
Lady  Gates,  though  no  suspicion  at- 
tached to  Lopez.  He  had  offered  a 
simple  excuse  for  wishing  to  be  rid 
of  his  house,  and  if  he  intended,  as 
he  said,  to  turn  his  back  on  Holly- 
wood as  soon  as  "Red  Velvet"  was 
finished,  the  excuse  was  quite  a  good  one  for  wanting  to 
sell.  It  was  not,  however,  any  kind  of  an  excuse  for  the 
man's  haste  to  move  out. 

Why  couldn't  he  have  stopped  comfortably  in  the 
house  and  done  better  business  for  himself,  since  John 
Barrett  felt  so  stire  the  bungalow  was  worth  ten  thou- 
sand dollars  instead  of  eight?  Of  course  there  was  a 
reason,  but  Madeleine  had  been  busy  for  many  hours 
struggling  to  fasten  her  mind  firmly  upon  it. 

She  who  alone  knew  of  the  woman's  existence,  con- 
nected the  sudden  sale,  the  sudden  move,  inextricably 
with  her. 

The  woman 'had  found  it  necessary  to  separate  herself 
from  her  lover.  Why?  If  she  and  Lopez  were  still  on 
good  terms,  he  had  most  likely  driven  her  to  her  present 


like  ours.  Broken  up,  they  ought  to  be  fairly  safe  to  dis- 
pose of,  so  far  from  the  place  where  they  disappeared." 

But  still  there  remained  the  big  question  of  how  the 
pair  could  have  got  possession  of  Lady  Gates'  jewels. 

So  far  as  clews  to  the  mystery  might,  be  hoped  for  in 
this  house,  the  almost  frantic  haste  with  which  Lopez 
had  got  his  few  belongings  out,  greatly  favored  Made- 
leine's theory.  And  the  girl  hoped  for  several  clews — 
for  one  in  particular. 


A  Girl  Comes  to  Hollywood 


61 


"Look!"  Madeleine  ex- 
claimed, throwing  back 
the  scarf  from  the  things 
that  had  been  hidden, 
"I  wouldn't  have  dared 
call  you  up,  if  I  hadn't 
found  the  thing  I  came 
here  to  find !" 


There  was  a  fireplace  in  this  room ;  and  Mr.  Jones' 
permission  to  leave  without  cleaning  the  house  excused 
in  Lopez  the  untidy  jumble  of  half-consumed  logs, 
ashes,  cigarette  stubs,  match  ends,  and- -other  waste. 
When  a  man  has  no  cause  to  suppose  himself  watched 
or  -  suspected, '  he  sometimes  becomes  slightly  careless, 
even  when  it  would  be  wiser  to  take  precautions. 
Thinking  thus,  Madeleine  began  delicately  to  stir  the 
ashes  with  a  small  poker  which  had  been  left  on  the 
hearth.  • 


A  bronze  hair- 
^ .'  H  pin  was  her  first 

find,  proof  of  a 
woman's  presence 
■ — a  woman  with 
dark,  unbobbed 
hair.    Next  came 
a  broken  bottle  which  had 
evidently  contained  perfume. 
It  was  of  a  well-known  shape 
associated  with  a  famous 
French  perfumer. 

These  things  were  not  of 
much  use  to  her,  nor  was  the 
half -burned  metal  container 
for   lipstick.     Lopez  might 
have  had  many  women  visitors  in  his  bunga- 
low,  Barrett   would   remind   her,   if  she 
brought  him  such  trifles  in  proof  of  her 
sensational  theory.    But  suddenly  a  pile  of 
ashes  at  the  back  of  the  fireplace  yielded 
something  of  greater  interest,  a  riven  ball 
of  crystal  such  as  fortune  tellers  use.  The 
fire  had  first  cracked,  then  broken  it  in  two 
pieces.    Near  by  lay  a  pack  of  cards,  evi- 
dently tossed  onto  the  logs  in  its  case,  which 
had  preserved  many  of  the  cards  intact. 

"The  old  game !"  Madeleine  said  bitterly, 
for  the  sight  of  the  crystal  and  the  cards 
brought  back  dark  memories. 

John  Barrett  should  see  these  things  just 
as  they  lay;  He  should  come  here  to  look 
at  them.  That  would  be  better  than  taking 
them  to  him.  It  seemed  to  her  that,  considering  what 
she  had  told  Barrett  of  the  woman's  profession,  these 
partly  destroyed  records  of  a  hidden  presence  in  Marco 
Lopez's  bungalow  ought  to  interest  the  lawyer.  Surely 
they  were  of  some  value,  but  the  girl  couldn't  disguise 
from  herself  the  fact  that  so  far  she  was  deeply  disap- 
pointed. 

She  hadn't  yet,  however,  exhausted  the  possibilities  of 
the  fireplace  from  which  she  had  hoped  so  much. 

The  remaining  ends  of  the  charred  logs  were  too  heavy 


62 


A  Girl  Comes  to  Hollywood 


for  the  small  poker,  so  Madeleine,  on  her  knees,  began 
liftirig  out  the  bits  of  burned  wood  with  her  fingers. 
She  laid  them  one  by  one  on  the  hearth  and  began  an- 
other search  through  a  mixture  of  ashes,  charred  rags, 
broken  china,  and  all  sorts  of  rubbish,  or  what  Lopez 
in  his  haste  must  have  considered  rubbish.  In  a  corner 
at  the  back,  under  a  pair  of  almost  unrecognizable  bed- 
room slippers,  she  came  at  last  upon  a  box  of  heavy 
cardboard. 

Its  thickness  had  saved  it  from  being  consumed.  Hav- 
ing been  pushed  under  the  logs,  the  flames  had  risen 
above  it,  leaving  the  box  almost  intact.  Madeleine  gave 
a  little  cry  of  excitement,  and  once  again  started  at  the 
sound  of  her  own  voice  in  this  empty,  echoing  house. 
The  box  was  of  the  sort  made  to  hold  stationery,  and 
Madeleine's  eager  fingers  could  hardly  wait  to  tear  it 
open.  Was  she  to  be  disappointed  again,  or  was  she  to 
have  the  reward  hoped  for  when  she  played  her  bold 
coup  of  buying  Marco  Lopez's  bungalow? 

CHAPTER  XXVI. 

ALIAS  ROSE  ROSEN KRANTZ. 

John  Barrett  did  not  drive  into  the  street  where  the 
Lopez  house  stood,  but  left  his  automobile  parked  in  a 
dark,  quiet  thoroughfare  close  by,  where  many  people 
unable  to  afford  a  garage  left  their  small  cars  more  or 
less  safely  locked  for  the  night.  Barrett  knew  that 
Madeleine  Standish  intended  to  steal  unobtrusively  into 
the  bungalow  she'd  bought,  and  now  he  approached  it 
with  caution,  as  he  knew  she  would  wish  him  to  do. 
As  he  came  near,  meaning  to  knock  softly,  a  figure  rose 
from  the  shadow  that  darkened  the  front  steps. 

"I  knew  you'd  come!"  Madeleine  whispered.  "When 
I  thought  it  was  almost  time  for  you  to  get  here,  I  came 
out  to  wait  and  let  you  in." 

They  passed  through  the  door  Madeleine  had  left 
ajar,  into  the  vestibule,  now  dark  as  a  pocket  until  she 
flashed  on  the  light  of  an  electric  torch.  "In  the  studio 
and  her  room  where  I've  been  working,"  the  girl  ex- 
plained, "lights  can't  be  seen  from  outside.  In  the  vesti- 
bule there  are  no  curtains,  and — I'm  not  taking  chances ! 
I'm  surer  than  ever  to-night  that  Lopez  didn't  dream 
her  existence  was  suspected.  If  he  had,  he  wouldn't 
have  been  silly  enough  to  leave  the  things  I've  found — ■ 
the  things  I,  wanted  you  to  see  on  the  spot,  and  couldn't 
— just  couldn't! — wait  till  to-morrow." 

"You  talk  about  'her'  room  as  if  yOu'd  made  sure  of  a 
good  deal,"  Barrett  said,  as  Madeleine  led  him  into  the 
studio. 

"I  have/'  the  girl  answered.  "At  least,  it  seems  a 
good  deal  to  me.  I  had  to  know' to-night,  here  in  this 
place,  what  you  thought  about  it!" 

She  led  him  through  the  studio  and  the  glass-walled 
passage  to  the  room  beyond. 

"Do  you  remember  the  name  I  told  you  the  woman 
gave  herself  at  home  in  the  East?"  the  girl  asked  ab- 
ruptly. 

"Yes.  I've  trained  myself  not  to  forget  easily,"  Bar- 
rett answered.  "She  had  adopted  the  fantastic  name  of 
Rosamund  Rosenkrantz.  You  didn't  believe  it  to  be  her 
real  name,  but  you  never  discovered  any  other." 

"That  is  right !"  said  Madeleine.  "She  signed  the  let- 
ters I  found,  'Rose,'  you  remember,  and  there  was  a 
golden  rose  under  the  monogram  'R  R'  on  the  writing 
paper  I  showed  you." 

"I  do  remember.  Why  are  you  reminding  me  of  that 
now?"  Barrett  inquired. 

"Look  round  you  at  this  room !"  the  girl  exclaimed. 
"Roses  all  over  the  wall  paper — rose  lights — evidently 
all  the  decorations  were  rose.  I  know  the  curtains  were 
rose  color,  because  a  few  threads  of  rose-colored  silk  are 


caught  in  one  of  those  glass  roses  made  to  hold  the 
curtains  back.  And  don't  you  smell  the  rose  incense? 
It  was  in  the  studio  too,  but  it's  stronger  here.  Every- 
thing to  celebrate  the  beauty  of  the  rose !"  .  > 

"Lopez  is  a  romantic  lover — something  of  a  poet.  We 
must  grant  him  that,"  said  Barrett. 

"She  made  all  men  romantic,"  Madeleine  answered 
bitterly.  "See !  I  brought  this  bridge  table  in  here 
from  the  studio.  I've  put  my  exhibits  on  it.  That's 
what  you  lawyers  would  call  them,  I  suppose." 

"You've  covered  some  of  the  things  with  a  scarf," 
Barrett  remarked. 

"My  scarf.  I  wanted  you  to  concentrate  on  the  least 
important  finds  first,  and  then — then  spring  the  others 
on  you.  I  wouldn't  have  dared  call  you  up  if  I  hadn't 
found  the  things  I've  hidden  under  the  scarf !" 

"Bronze  hairpin :  long-haired,  darkish  woman,"  mum- 
bled Barrett.  "Lipstick  cover.  Black  safety  pins.  Red 
Chinese  bedroom  slippers.  H'm !  Not  much  of  im- 
portance so  far.  Lopez  posed  as  a  bachelor  here  in 
Hollywood.    He  may  have  had  any  number  of  " 

"I  knew  you'd  say  that !"  broke  in  Madeleine.  "But 
look  at  the  crystal  and  its  stand !  Look  at  the  cards ! 
I've  told  you  how  the  woman  began  getting  in  her  deadly 
work  at  home  by  reading  the  crystal  and  telling  fortunes 
by  cards !" 

"Yes,  those  are  points  in  your  favor — so  far  as 
proving  the  woman's  identity  is  concerned,  granted  the 
lawyer,  "but  it  has  nothing  to  do  with  the  case  in  which 
you  and  I  are  even  more  interested  now  than  in  the 
past — because  we've  got  a  man  to  save  or  lose." 

"Has  it  nothing  to  do  with  that  case?"  Madeleine 
challenged  him.  "You  remember,  I  told  you  that  Lady 
Gates  spoke  of  a  woman,  some  one  who  had  advised  her 
to  consult  that  plastic  surgeon  and  be  rejuvenated?  It 
was  when  she  complained  of  being-  afraid  to  go  alone. 
I  asked  why  the  'lady  who  advised  her'  coiddn't  go.  She 
said  that  was  impossible,  and  froze  up  when  I  tried  to 
ask  a  few  more  questions.  Then  she  suggested  taking 
me  as  a  paid  companion,  and  I  accepted — in  the  hope  I 
might  find  out  something  about  Marco  Lopez  and  Rose 
Rosenkrantz.  I  found  out  nothing !  Lady  Gates  was 
as  close  as  a  clam,  and  of  course  she  had  been  warned 
never  to  speak  of  the  woman.  I  asked  her  once,  quite 
suddenly — hoping  to  surprise  the  secret  out  of  her,  in 
case  she  had  one — if  she'd  ever  heard  of  a  Mrs.  Rosa- 
mund Rosenkrantz.  She  said  'No!'  and  I  could. tell  by 
the  blank  expression  of  her  face  that  she  was  speaking 
the  truth.  Now,  here's  the  proof  of  how  that  wretch 
wormed  herself  into  poor  Lady  Gates'  confidence !  She 
did  it  by  the  old  tricks  that  began  the  breaking  up  of 
my  home.  I  can  almost  see  what  happened — how  she 
read  the  future  in  that  crystal  and  told  it  by  cards — 
made  Lady  Gates  believe  she  could  become  young  and 
beautiful,  and  win  the  passionate  love  of  a  man  years 
her  junior.  I  don't  know  whether  Rosamund  Rosen- 
krantz sent  her  to  the  most  expensive  jewelers  and 
dressmakers  and  milliners  and  furriers  in  Hollywood, 
or  whether  Lopez  did  that.  But  some  one  did  it,  and 
got  a  huge  commission,  of  course.  The  two  probably 
managed  it  together  as  they  must  have  done  often  be- 
fore." 

"You  are  probably  right  about  the  woman  and  Lady 
Gates,"  said  Barrett.  "But  though  it  may  be  illegal,  it's 
not  exactly  a  crime  to  tell  fortunes  by  crystals  or  cards. 
And  as  I'm  here,  I'd  better  tell  you  what  otherwise 
would  have  kept  until  to-morrow — two  pieces  of  news 
that  reached  me  almost  together,  just  before  I  went 
home  from  my  office.  One  came  by  word  of  mouth,  one 
by  cable  from  South  America." 

"Pieces  of  bad  news?"  Madeleine  asked,  steadying 
herself.  [Continued  on  page  961 


63 


Lya  Waves  tKe 
Flag 

A  surprising  change  in  looks  and  outlook 
has  come   over   the  night-fiower   De  Putti 
during  her  sojourn  in  Hollywood. 

By  Herbert  Knight 

IT  was  high  noon- in  the  market  place.  Times 
Square,  always  a  little  mad,  was  stark,  star- 
ing, crazy  in  the  bedlam  of  its  commerce.. 
The  megaphoned  shuffling  of  the  multitude  almost 
swayed  the  stone-and-steel  canyons  of  Broadway 
with  their  echoes.  Cursing,  laughing,  shrieking, 
the  city  hurtled  through  the  day,  even  as  my 
bandit-driven  taxi  stopped  short,  with  a  demoniac 
wailing  of  tortured  brakes. 

The  driver  snorted,  too,  but  at  the  Scotch  an- 
cestry evidenced  by  my  tip.  It  mattered  little,  for 
the  maelstrom  of  humanity  seized  me,  whirled  me 
round  and  round,  then  spev/ed  me  into  the  maw 
of  a  revolving  door.  Thence  I  was  shot  directly 
between  the  iron  jaws  of  a  monster  that  reared 
its  head  with  ghastly  speed.  It  paused,  the  great 
mouth  opened,  and  I  stepped  off  the  elevator 
nearer  heaven  by  twenty  stories.  At  her  door,  I 
asked  for  Lya.  Milady 
slept.  But  I  would  wait, 


and  so  passed 
the  portal  into 
another  world. 

I  felt  like 
some  vagabond 
Villon,  who  had 
found  sanctuary 
from  the  pursu- 
ing mob  in  the 
dim   light   of  a 

Paris  Photo  Studio 


Lya  arrived  in  this 
country  a  pallid  exotic 
shielded  from  the  sun. 


Photo  by  He^sev 


The  tanned,  boyish  figure 
of  to-day  is  a  far  cry 
from  her  former  self. 


She  ,has  her  daily  round 
of  golf,  or  some  tennis. 


great  cathedral,  a  cathedral 
dedicated  to  a  pagan  priest- 
ess. Black  draperies  ob- 
scured the  prying  eyes  of 
the  sun.  The  carpets  were 
ankle-deep.  The  silence  was 
felt.  There  was  an  over- 
powering urge  to  shout,  but 
here  one  whispered. 

The  air  was  fragrance- 
laden.  The  room  itself  was 
luxurious  disarray.  A 
brilliant  scarf,  cast  care- 
lessly on  a  bench,  splashed 
it  with  color.  Gloves,  small 
and-  intimate,  had  been 
tossed  on  a  table  and  for- 
gotten. The  breath  of  Egypt 
came  faintly  from  a  jeweled 
cigarette  box  to  mingle  with 
the  scent  of  musk. 

Here  dwelt  foreign  fame. 
For  Lya  had  just  arrived  in  America.  Her  conquest  of 
the  Continent,  culminating  in  that  brilliant  movie,  "Va- 
riety," had  sent  American  moguls  scurrying  with  gifts 
of  golden  contracts.  One  had  been  accepted.  On  its 
wings  came  the  great  De  Putti,  latest  and  brightest  of 
the  stars  filched  from  the  European  firmament. 

A  fluttering  maid  murmured  that  mademoiselle  had 
awakened.  Her  bath  was  bulletined.  I  received  news 
of  her  breakfasting.  Then  a  whispered,  "One  little  mo- 
ment," and  fifteen  long  ones  later,  Lya  entered. 


64 


Lva  "WaVes  the  Flag 


Velvet  -  curtained 
rooms  have  lost 
their  charm  for  her. 


Lucky  calf! 


She  was  languorously  apolo- 
getic, languidly  solicitous.  Her 
jet  hair  emphasized  the  ivory  of 
her  skin,  and  framed  a  face  that 
was  a  perfect  cameo.  Heavy- 
lashed  lids  curtained   smoldering  eyes. 
Her  lips  were  a  splendid  splash  of  car- 
mine, blood-red  against  the  pallid  back- 
ground of  her  flesh.    Clinging  garments 
outlined  curves  to  awaken  rapture  in  a 
Raphael.    Here  concealing,  there  reveal- 
ing, better  men  than  the  stolid  Boss  of 
"Variety"  would  have  risked  purgatory 
for  her  arms.    She  was  the  very  essence 
of  the  Old  World,  the  world  of  Cleo- 
patra, Faustina,  and  the  rest.    A  mauve 
orchid,  a  passion  flower  from  life's  jun- 
gles, grown  rich  and  lush  in  some  hot- 
house hidden  from  the  sun.    One  could 
imagine  men  dying  at  her  feet  for  the 
favor  of  her  slow,  Mona  Lisa  smile. 

Her  English  phrases  faltered.  Her 
few  words  were  riven  together  with  lazy 
phrases  in  Italian,  husky,  Hungarian  gut- 
turals, the  too  sweet  insipidity  of  French, 
or  rumbling  Teutonic  idioms.  A  strange, 
exotic  creature  indeed.  So  different  from 
our  own  wheat-haired  darlings  of  the 
screen,  with  their  wind-blown  tresses, 
and  their  "sun-kist"  cheeks.  They  were 
corn  flowers  and  daisies  nodding  to  blue 
skies  and  heathery  cloudlets.  Lya 
bloomed  at  midnight.  She  was  a  vam- 
pire. 

Months  piled  one  upon  the  other  to  lose 
their  identity  in  years.  Motion-picture 
production,    like    the   tide    of  empire, 

wended  its  way  westward.  The  great  studios  of  the  East 
echoed  in  deserted  desolation.  And  De  Putti,  caught  in  the 
Hollywood  hegira,  was  cast  upon  the  sands  of  the  Pacific. 

Misunderstood,  mismanaged,  and  miscast,  she  had,  neverthe- 
less, impressed  her  vivid  personality  upon  the  millions  who 
support  the  movies.  While  absence  made  Europe's  heart  grow 
fonder  of  her  wandering  daughter,  the  new  love,  America,  em- 
braced her. 

More  prosaically,  fan  mail  continued  to  pour  in  at  her  new 
address  from  half  the  kingdoms  of  the  Continent,  and  the  fans 
of  the  United  States  made  the  life  of  the  postman  a  burden 


with  their  epistolary  tributes  to  her  beauty  and  ability. 
This,  mind  you,  in  the  face  of  the  fact  that  not  one 
producer,  among  those  for  whom  she  worked,  had  starred 
Lya  in  a  vehicle  worthy  of  her,  or  suited  to  her  peculiar 
talents. 

Myself  drifting  westward,  I  wondered  how  my  lan- 
guid lady  had  withstood  the  rigors  of  transplantation  to 
soil  so  strange.    I  wondered  what  effect  the  burning- 
sun,  the  chilling,  mountain  nights,  the  tumultuous,  laugh- 
ing breezes   of  the 
Pacific,  would  have  i 
upon  her  grown-un- 
der-glass  gorgeous- 
ness.   To  paraphrase 
Oscar  Wilde,  the 
best  way  to  rid  one- 
self of  curiosity  is  to 
satisfy  it.    So  I  set 
out  to  see. 

At  the  top  of  a 
very  high  hill  in 
Plollywood  stands 
Lya's  house.  It  has 
many  windows,  and 
they  were  thrown 
wide.  The  pathway 
§P^  to  the  door  was  em- 

broidered with  a 
medley  of  simple 
flowers,  petunias,  marigolds,  and 
the  like.  My  ring  was  answered 
by  a  youthful  butler  in  semimili- 
tary  uniform,  quite  plainly  an 
American  and  ex-soldier. 

It  was  quite  early  morning,  so 
I  thought  my  beauty  slept.  But, 
as  before,  I  wished  to  catch  my 
quarry  before  the  activities  of  life 
whirled  her  from  home.  So,  once 
again,  at  Lya's  door,  I  asked  for 
Lya.  Miss  De  Putti — no  mademoi- 
selle or  friiulein — was  not  at  home, 
but  was  expected.   Would  I  wait? 

Sunlight  streamed  into  the  room. 
Vases  of  bright  blossoms  were 

Continued  on  page  104 


Here  she  was 
snapped  doing  a 
Maud  Muller. 


Ready  for 
her  morn- 
i  n  g  gallop 
in  the  hills. 


05 


WHAT  EVERY  FAN  SHOULD  SEE 

"Four  Devils,  The" — Fox.  The  gla- 
mour and  excitement  of  the  circus 
superbly  pictured.  Film  quite  all  it 
should  be,  and  has  moments  of  genius. 
Barry  Norton,  Nancy  Drexel,  Charles 
Morton,  Janet  Ga3'nor,  with  Mary 
Duncan  in  the  siren  role. 

"Wedding  March,  The" — Paramount. 
The  long-awaited  Erich  von  Stroheim 
story  of  the  love  of  an  Austrian  prince 
and  a  peasant  girl,  told  in  the  unique 
Von  Stroheim  style.  Fay  Wray  plays 
with  abandon  and  charm,  Zasu  Pitts 
has  the  tragic  role  of  a  lame  heiress, 
and  "Von"  acts  himself. 

"While  the  City  Sleeps"—  Metro- 
Goldwyn.  A  strong  Lon  Chaney  pic- 
ture, in  which  he  appears  without  dis- 
guise, in  the  role  of  a  plain-clothes 
man.  His  detective  work  involves  him 
in  the  romance  of  a  young  girl. 
Crooks  without  a  romantic  halo. 
Anita  Page,  Carroll  Nye,  Wheeler 
Oakman,  Mae  Busch,  and  Polly  Moran. 

"Singing  Fool,  The" — Warner.  Al 
Jolson  as  singing  waiter,  with  "Sonny 
Boy"  the  theme- song.  Thin  story,  but 
the  star's  voice  is  excellently  exploited. 
There  are  good  speaking  parts  for 
Betty  Bronson  and  Josephine  Dunn. 
David  Lee,  a  child  newcomer,  is  noth- 
ing less  than  a  sensation. 

"Patriot,  The" — Paramount.  A  story 
of  Russia  in  1801.  As  magnificent  and 
inspired  a  production  as  any  that  Emil 
Jannings  has  done.  Shows  masterly 
direction  of  Lubitsch.  A  perfect  cast, 
including  Lewis  Stone,  Florence  Vidor, 
Neil  Hamilton,  Tullio  Carminati,  Harry 
Cording,  and  Vera  Voronina.  Sound 
effects  are  least  commendable  part  of 
otherwise  exceptional  picture. 

"Mother  Khowj  Best" — Fox.  A  pic- 
ture that  gives  a  side  of  mother  love 
hitherto  untouched  by  the  movies — the 
loving  domination  of  an  ambitious 
parent.  It  is  entertainment  cut  to  the 
pattern  preferred  by  many.  Beautiful 
performance  by  Madge  Bellamy,  an- 
other by  Louise  Dresser,  and  Barry 
Norton's  fan  mail  will  grow. 

"Cardboard  Lover,  The"— Metro- 
Goldwyn.  Amusing  comedy  concern- 
ing an  American  girl's  quest  of  auto- 
graphs— and  a  tennis  champion.  Fluffy 
yarn  with  farcical  complications,  su- 
perbly produced.  Marion  Davies,  Nils 
Asther,  and  Jetta  Goudal  brilliantly 
successful. 

"Air  Circus,  The" — Fox.  Pleasant, 
somewhat  thrilling  picture  in  which 
aviation  is  treated  from  a  peace-time 
angle,  refreshingly  played  by  David 
Rollins,  Sue  Carol,  Arthur  Lake  and 
Louise  Dresser,  all  of  whom  speak  dia- 
logue. 

"Submarine" — Columbia.  Honest-to- 
goodness  thriller,  showing  horrors  of 
impending  suffocation  in  •  submarine 
and  at  same  time  glorifies  deep-sea 
diver.  Players  include  Jack  Holt, 
Dorothy    Revier,    and    Ralph  Graves. 


As  "Snuggles,"  the  wife,  Miss  Revier 
is  clever. 

"Camera  Man,  The" — Metro-Gold- 
wyn.  Buster  Keaton,  as  a  tintype 
man,  lets  ambition  lead  him  into  the 
news  camera  game,  and  gets  mixed  up 
in  a  tong  war  and  things  like  that.  He 
creates  a  big  guffaw  in  taking  a  Lind- 
bergh demonstration  for  his  own. 
Marceline  Day,  Harold  Goodwin,  and 
Sidney  Bracy  are  in  the  cast. 

"Docks  of  New  York,  The"— Para- 
mount. A  water-front  picture,  with 
stokers  and  their  ladies.  Honest  real- 
ism. Doubly  important  to  admirers  of 
George  Bancroft,  Betty  Compson, 
Clyde  Cook,  Mitchell  Lewis,  and  Olga 
Baclanova.  Sudden  marriages,  equally 
sudden  separations,  brawls,  all  devoid 
of  usual  sentimentality. 

"Trail  of  '98,  The"— Metro-Goldwyn. 
Magnificent  glorification  of  the  historic 
gold  rush  to  Alaska,  directed  with  great 
care  and  skill.  Effective  performances 
given  by  Dolores  del  Rio,  Ralph  Forbes, 
and  Harry  Carey. 

"Sunrise" — Fox.  One  of  the  best  of 
the  season.  Skillfully  directed  tale  of 
a  farmer,  his  wife  and  a  city  vamp. 
George  O'Brien,  Janet  Gaynor,  and 
Margaret  Livingston. 

"Tempest" — United  Artists.  A  story 
of  the  Russian  Revolution.  Moments 
of  great  pictorial  beauty.  John  Barry- 
more  excellent.  Camilla  Horn,  Boris 
De  Fas,  and  Louis  Wolheim. 

"Lights  of  New  York"— Warner.  Re- 
gardless of  merits  or  demerits,  picture 
stands  unique  as  the  first  of  its  kind 
ever  made — entirely  in  spoken  dia- 
logue. Not  much  of  a  story.  A  trust- 
ing country  boy  duped  by  a  couple 
of  bootleggers.  Gladys  Brockwell  ex- 
cellent in  her  part.  Cullen  Landis  is 
effective.  Robert  Eliot  and  Tom  Dugan 
are  fine.  Mary  Carr,  Wheeler  Oak- 
man,  and  Helene  Costello. 

"Four  Sons" — Fox.  A  simple  and  su- 
perbly told  tale  of  the  effects  of  the 
war  on  a  German  mother  and  her  four 
sons — three  of  whom  are  killed,  the 
other  migrating  to  America.  Margaret 
Mann,  James  Hall,  Francis  X.  Bush- 
man, Jr.,  and  June  Collyer. 

"Man  Who  Laughs,  The" — Universal. 
No  one  should  fail  to  be  engrossed  by 
itj  strange  story,  or  fascinated  by  its 
weird  beauty.  Conrad  Veidt's  character- 
ization is  magnificent,  Mary  Philbin 
pleasing,  and  Olga  Baclanova  gives  dis- 
tinctive performance.  Brandon  Hurst, 
Josephine  Crowell,  Sam  de  Grasse,  Stu- 
art Holmes,  Cesare  Gravina,  and  George 
Siegmann. 

"King  of  Kings,  The"— Producers  Dis- 
tributing. Sincere  and  reverent  visual- 
ization of  the  last  three  years  in  the 
life  of  Christ.  H.  B.  Warner  digni- 
fied and  restrained  _  in  central  role. 
Cast  includes  Jacqueline  Logan,  Joseph 
Schildkraut,  Victor  Varconi,  and  Ru- 
dolph Schildkraut. 

"Laugh,  Clown,  Laugh"—  Metro-Gold- 
wyh.     Lon   Chaney  gives  one  of  his 


eieases 

finest  portrayals.  Story  inspires  entire 
cast  to  do  their  best.  Loretta  Young 
plays  with  heart-breaking  quality.  Nils 
Asther  is  good,  as  well  as  Bernard 
Siegel. 

"The  Racket" — Paramount.  Thomas 
Meighan  gives  a  fine  performance  in 
a  fine  picture.  Best  of  recent  under- 
world films.  Louis  Wolheim  is  superb 
in  the  role  of  "Scarsi."  Marie  Prevost, 
now  a  blonde,  is  wholly  convincing. 

"White  Shadows  in  the  South  Seas" 

—Metro-Goldwyn.  Filmed  on  authentic 
locations,  and  has  much  to  offer  in 
natural  beauty  and  pictorial  loveliness. 
Purports  to  show  the  corrupting  influ- 
ence of  white  men  among  the  islanders. 
Monte  Blue  is  capable  in  the  lead,  and 
Raquel  Torres  makes  the  native  girl, 
"Fayaway,"  vital,  naive  and  charming. 

"Perfect  Crime,  The"— F.  B.  O.  The 

story  of  a  detective  who,  in  despair  of 
there  ever  being  a  perfect,  unsolvable 
crime,  commits  one.  Don't  miss  this 
picture,  especially  if  Clive  Brook  is  a 
favorite.    The  cast,  as  a  whole,  is  A-l. 

"Lost  in  the  Arctic" — Fox.  A  photo- 
graphic record  of  the  recent  expedition 
to  Herald  Island.  Picture  is  distin- 
guished by  remarkable  photographic 
scenes,  moving  in  rapid  and  interesting 
sequence.  There  is  a  Movietone  pro- 
logue in  which  Vilhjalmur  Steffansson 
describes  the  object  of  the  expedition. 
A. fine  musical  score,  directed  by  Roxy, 
comprises  the  Movietone  accompani- 
ment. 

"Forgotten  Faces" — Paramount.  Un- 
derworld melodrama,  shrewdly  directed, 
interestingly  photographed  and  well 
acted.  First  honors  go  to  Olga  Bacla- 
nova, the  fascinating  Russian  and  con- 
summate screen  artist.  Good  work  is 
also  done  by  Clive  Brook,  Mary  Brian, 
William  Powell,  Fred  Kohler,  and  Jack 
Luden. 

"Hot  News"— Paramount.  This  pic- 
ture crackles  with  spontaneous  com- 
bustion. It  is  a  story  of  the  rivalry 
between  two  news-reel  camera  men, 
Neil  Hamilton  and  Bebe  Daniels — 
really  a  camera  girl.  Story  is  peppy  and 
thoroughly  engaging,  giving  Neil  Ham- 
ilton an  outlet  for  his  comedy  possi- 
bilities. . 

FOR  SECOND  CHOICE 

"Melody  of  Love,  The"— Universal. 
Walter  Pidgeon  audible  to  his  fans,  in 
dialogue  and  song,  with  excellent  reg- 
istration. Story  of  a  piano  player  who 
loses  an  arm  in  the  war,  is  deserted  by 
his  faithless  sweetheart,  and  is  fol- 
lowed to  America  by  a  French  lassie. 
Mildred  Harris  and  Jane  Winton. 

"Take  Me  Home" — Paramount.  Less 
boisterous  and  better  Bebe  Daniels 
comedy  than  usual,  with  semblance  of 
real  character  and  sly  humor.  Hot 
fight  for  a  young  man's  affection. 
Lilyan  Tashman  and  Neil  Hamilton. 

Continued  on  page  118 


66 


Michael  V  a  - 
vitch,  as  Fa- 
ther Roche, 
and  Norma 
Talmadge,  as 
Mary  Ann 
Wagner,  to 
whom  an  army 
kneels  in  "The 
Woman  D  i  s  - 
puted." 


AS  indeed  it  should  be,  I  suppose,  "The  Woman 
Disputed"  is  what  has  come  to  be  known  as  a 
typical  Norma  Talmadge  picture.  Only  it  would 
be  commendable  and  courageous  if  the  artist  would  for- 
sake sentimentality  and  assume  her  rightful  place,  for 
once,  in  a  starkly  honest  picture,  or  at  least  one  in  which 
events  were  not  so  romanticized  as  to  be  ridiculous. 

Producers,  however,  who  spend  dollars  by  the  hundred 
thousand  on  a  film,  are  naturally  concerned  in  recouping 
their  outlay  by  means  of  "safe"  approaches  to  the  box 
office.  When  most  of  their  investment  goes  for  elab- 
orate equivocations,  such  as  altering  stories,  building  dis- 
proportionate sets,  and  achieving  flattering  photography 
at  the  expense  of  time  and  money,  it  is  their  fault  in 
rearing  a  financial  colossus. 

All  this  has  been  done  to  "The  Woman  Disputed." 
But  the  monster  is  hollow — without  a  heart.  It  is,  in 
the  vernacular,  boloney — varnished  by  splendid  acting 
on  the  part  of  Miss  Talmadge  and  the  late  Arnold  Kent, 
and  good  enough  performances  on  the  part  of  the  others. 

It  begins  when  Miss  Talmadge  is  seen  as  Mary  Ann 
■Wagner ,3.  girl  of  the  streets  in  Lemberg,  Austria.  As 
long  as  it"  lasts -this  characterization  is  brilliant,  but  it 
gives  way  all  too  soon  to  debutante  sweetness  and  re- 
finement. F'raulein Wagner  is  befriended  by  two  swells 
-^-one,  Paul  II  ar  I  man,  an  Austrian  officer,  and  the  other, 
Nika  Tiirgenov,  a  Russian.  Their  interest  in  Mary  Ann 
not  only  causes  the  erstwhile  lady  of  the  evening  to  don 
soft,  clinging  garments  of  pure  white,  but  to  acquire 
the  delicate  graces  and  coquetries  of  an  old-fashioned 
drawing-room.  Both  young  men  fall  in  love  with  this 
pearl,  but  as  she  belatedly  decides  to  be  monogamous, 
the  enmity  of  one  friend  for  the  other  is  thus  assured. 

War  is  declared  and  eventually  Nika,  the  disappointed 
suitor,  is  shown  leading  the  Russians  in  their  invasion  of 
the  city.  Through  his  capture  of  four  citizens,  who  have 
attempted  to  pass  the  lines,  Nika  is  enabled  to  demand 
as  his  price  for  their  freedom  nothing  more  desirable 
than  Mary  Ann's  new-found  virtue.  She  is  convinced 
that  it  is  her  duty  to  the  nation  to  accede  to  Nika's  de- 
mand, because  by  doing  so  one  of  the  prisoners,  a  spy, 
could  escape  and  give  the  Austrian  army  information 
that  would  insure  victory.  Mary  Ann  goes  to  Nika, 
and  the  Austrian  army  enters  with  banners. 

Whereupon  Mary  Ann,  who  has  been  acting  like 


creerv 


Joan  of  Arc  approaching  the  stake,  is  all  but  canonized 
in  the  patriotic  eulogy  that  follows  in  the  presence  of  the 
assembled  soldiery,  whose  ranks  stretch  across  the  public 
square  as  far  as  the  eye  can  reach.  At  a  given  signal 
every  last  one  of  them  kneels  in  grateful  adoration  to 
the  saintly  Mary  Ann,  who  conveniently  stands  on  a 
balcony  for  a  scene  which  would  delight  any  star. '  At 
this  point  the  admirable  musical  accompaniment  to  the 
picture  attains  sonorous  soarings  which  sound  like  a 
Te  Dcum,  if  not  the  doxology  itself. 

Civilized,  Polished  Talk. 

Of  all  the  talking  pictures  that  are  steadily  coming  out 
of  Hollywood,  "Interference,"  Paramount's  first  incur- 
sion into  the  all-dialogue  field,  is  the  smoothest,  most 
civilized  and  polished  example  so  far  seen.  This  does 
not  save  it  from  being  a  bit  dull  in  spots,  due  as  much 
to  the  restraint  of  the  acting  as  anything,  and  the  fact, 
too,  that  the  play,  though  a  melodrama,  is  more  a  drama 
of  words  and  character  than  of  action.  Nevertheless  its 
tastefulness  and  credibility  place  it  far  ahead  of  any 
other  all-talking  picture,  and  make  it  significant  of  what 
may  be  looked  for  from  now  on. 

The  acting,  instead  of  being  that  of  the  stock  com- 
pany, or  the  sure-fire  hokum  school,  is  modern  and 
intelligent.  With  such  players  as  Evelyn  Brent,  Wil- 
liam Powell,  Give  Brook,  and  Doris  Kenyon,  this  was 
expected,  but  aside  from  Miss  Kenyon.  none  of  the 
others  had  been  heard  on  the  screen.  It  is  a  pleasure  to 
record  their  complete  success.  Mr.  Powell's  voice  is 
deep  and  arresting,  Mr.  Brook's  fits  his  appearance  and 
temperament,  and  Miss  Brent's  speech  is  pitched  low, 
but  not  too  low  to  vibrate  with  emotion.    She  is  Deborah 


67 


Evelyn  Brent, 
William  Pow- 
e  1 1 ,  Doris 
Kenyon,  and 
Clive  Brook, 
in  "Interfer- 
ence,'' the 
most  artistic 
dialogue  film 
yet  exhibited. 


Talking  pictures  this  month  come  to  the  fore  and 
establish  their  claim  for  serious  consideration  by 
reason  of  some  brilliant  performances,  though  they 
do  not  monopolize  them. 

Kane,  an  adventuress,  who  blackmails  the  wife  of  Sir 
John  Marlay,  a' distinguished  physician,  because  Faith 
Marley  took  from  Deborah,  for  her  first  husband,  the 
only  man  Deborah  ewer  loved,  Philip  Voaze.  His  sup- 
posed death  enables  Faith  to  marry  Sir  John,  and  his 
sudden  reappearance  causes  Deborah  to  levy  a  price  for 
the  letters  Faith  had  written  him.  It  is  true  there  is  no 
novelty  in  these  circumstances,  but  there  is  considerable 
suspense  in  their  telling,  with  a  wholly  unexpected  de- 
velopment in  the  murder  of  Deborah  and  the  evidence 
of  guilt  which  points  to  Sir  John. 

Not  even  Boldini,  in  "Beau  Geste,"  afforded  a  better 
display  of  William  Powell's  talents  than  is  found  in 
Philip  Voaze.  It  is  a  brilliant  characterization,  this 
wastrel  and  adventurer  who  contrives  nevertheless  to 
intrigue  one's  sympathy,  and  Mr.  Powell  plays  him 
with  superb  assurance  and  biting  cynicism.  The  same 
can  be  said  of  Miss  Brent,  though  for  some  reason 
photographic  values  are  sacrificed  in  achieving  speech 
on  the  screen,  with  the  result  that  she  is  without  the 
advantage  of  her  usual  cameo  clearness  of  feature.  But 
she  is  a  magnetic  and  forceful  figure. 

"Interference"  shouldn't  be  passed  by,  if  you  mean  to 
keep  abreast  of  what  is  taking  place  in  the  revolution 
of  the  movies. 

An  Orgy  of  Brilliance. 

Ah,  here  is  a  picture !  It  is  "Show  People,"  with 
Marion  Davies  and  William  Haines,  directed  by  King 
Vidor,  whose  incredible  versatility  has  given  us  such 
divergent  subjects  as  "The  Big  Parade,"  "The  Crowd," 
and  now  this  sublimation  of  slapstick.  Though  a  -bur- 
lesque on  Hollywood  and  the  movies,  it  has  the  quality 


of  amazing  pathos,  and  is  the  best  picture  in  which 
either  Miss  Davies  or  Mr.  Haines  has  ever  appeared. 
Whichever  way  you  look  at  it,  either  as  a  slapstick  com- 
edy with  sentimental  trimmings,  or  a  shrewd  and  pierc- 
ing expose  of  the  movie  temperament,  it  cannot  fail  t<i 
ring  the  bell.    First,  last,  and  always  it  is  entertaining. 

It  begins  with  the  arrival  in  Hollywood  of  Peggy 
Pepper  and  her  father  from  Savannah,  .Georgia,  intent 
on  entering  the  rinovies.-  The  girl  imagines  herself  a 
great  dramatic  actress  and  is  befriended  by  Billy  Boone, 
a  star  comic  at  a  slapstick  studio,  who  gets  a  role  for 
Peggy  in  one  of  his  films.  Like  immortal  Merton,  the 
girl  does  as  she  4s  told,  complacent  in  the  belief  that  she 
is  stealing  a  sprig  from  Sarah  Bernhardt's  laurels.  When 
she  learns  the  truth  her  chagrin  and  heartbreak  are  great - 
and — thanks  to  Miss  Davies  and  Mr.  Vidor — touching. 
One  laughs  at  Peggy  and  feels  sorry  for  her  at  the  same 
time.  She  remains  in  comedies,  because  her  seriousness 
is  funnier  than  if  she  consciously  clowned,  and  because 
she  and  Billy  Boone  are  •  fond  of  each  other.  Then 
Peggy  is  "discovered"  for  serious  roles,  whereupon  she 
forsakes  slapstick,  acquires  a  swelled  head,  and  ritzes 
poor  Billy.    She  is  Patricia  Pe poire  now ! 

The  climax  of  Peggy's  affectation,  which,  by  the  way, 
is  not  nearly  so  far-fetched  as  might  be  supposed,  comes 
when  she  is  about  to  marry  Andre,  her  leading  man,  be- 
cause of  the  title  he  says  is  his,  but  which,  of  course,  is 
spurious.  Billy  arrives  for  the  wedding,  which  in  itself 
is  a  burlesque  of  some  of  Hollywood's  swell  nuptials, 
and  saves  Peggy  from  her  folly  by  an  expedient  that 
leaves  one  gasping  at  its  unexpectedness,  simplicity,  and 
logic.    It  really  wouldn't  be  fair:  to  let  you  in  on  this.  1 

While  Miss  Davies'  performance  is  hardly  surprising 
in  view  of  her  success  as  a  comedienne,  Mr.  Haines  has 
never  had  an  opportunity  so  to  fully  reveal  his  rare 
ability.  As  his  mood  veers  from  buffoonery  to  pathos, 
from  jesting  to  sincerity,  it  is  expressed  with  unfailing 
expertness  and  that  simplicity  which  is  always  proof  of 
genuine  feeling  and  good  taste.  However,  the  stars  by 
no  means  monopolize  the  show.  Just  watch  Polly 
Moran,  in  a  bit  as  Peggy's  maid.  You  need  not  be  re- 
minded to  look  twice  at  Paul  Ralli,  as  Andre.  It  falls 
to  his  - lot  to  parody  the  great  Gilbert,  with  overtones 
of  Gilbert  Roland.  The  role,  in  fact,  was  first  called 
Roland  Gibby;  so  the  discovery  is  not  a  private  one. 


isaauaMiuuuttimMttumMimk 


 — — i  BagamafflBMiimBfl 


V 


68 


The  Screen  in  ReViev? 


"Alias  Jimmy  Valentine." 


"Dry  Martini 


But  Mr.  Ralli  makes  his  own  individuality 
more  important  than  the  amusing  composite 
he  portrays.  See  ''Show  People"  yourself. 
This  is  a  time  when  a  review  of  it  should  be 
accompanied  by  an  apology  for  trying  to  do " 
it  justice. 


An  Audible  Cross-examination. 

As  might  be  gleaned  from  the  title, 


'On 


philanderer,  who  had  reappeared  in  the  life  of  Strickland's 
wife,  and  had  sought  to  take  advantage  of  an  early  indiscre- 
tion of  hers.  It  requires  little  or  no  prophetic  instinct  to  know, 
as  the  story  is  unreeled,  that  Robert  Strickland  will  be  acquitted. 

If  this  had  been  one  of  the  earliest  talking  pictures  it  would 
have  been  a  riotous  success.  It  is  decidedly  routine  now,  re- 
calling a  stock  company  performance  more  than  anything  else. 
But  even  so,  it  reveals  voices  new  to  the  fans,  some  of  them 
extremely  effective.  Pauline  Frederick,  though  starred,  has 
the  subordinate  role  of  the  widow.  The  part  is  neither  domi- 
nant nor  colorful  enough  for  her  debut  in  this  medium.  Nor 
is  she  photographed  well.  Her  voice  is  sepulchral  l'ather  than 
vibrant,  as  it  is  on  the  stage,  and  is  therefore  disappointing. 
Bert  Lytell,  as  Strickland,  is  adequate,  and  Lois  Wilson,  who 
is  becoming  quite  a  pioneer  in  the  talkies,  is  distinct  and  pleas- 
ing. Richard  Tucker,  Jason  Robards,  and  Edmund  Breese 
are  excellent,  together  with  Johnny  Arthur ;  and  a  child,  V on- 
dell  Darr,  strikes  a  pathetic  note  that  is  quite  moving. 

Look  Out,  Look  Out  for  Jimmy  Valentine! 

Another  triumph  for  William  Haines !  This  is  certainly 
Billy's  big  month,  and  "Alias  Jimmy  Valentine"  is  another  en- 
tertaining picture.  There  can't  be  enough  of  them.  No  matter 
how  many  silver  linings  this  critic  may  discover,  there  seems 
always  to  be  a  dark  cloud  of  mediocrity  hanging  over  the  majority 
of  films.    But  enough  of  drear  maunderings. 

"Alias  Jimmy  Valentine"  is  bright  with  thrills  and  laughter  and 
a  rattling  good  dialogue  sequence  which,  properly  enough,  starts  as 
the  dramatic  climax  begins  to  take  form,  and  is  at  its  best  in  the  big 
scene  of  Jimmy  Valentine's  life.  Though  fairly  familiar  by  now, 
this  episode  has  lost  none  of  its  old-time  punch.  As  you  may  re- 
member, it  occurs  when  the  notorious  Jimmy  V alentinc,  reformed 
and  about  to  wed,  fights  off  triumphantly  the  efforts  of  the  detec- 
tive to  break  down  his  alibi,  and  then  tosses  aside  his  claim  to  inno- 
cence by  employing  his  skill  to  open  the  safe  in  which  a  child  is 
smothering  to  death.  This  is  sure-fire  melodrama  and  very  effective. 

With  William' 
Haines  the  star, 
comedy  is  upper- 
most. In  fact,  the 
entire  picture  is 
played  for  laughs 
until  the  safe-crack- 
ing episode.  This 
absolves  it  from  the 
charge  of  being  just 
another  crook  film, 
and  lifts  it  to 
heights  it  never 
would  have  suc- 
ceeded in  reaching 
had  it  dealt  seri- 
ously with  what  is 


Trial"  is  a  courtroom  melodrama.    What  is 
more  important,  is  that  it  is  played  entirely  in 
Vitaphone  dialogue,  and  last  but  not  least, 
from  the  fans'  standpoint,  it  brings  Pauline  Frederick  back  to  the 
screen  after  a  long  absence. 

All  this  is  entertaining,  without  being  distinguished  or  artistic. 
But  it  is  significant  of  the  rapid  march  to  perfection  that  talking 
pictures  are  taking.  On  the  stage,  many  years  ago,  "On  Trial" 
was  revolutionary,  because  it  borrowed  the  cut-back  from  the 
movies.  As  each  witness  took  the  stand  his  testimony  was  vis- 
ualized by  shifting  the  action  to  the  scene  he  described.  Thus  the 
audience  saw  the  events  leading  up  to  and  following  the  murder  of 
Gerald  Trask. 

The  same  method  is  used  in  the  screen  version,  but  the  novelty 
comes  from  another  source — the.  spoken  dialogue.  It  has  the 
\  steady  interest  of  a  cross-examination,  as  well  as  the  excitement 
of  the  melodramatic  incidents  which  caused  the  trial  of  Robert 
Strickland  for  the  murder  of  his  friend,  Trask,  a  crime  which  he 
has  freely  confessed.   The  flashbacks  reveal  that  Gerald  Trask  was  a 


The  Cop; 


'Varsity." 


Tke  Screen  in  ReVie\\> 


69 


thoroughly 
his  natural 
it  is  pleas- 


now  a  worn  subject,  but  which  had  the  tang  of  novelty  in  1910, 
when  the  underworld  was  something  of  a  closed  book,  if  you 
can  conceive  that. 

Too  much  cannot  be  said  in  praise  of  Mr.  Haines 
expert  and  engaging  performance.    Even  though 
voice  has  not  been  caught  by  the  recording  process 
ant  and  distinct.    Vocally  he  is  overshadowed  by  Lionel  Barry 
more,  as  the  detective,  as  indeed  almost  every  player  is  who 
has  been  heard  in  the  films.    He  gives  a  wonderful  perform- 
ance, judged  either  by  silent  or  audible  standards.  Leila 
Hyams,  Karl  Dane,  Tully  Marshall,  and  Howard  Hickman 
each  contribute  to  the  success  of  the  picture  and  to  Mr.  Haines' 
lucky  month. 

A  Glamorous  and  Arresting  Lady. 

Pola  Negri  gives  beauty  and  dignity  to  "The  Woman  from 
Moscow,"  her  last  picture  for  Paramount.  Those  who  have 
remained  loyal  throughout  the  fluctuations  of  her  career  in  Hol- 
lywood will  recognize  this.  Other,  more  casual  filmgoers  may 
find  Pola's  farewell  heavy  and  the  picture  dull.  I  did  neither. 
True,  the  story  of  "Fedora,"  on  which  the  picture  is  based,  was 
written  in  1882  and  is  therefore  not  of  this  age ;  but  that  does 
not  make  it  less  effective  a  medium  for  Pola's  talent — a  talent 
above  and  beyond  that  required  by  "Our  Dancing  Daughters," 
or  any  of  the  so-called  modern  stories. 

For  five  years  the  complaint  most  often  heard,  was  the  lack  of 
stories  suitable  for  the  Negri  talent,  as  she  was  seen  in  one  role 
after  another,  while  she  herself  is  understood  to  have  urged  the 
production  of  "Fedora."  Well,  in  return  for  the  privilege  of  finally 
playing  the  role  of  the  Russian  princess,  she  gives  a  performance 
which,  to  ray  mind,  fully  equals  that  of  the  Czarina,  in  "Forbidden 
Paradise,"  considered  by  many  to  be  her  most  brilliant  exhibition. 
The  Princess  Fedora  is  a  more  somber  heroine  by  far,  as  indeed 
she  should  be.  Her  fiance  is  murdered,  it  is  thought  by  Nihilists. 
Fedora  takes  the  oath  of  vengeance  and  goes  to  Paris  in  search 
of  the  guilty  man.  She  meets  him  at  a  reception,  is  attracted  with- 
out knowing  his 
identity,  and  when 
she  learns  that  he 
is  the  murderer  it 
is  too  late.  She 
loves  him.  Fedora's 
struggle  between 
love  and  duty  is  all 
very  well  for  the 
modernists  to  scoff 
at,  but  we  see  it 
being  done  on  the 
screen  every  night 
by  players  who 
don't  know  what 
it's  all  about.  Pola 


'On  Trial. 


does    it  superbly, 


'The  Wind." 


'The  Woman  from  Moscow.'* 


"Show  People." 

her  hysterical  gayety  in  the  midst  of  impend- 
ing doom  being  an  unforgetable  moment  of 
histrionic  lightning. 

Of  course  the  outcome  of  all  this  is  tragic, 
but  it  never  ceases  to  be  picturesque,  thanks 
to  a  richly  atmospheric  production,  vital  di- 
rection, and  capital  acting  on  the  part  of 
every  member  of  the  cast.  The  period  of  the 
piece  is  vague,  for  Pola  wears  costumes  that 
frou-frou  through  several  decades  of  the 
nineteenth  century,  while  other  players  are 
more  up  to  date. 
It  doesn't  matter,  for  "The  Woman  From  Moscow"  is  frankly 
not  the  woman  of  to-day.  But  Pola  makes  her  glamorous,  arresting 
and  unique.  Norman  Kerry  also  responds  to  the  dignity  of  the 
occasion  by  giving  sincerity  instead  of  physical  exuberance,  as  usual, 
to  Loris  Ipanoff,  the  justified  murderer ;  and  in  the  long  cast  one 
finds  Paul  Lukas,  Lawrence  Grant,  Otto  Matiesen,  Maude  George 
— minus  her  cigar — Bodil  Rosing,  and  Jack  Luden  all  in  the  spirit 
of  the  occasion. 

In  the  Cyclone  Belt. 
Gloomy  and  even  morbid,  "The  Wind,"  Lillian  Gish's  final_  pic- 
ture for  Metro-Goldwyn,  is  nevertheless  a  fine  and  dignified  achieve- 
ment. Its  lack  of  lightness  will  stand  in  the  way  of  its  success  with 
the  many,  but  the  enjoyment  of  the- few— presuming  that  serious 
moviegoers  are  in  the  minority — is  assured. 

Continued  on  page  100 


70 


Tt  yTAURICE  CHEVALIER,  the  singing  playboy 
l^r  I  °^  tbe  French  shows.,  is  now  a  home  holder  in 
Hollywood.  His  is  a  name  worth  setting  down 
in  one's  fan  book.  He  is  the  snappiest  chap  that  has 
come  from  abroad  in  a  long  time,  but  his  knowledge 
of  geography  and  distance  is  not  outstanding. 

We  met  Chevalier  at  a  luncheon  given  by  the  Para- 
mount organization  to  celebrate  his  arrival.  He  is  un- 
der contract  to  star  in  a  series  of  pictures. 

Chevalier  made  a  pleasant  speech  at  the  affair.  He 
spoke  gayly  of  his  impressions  of  America. 

"I  came  to  New  York  the  first  time  about  a  year  ago. 
I  thought  maybe  I  also  come  out  to  Hollywood.  I  ar- 
rived in  New  York  on  Friday,  and  I  have  to  go  back 
the  next  week  to  Paris.    I  say  to  my  friends : 

"  'Here  is  what  I  do.  To-night  I  go  to  bed  early,  and 
rest  from  my  voyage.  To-morrow  night  I  go  to  the 
"Follies."  Sunday  I  think  I  go  out  to  see  my  friend, 
Douglas  Fairbanks,  in  Hollywood,  and  then  I  come  back 
to  attend  to  some  business  of  mine  in  New  York  on 
Monday.' 

"  'Ha-ha!'  my  friends  laugh  at  me,  but  I  do  not  know 
what  is  so  funny  to  them,  until  they  explain  to'  me. 
Now  I  know  bettair — much  bettair." 

Chevalier  is  fair  haired  and  blue  eyed.  He 
mingles  youth  with  a  certain  inveigling  ma- 
turity. He  is  married  to  a  French  revue  favor- 
ite, by  name  Yvonne  Vallee.  Chevalier  will 
sing  as  well  as  act  in  the  movies — pardon  us, 
the  talkies. 


Registering  the  news  and  gossip  of  the  studio 
colony,  gathered  here,  there  and  everywhere. 


Temperament  Duly  Chided. 

A  rather  ritzy  young  actress  was  out  in  front  of  the 
Paramount  studio,  upon  solicitation  of  the  publicity  de- 
partment, who  desired  to  have  her  pose  for  a  photo- 
graph with  an  automobile.  For  some  undetermined 
reason,  she  was  demurring  and  causing  considerable  em- 
barrassment. It  appeared  to  be  some  item  of  her  cos- 
tume or  coiffure  that  was  bothering  her. 

However,  at  that  moment  Evelyn  Brent  happened 
along,  and  knowing  something  of  the  star's  tempera- 
mental peculiarities,  though  not  the  reason  for  the  trouble 
she  was  observing,  tossed  off,  in  passing,  "That's  right, 

After  being  wel-    n?Y  de1ar ;  be  sure  you  don't  pose  with  any- 
thing less  than  a  Rolls-Royce." 


The  Eclat  of  Dedication. 

The  -formality  of  studio  ceremonies  that  are 
supposed  to  mark  the  inauguration  of  something 
or  other  positively  leaves  one  breathless.  The 
dedication  of  the  Fox  sound-picture  plant  was 
typical.  It  was  an  affair  of  more  speeches  than 
a  political  caucus,  or  a  meeting  of  the  town 
aldermen. 

As  far  as  stars  went,  Mary  Dun- 
can was  the  heroine  of  the  occa- 
sion. She  spoke  the  address  of 
dedication,  and  made  a  radiant  pic- 
ture, while  doing  so  in  a  rich,  wine- 
colored  street  dress.  About  20,000 
persons  who^  were  present  gave  her 
a  great  ovafion. 

Stars  who  were  introduced  to 
much,  applause  included  George 
O'Brien,  Lois  Moran,  Victor  Mc- 
Laglen,  Sue  .Carol,  Nancy  Drexel, 
June  Collycr, .  Louise  Dresser, 
Charles  Farrell,  Janet  Gaynor, 
Virginia  Valli,  Farrell  MacDon- 
ald,  Helen  Twelvetrees  and  vari- 
ous others.  Most  of  them  said  a 
few  words  through  the  micro- 
phone, and  to  cap  the  climax, 
Louise  Fazenda  invoked  consid- 
erable hilarity  by  neighing  like  a 
horse.  Louise  is  never  at  a  loss  5 
to  contribute  something  to  relieve 
the  strain  of  too  much  civic  .seri- 
ousness. The  huge  crowd  shared 
its  applause  with  the  builders  of 
the  studio,  and  for  the  plant  itself. 

Madge  Bellamy  was  unable  to       ,4  . 
attend  the  affair,  as  she  was  seri- 
ously ill  of  the  flu  at  her  beach  '  ■ 
home.   For  a  time  she  was  threat- 
ened with  pneumonia,  but  is  well 

Photo  by  Bull 


corned  as  a  ce- 
lebrity and  given 
a  role  opposite 
John  Gilbert,  Eva 
von  Berne  was 
sent  back  to 
Vienna  and  ob- 
scurity, because 
she  was  N.  G.  for 
talkies. 


Those  Garrulous  Flickers. 

Regard  that  day  as  utterly  wasted,  \\4iich 
does  not  find  one  new  name  invented  for  the 
speakie  movies.  Here  is  the  latest:  "The 
f/im-ema." 

Tom  Waxes  Patriotic. 

George  M.  Cohan  has  nothing  on  Tom  Mix, 
when  it  comes  to  flag  waving.    Tom  doesn't 
stop  at  a  mere  flag.  He  unfurls  a  whole  banner 
of  Americanism  when  the  occasion  arises. 
Tom  did  this  to  apparently  great  acclaim, 
when  he  announced  he  would  not 
submit  to  a  Parisian  divorce  action. 
He  returned  all  papers  appertaining 
to  the  suit  brought  by  Mrs.  Mix, 
which  he  was  supposed  to  sign,  to 
the  attorney  general  of  France,  de- 
clining to  fill  them  out.    He  simul- 
taneously had   a  typewritten  an- 
nouncement issued  to  the  newspa- 
pers, stating  that  his  reasons  were 
largely  patriotic  for  so  doing,  and 
that  if  there  was  to  be  a  divorce,  it 
should  be  procured  in  California. 

This  leaves  the  Mix  legal  separa- 
tion very  much  up  in  the  air — its 
habitual  state  for  the  past  half  year. 


Parrot  a  Movie  Singer. 

A  singing  parrot  is  the  latest  ac- 
quisition of  the  talkie  films.  His 
name  is  Josephus,  and  he  is  said  to, 
have  a  contratenor  voice — that  is,; 
if  you're  not  particular  about  vocal 
registers.     He    probably    will  be-, 
heard  in  one  of  the  early  Pathe  pic- 
tures, as  he  had  a  try-out  at  their 
studio. 

Josephus'  repertoire  includes  "I'm 
Forever  Blowing  Bubbles,"  "Over 
There,"  and  "It's  a  Long  Way  to 
Berlin."  Not  entirely  modern,  to 
be  sure,  but  efficacious  for  war-time 
films,  anyway.  He  can  sing  all 
these  through  correctly,  with  the 


71 


1=1  I 

■         m    m  r  '  f  _ 
■  •  a 


^Elza  S dialler t 


exception  of  "I'm  Forever  Blowing  Bubbles."  Instead 
of  using  the  words  "They  fly  so  high,  nearly  reach  the 
sky,"  he  sings  "They  fly  the  sky,"  leaves  out  a  line,  and 
lets  it  go  at  that.  And  nothing  will  induce  him  to  change 
this  purely  personal  interpretation. 


straight- 


Hamilton  Veers  to  Comedy. 

Because  he  has  always  been  such  a  serious, 
forward-looking  chap  on  the  screen,  one  would  never 
suspect  that  Neil  Hamilton  was  gifted  with  an  abundance 
of  comedy  talent.  However,  it  is  by  now  a  well-known 
fact  that  it  takes  only  a  single  picture  to  bring  out  an 
actor's  latent  qualifications.  And  the  film  that  seems  to 
have  done  the  trick  with  Hamilton,  better  than  any 
other,  is  "Three  Week-ends,"  starring  Clara  Bow. 

We  saw  this  at  a  preview,  and  it's  bound  to  bring 
Hamilton  into  popular  demand.  He  plays  a  young  in- 
surance agent  who,  in  his  efforts  to  make  good  and  to 
win  Clara,  goes  through 
some  very  amusing  experi- 
ences. Hamilton's  ability 
to  play  the  role  with  a  cer- 
tain well-defined  intent- 
ness  that  has  suited  his 
more  dramatic  portrayals, 
seems  to  make  it  all  the 
funnier.  • 

Significance  is  lent  to 
his  success  in  this  by  the 
fact  that  he  has  been  cast 
as  Colleen  Moore's  lead  in 
"That's  a  Bad  Girl." 


When  Sweet  Sound's 
Deleted. 

The  old  phrase,  "The 
face  on  the  cutting-room 
floor"  has  been  supplanted. 
The  new  one  is  "The  voice 
on  the  cutting-room  floor." 

It  applies  only  in  the 
case  of  Movietone,  Photo- 
tone,  and  related  devices, 
where  sound  is  recorded 
the  film.    With  Vita- 


Williams  undoubtedly  is  known  to  many  readers  of 
Picture  Play  1  by  virtue  of  his  work  in  Westerns,  but 
until  a  few  months  ago  he  was  but  a  name  for  most 
Hollywoodites. 

Since  playing  in  "Noah's  Ark,"  however,  in  which  he 
scored  a  hit,  he  has  been  signed  for  several  other  Warner 
features,  and  lias  played  in  "Our  Daily  Bread,"  the  F. 
W.  Murnau  production.  A  number  of  other  companies 
are  bidding  for  his -services. 

One  wonders  why,  since  he  is  now  winning  all  this 
interest,  he  was  not  "discovered"  sooner.  It  goes  to  show, 
perhaps,  that  the  bigger  producers  are,  after  all,  observ- 
ant of  only  a  limited  number  of  stars  and  pictures. 

Williams  has  been  on  the  screen  nine  years. 

More  Local  Color. 

What's  good  once  is  generally  good  twice.  Hence  a 
Metro-Goldwyn  company  now  luxuriating  in  Tahiti, 
headed  by  Ramon  Novarro,  the  object  being  the  making 
of  a  picture  called  "The  Pagan." 

Tahiti  is  where  "White  Shadows  in  the  South  Seas" 
was  filmed,  and  that  production  is  regarded  as  unusually 
successful.  It  could  not  be  amiss,  therefore,  that  an- 
other should  be  filmed  in  the  same  locale,  from  the  stu- 
dio viewpoint. 

"The  Pagan"  will  resemble  "White  Shadows,"  to  the 
extent  that  natives  will  play  the  minor  roles.  Aside  from 
Novarro,  leading  actors  include  Renee  Adoree,  Dorothy 
Janis,  a  new  "find,"  Donald  Crisp,  and  others. 

Worst  of  all,  according 
to  the  players'  standpoint, 
is  that  they  probably  will 
have  to  eat  their  Christ- 
mas dinner,  and  celebrate 
New  Year's  in  the  trop- 
ics. Take  it  from  those 
who  went  on  the  previous 
expedition,  that  is  any- 
thing but  an  enlivening 
prospect.  . 


A  Lady  in  Distress;  or,  Lost  in  London.    Gilda  Gray,  as 
she  appears  in  "Piccadilly,"  a  British  film. 


on 


phone,  the  recording  is 
done,  of  course,  on  a 
phonograph  record,  and 
so  some  other  appropriate 
term  will  have  to  be  in- 
vented for  that. 

"Big  Boy"  Williams 
Clicks. 

Motion-picture  careers 
are  surely  freakish.  For 
instance,  there's  Quinn 
"Big  Boy"  Williams,  who 
is  suddenly  attracting  the 
attention  of  all  the  stu- 
dios. 


...  "MM 

WmSmi: 


Senorita  Cinderella. 

The  flag  of  Mexico 
continues  to  wave  very 
blithely  over  the  cinema 
world,  the  reason  being 
that  another  of  her  daugh- 
ters is  highly  favored. 
The  name  of  the  latest 
find  is  Mona  Rico.  A 
rather  chubby,  nineteen- 
year-old  girl,  she  is  re- 
garded as  having  unlim- 
ited talent  by  no  less  a 
director  than  .  Ernst  Lu- 
bitsch.  She  assumed  one 
of  the  leading  parts  in 
"King  of  the  Mountains," 
starring  John  Barrymore, 
and  subsequently  was 
awarded  a  five-year  con- 
tract with  United  Artists. 

And  the  wonder  of  it  is 
that  she  only  had  to  work 
"eight  days  as  an  extra  to 
achieve  this  recognition. 


Stars  Become  Recitalists. 

Olga  Baclanova  has  a 
gorgeous  contralto  voice, 
ve  proof  of  -  it  not 
jo  over  the  radio. 


and 


72 


Hollywood  High  Lights 


She  sang  on  a  program  with  other  Paramount  stars  at 
the  inauguration  of  the  company's  broadcasting  station, 
and  the  numbers  that  she  rendered,  including  several  in 
her  native  Russian,  were  exceptionally  well  chosen.  Si- 
multaneously, announcement  was  made  that  she  is  soon 
to  be  heard  in  a  song  in  a  sound  picture. 

Buddy  Rogers  and  Nancy  Carroll  were  heard  in  a 
duet,  and  Rogers  played  several  instrumental  selections. 
He  is  very  versatile  musically,  expressing  his  talents  on 
almost  anything  from  a  bass  fiddle  to  a  jew's-harp.  Neil 
Hamilton  entertained  with  a  xylophone  solo. 

Who  would  have  believed  that  the  day  would  come 
when  the  movie  luminary  would  go  in  for  concert-giv- 
ing? These  programs  in  which  the  stars  take  part  will, 
however,  be  a  rather  regular  divertissement  in  the  future. 

Amiable  Now,  But  


They  have  started  off  with  a  rush !  When  will  they 
finish? 

And  cynically,  filmland  adds,  "Oh,  some  time,"  in  re- 
ferring to  "Queen  Kelly,"  Gloria  Swanson's  picture, 
which  Erich  von  Stroheim  is  directing. 

Nevertheless,  Von  is  doing  nobly.    He  was  a  little 
behind  schedule  on  location  scenes,  but  right  up  to  the 
minute    on  interiors 
and  studio  shots,  the  f~ 
last  we  heard.  Who 
knows  what  may  be 
happening,  though,  by 
the  time  this  is  read? 

We  have  this  to  say, 
however,  that  Gloria 
and  Von  appear  to  be 
the  most  amicable  pair 
imaginable.  So  may- 
be— though  we  have 
our  fingers  double 
crossed — their  part- 
nership will  be  highly 
successful.  We  still 
stick  to  our  slogan, 
namely,  that  no  mat- 
ter what  happens,  V on 
is  still  one  of  the 
greatest  directors  in 
the  films. 


1 


Guess  v/ho?    None  other  than  your  old  friends,  Edmund  Lowe  and 
Warner  Baxter,  on  a  lark  in  "In  Old  Arizona." 


Beads  and  spangles  are  out.  They  cause  static.  Hair, 
too,  must-  be  nicely  oiled. 

These  are  some  of  the  newest  rulings  for  the  talkies. 
Will  they  change  the  course  of  fashion  in  costumes  and 
coiffures  ? 

Anita  Page  had  to  discard  a  cloak,  while  playing  in 
"Broadway  Melody,"  because  the  crystal  trimmings  with 
which  it  was  adorned  caused  the  microphone  to  register 
sounds  that  proved  confusing.  Dorothy  Mackaill  had  a 
similar  experience,  while  making  dialogue  for  "His  Cap- 
tive Woman."  Then  little  Alice  White  afforded  a  real 
puzzler  in  "Naughty  Baby."  They  thought  that  she  was 
wearing  some  silken  material  that  was  causing  the  sound- 
recording  apparatus  to  become  temperamental.  After 
due  investigation,  they  determined  the  trouble  was  with 
her  coiffure,  and  suggested  the  addition  of  a  little  coco- 
nut oil  as  a  remedy.  Having  "electricity  in  one's  hair" 
isn't  appropriate  at  all  on  the  talkie  set. 

Recalling  a  Favorite. 

After  a  long  absence  from  the  records  of  filmland, 
the  name  of  Naomi  Childers  bobbed  up  recently.  She 
has  retired  from  the  screen,  of  course,  and  is,  or  was, 
at  least,  married  to  Luther  Reed,  a  Fox  supervisor. 


:  Mrs.  Reed  brought  suit  against  her  husband  for  di- 
vorce. She  has  a  son  by  the  marriage.  It  is  several 
years  since  she  has  done  any  screen  work,  though  at  one 
time  she  was  prominent  as  a  leading  woman. 

Nice  Bedtime  Ballad. 

Evidence  that  the  song  writers  may  capitalize  the 
personalities  of  movie  favorites  in  their  ditties,  is  fur- 
nished in  the  instance  of  Lon  Chaney.  Gus  Edwards 
has  written  a  number  about  him  to  be  used  in  a  short, 
film  song  revue.  The  title,  it  is  averred  by  Edwards,1 
was  suggested  by  some  of  Lon's  famous  nightmarish' 
portrayals.  It  is  called  "Mr.  Chaney's  Gonna  Get  You 
If  You  Don't  Watch  Out." 

Celestial  Expressiveness. 
Life  is  never  dull  for  Harold  Lloyd.  If  he  isn't 
careening  around  on  runaway  street  cars,  or  hanging 
to  the  ledge  of  a  supposedly  twelve-story  building,  then 
he  is  hiring  some  odd  characters,  like  giants,  midgets  or 
trained  bumblebees,  for  one  of  his  pictures. 

Recently  he  had  to  engage  a  whole  tong  of  Chinese 
for  his  new  picture  about  a  feud  in  the  Celestial  colony 
of  San  Francisco.    His  leading  Oriental  actors  gloried 

in  the  names  of  See 
Hoo  Sum,  Chew 
Chung,  Lee  Tin,  and 
Tom  Suey.  Lloyd 
also  made  his  picture 
with  sound,  and  the 
Chinese  became 
aware  of  this. 

One  day  one  of 
the  extras  was  hav- 
ing some  difficulty 
about  his  time  check. 
It  couldn't  seem  to 
be  found,  for  some 
mysterious  reason, 
and  the  timekeeper 
became  rather  dis- 
turbed about  it.  As 
there  was  a  line  wait- 
ing, he  asked  the 
Chinaman  to  come 
back  later.  That  in- 
dividual looked  at 
him  quizzically  for 
a  moment,  and  then  said,  "All  light,  all  light.  I  come 
back  by  an'  by.  You  have  tickee,  then.  You  have  tickee, 
sure.    No  tickee — no  talkee." 

Dissolving  Dual  Bonds. 

The  naivete  of  stars  in  matters  of  the  heart  is  posi- 
tively amazing. 

At  the  very  same  time  that  James  Hall  and  Merna 
Kennedy  made  known  that  their  engagement  was  off, 
Hall  also  declared  his  intention  of  procuring  a  divorce 
from  his  wife.  In  extenuation,  it  was  brought  out  that 
he  had  lived  apart  from  her  for  eight  years. 

However,  it  isn't  every  day  that  a  projected  separation 
from  a  wife  and  a  fiancee  are  announced,  simultaneously. 

It  is  rumored  that  Mr.  Hall  and  Miss  Kennedy  may 
wed  when  he  does  obtain  his  divorce. 

Contention  Over  Youngster. 

Frankie  Darro,  the  child  actor,  was  the  center  of  a 
court  battle  not  long  ago,  in  which  his  mother  and  father 
were  contenders  against  each  other  for  his  guardianship. 
The  custody  of  the  child  was  not  awarded  to  either  of 
them,  however,  but  to  a  third  party.  The  judge  made' 
the  very  significant  statement  that  he  thought  an  effort 


Hollywood  High  Lights 


73 


should  be  invoked  to  keep  the  child  out  of  motion  pic- 
tures. Frankie's  earning  capacity  was  cited  as  three 
hundred  dollars  a  week.    He  is  eleven  years  of  aee. 

Slickum  Turns  Thespian. 

It  was  a  lucky  day  for  Slickum,  the  bootblack  at  the 
M.-G.-M.  studio,  when  King  Vidor  decided  to  direct 
a  picture  with  an  all-colored  cast.  For  now  Slickum  has 
given  up  his  polishing  of  handsome  and  fair  stars'  foot- 
wear, and  gone  down  South  to  be  both  an  actor  and  an 
assistant  director  on  a  production.  Slickum  was  once 
in  vaudeville,  and  took  the  bootblack  job  at  the  studio 
in  the  hope  of  some  day  becoming  an  actor.  The  de- 
mand for  colored  talent  was  so  slight,  most  of  the  time, 
that  he  only  got  a  few  bits  to  do.  Now  he's  very  nearly 
the  "head  man  of  the  show." 

The  Vidor  picture  is  called  "Hallelujah." 

Gilpin  in  Speakie. 

Speaking  of  colored  folk  reminds  us  that  Charles 
Gilpin,  the  Negro  stage  star,  who  created  a  sensation  in 
Eugene  O'Neill's  "Emperor  Jones,"  has  been  engaged 
by  Fox  to  appear  in  "Lonesome  Road."  Naturally  it 
will  have  dialogue. 

New  Flights  of  Fancy. 

Going  to  location  by  airplane  is  being  seriously  con- 
sidered at  the  studios.  It  is  regarded  as  the  coming 
thing,  though  the  time  is  not  set  yet.  Nevertheless,  don't 
be  a  bit  surprised,  no  matter  where  you  happen  to  live, 
in  the  United  States  or  elsewhere,  if  a  picture  company 
should  suddenly  flit  down  from  the  skies  in  your  neigh- 
borhood, set  up  their  cameras  and  start  to  work,  just  as 
if  it  were  all  part  of  the  day's  business.  Which,  to  be 
sure,  it  will  be. 

Viima  Will  Be  American. 

Vilma  Banky  admits  to  being  twenty-six  years  of  age. 
It^was  done  very  legally  and  seriously,  when  she  re- 
cently took  out  her  naturalization  papers  to  become  an 
American  citizen.  Though  she  is  married  to  Rod  La 
Rocque,  who  is  a  native  of  this  country,  the  new  Federal 
law  requires  the  wife,  in  such  a  case,  to  signify  her  per- 
sonal allegiance.  However,  the  law,  owing  to  this  condi- 
tion of  her  marriage,  may  also  admit  her  to  citizenship  as 
early  as  a  month  after  application. 

Vilma  and  Rod  were  guests  of  honor  at  a  banquet  of 
the  Los  Angeles  Repertory  Theater,  a  new  organization 
modeled  after  the  Theater  Guild  in  New  York.  They 
were  practically  the  only  film  folk  present,  and  La  Roque 
made  an  especially  effective  speech,  which  seemed  to 
please  the  large  gathering.  Vilma  was  introduced  as  a 
"beautiful  and  radiant  emissary  from  Europe." 

Two  Glittering  Premieres. 

Clive  Brook  has  achieved  distinction  as  a  master  of 
ceremonies.  His  fine  diction  was  remarked  by  every- 
body at  the  opening  of  "Interference,"  where  he  spoke 
before  an  enthusiastic  audience,  and  particularly  praised 
Roy  J.  Pomeroy,  who  made  the  talking  version. 

"Interference"  is  undoubtedly  one  of  the  most  im- 
portant sound  pictures  to  date.  It  shows  what  intelli- 
gent handling  can  mean  for  the  new  and  much-debated 
synchronizing  device.  The  voices  of  the  players  are 
exceptionally  smooth  and  resonant,  and  William  Powell, 
Evelyn  Brent  and  others  are  regarded  as  having  a  great 
future  in  dialogue  pictures.  Miss  Brent's  success  is  in- 
dicated by  the  fact  that,  after  considerable  uncertainty, 
she .  has  signed  a  new  contract  for  a  long  term  with 
Paramount.  v  -.-  t  -  ■ 

The  opening  of  "Interference"  drew  one  of  the  most 
brilliant  audiences,  but  was  fully  rivaled  by  that  which 


attended  "Noah's  Ark"  at  Grauman's  Chinese  Theater, 
only  a  few  days  preceding.  At  this  affair  Conrad  Nagel 
was  the  generalissimo  of  the  ceremonies. 

Dolores  in  "Evangeline." 

Dolores  del  Rio  is  home — and  busy.  She  is  making 
Longfellow's  "Evangeline,"  which  every  school  child 
knows  something  about,  even  nowadays.  Nobody  has 
yet  suggested  that  it  be  called  an  "epic,"  but  then  there 
is  time  enough  for  that  when  the  publicity  trumpeters 
start  to  chant  its  greatness  as  a  production. 

Dolores  came  home  with  a  new  dog,  and  ten  trunks 
of  clothes  from  Europe.  She  was  met  at  the  train  by 
numerous  personal  friends.  Her  director,  Edwin  Ca- 
rewe,  was  there,  and  so,  too,  were  Roland  Drew  and 
LeRoy  Mason,  who  have  played  leads  in  her  films. 

Carewe  came  back  from  Europe  ahead  of  her,  and  a 
certain  mystery  seemed  to  surround  this.  There  were 
rumors  of  differences  between  them,  but  they  both  de- 
nied these.  Nevertheless  Dolores,  on  her  arrival,  rather 
whimsically  managed  to  evade  posing  for  a  picture  with 
her  director  and  discoverer,  despite  the  solicitations  of 
the  photographers  who  were  on  hand  to  snap  her  for 
the  newspapers.  For  some  reason  or  other,  we  can't 
seem  to  take  the  reports  of  a  disagreement  between 
Dolores  and  Carewe  very  seriously. 

Bebe  Leaving  Paramount. 

Bebe  Daniels'  eight  years  association  with  Paramount 
is  nearing  its  termination.  For  a  time,  perhaps,  she  will 
free  lance. 

Few  stars  have  been  with  any  one  organization  longer 
than  Bebe.  The  length  of  her  contract  gave  her  a  sort 
of  deanship  on  the  Paramount  lot.  She  never  actually 
became  the  queen  during  her  sojourn,  but  she  has  been 
reckoned  one  of  the  company's  most  consistent  successes. 

Bebe  is  by  way  of  being  one  of  the  shrewdest  business 
women  in  Hollywood.  Her  activities  are  mostly  limited 
to  real  estate,  and  her  investments  have  been  most  for- 
tunate. Her  latest  enterprise  is  the  building  of  a  dormi- 
tory-apartment building,  in  the  immediate  vicinity  of  the 
Continued  on  page  92 


74 


Photo  by  White  Studio 

"Oh,  Honey,  oh,  Babe,"  is  Jack's  favorite  expression  to  Estelle, 
and  it  sums  up  his  boyish  exuberance  of  feeling. 

Eartky  and  Square 

With  al!  the  excitements  of  fame,  Estelle  Taylor  and  Jack 
Dempsey  refuse  to  be  shaken  from  their  firm  hold  on 
honesty  and  reality,  yet  they  are  the  most  glamorous  and 
surprising  couple  in  Hollywood. 


By  Esther  Carples 


people 


are ! 


Now, 


"O  one  knows  how  nice  som 
take  Estelle  Taylor. 

Suppose  it  was  a  rainy  day,  and  you  felt  like 
talking  with  some  one  warm  and  particularly  "all  there." 
Suppose  you  wanted  to  spend  an  hour  with  some  one 
earthy  and  square,  and  by  chance  you  gave  yourself  an 
assignment  to  see  Estelle  Taylor. 

Estelle  is  warm  with  the  low-down  on  things.  She  is 
so  real  that  she  amazes  you.  You  think  that  if  you  were 
in  her  place,  you  wouldn't  have  come  out  quite  as  whole. 
She  and  Jack  are  happy  with  such  intimate  reality,  that 
the  posings  of  happiness  of  other  stars  seem  inconse- 
quential. 

Estelle  will  tell  you  that  she  isn't  smart.  She  and  Jack 
are  not  sophisticates  yet,  so  Estelle,  knowing  much  and 
feeling  much,  says  she  isn't  smart. 

They  have  known  the  same  backgrounds,  and  they  still 
coach  each  other  in  a  friendly  game  called  learning  life. 
Jack  is  a  hundred  times  more  articulate  than  when  she 


married  him,  but  his  fullest  expression  is  still 
coltish  playfulness.  When  he  is  pleased,  he 
will  say,  "Oh,  Honey,  oh,  Babe." 

Jack  thinks  Tunney's  racket  of  highbrowism 
is  a  scream.  He  thinks  the  rackets  of  the 
drawing-room  are  funny,  too.  He  knows  they 
are  funny,  but  he  can't  signal  to  Estelle  with 
innuendo  and  cynicism,  so  he  gets  lumbering 
and  playful.  At  a  gathering  in  Washington 
not  long  ago,  something  got  Jack's  goat,  and 
the  Congressional  ladies  got  the  shock  of  their 
lives. 

"Give  me  one  of  those  great,  big  kisses  you're 
so  famous  for,  Honey  dear,"  Jack  pouted  at 
Estelle.  It  burned  Estelle  up.  But  all  Jack 
would  explain  was,  "That's  that,  Honey." 

Jack  is  keyed  to  tremendous  exuberance,  and 
Estelle  doesn't  pull  him  down.  There  is  the 
rose  garden  of  their  Hollywood  home.  Jack 
won't  have  anything  about  him  that  isn't  of 
extravagant  proportions.  He  planted  more 
rose  bushes  than  any  one  else  in  Hollywood, 
and  so  they  fill  the  place  at  every  turn,  bloom- 
ing in  perpetual  rotation,  as  prickly  to  negotiate 
as  barbed  wire.  They've  strangled  every  other 
growing  thing  on  the  place,  and  torn  Estelle's 
tulips  to  pieces ;  but  the  roses  are  gorgeous  and 
abundant,  and  in  the  heavyweight-champion- 
ship class. 

"Our  marriage  is  a  nice  kind  of  marriage," 
said  Estelle.  "We  have  no  squabbles,  and  there 
is  more  to  it  than  just  love.  I  think  it  has  done 
everything  for  me.  It's  got  inside  me.  If 
anything  happened  to  this  marriage,  I  couldn't 
stand  it.  I  had  some  idea  of  what  life  was, 
and  when  I  married  Jack  it  opened  the  way  to 
understanding.  I  always  get  a  big  laugh  when 
people  say  that  marriage  interferes  with  living. 
If  anything  tends  toward  making  you  happy 
and  contented,  that  thing  can't  become  an  issue. 

"Before  I  married  Jack  I  had  the  feeling  of 
being  outside  a  locked  room,  where  precious 
things  were  kept,  and  the  door  was  shut. 
Every  one  has  the  feeling  that  there  is  such  a 
room,  but  they  feel  that  there  are  too  many 
doors.  But  marriage  took  the  fear  out  of  me. 
To  me  fear  is  hell.  If  we  are  afraid  of  any- 
thing, we  are  licked  at  the  start. 

"And  Jack,  in  spite  of  his  success,  was  the 
same  way.    He  was  so  self-conscious  that  he 
didn't  even  dance — he  kept  his  hands  in  his 
■pockets.    Now  he  just  relaxes.    I  used  to  say 
to  him,  'Why  are  you  so  self-conscious  ?  You're 
the  biggest  man  in  the  room.    They  are  all  dressed  in 
their  best  because  you  are  here.    They  stare  at  you  be- 
cause they  like  you.' 

"But  it  took  Jack  a  long  time  to  get  accustomed  to 
seeing  things  that  way.  He  thought  people  were  point- 
ing at  him  and  saying,  'Look  at  the  fighter  dressed  up  in 
a  tuxedo.'  He  never  used  to  analyze  anything,  but  jump 
at  conclusions.    Now  he  trusts  himself." 

"And  that's  how  you  got  your  reputation  of  being  the 
big  boss  of  the  duo?" 

"That's  how  I  got  it,"  drawled  Estelle.  "By  making 
Jack  a  present  of  himself. 

"Jack  and  I  just  had  to  figure  things  out.  Sometimes 
I  think  that  if  you  don't  do  something  bad,  you  haven't 
got  character.  As  a  little  girl  I  wasn't  goody-good.  I 
used  to  climb  over  our  back  fence  in  Wilmington,  and 
run  off  with  the  boys,  because  I  had  more  energy  than  I 
knew  what  to  do  with.  My  grandmother  found  me 
Continued  on  page  106 


83 


Aren't  Women 
Funny? 

This  unusual  article  contends  that  comediennes 
are  just  as  funny  as  comedians,  but  they  aren't 
given    a    chance — or    haven't    the    courage  to 
sacrifice  their  good  looks. 

B?  H.  A.  Wood  mansee 


EVERY  woman  in  the  land  will  testify  to  the 
fact  that  men  are  funny — especially  husbands. 
"I'll  never  forget  the  look  on  John's  face 
when  he  unscrewedi  the  radiator  cap  and  the  muddy 
water  boiled  up  over  his  dean  shirt !"  many  a  wife 
has  chuckled  to  her  women  friends. 

What  woman  hasn't  some  such  anecdote  with  which 
to  entertain  her  acquaintances?  To  the  average  wife, 
the  miscalculations  of  her  husband  are  a  never-failing 


source  of  amusement 

But  if  men  are 
funny,  aren't 
women  funny,  too? 
It  is  true  that  many 
a  man,  recounting 
' the  latest  eccen- 
tricity of  his  wife, 
or  girl  friend,  has 
exclaimed:  "Aren't 
women  funny?" 
But  more  often  the 
remark  is  delivered 
with  a  gesture  of 
despair,  rather  than 
with  a  laugh. 

Let's  see  how  the 
funny  women  of 
the  screen  measure 
up  to  the  funny 
men.  Who  are  the 
prominent  male 


Men  must  be  funny. 


Photo  Jjy  Autrey 

Marjorie  Beebe  is 
an  example  of  what 
a  feminine  funster 
can  do,  when  given 
half  a  chance. 


fun  -  makers  ? 
Take  a  deep 
breath,  and 
wade  through 
this  list: 

Charlie 
Chaplin,  Har- 
old Lloyd, 
Harry  Lang- 
d  o  n,  Buster 
Keaton,  Ches- 
t  e  r  Conklin, 
Ford  Ster- 
ling, Wallace 
Beery,  Ray- 
mond Hatton, 
Reginald  Denny,  Doug- 
las MacLean,  Raymond 
Griffith,  Clyde  Cook, 
Monty  Banks,  Johnny 
Hines,  Karl  Dane, 
George  K.  Arthur,  Bert 
Roach,  Edward  Everett 
Horton,  Charles  Mur- 
ray,   George  Sidney, 


Arthur  Lake,  Glenn  Tryon,  William  Austin,  Mack 
Swain,  Arthur  Stone,  and  W.  C.  Fields. 

Every  man-jack  of  them  is  a  star  or  featured  player 
in  important  pictures !  Compare  this  aggregation  with 
their  feminine  rivals.  One  thinks  of  Louise  Fazenda, 
Mabel  Normand,  and  Marion  Davies.  Then  of  Dot 
Farley,  Polly  Moran,  Babe  London,  and  those  colleagues 
of  the  very  late  John  Bunny,  Flora  Finch  and  Kate 
Price.  There  are  other  comediennes,  but  the  list,  in 
comparison  with  the  first,  is  far  from  imposing.  It 
looks  even  smaller,  if  we  consider  the  host  of  two-reel 
Arnedy  players,  headed  by  such  figures  as  Charlie  Chase, 
Bobby  Veron,  Lupino  Lane,  and  Billy  Dooley.  The  short 
comedies  usually  have  men  stars. 

Some  one  asks :  "How  about  Colleen  Moore,  Clara 
Bow,  Bebe  Daniels,  Laura  La  Plante,  Marie  Prevost, 
et  al?  Do  the  achievements  of  these  stars  entitle  them 
to  be  classed  as  comediennes,  and  are  the  ladies  going 
to  make  a  showing  in  that  field  after  all  ?  But  this  list 
might  be  more  than  matched  by  a  list  of  men  such  as 
Richard  Dix,.  Rod  La  Rocque,  Jack  Mulhall,  and  Owen: 
and  Tom  Moore.  The  men  and  women  of  this  class  are 
not,  strictly  speaking,  comedians,  for  their  forte  is  not 
comedy,  but  romantic  roles  with  comedy  trimmings. 
Although  they  play  comedy  well,  audiences  do  not  come 
to  theaters  primarily  to  laugh  at  them. 

Even  among  screen  children,  the  male  seems  to  get 
more  laughs.  Jackie  Coogan  was  funner  than  Baby 
Peggy.  The  amusing  "Our  Gang"  is  mostly  masculine, 
and  the  kids  that  amuse  us  most  are  the  rotund  Joe  Cobb 
and  little  black  Farina.  In  the  stilt  younger  set,  "Big- 
Boy''  and  "Snookums"  are  ahead  of  the  girl  infants  in 
getting  laughs. 


84 


Aren't  Women  Funny? 


Photo  by  Apeda 

Flora  Finch  was  one  of  the  first  comediennes  to  achieve  a 
following  in  the  early  days  of  the  movies. 


Of  course  there  are  many  who,  appreciating  the  talents  of 
our  feminine  stars,  will  say  that  women  have  a  humor 
different  than  the  usually  broad,  masculine  variety,  a  humor 
which  is  less  obvious,  and  which  the  casual  observer  may 
set  down  as  cuteness  or  charm.  There  is  probably  con- 
siderable truth  in  this.  But  where  is  the  female  Charlie 
Chaplin,  or  Harry  Langdon  ?  What  comedienne  is  pulling 
audiences  into  theaters  as  Harold  Lloyd  is? 

But  it  is  not  the  writer's  intention  to  imply  that  women's 
comedy  talents  are  "not  so  much."  Rather  it  seems  likely 
that  women  have  greater  comic  possibilities  than  any  one 
would  suspect — possibilities  that  have  been  shamefully 
neglected  by  picture  producers,  and  even  by  the  women  who 
possess  them. 

When  producers  discover  latent  comedians,  they  develop 
and  encourage  them.  But  for  the  most  part  they  have  been 
singularly  indifferent  toward  the  women.  Of  late  years, 
most  of  their  efforts  to  gather  in  feminine  comedy  talent 
has  been  exercised  in  drafting  from  the  stage  such  come- 
diennes as  Beatrice  Lillie  and  the  Duncan  Sisters.  The 
failure  of  these  clever  performers  to  put  across  their  com- 
edy on  celluloid  as  well  as  they  do  on  the  stage  has  perhaps 
strengthened  the  impression  that  the  screen  isn't  the  best 
place  for  the  funny  woman. 

Audiences  want  girls  with  "It,"  the  producers  believe. 
Accordingly,  they  are  searching  the  globe  for  beautiful 
Every  year  they  give  scores  of  girls  their  chances  as  leading  ladies 
and  featured  players,  to  discover  if  they  have  that  magical  "It." 
They  are  yearning  for  more  Clara  Bows  and  Colleen  Moores,  and 
they  are  helping  likely  girls  to  get  their  stuff  across. 
.  But  it  is  a  pity  that  some  of  the  frantic  searching  isn't  directed 
toward  the  discovery  and  development  of  new  comediennes  like 
the  Mabel  Normand  of  other  days 


SI 


Mabel  Nor- 
mand's  droll- 
ery and  infec- 
tious vivacity 
made  her 
unique  among 
comediennes. 


One  of  the  things  that  set 


Miss  Normand  apart  from  the  host  of  merely 
good-looking  girls  who  thronged  the  old  Sen- 
nett  lot  was  that  droll,  slightly  pop-eyed 
expression.  That,  with  beauty  and  infectious 
vivacity,  made  her  one  of  America's  leading 
funsters.  But,  mindful  of  this,  do  producers 
scan  the  faces  of  unknown  aspirants  and  say: 
"That  girl  is  more  than  good  looking;  she 
has  comical  expressions  and  mannerisms ; 
let's  give  her  a  chance  to  play  comedy — she 
might  be  a  wow"?  Very  seldom.  They  are 
too  busy  looking  for  beauty-contest  winners, 
conventional  types,  camera-perfect  faces. 
And,  unfortunately  for  the  girl  with  the  droll 
look,  it  is  usually  caused  by  a  slightly  un- 
orthodox nose,  slightly  crossed,  eyes,  or  some 
other  minor  irregularity  of  features.  Or  she 
lacks  the  poise  and  carriage  of  a  clothes  horse. 
And  that,  with  most  producers,  rules  her  out. 

Why  don't  producers  scan  new  faces  for 
those  quaint  Normand  eyes,  for  the  saucy 
nose  of  Marie  Prevost?  There 
must  be  scores  of  girls,  many 
of  them  now  working  as  ob- 
scure extras,  who  have  those 
little  comicalities  of  expres- 
sion and  personality,  which 
would  make  audiences  laugh— 
and  like  them.  It  should  be 
worth  one  million  dollars  to 
any  producer  to  discover  a 
good-looking  young  actress, 
with  that  droll,  Harry  Lang- 
don baby  stare,  even  if  she 
should  happen  to  have  bow- 
legs. 

But  instead  of  new 
comediennes,  every 
year  producers  push 
forward  countless 
new  ingenues,  sweet- 
girl   types,  maidens 
suspected  of  having 
the  all-desired  "It." 
Meanwhile  many  an 
ugly  duckling,  who 
might  become  a  com- 
edy swan,  remains  in 
the  background. 
Only  once  in  a  blue 
moon   does   a  new 
comedienne  of  great 
promise  flash  into 
the  electrics.  With 
few  exceptions,  the 
screen  comediennes 
of  to-day  hark  back 
to  the  old  Sennett 
days,  or  even  further 
back.    Or  else  they 
have   come  to  pic- 
tures from  the  stage, 
with  reputations  al- 
ready made. 
To  tell  the  truth,  it  is  as 
much  the  fault  of  the  girls 
themselves  as  of  the  pro- 
ducers, that  there  is  so  little 
feminine  comedy  talent  on 
display.    Girls  are  sensitive 
about. their  good  looks.  The 
Continued  on  page  107 


89 


Backward,  Turn 
Backward 


86 


Photo  by  Louise 

Anita  Page  made  a  grave  mistake 
which  ruined  her  chances  of  success 
— almost. 


AWEARY  vaudeville  act, 
consisting  of  a  father  and 
son,  disbanded — the  son  to 
seek  a  more  promising  future  in 
Hollywood.     He  hoped  to  be  a 
screen  actor. 

Days  and  weeks  were  passed  in 
looking  for  work.  The  little  store 
of  money  was  exhausted.  In  suc- 
cession the  young  man  worked  as 
a  super  in  a  movie  presentation,  as 
an  usher  in  a  theater,  as  a  handy 
man  in  various  jobs  in  and  out  of 
the  movies,  as  a  property  man  in 
a  small  studio,  and  as  a  stunt  man 
in  serials,  risking  his  life  in  un- 
named bits,  because  he  thought  it 
brought  him  nearer  to  his  goal. 

One  afternoon  the  unit  he  was 
attached  to  tried  to  get  a  beach 
scene.  The  crowd  persisted  in 
watching  the  camera  instead  of 
being  itself,  and  the  director  was 
in  despair.  Just  then  he  saw  his 
property  man  grotesquely  cavort- 
ing about  at  the  edge  of  the  water. 
The  crowd  immediately  stared  at 
this  clown,  realism  was  restored, 
and  the  scene  was  successfuly 
taken. 

All  the  youth  received  was  a 
few  thanks  and  a  wrenched  back 
due  to  his  vigorous  antics.  An 
hour  later  the  hero  of  the  minute 
was  entirely  forgotten.     It  was 


When  They 


Almost  every  one  in  the  movies  has  experienced 
difficulties  and  setbacks,  but  to  some  has  come  a 
dramatic  moment  when  failure  to  hold  on  would  have 
meant  lasting  defeat.  This  unusual  story  recounts 
triumphs  over  almost  tragic  handicaps. 


then  that  despair  almost  blanketed  him.  Everything  had 
failed  to  get  him  a  hearing,  even  a  freak  opportunity.  He 
was  nearly  giving  way  to  the  accumulation  of  defeats, 
when  the  director  sent  for  him.  To  make  him  an  actor 
at  last?    No,  to  give  him  a  job  as  a  gag  man. 

It  was- not  until  he  had  ground  away  for  some  time  at 
this  alien  job,  that  his  persistency  got  him  a  test  for  a  role 
in  "Our  Dancing  Daughters,"  and  when  he  came  out  of 
the  test  there  was  not  only  the  role,  but  a  contract,  too. 

And  that  is  the  story  of  Eddie  Nugent,  now  a  featured 
player  for  Metro-Goldwyn,  and  acclaimed  a  star  in  the 
making. 

Nugent  is  a  type  in  the  obstacle  race  that  is  being  run 
every  day  in  Hollywood,  as  well  as  in  the  other  centers  of 
activity  in  this  country — for  prizes  other  than  celebrity  on 
the  screen.  And  the  chief  qualifications  in  this  race  are 
the  qualifications  of  every  important  race,  qualifications  the 

naming  of  which  has  become  trite 
and  hackneyed :  grit,  endurance, 
and  faith. 

There  is  no  lack  of  talent  in  the 
world ;  rather  a  superfluity  of  it. 
Pick  up  any  newspaper  and  you 
will  find  in  it  letters  written  to  the 
editor  by  absolute  unknowns,  in  as 
fine  English,  with  as  a  good  a 
sense  of  composition  and,  expres- 
sion as  any  recognized  author. 
Throughout  the  country  you  will 
find  hundreds  of  men  and  women 
singing  in  little  churches  and  local 
concerts  with  as  good  voices  as 
you  can  hear  on  the  metropolitan 
stages.  In  every  city,  town,  and 
village  there  are  enough  amateurs 
to  present  a  really  creditable  per- 
formance of  a  play.  And  so  you 
can  trace  talent  through  all  the  arts. 
There  is  no  end  to  it,  but  only 
comparatively  few  succeed !  It  is 
the  accompanying  qualities  that 
push  the  talented  person  out  of  the 
ranks. 

For  success  on  the  screen,  grit 
and  endurance  are  needed  in  great 
abundance,  for  the  competition  is 
concentrated  in  a  small  area.  With- 
out grit  and  endurance  the  aspirant 
is  in  for  a  losing  race. 

Take  the  case  of  Richard  Arlen, 
another  of  the  younger  screen  ar- 
rivals. 

Arlen  came  to  Hollywood  six 
years  ago,  with  twenty-two  dollars 
in  his  pocket.  He  had  lived 
through  a  restless  career  previ- 
ously, having  been  through  college, 
the  war — in  the  air  service — news- 


Edward  Nugent's  ambition  to  act  was 
handicapped  by  his  being  a  property  man. 


87 


Faced  Oblivion 


Joseph  W.  Kaye 


Photo  by  Eichee 

Richard  Arlen  capitalized  on  an  acci- 
dent— successfully. 


paper  work,  and  the  oil  fields. 

The  idea  of  becoming"  an 
actor  had  formed  a  sort  of 
background  to  all  these  ac- 
tivities, becoming  more  pro- 
nounced as  he  changed  from 
one  to  the  other. 

In  Hollywood  his  problem 
was  how  to  make  the  twenty- 
two  dollars  last  until  some- 
thing turned  up,  and  with 
fine  executive  ability  he  made 
it  last  at  the  rate  of  fourteen 
cents  a  day.  He  made  cease- 
less rounds  of  the  studios, 
without  success,  until  he  got 
a  job — but  it  was  not  acting. 
He  was  hired  as  handy  man 
around  the  Paramount  film 
laboratory. 

One  of  his  jobs  was  mak- 
ing deliveries  on  a  motor 
cycle.  It  happened  that  a 
smash-up  occurred,  and 
Arlen  was  taken  into  the 
studio  hospital  with  a  broken 

le°" 

Here  the  young  man  des- 
perately determined  to  capi- 
talize the  accident  and  play 
on  the  sympathy  of  any  one 
of  importance  who  dropped 
into  the  hospital.  One  day 
there  came  in  the  casting  di- 
rector, and  Arlen  told  his 
story,  the  story  of  how  an 
ambitious  youth  had  come  to 
carve  his  way  in  pictures  and 
had  his  leg  broken  in  menial 
work  instead. 

The  director  sympathized  and  promised  him  work  as 
an  extra  when  he  was  out  of  the  hospital.'  This  promise 
was  kept.  Arlen  thought  the  gates  of  paradise  were 
now  opened  for  him,  but  for  a  long  time  all  he  did 
was  to  play  one  extra  part  after  another  until  alriiost  all 
the  glamour  and  enthusiasm  had  vanished  from  his 
vision.  He  was  elevated  to  small  roles  and  knocked 
about  here  and  there,  with  so  little  progress  that  even- 
tually he  became  so  disappointed,  so  disillusioned,  so 
discouraged  that  he  decided  to  go  into  some  other 
profession. 

But  each  time  he  was  on  the  point  of  giving  up,  he 
told  himself  he  would  stick  it  out  a  little  longer,  and 
at  last  he  was  rewarded. 

Still  playing  without  any  distinction,  and  still  hoping 
to  be  allowed  to  play  the  parts  he  felt  himself  fitted  for, 
he  applied  for  one  of  the  minor  roles  in  "Old  Ironsides." 
James  Cruze  selected  him  from  other  applicants,  and  he 


Photo  by  Spun- 
Evelyn    Brent    suffered    under  the 
stigma  of  being  a  small-time  player. 


Photo  by  Freulich 

Public  opinion  was  against  Mary  Nolan,  but 
she  swung  it  around  to  her  favor. 

shone  in  the  less-than-magnificent  part  of 
a  sublieutenant. 

His  work  finished,  he  wandered  back 
to  the  studio,  and  was  given  a  test  for  the 
role  of  David  Armstrong,  in  "Wings." 
Nearly  every  other  juvenile  in  Hollywood 
had  been  tested  for  this  role,  but  Arlen  got 
it,  partly  because  he  had  happened  to  be 
an  air  pilot  in  the  war,  and  could  therefore 
play  the  part  with  technical  expertness. 

It  was  his  work  in  this  picture  that 
finally  brought  him  the  recognition  he  had 
almost  despaired  of  ever  obtaining. 

Evelyn  Brent  has  been  in  pictures  for 
some  time.  But  it  is  only  within  the  last 
year  or  so  that  she  has  attracted  wide- 
spread notice.  She  plugged  along  from 
one  insignificant  part  to  another,  and  could  not  shake 
off  the  stamp  of  the  small-time  player  that  seemed  to 
stick  to  her.  Once  her  sky  brightened.  Douglas  Fair- 
banks engaged  her  to  play  opposite  him  in  "Monsieur 
Beaucaire."  Now,  she  thought,  her  troubles  were  over. 
But  for  seven  months  she  waited  with  yearning  patience 
for  that  role  to  materialize,  and  finally  it  petered  out  to 
nothingness.  There  was  mix-up  over  the  rights  to  the 
Booth  Tarkington  story,  and  it  was  Valentino  who  got 
them  in  the  end,  not  Fairbanks. 

Once  more  she  was  set  adrift.  She  next  went  through 
the  grind  of  starring  in  a  series  of  fourteen  crook- 
melodramas,  which  consumed  an  enormous  amount  of 
vitality  and  left  her,  as  far  as  reputation  went,  practi- 
cally where  she  had  started. 

The  crook  series  being  over,  she  was  engaged  by 
Paramount  to  play  in  the  screen  version  of  the  stage 
play,  "Love  'Em  and  Leave  'Em,"  the  oddest  contrast 
Continued  on  page  110 


riwmmrin 


88 

All  the  Colors  of  the  Spectrum 

Are  combined  in  white,  as  you  probably  learned  in  high  school.  And  all  the 
colors  merged  together  make  these  faces  all  the  more  beautiful,  don't  they? 


mm 


sa- 


lt's a  new  and  dazzling  Pola 
Negri,  above,  who  leaves  her 
brunet  personality  'behind. 


Helene  Costello,  above,  look" 
far  more  sophisticated  and  bril 
liant  as  a  blonde. 


Corinne  Griffith,  above,  ap- 
pears far  younger  and  more 
appealing  with  white  hair, 
than  she  does  in  her  own 
brown  tresses. 


Jola    Mendez,    left,  looks 
sweet   and   trusting   in  the 
white  wig  she  is  wearing. 


A  powdered  wig  transforms 
Mary    Astor,    right,  from 
sweet  simplicity  into  a  court 
beauty. 


89 


Xke  i  emperamental  Dumb 

Directors  not  only  have  to  worry  about  the  "nerves"  of  Gloria  Swanson, 
Mae  Murray,  Jetta  Goudal,  and  others,  but  the  "dumb"  animals  give  them 

just  as  much,  if  not  more,  trouble. 

B$  Ruth  M.  Tildeslej? 

MOVIE  directors  feel,  at  times,  that  temperament,  as  an  art,  is  too 
highly  developed  in  such  lovely  ladies  as  Pola  Negri,  Lupe  Velez, 
Mae  Murray,  Jetta  Goudal,  and  their  ilk.    Much  is  said  about  it, 
but  little  is  done. 

Yet,  when  the  dumb — or  shall  we  say  dumber? — actors  in  the  movies 
display  signs  of  the  same  disease,  the  directors  shriek  about  the  proverbial 
camel's  back,  while  trainers  cower  in  terror  and  futilely  endeavor  to  stem 
the  temperamental  torrent. 

Eddie  Sutherland  declares  that  no  emotional  actress  could  have  caused 
him  more  grief  than  did  Ming,  the  pesky  Pekingese  pup  that  played  the 
title  role  in  "The  Baby  Cyclone."  i 

"First,  we  discovered  that  Ming's  coat  looked  too  dark  on  the  screen, 
so  we  called  a  halt  while  make-up  specialists  experimented,"  Mr.  Suther- 
land sighed  over  his  tale  of  woe.  "Then  Ming  decided  that  he  didn't 
like  Aileen   Pringle,  and  snapped 


viciously  every  time  they  appeared 
in  a  scene  together.  Professional 
jealousy,  no  doubt. 

"Next,  he  developed  temperament 
to  such  an  extent  that  he  refused  to 
act  unless  he  felt  in  the  mood  for  it, 
and  one  day,  in  a  particularly  diffi- 
cult shot,  he  made  a  complete  walk- 
out, leaving  the  company  stranded, 
while  perspiring  property  men 
combed  the  entire  sixty-three-acre 
lot  for  the  missing  Ming. 

"By  that  time,  I  felt  that  a  wild 
lion  was  preferable,  and  said  so. 
Somehow  we  staggered  through  the 
picture,  with  the  animal  halting  pro- 
duction whenever  he  felt  so  inclined. 
In  the  last  shot,  he  nipped  Lew 
Cody  on  the  ankle,  and  Lew  felt 
justice  demanded  that  he  himself 
return  the,  bite." 

In  much  the  same  way,  Edwin 
Carewe  and  Dolores  del  Rio  suf- 
fered with  the  fifty-two  bears  they 
used  in  "Revenge."    Mr.  Bruin  had 


Ming,  a  Pekingese  pup,  cultivated  a 
decided  aversion  for  Aileen  Pringle — 
evidently  professional  jealousy. 


Harold  Lloyd's  monkey  did  just  about 
as  he  pleased,  and  the  entire  company 
had  to  await  his  pleasure. 

to  have  at  least  three  gum  drops  be- 
fore the  camera  started,  and  another 
handful  of  the  sweets  when  the  scene 
was  finished.  If  one  bear  got  more 
footage  than  the  others,  the  rest 
sulked  and  refused  to  act  as  atmos- 
phere or  background  for  the  lucky 
cub.  No  star  was  ever  more  jealous 
of  the  spotlight. 

It  was  an  elephant  with  the  eu- 
phonious cognomen  of  Jewel,  who 
made  Adolphe  Menjou's  life  miser- 
able during  the  making  of  "His  Tiger 
Lady."  Besides  suffering  seasickness 
from  the  rocky  ride  on  the  brute's 
back,  the  suave  actor  was  compelled 
to  stay  on  his  perilous  perch  while 
Jewel  held  up  proceedings  by  annoy- 
ing the  extra  girls  in  her  path.  Sens- 


Hank  ruined  many  feet  of  film  by  doing  as  he  pleased  in  rescuing  Vera  Reynolds. 


1 


90 


The  Temperamental  Dumb 


The  bear  that  worked  with  Dolores  del  Rio  wouldn't  behave  unless 
he  was  plentifully  supplied  with  sweets. 


ing  immediately  that  the  girls  were  afraid  of  her,  the 
ponderous  pachyderm  took  delight  in  swiping  at  them 
with  her  trunk,  and  developed  a  convenient  deafness  to 
her  trainer's  shouted  commands.  Not  until  the  extras 
were  replaced  by  real  circus  girls,  could  the  show  go  on. 

"You  can't  teach  a  goat  if  he  doesn't  want  to  learn," 
says  Harold  Lloyd,  after  an  experience  with  one  of  the 
'breed  in  making  "Grandma's  Boy."  "We  had  a  gag  all 
fixed  up  whereby  Mr.  Goat  was  to  butt  me.  The  idea 
was  to  show  that  the  boy  had  some  fight  in  him,  so  I. 
being  the  boy,  was  supposed  to  jump  up  and  swat  the 
goat,  who  would  then  run  away.  It  worked — up  to  a 
certain  point.  The  goat  would  cheerfully  butt  me,  but 
instead  of  running  away  after  I  had  hit  him,  he'd  stand 
there  and  look  offended.  Nothing  moved  him.  We 
finally  had  to  cut  it  out. 

"Still,  the  world  prize  for  dumb  doras  goes  to  turkeys," 
continued  the  king  of  comedians.  "We 
had  Genevieve — or  rather  four  of  them — 
for  turkeys  are  delicate  things.  Once 
Genevieve  flew  up  to  the  top  of  a  door ; 
it  took  all  the  king's  horses  and  all  the 

ing's  men  to  get  her  down 
again.    And  she  wouldn't  act." 

Overacting  on  the  part  of 
a  canine,  Hank  by  name, 
wrecked   a   scene    for  Vera 


Reynolds,  in  "Almost  Human."  In  spite  of 
being  just  a  mutt,  Hank  is  a  most  intelligent 
dog.  His  master  had  impressed  on  him  all 
during  the  picture  that  he  was  Vera's  dog, 
that  he  loved  her  and  must  show  it. 

Then  came  the  big  scene  in  which  Vera 
sees  a  child  drowning  and  dives  to  her  rescue ; 
they  are  both  about  to  be  sucked  under  when 
Hank  realizes  that  his  beloved  mistress  is  in 
danger,  and  effects  a  rescue.  All  went  well 
until  Vera  swam  after  the  drowning  child. 
Hank,  on  shore,  was  so  eager  to  act  that  he 
didn't  wait  for  his  trainer's  command,  but 
dove  frantically  for  his  actress-mistress,  land- 
ing on  her  back,  getting  a  firm  hold  of  her 
dress,  and  preparing  to  pull  her  to  land.  Many 
precious  feet  of  film  were  ruined  and  the 
whole  scene  had  to  be  retaken,  much  to 
Hank's  chagrin. 

Silver    King,    Fred    Thomson's  famous 
white  horse,  recently  proved  his  right  to  be 
as  temperamental  as  he  liked.    For  a  certain 
sequence  of  "The  Sunset  Legion,"  the  West- 
ern star  was  required  to  appear  in  disguise, 
attired  in  black,  and  riding  a  black  horse.  Numerous 
ebony  equines  were  tried  out,  but  none  of  them  could  do 
even  the  simplest  of  Silver  King's  tricks. 

"That  settles  it !"  snapped  Fred,  "we'll  have  to  dis- 
guise Silver,  too." 

Make-up  was  out  of  the  question,  as  the  problem  of 
sweat  and  hard  riding  could  not  be  surmounted.  So 
a  tailor  was  called  in,  and  a  black-woolen  suit  that  cov- 
ered the  horse  from  the  tips  of  his  ears  to  his  tail  was 
designed.  It  took  more  than  a  week  to  accomplish  the 
fittings,  as  no  pins  could  be  used,  and  a  spirited  horse 
is  not  a  clothes  dummy. 

It  was  in  this  same  picture  that  director  Alfred  Werker 
refreshed  his  knowledge  as  regards  mules.  At  camp  out 
in  the  great  open  spaces  a  mule  is  sure  to  bray  half  the 
night,  when  the  unhappy  humans  want  to  sleep,  but  do1 
you  suppose  he'll  bray  when  you  want  him  to?  Not  much. 

Mr.  Werker  had  two  of  the  obstinate 
breed  hitched  to  a  rail  in  front  of  a  movie 
saloon.  Cameras  were  set  up,  and  the 
owner  of  the  mules  was  told  to  request 
them  to  bray.  The  brutes  hung  their 
chins  over  the  rail  and  went  to  sleep. 
Continued  on  page  112 


Jacqueline  Logan 
never  knew  just  how 
long  Olga's  leopard 
temper  would  remain 
passive. 


Winter  Blossoms 

here's  proof  that  peaches,  as  well  as  flowers,  thrive  all  the  year 

round  in  Hollywood. 


Hill,  above,  finds  the  flow- 
t  bloom  in  winter  are  just 
atiment-provoking   as  the 
odox  summer  varieties. 


Mary  Brian,  above, 
more  of  an  old- 
fashioned  girl  than 
ever,  grows  her 
own,  -so  is  inde- 
pendent of  flowers 
from  swains. 

Clara  Bow,  left, 
shows  you  that 
lilac  time  in  Holly- 
wood offers  induce- 
ments you  might 
not  expect. 

Sue  Carol,  below, 
passes    up  her 
flower   garden  to 
harvest  a  lemon  or  two  for.  tea,  and  in- 
cidentally gets  a  pleasing  picture  of  her-, 
self  for  her  fans. 


V. 


Flowers  of  the  soil 
are  doing  their  best, 
but  they  are  dimmed 
by  the  sweetness  of 
Fay  Wray,  left. 

Louise  Fazenda, 
above,  decides  that 
simplicity  is  the  best 
policy  when  one  com- 
petes with  daisies. 


— mmm—mmm—  fflH  BBjl 


aiiiimuasaaaassaial 


92 

Continued  from  page  48 
and,  I  believe,  with  a  new  scenario. 
The  fantastic  element  was  introduced 
into  the  plot.  It  was  decided 
to  use  the  wizardry  of  the  camera 
to  supplement  whatever  submarine 
shots  were  taken  out  of  the  orig- 
inal, and  to  build  up  a  story  that 
would  transport  the  beholder  out  of 
the  humdrum  in  more  ways  than 
one. 

"The  Mysterious  Island"  will  be 
radiant  photographically.  It  is  being 
made  with  color  process  throughout, 
which  process  in  itself  has  been 
greatly  improved  in  the  past  year 
and  a  half.  You  will  find  that  even 
the  drab  machinery  of  the  submarines 
looks  unusually  inviting,  with  the  col- 
ored effect.  The  fanciful  spirit  of 
make-believe  is  in  devious  ways  con- 
jured from  the  start. 

Then  when  the  submarines  go 
down  to  the  bottom,  things  begin  to 
happen  with  a  surge.  Even  on  the 
way  down  there  will  be  some  better 
sight-seeing,  I  am  told,  than  in  the 
best  kind  of  glass-bottom  boat,  such 
as  is  ordinarily  used  for  viewing  life 
under  the  sea.  There  will  be  all  sorts 
of  strange  fish  and  sea  monsters, 
threatening  reptiles  and  animals  of 
the  deep — sharks,  whales,  dolphins, 
and  what  not.  Their  influence,  in 
passing,  upon  the  minds  of  members 
of  the  crew,  particularly  two  bibulous 
sailors,  played  by  Schnitz  Edwards 
and  Harry  Gribbon,  will  be  both 
thrillingly  and  humorously  depicted. 

On  the  ocean's  floor,  the  inventor 
and  his  companions  will  emerge  in 


A  Kingdom  Under  the 

diving  suits,,  be  introduced  to  the  tiny 
king  of  the  underseas  people,  who  is 
holding  the  triton  as  the  symbol  of 
his  power.  They  will  visit  the  cave- 
like homes  of  these  sub-sea  gnomes, 
and  the  resplendent  temple  dedicated 
to  their  watery  gods. 

Later  the  inventor  and  the  villain 
have  a  duel  in  diving  suits.  During 
this  battle  the  villain  is  wounded,  and 
the  blood  pouring  from  a  hole  in  the 
eye  piece  sends  the  sea  creatures  into 
a  frenzy.  They  become  a  menace 
to  the  human  invaders  of  their  king- 
dom, crowd  about  them  and  pursue 
them  back  to  their  craft,  launching 
sudden  attacks  as  they  go. 

How  all  these  scenes  were  made  is 
a  story  in  itself,  but  that  will  have  to 
be  told  at  another  time,  as  many  of 
the  expedients  used  to  lend  reality  to 
the  pure  make-believe  are  a  secret  as 

yet 

"The  Mysterious  Island"  was  con- 
sidered a  most  difficult  picture  to 
make,  because  of  the  exacting  camera 
work,  and  the  perfection  required  in 
its  every  detail.  It  necessitated,  too, 
the  services  of  other  players  than 
those  ordinarily  found  on  an  extra 
list,  among  them  several  hundred 
dwarfs,  who  had  to  be  brought  from 
all  parts  of  the  country.  These  im- 
personate some  of  the  undersea  in- 
habitants. 

The  principal  roles  are  played  by 
Lloyd  Hughes,  Lionel  Barrymore, 
Montagu  Love,  and  Jane  Daly,  not 
to  speak  of  the  important  parts  taken 
by  sundry  finny  and  shelly  troupers, 


who  were  performing  most  effectively 
at  latest  reports. 

"We  have  essayed  throughout  to 
keep  the  human  note  prominent  in 
this  picture,"  Lucien  Hubbard,  its 
director,  told  me.  "We  are  asking 
the  audience  to  believe  in  extraordi- 
nary, and  perhaps  improbable  things 
long  enough  to  find  enjoyment  in 
them,  and  we  are  doing  it  in  such  a 
way,  we  hope,  that  their  imagination 
will  be  appealed  to  at  every  point. 
To  insure  this,  as  far  as  possible, 
we  take  them  into  the  unreal  world 
only  after  the  story  is  well  unfolded. 
We  have  reserved  the  fantastic  for 
the  climax,  with  due"  and  adequate 
preparation  through  a  natural  and 
logical  train  of  events. 

"One  thing  that  we  had  to  be  par- 
ticularly careful  about  in  handling 
this  story,  was  to  avoid  doing  any- 
thing that  might  not  seem  believable, 
because  of  the  fact  that  it  would  have 
altered  the  course  of  human  events. 
This  was  necessary  because  'The 
Mysterious  Island'  is  laid  in  the  past. 
The  principles  which  we  employed 
are  similar  to  those  adopted  by  all 
writers  of  imaginative  scientific  fic- 
tion. 

"At  the  close  of  the  story,  for  ex- 
ample, the  inventor  of  the  submarine 
destroys  the  craft  that  he  built,  and 
himself  goes  with  it  when  it  sinks  to 
the  ocean's  depths.  It  is  thus  that  we 
dispose  of  an  underseas  vessel  con- 
structed in  so  early  a  period  as  nearly 
ninety  years  ago." 


Continued  from  page  73 
University  of  California.  It  will  pro- 
vide accommodations  for  two  hun- 
dred girl  students,  and  will  be  em- 
bellished and  adorned  in  most  attrac- 
tive fashion,  under  Bebe's  own  su- 
pervision. That  this  means  some- 
thing is  demonstrated  by  the  fact  that 
the  houses  Bebe  has  built  at  the 
beach,  and  elsewhere,  have  been  most 
deftly  and  harmoniously  arranged. 

Jolson  Introduces  Bride. 

As  long  as  his  pictures  are  so  suc- 
cessful, nothing  can  keep  Al  Jolson 
away  very  long  from  the  studios.  He 
is  at  work  on  another  talkie  and 
"singie,"  and  his  bride,  Ruby  Keeler, 
is  sojourning  with  him  in  Hollywood. 

Jolson  introduced  her  at  a  midnight 
matinee  at  the  Warner  Theater,  and 
she  took  a  bow  to  enthusiastic  ap- 
plause. 

Al  himself  was  in  a  capricious 
mood,  and  sang  half  a  dozen  num- 
bers, new  and  old.  He  also  regaled 
his  public  with  his  rapid-fire  humor. 

Before  one  of  the  songs,  Al  chir- 
ruped to  the  musical  director,  "How 


Ho!l#\N?ood  High  Light: 

many  notes  to  the  bar?  How  many 
to  the  bar,  did  you  say?  What — 
four  to  the  bar?    Ah — speak- easy." 

Inconclusive  Evidence. 

Walter  Byron's  initiation  into  the 
films  is  complete.  He  has  been  re- 
ported engaged,  at  least  once.  It 
wouldn't  do  for  as  handsome  a  lead- 
ing man  as  he  to  be  long  overlooked 
in  the  inevitable  round  of  romance 
canards,  without  which  no  single  day 
or  week  seems  to  .be  complete.  The 
j'oung  lady  with  whom  his  name  was 
linked  is  Caroline  Bishop,  niece  of 
Frances  Marion,  the  scenarist. 
Seemingly  no  more  significance  than 
usual,  nine  tenths  of  the  time  is  at- 
tached to  the  report. 

"As  far  as  I  know,  we  were  not 
even  seen  in  public  together,"  said 
Byron.  "Once  we  rode  in  the  same 
automobile,  but  surely  that  isn't  suf- 
ficient, even  in  Hollywood,  to  consti- 
tute one's  being  affianced.  However, 
I  don't  as  yet  know  what  the  customs 
are  in  this  unique  kingdom  of  the 
cinema." 


Byron  is  very  pleasant.  He  has 
something  of  the  Gilbert  esprit, 
though  it  is  English-accented. 

Chimes  Ring  Out  Anew. 

Several  stars  have  wended  ttu. 
way  weddingward,  so  to  say.  1 
nald  Denny  and  Betsy  Lee,  fori 
Bubbles  Steiffel,  have  been  married 
a  month,  as  have  also  Evelyn  Brei 
and  Harry  Edwards,  a  film  din 
Lina  Basquette,  and  Peverell  M;   ,-  '\ 
principal  camera  man  on  Cecil  *4  ■ 
Mille  productions,  will  be  wed 

Only  Evelyn  Brent's  mar 
was  a  surprise.  And,  as  is  the 
with  nearly  all  marriages  that 
surprises  these  days,  the  ceremony 
was  performed  across  the  Mej 
border  at  Agua  Caliente,  the  swh 
resort  toward  which  so  many  , 
ture  folk  migrate  over  the  week 

Sonorous  Reverberations.  | 

Worth  noting  en  passant,  is 
the  French  phrase  for  sound  pict 
is  "film  sonore."    Ray  Griffith, 
Continued  on  page  116 


93 


TheTfoungest  Set 

These  baby  players  have  not  only  won  the 
public,  but  even  the  stars  make  a  fuss  over 

them. 


94 

Continued  from  page  17 
tors  in  a  large  building,  handily 
adapted  to  the  duty  of  getting  the 
players  into  action.  '  The  whir  of  the 
camera  is  meanwhile  suppressed  by 
being  inclosed  in  a  glass  booth. 

People  have  often  remarked  that 
the  performances  in  sound  pictures 
seem  stilted.  This  was  particularly 
true  of  the  earlier  ones.  In  the  close- 
ups,  when  two  characters  were  shown 
talking,  they  remained  absolutely  sta- 
tionary. The  fact  that  they  could  not 
seem  to  go  through  any  motions 
suited  to  their  talk  was  at  times  noted. 

Naturally,  the  explanation  of  this 
i£,  that  they  had  to  be  close  to  the  mi- 
crophone when  they  spoke,  so  that 
the  words  might  be  recorded  dis- 
tinctly. 

The  newer  pictures  manifest  more 
fluency.  Instead  of  one  microphone, 
several  are  placed  in  various  parts  of 
the  set,  in  strategic  positions ;  one  at 
the  door  of  a  room,  for  instance ;  an- 
other in  the  middle  of  the  room,  and  a 
third,  say,  at  a  piano,  where  one  of 
the  characters  is  pounding  the  keys. 
A  player  entering  the  room  will  have 
a  chance  to  speak  a  few  words  into 
the  "mike"  in  the  door's  vicinity.  He 
will  stop  in  the  middle  of  the  room, 
and  say  a  few  more  into  the  second 
"mike."  Then  eventually  he  will 
reach  the  piano,  and  converse  at  close 
range  with  the  other  character. 

Microphones  are  also  being  con- 
cealed under  lamp  shades,  in  dark 
corners  of  a  room,  or  even  camou- 
flaged as  part  of  the  bric-a-brac  and 
furnishings.  An  actress  told  me 
that  it  was  getting  so  that  one  had  to 
carry  a  map  of  a  set  to  know  their 
various  locations,  so  cleverly  are  they 
often  hidden.  Too,  they  may  be 
moved  about,  nowadays,  with  con- 
siderable freedom. 

Many  people  believe  that  this  is 
only  a  passing  phase  of  talkie  de- 
velopment, and  that  soon,  perhaps, 
an  apparatus  will  be  evolved  that  will 
pick  up  voices  from  all  parts  of  the 
set,  freely  and  easily.  The  stage  it- 
self may  become  a  huge,  acoustical 
shell  in  time,  something  like  a  the- 
ater auditorium,  with  a  single,  pow- 
erful microphone  to  capture  all  the 
goings-on  everywhere. 

The  principle  by  which  movie- 
sound  recording  is  accomplished  is 
in  part  radio,  and  in  part  phono- 
graphic. However,  there  are  vari- 
ous methods.  In  some  cases  the 
sound  is  engraved  on  a  wax  record 
with  a  sharp-pointed  needle,  later  to 
be  transposed  to  a  permanent  gutta- 
perchalike  record.  In  others,  like 
Movietone,  it  is  photographed  right 
on  the  film.  In  Movietone  the  varia- 
tion in  the  intensity  of  the  light  waves 
coming  through  this  film  is  what  pro- 
duces the  tones,  and  for  a  time  con- 
siderable difficulty  was  encountered, 


kn  Infant  Learns  Its  Sellable: 

when  such  films  were  tinted,  as  for, 
night  scenes.  Tf  a  certain  color  was 
put  on  them,  a  contralto  voice  would 
suddenly  become  a  high  soprano; 
whereas,  another  shade  might  turn  it 
into  an  amazing  basso.  This'  is  now 
being  remedied.  In  some  cases,  the 
solution  arrived  at  is  the  use  of  two 
separate  films ;  one  for  sound,  and 
another  for  the  picture. 

It  can  be  gathered  from  this  that 
talkies,  as  a  fine  art,  are  in  their  baby- 
hood. They  can  hardly  walk  freely, 
as  yet,  let  alone  run  about,  nor  are 
they  as  articulate  as  they  will  be  in 
the  future.  They  will,  doubtlessly, 
go  through  many  progressions  before 
they  come  of  age.  A  year  from  now 
audiences  will  laugh  at  pictures  they 
are  seeing  and  hearing,  and  maybe 
enjoying,  to-day,  as  they  would  at  the 
first  feeble  attempts  at  making  silent 
movies.  "The  Singing  Fool"  is 
aurally  considered  leagues  ahead,  for 
instance,  of  "The  Jazz  Singer,"  made 
only  a  year  ago.  Talkies  are  not  in  a 
position,  therefore,  to  be  judged  too 
drastically. 

Charlie  Chaplin  is  one  person  in 
Hollywood  who  does  not  enthusiasti- 
cally view  their  artistic  future.  I 
talked  with  him  about  them  not  long 
ago,  while  he  was  visiting  the  Fair- 
banks studio.  He  regards  the  silent 
form  of  entertainment  as  still  all- 
sufficient  aesthetically,  though  with 
possibly  some  regard  for  sound  ef- 
fects, but  not  dialogue.  Chaplin's 
viewpoint  can  readily  be  understood. 
He  is  essentially  the  pantomimist. 
One  cannot  but  feel  that  his  art 
uniquely  belongs  to  the  silent  screen, 
and  that  he  is  assured  of  a  perfect 
response  in  this  medium. 

Even  some  of  the  wannest  de- 
votees of  talkies  do  not  believe  they 
will  completely  replace  the  silent- 
screen  play.  The  roots  of  that  are 
too  deep  in  popularity.  Certain  types 
of  stories,  like  costume  plays,  or  epic 
dramas  of  "The  Covered  Wagon" 
genre,  may  for  many  years  be  better 
made  in  the  soundless  form. 

Talking  pictures  and  silent  will 
both  proceed  on  their  separate  courses 
and  both  will  be  successful. 

Mary  Pickford,  among  others,  is 
taking  cognizance  of  a  dual  appeal, 
for  she  will  make  "Coquette"  both  as 
a  talking  and  a  silent  picture.  A 
similar  program  will  be  pursued  with 
"Nightstick"  and  "Lummox,"  two 
other  United  Artists  features.  Cecil 
DeMille  is  to  undertake  the  same 
thing  with  his  first  production  for 
Metro-Goldwyn-Mayer. 

Douglas  Fairbanks  has  a  novel 
idea — proof  again  of  his  creative  in- 
tuition. He  is  going  to  use  the  spoken 
word  in  "The  Iron  Mask,"  but  in  a 
way  not  hitherto  employed.  He  will 
invoke  it  poetically,  to  lend  charm 


and  romance  to  this  mystic-adventure 
tale  of  seventeenth-century  France. 
As  D'Ariqgncm,  he  will  speak  a  sort 
of  prologue  in  language  akin  to  that 
used  by  Bulwer-Lytton  in  the  stage 
play  of  "Richelieu."  There  will  be 
several  other  excerpts  for  the  voice 
so  included,  assigned  to  Richelieu,  De 
Rochefort,  and  other  characters  in 
the  drama.  There  will  be  no  dia- 
logue as  such,  however,  between  char- 
acters. Doug  himself  describes  the 
idea  as  bearing  a  resemblance  to  the 
Greek  chorus. 

Discussions  have  taken  place,  re- 
cently, 'at  several  studios  regarding 
breaking  up  the  film  into  the  equiva- 
lent of  acts  in  a  stage  play,  with  inter- 
missions. The  aim,  in  this  instance, 
would  be  to  let  the  dramatic  climaxes 
sink  in  on  the  audience.  The  abrupt- 
ness with  which  the  tempo  changes  in 
talking  pictures  is  sometimes  consid- 
ered detrimental.  Chaplin,  I  know, 
regards  this  as  a  decided  deficiency. 

The  technique  of  sound  pictures 
will  have  to  be  individual,  it  is  con- 
tended. Imitation  of  the  stage  would 
be  a  boomerang.  Consequently,  the 
intermission  will  probably  be  "out," 
along  with  various  other  impractical 
suggestions. 

The  classifying  of  players'  voices 
is  receiving  a  lot  of  attention,  and 
some  of  the  terms  used  are  very 
amusing.  According  to  a  recent  tab- 
ulation made  by  Metro-Goldwyn,  a 
voice  that  blasts,  or  goes  loud  inter- 
mittently in  recording,  is  called  a 
"bloop" ;  one  that  makes  an  "s" 
sound  through  the  teeth  is  referred 
to  as  a  "sizzler,"  and  a  deep,  boom- 
ing, guttural  voice  is  called  a  "growl- 
er." A  voice  that  is  weak,  and  needs 
much  amplification  with  electric  cur- 
rent, is  called  a  "juice  sucker,"  and 
one  that  wavers  constantly,  a  "cor- 
duroy" voice. 

An  interesting  fact  about  the  talk- 
ies, where  music  and  dialogue  are 
used  together,  is  that  the  music  is 
often  put  on  the  record  afterward. 
This  is  made  possible  by  a  process 
called  re-recording,  too  complicated 
to  explain  here,  however.  Snatches 
of  talk  may  also  be  re-recorded  in 
similar  fashion.  The  virtue  of  this  is 
that  it  permits  short  scenes  to  be 
photographed  and  microphoned  with- 
out any  regard  for  their  sequence  in 
the  picture.  In  other  words,  the  old 
movie  game  of  the  last  close-up  in  the 
picture  being  taken  to-day,  and  the 
first  long-shot  to-morrow,  may  go  on 
as  it  formerly  did,  and  the  entire  cel- 
luloid "epic,"  no  matter  how  jumbled 
in  the  making,  may  later  be  brought 
together  in  proper  order.  In  the  be- 
ginning, talking  pictures  were  much 
less  flexible. 

So,  you  see,  they  are,  in  this  and 
many  other  ways,  progressing. 


95 


Six  "Last  Words" 


Smart  creations  of  the  times  when  hats  were  hats,  are 
displayed  by  players. 


When  our  grand- 
fathers marched 
off  to  war  the}-  left 
behind    them  coy 
maidens  in  lace 
bonnets,  like 
Doris  Hill, 
below,  is 
■  wearing.  J 


) 


Smart  ladies   of   1800  wore' 
something  like  the  bonnet  Fay 
Wray,  above,   dons    for  fhe: 
moment,   when  they,  dressed 
up  in  their  very  best.  - 


The  pancake  hat  as  shown  by 
Esther  Ralston,  above,  lent  a 
mildly  rakish  air  to  the  girl  of 
1880,  in  its  tilt  over  the  left  eye. 


Feathers  and  flowers  were  irre- 
sistible to  the  swain  of  1900. 
Bebe  Daniels,  below,  demonstrates 
the  appeal  of  the  big  chapeau  worn 
hiarh  on  the  head. 


In  1905  a  re- 
markable style 
wa  s  introduced 
by  "Florodora," 
in  •  which  Mary 
Brian,  r  i  ght , 
poses  just  t  o 
prove. that  it 
really  is  a  hat. 


A  woman  without  a 
willow  plume  in  1915 
was  a  woman  with- 
out hope.  Jean  Ar- 
thur, right,  manages 


to  look  cun- 
ning under  the 
weight  of'  the 
pre-war 
''wind- 
catcher." 


96 

Continued  from  page  62 
"Not  so  good !  The  police  have 
come  across,  among  Allen's  things,  a 
bracele.t  which  has  been  identified  as 
having  belonged  to  Lady  Gates.  This 
bracelet,  an  old-fashioned  but  expen- 
sive one,  made  like  a  snake  of  dia- 
monds, was  in  the  drawer  of  Allen's 
desk,  among  a  lot  of  writing  paper. 
So  it  is  known  that  he  had  one  jewel. 
The  argument  is,  that  he  took  the 
rest." 

"We  know  he  didn't  take  any  of 
them!  And  I'm  sure  he  can  explain 
why  he  had  this  bracelet." 

"He  has  explained.  The  snap  in 
the  snake's  mouth,  which  holds  the 
tail,  is  broken.  Allen  says  his  aunt 
asked  him  to  get  it  mended  for  her 
before  they  had  their  row — and  he 
forgot  all  about  it." 

"If  he  says  that,  it's  true.  What 
was  the  other  piece  of  bad  news?" 

"From  Buenos  Aires.  That  Lopez 
did  have  a  wife  there  who  stuck  to 
him  like  a  leech.  But  she  died  a  few 
months  ago." 

"You  call  this  bad  news  ?  I  call  it 
good !" 

"Why?" 

"Because  if  Lopez  knew,  and  Rose 
Rosenkrantz  found  out  that  he  knew, 
and  was  hiding  the  truth  so  he 
wouldn't  have  to  marry  her,  she'd 
realize  he  was  deceiving  her.  Then 
— then  it  might  be  her  object  to  de- 
ceive him!" 

"In  what  way?"  Barrett  asked. 

"Look!"  The  girl  exclaimed, 
throwing  back  the  scarf  from  the 
things  that  had  been  hidden. 

Barrett  saw  a  partially  burned  box 
of  heavy  cardboard,  whose  blackened 
cover  had  been  taken  off  to  show 
the  contents.  A  sheet  of  creamy  pa- 
per decorated  with  a  golden  rose  and 
the  monogram  'R  R,'  and  other  sheets 
of  paper,  with  envelopes  to  match. 
These  were  of  a  blue-gray  tint  and 
were  marked  in  dark  blue  with  the 
name  of  the  bungalow  where  Mal- 
colm Allen  had  known  his  first  brief 
triumph  in  Hollywood. 

"That's  what  I  wanted  above  all 
else  to  find!"  said  Madeleine.  It's 
what  I  took  the  house  to  find !  She 
— Rose  Rosenkrantz — put  this  in  the 
fire  when  she  was  going  away  in 
such  a  hurry.  She  didn't  want  Lopez 
to  know  she  had  it.  Now,  Mr.  Bar- 
rett, do  you  see  what  I  mean  ?" 

CHAPTER  XXVII. 

NOW  TO  FIND  THE  WOMAN  ! 

John  Barrett  did  see  what  Made- 
leine Standish  meant.  He  saw  each 
point  to  be  made  from  her  discov- 
eries, without  waiting  for  her  to  make 
it,  and  if  he  had  been  slow  to  agree 
with  her  theory  he  was  ready  now  to 
accept  it  in  full.  But  the  next  step 
was  to  find  the  woman. 


A  Girl  Comes  to  Holl$vtfoo< 

"That  oughtn't  to  be  too  difficult," 
the  lawyer  said,  when  he  and  the 
girl  had  gone  through  the  bungalow 
and  come  back  to  the  rose  room. 
"We'll  keep  this  house  till  we  have 
no  further  use  for  it,  of  course. 
Plenty  of  time  to  sell,  when  we've 
done  with  the  place  for  good  and  all. 
I  shall  put  a  good  man  in  as  care- 
taker, to  see  that  nothing  is  disturbed, 
and  I'll  put  a  better  one  onto  the  job 
of  running  our  fox  to  earth.  Already 
I'm  having  Lopez  shadowed,  as  you 
know.  He  can't  send  a  phone  mes- 
sage, or  a  wire,  or  mail  a  letter  with- 
out being  spotted.  If  he's  in  touch 
with  Rose  Rosenkrantz,  sooner  or 
later  he'll  give  himself  away." 

"But  it  may  be  later  than  sooner," 
Madeleine  cut  in.  "I've  lost  faith  a 
bit  in  detectives,  since  they  failed  to 
trace  the  woman  all  those  months 
and  months  ago,  when  the  first  mys- 
tery was  fresh.  Do  you  blame  me, 
when  you  stop  to  think?  It's  over  a 
year  since  it  happened.  The  police 
called  the  death  'suicide.'  As  for  my 
mother's  jewels,  they'd  hardly  believe 
that  any  had-  existed.  The  little 
money  I  had,  I  spent  on  private  de- 
tectives. They  'bled  me  white,'  as  the 
horrid  saying  is,  and  they  did  noth- 
ing! I  had  to  wait,  eating  my  heart 
out,  till  I  could  get  together  enough 
pennies  to  bring  me  West!  I  sold 
everything — even  my  clothes.  Why, 
the  dress  and  cloak  I  wore  that  night 
I  told  you  of,  when  I  went  to  Mont- 
parnasse  without  a  cent  to  pay  for 
my  dinner,  were  years  old !  Women 
stared  at  me,  as  if  I  were  something 
out  of  the  ark !  But  I  didn't  care.  I 
learned  in  a  few  minutes  at  Mont- 
parnasse,  something  that  paid  for  my 
humiliation !  I  heard  one  woman 
say  to  another,  'What  a  pity  this  isn't 
Marco  Lopez's  night  to  dance !'  Then 
I  knew  that  my  long  trek  had  brought 
me  to  the  right  place,  and  somehow 
I  meant  to  stay.  Malcolm  Allen 
helped  me  to  do  that,  I  hadn't  known 
such  chivalry  from  a  man  since  I'd 
begun  to  need  it  most !  I  loved  him, 
I  believe,  from  that  very  minute. 
And  now  that  our  two  destinies  are 
linked  together,  his  and  mine,  I  feel 
inspired  to  do  more — for  his  sake — 
than  I  ever  did  for  my  own.  I  want 
to  be  the  boss  detective,  please,  Mr. 
Barrett,  where  finding  that  woman  is 
concerned." 

"But  your  time  by  day,  and  often 
at  night  as  well,  is  taken  up  at  the 
studio,  isn't  it?"  the  lawyer  reminded 
her.  "You  don't  want  to  let  the  scent 
get  cold  by  waiting  till  you  finish  the 
film,  do  you?  Whereas,  with  a  pro- 
fessional, we  could  get  to  work  at 
once.  Your  idea  of  being  your  own 
detective  is  more  sentimental  and  ro- 
mantic than  practical,  I'm  afraid. 
All  right  in  a  novel,  but  " 


"What  are  our  lives  but  story- 
books written  by  our  Creator?" 
Madeleine  cut  short  Barrett's  objec- 
tions. But  her  smile  won  the  man,  if 
her  words  left  the  lawyer  uncon- 
vinced. "Oh,  do  help  me  to  find  this 
woman  in  my  own  way.  I've  worked 
so  long!  And  I  don't  trust  any  one 
to  do  what  I  want  done — except  you, 
of  course.  And  you  can't  give  me  all 
your  time.  I  know  that !  But  you 
can  go  on  encouraging  me  as  you 
have  done.  I  feel  my  instinct  is  right 
about  this  thing.  Don't  you,  hon- 
estly, feel  it,  too?" 

Barrett  gave  her  a  smile  for  hers, 
though  he  shrugged  his  shoulders. 
"In  my  profession  we  try  to  rise 
above — or  maybe  you  would  say,  fall 
below — instincts  and  feelings.  All 
the  same,  we  succumb  to  them." 

"I  know,  and  I'm  grateful,  really, 
no  matter  how  you  show  it,"  Made- 
leine said.  "My  film  work  is  an  ob- 
jection, of  course,  and  I  don't  mean 
to  let  Mr.  Sonnenberg  down,  though 
I  would  do  even  that  rather  than 
Malcolm's  cause  should  suffer. 

"All  I  hope  to  do  before  'Red  Vel- 
yet'  is  finished."  Madeleine  explained, 
"is  to  get  away  from  the  studio  by 
six  o'clock  every  night.  A  lot  can  be 
done  betwen  six  p.  m.  and  an  hour 
or  so  after  midnight  in  this  warm, 
sweet  country,  where  most  people 
think  it's  a  waste  of  time  to  go  to  bed. 
I'm  on  the  road  to  success  and  need 
you.  Will  you  come  if  I  telephone, 
no  matter  at  what  hour?" 

"Well,  that's  a  large  order!"  said 
Barrett. 

"It's  only  for  a  few  nights.  I  may 
fail,  but  I  expect  to  win.  Oh,  do 
keep  yourself  free  to  answer  a  tele- 
phone call  at  your  house  till — till  any- 
how the  end  of  this  week.  Some- 
thing may  break  even  before  then." 

"I've  told  you,  you  are  an  opti- 
mist," said  the  lawyer.  "But  I'll  give 
you  the  promise." 

"Thank  God  I  am  an  optimist!" 
cried  Madeleine.  "And  I  thank  you 
for  the  promise !" 

They  locked  up  the  bungalow,  after 
the  girl  had  made  a  parcel  of  her 
treasures  to  take  away,  lest  Lopez 
should  have  a  flash  of  intuition — and 
a  spare  key.  Then  John  Barrett 
walked  home  with  Miss  Standish  and 
advised  her  to  go  to  bed. 

"I  will."  she  agreed,  "but  not  to 
sleep.  I'm  going  to  lie  in  bed  with 
this  parcel  under  my  pillow — the  way 
superstitious  people  put  wedding 
cake  there — and  think — and  think — 
along  those  lines." 

"I  don't  see  what  you  mean  by 
'those  lines,'  "  said  Barrett. 

"Neither  do  I— yet,"  the  girl  told 
him.  "But  I'll  see  better — and  far- 
ther— as  I  go." 

Continued  on  page  98' 


97 


War  Whoopee 

The    Indian    is   still   a  dramatic 
figure    and    is    not  disappearing 
from  the  screen,  as  these  players 
show. 


Warner  Baxter,  above,  as  Alcssan- 
dro,  in  "Ramona,"  can  point  to  that 
role  as  one  of  his  most  poignant 
performances. 


98 

Continued  from  page  96 

CHAPTER  XXVIII. 

WHY  A  GIRL  CAME  TO  HOLLYWOOD. 

.  There  was  a  story  of  Poe's  which 
came  to  Madeleine's  mind  a  few 
hours  later,  as  she  lay  wide-eyed  in 
her  narrow  bed.  The  title  she 
couldn't  recall,  for  she  had  read  the 
tale  at  school,  years  ago.  But  it  was 
all  about  a  man  who  discovered  how 
crimes  had  been  committed,  by  hyp- 
notizing himself  into  the  mood  of 
the  suspected  one.  He  made  him- 
self feel  as  the  criminal  must  have 
felt,  and  even  tried  to  copy  with  his 
own,  the  other's  facial  expression. 
This,  the  girl  thought,  was  a  good  ex- 
ample to  follow.  It  had  worked  well 
in  Poe's  story.  Why  not  in  this  story 
of  hers,  which  as  she  had  said  to  Bar- 
rett, the  Creator  was  writing  with 
Madeleine  Standish,  Malcolm  Allen, 
Marco  Lopez,  and  Rose  Rosenkrantz 
as  the  principal  characters? 

In  one  way  it  was  a  point  for  her 
in  the  game  she  played,1  that  she  and 
Rose  Rosenkrantz  had  never  met. 
When  the  woman  had  been  busy 
breaking  the  heart  of  Madeleine 
Standish's  sweet,  silly  French  mother 
by  stealing  the  heart  of  the  man  that 
mother  loved — Madeleine's  artist- 
stepfather — the  girl  had  been  away 
from  New  York  at  a  boarding  school 
in  the  country.  Only  after  the  sup- 
posed suicide  of  Lester  Arnold  was 
followed  by  the  death  of  his  wife, 
was  the  girl  summoned  by  the  mar- 
ried sister  of  Arnold,  a  middle-aged 
prude  who  refused  to  believe  the  story 
of  her  brother's  folly.  By  this  time, 
the  woman  in  the  case — of  whose  ex- 
istence and  influence  Madeleine 
learned  from  her  mother's  maid — 
had  disappeared,  taking  with  her  the 
last  relic  of  Hortense  Arnold's  squan- 
dered fortune — jewels  which  had 
been  the  French  heiress'  great  heri- 
tage. Once  they  had  belonged  to  the 
Empress  Josephine,  had  been  left  to 
Josephine's  daughter,  and  so  at  last, 
after  more  than  a  century,  had  come 
into  the  hands  of  Hortense  de  Re- 
vigny,  later  Hortense  Standish  for  a 
few  happy  years ;  then  Hortense  Ar- 
nold for  tragic  betrayal. 

Madeleine,  who  could  scarcely  re- 
member her  own  father,  had  admired 
without  respecting  his  handsome, 
weak-willed,  but  charming  successor. 
She  had  been  fourteen  when  her 
mother  married  the  artist  who  painted 
.Hortense's  portrait  and  won  her  al- 
most childlike  worship.  Four  years 
later  Hortense  was  dead,  having  died 
literally  of  shock  and  a  broken  heart. 
Her  money  was  gone,  and  her  fa- 
mous jewels  were  gone.  Madeleine 
had  not  a  dollar  she  could  lay  her 
.hands  on,  except  by  the  sale  of  a  few 
bits  of  jewelry  remaining,  and  such 
trinkets  as  her  mother  had:  given  her 
on  Christmas  and  birthdavs. 


A  Giri  Comes  to  Holl^-Wood 

Some  time  before,  when  Arnold 
was  supposed  to  have  made  unlucky 
speculations  with  his  wife's  money, 
the  Standish  house  in  Washington 
Square  had  been  sold,  and  Hortense 
had  moved  with  her  husband  into  an 
apartment  leased  by  the  year.  There 
were  debts,  which  the  sale  of  some 
rare  old  furniture  scarcely  more 
than  paid ;  but  it  was  not  the  plain 
fact  of  poverty  which  killed  the  youth 
in  Madeleine's  heart :  it  was  the  tale 
told  by  her  mother's  French  maid, 
Jeanne  Laboris. 

Nobody  save  Hortense  Arnold's 
daughter  believed  this  tale.  Lester 
Arnold's  prim  sister  said  that  Jeanne 
had  always  hated  her  mistress'  second 
husband,  and  tried  to  prejudice  his 
wife  against  him  during  the  four 
years  of  their  married  life.  Others 
admitted  that  they  had  met  Rose 
Rosenkrantz  at  the  Arnolds',  but  had 
seen  no  signs  of  infatuation  on  Les- 
ter's part.  He  had  admired  Rose, 
of  course.  What  man  with  eyes  in 
his  head  could  help  admiring  such 
beauty?  And  Lester  Arnold  was  an 
artist.  Madame  Rosenkrantz  had 
posed  to  him  for  a  picture  which  had 
made  fame  for  him,  but  they  had 
been  introduced  to  each  other  by 
Hortense. 

Madame  Rosenkrantz  was  quite  a 
romantic  figure  and  a  pathetic  one, 
because  she'd  come  to  New  York 
from — well,  no  one  quite  knew  where. 
It  might  have  been  England,  it  might 
have  been  Chicago.  Anyhow  she  had 
begun  her  career  as  a  dancer  soon 
after  the  war,  and  then,  having  taken 
the  town  by  storm  in  a  big  revue,  had 
fallen  desperately  ill.  She  was  said 
nearly  to  have  died  of  pneumonia, 
and  had  never  recovered  her  health. 
She  hadn't  been  able  to  dance  again, 
but  had  begun  to  achieve  a  new  sort 
of  success.  Not  exactly  as  a  fortune 
teller,  for  it  was  illegal  to  tell  for- 
tunes, and  Madame  Rose  Rosen- 
krantz was  too  clever  a  woman  to 
risk  prison.  She  was  an  astrologer, 
and  cast  wonderful  horoscopes.  She 
did  crystal  reading,  too,  and  also 
studied  one's  character  from  the  lines 
of  one's  hand.  Oh,  well,  yes,  there 
were  a  few  cats  and  hounds  who  went 
whispering  it  about  that  Madame  Ro- 
senkrantz blackmailed  her  clients  in  a 
delicate,  refined  way,  or  else  stole 
their  husbands.  But  there  had  never 
been  anything  definite  said  against 
her.  Women  of  such  beauty  as  hers 
always  excited  jealousy,  and  were 
storm  centers  for  petty  scandal,  espe- 
cially if  they  had  to  earn  their  own 
living. 

Lester  Arnold's  sister  was  sure 
there  had  never  been  anything  more 
than  friendship  between  her  brother 
and  Hortense's  protege.  Jeanne  La- 
boris' story  that  Lester's  bad  specu- 


lations had  mostly  been  in  the  shape 
of  money  gi  f ts  to  Madame  Rosen- 
krantz, and  that  he  had  become  her 
slave,  was  malicious  nonsense.  As 
for  the  famous  jewels,  who  had  ever 
seen  them  ?  Hortense  talked  now 
and  then  of  the  things,  but  she  kept 
them  in  a  bank,  and  confessedly  wore 
cheap  copies.  Who  could  tell  that 
she  hadn't  secretly  disposed  of  the 
originals,  when,  as  her  banker  stated, 
she  removed  them  from  his  cus- 
tody a  year  before  her  death? 

It  was  true  that  Jeanne  Laboris, 
maid  to  Hortense  since  the  French 
heiress'  girlhood,  did  hate  Lester  Ar- 
nold, and  had  implored  her  mistress 
not  to  marry  him.  But  all  the  more 
reason,  Madeleine  thought,  why  the 
disapproving  Frenchwoman  should 
well  watch  her  bete  noire,  as  slowly 
he  destroyed  the  happiness  of  his 
wife. 

Jeanne  told  how  Hortense  had  first 
suspected,  then  learned  without  room 
for  doubt  of  her  husband's  guilty 
love  affair  with  her  friend ;  how  Hor- 
tense had  reluctantly  yielded  to  an 
appeal  from  Lester  and  taken  her 
heirlooms  from  the  bank,  that  he 
might  pawn  them  and  tide  over  a 
financial  crisis ;  how  the  jewels  had 
never  been  redeemed  and  how  at  last 
— eavesdropping  in  jealous  anguish — 
Hortense  had  overheard  a  conversa- 
tion between  Rose  and  Lester.  She 
had  got  the  whole  truth  then,  in  a 
few  words.  The  jewels  had  never 
been  pawned  by  her  husband.  He 
had  lent  them  to  Rose  and,  impor- 
tuned about  them  daily  by  his  wife, 
implored  Rose  to  give  them  back. 
This  the  woman  refused  to  do.  They 
were  her  pride  and  glory,  she  an- 
nounced. Just  to  gaze  at  them,  alone 
in  her  room,  on  wakeful  nights  when, 
without  them,  she  would  toss  in  fe- 
verish misery  till  dawn,  was  a  tonic 
for  body  and  soul.  Lester  had  threat- 
ened to  tell  his  wife  the  real  fate  of 
the  jewels,  and  let  her  call  the  police 
if  she  chose,  and  the  listener's  im- 
pulse at  that  moment  had  been,  she 
confessed  to  Jeanne,  to  show  herself 
to  the  pair.  Fear  of  her  husband's 
fury  had  held  her  back,  and  next 
day  he  had  been  found  at  morning, 
lying  dead  on  his  bed,  a  vial  of  prus- 
sic  acid  in  his  hand,  the  room  scented 
with  the  odor  of  bitter  almonds. 

Even  the  detectives  Madeleine  was 
able  to  hire  after  selling  a  string  of 
birthday  pearls,  saw  no  reason  to  be- 
lieve Arnold's  death  other  than  sui- 
cide. This,  even  though  Jeanne  in- 
sisted that  Madame  Rosenkrantz  re- 
mained in  the  apartment  till  mid- 
night, and  that  Arnold  hadn't  been 
seen  after  her  going  till  his  dead  body 
was  discovered.  There  was  no  proof 
that  the  lost  thousands  of  dollars  had 
Continued  on  page  108 


99 


Miss  LeClair,  'below, 

wearing-    a    cape  of 
ostrich  feathers,  shad- 
ire'  from  flesh  pink  to 
deep  rose. 


Uncurled  feathers  in 
sunset  hues  make  up 
the  fan,  left,  to  match 
an  evening  frock  of 
georgette  and  rhine- 
stones. 


A  Ga^  Old  Bird 

The  ostrich   is   again   contributing  his 
feathers  to  fashion,  in  a  variety  of  uses 
demonstrated  by  Blanche  LeClair. 


Fancy  wearing*  delicate,  pastel- 
shaded  roses  of  feathers,  a  fad 
Miss  LeClair,  below,  has  approved. 


f-  \ 

\ 

HanSt 


Miss    LeClair,    above,    poses    in  a 
lounging  robe  of  padded  silk  in  blue 
and    rose,    trimmed    with  feathers 
around  the  neck  line  and  sleeves,, 


 ;  r 


The  'bird  pictured  above  must  be 
quite  vain  by  now,  if  his  feathers 
are  ever  worn  by  visitors  to  the 
ostrich  farm. 


A   wreath  of   feather  "grapes" 
worn   by    Miss    LeClair,  right, 
shows  one  of  the  newest  nov- 
elties. 


100 

Continued  from  page  69 

It  is  a  study  of  the  dramatic  effect 
of  climate  on  character,  better  por- 
trayed than  in  "Sadie  Thompson,"  as 
a  matter  of  fact ;  but  there  the  com- 
parison ends.  Miss  Gish's  heroine  is 
no  flamboyant  creature,  but  a  timid 
girl  from  Virginia,  who  comes  to  live 
on  her  cousin's  ranch  in  Texas,  which 
she  fondly  believes  to  be  another 
Garden  of  Eden.  Instead  Leiiy  finds 
herself  in  a  barren,  sand-swept  coun- 
try, where  human  existence  is  for- 
ever at  the  mercy  of  the  devouring 
elements.  When  life  is  not  imperiled 
by  the  violence  of  the  wind,  morale 
is  undermined  and  sanity  threatened 
by  the  monotony  of  it.  This  is  por- 
trayed as  only  the  screen  can  portray 
an  atmospheric  condition. 

Letty  incurs  the  jealousy  of  her 
cousin's  wife  through  the  fondness 
of  the  children  for  her,  and  is  driven 
from  the  ranch.  In  desperation  she 
accepts  marriage  with  Lige)  a  well- 
meaning  boor,  in  preference  to  death 
in  the  storm.  She  cannot  disguise 
the  repulsion  she  feels  for  the  fellow, 
but  he  proves  his  decency  by  leaving 
her  to  earn  enough  money  to  send  her 
back  to  Virginia.  In  Lige's  absence 
the  villainous  intrusion  of  Roddy 
causes  her  to  shoot  him  and  hurl  the 
body  into  the  rapidfy  shifting  sand, 
where  it  is  quickly  buried. 

With  such  a  tragic  beginning,  it 
really  doesn't  matter  whether  the 
ending  is  happy  or  not.  so  I  shall 
leave  you  to  find  out.  But  whether 
Letty  and  Lige  are  reunited  is,  after 
all.  unimportant  in  estimating  the 
skill  of  the  director,  Victor  Seastrom 
— also  responsible  for  "The  Scarlet 
Letter,"  you  remember — or  the  sensi- 
tive dynamics  of  Miss  Gish's  acting. 
Or,  for  that  matter,  the  superb  per- 
formance of  Lige  by  Lars  Hanson, 
who  regretably  has  shaken  the  dust 
of  Hollywood  from  his  feet  and  re- 
turned to  Sweden. 

Unrelieved  by  the  ghost  of  a  smile, 
the  picture  is  a  somber  cross-section 
of  a  life  that  is  little  known  to  those 
who  prefer  to  see  conventional  hero- 
ines in  the  routine  of  familiar  ro- 
mances. But  its  relentlessness  is 
gripping.  Sound  effects  are  justified 
here,  for  they  are  concerned  with  the 
wind,  which  dominates  the  picture 
and  every  character  in  it.  Montagu 
Love,  Edward  Earle,  Dorothy  Gum- 
ming, and  William  Orlamond  are 
fully  equal  to  the  distinguished  occa- 
sion. 

The  Man  from  South  Bend. 

"The  Home-Towners"  brings  the 
play  of  that  name  to  the  screen  in- 
tact, only  one  or  two  subtitles  inter- 
rupting the  constant  dialogue.  It  is 
interesting,  because  it  reveals  the  best 
acting  so  far  seen  in  talking  pictures. 
Or  did  when  it  was  first  released. 


The  Screen  in  ReViev? 

But  it  is  unsatisfactory  entertain- 
ment, because  it  was  a  poor  play  in 
the  first  place.  If  we  must  have  dia- 
logue films,  then  they  should  be  cho- 
sen with  care.  A  phony  play  gains 
nothing  by  being  heard  in  film  form. 
And  "The  Home-Towners"  is  clumsy 
stagecraft.  It  is  amusing,  though, 
and  is  good  for  almost  constant 
laughter,  which  to  many  is  recom- 
mendation enough. 

The  situation  which  inspires  it  is 
found  in  the  impending  marriage  of 
a  rich,  middle-aged  man  to  a  girl 
many  years  his  junior.  His  life-long 
friend  comes  from  South  Bend  to 
act  as  best  man,  and  on  learning  the 
facts  of  the  romance,  jumps  to  the 
conclusion  that  the  girl  and  her  fam- 
ily are  fortune  hunters.  This  he 
keeps  no  secret  from  the  prospective 
husband.  In  fact,  in  his  terse  opin- 
ions lies  the  laughter  that  never  sub- 
sides during  the  rest  of  the  picture. 

As  played  by  Robert  McWade, 
this  character  is  a  gem,  and  so  com- 
pletely does  the  actor  capture  the 
sympathy  of  the  audience  that  few- 
will  question  his  brutal  "frankness. 
The  fault  of  the  play  lies  in  the  de- 
ception practiced  on  the  audience  in 
representing  the  girl  and  her  family 
as  the  dishonest  people  they  really 
are  not.  Their  every  act  and  speech 
bears  out  the  friend's  suspicions,  and 
they  are  barbarous  snobs  as  well. 
Yet  suddenly,  following  a  melodra- 
matic climax  caused  by  the  theft  of  a 
bracelet,  they  become  meek  as  lambs 
and  we  are  asked  to  accept  them  as 
the  salt  of  the  earth.  The  girl,  who 
has  acted  all  along  like  the  ringleader 
of  society  crooks,  in  a  jiffy  becomes 
the  cooing  heroine. 

This  is  crude  writing  on  the  part 
of  George  M.  Cohan,  the  author,  and 
is  an  unforgivable  lapse  in  story-tell- 
ing, even  in  these  days  of  formless 
fiction.  However,  the  piece  is  an  en- 
tertaining fraud,  worth  seeing  if  only 
for  the  sake  of  the  droll  Mr,  Mc- 
Wade. There  is  also  Richard  Ben- 
nett, who  has  dallied  with  the  films 
in  the  past  and  returns  to  them  with 
the  invention  of  the  talkies.  He  is 
fine  indeed  as  the  butt  of  the  South 
Bender's  cynical  gibes,  and  gives  a 
smooth,  expert  characterization  of 
the  patient  victim.  Doris  Kenyon 
presents  a  gracious  picture  as  the  con- 
fusing heroine,  and  her  voice  is  pleas- 
ing. Robert  Edeson  also  is  heard 
and  last,  but  not  least,  Gladys  Brock- 
well  reappears  after  her  hit  in  "Lights 
of  New  York"  to  confirm  my  opin- 
ion that  hers  is  the  best  feminine 
voice  yet  heard  on  the  screen  at  this 
writing. 

A  Repeater. 

"His  Private  Life"  is  one  of 
Adolphe  Menjou's  lesser  vehicles, 
though  it  sedulously  follows  the  pat- 


tern of  his  usual  picture.  That  is, 
the  world-weary  and  refined  roue  de- 
cides all  at  once  that  is  he  confronted 
by  the  love  of  his  life,  and  proceeds 
by  devious  means  to  win  her.  To 
further  carry  out  the  usual  idea,  she 
is  reluctant.  If  she  were  yielding 
there  wouldn't  be  any  picture.  In- 
stead there  seems  to  be  a  great  deal 
of  it,  what  with  complications  involv- 
ing a  discarded  sweetheart  of 
Georges,  now  married  to  a  jealous 
husband,  and  the  whohy  conventional 
situations  in  which  the  quartet  find 
themselves.  Mild  novelty  is,  how- 
ever, found  in  a  sequence  which 
shows  the  heroine  responding  to  the 
romance  of  moonlight,  the  music  of 
strolling  serenaders  and  petals  fall- 
ing from  an  apple  tree,  only  to  dis- 
cover that  Mr.  Menjou  has  hired  the 
musicians  and  planned  the  petal 
shower  to  melt  her  bridling  scorn. 
It  is  a  pretty  stunt,  but  feeble.  And 
so  it  is  with  the  film  as  a  whole. 
Kathryn  Carver  and  Margaret  Liv- 
ingston are  the  ladies  who  acknowl- 
edge Mr.  Menjou's  fatal  fascination, 
Eugene  Pallette  the  husband  who 
resents  it. 

Pleasant  for  Mr.  Boyd  Only. 

William  Boyd  is  too  good  an  ac- 
tor, and  too  ingratiating  a  personality, 
to  be  wasted  on  roles  that  only  re- 
quire breeziness  and  likable  tough- 
ness. He  may  enjoy  the  lark  of  play- 
ing engineers,  ironworkers,  and  other 
sons  of  toil,  but  his  duty  to  the  public 
requires  more  than  having  a  good 
time  at  its  expense.  Unless,  of 
course,  he  considers  being  the  suc- 
cessor of  Ralph  Lewis  honor  enough. 
His  newest  bid  for  this  title  is  called 
"The  Cop,"  in  which,  needless  to  say, 
he  plays  a  policeman  who  apprehends 
the  murderer  of  his  pal  the  sergeant. 
There  is  scant  love  interest — so 
sparse  indeed,  that  those  responsible 
have  not  thought  it  worth  the  trouble 
to  make  clear  the  relationship  of  the 
girl  to  the  crooks,  with  whom  she  is 
hand  in  glove.  Just  so  she  and  the 
policeman  clinch  at  the  end  is  con- 
sidered enough,  and  is  plainly  just  a 
sop  tossed  to  the  fans  to  satisfy  their 
supposed  appetite  for  sentimentality. 
This  is  unfair  both  to  Mr.  Boyd  and 
to  his  audience,  who  would  rather  see 
him  in  a  good  picture  than  a  mediocre 
one.  Robert  Armstrong  is  effective 
as  the  enemy  crook,  Alan  Hale  like- 
wise, and  Jacqueline  Logan,  relegated 
to  the  minor  heroine,  is  as  agreeable 
as  opportunity  permits. 

A  Welsh  Rarebit  Dream. 

"Marriage  By  Contract"  is  a  lurid 
effort  to  show  the  fallacy  of  trial 
unions,  but  it  proves  nothing,  either 
for  or  against  them,  because  all  the 
Continued  on  page  119 


Advertising  Section 


101 


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who  boasted  she  could  get  her  man/ 


Actually  filmed  and  recorded  on 
location  In  Old  Arizona  repre- 
sents a  distinct  forward  step  in  the 
art  of  the  talking  picture.   For  the 
first  time,  WILLIAM  FOX  brings  to 
the  screen  not  only  the  realistic  set- 
tings but  also  the  natural  sounds  of 
the  great  outdoors!  The  voices  you  hear 
are  voices  as  they  really  sound  out  in  the 
open!   Until  you've  seen  and  heard  In 
Old  Arizona  you  can't  appreciate  to  what 
heights  the  technique  of  the  talking 
motion  picture  has  been  advanced  by  Fox 
Movietone!    Keep  abreast  of  developments 
in  this  newest  field  of  expression — make  up 
your  mind  to  see  In  Old  Arizona  when  it 
comes  to  your  favorite  local  theater. 


r 


Every  part  is  a  speaking  part- 
featured  in  the  leading  roles  are 
two  brilliant  screen  stars  and  a  fas- 
cinating stage  favorite  —  Edmund 
Lowe  as  Sgt.  Dunn,  the  heartbreak- 
ing cavalryman;  Warner  Baxter  as 
the  Cisco  Kid,  outlawed  Don  Juan  of 
the  desert;  and,  in  her  first  screen  appear- 
ance, Dorothy  Burgess  as  Tonia,  the  fiery, 
fickle,  light-o-love  who  pays  the  price  of 
infidelity  in  one  of  the  most  startling 
denouements  ever  filmed!  In  the  support- 
ing roles  are  nearly  a  score  of  well-known 
players  of  the  stage  and  screen.  With  such  a 
cast  under  the  masterful  direction  of  Raoul 
Walsh  and  Irving  Cummings  it  is  no  wonder 
audiences  everywhere  have  acclaimed  In  Old 
Arizona  as  one  of  the  great  pictures  of  the  year! 


MOVIETONE 
X 


102 


nformation,  PI 


MARION  DAVIES  FAN. — How  did 
you  guess  it?  That  I  am  like  the 
Oracle  of  Delphi.  That  is,  I  was,  until 
I  started  using  that  Wrinkle  Wonder  for 
Worn  Faces.  Marion  Davies  was  born 
in  Brooklyn,  January  3,  1898.  She  is  five 
feet  four  and  one  half,  weighs  one  hun- 
dred and  twenty-three,  and  has  golden 
hair,  blue  eyes,  and  .  freckles.  And  she 
stutters  and  is  quite  witty.  A  list  of  her 
pictures  would:  go  on  indefinitely ;  did 
you  also  see  "Quality  Street,"  "The 
Patsy,"  "Show  People"?  William  Haines 
is  not  married.  Joseph  Schildkraut  was 
born  in  Vienna  about  thirty  years  ago, 
and  was  well  known"  on  the  New  York 
stage  before  he  went  into  pictures.  He 
is  five  feet  eleven,  weighs  one  hundred 
and  fifty-nine,  and,  has  very  dark  hair 
and  eyes.  Married  to  Elise  Bartlett.  He 
is  the  son  of  Rudolph  Schildkraut.  Charles 
Farrell  was  born  in  Massachusetts,  in 
1902.  Height,  six  feet  two;  weight,  one 
hundred  and  seventy.  Brunet.  Not  mar- 
ried., .■  Norma  Shearer  is  twenty-four ; 
Janet  Gaynor,  twenty-one ;  Nick  Stuart, 
twenty-two:  John  Barrymore,  forty-six. 
Ronald  Colman  was  born  February  9,  1891. 
Allene  Ray  doesn't  give  her  age.  Dick 
Barthelmess  is  thirty-three,  and  is  five 
feet  seven. 

M.  B. — By  all  means  sign  yourself  any 
way  you  like.  I'm  very  tolerant ;  any- 
thing goes,  only  don't  call  me  names. 
Plenty  of  stars  were  born  in  December 
— Pola  Negri,  the  30th;  Gilbert  Roland, 
11th;  Doug,  Jr.,  9th;  Virginia  Lee  Cor- 
bin,  5th ;  Elinor  Fair,  21st ;  Dorothy  Dal- 
ton,  22nd.  Ramon  Novarro  is  five  feet 
eight.  Continuity  in  pictures  is  the  ar- 
rangement by  which  the  story  glides  along 
from  sequence  to  sequence.  Phyllis  Ha- 
ver's last  name  is  pronounced  with  long 
"a,"  as  in  hay.  Damita  is  da — as  in  da- 
da,  the  baby's  first  words — me,  like  the 
pronoun ;  ta.    Accent  on  me. 

R.  H.  M.— When  you  ask  me  if  Billie 
Dove  is  considered  the  most  beautiful 
actress  on  the  screen,  I'll  come  right  back 
at  you  and  say,  "By  whom?"  Many  peo- 
ple do  consider  her  so,  and  very  logically. 
But  beauty  can  only  be  a  matter  of  opin- 
ion. In  other  words,  to  dig  up  and  re- 
vise an  old  saying,  "One  man's  beauty  is 
another  man's  old  hag.''  It  would  also 
be  a  matter  of  taste  as  to  whether  Marion 


Davies  or  Colleen  Moore  is  the  screen's 
leading  comedienne.  As  I  haven't  the 
files  of  other  screen  magazines,  I  have  no 
way  of  telling  in  what  magazine  you  saw 
the  article  you  mention. 

Anxious. — Who  am  I  to  keep  you  anx- 
ious any  longer  than  necessary — which, 
I  admit,  is  long  enough !  It  is  customary 
to  send  a  quarter  with  a  request  for  a 
star's  photograph,  as  expenses  for  this 
service  run  into  many  thousands  a  year. 
George  Lewis  plays  constantly,  but  most 
of  the  time  in  "The  Collegians"  series, 
which  make  a  lot  of  money  and  there- 
fore retard  his  chances  of  getting  roles 
in  feature  productions.  Marian  Nixon 
may  be  reached  at  the  Pathe  studio,  Cul- 
ver City,  California.  Lawrence  Gray,  at 
this  writing,  is  working  at  the  Tiffany- 
Stahl  studio,  Hollywood.  Yes,  Richard 
Dix  and  Bebe  Daniels  played  together  in 
"Unguarded  Women"  and  "Sinners  in 
Heaven." 

Miss  Winifred  M.  Graham.  5333 
Wayne  Avenue,  Germantown,  Pennsyl- 
vania, includes  herself  among  the  Con- 
way Tearle  fans  and  would  be  glad  to 
hear  from  any  of  Mr.  Tearle's  other  fans. 

Helen. — Paddy  O'Flynn's  permanent 
address  is  Box  386,  Hollywood.  Paddy 
doesn't  give  his  age,  but  he  is  quite  young, 
I'm  sure.  See  Anxious.  Larry  Gray  is 
thirty ;  Sue  Carol,  twenty.  Sue  is  with 
Fox. 

Lora-  and  Jacque  Laird. — What  an  easy 
job  this  would  be  if  all  questions  were 
as  simple  to  answer  as  yours !  Yes,  Betty 
Bronson  played  in  "Peter  Pan,"  and  Mary 
Brian  did  also.  They  both  got  their  film 
starts  in  that  picture.  Bessie  Love  is  not 
connected  with  any  particular  studio,  but 
any  player  as  well  known  as  she  is  can 
always  be  reached  just  at  Hollywood,  Cali- 
fornia. Sally  Rand,  at  last  accounts,  was 
touring  the  Orpheum  circuit  in  vaudeville. 
Perhaps  a  letter  would  reach  her  at  the 
B.  F.  Keith  offices,  Palace  Theater,  New 
York  City.  Buddy  Rogers  played  oppo- 
site Clara  Bow  in  "Get  Your  Man." 
Clara  has  very  dark-brown  eyes ;  her  hair 
was  black  when  I  first  met  her,  but  she 
assures  me  it  was  then  dyed,  and  that  it 
really  began  as  red. 

Jack  Jennison,  3141  D  Street,  Sacra- 
mento,   California,    would    like    to  hear 


from  any  other  Dick  Arlen  fans.  I  think 
Dick  gets  a  great  deal  of  publicity  in 
magazines,  Jack.  Picture  Play  recently 
had  a  story  about  him,  which  you  have 
probably  seen  by  now.  His  newest  films 
are  "Beggars  of  Life"  and  "Manhattan 
Cocktail."  I  think  many  studios  discour- 
age fan  clubs,  because  they  have  had  trou- 
ble with  phony  clubs  used  as  an  excuse 
to  get  money.  "Nick  Stuart ~ was  really 
born  in  Ro.umania,  but  he  has  been  in  this 
country  a  long  time  and  has  no  foreign 
accent.    His  real  name  is  Nicholas  Prata. 

A  Fan. — If  producers  read  these  ques- 
tion-and-answer  columns  they  certainly 
should  do  something  about  Conway 
Tearle.  What  a  lot  of  fans  that  man  has ! 
Just  "Hollywood,  California,"  would  reach 
him.  Yes,  his  last  name  rhymes  with 
pearl. 

Miss  Barbara  Varney. — A  fan  club  is 
merely  a  group  of  admirers  of  a  certain 
star,  who  get  together  through  corre- 
spondence. Alary  Brian's  fan  club  has 
headquarters  with  Clara  Fochi,  53  Villa 
Avenue,  Yonkers,  New  York.  Barbara 
La  Marr  was  thirty  when  she  died.  Phi- 
lippe De  Lacy  can  be  reached  at  the  Fox 
studio. 

M.  S.  Masten. — So  you  doubt  if  I  can 
answer  your  questions  1  And  here  I've 
been  slaving  for  years  trying  to  inspire 
confidence  in  me !  Nils  Asther  is  dark, 
with  brown  hair  and  hazel  eyes.  Born 
January  17,  1902.  He  is  six  feet  one. 
Yes,  he  is  under  contract  to  Metro- 
Goldwyn. 

Another  Dick  Arlen  Admirer. — You 
bet  I'll  pass  on  your  three  cheers.  I  know 
Dick  personally  and  there's  not  a  more 
likable  man  in  pictures.  He  and  Jobyna 
Ralston  were  married  on  January  28, 
1928,  and  their  home  is  at  Taluca  Lake, 
near  Burbank,  California.  He  was  born 
September  1,  1899.  Frank  W.  Leach  has 
already  started  a  Dick  Arlen  Fan  Club. 
His  address  is  4  North  State  Street,  Con- 
cord, New  Hampshire.  See  Miss  Bar- 
bara Varney..  Also  Jack  Jennison. 
You'd  be  surprised,  but  stars  do  read  this 
column.  They're  always  looking  for  any 
mention  of  their  names  in  print,  no  mat- 
ter how  unimportant.  Well,  that's  part 
of  their  job ! 

Continued  on  next  page 


Advertising  Section 


103 


No  longer  need  women  fear  offend- 
ing others.  Scientific  deodoriza- 
tion*  is  a  new  feature  of  this  mod- 
ern sanitary  pad,  which  excels  in 
comfort  and  ease  of  disposability. 


Ruth  Ronne. — Thanks  so  much  for 
your  trouble  in  writing  me  the  informa- 
tion, which  I  am  passing  on. 

Jewel. — Miss  Ronne,  above,  writes  to 
tell  me  that  the  Claire  yoii  asked  about, 
in  "One  Woman  to  Another,"  was  Claire 
Blessing,  who  lost  her  life  in  the  flood  of 
the  St.  Francis  Dam  in  California.  This 
was  her  only  picture  and  her  name  was 
not  mentioned  in  the  cast. 

Melba  of  Quincy,  Illinois. — John  Gil- 
bert was  formerly  married,  to  Leatrice 
Joy;  Vilma  Banky  was  not  married  until 
she  became  Mrs.  Rod  La  Rocque.  There 
are  many  screen  actresses  besides  Mary 
Astor  from  Illinois.  Gloria  Swanson, 
Sue  Carol,  Blanche  Sweet,  Virginia  Valli, 
Mary  Philbin,  Gertrude  Olmsted  are  all 
from  Chicago.  Bebe  Daniels  lias  had 
more  than  her  share  of  studio  accidents, 
but  she  is  not  in  the  hospital  at  this  writ- 
ing. I  don't  suppose  Elinor  Fair  has  left 
the  screen  for  good,  though,  she  hasn't 
made  a  picture  in  some  months.  As  to 
Gloria  Swanson's  being  the  only  "old 
movie  star  left  on  the  screen,"  I '  don't 
know  just  what  you  mean.  She  is  not 
old,  and  she  hasn't  been  on  the  screen 
nearly  as  long  as  Mary  Pickford,  Alice 
Joyce,  Corinne  Griffith,  Lillian  Gish,  or 
Blanche  Sweet.  Mary  Brian's  latest  film 
■  is  "Just  Twenty-one."  Renee  Adoree  is 
with  Metro-Goldwyn. 

Gwen.— It  wasn!t  your  letter  that  made 
me  tired— I'm  always  like  this.  Valentino 
was  thirty-one  when  he  died.  His  most 
famous  picture  was  "The  Sheik,"  and 
some  of  his  "good"  pictures  were  "The 
Four  Horsemen  of  the  Apocalypse,"  "The 
Conquering  Power,"  "Camille,"  "Monsieur 
Beaucaire."  Yes,  Nils  Asther  was  in 
"Laugh,  Clown,  Laugh."  See  M.  S.  Mas- 
ten  and  Lora  and  Jacque  Laird.  James 
Hall  is  twenty-eight.  Yes,  he  is  married, 
but  separated  from  his  wife.  I  am  told 
that  Ramon  Novarro  and  Dolores'  del 
Rio  are  first  cousins.  Dolores  is  divorced 
from  Jaime  del  Rio ;  Ramon  is  a  bachelor 
and  is  twenty-nine  years  old.  He  was 
once  a  professional  dancer.  Jack  Holt  is 
forty.  He  is  married  and  has  three  chil- 
dren. 

L.  A.  Wilson.— Now,  of  course,  if  I 
were  really  "another  John  Gilbert,"  I'd 
be  making  some  real  money  instead  of 
doing  this.  You  ask  what  happened  to 
^Anthony  Jowett's  screen  career,  and  add 
that  he  never  interested  you  very  much. 
Well,  that's  what  happened  to  him ;  too 
many  other  fans  felt  just  as  you  did.  As 
to  the  cause  of  William  Boyd's  gray  hair, 
film  players  have  told  me  that  the  Kleig 
lights  are  very  hard  on  one's  hair.  They 
dry  out  the  scalp,  and  if  one's  hair  is 
already  dry,  naturally  it  might  turn  gray. 
There  doesn't  seem  to  be  much  chance  of 
Paramount's  making  "An  Amierican 
Tragedy."  It's  too  touchy  a  theme  for 
movies.  I  don't  know  whether  Pola  Negri 
will  make  any  more  films  in  America. 
She  wants  too  much  money  in  these  days 
of  reduced  salaries. 

Samuel  J.  Block. — At  least,  I  try  to 
answer  all  questions,  but  when  you  ask 
about  such  old  films  you  make  life  seem 
very  hard  for  these  old  bones.  "The 
Right  to  Happiness"  is  one  of  them,  and 
I  haven't  the  cast.  "Intolerance"  is  also 
very  old,  and  I  don't  know  from  what 
story  it  was  taken.  I  am  under  the  im- 
pression it  was  an  original  for  the  screen. 

Continued  on  page  121 


WHEREVER  women  meet  the  world, 
they  are  in  danger  of  offending  others 
at  certain  times.  Learning  this,  they  become 
unhappily  self-conscious.  Carefree  pleasures 
are  impossible.  Now,  a  discovery  of  Kotex 
Laboratories  makes  worries  of  this  sort  un- 
necessary. Each  sanitary  pad  is  scientifically 
treated,  by  patented  process,*  to  end  all  odor. 
The  last  problem  in  connection  with  sani- 
tary pads  is  solved. 

That  tf conspicuous"  feeling 

The  other  fear— the  feeling  of  being  con- 
spicuous—is also  eliminated.  Corners  of  the 
Kotex  pad  are  scientifically  rounded  and 
tapered  so  as  to  leave  no  evidence  of  sani- 
tary protection  when  worn. 

Yet  every  advantage  remains 

You  can  so  easily  adjust  it  to  your  needs.  It 
is,  as  always,  absorbent  to  an  amazing  degree. 
Cellucotton  absorbent  wadding  takes  up  16 
times  its  weight  in  moisture— 5  times  more 
absorbent  than  cotton  itself.  The  fact  that  you 
can  so  easily  dispose  of  it  makes  a  great  differ- 
ence to  women.  And  a  new  treatment  renders 
it  softer,  fluffier,  than  you  thought  possible. 

Won't  you  try  The  Improved  Kotex— buy 
a  box  this  very  day.  It  is  45c  for  a  box  of 
twelve,  at  any  drug,  dry  goods  or  department 


store;  also  obtainable  through  vending  cabi- 
nets in  rest-rooms  by  West  Disinfecting  Go. 

*Kotex  is  the  only  sanitary  pad  that  deodorizes ' 
by  patented  process.  (Patent  No.  1,670,587  ^ 


K  O  T  e  X 

The  New  Sanitary  Pad  which  deodorizes 


Deodorizes  .  .  .  and  4 

other  important  features: 

1—  Softer  gauze  ends  chafing;  pliable 
filler  absorbs  as  no  other  substance 
can;  '.,£' 

2—  Comers  are  rounded  and  tapered; 
no  evidence  of  sanitary  protection 
under  any  gown; 

3—  Deodorizes-safely,  thoroughly,  by 
a  new  and  exclusive  patented  process;' 

4—  Adjust  it  to  your  needs;  filler 
may  be  made  thinner,  thicker,  nar- 
rower as  required; 

and 

5—  It  is  easily  disposed  of;  no  un- 
pleasant laundry. 


104 

Continued  from  page  64 
everywhere.  They  bowed  before  the 
fresh  breezes  that  swept  the  greater 
fragrance  of  orange  and  lemon  trees 
through  the  windows.  The  room  was 
almost  Spartan  in  its-  austere  sever- 
ity. Perforce  sitting  erect  in  a 
straight-backed  chair — there  were 
none  of  the  "sinky"  sort — I  paused 
over  a  distinctly  American  iced  drink, 
to  reorient  myself.  The  surroundings 
were  a  most  incongruous  setting  for 
the  Lya  I  knew.  And  what  in  the 
name  of  old  Vienna  was  the  mean- 
ing of  her  absence  at  this  hour  of  the 
forenoon,  and  whose  were  the  golf 
clubs  peeping  from  that  bag  in  the 
corner  ?  And  the  tennis  racket  yon- 
der ? 

There  was  the  whir  of  an  eight- 
cylinder  motor.  A  yellow  roadster 
came  leaping  up  the  hill,  to  be  reined 
in  before  the  house  as  abruptly  as 
Tom  Mix's  Tony.  A  lithe,  hatless 
flapper  vaulted  from  the  wheel,  half- 
way up  the  path,  and  like  a  bronzed 
whirlwind  Lya  dashed  into  the  room. 

She  was  slender  and  straight  as  an 
Indian,  and  almost  as  tanned.  The 
boyish  figure  was  clad  in  the  sleeve- 
less, knee-length  mode  of  the  mo- 
ment. The  shapely  legs  were  frankly, 
innocently,  bare  and  brown,  except 
for  rolled  socks  and  sandals.  The 
hard,  little  arms  were  freckled.  Her 
eyes  were  wide,  and  the  sooty  lashes 
swept  back  from  their  depths,  in- 
stead of  shadowing  them.  The  lips 
were  red,  but  not  with  color  from  a 
lipstick.  She  tossed  her  mop  of  hair 
back  from  her  forehead,  and  as  she 
pumped  my  hand  in  a  firm  and  hearty 
clasp,  exclaimed,  "Oh,  boy!  What  a 
fine  lesson  I  have  had  this  morning ! 


L>>a  Wastes  tke  Flag 

I  took  the  stick  myself  and  flew  so 
well  that  the  instructor  says  I  may 
soon  do  some  stunts !" 

While  I  gasped  like  a  silly  goldfish, 
and  gaped  like  the  veriest  yokel,  this 
New  World  Lya  exuded  the  bound- 
less enthusiasm  which  made  her  ra- 
diant.   Little  by  little  I  learned. 

The  golf  sticks  were  hers.  Oh, 
yes,  she  belonged  to  several  clubs,  and 
played  almost  every  day.  At  least 
every  day  she  didn't  go  a  few  fast 
sets  of  tennis,  or  spend  the  day  at 
her  swimming  club,  racing  with  a 
strong  stroke  through  the  surf,  or 
diving  from  the  high  springboard 
to  the  pool.  Yes,  her  days  were  very 
full.  There  was  the  breakfast  of 
fruit  in  the  cool  of  the  morning,  then 
a  swift  ride  to  the  academy,  where 
her  horse  stood  saddled  for  a  gal- 
lop along  the  bridle  path  of  Beverly 
Hills,  and  back  for  a  shower  and 
rubdown.  Her  mail,  and  the  busi- 
ness of  the  day.  Then  golf,  or  ten- 
nis, or  swimming,  a  supper-dance — 
and  early  to  bed. 

But  best  of  all  were  the  hours  she 
spent  in  the  air.  Her  flying  lessons 
provided  the  greatest  thrill  of  all. 
And  that  day  upon  which  she  re- 
ceived her  pilot's  license  would  be 
one  for  jubilation.  The  order  for 
her  own  plane  rested  with  a  manu- 
facturer, delivery  to  be  made  just  as 
soon  as  she  could  fly  alone. 

Work  at  the  studios  interfered 
somewhat  with  her  sports  schedule 
when  she  was  on  early  call.  But 
nothing  prevented  her  adherence  to 
the  schedule  of  aerial  instruction. 
No,  not  even  the  protests  of  the  pro- 
ducer, who  feared  an  accident,  with 


a  picture  only  half  completed.  She 
laughed  with  glee  in  relating  how  one 
Saturday,  on  a  half  holiday  from  the 
studio,  she  took  impish  delight  in  do- 
ing loops,  turns  and  "falling  leaves'' 
over  the  golf  course,  where  she  knew 
the  producer  of  her  picture  was  play- 
ing. 

Her  English  is  not  yet  perfected. 
She  knows  the  words,  but  they  tum- 
ble one  over  another  from  her  lips. 
Sometimes  in  not  exactly  the  right 
order,  frequently  with  an  odd  pro- 
nunciation not  quite  distinguishable, 
but  always  with  a  delectable  accent 
just  sufficient  to  be  utterly  charming. 
She  will  permit  no  foreign  tongue  in 
her  conversation,  in  her  determina- 
tion to  become  proficient  in  our  lan- 
guage. Now  and  then  one  is  shocked 
by  hearing  from  her  unconscious  lips 
a  very  strong  American  idiom,  culled 
from  an  overheard  studio  conversa- 
tion, remembered  and  added  to  her 
store  of  words. 

She  has  been  completely  trans- 
muted in  our  great  melting  pot.  Just 
how  it  has  happened,  she  herself 
doesn't  know.  But  the  change  has 
come,  and  now  she  waves  the  Stars 
and  Stripes  as  lustily  as  any  Daugh- 
ter of  the  Revolution.  Accompany- 
ing the  physical  alteration  is  a  new. 
outlook  on  life,  a  love  of  living,  a 
vibrant  well-being,  all  unknown  to  the 
sensuous,  leopard  lady  who  used,  to 
dodge  the  sun  in  her  velvet  cloister. 

She  has  the  American  idea.  And 
it  probably  will  carry  her  far  along 
the  road  to  fame  and  fortune  in  the 
movies.  It  is  difficult  to  explain  the 
change.  But  California  says,  "It's 
the  climate !" 


Continued  from  page  19 
veiled  hostility  toward  Lil,  and 
though  Ed  had  been  popular  since 
his  stock  company  days,  he  was  not 
regarded  seriously.  One  of  those 
sappy  chaps  who  aren't  half  bad,  but 
who  seem  to  have  nothing  to  them. 
Stood  around  and  grinned.  If  he 
had  thoughts,  the  matinee  hero  sel- 
dom aired  them. 

Lil  was  a  show  girl  from  the  "Fol- 
lies." Maybe  the  girls  envied  her 
her  looks  and  her  gift  for  wearing 
clothes.  Her  candor  was  not  appre- 
ciated. She  had  a  crude,  forceful 
attraction,  not  yet  polished  to  sleek- 
ness by  the  development  of  taste. 
Just  a  shade  too  obvious. 

Their  several  years'  friendship  re- 
sulted in  marriage.  I  remember  the 
wedding  breakfast.  Neither  seemed 
to  be  taking  the  affair  seriously.  Oh, 
it  couldn't  last,  everybody  shrugged. 
Some  in  the  crowd  wondered  audibly 
how  soon  we'd  be  celebrating  the  di- 
vorce. 


Tke$  Knox*?  Their  Caviar 


Yet,  though  doomed  from  the  first, 
according  to  all  rules  and  standards, 
their  marriage  endures  while  other 
"perfectly  matched"  couples,  who 
wed  at  that  time,  are  divorced. 

Curiously,  they  seldom  quarrel. 
That  is  due,  I  think,  to  Ed's  easy- 
going manner,  for  he  is  very  tolerant, 
and  to  Lil's  understanding  of  him, 
which  amounts  to  a  gift.  She  wisely, 
frankly  confessing  it,  pampers  him. 
This  comprehension  of  his  character, 
this  catering  to  his  comfort,  has  made 
a  deep  impression  on  him. 

As  these  three  years  since  their 
marriage  have  passed,  I  have  watched 
his  attitude  toward  her  change.  Pos- 
sibly he  may  not  realize  it  himself. 
He  used  to  exhibit  her.  Oh,  not  con- 
sciously. But  one  could  see  the  pride 
with  which  he  "wore"  her,  as  she  in 
turn  wore  his  success.  She  was  a 
stunning  creature,  the  focus  of  all 
eyes.  It  pleased  his  vanity  that  men 
should  admire  and  women  envy  her. 


There  is  a  new  tenderness,  bred  by 
her  maternal  thought  of  him.  A 
gratitude,  with  a  strange  humility. 
I  like  this  Ed  better.  And  I  like 
the  Lil  who  doesn't  scratch  so  much, 
who  gives  way  to  gentleness. 

Ed  gives  Lil  all  the  credit  for  mak- 
ing a  screen  villain  and  a  regular  guy 
of  him. 

"I  was  just  a  fop.  Sappy.  Ham 
actor.  She  vitalized  me.  What  an 
amazing  verve  she  has !  And  when  I 
need  it,  she  babies  me.  Every  man's 
a  little  boy." 

Likewise,  from  those  deep  recesses 
somewhere,  there  came  up  a  spiritual 
something  to  soften  Lil's  strident 
quality,  and  to  develop  in  her  the  new 
maternal  note. 

Freed  from  inhibitions,  Ed  gave 
vent  to  his  impulse  to  be  a  rough-and- 
ready  fellow,  short  on  polite  phrases. 
A  flow  of  oral  lava  won  him  the  cov- 
eted role  in  "Glory."  This  tonic  to 
Continued  on  page  115 


Advertis)  ng  Section 


105 


Hollywood's  in  the  Air  Noxtf 


Continued  from  page  33 


speedsters.  "But  only  one  personal 
plane,"  I  was  told. 

My !  Soon  the  star  with  no  hangar 
full  of  air  limousines,  sky  speedsters 
and  cloud-touring  coaches  will  be  be- 
hind the  times.  Richard  Arlen,  for- 
merly of  the  Canadian  Royal  Flying 
Corps,  pilots,  as  do  David  Rollins, 
Charles  Delaney,  James  Hall,  Al  Wil- 
son, Reed  Howes,  and  others. 

As  yet  few  girls  have  become  more 
than  verbal  aviation  enthusiasts.  Al- 
most all  go  up,  and  prefer  air  to  train 
or  motor  travel,  but  only  Patsy  Ruth 
Miller,  Priscilla  Dean,  and  Sue  Carol 
actually  fly.  Priscilla  is  licensed,  and 
Pat  has  only  a  few  more  hours  of 
solo  flying  to  earn  her  certificate.  Sue 
can  put  a  ship  through  its  tricks, 
from  endless  weeks  on  aviation  pic- 
tures. She  pilots,  but  never  alone. 
And  of  course  Ruth  Elder  enjoys  her 
favorite  sport. 

Even  courtships  are  conducted 
aerially,  nowadays.  Certainly  the 
new  mode  of  travel  does  not  hinder 
Cupid's  activities.  A  San  Francisco 
business  man  flies  down  to  Los  An- 
geles often  to  see  Janet  Gaynor,  mak- 
ing the  flight  once'  that  he  might  es- 
cort her  to  a  party  Mary  Pickford 
gave  for  Our  Girls'  Club !  And  when 
Janet  has  a  free  day,  she  and  her 
mother  soar  away  toward  the  north- 
ern city.    She  does  not  pilot,  however. 


Anticipating  an  idle  week-end,  Sue 
Carol  had  barely  stepped  ashore  from 
the  boat  at  Catalina,  when  a  message 
reached  her  that  the  studio  had  tele- 
phone her  home,  asking  her  to  report 
immediately  for  retakes.  Chartering 
a  plane,  she  ordered  the  pilot  to  step 
on  the  gas,  and  winged  away.  One 
hour  later  she  walked  into  the  direc- 
tor's office,  thereby  threatening  that 
gentleman  with  apoplexy. 

While  on  location  at  Catalina, 
Richard  Barthelmess  sprained  his 
ankle.  Fearing  it  was  broken,  he 
flew  home,  had  an  X  ray  taken,  and 
returned  to  the  island  by  seaplane  to 
resume  work. 

Airplanes  have  often  been  used  as 
a  means  of  rapid  communication  be- 
tween companies  on  location  and  the 
studio,  but  never  to  the  extent  that 
they  were  employed  in  the  production 
of  Ramon  Novarro's  "The  Flying 
Fleet." 

Daily  a  "flying  laboratory"  spread 
its  wings  through  the  air  between  the 
studios  and  the  naval  base  at  San 
Diego.  It  contained  a  dark  room, 
with  developing  tanks  and  a  minia- 
ture cutting  room.  Film  was  devel- 
oped en  route  to  the  studio,  projected 
for  executives,  and  on  the  return  trip 
assembled,  that  it  might  be  previewed 
immediately,  according  to  agreement, 
by  Admiral  Reeves. 


Sh? — But  She's  Getting  On 


Continued  from  page  43 


that  we  would  pray  all  day,  and  as 
far  into  the  night  as  we  could  stay 
awake,  that  the  part  would  be  Jean's. 
When  word  came,  she  was  sure  that 
our  supplications  had  done  the  trick. 

Somewhere  in  the  East  she  has  a 
dear,  old  grandmother,  who  is  not 
yet  used  to  the  fact  that  there  is  a 
movie  person  in  the  family.  Much 
less  that  this  person  is  her  own  little 
Jeanie. 

You  see,  Jeanie  used  to  sit  on  her 
grandmother's  lap  and  talk  about  her 
ambitions  to  become  a  school-teacher. 
And  grandmother  heartily  agreed 
with  this,  so  long  as  Jeanie  would 
not  work  too  long.  She  must  be  mar- 
ried and  rear  her  family,  as  all 
worthy  women  should.  Jean  agreed 
with  her  grandmother,  and  still  does. 

Though  this  may  sound  like  press 
agentry,  I'll  have  to  tell  you  that 
Jean  is  interested  in  French,  Italian, 
and  Spanish  and  still  studies  these 
languages.  She  has  a  flair  for  in- 
terior decoration. 

Now,  doesn't  that  sound  like  pub- 
licity? But  it  isn't.  And  at  this 
writing,  Jean  is  not  in  love.    If  she 


were,  she  might  sacrifice  a  few  of 
her  reading  hours  for  play. 

While  I  was  writing  this  story  Jean 
called  me  on  the  phone.  This  is  what 
I  said  to  her : 

"Jean,  I  can't  write  an  exciting 
story  about  you.  You're  just  one  of 
many  of  nice,  pretty  girls  who  like  a 
little  bit  of  work,  a  little  bit  of  fame, 
a  little  bit  of  studying,  and  a  little  bit 
of  play.  You  don't  live  in  a  preten- 
tious apartment,  whose  rugs  and 
draperies  I  can  festoon  all  over  the 
story.  You  live  in  a  tasteful,  little 
Los  Angeles  home,  with  a  hearty 
American  family  who  will  never 
think  of  you  as  a  motion-picture  star. 

"You  don't  like  crowds,  and  you 
have  only  a  few  real  friends.  You 
don't  frequent  night  clubs,  or  get  into 
any  scandals.  Your  childhood  was 
just  like  every  other  child's.  Your 
girlhood  was  little  different.  And  it 
is  very  possible  that  when  you  have 
served  your  years  on  the  screen,  you 
will  be  a  sensible  housewife  with 
three  children,  an  uxorious  husband 
and  a  bridge  club." 


EARLE  L1EDERMAN,  The  Muscle  Builder 

Author  of  "Muacle  Huildinq,  *.'  "Seienre  of  Wrestling," 
"Secret*  of  Strength."    "Here's     Health."    "Endurance,"   etc  ^ 

Hie  Man  I  Pity  Most 

POOR  OLD  JONTCS.  No  one  had  any  use  for  him. 
No  one  respected  Mm.  Across  his  face  I  read  ono  , 
harsh  word— FAII/URE.  He  just  lived  on.  A  poor 
worn  out  imitation  of  a  man,  doing  his  sorry  best  to  get 
on  in  the  world.  If  he  had  realized  just  one  thing,  ho 
could  have  made  good.  He  might  have  '  been  a  bril- 
liant success. 

There  are  thousands  and  thousands  of  men  like  Stones.  , 
They,  too,  could  be  happy,  successful,  respected  and  loved. 
But  they  can't   seem   to  realize  tlie  one  big  fact — that 
practically    everything    worth    while    living    for  depends 
upon  STRENGTH — upon  live,  red-blooded,  he-man  n)uscle. 

Everything  you  do  depends  upon  strength.  No  matter 
what  your  occupation,  you  need  the  health;  vitality  and 
clear  thinking  only  big,  strong  virile  muscles  can  give 
you.  When  you  are  ill  the  strength  in  those  big  muscles 
pull  you  through.  At  the  office,  in  the  farm  fields,  or  on 
the  tennis  courts,  you'll  find  your  success  .generally  dei- 
pends  upon  your  muscular  development. 

Here's  a  Short  Cut  to  Strength  and 

Success 

"But"  yon  say, ! '.'it  takes  years  to  build  my  body  up  to 
the  point  where  it  will  equal  those  of  athletic  champions." 
It  does  if  you  go  about  it  without  any  system, -.but  there's,  ; 
a  scientific  short  cut.     And  that's  where  I  collie  in. 

30  Bays  is  All  I  Need 

In  just  30  days  I  can  do  things  with  your  body  you 
never  thought  possible.  With  just  a  few  minutes  work 
every  morning,  I  will  add  one  full  inch  of  real,  live 
muscle  to  each  of  your  arms,  and  two  whole  inches  across 
your  chest.  Many  of  my  pupils  have  gained  more  than 
that,  but  I  GUARANTEE  to  do  at  least  that  much  for 
you  in  one  short  month.  Your  neck  will  grow  shapely, 
your  shoulders  begin  to  broaden.  Before  you  know  it, 
you'll  find  people  turning  around  when  you  'pass.  Women 
will  want  to  know  you.  Your  boss  will  treat  you  with  a 
new  respect.  You'll  look  ten  years  younger,  and  you'll 
feel  like  it,  too.  Work  will  be  easy.  As  for  play,  why, 
you'll  realize  then  that  you  don't  know  what  play 
really  means. 

I  Strengthen  Those  Inner  Organs  Too 

Those  great  squared   shoulders!     That  pair  of  huge, 
lithe  arms!     Those  firm, ,  shapely  legs!    Y'es",  sir.  They 
are  yours,  and  they  are  there  to  stay.    You'll  be  just  as 
fit  inside  as  you  are  out,   too,  because  I  work  on  your  , 
heart,  your  liver — all  of  your  inner  organs,  strengthening 
and  exercising  them.    Y'es  indeed,  life  can  ^give  you  a  . 
greater  thrill  than  you  ever  dreamed.     But,  "  remember, 
the   only   sure  road   to  health,    strength  and'  happiness  i 
always  demands  action. 

Send  for  my  New  Book,  64  pages  and— IT  IS  FREE 

"MUSCULAR  DEVELOPMENT" 

It  contains  forty-eight  full-page  photographs  of  myself 
and  some  of  the  many  prize-winning  pupils  I  have 
trained.  Some  of  these  came  to  me  as  pitiful  weaklings, 
imploring  me  to  help  them.  Look'  them  over  now  and  you 
will  marvel  at  their  present  physiques..  This  will  not 
obligate  you  at  all,  but  for  the  sake  of  your  future 
health  and  happiness  do  not  put  it  off.  Send  today — 
right  now  before  you  turn  this  page. 


EARLE  LIEDERMAN 


Dept.  1402, 


305  Broadway,  New  York  City 


1 


It 

Is 


I  F 

1  5 

9  E 


EARLE  LIEDERMAN 

Dept.   1402,  305  Broadway.   New  York  City  B 

Dear    Sir:    Please    send    me,    absolutely  • 

FREE   and  without   any  obligation  op   irij  1 

part  whatever,  a  copy  of  your  latest  book,  J 

"Muscular  Development."  i 

Name     I 

Street....   J, 

City  State   |  I 

(Please  write  or  print  plainly.)  g 


106 


Advertising  Section 


sis 

  I 


ONTEREY 


icago 

Not  in  all  Chicago  is  there  a 
hotel  more  pleasing  than  the 
Monterey.  In  a  quiet,  residen- 
tial district  of  the  North  Side, 
near  the  lake  and  convenient  to 
the  Loop,  it  is  a  most  pleasant 
.place  to  live. 

Standard  hotel  rooms  for  per- 
manent or  brief  residence  oc- 
cupy one  part  of  the  hotel,  and 
charming  kitchenette  apart- 
ments another  part.  Every 
room  and  every  apartment  have 
both  tub  and  shower.  An  at- 
tractive Cafe  provides  food  of 
notable  excellence  at  moderate 
cost. ,;;  r 

You  cannot  live  better  in  Chi- 
cago than  at  the  Monterey,  nor 
secure  equal  comfort  more 
reasonably.  You  are  invited 
to  write  for  an  illustrated 
booklet,  and  for  rates  pertain- 
ing to  accommo- 
dations in  which 
you  may  be  in- 
terested. 

Standard  hotel 
rooms,  $2.50  to 
$4.50  a  day;  2 
persons,  $3.50  to 
$6.  Reduced 
rates  by  the 
week.  Kitchen- 
ette apartments, 
most  attractively 
furnished,  as 
low  as  $100  a 
month. 

4300  Clarendon  Ave.,  Chicago 


0 


Earthy  and  Square 

Continued  from  page  74 


smoking  corn-silk  with  the  boys,  and 
she  threatened  me  with  reform  school. 
I  think  she  thought  angels  were 
turned  out  of  such  places.  Then  I 
tried  to  be  like  other  girls  in  our 
street,  and  took  up  stenography,  but 
Mr.  Pittman  and  I  simply  had  no  in- 
terest in  each  other.  So  I  was  bad 
again,  and  ran  away  to  Philadelphia 
to  go  on  the  stage.  I  tell  Jack  that  if 
a  boy  is  a  hobo  up  to  twenty,  that  is 
adventure :  it's  only  if  he  is  a  hobo 
from  twenty  to  thirty  that  he  is  a 
hobo  for  life. 

i  "I  should  like  to  write  Jack's  life," 
said  Estelle.  "Jack  is  a  genuine  man. 
I  think  I  am  the  only  one  who  knows 
his  life,  and  it  is  the  most  colorful 
and  funniest  life  I  have  ever  heard. 
Jack  fought  most  of  his  first  fights 
when  he  was  hungry,  and  he  didn't 
care  so  much  about  winning.  All  he 
could  think  of  were  the  fly-specked 
sandwiches  in  the  bar  of  the  saloon. 
I  told  Jack  I  would  write  his  life  and 
title  it,  'As  told  to  his  wife  between 
midnight  and  after.'  All  Jack  has  to 
be  afraid  of  is  that  I  will  put  in  what 
a  terrible  fundamentalist  he  is.  Did 
you  know  that  about  Jack?  Oh,  aw- 
ful ! 

"Jack  could  come  back  at  me.  and 
sajr  that  I  am  a  fatalist.  What  gets 
me  are  the  things  there  aren't  any 
answer  to.  Charles  Chaplin  gets  me, 
and  radio.  How  can  a  man  like 
Chaplin,  without  applying  himself, 
stand  up  and  give  imitations  of  people 
he  has  hardly  seen,  that  are  so  un- 
canny that  they  make  you  creep? 
Then  he  picks  up  a  violin  and  plays 
like  a  genius.  Put  him  at  a  piano, 
and  he  plays  that  like  a  genius.  In- 
tuition seems  to  me  like  some  strange 
tuning  in.  Old  radio  was  here  before 
any  one  invented  transmitters.  I'm 
awfully  curious,"  said  Estelle.  "Like 
Mr.  Tunney,  thinking  is  beginning  to 
be  a  regular  hobby  with  me." 

Estelle  is  really  "simply  grand"  as 
a  human  beinsr.    She  diets  and  does 


not  smoke,  "because  Jack  has  a  tre- 
mendous respect  for  the  body — says 
it's  what  brings  us  in  the  cake.  Honey 
darling !"  And  she  won't  settle  down 
and  be  "society,"  not  in  Hollywood, 
or  New  York,  because  she  guesses 
that  for  that  she  is  too  smart. 

"I  am  not  smart,"  said  Estelle, 
"but  I  know  what  I  know,  and  you 
don't  catch  me  playing  the  graude 
dame,  and  being  on  committees  to 
save  the  wayward  and  the  poor.  Jack 
and  I  have  charity — we've  been 
through  the  mill — but  it's  in  our 
hearts." 

Estelle  and  Jack  went  on  the  stage 
last  fall  for  Mr.  Belasco.  What  for  ? 
"For  pictures,"  said  Estelle. 

"That  jaunt  of  mine  and  Jack's 
into  theatricals — that  was  for  pic- 
tures. I  got  some  extra  direction  for 
a  little  while  at  Mr.  BelascoJs  ex- 
pense and  pleasure.  He  let  me  play 
a  hoyden,  a  kind  of  Lenore  Ulric 
part." 

When  Miss  Ulric  and  Estelle  met 
on  the  Coast,  face  to  face,  all  they 
could  do  was  gawp  at  each  other. 
The  resemblance  between  the  two  is 
remarkable.  Lenore  Ulric  said,  "Well, 
I'm  glad  you're  not  in  my -.line,  but 
if  - you  like,  I'll  tell  Mr.  Belasco  about 
you." 

Jack  is  fond  of  the  races.  There 
is  as  much  horsy  talk  in  the  Dempsey 
family  as  there  is  bullfight  talk  in  an 
Ernest  Hemingway  novel.  Jack 
would  as  soon  go  to  the  races  as  to 
a  prize-fight,  Estelle  said.  Their 
horse.  Doctor  Wilson,  won  thirty- 
five  thousand  in  the  Kentucky  Derby. 
Their  other  horse,  Old  Kickapoo,  was 
ready  for  a  veterinary's  shot,  but  Jack 
entered  him  at  Tiajuana  to  make  him 
feel  good,  and  Old  Kickapoo  came  in 
third.  The  Dempseys  are  lucky  that 
way.  "Once  you  get  into  the  swing 
of  tuning  in  on  the  right  things, 
you're  willing  to  be  a  fatalist  for 
life,"  said  Estelle. 


Polly's  Back 

Continued  from  page  50 


you  will  find  a  powder  puff— no  pow- 
der— and  a  package  of  cigarettes. 

"  'S  all  I  need !"  says  Polly. 

"You  know,  it's  great  to  be  a  co- 
medienne. Then  it  doesn't  matter 
whether  you  are  fat  or  thin.  You 
look  f tinny  either  way.  These  poor, 
little  girls  who  have  to  worry  about 
their  shapes  aad  whether  they  get 
wrinkles — that  would  be  an  awful 
life! 

"Seriously,  though,  we  all  need  a 
few  struggles.    They  teach  us  how 


to  live.  Teach  us  the  value  of  sim- 
plicity and  kindness  and  friendship. 
I've  had  mine.    Ye-yuss  !" 

It  looks  as  if  the  struggles  were 
over  for  Polly,  for  some  years  to 
come.  Hollywood  has  acclaimed 
her,  taken  her  back  into  its  friendly 
circle  with  great  glee.  For  Holly- 
wood loves  a  good  trouper  and  a  wit. 
Polly  is  both. 

She  is  quoted,  laughed  at,  sought 
after,  and  loved.  Polly  is  again  one 
of  ours.    Ye-vuss,  indeed! 


Advertis]  ng  Section 


107 


Aren't  Women  Funny? 

Continued  from  page  84 

average  beautiful  girl  does  not  want 
to  follow .  the  example  of  Louise 
Fazenda,  by  forgetting  her  good 
looks  and  play  half-witted  slaveys 
and  homely  old  maids.  She  would 
rather  hide  her  comedy  talents,  which 
might  bring  her  freak  roles,  and  take 
a.  chance  on  reaching  the  top  as  a 
beautiful  girl. 

It  must  be  remembered  that  the 
majority  of  our  men  comedians  were 
developed  in  the  hard  school  of  slap- 
stick comedy.  They  had  to  forget  their 
dignity  and  good  looks,  if  any.  They 
were  kicked  downstairs,  and  dumped 
into  glue  vats.  .  As  unknowns,  they 
tried  hard  to  be  ridiculous,  to  attract 
attention  to  themselves,  and  they 
were  rewarded;  by  having  producers 
say :  "Ha-ha  !  that  guy's  got  a  funny 
pan!  Give  him  the  part  of  that 
goofy  .bricklayer, !" .  A  few  of  the 
girls,  such  as  Bebe  Daniels  and 
Louise  Fazenda.  stood  the  gaff  with 
the  men,  and  were  rewarded  by  hav- 
ing their  .ability  recognized.  But  it 
would'  make  the  average  girl  shudder 
to  have  a  producer  laugh  at  her  as  a 
freak.  Therefore  many,  .a  good  little 
actress  passes'  up  a  reputation  as  a 
comedienne,  as  a  sacrifice  on  the  altar 
of  .vanity; 

It  may  be  noted  here  that  it  is  even 
more  important  for  a  comedienne  to 
have  a  naturally  droll  look  than  for 
a  comedian.  A  comedian  can  make 
his  expression  more  comical  by  wear- 
ing a  mustache,  either  of  the  tooth- 
brush or  walrus  variety,  an  odd  beard 
or  haircut,  a  bulbous  nose,  spectacles, 
baggy  clothes,  odd  hats.  The  props 
that  a  comedienne  can  vise  habitually 
are  much  more  limited,  particularly 
if  she  wants  to  make  a  charming  im- 
pression. If  a  good-looking  girl 
wears  the  outlandish  attire  affected 
by  many  men  comedians,  the  audience 
usually  feels  she  is  out  of  character, 
and  is  straining  to  be  funny. 

Perhaps,  after  all,  women  aren't 
so  funny  as  men.  on  the  screen,  but 
the  fact  remains  that  they  have  much 
more  comecty  talent  than  they  are 
given  a  chance  to  show.  The  screen 
is  overstocked  with  masculine  come- 
dians, but  there  is  an  acute  demand 
for  the  ladies.  Many  a  star  come- 
dian, whose  popularity  is  sagging, 
would  make  vastly  more  entertaining 
comedies  if  he  would  select  a  leading 
lady  who  was  not  merely  charming, 
but  also  a  good  comedy  foil.  . 

New  comediennes  can  be  searched 
for  and  developed.  When  the  same 
effort  is  devoted  to  building  come- 
diennes as  to  building  comedians,  it 
should  be  clear  to  all  that  the  answer 
to  the  question,  "Are  women  funny?" 
is  in  the  affirmative. 


Now  You  Can  Reduce 
2  to  4  Lbs.  in  a  Night 


Eat  what  you  please 

Wear  what  you  please 
Do  what  you  please 

Take  no  risky  medicine 

Send  the  coupon  for  your  first  three  Fayro  Baths 

Thousands  of  smart  women  have  found  this 
eas}'  way  to  take  off  2  to  4  pounds  once  or  twice 
a  week.  These  women  take  refreshing  Fayro 
baths  in  the  privacy  of  their  own  homes. 

Fayro  is  the  concentrate  of  the  same  natural 
mineral  salts  that  make  effective  the  waters  of 
twenty-two  hot  springs  of  America,  England  and 
Continental  Europe.  For  years  the  spas  and  hot 
springs  bathing  resorts  have  been  the  retreat  of 
fair  women  and  well  groomed  men. 

Excess  weight  has  been  removed,  skins  ,  have 
been  made  more  lovely,  bodies  more  shapely  and 
minds  brighter. 

The  Hot  Springs  Are  Now  Brought  to  You 

A  study  of  the  analyses  of  the  active  ingredi- 
ents of  the  waters  from  twenty-two  of  the  most 
famous  springs  have  taught  us  the  secret  of  their 
effectiveness.  You  can  now  have  all  these  bene- 
fits in  your  own  bath.  Merely  put  Fayro  into 
your  hot  bath.  It  dissolves  rapidly.  You  will 
notice  and  enjoy  the  pungent  fragrance  of  its 
balsam  oils  and  clean  salts. 

Then,  Fayro,  by  opening  your  pores  and  stimulat- 
ing perspiration,  forces  lazy  body  cells  to  sweat  out 
surplus  fat  and  bodily  poisons.  Add  Fayro  to  your 
bath  at,  night  and  immediately  you  will  lose  from 
2  to -4  pounds  in  an  easy,  refreshing  and  absolutely 
harmless  manner. 

Consult  your  physician  and  he  will  tell  you  that 
Fayro  is  certain  to  do  the  work  and  that  it  is  abso- 
lutely harmless. 

Fayro  will  refresh  you  and  help  your  body  throw 
off  worn  out  fat  and  bodily  poisons.  Your  skin  will 
lie  clearer  and  smoother.  You  will  sleep  better 
after  your  Fayro  bath  and  awaken  feeling  as 
though  you  had  enjoyed  a  week's  vacation. 

Lose  Weight  Where  You  Most  Want  To 

Fayro  reduces  weight  generally  but  you  can  also 
concentrate  its  effect  on  abdomen,  hips,  legs,  ankles, 
chin  or  any  part  of  the  body  you  may  wish. 

Results  Are  Immediate 

Weigh  yourself  before  and  after  your  Fayro  bath. 
You  will 'find  you  have  lost  from  2  to  4  pounds. 
And  a  few  nights  later  when  you  again  add.  Fayro 
to  your  bath,  you  will  once  more  reduce  your 
weight.  As  soon  as  you  are  the  correct  weight  for 
your  height  do  not  try  to  reduce  further.  No  need 
to  deny  yourself  food  you  really  want.  No  need  for 
violent  exercise.  No  need  for  drugs  or  medicines. 
Merely  a  refreshing  Fayro  bath  in  the  privacy  of 
your  own  home. 

Try  Fayro  at  Our  Risk 

The  regular  price  of  Fayro  is  $1.00  a  package. 
With  the  coupon  you  get  3  full  sized  packages  and 
an  interesting  booklet  "Health  and  Open  Pores"  for 
$2.50  plus  the  necessary  postage.  Send  no  money. 
Pay  the  postman.  Your  money  refunded  instantly 
if  you  want  it. 


HERE'S  PROOF 

Read  what  Fayro  Baths  have  done 
for  others 

"Three     Fayro     baths  reduced- 
my .  weight  11  pounds  in  8  days. 
I  fee}  better  than  I  have  felt  for 
years." 

"I  weigh  16  pounds  less  and  feel 
younger  and  sleep  better.  Fayro 
is  wonderful." 

"My  double  chin  vanished  in  thp 
magic,  of  Fayro  baths." 

"My  hips  were  always  too  promi- 
nent until  I  commenced  Fayro- 
baths.    I  have  lost  12  pounds." 

"Thank  you  for  Fayro.  I  lost 
H  pounds  in  three'  iceeks ;  feel 
better  and  certainly  look  -better." 

"Since  chUdhood  my  thick  ankle^ 
have  always  been  a  source  of  era-j 
barrassnient.  Fayro  baths  have' 
reduced  them  beautifully.  Thank 
you  very  much." 

For  obvious  reasons,  names  are  not  quoted.: 
but  every  letter  published  has  been  author-; 
ized  and  names  and  addresses  will  be; 
given  on  request.  j 


r 


If  each  healthful  bath  of  Fayro  does  not 
reduce  your  weight  from  2  to  4  pounds,  we 
will  refund  your  money  without  a  question. 
You  risk  nothing.     Clip  the  coupon  and  mail. 


Fnyro,  Inc.  PP-2-29 

821  Locust  St.,  Pittsburgh,  Pa. 

Send   me   3   full   sized   boxes  of  Fayro  in   plain  package. 

I  will  pay  the  postman  $2.50  plus  the  necessary  postage. 
It  is  understood  that  if  I  do.  not  get. satisfactory  results  with 

the  first  package  I  use,  I  am  to  return  the  other  two  and 
you  will  refund  all  of  my  money  at  once. 


Name  

Address  

City  State  

If  you  live  outside  the  United  States  send  International 
Money  Order  with  coupon. 


108 


Advertising  Section 


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Continued  from  page  98 


passed  to  Madame  Rosenkrantz,  save 
his  wife's  certainty  of  the  fact,  con- 
fided to  her  maid.  The  wife  was 
dead,  and  could  not  speak  for  herself. 
The  maid  was  prejudiced.  Still,  the 
detectives  consented  to  take  Miss 
Standish's  money  and  strive  to  prove 
that  her  theory,  not  theirs,  was  right. 

They  imearthed  certain  seemingly 
unimportant  facts  concerning  Ma- 
dame Rosenkrantz's  life,  and  a  few 
of  more  obvious  importance.  The 
names  of  visitors  to  her  apartment 
were  discovered,  among  others  being 
that  of  a  comparatively  unknown 
dancer  named  Marco  Lopez.  One  of 
the  detectives  engaged  by  Madeleine 
brought  to  light  the  fact  that  Rose 
had  been  seen  dancing  with  Lopez 
at  a  second-rate  night  club.  A  few 
days  after  the  death  of  Lester  Arnold 
and  his  wife,  Marco  Lopez  resigned 
his  position,  telling  the  manager  of 
the  club  that  he  had  been  called  home 
to  Buenos  Aires.  No  news  of  him 
could  be  got  from  the  police  there, 
however,  except  the  story  of  a  post 
card  received  by  a  friend,  with  a  pic- 
ture on  it  of  the  Indian  Museum  at 
Albuquerque.  This  card  had  been 
destroyed  by  the  friend,  its  date  for- 
gotten, and  had  contained  only  the 
word  "Greetings"  in  Spanish,  signed 
"Marco." 

If  Lopez  had  anything  to  conceal, 
detectives  argued,  he  would  have  been 
unlikely  to  send  this  post  card.  And 
there  was  no  support  for  Miss  Stand- 
ish's conviction  that  Rose  had  gone 
with  Lopez,  or  joined  him.  She  had 
left  her  apartment  the  morning  after 
Arnold's  "suicide,"  before  the  death 
was  discovered ;  but  it  seemed  that 
her  departure  had  been  arranged  a 
week  beforehand.  Her  doctor  had 
ordered  her  to  Switzerland  for  a 
cure,  as  she  was  threatened  with  con- 
sumption. She  had  sublet  her  apart- 
ment, which  she  had  taken  furnished, 
and  her  name  had  been  on  the  pas- 
senger list  of  a  French  ship  sailing 
from  New  York  on  the  day  she  left 
her  apartment. 

By  the  time  Madeleine  had  arrived 
on  the  scene  from  school,  had  re- 
covered sufficiently  from  the  shock  of 
the  double  death  to  form  a  theory  and 
obtain  money  for  detectives,  this  ship 
had  completed  its  voyage.  A  "Ma- 
dame Rachel  Rosenkrantz"  had  been 
a  second-class  passenger,  but  her  de- 
scription did  not  tally  with  that  of 
Rose.  Madeleine  could  not  afford 
to  have  this  person  tracked  all  across 
Europe.  Besides  she  and  Jeanne  La- 
boris  together  were  convinced  that 
the  woman's  journey  and  announced 
plans  were  a  blind.  Jeanne,  sent  once 
by  her  mistress  on  an  errand  to  Ma- 


dame Rosenkrantz,  had  seen  in  the 
latter's  bedroom  a  framed  photograph 
of  a  handsome,  dark  young  man  who 
had  signed  himself  "Thy  Marco." 

"Marco"  had  passed  through  Al-  . 
buquerque,  New  Mexico.  Both  that 
State  and  California,  just  beyond, 
were  favorite  health-resorts,  and 
Madeleine  had  made  up  her  mind 
that,  somewhere  in  the  mild  and 
sunny  West,  Rose  Rosenkrantz  and 
the  Empress  Josephine's  jewels  were 
hidden  in  the  keeping  of  Marco  Lo-  v 
pez,  the  dancer. 

Months  had  passed,  and  there  was 
no  news  of  Lopez  obtainable  from 
New  Mexico  or  California,  yet  Made- 
leine's  theory  had  remained  unshaken. 
Some  day  Lopez  would  come  out  into 
the  open  as  a  dancer.  With  him 
would  be  Rose  Rosenkrantz.  South- 
ern California  would  attract  a  man 
of  Lopez's  profession  ;  and  Madeleine 
imagined  him  coming  out  of  his  re- 
tirement, in  some  Los  Angeles  cafe. 
She  had  felt  that,  if  he  were  to  be 
found,  she  must  be  the  one  to  find 
him.  And  so  at  last  she  had  reached 
the  goal  of  her  desires,  with  little 
money  left. 

Her  advantage  had  been,  in  Holly- 
wood, that  she  was  unknown  to 
Marco  Lopez  and  Rose  Rosenkrantz. 
But  now,  as  she  lay  awake  recreating 
the  past  and  picturing  the  future, 
she  faced  an  obstacle.  How  was  she 
to  put  herself  in  Rose  Rosenkrantz's 
place,  according  to  the  Edgar  Allan 
Poe  method,  when  her  only  acquaint- 
ance with  the  woman's  features  was 
through  a  photograph?  Also,  how 
was  she  to  find  a  person  never  seen, 
who  had  doubtless  changed  through 
illness  since  that  photograph  was 
taken  ? 

Still  the  girl  did  not  despair.  She 
called  up  a  vision  of  dark,  exotic  eyes 
and  a  beautiful,  discontented  mouth 
with  a  tragic  droop  of  the  full  lips. 
That  woman  could  hate  as  well  as 
love !  Madeleine  saw  her  hating  the 
rejuvenated  Lady  Gates,  saw  her 
fearing  that  Marco  meant  to  deceive 
her  after  all  and  marry  the  rich 
widow. 

"She'd  work  against  him  with  Lady 
Gates  in  secret;  and  then,  if  he  found 
her  out,  she  would  throw  herself  on 
his  mercy,"  the  girl  thought.  "She'd 
either  pretend  to  be  terribly  ill,  or 
else  she  would  be  really  ill.  He'd  be 
obliged,  to  help  her,  for  his  own  sake 
as  well  as  hers.  She'd  have  to  be  got 
out  of  the  bungalow  and  hidden  some- 
where else.  But  not  too  far  away. 
She  couldn't  go  far!  Besides,  they'd 
need  to  keep  in  touch  with  one  an- 
other. Nobody  in  California  had 
Continued  on  page  114 


Advertising  Section 


109 


Evelyn    As  She  Is 

Continued  from  page  34 


no  reason  why  she  should  he  exempt, 
she  does  not  feel  martyred.  Sympa- 
thetic and  understanding  of  the 
troubles  of  others,  she  seldom  refers 
to  her  own  and,  when  she  does,  it  is 
humorously. 

On  one  occasion,  she  did  inadver- 
tently speak  of  a  dismal  period  dur- 
ing her  early  days  on  the  stage.  The 
occasion  was  an  interview  and,  al- 
though Evelyn  did  not  dilate  on  the 
dramatic  aspects  of  the  event,  the  in- 
terview was  published  as  a  minor 
tragedy.  For  weeks  after  it  came 
out,  she  was  in  a  torment  of  embar- 
rassment, fearful  that  her  friends 
had  seen  it.  Since  then  she  has  been 
cautious  in  her  statements  to  the 
press.  This  type  of  publicity,  to- 
gether with  the  recent  inundation  of 
"love-life  confessions,"  she  considers 
the  height  of  bad  taste,  and  believes 
that  the  public  can  only  be  offended 
by  the  vulgarity,  and  amused  by  the 
inanity,  of  it. 

She  loves  the  stage  and  deplores 
the  scarcity  of  good  entertainment  in 
the  Los  Angeles  theater.  Well-ex- 
ecuted plays  are  a  source  of  keen  de- 
light to  her,  and.  she  would  like  to 
have  more  time  for  vacations  in  New 
York.  Hoping,  some  day,  to  return 
to  the  stage,  she  welcomes  talking  pic- 
tures, and  the  consequent  use  of  in- 
telligent plays  for  screen  material. 
Her  first  talkie  was  "Interference," 
adapted  with  care  from  the  stage  pro- 
duction. She  was  nervous  of  the  mi- 
crophone, grateful  that  any  sound  at 
all  emerged  from  her  mouth  when 
she  opened  it,  and  is  prepared  for  the 
worst  when  she  sees  the  picture.  Not 
habitually  a  victim  of  stage  fright, 
however,  she  looks  forward  to  the 
next  one  as  a  probable  improvement. 
Her  voice  should  register  excellently, 
being  low  pitched  and  full.  She  is 
fascinated  by  the  making  of  talking 
pictures  and  tries  to  understand  the 
process,  but  is  lost  in  the  intricate 
technicalities. 

Until  "Underworld"  she  was  not 
particularly  interested  in  her  career. 
Apparently  doomed  to  mediocre  pic- 
tures, work  was  incidental,  something 
that  had  to  be  done  and  gotten  out  of 
the  way.  When  "Underworld"  was 
released,  Evelyn  Brent  was  rediscov- 
ered by  the  fans  and  discovered  by 
the  critics.  There  followed  a  con- 
tract with  Paramount  and  intelligent 
roles  in  good  pictures.  Her  interest 
awakened,  Evelyn  began  to  give  her 
work  more  attention,  tried  to  be  less 
amenable  to  suggestion,  and  to  object 
when  attempts  were  made  to  force 
her  into  unsuitable  parts.  Loathing 
any  role  smacking  of  the  ingenue, 
and  having  proved  to  her  own  satis- 


faction that  she  is  terrible  in  that 
type,  she  holds  out  bravely  for  more 
adult  forms  of  entertainment.  She 
wishes  there  were  more  demand  for 
stories  dealing  with  mature  people- 


men  and  women 
are  experienced, 


of  middle  age  who 


mellow,  and  wise. 
There,  she  thinks,  lies  real  drama, 
and  cites  Pauline  Frederick  as  one  of 
its  successful  exponents.  Emil  Tan- 
nings is  another  of  her  favorites,  and 
she  thinks  Greta  Garbo  eye-filling, 
breath-taking,  amazing. 

At  times  Evelyn  wonders  why  she 
is  in  pictures,  why  she  continues — it 
seems  to  her  silly  and  unsatisfactory. 
Yet  an  urge  drives  her  to  do  some- 
thing. Acting  is  the  only  thing  she 
knows  and,  despite  these  misgivings, 
she  likes  it.  Not  satisfied  with  this, 
she  must  find  out  why  she  likes  it, 
and  it  is  when  she  can't  decide  that 
she  feels  its  futility.  It  is  probably 
the  basis  of  her  moods,  this  self- 
analysis  and  passion  for  having  no 
delusions  about  herself. 

Recently  divorced  from  B.  P.  Fine- 
man,  the  Paramount  executive  to 
whom  she  had  been  married  over 
four  years,  she  "finds  herself  jarred, 
and  readjustment  necessary.  Al- 
though the  separation  was  accom- 
panied by  no  rancor,  and  they  are 
still  friends,  she  admits  the  difficulty 
of  change.  Creatures  of  habit,  and 
made  to  live  neither  alone  nor  with 
any  one,  she  thinks  that  the  fault  lies 
less  with  the  institution  of  marriage, 
than  with  the  construction  of  hu- 
mans. Before,  and  if,  she  marries 
again  she  will  have  to  be  sure  of  a 
mutual  tolerance,  the  quality  she  con- 
siders most  necessary,  and  almost  im- 
possible to  combine  with  love. 

A  driving  restlessness  being  domi- 
nant in  her,  it  is  surprising  that  she 
has  stayed  six  years  in  Hollywood. 
She  loves  to  travel,  would  like  always 
to  be  free  to  pick  up  and  leave  on 
eveiy  impulse.  Partial  to  Europe, 
she  would  prefer,  if  forced  to  select  a 
permanent  abode,  to  live  in  London. 

She  lives  now  in  a  spacious,  impos- 
ing house  set  atop  terraced  lawns  on 
a  quiet  street  between  Hollywood  and 
Beverly  Hills.  She  took  the  place 
principally  for  the  wide  gardens 
around  it,  and  the  stillness  of  the 
neighborhood.  It  is  furnished 
throughout  in  the  modern  manner, 
which  she  adores.  She  wants  to 
build  a  house  in  the  modern  archi- 
tecture now  being  experimented  with 
in  Europe. 

Her  library  is  filled  with  cases  that 
overflow    with    books — books  not 
bought  for  decoration,  but  for  prac- 
tical purposes.    First  editions,  special 
Continued  on  page  115 


The  Old 
Reliable 
Credit 
Jewelers 


IOFTIS 


Dept.  K-927 

10S 
N.  Stato  St. 

HflB  BROS.ftCO.5Sso  Chicago,  hi. 


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Wken  They  Faced  Oblivion 


Continued  fr 

to  a  crime  drama  that  could  be  im- 
agined. Nothing  in  particular  hap- 
pened after  this  picture,  but  her  con- 
nection with  Paramount  paved  the 
way  to  the  lead  in  "Underworld," 
and  here  at  last  was  the  role  that 
brought  her  into  her  own.  But  it  took 
about  ten  years  to  do  it. 

A  remarkable  case  of  grit  in  mo- 
tion pictures  is  that  of  Mary  Nolan. 

It  is  a  rather  well-known  fact  that 
the  real  name  of  this  actress  is 
Imogene  Wilson,  and  that  she  is  a 
former  Broadway  show  girl,  who  was 
given  a  great  deal  of  notoriety  when 
she  sued  the  .comedian,  Frank  Tin- 
ney,  for  beating -her. 

As  the  case  went  through  the 
courts,  and  the  story  lengthened  out 
into  attendant  unpleasantness,  it  was 
the  general  verdict  along  Broadway 
that  Imogene  Wilson  was  finished ; 
that  whatever  chances  she  had  were 
tacitly  canceled. 

Ordinarily,  a  girl  in  the  position 
of  Miss  Wilson  would  have  given 
up.  There  was  really  nothing  else 
to  do.  But  what  .she  went  through 
seemed  to  have  an  unusual  effect  on 
her.  She  migrated  to  Europe,  settled 
for  a  time  in  Berlin  and  forced  her- 
self into  a  job  as  an  extra  in  one  of 
the  -German  studios.  The  stage  be- 
ing closed  to.  her,  she  determined,  to 
make  her  way  on  the  screen,  and  iby 
sheer  courage  chiseled  out  an  open- 
ing. 

Her  work  attracted  favorable  no- 
tice, in  a  small  way,  and  she  was 
given  bits,  and  then  leads,  until  she 
became  quite  well  known  abroad  as 
Imogene  Robertson.  One  of  her -pic- 
tures was  seen  by  art  executive  of 
United  Artists  of  Hollywood,  who 
offered  her  a  contract  which  the 
actress  promptly  signed,  On  her  ar- 
rival in  New  York,  Imogene  Robert- 
son, the  supposed  German  star,  was 
recognized  by  the  ship-news  reporters 
who,. needless  to  say,  did  not  keep  her 
identity  a  secret.  Once  again  Imogene 
was  the  .victim  of  flagrant  publicity 
of  a  kind  that  would  have  crushed  a 
less  dauntless  spirit.  As  the  first  step 
toward  a  fresh  start,  she  changed  her 
name  again,  this  time  to  Mary  Nolan. 
Herbert  Brenon,  the  director,  struck 
by  her  pluck  in  the  face  of  discourag- 
ing odds,  took  up  the  cudgels  in«her 
favor  and  insisted  that  she  play  the 
role  of  Kit's  wife,  in  "Sorrell  and 
Son." 

After  the  picture  was  .shown,  Mary 
Nolan  was  considered  a  "find"  of 
such  potentialities  that  Universal 
bought  her  contract  from  United 
Artists,  with  the  intention  of  groom- 
ing her  for  stardom.    Another  step 


om  page  87 

was  taken  in  her  upward  climb  when 
Metro-Goldwyn  borrowed  her  for  the 
leading  feminine  role  opposite  Lon 
Chaney,  in  "West  of  Zanzibar."  It 
is  true  that  Mary  Nolan  received  sub- 
stantial assistance  from  Herbert 
Brenon  when  encouragement  was 
sorely  needed,  but  you  will  find  that 
real  grit  always  makes  friends — 
eventually,  if  not  at  the  beginning. 

Anita  Page  is  another  young 
woman  who  started  with  a  handicap 
and  came  out  a  winner.  Miss  Page 
was  a  dancer  in  New  York  who  was 
seen  by  Harry  K.  Thaw  at  the  time 
he  was  ready  to  embark  upon  another 
of  his  ventures,  this  time  a  motion- 
picture  company.  With  some  other 
girls,  she  was  taken  by  him  to  Holly- 
wood where,  after  innumerable  de- 
lays, it  was  discovered  that  there 
wouldn't  be  any  producing  company 
backed  by  Thaw  after  all. 

Not  only  that,  but  Anita  soon  dis- 
covered that  coming  out  to  Holly- 
wood, under  the  circumstances  she 
did,  was  a  greater  handicap  than  com- 
ing out  alone.  Nevertheless,  instead 
of  going  back  home,  she  set  herself  to 
make  the  rounds  of  the  studios,  and 
continued  trudging,  in.  the  face  of  an 
unbroken  chain  of  refusals,  until 
Malcolm  St.  Clair,  the  director;  saw 
possibilities  in  her.  He  couldn't '  use 
her  himself,  but  he  sent  her  to  Sam 
Wood,  who  agreed  with  St.  Clair,  and 
put  her  in  the  William  Haines  pic- 
ture, "Telling  the  World." 

For  three  years  Jimmy  Murray, 
after  he  had  come  out  here,  was  an 
extra.  During  this,  time  he  had  been 
given  so  many  tests  that  he  began  to 
hate  them  viciously.  Nothing  ever 
came  of  them.  An  extra  he  re- 
mained, and  it  seemed  so  definite 
that  there  was  no  future  for  him,  that 
he  decided  to  quit.  As  a  last,  dra- 
matic gesture,  he  determined  to  walk 
out  of  the  movies,  through  the  door 
of  the  executive  office. 

As  he  strutted  through  the  main 
office  at  the  close  of  the  day's  work, 
he  was  seen  by  King  Vidor,  who  was 
then  looking  for  some  one  to  play  the 
hero  in  "The  Crowd."  He  was  im- 
pressed by  Murray's  appearance  and 
called  him  to  work,  and  put  him 
through  some  actual  scenes  of  the 
play  with  Eleanor  Boardtnan-.  It  was 
Murray's  big  chance,  and  this  time 
he  made  good. 

We  have  recorded  six  cases  of  run- 
ners- in  the  Hollywood  obstacle  race 
who  have  won  out.  The  winners 
will  always  be  those  who  have  the 
courage  to  keep  on  going,  when  the 
going  seems  more  difficult  than  one 
can  stand. 


Advertising  Section 


111 


The  Fatal  Number  Tkree 

Continued  from  page  25 

an  automobile.  Paralyzed  in  both 
legs,  and  almost  totally  blind,  he 
never  again  regained  consciousness. 
It  was  a  shocking  and  unexpected 
end  of  a  career  that  was  beginning  to 
promise  bright  things,  for  his  work 
with  Norma  Talmadge,  in  "The 
Woman  Disputed,"  had  already  es- 
tablished him  in  Hollywood. 

George  Beban's  death  was  equally 
unexpected  and  shocking.  About  a 
week  previous,  he  had  entertained  all 
Hollywood  at  a  housewarming  for  his 
new  beach  home. 

On  a  Sunday  morning  he  was 
horseback  riding  through  the  canyons 
of  the  Santa  Monica  hills,  when  he 
was  thrown.  At  first,  Hollywood 
did  not  realize  the  seriousness  of  his 
injuries.  The  newspapers  carried  a 
small  notice  that  Beban  had  been 
slightly  hurt,  but  was  expected  to  be 
up  and  about  shortly.  George  Be- 
ban's next  publicity  was  in  headlines. 
He  was  dead. 

It  was  then  that  Hollywood  held 
its  breath,  and  wondered  if  the  fatal 
three  were  to  visit  the  colony  again. 
"The  death  of  one  actor  is  followed 
by  two  others."  There  were  Beban 
and  Kent. 

Larry  Semon  was  the  third. 

Larry  Semon  had  been  a  leading 
funster  and  wit  of  Hollywood  for 
years.  He  was  one  of  the  first  star 
comedians  of  the  screen.  Some  time 
ago  he  was  one  of  the  most  pros- 
perous and  influential.  But  the  same 
Hollywood  that  had  given  Larry 
fame,  licked  him  and  caused,  indi- 
rectly, his  death. 

When  the  old  Vitagraph  company, 
of  which  he  had  been  a  star,  was 
taken    over    by   Warner  Brothers, 

He  was  so  sure  of  himself  that  he 
bought  his  own  studio,  and  financed 
his  own  pictures  with  personal  capi- 
tal. Very  few  actors  have  been  suc- 
cessful in  that  field.  Larry  was  no 
exception.  His  pictures  failed,  and 
as  a  result  he  lost  a  great  deal  of 
money. 

He  worried  greatly  over  his  fi- 
nances. He  was  heartbroken  when 
forced  into  bankruptcy.  He  brooded 
continually  over  his  troubles,  until 
it  brought  on  a  nervous  breakdown. 
Thanks  to  Tom  Mix  and  a  few  loyal 
friends,  Larry  was  sent  away  to  rest 
and  recuperate.  Kindness  might 
have  accomplished  its  ends,  if  pneu- 
monia had  not  set  in.  Larry  was  in 
too  weakened  a  condition  to  fight  off 
the  fatal  illness.  Unconscious  for 
three  days,  nursed  in  the  arms  of  his 
faithful  little  wife,  Dorothy  Dwan, 
he  died  one  morning. 

Illness  or  accident.  Accident  or 
illness.  The  cycle  of  three  takes  its 
fatal  toll  of  Hollywood ! 


The  Fight  on  Fat 

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Mi 


Puzzle  fans  attention:  3.  C. 
Long;,  Charles  Vogtmann,  Mrs.  J.  E. 
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$11 ,000.00  in  prizes  paid  by.ns  in  October,  1928.  In  next  few 
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FIND  THE  "DIFFERENT"  AUTO 

The  cars  in  the  oval  all  look  exactly  alike  at  first  glance.  They  are  not 
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Something  is  purposely  left  off  all  the  other  cars  but  this  one.  The  difference 
may  be  in  the  fenders,  bumper,  nameplate,  radiator  or  top.  The  one  that 
is  different"  is  the  real  Buick  Sedan  I  am  giving  away  in  addition  to  three 
other  cars  in  my  great  friendship  advertising  campaign.  You  may  betheone 
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AND  WIN  BUICK  SEDAN  OR  SlSOO.OO  CASH 

4  sedans  and  29  other  prizes  totaling  over  $5,000.00.  82  prizes  and  duplicate 
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Certificate  for  $480.00  to  apply  on  grand  prize  sent 
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We  spend  over  $160,000.00  this  way  each  year  to  advertise  oar  products, 
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or  any  other  pozzies.  This  is  all.  Everyone  rewarded  if  actively  inter- 
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Just  send   the  number  of  the  "different"  auto  in  a 
letter  or  on  a  post  card.  That's  all,  send  no  money! 

B.  H.  France,  Dept.  251, 
SO©  N.  Dearborn  St., 
Chicago ,  III. 


it 


112 


Advertising  Section 


The  Temperamental  Dumb 


Continued  from  page  90 


1  You  try  it  first  on  a  single  lock  of  your 
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After  half  an  hour,  or  more,  of  as- 
sorted attempts  to  get  the  animals  to 
make  a  noise,  the  director  went  on 
with  other  scenes  and  left  a  camera 
man,  with  orders  to  crank  the  instant 
the  nearest  male  opened  its  mouth. 

The  hot  afternoon  slowly  passed. 
Toward  sunset,  a  cowboy  strolled  by 
with  a  pail  of  barley  for  his  horse. 
The  mules  let  out  brays  that  could  be 
heard  a  mile  away.  The  camera  man 
was  so  surprised  that  he  missed  half 
the  concert,  but,  being  resourceful,  he 
got  another  pail  of  barley  and  ground 
out  the  scene. 

Buster  Keaton  procured  the  serv- 
ices of  Chicago  for  his  picture,  "The 
Camera  Man."  But  he  did  not  suffer 
as  Harold  Lloyd  did  with  the  same 
monkey  several  years  ago.  For  Chi- 
cago is  an  old  hand  at  pictures  now. 

The  Italian  owner  drove  the  Lloyd 
company  nearly  crazy  with  his  in- 
cessant "Chicago!  Chicago!''  When 
he  wanted  the  monkey  to  cry,  he 
would  weep  vociferously  himself,  and 
if  the  director  desired  the  animal  to 
pull  coverings  from  a  bed,  the  Italian 
would  do  it  over  and  over  again,  all 
the  time  yelling  "Chicago  !"  As  they 
boarded  the  boat,  the  frightened 
owner  screamed:  "Chicago,  the  boat 
she  bend!" 

Once  they  nearly  lost  the  precious 
morfkey.  They  were  on  board  the  boat 
off  Catalina,  a  long  rope  connecting 
them  with  shore.  Chicago  -became 
venturesome,  and  walked  the  rope  to 
play  on  the  beach ;  she  was  having  a 
wonderful  time,  when  the  crows  be- 
gan to  pick  at  her.  Chattering  and 
screaming,  she  tried  to  get  away,  but 
they  pursued  her.  Bedeviled  beyond 
endurance,  she  rushed  out  into  the 
ocean  and  lay  down  flat,  with  arms 
outspread,  prepared  to  die.  Fortu- 
nately for  her,  at  this  point  one  of 
the  company  swam  to  shore  and  res- 
cued her.  . 

Akka,  the  one-thousand-dollars-a- 
week  chimpanzee,  is  so  full  of  tem- 
perament that  he  won't  work  unless 
the  leading  lady  will  permit  him  to 
kiss  her.  Jane  Winton.  who  played 
with  the  ape  in  "The  Monkey  Talks," 
and  Pat  Avery,  who  did  the  same  in 
another  film,  declare  this  is  the  hard- 
est thing  they  were  ever  called  upon 
to  do. 

Kissing  an  ape,  according  to 
Jacquelin  Logan,  would  be  a  mere 
pastime  compared  to  working  with 
some  of  the  jungle  beasts  picked  for 
her  to  dally  with  in  "The  King  of 
Kings."  There  were  Olga  and 
Ekky,  the  Bengal  leopard  twins,  and 
the  four  ferocious  zebras  who  pulled 
her  chariot.  No  amount  of  training 
or  taming  would  subdue  the  latter; 


they  bit  and  kicked  while  being  har- 
nessed, and  once  the  fair  Magdalene 
was  safely  esconced  in  the  chariot, 
they  ran  away,  the  vehicle,  with  its 
expensive  occupant,  careening  after 
them. 

As  for  the  leopards,  Olga  is  a  soft, 
sweet,  sleek  creature,  who  purred 
gently  under  Jacqueline's  caresses.  It 
was  arranged  that  Olga  should  play 
in  all  the  long  shots  with  the  human 
actors,  while  the  meaner  Ekky  rev- 
eled in  close-ups  of  snarls. 

One  day  Ekky  ran  away  'from  his 
trainer,  and  hid  in  a  hole  under  the 
artificial  hill  on  which  the  home  of 
Mary  of  Bethany  was  built.  For 
hours  the  company  was  tormented  by 
the  leopard's  brief  appearances  to 
snarl  his  worst  snarl,  always  cau- 
tiously retreating  before  his  trainer 
could  capture  him.  Toward  evening- 
he  made  a  sudden  break  for  freedom 
— dashing  ferociously  around  the  set, 
sending  actors,  assistant  directors, 
camera  men,  and  technicians  scurry- 
ing. Then  he  made  a  wild  leap  for 
the  top'  of  the  hill  and  landed,,  raging 
and  spitting.  "',!', 

The  scene  was  thus  set  for  the 
hero,  who  appeared  in  the  person  of 
the  art  director.  He  had  not  been 
at  the  studio  all  day  but,  arriving  at 
the  psychological  moment,  took  in  the 
situation  at  one  masterful  glance.  He 
seized  a  ladder,  climbed  to  the  top 
of  tthe  hill,  grasped  Ekky  by  the  back 
of  his  neck,  snapped'  a  collar  on  him 
and  led  him  triumphantly  to  his 
owner. 

"Great  Scott,  you  showed  some 
nerve  bearding  Ekky  like  that !"  cried 
one  of  the  admiring  throng. 

The  hero  turned  white  and  gasped : 
"Ekky?  Was  that  Ekky?  Gosh,  I 
thought  it  was  Olga!" 

Rin- Tin-Tin  feels  that  he  is  en- 
titled to  a  bit  of  temperament,  after 
all  the  years  that  he  has  worked,  and 
the  pictures  he  has  made.  Recently, 
when  he  and  his  master,  Lee  Duncan, 
were  away  on  location  near  Victor- 
ville,  California,  with  a  Warner  com- 
pany, Duncan  gave  the  dog  some 
water  in  an  old  earthen  dish.  "Rinty" 
sniffed  and  moved  contemptuously 
away.  He  had  seen  the  actors  drink- 
ing from  canteens,  and  not  until  he 
was  given  one  would  he  touch  a  drop 
of  water. 

So  it  is  easy  to  imagine  that 
Michael  Curtiz  and  his  assistants  will 
be  lucky  if  they  don't  wind  up  in  a 
padded  cell,  after  the  harried  months 
spent  in  dealing  with  the  assorted 
temperaments  of  every  known  variety 
of  animal  used  in  "Noah's  Ark"! 


Advertising  Section 


113 


CLASSIF 


ADVERTISING 


Agents  and  Help  Wanted 


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114 


Advertising  Section 


She  Reduced 


As  She  Was 


As  She  Is 


The  experience  of  Mrs.  Hill  verifies  this 
conception  of  difference  in,  weight  and  meas- 
urements where  obesity  has  been  checked  and 
a  ,7iew  era  of  slenderness  opened  through 
Korein. 

What  a  Relief! 

"I  feel  It  is  my  duty  to  tell  you  of  the  good  I  have 
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my  measurements  ns  they  were  a  month  ago  and  what 
they  are  now: 

Before  Now 
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45  "   Bust  40 

46  "   Hips  37 

16     "   Arms  14  " 

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rriae  of  tke  CI  an 

Continued  from  page  51 


"and  my  knees  were  slightly  wabbly 
when  they  got  me  before  the  camera. 
I  don't  know  exactly  what  we  did. 
I  think  we  did  a  little  bit  of  our  act. 
We  didn't  know  we  were  supposed  to 
act  before  the  camera,  so  we  just 
stood  still  and  wise-cracked  at  one 
another,  as  we  did  on  the  stage.  It 
would  have  been  all  right  for  a  talkie, 
but  for  a  silent  test  it  was  terrible. 

"A  couple  of  days  later,  they  ran 
off  the  test  for  us,  and  it  was  worse 
than  expected.  It  is  an  awful  blow 
to  see  yourself  on  the  screen,  after 
you  have  imagined  yourself  there.  I 
almost  sank  right  through  the  floor. 
All  I  could  think  of  was,  that  I 
wanted  to  get  out  oi  there  without 
any  one  seeing  me.  When  they 
flashed  a  close-up  of  me — that  was 
the  last  straw.  Some  one  snickered. 
I  thought  they  were  laughing  at  me, 
so  I  motioned  to  my  brothers  and  we 
sneaked  out  the  side  door." 

That  snicker  in  the  projection  room 
had  not  been  ridicule.  It  had  been  a 
chuckle  of  mirth  from  the  august 
producer  himself.  He  realized  that 
the  kid  had  possibilities,  and  just 
when  he  was  getting  ready  to  say  so, 
they  discovered  that  the  Quillans  had 
beat  it ! 

"A  detective  finally  traced  us,"  Ed- 
die continued,  perching  himself  on  a 
desk.  "For  a  minute  I  thought  he 
was  arresting  me  for  being  so  rotten 
in  the  movies.  I  certainly  was  sur- 
prised when  it  turned  out  to  be  a 
contract." 

At  first  everything  went  along 
pretty  well  at  Sennett's.  Eddie  was 
funny.  No  two  ways  about  that. 
People  began  to  notice  the  kid  who 
played  goofy  messenger  boys,  and  nut 
kid-brothers.  He  became  so  good 
that  he  was  promoted  to  stardom. 
But  it  was  a  stardom  that  never 
reached  the  public. 

It  was  about  that  time  that  Eddie's 
papa  took  exception  to  some  of  the 
gags  Eddie  had  to  do.    He  thought 


they  were  vulgar,  and  he  said  so, 
loudly  and  lustily.  This  burned  Sen- 
nett  up,  and  he  made  use  of  a  pro- 
ducer's revenge  by  working  Eddie 
as  the  star  through  six  two-reelers, 
and  giving  somebody  else  the  star  ad- 
vertising. 

"After  that,  things  went  from  bad 
to  worse  for  me  on  that  lot,"  Eddie 
admitted.  "I  was  just  about  ready  to 
give  up  pictures,  and  go  back  an  the 
road  with  my  dad's  act.  When  my 
original  contract  expired,  I  walked 
out. 

"We  were  pretty  green,  and  it 
never  occurred  to  any  of  us  that  I 
might  get  a  job  at  any  other  studio. 
I  got  out  the  old  saxophone,  and  was 
all  ready  to  set  out  on  the  Orpheum 
circuit,  when  Tay  Garnett,  a  director 
for  DeMille,  advised  me  to  come  out 
there  for  a  test  in  'The  Godless  Girl.' 

"I  was  pretty  glad,  because  I  liked 
pictures.  DeMille,  himself,  took  a 
test  of  me  for  'The  Godless  Girl,'  and 
signed  me  before  I  left  the  lot.  that 
day.  It  was  a  great  break  for  me. 
In  the  first  place,  the  comedy  in  'The 
Godless  Girl'  is  just  the  sort  of  stuff 
I  want  to  do.  It's  funny,  and  yet  it 
doesn't  offend.  There  are  so  many 
ways  to  get  a  clean  laugh  that  it 
seems  silly  to  gag  the  other  kind.  I 
guess  the  studio  must  feel  about  the 
same  way  I  do  about  comedy,  so 
they've  signed  me  on  a  long  contract. 
I've  already  done  'Show  Folks,'  with 
Lina  Basquette,  and  now  I'm  making 
'Geraldine,'  with  Marian  Nixon.  The 
next  picture  they  have  slated  for  me 
is  called  'Noisy  Neighbors,'  and  my 
whole  family  is  going  to  be  in  the 
cast." 

And  maybe  you  think  Eddie's  papa 
isn't  going  to  keep  an  eagle  eye  on 
the  gags !  Instead  of  louder  and  fun- 
nier laughs,  they're  going  to  be  fun- 
nier and  cleaner. 

For  Mr.  Quillan's  little  boy  Eddie 
is  the  pride  of  a  clan  that  prides  itself 
on  wholesome  fun. 


A  Girl  Comes  to  Hollywood 

Continued  from  page  108 


seen  her  face  closely.  Those  dark 
curtains  in  the  studio !  And  she 
could  have  added  to  her  nrysterious- 
ness  by  wearing  a  veil  or  mask.  She 
would  be  safe  under  a  new  name  at 
any  hotel — any  sanitarium.  But  bet- 
ter outside  Hollywood  or  Los  An- 
geles ;  best  at  some  place  where  Marco 
Lopez  wasn't  known. 

Then  the  word  "Pasadena"  seemed 
to  be  whispered  in  Madeleine's  ear. 
She  imagined  it,  she  knew.    But  that 


was  the  queer  way  in  which  her  in- 
spirations often  came. 

Pasadena  was  no  farther  from  Hol- 
lywood than  Los  Angeles,  but  it  was. 
somehow,  a  place  in  a  different  world. 
A  plan  began  growing  in  the  girl's 
mind.  It  had  to  do  with  Pasadena, 
but  it  would  begin  to  unfold  at  the 
Ambassador  Hotel  where  Lady  Gates 
had  stayed. 

[to  be  continued.] 


Advertising  Section 


115 


E^etyn— As  She  Is 

Continued  from  p;ige  109 

editions,  rare  printings,  signed  copies, 
all  exemplifying  understanding  and 
discrimination.  She  likes  biography, 
Samuel  Hoffenstein's  "Poems  in 
Praise  of  Practically  Nothing,"  Les- 
ter Cohen's  play  "Oscar  Wilde,"  and 
almost  anything  intelligently  con- 
ceived and  well  done.  Her  abomina- 
tion is  the  best-seller  book,  and  her 
despair  the  fact  that  if  she  chances 
upon  one  by  mistake,  she  reads  it 
through,  optimistic  to  the  end,  and  is 
then  roused  to  disgust  and  anger. 

She  would  like  to  understand  mu- 
sic, that  she  might  enjoy  it  without 
being  conscious  of  missing  its  real 
import,  but  has  never  had  the  oppor- 
tunity. She  admits  to  this  without 
pretense,  unaware  that  she  might  just 
as  easily  sigh,  "Ah,  Beethoven !"  and 
be  put  down  as  a  connoisseur.  This 
candor  is  one  of  her  most  ingratiating 
traits,  making  a  paradox  of  her  so- 
phistication. 

She  is  an  arresting  person,  a  vitally 
charming  one,  and  herself — Evelyn 
Brent — without  compromise  or  em- 
bellishment. 

[Editor's  Note. — Since  this  was 
written  Miss  Brent  married  Harry 
Edwards,  a  director.] 


They  Knoxtf  Their  Caviar 

Continued  from  page  104 

his  career  was  followed  by  a  succes- 
sion of  wise-cracking,  humorous 
parts,  with  a  lot  of  character  beneath 
their  buffoonery,  who  are  Ed  to  the 
finger  tips. 

"A  few  years  ago  I  took  Byron  and 
Shelley  seriously.  That  shows  you 
the  kind  of  a  guy  I  was."  He 
grinned.  "Now  they  serve  another 
purpose.  They  amuse  me.  I  can 
burlesque  them." 

He  believes  firmly  in  the  future  of 
talking  pictures. 

"They  satisfy  one  more  sense. 
You  go  out  in  the  morning,  smell 
the  fresh  air ;  you  are  exhilarated. 
You  see  the  flowers,  the  sunshine ; 
you  touch  something  beautiful.  It  is 
a  combination  which  appeals  to  sev- 
eral senses.  Could  you  merely  sec 
the  beauty  of  the  morning,  it  would 
not  have  nearly  as  much  meaning 
for  you.  Its  message  is  rounded  out 
by  the  other  ways  in  which  it  speaks 
to  you. 

"So  with  pictures.  When  improve- 
ments eliminate  the  metallic  sound, 
you  will  find  your  enjoyment  of  the 
talking  films  expanding,  because  they 
please  the  ear  as  well  as  the  eye." 

Lil's  career  also  has  done  a  hand- 
spring. She  continues  to  contribute 
the  vamping  menace,  with  growing 
success,  to  films  at  all  the  studios. 


00  Worth 
—  of  Prizes 


i 


I AM  going  to  give  away  ABSOLUTELY  FREE,  more  than  $5,000.00 
worth  of  wonderful  prizes,  consisting  of  an  8-cylinder  Studehaker 
Sedan,  a  Chevrolet  Sedan,  two  Phonographs,  a  Shetland  Pony,  a  Radios 
a  Bicycle,  Silverware  and  many  other  high  grade  articles  of  merchandise 
— besides  Hundreda  of  Dollars  in  Cash.  Already  we  have  given  away 
Thousands  of  Dollars  in  Cash  and  Valuable  Prizes  to  advertise  our  busi- 
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Find 
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Objects 

Starting  with 
the  Letter 


There  are  many  objects  in  the  picture  of  the  circus  above,  such  as 
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5  starting  with  the  letter  "C,"  fill  in  the  coupon  below  and  send  it  to  me 
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In  addition  to  the  Studebaker  Sedan,  the  Chevrolet  Sedan  and  the 
many  other  valuable  prizes — besides  Hundreds  of  Dollars  in  Cash- — I  am 
also  going  to  give  $550.00  in  Cash  for  Promptness.  It  will  pay  you  to  act 
at  once.  Any  winner  may  have  cash  instead  of  the  prize  won  and  in  case 
of  ties,  duplicate  prizes  will  be  awarded  First  prize  winner  will  receive 
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LIST  OF  PRIZES 


1.  8  Cylinder  Studebaker  Sedan. 

2.  Four-door  Chevrolet  Sedan. 

3.  Victor  Orthouhonic  Victrola. 

4.  Shetland  Pony. 

5.  Seven  Tube  Console  Kadio. 

6.  Fibre  Living  Ttoom  Set. 

7.  Electric  Vacuum  Cleaner. 

8.  Apollo  Alotorbilio  Bicycle. 

9.  100-Piece  Dinner  Set. 

10.  Ladies"  or  Men's  Elgin  Watch. 

11.  29-Pieee  Silverware  Set. 

12.  Portable  Phonograph. 

13.  New  Haven  Banjo  Clock. 

14.  Wrought  Iron  Bridge  Lamp. 

15.  Ladies'  Overnight  Bag. 


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315  So.  Peoria  St.,  Chicago,  111. 

The  objects  starting  with  the  let- 
ter "C"  are; 


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 ^^^KnrzmmuiM^uuiiuiim 


116 

Continued  from  page  21 
but  his  uncle  manufactured  shoes,  not 
collars.  He  soon  realized  that  ad- 
vancement in  this  work  was  an  im- 
possibility, so  he  passed  in  his  resig- 
nation. 

Leslie  had  been  nursing  a  secret 
ambition  to  go  on  the  stage.  All  his 
life  he  had  been  an  actor — a  bad  actor. 
At  the  precocious  age  of  twelve,  he 
entered  a  kids'  impersonating  contest, 
as  Charlie  Chaplin.  Imagine  our  sur- 
prise to  see  him  stroll  nonchalantly 
home  with  the  laurels !  This  spark 
of  ambition  was  fanned  into  a  flame 
and  one  day  Les  did  a  cartwheel, 
threw  a  bandanna  containing  his 
other  shirt  over  his  shoulder,  and  ran 
away  to  New  York. 

In  New  York  things  happened.  In 
less  time  than  it  takes  to  say  John 
Barrymore,  he  was  under  the  watch- 
ful eye  and  the  protective  wing  of 
Stuart  Walker.  He  received  exten- 
sive training  under  this  competent 
producer,  and  took  part  in  many 
stock  company  presentations. 

Then  he  was  drawn  to  the  glamour 
of  Hollywood.  Soon  he  was  gesticu- 
lating on  the  stage  in  "Two  Pals  and 
a  Girl."  This  was  followed  by  "Six 
Who  Pass  as  the  Lentils  Boil."  Then 
came  "The  Goose  Hangs  High,"  in 
which  he  achieved  some  notice,  and 
attracted  the  attention  of  a  few  pic- 
ture producers.  As  a  result,  he  was 
offered  his  choice  of  three  contracts, 
one  of  which  he  signed  with  William 
Fox. 

Leslie's  screen  debut  was  in  "Hav- 
oc," in  which  he  played  the  role  of 
a  shell-shocked  lieutenant  who  goes 


Should  a  Brotker  Tell? 

mad.  He  simulated  insanity  so  well 
that  he  has  been  given  many  mad 
roles  ever  since.  He  has  a  prefer- 
ence for  tear  wringers,  or  a  tragic 
denouement,  as  in  "An  American 
Tragedy."  Many  persons  proclaim 
him  the  leader  of  character  juveniles 
in  Hollywood,  and  contend  that  he 
was  born  to  play  the  role  of  Clyde 
Griffiths,  should  the  Dreiser  opus 
ever  find  its  way  to  the  screen.  Be 
that  as  it  may,  if  he  gets  this  much- 
sought-after  role,  with  the  sight-and- 
sound  combination,  it  will  virtually 
make  him.  He  is  very  much  inter- 
ested in  talking  pictures,  and  is  quite 
sure  that  in  time  they  will  supplant 
silent  movies.  He  loves  the  theater, 
and  his  secret  aspiration  is  to  portray 
Hamlet.  What  audacity  this  is  to 
his  brother ! 

He  receives  innumerable  letters 
from  fans  who  ask,  with  evident  an- 
noyance, "Why  don't  you  play  lead- 
ing roles — you  are  such  a  marvelous 
actor?"    He  smiles  at  these. 

Now  for  Leslie's  aversions  and  di- 
versions. In  the  first  place,  he  is  par- 
ticularly averse  to  remaking  scenes. 
For  instance,  in  the  shooting  of 
"What  Price  Glory?"  Victor  Mc- 
Laglen  and  Edmund  Lowe  were 
standing  at  the  foot  of  a  flight  of 
stairs,  down  which  Leslie  and  a 
couple  of  lieutenants  descended.  Les 
was  munching  an  apple.  When  he 
arrived  at  the  bottom  step,  Eddie 
took  the  apple,  and  also  a  couple  of 
bites.  Mr.  McLaglen  in  turn  snatched 
it  from  Eddie,  and  he  too  nibbled  the 
core.    Toward  the  completion  of  the 


scene,  Eddie  was  supposed  to  stride 
nonchalantly  off,  but  having  a  ten- 
dency to  chisel — the  vernacular  for 
scene-stealing — he  approached  the 
camera  first,  and  then  went  out. 

The  shot  had  been  taken  exactly 
nine  times,  and  they  had  consumed 
an  equal  number  of  apples.  The  di- 
rector was  in  a  paroxysm  of  rage,  the 
air  blue  with  maledictions.  Then  he 
ordered  every  one  off  the  set,  and  the 
scene  was  finally  achieved  as  he 
wished  it.  Needless  to  say,  the  ap- 
ples became  rather  savorless,  and 
after  all,  the  shot  went  to  the  cutting- 
room  and  never  came  put. 

Leslie's  diversions  consist  of  swim- 
ming, sailing — when  he  gets  a  chance 
— and  literature.  For  a  literary  diet 
he  absorbs  Shakespeare,  Keats,  and 
the  Russian  novelists — Tolstoy,  Tur- 
genev,  and  Dostoevski.  He  also  dips 
into  the  works  of  contemporary  writ-  . 
ers.  An  egoist,  a  freethinker,  a  lover 
of  books,  an  agnostic,  a  philanthro- 
pist and  a  philogynist. 

As  to  his  affaires  d1  amour,  there 
have  been  many.  He  is  a  Bluebeard 
in  that  he  has  the  heads  of  his  loves 
adorning  the  walls  of  his  rooms,  but 
in  portraits  only.  All  are  ships  that 
passed  in  the  night  and  not  silently, 
but  with  a  protesting  murmur  and  a 
gurgle!  There  'were  Winifred  and 
Clara  and  Dot  and  Virginia  and 
Maria  and  Alice,  and  so  on,  in- 
definitely. A  new  love  always  suc- 
ceeds the  old.  He  has  been  rumored 
engaged  a  number  of  times,  but  withr 
out  confirmation.  Perhaps  he  travels 
faster  who  travels  alone. 


Continued  from  page  92 
traveled  abroad  recently,  is  our 
authority  for  this,  and  he  asked  us 
to  be  especially  careful,  in  writing 
the  word  "sonore,"  not  to  omit  the 
"6"  after  "s." 

Greta  Touched  by  Grief. 

The  news  of  the  death  of  Mauritz 
Stiller,  the  Swedish  director,  caused 
a  decided  shock  to  Greta  Garbo.  He 
was,  as  you  may  remember,  her  dis- 
coverer, though  strangely  enough,  he 
never  completed  a  picture  with  her 
after  she  came  to  this  country.  He 
directed  a  portion  of  "The  Tempt- 
ress," but  some  difficulties  arose,  and 
he  was  replaced  by  Fred  Niblo. 

Stiller's  experience  -in  America 
was  most  unhappy.  He  made  one  or 
two  Pola  Negri  films  that  were  highly 
regarded  by  the  critical,  though  they 
were  not  popular  at  the  box,  office. 
He  directed  a  portion  of  "The  Street 
of  Sin,"  with  Emil  Tannings,  which 
failed  to  enjoy  as  much  approval  as 
the  other  pictures  starring  Emil. 
Then  Stiller  went  back  to  Europe. 


"loll^Wood  Higk  Light; 

He  was  working  abroad  when  he  died 
rather  suddenly  in  Sweden. 

Greta  collapsed  on  the  set,  when 
she  got  the  news,  and  for  a  time  it 
was  considered  doubtful  whether  she 
would  undertake  her  contemplated 
Christmas  trip  to  Europe.  However, 
she  finally  decided  to  visit  her  home- 
land, from  which  she  has  been  absent 
for  all  of  three  years. 

Camilla,  the  Angelic. 

Camilla  Horn  has  a  cheerful  dis- 
position, and  as  that  particular  kind 
of  outlook  helps  greatly  in  the  stu- 
dio, she  should  be  headed  for  all  man- 
ner of  success,  especially  as  she  is 
also  very  pretty  and  charming. 

Camilla  was  doing  a  scene  in  an 
Alpine  mountain  setting  with  John 
Barrymore,  during  the  making  of 
"The  King  of  the  Mountains."  It 
was  a  storm-swept  affair,  with  the 
wind  machines  going  full  blast,  and 
the  prop  snow  blowing"  about.  The 
stalwart  Barrymore  was  required  to 
carry  the  lady  down  a  mountain  trail, 


when  the  tempest  was  at  its  height, 
and  during  one  "take"  of  the  scene, 
he  lost  his  balance  for  a  moment,  and 
Miss  Horn  slipped  out  of  his  arms 
onto  the  set  in  not  too  ceremonious  a 
manner.  "How  did  you  like  that 
scene  ?"  a  bystander  asked  her. 

"Oh,  it  was  very  nice,"  she  replied. 

"But  I  guess  you  didn't  like  it 
when  Mr.  Barrymore  dropped  you 
on  the  floor?" 

'  Oh,  yes,  that  was  very  nice,  too," 
Camilla  ingenuously  replied. 

Whereupon  the  bystander  stroked 
his  chin,  and  moved  on,  doubtless  ru- 
minating over  the  wonders  that  the 
movies  work  in  the  heart  of  man. 

Hart's  Voice  Recorded. 

Bill  Hart  has  had  his  voice  tested. 
But  not  directly  for  the  talkies. 

Bill,  on  his  trip  East,  made  four 
phonograph  records,  and  was  paid  a 
very  neat  price  for  his  efforts. 

Hart's  return  to  the  screen  js  al- 
most a  certainty,  on  account  of  the 
sound-movie  fever. 


Advertising  Section 


117 


There's  No  Place  Like  Home 


Continued  from  page  24 


Above  the  serving  table,  which  has 
delicate  inlays  of  curly  maple,  hangs 
a  broad  mirror,  its  glass  dim  and  its 
heavy  gold-leaf  frame  dull  and  tar- 
nished. This  belonged  to  William 
Whipple,  a  signer  of  the  Declaration 
of  Independence.  On  a  side  table, 
an  almost  priceless  piece  of  Chippen- 
dale, stand  two  lamps.  Their  base  is 
of  dark-blue  Sandwich  glass,  a  shade 
almost  impossible  to  find  to-day.  On 
the  sideboard  are  two  Sheffield  can- 
delabra, five-branched.  The  workman- 
ship on  these  is  delicate  and  intricate 
beyond  description,  and  the  copper 
foundation  proves  their  authenticity. 

To  the  left  of  the  living  room  runs 
a  small  hallway.  Opening  off  this  is 
Mrs.  Hatton's  room.  The  motif  here 
is  yellow  curtains,  upholstery  and 
curly-maple  furniture.  The  bed  is  a 
low  four-poster,  its  counterpane  a 
patchwork  of  yellow  on  white.  The 
small,  low  rocking-chairs  are  up- 
holstered in  glazed  chintz.  The 
chest  of  drawers,  the  highboy  and 
the  night  table  are  corresponding 
pieces  of  Sheraton,  with  graceful, 
fluted  legs. 

'  Along  the  little  hall,  past  the  bath, 
which,  has  chintz  curtains  and  a 
matching  valance  around  the  wash- 
basin, we  come  to  Mr.  Hatton's  room. 
This  is  done  in  mahogany.  The 
four-poster  bed  is  high  and  massive, 
a  dark,  woven  counterpane  on  top 
and  a  ledge  of  two  shallow  steps 
alongside  it.    The  chairs  are  deep 


and 


Against 


upholstered  soberly, 
one  wall  is  a  bow-front  chest  of 
drawers,  with  heavy  brass  handles. 
On  either  side  of  the  highboy  hangs 
a  small  Chippendale  mirror.  By  one 
of  the  windows  is  a  Chippendale 
desk,  with  intricate  compartments. 

The  entire  effect  of  the  Hatton 
home  is  of  age  and  dignity  and  tran- 
quil charm  not  easy  of  attainment  in 
brash,  young  Hollywood. 

All  their  pieces  are  "pedigreed," 
meaning  that  with  purchase  they  have 
received  authentic  data  about  where 
each  article  came  from,  and  who  first 
bought  it  from  what  maker.  To  as- 
semble a  houseful  of  real  early  Amer- 
ican furniture  is  a  matter  requiring 
infinite  patience  and  labor,  and  ex- 
ploration throughout  the  country.  The 
Hattons  will  tell  you  the  result  is 
worth  the  effort,  and  looking  at  their 
home  you  are  readily  convinced. 

If  you  happen  to  live  in  New  Eng- 
land, and  have  an  attic  to  which  has 
been  relegated  the  old  pieces  that 
were  crowded  out  by  importations 
from  Grand  Rapids,  take  a  look 
around.  Should  you  come  across  a 
butterfly  table,  a  maple  Field  bed,  or 
a  curly-maple  dressing  table,  notify 
Mr.  and  Mrs.  Raymond  Hatton. 
These  articles  are  now  needed  to  com- 
plete their  happiness  and,  at  a  mo- 
ment's notice,  they  will  probably  be 
ready  to  take  a  plane  to  the  darkest 
corners  of  Massachusetts,  on  the 
chance  of  finding  them. 


The  Stroller 

Continued  from  page  45 


Stroller,  you've  been  out  of  work,  too 
— and  other  such  figures  in  the  studio 
world. 

And  what  delights  them  most — 
lapsing  again  into  the  quaint  vernacu- 
lar of  the  Writers'  Club — is  to  put 
Mr.  Lubitsch  on  the  pan.  Mr.  Lu- 
bitsch  is  their  one  particular  idol, 
topic  of  discussion  and  chief  annoy- 
ance. 

"Oh,  he's  a  good  director,  all  right, 
but  I'm  not  accusing  him  of  anything, 
you  understand,  but  I  told  that  idea 
to  a  friend  of  mine  and  less  than  a 
week  later  I  saw  it  in  one  of  his.  I 
have  a  wonderful  story,  just  the  sort 
of  thing  Lubitsch  could  do." 

One  of  these  lads  sort  of  put  the 
cap  on  the  entire  affair  the  other  day. 
We  were  sitting  in  a  projection  room, 
looking  at  his  picture,  he  being  a  di- 
rector. In  the  darkness  he  clutched 
my  arm.  "Watch  this  next  scene," 
he  said.  "It  has  one  of  those  Lu- 
bitsch touches  of  mine." 


It  appears  that  I  have  deeply  of- 
fended a  young  actor  in  a  recent  item 
in  this  department  of  Picture  Play, 
in  what  I  regarded  as  a  thoroughly 
harmless  and  casual  statement  about 
him. 

I  am  in  receipt  of  a  letter  from  the 
youth,  taking  it  up  with  me  at  length, 
advancing  logical  arguments  to  prove 
that  what  I  said  was  untrue,  and 
closing  with  veiled  invitations  to  per- 
sonal combat ! 

I  once  issued  such  an  invitation 
over  the  telephone,  which  to  my  dis- 
may, was  immediately  and  heartily 
accepted.  My  telephonic  enemy 
proved  to  be  of  the  heavyweight  class, 
battle-scarred  and  a  veteran  of  sev- 
eral wars,  whose  demeanor  com- 
pletely belied  his  timid  voice. 

This  item  is  by  way  of  attempting 
to  soothe  the  young  man  for  his  ruf- 
fled feelings,  and  at  the  same  time 
drop  him  a  bit  of  advice,  offered  in 
the  kindliest  possible  spirit,  against 
such  challenging  of  unseen  foes. 


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118     „   .      e  n.  A  Confidential  Guide  to  Current 

Continued  from  page  do  ' 
"Excess    Baggage" — Metro-Goldwyn, 


Rei 


William  Haines  at  his  best,  in  a  role 
which  demands  more  than  jolly  tom- 
foolery. The  story  of  a  small-time  jug- 
gler, whose  wife  goes  into  the  movies. 
Capital  performances  also  by  Josephine 
Dunn,  Ricardo  Cortez,  and  Neely  Ed- 
wards. 

"Beggars  of  Life"— Paramount.  Wal- 
lace Beery  changes  from  the  comic  lout 
to  something  more  serious  and  signifi- 
cant, in  a  hobo  picture  of  more  than 
usual  interest.  Excellent  acting  on  the 
part  of  Beery,  Richard  Arlen,  and 
Louise  Brooks.  Distinguished  direction 
and  photography. 

"Night  Watch,  The"— First  National. 
Billie  Dove  not  only  looks  doll-like,  but 
really  acts  the  role  of  wife  of  the  cap- 
tain of  a  French  warship.  Story  con- 
cerns consequences  of  wife's  impru- 
dence. Paul  Lukas,  Donald  Reed,  and 
Nicholas  Soussanin. 

"Women  They  Talk  About"— Warner. 
A  small-town  family  feud,  with  gossip 
and  political  strategy  the  weapons. 
The  woman  in  politics.  Irene  Rich, 
Audrey  Ferris,  Anders  Randolf,  Wil- 
liam Collier,  Jr.,  Claude  Gillingwater, 
and  John  Miljan. 

"Our  Dancing  Daughters" — Metro- 
Goldwyn.  Fluffy,  lively  tale  of  that  im- 
aginary wildness  of  the  younger  set, 
but  safely  mid-Victorian  withal.  Joan 
Crawford,  John  Mack  Brown,  Dorothy 
Sebastian,  Nils  Asther,  Edward  Nugent, 
and  Anita  Page,  the  hit  of  the  show. 

"Lonesome" — Universal.  One  of  those 
stories  whose  strength  lies  in  its  sim- 
plicity. A  lonely  boy  and  girl  find  each 
other  at  Coney  Island,  lose  each  other, 
and  finally  rediscover  each  other  in  the 
same  rooming  house.  Glenn  Tryon 
and  Barbara  Kent. 

"Fleet's  In,  The"— Paramount.  Clara 
Bow  as  "Peachy,"  a  "hostess"  in  a 
dance  hall,  starts  a  riot  in  the  navy  in 
defense  of  her  good  name.  Sprightly 
and  amusing,  not  to  be  viewed  crit- 
ically. James  Hall  and  a  new  comedian, 
Jack  Oakie,  vastly  pleasing. 

"Mating  Call,  The"— Paramount. 
Thomas  Meighan  in  post-war  love 
story,  with  interesting  undercurrent 
which  places  it  above  the  ordinary. 
Evelyn  Brent  and  Renee  Adoree.  First- 
class  acting. 

"Moran  of  the  Marines" — Para- 
mount. Richard  Dix  in  a  dull  picture, 
with  Ruth  Elder.  "Michael  Moran" 
joins  the  marines  and  is  court-mar- 
tialed for  kissing  the  general's  daugh- 
ter, but  is  pardoned  for  saving  her 
from  Chinese  bandits.  Yes,  really. 

"Whip,  The"— First  National.  Society 
melodrama  laid  in  England,  in  the 
hunting  and  racing  set.  Wrecks, 
forged  marriage  certificate  and  the 
hero's  amnesia  provide  a  diverting,  if 
old,  mixture.  Ralph  Forbes,  Dorothy 
Mackaill,  Anna  Q.  Nils  son,  Lowell 
Sherman,  and  Marc  McDermott. 

"River  Pirate,  The"— Fox.  "Sailor 
Frink,"  played  by  Victor  McLaglen, 
goes  up  and  down  the  river  robbing 
warehouses  and  displaying  his  muscu- 
lar prowess.  "Sandy,"  a  young  recruit, 
is  doing  well  at  the  trade  until  he  re- 
sponds to  the  influence  of  a  good 
woman.  Effective,  particularly  to  those 
who  have  not  seen  too  many  under- 
world films  lately.  Nick  Stuart  and 
Lois  Moran  are  the  young  people. 


"Oh  Kay"— First  National.  Colleen 
Moore  in  a  cream-puff  story  based  on 
musical  comedy.  "Lady  Kay"  runs 
away  from  an  unwelcome  marriage 
and,  picked  up  by  rum  runners,  is  soon 
in  the  midst  of  complications  on  Long 
Island.  She  gets  another  man,  right 
out  of  the  arms  of  his  snobbish  fiancee. 
Cast  includes  Lawrence  Gray,  Alan 
Hale,  Ford  Sterling,  and  Julanne 
Johnston. 

"Heart  to  Heart"— First  National. 
Thoroughly  pleasant  little  picture,  with 
characterization  more  important  than 
plot.  A  princess  visits  her  old  home  in 
Ohio  and  is  mistaken  for  a  seamstress, 
among  other  amusing  things.  Plenty 
chances  to  laugh.  Mary  Astor,  Lloyd 
Hughes,  Louise  Fazenda,  and  Lucien 
Littlefield. 

"State  Street  Sadie" — Warner.  Fair 
melodrama  of  the  underworld,  with 
machine  guns  and  "gats"  popping,  and 
a  crook  smarter  than  the  police.  Con- 
rad Nagel,  George  Stone,  and  Myrna 
Loy  are  exploited,  and  William  Rus- 
sell contributes  a  gripping  character 
study  as  the  principal  crook.  Plenty  of 
quick  movement. 

"Man=made  Woman"— Pathe.  Distin- 
guished settings,  good  acting,  and  bril- 
liant direction,  all  for  trite  story. 
Leatrice  Joy  loves  her  husband,  but 
objects  to  being  made  over  into  a  con- 
ventional mold,  so  has  her  fling.  John 
Boles,  H.  B.  Warner,  and  Seena  Owen. 

"Water  Hole,  The"— Paramount.  The 
taming  of  a  flapper  by  Jack  Holt,  as  a 
strong,  silent  man  of  the  outdoors, 
with  Nancy  Carroll  as  the  girl.  The 
hero  "kidnaps"  her,  with  her  father's 
consent,  as  the  first  step  in  the  tam- 
ing. Genuinely  entertaining. 

"Mother  Machree" — Fox.  Maudlin 
film  of  a  sacrificing  Irish  mother  who 
does  all  for  her  son.  Belle  Bennett, 
Neil  Hamilton,  and  Victor  McLaglen. 

"Patent  Leather  Kid,  The"— First  Na- 
tional. Richard  Barthelmess  in  unusu- 
ally good  film  of  conceited  little  prize 
fighter  who  tries  to  evade  the  war,  is 
drafted,  proved  a  coward,  but  finally 
redeemed  by  an  heroic  act. 

"Show  Down,  The"  —  Paramount. 
Convincing  and  well-acted  film  of  two 
oil  prospectors  in  the  tropics,  both  lov- 
ing the  same  girl.  All  ends  happily. 
George  Bancroft,  Neil  Hamilton,  Eve- 
lyn Brent,  Leslie  Fenton,  and  Fred 
Kohler. 

"Abie's  Irish  Rose" — Paramount. 
Good  acting  and  sincere  direction.  No 
emotional  thrills.  Charles  Rogers  is 
good,  as  Abie.  Nancy  Carroll  perfect, 
as  Rosemary,  Jean  Hersholt,  Bernard 
Gorcey,  and  Ida  Kramer. 

"Glorious  Betsy" — WTarner.  A  nice 
picture,  tearful,  charming,  lingering. 
Vitaphone  dialogue  unpleasant,  but  Do- 
lores Costello  and  Conrad  Nagel  are 
charming  and  agreeable  in  their  roles. 
John  Miljan  and  Marc  McDermott. 

"Hangman's  House" — Fox.  Common- 
place story,  with  exceptionally  beauti- 
ful atmosphere,  a  tribute  to  the  skill 
and  imagination  of  the  director.  June 
Collyer  is  an  aristocratic  beauty,  but 
not  an  emotional  one.  Larry  Kent, 
Victor  McLaglen,  and  Earle  Foxe. 

"Ramona" — United  Artists.  Another 
beautifully  scenic  picture.  Mild  story. 
Dolores  del  Rio  is  picturesque  in  title 
role.  Warner  Baxter  is  vital  and 
Roland  Drew  proves  languishingly  ro- 
mantic. 

"End  of  St.  Petersburgh,  The"— No 

continuity  of  action  or  characterization. 


eases 


Excellent  photography.  Story  is  told 
in  symbols.  If  you  like  this  sort  of 
thing  this  Russian  picture  is  as  good 
as  any. 

"Dawn."  Careful,  impartial  and  rev- 
erent attempt  to  picture  events  culmi- 
nating in,  the  death  of  Edith  Cavell. 
Sybil  Thorndike  is  restrainedly  effec- 
tive. Marie  Ault,  Micky  Brantford, 
and  Maurice  Braddell  give  fine  per- 
formances. 

"Lion  and  the  Mouse,  The" — Warner1. 
Old-fashioned  story  of  a  great,  grasp- 
ing capitalist.  Vitaphone  not  very  sat- 
isfactory in  instances  of  May  McAvoy 
and  William  Collier,  Jr.  Alec  B.  Fran- 
cis is  effective.  Also  Lionel  Barry- 
more. 

"Fazil" — Fox.  Expensive  and  beauti- 
ful production,  but  a  hollow  attempt  to 
revive  interest  in  the  private  life  of  a 
sheik.  Charles  Farrell  and  Greta  Nis- 
sen  are  not  at  their  best.  John  Boles, 
Mae  Busch,  and  Tyler  Brooke. 

"News  Parade,  The" — Fox.  Agree- 
able comedy.  More  so  for  the  pres- 
ence of  Nick  Stuart.  Sally  Phipps 
does  too  little  to  suit  most  of  us/ 
Palm  Beach  setting,  Lake  Placid  and 
Havana.  Brandon  Hurst  is  amusing  as 
millionaire  with  antipathy  for  camera 

"Dragnet,  The"— Paramount.  Should 
be  seen  if  you  like  these  "gang"  pic- 
tures. George  Bancroft  stands  for  the 
law  instead  of  against  it.  Admirable 
work  by  Francis  MacDonald.  William 
Powell  good.  Leslie  Fenton  and  Fred 
Kohler  complete  excellent  cast. 

"Street  of  Sin"— Paramount.  Emil 
Jannings  is  good,  but  does  not  reach 
heights  attained  in  previous  roles. 
Story  of  a  Limehouse  bully  and  crook. 
Uncompromisingly  sordid  and  senti- 
mental. Olga  Baclanova  displays  a 
torrential  personality,  nothing  short  of 
genius.  Fay  Wray  is  the  Salvation 
lassie. 

"Red  Dance,  The"— Fox.  Another 
story  about  the  downtrodden  Russian 
peasants,  and  the  annihilation  of  those 
poor  Romanoffs.  Charles  Farrell,  as  a 
grand  duke,  falls  in  love  with  Dolores 
del  Rio,  who  is,  of  course,  a  girl  of  tlie 
people.  Ends  happily  enough.  Ivan 
Linow  gives  a  distinctive  performance. 
Dorothy  Revier  is  a  princess. 

"The  Cossacks" — Metro-Goldwyn. 
Story  of  "Lukashka,"  of  a  wild  tribe,  of 
Russians,  who  is  accused  of  cowardice. 
He  later  proves  his  birthright  by  mur- 
dering a  dozen  or  so  Turks.  Is  spurned 
by  "Maryana,"  who  is  betrothed  to  a 
noble.  True  to  form,  "Lukashka"  ab- 
ducts her  on  the  eve  of  her  marriage. 
John  Gilbert  attacks  his  role  of  "Lu- 
kashka" with  gusto,  and  gives  fine  per- 
formance. Renee  Adoree,  Ernest  Tor- 
rence,  Nils  Asther,  Mary  Alden,  and 
Dale  Fuller  are  conspicuous. 

"Wheel  of  Chance"— First  National. 
Richard  Barthelmess  does  some  genu- 
inely fine  acting,  playing  the  dual  role 
of  twin  brothers  who  were  separated  in 
Russia.  Margaret  Livingston  is  vivid 
and  fascinating  as  the  wicked  lady, 
who  plays  a  part  in  the  life  of  both 
brothers.  Bodil  Rosing  is  sympathetic 
in  her  role. 

"Big  Killing,  The"— Paramount.  Last 
corned}'  starring  the  team  of  Beery  and 
Hatton.  Not  quite  as  funny  as  prede- 
cessors, but  you  will  enjoy  Beery  and 
Hatton.  It's  a  farce  about  a  feud 
among  mountaineers.  Mary  Brian  has 
an  effective  part  as  the  mountaineer's 
daughter,  and  Lane  Chandler  is  good. 


Advertising  Section 


119 


The  Screen  in  ReVievtf 

Continued  from  p;ige  10O 

agonies  and  anguish  of  the  heroine 
are  but  a  dream.  Pictures  which  use 
a  dream  to  excuse  melodramatic  high 
jinks,  leave  nothing  to  talk  about,  or 
even  remember.  They  depend  more 
upon  their  wild  improbability  than 
any  sincerity  of  purpose  to  put  them 
over.  They  are  usually  claptrap. 
"Marriage  By  Contract"  is  that.  Yet, 
like  many  another  specious  article,  it 
is  not  to  be  rejected  at  first  glance, 
for  it  has  movement  and  suspense. 
It  is  not  suspense  that  grips  the  heart 
— it  is  curiosity  about  what  can  hap- 
pen next.  The  heroine  enters  into 
a  trial  marriage  with  a  young  man, 
only  to  leave  him  and  get  a  divorce. 
From  then  on  she  runs  what  might 
be  called  the  gamut  of  husbands,  end- 
ing^ when  she  is  middle-aged,  with 
a  gigolo  who  deserts  her  when  she 
can  no  longer  satisfy  his  monetary 
demands.  Her  suicide  frustrated, 
she  is  taken  in  hand  by  the  police 
when,  in  the  midst  of  hysterics,  she 
wakes  and  is  restored  to  the  young 
man  who  wanted  her  to  marry  him 
when  her  bad  dream  began. 
_  Lawrence  Gray  and  Raymond 
Keane  are  in  the  cast. 

Only  the  Janitor's  Boy. 

Charles  Rogers  makes  his  debut 
as  a  full-fledged  star  in  "Varsity" — 
or  rather  one  is  asked  to  consider 
him  a  stellar  body.  But  circumstances 
have  conspired  to  make  him  a  fledg- 
ling starlet,  in  spite  of  the  effort  made 
to  send  him  soaring.  For  the  picture 
remains  close  to  the  ground,  and  Mr. 
Rogers  finds  himself  able  to  do  little 
to  lift  it  from  dullness.  Though  it  is 
another  college  film,  there  is  happily 
little  of  the  rah-rah  spirit,  none  of 
the  well-known  Alma  Mater  heroics 
and,  best  of  all,  there  is  not  even  a 
hint  of  that  big  game  which  must  be 
won  for  dear,  old  Gaxton. 

It  is  all  about  the  frustrated  love 
of  the  janitor  of  Princeton  for  his 
freshman  son,  the  janitor's  magna- 
nimity in  not  making  known  his  re- 
lationship, and  his  eagerness  to  hover 
protectingly  over  the  boy.  It  seems 
that  drink  brought  the  janitor  to 
where  he  is,  and  it  is  from  the  "curse" 
that  he  wants  to  save  his  son.  Mr. 
Rogers,  as  the  son,  has  some  bovish 
experiences  with  alcohol,  thugs,  and 
some  money  intrusted  to  him,  and 
there  is  also  a  girl,  Mary  Brian,  as 
well  as  some  audible  dialogue.  It 
will  hardly  cause  Lionel  Barfymore 
to  fly  into  a  jealous  rage,  but  will 
please  those  who  are  curious  about 
Mr.  Rogers'  voice.  Chester  Conklin 
is  the  janitor,  whose  only  duties  at 
the  university  seem  to  be  attaining 
proficiency  in  the  art  of  tottering, 
looking  wistful  and  somehow  suggest- 


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120 


The  Screen  in  ReVievtf 


ing  Belle  Bennett  impersonating  a 
doormat. 

Recalling  a  Forgotten  Day. 

The  worst  that  can  be  said  of  "The 
Red  Mark"  is  that  it  is  old-fashioned, 
the  best  that  it  has  a  plot  instead  of  a 
lot  of  padding,  and  that  the  acting  is 
good.  It  depends  on  whether  you 
like  melodrama  of  "The  Two  Or- 
phans" school,  or  prefer  a  more 
timely  subject.  However,  it  was  di- 
rected by  James  Cruze,  whose  name 
bears  dose  relation  to  some  of  the 
most  notable  films  ever  made.  So 
there  you  are. 

The  locale  is  a  penal  settlement  in 
the  South  Seas,  where  criminals  are 
sent  from  France  to  serve  their  sen- 
tences. The  place  is  bossed  by  a  des- 
pot who  beheads  those  who  rouse  his 
displeasure.  A  hag  known  as  Mother 
Car  on  has  a  beautiful  niece  who  is 
demanded  by  De  Noa,  the  governor, 
in  marriage.  But  Rubi-Ri,  a  young 
pickpocket,  appears  on  the  scene  and 
wins  her  love.  In  the  conflict  that 
arises  between  the  pickpocket  and  the 
governor,  Rubi-Ri  is  sentenced  to 
death.  But  just  as  the  guillotine  is 
about  to  fall,  De  Nou  sees  the  circle 
of  red  on  the  boy's  neck  which  pro- 
claims him  the  governor's  son.  Don't 
worry — it  ends  happily. 

Now,  all  this  in  the  telling  is  so 


much  hash,  I  admit,  but  the  visuali- 
zation has  suspense,  charm,  and  even 
beauty.  The  latter  qualities  are  em- 
bodies in  Nina  Quartaro,  who  makes 
her  debut  entirely  to  my  satisfaction, 
and  such  veterans  as  Rose  Dione, 
Gustav  von  Seyffertitz,  and  Gaston 
Glass  make  the  most  of  generous  op- 
portunities. Differ  with  me  if  you 
will,  but  I  like  "The  Red  Mark." 

Let's  Be  Devilish! 

"Dry  Martini"  is  about  Americans 
on  the  loose  in  Paris,  but  with  none 
of  the  excitement  that  is  supposed  to 
be  inseparable  with  a  good  time.  A 
self-indulgent  father,  given  to  cock- 
tails and  women,  is  visited  by  his 
daughter  who  he  supposes  is  an  inno- 
cent tourist,  eager  to  see  the  conven- 
tional sights.  But  daughter  is  really 
more  modern  than  he,  for  she  en- 
courages a  profligate  artist  to  elope 
with  her.  She  is  rescued  in  the  nick 
of  time  by  her  father  and  sent  home, 
while  he  remains  to  enjoy  himself  un- 
hampered. This  is  frail  stuff  on  the 
screen,  though  the  book  from  which 
it  was  taken  was  not  without  satiric 
values.  The  direction  is  skillful  and 
the  acting  good,  but  the  material  is 
too  scant  to  bear  the  stretching  nec- 
essary to  make  it  a  program  feature. 
Albert  Gran,  as  the  father,  is  amus- 
ing and  true  to  type,  and  Mary  Astor 


is  a  lovely  daughter.  Matt  Moore, 
Jocelyn  Lee,  Sally  Eilers,  Hugh  Tre- 
vor, and  Albert  Conti  are  other  la- 
borers in  a  cause  that  just  misses 
success. 

A  Jazz  Cinderella. 

Another  of  the  younger  set  has  . 
achieved  premature  stardom — Alice 
White.  Impudently  provocative,  she 
has  made  her  presence  felt  in  secon- 
dary roles  as  an  amusing  soubrette, 
but  it  is  asking  too  much  of  her  to 
sustain  the  burden  of  a  starring  pic- 
ture, even  when  the  film  in  question 
is  as  inconsequential  as  "Show  Girl." 
She  is  as  lively  and  saucy  as  ever,' 
but  is  deficient  in  the  sympathy  and 
charm  necessary  to  put  over  a  leading 
role.  True,  Dixie  Dugan,  the  wise- 
cracking little  nobody  who  becomes 
a  success  in  musical  comedy,  through 
gold-digging  and  sundry  sharp  tac- 
tics, is  not  exactly  a  charming  char- 
acter. Back  of  the  prancing  in 
abbreviated  costumes,  as  Dixie  pro- 
gresses up  the  ladder,  is  supposed  to 
lie  a  revelation  of  how  the  tabloid 
newspapers  distort  trifles  to  make 
headlines,  and  pander  to  a  gullible 
public.  But  the  satire  is  safely  sub- 
merged in  this  tale  of  a  jazz  Cin- 
derella. Charles  Delaney,  Donald 
Reed,  Gwen  Lee,  Kate  Price,  and- 
Jimmie  Finlayson  supply  expert  j 
props  for  the  star's  needed  support. 


Continued  from  page  31 
she  is  making  pictures  for  Metro- 
Gold  wyn  now.  She  used  to  be  a  gor- 
geous brunette,  but  they  made  her  go 
blonde  for  a  part  in  'Broadway 
Melody,'  and  it  was  so  becoming  that 
she  will  probably  have  to  stay  a 
blonde.  Mary  Nolan  is  the  girl  who 
played'  with  Norman  Kerry  in  'The 
Foreign  Legion.'  She  is  to  play  op- 
posite John  Gilbert  in  'Thirst,'  so  she 
must  be  good.  The  part  was  in- 
tended for  Joan  Crawford,  but  Joan 
couldn't  finish  'Adrienne  Lecouvreur' 
in  time  to  work  in  Jack's  picture. 
Every  director  on  the  lot  wants  Joan. 
Regardless  of  the  role,  it  appears 
that  Joan  is  just  the  right  person  to 
play  it. 

"I  am  taking  any  and  all  bets  that 
Marian  Nixon  will  be  the  most- 
sought-after  young  leading  woman  in 
town,  after  the  talking  sequences  of 
'Geraldine'  are  heard.  Marian  is  de- 
lightful in  the  silent  version,  but 
when  you  hear  heu  voice  you  will  be 
thrilled.  Several  girls  in  pictures 
have  good  voices,  but  Marian's  has  a 
youthful  quality,  and  a  sort  of 
hushed,  vibrant  depth  which  is  tre- 
mendously appealing. 

"I'd  love  to  know  how  Dick  Bar- 
thelmess  is  getting  on  with  the  sound 
sequences  in  'Weary  River.'  He  used 


Over  the  Teacups 

to  get  terribly  self-conscious  when  he 
had  to  go  through  the  motions  of 
singing  in  a  silent  picture.  So  what 
do  you  suppose  he'll  do  when  he  has 
to  sing  before  the  radio  in  'Weary 
River'?  If  it  were  done  in  color 
photography,  I  bet  you  could  see  him 
blush. 

"Betty  Compson  is  playing  oppo- 
site Dick  again.  And  Dorothy 
Mackaill  and  Jack  Mulhall  are  to- 
gether again  in  'Children  of  the 
Ritz.'  First  National  is  once  more 
the  home  of  costarring  teams.  Dor- 
othy gets  a  lot  of  amusement  out  of 
being  cast  as  a  daughter  of  the  idle 
rich.  She  insists  it  is  a  real  test  of 
her  acting  ability.  Dorothy  never 
tries  to  hide  the  fact  that  she  knew 
poverty  in  her  childhood  days. 

"There's  another  player  with  First 
National,  now,  that  I  have  been  cheer 
leader  for,  for  years.  That's  Laska 
Winter.  She  is  in  'Seven  Footprints 
to  Satan.'  I'm  glad  the  producers  are 
beginning  to  appreciate  her. 

"I  suppose  'Seven  Footprints  to 
Satan'  is  another  mystery  play.  Prac- 
tically every  studio  is  making  two  or 
three  of  them.  Shots  are  ringing  out 
in  the  dark  in  reel  after,  reel,  and  al- 
most any  of  your  favorite  players  is 
apt  to  be  killed  off  in  the  first  part 
of  a  picture.    Lila  Lee  is  making  a 


thrilling  mystery  called  'The  Black 
Pearl,'  but  thank  goodness,  she  isn't 
the  one  to  get  killed  in  it. 

"S.  S.  van  Dine  is  to  appear  in  'The 
Canary  Murder  Case'  which  Para- 
mount is  making.  That  will  be  a 
relief  to  his  nine  million  or  more 
readers.  His  identity  has  always 
been  kept  a  mystery  until  recently. 
And  if  you  dare  to  say,  'Perhaps  he 
is  Lon  Chaney,'  I'll  shoot  you,  and 
there  will  be  another  murder  mys- 
tery which,  when  solved,  would  surely 
result  in  an  acquittal." 


Autosuggestion 

By  Blaine  C.  Bigler 

When  I  go  to  the  movies 

With  plain  Matilda  Brill, 
I  sit  there  in  the  darkness 

And  thrill — and  thrill — and  thrill! 

For  though  Matilda's  homely, 
And  though  the  picture's  (bad, 

I  sit  there  close  beside  her ; 

My  poor  heart  beats  like  mad! 

It's  dark ;  I  can't  see  Tillie, 
Her  face,  and  silly  looks ; 

I  use  imagination, 

And  think  she's  Louise  Brooks! 


Advertising  Section 


121 


Information,  PI  ease 

Continued  from  page  103 


There  is  a  Charles  Rogers  Fan  Club,  with 
headquarters  with  Randolph  Tye,  70S 
South  Central  Avenue,  Chanute,  Kansas. 

M.  E.  Robinson. — I  believe  Rod  La 
Rocque  was  the  only  Cecil  DeMille  star 
under  personal  contract  to  DeMille,  so 
his  "personal  staff"  consists  of  the  more 
technical  workers.  Rod  is  now  making  a 
United  Artists  film,  though  I  don't  doubt 
he  will  again  work  with  DeMille. 

Miss  Lansing. — Can  it  be  that  you're  a 
beauty-contest  winner !  With  that  signa- 
ture !  Ricardo  Cortez  has  been  making 
Tiffany-Stahl  films  lately,  but  I  can't  say 
whether  he  will  still  be  at  that  studio  by 
the  time  this  gets  into  print.  Send  your 
twenty-five  cents  in  stamps  or  money  or- 
der. Ricardo  is  twenty-nine  and  is  six 
feet  one  Molly  O'Day  is  eighteen,  and 
Sally  O'Neil,  twenty.  Sally  weighs  one 
hundred  and  four  and  is  five  feet  one 
and  one  half.  Molly  weighs  Heaven 
knows  what  just  now.  You  must  have 
read  about  all  her  strenuous  dieting  in 
trying  to  reduce,  until  she  finally  had 
five  pounds  of  flesh  removed  from  her 
hips  by  a  surgeon.  Alberta  Vaughn  was 
born  June  27,  1908.  She  is  five  feet  one 
and  weighs  one  hundred.  Colleen  Moore 
was  born  April  19,  1902.    Five  feet  three; 


weight,  one  hundred  and  ten.  Leatrice 
Joy  was  born  in  1897 — she  doesn't  say 
what  date.  She  is  five  feet  three  and 
weighs  one  hundred  and  twenty-five. 
Nope,  don't  know  of  any  players  with 
birthdays  on  January  25th. 

A  James  Hall  Fan. — Thank  you  very 
much  for  your  information,  which  I  shall 
keep  on  file.  Indeed,  Estclle  Taylor  is 
not  related  to  Gene  Tunney,  but  is  the 
wife  of  his  former  ring  rival,  Jack  Demp- 
se}\  Jack  Duffy  is  forty-nine.  The 
Unique  Movie  Club  has  headquarters  with 
Maria  Galante,  390  Fellsway,  West  Med- 
ford, .Massachusetts.  I  always  understood 
that  Mary's  curls  were  real,  but  I  wouldn't 
know  about  that ! 

A  Conway  Tearle  Fan. — I  should 
think  it  would  do  your  heart  good,  as  the 
old  saying  goes — and  Conway's  as  well — 
to  read  over  The  Oracle  this  month  and 
see  all  the  attention  Mr.  Tearle  is  get- 
ting. No,  I  won't  disagree  with  you  about 
Richard  Dix.  He  is  one  of  the  most 
"regular  guys"  on  the  screen.  As  to  stars' 
birthplaces,  the  publicity  departments  of 
their  film  companies  usually,  in  sending 
out  biographies,  give  the  city  nearest  to 
where  the  star  was  born,  if  he  was  not 
actually  born  in  a  citv. 


Add 


resses  o 


Pia? 


ers 


.  Richard  Alien.  Raymond  Hatton.  E.sther 
Ralston.  JIary  Brian.  Neil  Hamilton.  Richard 
Dix,  Adolpho  Menjou,  Kathryn  Carver,  Wal- 
lace Beerv.  Florence  Vidor,  Clara  Bow,  Ches- 
ter Conklin,  Clive  Brook,  Charles  ("Buddy") 
Rogers.  Fred  Thomson,  Gary  Cooper.  James 
Hall,  Douglas  MacLean.  William  Powell,  Bebe 
Daniels,  Louise  Brooks.  Noah  Beery,  Emil 
Jannings.  Evelyn  Brent,  Doris  Hill,  Ruth 
Taylor,  Nancy  Carroll,  Jean  Arthur,  Olga 
Baclanova,  at  the  Paramount  Studio,  Holly- 
wood, California. 

Gwen  Lee,  Ramon  Novarro,  Norma  Shear- 
er, John  Gilbert,  William  Haines,  Lon  Cha- 
ney,  Renee  Adoree,  Marion  Davies,  Eleanor 
Bpardman,  Karl  Dane,  Dorothy  Sebastian, 
Lionel  Barrymore,  Tim  McCoy,  George  K. 
Arthur.  Joan  Crawford,  Nils  Asther,  Conrad 
Nagel,  Josephine  Dunn,  Anita  Page.  Buster 
Keaton,  Johnny  Mack  Brown,  Marceline  Day, 
at  the  Metro-Goldwyn  Studio,  Culver  City, 
California. 

Vilma  Banfcy,  Ronald  Colman,  Douglas 
Fairbanks,  Mary  Pickford,  Norma  Talmadge, 
Constance  Talmadge,  Gilbert  Roland,  Don 
Alvarado,  and  John  Burrymore,  at  the 
United  Artists  Studio, 
Boulevard,  Los  Angeles, 

Colleen  Moore,  Jack 
yon,  Milton  Sills,  Billie 
Richard  Barthelniess, 
Harry   Langdon,  Mary 
Coriiine  Griffith,  Alice 


7100  Santa  Monica 
California. 

Mulhall,  Doris  Ken- 
Dove,  Ken  Maynard, 
Dorothy  Maekaill, 
Astor,   Larry  Kent, 
White,  Donald  Reed, 
and   Molly    O'Day,    at    the   First  National 
Studio.  Burbank,  California. 

Reginald  Denny,  Hoot  Gibson,  Mary  Phil- 
bin,  Laura  La  Plante,  Marian  Nixon,  Art 
Aeord,  Barbara  Kent,  Barbara  Worth.  Eth- 
lyn  Claire,  William  Desmond.  Edmund  Cobb, 
Jack  Daugherty,  George  Lewis,  Raymond 
Keane,  at  the  Universal  Studio,  Universal 
City,  California. 

William  Bovd,  Robert  Armstrong,  Marian 
Nixon,  Alan  Hale,  Jeanette  Loff,  Carol  Lom- 
bard, and  Junior  Coghlan,  Jacqueline  Logan, 
Lina  Basquette,  Phyllis  Haver,  at  the  Pathe 
Studio,  Culver  City,  California. 

George  O'Brien,  Edmund  Lowe,  Earle  Foxe, 
Janet  Gavnor,  Richard  Walling,  Barry  Nor- 
ton. Charles  Farrell,  Madge  Bellamy,  Victor 
McLaglen,  Lois  Moran,  Nick  Stuart,  Virginia 
Valli,  Sally  Phipps,  Farrell  Mac-Donald, 
Charles  Morton,  Ben  Bard,  Sammy  Cohen, 
Warren  Burke,  Davis  Rollins,  George  Meeker, 
Marjorie  Beebe,  Sue  Carol,  Nancy  Drexel. 
June  Collyer,  and  Mary  Duncan,  at  the  Fox 
Studio,  Western  Avenue,  Hollywood,  Cali- 
fornia. 

Audrey  Ferris,  Dolores  Costello,  Louise  Fa- 
Zfnda,  Monte  Blue,  May  McAvoy.  Leila  Hy- 
ams,  at  the  Warner  Studios,  Sunset  and 
Bronson,  Los  Angeles,  California. 

■  Tom  Tyler,  Bob  Steele,  Frankie  Dairo. 
Buzz  Barton,  Tom  Mix,  Martha  Sleeper,  at 


the  F.  B.  O.  Studio,  780  Gower  Street,  Holly- 
wood. California. 

Bill  Cody,  Buddy  Roosevelt,  Walter  Miller, 
at  the  Associated  Studios,  Mission  Road, 
Hollywood,  California. 

Allene  Ray,  6912  Hollywood  Boulevard, 
Hollywood,  California. 

Robert  Frazer,  6356  La  Mirada  Avenue, 
Los  Angeles,  California. 

Patsy  Ruth  Miller,  808  Crescent  Drive, 
Beverly  Hills,  California. 

Robert  Agnew,  6357  La  Mirada,  Hollywood, 
California. 

Dorothy  Revier,  1367  North  Wilton  Place, 
Los  Angeles,  California. 

Julanue  Johnston,  Garden  Court  Apart- 
ments, Hollywood,  California. 

Malcolm  McGregor,  6043  Selma  Avenue, 
Hollywood.  California. 

Jackie  Coogan.  673  South  Oxford  Avenue, 
Los  Angeles.  California. 

Ivor  Novello,  11  Aldwych,  Loudon,  W.  C.  2, 
England. 

Harold  Lloyd,  66-10  Santa  Monica  Boule- 
vard, Hollywood,  California. 

Anna  May  Wong,  241  N.  Figueroa  Street, 
Los  Angeles,  California. 

Eileen  Percy,  154  Beechwood  Drive,  Los 
Angeles,  California. 

Herbert  Rawlinson,  1735  Highland  Street, 
Los  Angels,  California. 

Forrest  Stanley.  604  Crescent  Drive,  Bev- 
erly Hills,  California. 

Gertrude  Astor,  1421  Queen's  Way,  Holly- 
wood, California. 

Lloyd  Hughes,  616  Taft  Building,  Holly- 
wood, California. 

Virginia  Brown  Faire,  1212  Gower  Street, 
Hollvwood.  California. 

Johnny  Hines,  Tec-Art  Studio,  5360  Mel- 
rose Avenue,  Hollywood.  California. 

Theodore  von  Eltz.  1722ii  Las  Palmas, 
Hollvwood,  California. 

William  S.  Hart,  6404  Sunset  Boulevard, 
Hollywood,  California. 

Vivian  Rich,  Laurel  Canyon,  Box  799,  R. 
F.  D.  10,  Hollywood,  California. 

Betty  Blytlie.  1361  Laurel  Avenue,  Holly- 
wood. California. 

Estelle  Taylor.  5254  Los  Feliz  Boulevard, 
Los  Angeles,  California. 

Pat  O'Malley.  1832  Taft  Avenue,  Los  An- 
geles, California. 

Gordon  Griffith.  1523  Western  Avenue,  Los 
Angeles.  California. 

Ruth  Roland,  3828  Wilshire  Boulevard,  Los 
Angeles,  California. 

Gilda  Gray,  22  East  Sixtieth  Street,  New 
York  City. 

Bert  Lytell,  P.  O.  Box  235,  Hollywood, 
California.  . 

Kenneth  Harlan,  Hollwood  Athletic  Club, 
Hollywood.  California. 

Ben  Lyon,  1040  N.  Las  Palmas,  Hollywood, 
California. 


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Amazing,  startling  FACTS  that  Science  has  actually 
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You  will  find  good  short  stories 
in  all  the  January  issues  of  Love 
Story  Magazine — at  least  six  and 
sometimes  eight  or  nine.  Then 
there  are  always  two  serials — 
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it  Ma/ Soon 
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Anyone  Who  Can  Solve  Puzzles  May  Win 

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LiVe  Girl  Stories 

Vivid  Stories 
of 

Modern  Girls 


On  tke  nev?s  stands  tke 
First  Friday  of 
eVerp  month 


What  the  Fans  Think 

Continued  from  page  13 

terested  in  Mr.  Dix  write  to  Paramount, 
pleading  for  better  roles  for  him,  so  he 
can  show  his  versatility.  E.  C. 

Chicago,  Illinois. 

Valentino  Article  "AH  Wet." 

I  think  the  article  A.  L.  Wooldridge 
wrote,  concerning  Valentino  in  a  '"bor- 
rowed tomb,"  is  "all  wet."  I  was  thor- 
oughly disgusted  with  that  article,  and 
who  wouldn't  be?  Imagine  any  one  raz- 
zing the  fans,  because  they  won't  sub- 
scribe to  a  fund  to  be  used  for  a  vault 
for  Rudy !  I  always  admired  V alentino 
and  enjoyed  his  pictures,  but  I  wouldn't 
give  fifteen  cents  toward  his  burial.  Why 
don't  his  relatives  bury  him?  Why  don't  ' 
they  use  his  own  money  for  that  purpose?  1 
Why  don't  they  bury  him  an  an  ordinary 
way?  Give  the  empty  shell  of  his  de- 
parted soul  a  rest  I  Why  all  this  fuss 
about  raising-  funds  for  the  dead,  anyway? 
Why  not  raise  funds  for  a  better  cause 
—for  the  living?  There  are  many  fallen 
stars,  who  at  one  time  held  the  love  and  • 
admiration  of  the  people.  I  believe  in 
helping  the  living;  the  dead  are  past  mor- 
tal help  1  Agnes  Lawrence. 

307  East  State  Street,  I 
Detroit  Lakes,  Minnesota. 

Welcome  Competition. 

After  reading  Patricia  Leigh's  letter  de- 
nouncing the  Vitaphone,  I  feel  that  I 
must  say  a  good  word  for  it.  I  believe 
that  the  Vitaphone  has  done  more  for.- 
the  public  than  all  of  the  silent  pictures 
ever  did.  It  is  very  annoying  to  see  a 
silent  picture  for  a  rest,  only  to  find  that 
your  neighbor  delights  in  whispering, 
laughing,  and  reading  the  titles  aloud.  If 
the  picture  is  a  Vitaphone,  one  has  to 
listen  carefully.  In  other  words,  Vita- 
phone pictures  are  refining  the  public.  If 
one  is  a  true  fan,  he  will  be  delighted  to 
hear  his  favorite  actor  and  actress  talk. 
Miss  Leigh  can  find,  no  doubt,  many  thea- 
ters that  show  silent  pictures  yet.  I 
would  like  nothing  better  than  to  see  a 
Vitaphone  picture  with  Creighton  Hale  in 
it.  This  summer  I  had  the  pleasure  of 
talking  to  him  and  taking  his  picture. 
Where  are  all  the  Creighton  Hale  fans? 
Let's  hear  from  them.      Irene  Hewitt. 

Box  114,  Whittier,  California. 

He  Who  Gets  Slapped. 

I  quite  agree  with  "Sister  Clara,"  who  [ 
wrote  a  dandy  letter  in  the  September 
issue  regarding  the  interviewer,  Malcolm 
H.  Oettinger.  In  one  interview  he  shows 
Pola  up  as  much  as  he  possibly  can.  He 
tries  with  all  his  might  to  snatch  her  ad- 
mirers away  by  saying  catty  things  about 
her.  Yes,  catty!  A  man  tearing  a  woman 
to  pieces.  And  some  fans  call  him  clever ! 
Then  he  listens  to  John  Gilbert  rave 
about  Greta  Garbo,  and  goes  to  interview 
her,  and  quite  naturally  thinks  she  is 
marvelous. 

And  does  Greta  pose?  And  is  affected? 
Why,  Pola  can't  hold  a  candle  to  Greta 
for  the  ritzyness.  Every  interview  has  in 
it,  "How  I  long  for  the  snow!"  It's  too 
bad  somebody  wouldn't  park  her  in  a 
snowstorm  and  let  her  rave  on.  I  get  a 
huge  laugh  out  of  her  life  history.  The 
mysterious  Garbo!  I  wonder  if  any  one 
ever  saw  a  picture  of  her  when  she  first 
landed  in  America? 

Instead  of  looking  alluring  and  fasci- 
nating, she  looked  like  a  farmed  The 
picture  was  in  a  movie  magazine. 

A  Vancouver  Fan. 


All  the  World 
Loves  a  Good 
Love  Story 

It's  the  most  popular  kind  of  story  there  is. 
The  greatest  novels  of  all  time  are  love  stories. 
Romantic  love  never  loses  its  appeal.  The 
delights  and  heartbreaks,  the  tenderness  and  , 
bitterness  incidental  to  courtship  and  marriage  * 
furnish  a  never-failing  fund  of  material  for 
the  writer  of  romantic  fiction. 

That  is  why,  in  selecting  titles   for  the 
Chelsea  House  line  of  books,  it  was  thought 
well  to  include  several  love  stories.    These  books  are  known  as  the 

CHELSEA  HOUSE  POPULAR  COPYRIGHTS 

They  are  bound  in  cloth  with  gold  stamping,  printed  on  good  paper  from  new,  clear  type, 
and  in  general  appearance  are  the  equal  of  most  books  made  to  sell  at  $2.00.  They  are  all  new 
stories  that  have  never  before  appeared  in  book  form,  not  reprints  of  old  editions.  They  are 
sold  for 

75  Cents  a  Copy 

Some  of  the  Love  Stories  in  the  Chelsea  House  Popular  Copyrights  are  described  below 


The  Bayou  Shrine 
By  PERLEY  POORE  SHEEHAN 

The  story  of  a  pure  love  that  rose  above  con- 
ventions. A  romance  that  will  have  a  particu- 
lar appeal  to  the  modern  woman. 


The  Love  Bridge 

By  MARY  IMLAY  TAYLOR 

How  the  destinies  of  two  women  and  a  man 
were  vitally  influenced  by  a  bridge  across  a 
Western  canyon.  A  splendid  love  story  of  the 
outdoors. 


The  Awakening  of  Romola 
By  ANNE  O'HAGAN 

Romola  was  thirty-two.  She  had  a  husband 
and  two  children.  But  romance  insisted  on 
coming  into  her  life  again. 


Her  Wedding  Ring 
By  MARCIA  MONTAIGNE 

The  call  of  youth  to  youth  and  a  love  that 
sought  to  override  obstacles  instead  of  finding 
a  way  around  them,  are  the  dominant  themes  of 
this  romance  of  the  younger  generation. 


Quicksands 
By  VICTOR  THORNE 

How  a  girl  reared  in  poverty  staged  a  cam- 
paign to  win  a  wealthy  husband.  A  story 
that  deals  with  many  of  the  vital  problems  of 
modern  life. 


Wanda  of  the  White 
By  ROY  ULRICH 

Marrying  a  girl  he'd  never  seen  before  and 
taking  her  out  West  was  a  pretty  experience 
for  Dan  Chadwick,  but  it  was  only  the  start 
of  his  romantic  adventures. 


Ask  Your  Bookseller  for  Chelsea  House  Popular  Copyrights 

There  are  also  Detective  and  Mystery  Stories,  Western  Stories,  and  Adventure  Stories — 
all  the  most  popular  types  of  fiction— included  in  the  CHELSEA  HOUSE  POPULAR  COPY- 
RIGHTS.   WRITE  FOR  A  COMPLETE  LIST. 


CHELSEA  HOUSE,  Publishers,  79  Seventh  Avenue,  New  York 


f  * 


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HHiiHiUaittiiiii 


A  girl  can't  be  too  careful 


They  don't  cost  much,  and  you 
don't  spend  much  time  on  their 
selection,  but  you  smoke  quite  a 
few  of  them  in  the  course  of  a 
year.  .  .  .  Isn't  it  the  better  part 
of  wisdom  to  choose  a  ciga- 
rette that's  just  as  soul-satisfying 
as  your  best  party  dress  ?  Isn't 
it  the  better  part  of  pleasure? 


TURKISH  & 'DOMESTIC 


©  1929,  R.  J.  Reynolds  Tobacco  Company,  Winston-Salem,  N.  C. 


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