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The Smart Screen Magazine

% r'F=*t I I i

C R E:ElN LAND

15c

reek-Endl
/ith Bing Crosb

onality Portra
feyra Samter

@W7

WHY, MY SUIT LOOKS SIMPLY

YOU'RE A PEAR. TO LET ME BORROW
YOUR THINGS AN P I HOPE YOU'RE
STUNNING ON YOU! IF LOOKS Rl0HT. I'VE GOT TWO O00P PROSPECTS
MEAN ANYTHING, YOU'RE

SEVEN YEARS EXPERIENCE
CAN DO 10 WORDS
A MINUTE ... AND HERE
ARE MY REFERENCES.

I'LL CHECK TH EM UP.
PLE AS E CALL TU ESDAY
THE JOB PAYS $30.

YES, A MISS STACY. SAID SHE WORKED
FOR. YOU. SHE IMPRESSED ME VERY
FAVORABLY EXCEPT FOR ONE THING,
WHICH MAY BE MERELY TEMPORARY-
HE R BREATH

YOU'VE HIT ON IT, I'M SORRY TO
SAY. MISS STACY WAS ONE OF OUR
MOST EFFICIENT EMPLOYEES, BUT

HER ASSOCIATES COMPLAINED.

I'M SORRY, MISS STACY, BUT THE POSITION
HAS BEEN FILLED. WE FELT THAT A GIRL
OF MATURER NATURE
WOULD SUIT HER
ASSOCIATES BETTER.

I'M SORRY, MISS JONES,
BUT I'D COUNTED SO MUCH
ON THIS. DESPERATE,
I GUESS, AND HUNGRY.

WHY YOU POOR DEAR!
COME, WE'LL HAVE LUNCH
TOGETHER- MAYBE THINGS
WILL SEEM BRIGHTER.

I'M GOING TO BE FEARFULLY FRANK
WITH YOU, MISS STACY,- YOU COULD HAVE
HAD THAT JOB TODAY BUT FOR ONE THIN&-
YOUR BREATH. WHY DON'T YOU USE

LISTERINE? THEN COME BACK AND
SEE ME LATER.

THANK YOU! I NEVER
DREAMED THAT WAS
MY TROUBLE. NO
WONDER I COULDN'T
G-ET A JOB!

I'VE GOT A WONDERFUL J0B-
$30 A WEEK. MISS JONES IS SUCK
A PEACH! FIRST TOLD ME WHAT
MY TROUBLE WAS, THEN WHEN
THEY FOUND THEY DIDN'T LIKE
THE OTHER GIRL, GAVE ME

TO THINK I
HADN'T THE
COURAGE. TO
TELL YOU TO

USE listerine!

EVER SINCE
'VE BEEN IN
BUSINESS I'VE
! USED IT
N EVERYDAY.

IS YOUR BREATH
BEYOND SUSPICION?

Come, tell the truth; you don't know! That's
the insidious thing about halitosis (badbreath).
You don't know, but others do and are
offended. Why run this foolish risk when you
can make your breath sweet, more whole-
some, and agreeable, by simply rinsing the
mouth with Listerine Antiseptic? Use it morn-
ing and evening and between times
before social and business engage-
ments. Listerine Antiseptic first
cleanses the entire oral cavity then
overcomes breath odors. You know
you won't offend.

Lambert Pharmacal Co.
SI. Louis, Mo.

INI BUSINESS, MANY
FIRMS INSIST THAT
THEIR EMPLOYEES
KEEP THEIR BREATH
AGREEABLE

Hours for her lovely hoods—
Hot a minute for her fender gums

How often such neglect leads
to real dental tragedies . . .
give your gums the benefit
of Ipana and Massage.

uch lovely hands," her friends ex-
;ckim. Why shouldn't they be the
envy of others, for she lavishes hours
of time and patience upon them.

But look at her smile— her dull, dingy
smile — then watch how quickly her
beauty fades, how her charm disappears.

Shocking, yes— but shockingly true!
Yet she's like thousands of other girls
who might have possessed a radiant

smile— who might have had bright, spar-
kling teeth— had she only learned the
importance of care of the gums. What
a price to pay for neglect— what a pity
she failed to heed nature's warning,
"pink tooth brush."

Don't Neglect "Pink Tooth Brush"

If your tooth brush "shows pink," see
your dentist at once! Very often he'll
blame our modern menus— soft, creamy
foods that deprive the gums of health-
ful exercise. And usually his verdict will
be, "Strengthen those gum walls with
harder, chewier foods"— and, as many
dentists suggest, "the helpful stimula-

tion of Ipana Tooth Paste and massage."

For Ipana, with massage, is especially
designed to help gums as well as keep
teeth sparklingly bright. Massage a lit-
tle extra Ipana into your gums each
time you brush your teeth. Gradually,
as circulation increases within the gums,
they become firmer, healthier.

Change to Ipana and massage today
—see how sparkling, how lovely, how
much more attractive your smile can
be— a smile that will be your proud pos-
session for the years to come.

• e •

LISTEN TO "Town Hall Tonight"-every Wed-
nesday, N.B.C. Red Network, 9 P.M., E.S.T.

a good tooth paste,
like a good dentist,
is never a luxury.

PAN A

SCRE ENLAND

NO PICTURE HAS EVER EQUALLED "CONQUEST"! ^

GRETA .GARBO
CHARLES BOYER

„ CLARENCE BROWN'S PRODUCTION

Even Metro-Goldwyn-Mayer-with the greatest productions in motion picture history to its
credit-has never before made a picture on so lavish a scale as this. Its grandeur will dazzle your
eyes... as its romance fills your heart. Garbo, as the temptress who is used to ensnare Charles
Boyer as Napoleon; a glorious seductive pawn in an amazing international intrigue. A cast of
thousands including Reginald Owen, Alan Marshall, Henry Stephenson, Leif Erickson,
Dame May Whitty, C. Henry Gordon. Directed by Clarence Brown. Produced by
Bernard H. Hyman . . . Screen Play by Samuel Hoffenstein, Salka Viertel and S.N. Behrman.

A GIANT PRODUCTION IN THE BRILLIANT M-G-M MANNER

SCREENLAND

OCT -S 1937

©C1B ^ ^fW£&F

The Smart Screen Magazine

ELIGHT EVANS, Editor

Elizabeth Wilson, Western Representative

Tom Kennedy, Assistant Editor

Frank J. Carroll, Art Director

Invitation
to Romance!

For all who love the thrill of
excitement, glamor, the un-
usual in romantic fiction,
Margaret E. Sangster's new
novel about Hollywood is an
absolute "must."

Starting in the next, the December
issue of Screenland is the latest, and
we believe, the most absorbing novel
written by an author who stands in
the forefront of modern creators of
vital, pulsing fiction — Margaret E.
Songster.

Screenland readers know Margaret
E. Songster as the author of many
great and stirring stories of Holly-
wood which have appeared serially
in this publication.

Her new novel, we can assure you,
surpasses in its deep understanding
of Hollywood and its influence upon
men and women who attain fame
there, any previous work you have
ever read about the Mecca of the
Movies.

Put this new serial down as a
"must read." Remember — Margaret
E. Sangster's latest and greatest
story begins in Screenland for De-
cember, on sale at news stands
November 3rd, 1937.

November, 1937 Vol. XXXVI. No. 1

EVERY STORY A FEATURE!

Scotch Portraits Malcolm Oettinger 13

The Editor's Page Delight Evans 21

Soigne Stars Linn Lambert 22

A Week-End with Bing Crosby Dick Pine 24

The "Swap" System Liza 26

Personality Portrait of Bette Davis Thyra Samter Winslow 28

Career Girls. Fictionization of "Stage Door". ...Elizabeth B. Petersen 30

Leslie Howard's One-Man Show Ruth Tildesley 32

Cash — and Cary. Cory Grant Virginia Wood 34

Sidestepping Romance. Virginia Bruce Maude Cheatham 51

Reviews of the Best Pictures • Delight Evans 52

Carnival Nights in Hollywood. Grace Moore Elizabeth Wilson 54

Screenland Glamor School. Edited by Loretta Young 56

To The Teens. Fashions 59

My Life. By Robert Taylor. As told to Ben Maddox 60

Great Lover. Fiction Vicki Baum ' 62

London Hettie Grimstead 64

SPECIAL ART SECTION:

Number One Man of Hollywood. Paul Muni. Babs Fights Back. Barbara
Stanwyck. Girl of 1,000 Faces? Luise Rainer. Adam Gets Eve — Again!
Just Fur Fun. Gail Patrick, Sandra Storme, Ida Lupino, Mary Carlisle.
From a Sandwich to a Banquet. California Castle by the Sea. Maureen
O'S ullivan's Home. Tricks of the Trade. Polo for Peaches. The Most
Beautiful Still of the Month.

DEPARTMENTS:

Honor Page &

Screenland's Crossword Puzzle Alma Talley 8

Salutes and Snubs. Letters from Readers |.0

Ask Me! Miss Vee Dee 14

Tagging the Talkies. Short Reviews 16

Inside the Stars' Homes. Dorothy Lamour Betty Boone 18

Here's Hollywood. Screen News Weston East 66

Glamor Rules Hair Styles. Beauty Article Elin Neil 68

Femi-Nifties 69

Cover Portrait of Sonja Henie by Marland Stone

Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher President I S
MacD'ermott, Vice President; J. Superior, Secretary and Treasurer. Advertising Offices: 45 West 45th St., New York; 410 North Michigan Avenue, Chicago; 530
W. Sixth St., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful attention but Screenland
assumes no responsibility for their safety. Yearly subscription $1.50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign $2.50.
Changes of address must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered as second-class matter Novem-
ber 30, 1923, at the Post Office at New York, N. Y. under the act of March 3, 1879. Additional entry at Chicago, Illinois.

ScREENLAND Honor Page

To Allan Jones, he-
man of song, who
steals "The Firefly"

Jones rides his way, singing all the while,
into the favor of the public in "The
Firefly." Below, the delightful "Donkey
Serenade," with Jones riding along be-
side Jeanette MacDonald's coach, sing-
ing his heart out, accompanied by
the coachman's guitar and the charm-
ing piping of little Robert Spindola.

THERE have been singing ac-
tors, and acting singers. But
all too seldom is a splendid
singing voice combined with acting
talent and true manliness. Such a
rare combination is Allan Jones, and
so he becomes definitely the man of
the moment in movie operetta circles.
Allan has robust charm, a strong,
musically fine voice which also has
audience appeal and warm person-
ality ; and he is an excellent, always
convincing actor — particularly, sigh
the femmes in the audience, in his
love scenes ! With Jeanette MacDon-
ald in "The Firefly" he rides off
with most of the honors, for his
boundless zest, high spirits, and gay
good humor, as well as his glorious
voice. Hail a new star : Allan Jones.

'You've heard the hit W-Vfc tunes from
this great Kem-Hamm erstein musical ad-
venture romance on the radio . . . "Can I
Forget You?" "The Folks Who Live On the Hill."
You've seen stories W ?m about it everywhere.
At^two-a-day showings in New York, Los Angeles,

and London audiences have paid two

doHIfSFa ticket. The N.Y. ■ Times called it. . .
"The Bes||Sbpw In Town," topping even the big
summer Jgffi^ musicals, the hit plays, Now,"High,
Wide and Handsome" comes to your
town theatre at popular prices . . . with all trie excite-
ment, the beauty, ^ JpiJI^fS' J the drama of this
picture which combines '"tne adventure
with the charm of "Showboat." -v...

Irene Dunne

"HIGH, WIDE and Mm

Randolph Scott

Akim Tarn

Dorothy Lamour

Blue ♦ Charles Bickford •

A Paramount Picture

iroff • Raymond Wulburtv

A Rouben MamouHao Product

William Frawley

Directed by Rouben Mamouhar

SCREENLAND

FELLOWS NEVER
LOOKED AT HER

until she found
^■T* a way to add
\\s 11 LBS. QUICK
with I RON I ZED YEAST

NEVER HAD A
DATE WHEN SHE
WAS THIN. NOW
EVERYBODY
REMARKS ABOUT
HER BETTER
LOOKS, AND SHE
HAS ALL THE
DATES SHE
WANTS!

Posed bit
proffssio rial

"TKNOW what it is to be skinny and pale.
1 The fellows never look at you. Finally 1
got lionized Yeast tablets. Soon I felt a lot
peppier my skin got smooth and in just-lweeKs
I gained eleven pounds. Everybody says how
prettv I've gotten and I have all the dates 1
want."— Ella Craig, Lancaster, S. C.

Thousands gain 10 to 25 lbs.

Skinnv. friendless girls who never could Bain an ounce,
have 'easily gained 10 to 25 pounds, normally rounded
curves, this new easy way— in just a few weeKsl wnm
is more, tikis new discovery has given them naturall.v
clear skin and normally lovely color, new pep and charm,
loads of new friends and popularity.

Scientists have discovered that many are thin and run-
down simplv because they do not get enough yeast vitamins
(Vitamin B) and iron in their daily food. Without these
elements vou may lack appetite and not get the most
bodv-building good out of what you cat. One of the richest
sources of marvelous health-huildmg Vitamin B is the
special veast used in making English ale.

Now bv a new and costly process, perfected after long
research." the vitamins from this imported English ale
veast are concentrated to 7 times their strength in ordinary
veast I This 7-power vitamin concentrate is then com-
bined with three kinds of strength-building iron (organic,
inorganic and hemoglobin iron); also pasteurized English
ale veast. Finally, for your protection and benefit, every
batch of Ironized Teast is tested and retested biologically,
to insure its full vitamin strength.

The result is these new easy-to-take. marvelously effec-
tive little Ironized Yeast tablets which have helped thou-
sands of the skinniest people who needed their vital
elements quickly to gain just the normally attractive
pounds, natural development and peppy health they
longed for.

Make this money-back test

If with the very first package of Ironized Teast. you
don't begin to eat better and get more enjoyment ana
benefit from vour food— if you don't feel better, with
more strength, pep and energy — if you are not absolutely
convinced that Ironized Yeast will give you the pounds of
normally attractive flesh you need — your money will be
promptly refunded. So get Ironized Yeast today.

Special FREE offer

SCREENLAND'S

Crossword Puzzle

By Alma Talley

ACROSS

86.

"The

To start thousands building up their health right away,
we niake this absolutely FKEE offer. Pureliase a package
of Ironized Yeast tablets at once, cut out the seal on the
box and mail it to us with a clipping of this paragraph.
We will send vou a fascinating new book on health. "New
Facts About Your Bodv." Remember, results with the very
first package — or money refunded. At all druggists. Iron-
ized Yeast Co.. Inc.. Dept. 2611. Atlanta. Ga.
WARNING : Beware of the many cheap sub-
stitutes for this successful formula. Be sure
you get the genuine IRONIZED YEAST.

1. She was featured in

Thirteenth Chair"
6. She's Mrs. John Monk

Saunders
9. One of the Marx brothers

14. Star of "Ever Since Eve"

15. United States of America

(abbrev. )

16. Coral reefs

18. Native minerals

19. A Shirley Temple film

22. Vein of ore

23. Hardly enough

25. French article

26. Swede comic — window w'asher
in "Blonde Trouble"

27. Sufferer from leprosy
Shut up!

29. English title
31. Star of "Confession"

33. Note of the scale

34. Featured actor in "West-

bound Limited"

35. Head covering
38. Alone

41. What you see with
43. Co-star of "Broadway

Melody of 1938"
46. The Juliet of the screen
49. He was featured in

"Espionage"

51. Japanese unit of money

52. Has been

54. Salver for serving

55. Co-star of "The Emperor's

Candlesticks"
57. Her new one is "Love Under
Fire' '

60. Lvric poem

61. Chair

63. What you hear with

64. District attorney in ' Fury
66. Paid notice (abbrev. )
63. Ship's distress signal

"0. Reared,
71. Exclamation

^3. Comedienne in Wake Up and

Live"
"6. Ma's husband
"8. Pa's wife

"9. Author of "Tom Sawyer

81. Bad

82. She plays "Stella Dallas
85. Measure of land

French star of "Seventh

Heaven"
Gummy black substance
Heroine in "The Toast

New York"
Railroad station
Pigpen

Movements of water in
DOWN

His new one is "Nothing

Sacred"
Range or scope
Mickey Mouse's papa

•• West, Young Man"

"Dead " with Sylvia

Sidney
To rage

Venomous serpent
Famous Eastern university
Possesses

"A Day The Races

A part in a picture

Sound of something dropping

into water
Elder t ..

Green growth on wet soil
Dried up, withered
Sick

Kind of deer
Story ,
He's married to Bebe

Daniels
Depend upon
He's married to Kuby

Keeler _
He's famous for ■
dignified old gentle-
men roles

53.
56.
58.

ocean 59

62.
65.

66.
61.
69.
70.
71.
72.
74.
75.
77.
78.

80.
82.
83.

84.

irith Edward

Town"
Toast of New

48. Forever

50. Compass point (abbrev. )

"A Is Born," with Gay-

nor

" Living,

Arnold
Sun god
To egg on
"Fifty Roads
Star of "The

York"
Monkeys

" Copperfield"

Mineral spring
A rod

Engages .
Something unique (slang)
What a clock tells you
Liquid refuse
Cultural pursuits
She's now Mrs. Buddy

Rogers
The utmost
Wager ,
Part of a ball player s

equipment
Stern of a ship

"The Girl Said

Two-toed sloth

90.

Answer to
Last Month's Puzzle

35.

36.
37.

39.

40.

41.

42.

44.
45.

47.

Light boat
One .
He's featured in Cate

Metropole" .,
"Men Are Gods.

with Miriam

Hopkins
Star of "The Prince

and The Pauper
Wing of a house
•• — : Can't Have

Everything' '
Slippery fish
A rodent
Ans>ry

EIRIEIP
MlOORiE_
N!D'E1A:R
A D_
LAM
SHAL

GAR B OIA MjE.
|OR I ONBD AN
_ E GMBJQjRjD
T^AlA'B

S GREENLAND

ie outstanding prestige picture
the season. — Time

The most distinguished and most
important contribution to the
screen this year.

— Kate Cameron,
N. Y. Daily New.

Xhe finest historical film ever made
and the greatest screen biography.

— Frank Nugent, N. Y. Times

So far superior ... so superlative . . .
that this department temporarily
abandoned its jo b of being critical.

— Trie Digest

— the rehel genius life never tamed — strides
across the screen to hecome an immortal char-
acter in the motion picture gallery of the great!

Ti^arner Bros, proudly present

in THE LIFE OF

EMIL

Soon to be shown
at popular prices I

WITH A CAST OF THOUSANDS INCLUDING:

Gale Sondergaard .... Josepli Schii<

Gloria Hoi Jen • Donald Crisp * Erin O'Brien- Mo ore •
Henry O Neill • Louis Calhern • A! orris Carnovsky • Directed

by "William Dieterle Screen play by Norman Reiliy Raine, Heinz Herald and Geza Herczeg.

Don t miss the picture that packed America's leading theatres for
weeks at $2.20 a seat. Coming to your favorite theatre soon.

SCREENLAND

SKoW€rs
Talc

This is the cool, fragrant freshener you
need every summer day. The finest quality
imported talcum powder, scented with love-
ly April Showers, "The Perfume oj Youth"
...yet priced low for debutante allowances.
Tl>e Talc, exquisite but not expensive. 28c.
The Perfume (in purse-sizes), 28c, 50c and S1.00.

Basil Rathbone, who
makes hisses for the
villain roles he plays
turn into hoorays for his
brilliant acting, steps in-
to the limelight as this
month's choice of the
letter writers. Here s
Basil, at right, interrupt-
ing a romp with two of
his dogs during a holi-
day, to greet you, his
Screeniand admirers

WRITE AS YOU PLEASE
ABOUT THE STARS

Now it's the readers' turn to
write — precisely what they think
about Hollywood and its stars.
Read here what your fellow
screen enthusiasts have to say
about pictures and picture
people, then write what you
think. You'll find it fun, other
readers will find it interesting,
and Hollywood will take your
advice and criticism to heart.
Please limit each comment to a
maximum of 50 words. Address
to: Letter Dept., SCREENLAND,
45 West 45th St., New York, N. Y.

alutes an

d Snubs

HOW'S ABOUT, PETE SMITH?

Why doesn't Hollywood keep us up to
the minute on etiquette, via some short
subjects? It could be very entertaining, as
well as informative, to see a film in which
a couple entertain friends at teas, recep-
tions, dinners, etc. Also let them step out
to the best hotels, travel by all the modern
conveyances', and visit entertainment re-
sorts—doing it all in the manner of those
who really know their way around.

Alzalein Parker,

Millen, Ga.

Town." Robert Taylor in "This Is My
Affair."

Ruth Kilman.
Boston, Mass.

FAVORITE PEOPLE AND
PICTURES

Here are my favorites and the pictures
that made them so:

Errol Flvnn in "Charge of the Light
Brigade." Robert Montgomery in "Night
Must Fall." Spencer Tracy and Freddie
Bartholomew in "Captains Courageous."
Tyrone Power in "Lloyds of London."
Nelson Eddy in "Maytime." Billy and
Bobbv Mauch in "Prince and the Pauper."
Ferdnand Gravet in "King and the Chorus
Girl." Don Ameche in "Fifty Roads to

BASIL — BELOVED VILLAIN

I think Basil Rathbone's amazingly bril-
liant performances should convince Holly-
wood that he is infinitely worthy of star-
dom. He is far too great to play second
fiddle to anybody — in reality he doesn't,
for in supporting roles he manages to take
the lead in scenes with many a leading, or
star, player.

Elizabeth White.
Landsdown Strand,

Glos., England

THE AH'S ARE FOR AMECHE

Here's my applause, long and loud, for
a great radio and screen star, Don Ameche.
I certainly receive full value when I go to
a theatre where Don is playing.

Lorraine Haley,
Berwyn, 111.
(Please turn to page 12)

SCREENLAND

^ %n THEM TOGFto

Broadway's sensational stage success
becomes the outstanding highlight of
ill the screen's new nig pictures!...

thored by two of the greatest living
playwrights, EDNA FERBER and GEORGE
$ KAUFMAN . . . Thrillingly directed by
the genius, behind "My Man Godfrey",
GREGORY LA CAVA... Glamorously
produced by Hollywood's ace picture-
maker, PANDRO S. BERM AN... inti-
mately played by stars daringly cast
to sweep you off your feet with curi-
osity- and satisfaction! ... At last
the one picture you simply MUST see!

G E R

ROGERS

SCREEN PLAY BY
MORRIE RYSKIND AND ANTHONY VEIUER

A D 0 L P

MENJOU

GAIL PATRICK CONSTANCE COLLIER ■ ANDREA LEEDS

SAMUEL S. HINDS * LUCILLE BALL * from the put it edm feme* mo 6emge s. mm
DIRECTED BY GREGORY LA CAVA • PRODUCED BY PANDRO S, m

R K. O

SCRE ENLAND

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Salutes and Snubs

Continued from page 10

MANY ARE FINE, BUT DICK
IS FAVORED

I see a lot of movies and I like lots of
stars, but it's Dick Powell with his natural-
ness, human, easy charm and pleasing voice
who brings me to the theatre most fre-

(luently. „ ..

M. L. Dailey,

Racine, Wise.

THAT BRITISH CHARM

These English actors fascinate me. Espe-
cially Herbert Marshall. He is one of the
actors with an ability to draw you into the
picture; make you absolutely forget where
you are to the extent that you pretend you
are in the story yourself. It takes acting
skill, the projection of sincerity and
warmth, to do that.

Jean Dunbar,
Wyndmoor, Pa.

SPEAKING OF TALENT—

On the subject of talent that isn't given
the recognition due it, what about those
two superb and entertaining actors and
dancers, Lee Dixon and Buddy Ebsen?
The former with all the pep, life and ap-
peal of a college man, and the feet of
Astaire. And the latter with all the appeal
of a homely but friendly face, the per-
sonality of a Taylor and an inimitable
style of dancing.

Jeanne Mudgett,
Adrian, Mich.

GLADYS RATES WITH
THE GREAT

Most people when speaking of the
screen's foremost actresses mention Luise
Rainer, Miriam Hopkins, Bette Davis,
Katie Hepburn and Greta Garbo. But to
me Gladys George deserves recognition in
any grouping supposed to represent the
finest abilities of acting art in the motion
picture.

Jean Adams,
Buffalo, N. Y.

LOVELY'S THE WORD

I can think of no actress who better
qualifies for the word "lovely" than Frieda
Inescort. And the best indication of her
acting ability is the fact that each of her
performances seems better than the pre-
ceding one. She was very nearly perfect in
her best picture, "Call It A Day ;" and she
was one of few redeeming features in
"Another Dawn."

Margaret A. Connell,

Dcs Moines, la.

THE WORLD'S LARGEST SELLING EYE BEAUTY AIDS

Eve Shadow — Blue,
Biue-Gray, Brown,
Green or Violet.

KING'S ROAD TO STARDOM

Because, after appearing in serials and
small parts in features, he rose _ almost
overnight to the eminence of a star in "The
Road Back," my salutes are for John King.
That grand performance entitles him to
the best from Hollywood, and the public.

Marion Cadish,
Los Angeles., Calif.

MORE ABOUT MARIE

Won't you please tell us more about the
grand little comedienne, Marie Wilson ?
Marie is bound to become the best loved
girl in Hollywood before many moons. You
don't know how eagerly I scan the pages
of every issue of Screenland to learn more
about my favorite actress— Marie Wilson.

Georgia Sargent,
Muncie, Ind.

Screenland

ERROL
FLYNN

The Three
Musket-
eers with one
expression.

MADGE
EVANS

All - American
best girl; cue
for song.

EDUARDO
CIANNELLI

Dante on loca-
tion; acid on
iron.

DEANNA
DURBIN

canary in a
nursery;
ingenue wired
for sound.

BURGESS
MEREDITH

radical in
Brooks clothing;
senior most like-
ly to succeed.

MADELEINE
CARROLL

the girl you
meet just be-
fore waking
up.

HERMAN
BING

explosion in a
sauerkraut fac-
tory; Weber
and Fields' son.

Scotch Portraits

By Malcolm H. Oettinger

TYRONE
POWER, JR.

Mask and Wig
presid ent;
Father's boy.

SONJA
HENIE

china saucer on
chubby legs;
Kewpie on ice.

NELSON
EDDY

a dentist with
a marcel wave;
the smile with
a voice wins.

MARGOT
GRAHAME

what every wife
fears the other
woman is like.

WALTER
BRENNAN

Ancient Mariner
on a ferris wheel;
cracker bar-
rel philosopher.

JANE
WITHERS

mosquitoes and
giggles; prob-
lem child.

GREGORY
RATOFF

storm over
Siberia;
triumph of the
accent.

WHY, BETTY- WHAT LANGUAGE/

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have written glowing letters telling of their
own experiences with this remarkable laxative
"I always liked the taste of Ex-Lax," many
said, "but now it's even more delicious!" . . .
"It certainly gives you a thorough cleaning
cut!" was another popular comment . . . '"We
never dreamed that any laxative could be so
gentle!" hundreds wrote.

And right they are! For today Ex-Lax is
better than ever! A more satisfactory laxative
in every way! ... If you are suffering from
headaches, biliousness, listlessness or any of
the other ailments so often caused by consti*
pation — you'll feel better after taking Ex-Lax !

Your druggist has the new Scientifically
Improved Ex-Lax in 10c and 25c sizes. The
box is the same as always — but the contents
are better than ever! Get a box today!

FREE! If you prefer to try Ex-Lax at our
expense, write for free sample to Ex-Lax, Dept.
S117, Box 170, Times-Plaza Sta„, Brooklyn, N.Y.

Ask Me!

By Miss Vee Dee

A. G. M. Here's about your little Ca-
nadian rave, Rosina Lawrence: born in
Ottawa, Canada, 5 feet 2>Vz inches tall,
blonde hair and green eyes, u.ighs 115
rounds. Attended high schools in Boston,
Mass., and Los Angeles, Calif. Studied
iallet and tap dancing, made screen debut
at 13, in "Angel of Broadway," later
played in "Reckless" and "$10 Raise,"
"Charlie Chan's Secret" and "Your Uncle
Dudley," with a featured role in "General
Spanky." Olivia de Havilland was burn in
Tokio, Japan, July 1st, 1916. She is of
English descent; came with her parents to
America at the age of three. Playing the
role of Puck in a school production of
"Midsummer Night's Dream" resulted in
a leading part in the screen version of the
play and a contract with Warner Bros.
She is 5 feet 4 inches in height, weighs
107 pounds, has reddish brown hair and
brown eyes.

Ruth F. Glad you like your gift. John
Trent was born in Orange, California. His
real name is LaVerne Browne. He grad-
uated in an engineering course in Hancock
Foundation College, where he also took
his course in aviation. He belongs to the
Army Air Corps Reserves. Of course you
know he was a pilot for a transcontinental
air line. He played the leading romantic
role in "A Doctor's Diary." He is 6 feet
tall, weighs 173 pounds, has blue eyes and
dark hair. For his photograph, try Para-
mount Studio, Hollywood, California. John's
latest pictures are "The Great Gambini"
and "She's No Lady."

Miss R. T. So you like the looks of Jack
Dunn? Address your letter to him in care
of Universal Studios, Universal City, Cal-
ifornia. In the first place, he is very Eng-
lish, born in Lounbridge, Wells, England,
on March 28, 1917, and next he skated
into pictures ! Literally, for it was while
skating with Sonja Henie in Los Angeles,
that he won his Universal contract. He is
tall, dark and handsome, as you yourself
have observed. Over 6 feet, weighs 182,
black hair and brown eyes.

Allan Jones and his wife, Irene Hervey,
take the air to greet radio fans tuned
in to c recent Hollywood preview.

Hard to tell where Ann Sothern's fur
cape leaves off and her pet doggie be-
gins. The pooch is looking at you
through those shaggy white locks.

Mrs. K. W. N. Jackie Cooper was born
in Los Angeles, California, September 15,
1923 ; Mickey Rooney, born in Brooklyn,
N. Y. ; Freddie Bartholomew, London,
March 28, 1924; Jackie Searle, Annaheim,
California, 1920; Jane Withers, born in
Atlanta, Georgia, nine years ago; Shirley-
Temple, Santa Monica, California, April
23, 1929.

M. J. G. James Stewart is his real name.
His parents are Alexander and Elizabeth
Stewart. He was born in Indiana, Pa., is
6 feet 2V2 inches; brown hair and gray
eyes, and has a contract with Metro-Gold-
wyn-Mayer.

Pauline K. Sorry, but unless you can
tell me the name of the picture, it would
be impossible to give you the information
you wish. Send in the title, and I'll do
my best to straighten you out on "who is
which."

Frank C. S. Why not write direct to
the home office of Paramount Pictures.
1501 Broadway, New York, N. Y. Il
might be well for you to state in which
magazine you saw the statement.

Marguerite M. I'm glad to tell you about
Charles Boyer, because he is one of my
favorites, too. So, we'll begin at the be-
ginning: he was born in Figeac, France.
Educated at schools in his birthplace, and
also at the Sorbonne, Paris. In 1920 he
made his stage debut in Paris, appearing
in a number of plays on the Paris stage.
Then, several silent films. His_ first talk-
ing picture was made in Berlin in 1930,
at UFA studios. He came to Hollywood
in 1933 and has been outstanding ever
since as one of the finest actors on the
screen. He is married to Pat Paterson.
Address him at the United Artists Studio,
Hollywood, California.

Florence 'L. Noah Beery, Jr., was born
in New York City, August 10, 1913. He
has brown hair and eyes. He is 5 feet 10
inches tall, is not married, but he has not
confided in me whether or not he is en-
cased, but his heart-throb is Buck Jones
pretty daughter, Maxine. His father and
mother are both professionals; as a child
he traveled with them and appeared m
stock, also in "Mark of Zorro" the silent
picture starring Douglas Fairbanks.

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| THE ORIGINAL CHOCOLATED LAXATIVE

SCREENLAND

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WALTER WANGER

presents

LESLIE

Hollywood hails Atterbury Dodd...the timid
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there laughs? Is there romance? Are there
thrills? Clarence Buddington Kelland, the
Saturday Evening Post author who gave you
"Mr. Deeds" and "Catspaw", never wrote a
funnier adventure... and with this star-studded
cast tossing the excitement together .. ."Wow!

JOAN

HOWAD^.P'-°NDELL

A
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and you'll

HtTT£R

after taking it!

People everywhere are praising the new
Scientifically Improved Ex-Lax! Thousands
have written glowing letters telling of their
own experiences with this remarkable laxative
"I always liked the taste of Ex-Lax," many
said, '"but now it"s even more delicious!" . . .
"It certainly gives you a thorough cleaning
cut!" was another popular comment . . . ''We
never dreamed that any laxative could be so
gentle!" hundreds wrote.

And right they are! For today Ex-Lax is
better than ever! A more satisfactory laxative
in ei;ery way! ... If you are suffering from
headaches, biliousness, listlessness or any of
the other ailments so often caused by consti*
pation— you'll feel better after taking Ex-Lax !

Your druggist has the new Scientifically
Improved Ex-Lax in 10c and 25c sizes. The
box is the same as always — but the contents
are better than ever! Get a box today!

FREE! If you prefer to try Ex-Lax at our
expense, write for free sample to Ex-Lax, Dept.
S117, Box 170, Times-Plaza Sta., Brooklyn, N.Y.

Ask Me!

By Miss Vee Dee

A. G. M. Here's about your little Ca-
nadian rave, Rosina Lawrence: born in
Ottawa, Canada, 5 feet 3'A inches tall,
blonde hair and green eyes, w.ighs 115
Bounds. Attended high schools in Boston,
Mas-., and Los Angeles, Calif. Studied
ballet and tap dancing, made screen debut
at 13, in "Angel of Broadway," later
played in "Reckless" and "$10 Raise,"
"Charlie Chan's Secret" and "Your Uncle
Dudley," with a featured role in "General
Spankv." Olivia de Havilland was born in
Tokio," Japan, July 1st, 1916. She is of
English descent; came with her parents to
America at the age of three. Playing the
role of Puck in a school production of
•'Midsummer Night's Dream" resulted in
a leading part in the screen version of the
play and a contract with Warner Bros.
She is 5 feet 4 inches in height, weighs
107 pounds, has reddish brown hair and
brown eyes.

Allan Jones and his wife, Irene Hervey,
take the air to greet radio fans tuned
in to c recent Hollywood preview.

Hard to tell where Ann Sothern's fur
cape leaves off and her pet doggie be-
gins. The pooch is looking at you
through those shaggy white locks.

Mrs. K. IV. N. Jackie Cooper was born
in Los Angeles, California, September 15,
1923; Mickey Rooney, born in Brooklyn,
N Y. ; Freddie Bartholomew, London,
March 28, 1924; Jackie Searle, Annaheim,
California, 1920; Jane Withers, born in
Atlanta, Georgia, nine years ago; Shirley
Temple, Santa Monica, California, April
23, 1929.

Frank C. S. Why not write direct to
the home office of Paramount Pictures.
1501 Broadway, New York, N. Y. 11
might be well for you to state in which
magazine you saw the statement

Marguerite M. I'm glad to tell you about
Charles Boyer, because he is one of my
favorites, too. So, we'll begin at the be-
diming: he was born in Figeac, France.
Educated at schools in his birthplace, and
also at the Sorbonne, Paris. In 1920 he
made his stage debut in Paris, appearing
in a number of plays on the Paris stage.
Then, several silent films. His first talk-
ing picture was made in Berlin in 1930,
at UFA studios. He came to Hollywood
in 1933 and has been outstanding ever
since as one of the finest actors on the
screen. He is married to Pat Paterson.
Address him at the United Artists Studio,
Hollywood, California.

Florence L. Noah Beery, Jr., was born
in New York City, August 10, 1913. He
has brown hair and eyes. He is 5 feet 10
inches tall, is not married, but he has not
confided in me whether or not he is en-
gaged, but his heart-throb is Buck Jones
pretty daughter, Maxine. His father and
mother are both professionals; as a child
he traveled with them and appeared m
stock, also in "Mark of Zorro" the silent
picture starring Douglas Fairbanks.

'Now improved- better than ever!

THE ORIGINAL CHOCOLATED LAXATIVE

SCREENLAND

HAIL ! the conquering hero comes!

WALTER WANGER

presents

LESLIE

HOWADn

JOAN

NDELL

A
C

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"■-re

AGGING

the

TALKIES

Delight Evans' Reviews
on Pages 52-53

Varsity
Show

Warners

It's got that thing! This latest Dick
Powell musical is sure to please the ma-
jority, and will wow the younger element
of the land. Dick, with some good songs,
fine romantic support from Rosemary Lane,
comedy that's funny from Ted Healy, and
novelties in the musical line from Fred
Waring and his group, especially Johnny
Davis, returns to his old college and plumps
into a lively and youthfully gay time.

So moving we doubt you'll even wish the
dialogue were in English instead of French.
The dramatization of the tragic life, love,
and death of Archduke Rudolph of Austria
is" so vibrantly alive as acted by Charles
Boyer, and the lovely Danielle Darrieux, as
Marie Vetsera, you live in a world of true
and entrancing illusion throughout its
course. English titles clarify the dialogue.
Notable. This is one you surely must see.

Broadway
Melody
of 1938

M-G-M

The world's greatest feminine tap dancer
(viz. Eleanor Powell), and Robert Taylor
carry on a boy and girl romance to good
•:unes, elaborate production numbers, and
with attractive aid from George Murphy,
Judy Garland — which two score heavily—
Buddy Ebsen, Raymond Walburn, Sophie
Tucker and many other bright names. Eye
and ear entertainment done on an opulent
scale. Not much story, but lots of show.

The Sheik
Steps Out

Republic

As a welcome return vehicle for Ramon
Novarro, absent from films nearly 3 years,
this is glove-fitting movie romance. Ramon
as the desert lothario tames a spoiled rich
girl from America, then proves himself a
count, no less, playing Arab for the tun of
it. Lola Lane, Gene Lockhart and others
do good jobs, and Novarro will delight his
old friends in the audience. There's good
entertainment in this typical sheik story.

Love
Under
Fire

20th
Century-
Fox

Pops away with incident at a machine
gun pace, and sure for a diverting evening
at the theatre. Loretta Young and Don
Ameche share iionors in a melodramatic
comedy about stolen jewels — Don the Scot-
land Yard chap, and Loretta the suspect he
pursues to war-ridden Spain — questionable
choice for a comedy locale, but the yarn
moves so fast you forget all that. Finely
supported, the stars are corking in this.

The Life
of the
Party

RKO-
Radio

Well, anyway it's a big party. There's
Joe Penner, Parkvakarkus, Victor Moore,
Helen Broderick, to make a quartette of
comedians, and Gene Raymond and Harriet
Hilliard for romance — and song too. Even
Gene croons a couple of tunes. The story is
verv much musical comedy. Gene is a rich
boy" who'll lose his inheritance if he marries,
and Harriet's mother wants her to marry
money rather than be a singer. Fairish.

It's Love
I'm After

Warners

Bette Davis, Leslie Howard and Olivia
de Havilland in their lighter moments keep
you amused even to laughing out loud.
Leslie is the actor in love with his' lead-
ing lady, Bette, but easily diverted by a
pretty new face — and so enters Olivia, wor-
shipper of the ham actor. All three stars
are grand, and excellently supported by
Eric Blore, Patric Knowles, and others. A
real triumph for the engaging Mr. Howard.

Double or ■

kl ... MM-
Nothing SSKi;

Para-
mount

Bing Crosby . breezes through a tuneful
variety show that has the ease and infor-
mality of one of his radio shows', with the
added zest of Martha Raye's clowning and
songs— one a gag about a strip tease act,
called "It's Off, It's On," that's catchy
and amusing as well. There is a plot, but
it doesn't hurt much, and Andy Devine, as
well as a number of specialty acts, spotted
between romance involving Mary Carlisle

Sea
Rack-
eteers

Republic

A melange of dance numbers, blood and
thunder melodrama, and comedy about two
Coast Guard buddies, W eldon Heyburn and
Warren Hymer, who steal each other's girls.
Jeanne Madden sings pleasantly, Dorothy
McNulty stands out as a wise showgirl, and
J. Carroll Naish heads a gang of smugglers.
Nothing subtle about this — it's straight,
obvious, elemental in its efforts to enter-
tain by familiar mass production methods.

She Asked
for It

Para-
mount

Bright and novel little tale about a
writer who becomes the detective in his own
stories' and solves murder mysteries. Wil-
liam Gargan is excellent as the writer.
Orien Heyward, a newcomer with promise,
is seen as his wife. Vivienne Osborne, Rich-
ard Carle, Roland Drew, Harry Beresford,
Alan Birmingham, Harry Fleischmann and
Miki Morita offer very good support.
This is good program type entertainment.

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SCREENLAND 17

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nside the Stars' Homes

Screen's new singing siren, Doro-
thy Lamour, serves food as exotic
as she looks! See the tempting
Southern recipes here

TWO years ago, the section of Hollywood
I where Dorothy Lamour now lives con-
sisted of fields', brown in summer and green
after the rains, with not even a tree to
break the monotony.

Today, like a miracle in a movie, in this
place can be found street after street of
dazzinglv white apartment houses, new and
strikingly modern, some with touches of
vermilion, royal blue or yellow in shutters,
doors' or roofs. Young trees, uniform in
size and kind, stand at seeming attention
in most of the new streets, and flowers
make colorful patterns in window boxes.

Dorothy's apartment is all white outside,
effective contrast to the sunbrowned olive-
and-rose skin of its occupant. This new
starling should be seen in a color picture;
a catalogue of brown hair, hazel eyes and
scarlet lips gives no adequate idea of her
vivid personality.

"I wanted an apartment with a fireplace
in it," confided Dorothy, surveying her
living-room through half-closed eyes, "but
no duplex I looked at that had one would
satisfy me otherwise, so I compromised.
Instead of the fireplace, I have this enor-
mous mirror, with its draperies, and it
really makes the room look larger, doesn't

it?"

The mirror, as large as an archway, re-
flected the American adaptation of an 18th
century French room, with dark blue car-
pet, twin sofas in beige and blue facing
each other over a low glass coffee table,

Dorothy Lamour is seen, at top, in her
unusual living-room, where instead of a
fireplace she has a huge mirror. Right
Dorothy before the bamboo bo

By Betty Boone

a small white piano, and a chair covered
in soft white bearskin that matched two
perfect skins on the "hearth."

"I had a terrible time trying to find the
exact shade for the carpet," remembered
Dorothy. "Finally, I had to have it dyed.
No, I didn't exactly do the house myself,
but I was always in the way, if you know
what I mean. One day, I wandered in to
discover that the decorator had drapes in
French blue sequins over the mirror. It
looked like a bad stage setting, and I
couldn't stand them. So after we had worn
ourselves out looking, we finally came
across these peach cellophane drapes and I
think they give just the color note I was
anxious to have.

"The room seems white because the
walls and furniture are mostly white, and

her

playroom,

with "Hurricane" trophies.

SCREENLAND

maybe that's why I'm so triumphant over
the yellow brocade chair in that corner,
and this new picture done in soft pastels."

She waved a slim hand toward the chair,
and her image in the mirror, in a peach-
beige dress and French blue shoes and
belt, waved, too.

Off the living-room is a dinette, with
tapestried wallpaper of the 18th century,
and dainty French furniture (American
adaptation) of the same period.

"Tiny, isn't it?" commented Dorothy,
"but I'm, so busy with pictures and radio
that I haven't time for a great deal of
entertaining. I seldom have more than six
to dinner, and these are usually Mother s
friends, or members of Herbie's company."
(Herbie Kay is Dorothy's husband, well-
known orchestra leader.)

"I can squeeze eighteen in if I serve
buffet suppers', so that's what I do when
my husband is home. As a rule we have
cold roast beef, potato salad, and some
sort of aspic salad. But if Suedell, my
maid, is in the mood, we have crepes
Suzette for dessert. I don't know a thing
about cooking, but Suedell will tell you—
well, it's just a very thin pancake, you know,
rolled around strawberry jam with brandy
poured over it. Just before she brings it m,
she lights the sauce and it makes a name
like that on Christmas pudding.

"Suedell makes' the most marvelous
desserts! There's a peach nesselrode cake
that is one of her specialties. You make
any kind of good plain cake and on top
put peaches — ripe or canned — set in enough
gelatine so that they are fairly firm, and
then serve ice cream on that. Peach ice
cream is* best but you can use vanilla.

(Knox gelatine is excellent for this
purpose.) .

Suedell, dark eyes snapping, reminded
Dorothy that perhaps her favorite dessert
is lemon mince pie.

"I call it lemon-mince, but some call it
lemon," she added. "I use half a dozen
eggs to a nine-inch pie; the juice and rind
of two lemons'— just the yolks of the eggs,
sugar, the grated rinds of the lemons, a
little hot water and a dab of butter or
Crisco. I put a teaspoon of Calumet bak-
ing powder in the meringue and that keeps
the pie three days as good as ever. You
can cut through the meringue, too."

Dorothy's mother, a scarcely older edi-
tion of Dorothy, observed that her daugh-
ter was an ideal Hollywood actress, for
she didn't really care about eating and
food had to be "put over" on her rather
than kept out of her way!

"She likes all vegetables except spinach,
fortunately," she told me, "so we have
plenty of leeway. But when it comes to
spinach, you can call it spinach supreme or
Spinach a la Lamour, or anything else, but
you won't get a spoonful down her throat !"

Daughter of a strict French family in
New Orleans, Dorothy's mother was not.
permitted to go on the stage, but trans-
mitted her ambitions to her child.

"She always said she was going to act,
when she was little," she remembered. "I
can recall her picking out a stage name
for herself when she was about six, but I
can't remember now what it was. When
Dorothy was three, she used to sing for
the soldiers and once she made forty dol-
lars for the Red Cross in Thrift Stamps.

"When she was quite small, she won a
basket of groceries on amateur night at a
local picture house. I wasn't with her, but
whe?: they asked for contestants, Dorothy
stood up and sang. But some big boys took
the groceries away from her on her way
home. I was a widow at the time and could
have used them, as it was hard to get
along. But I was proud of her, anyway."

"It was Mother's longing for the stage
that first influenced me," admitted the
{Please turn to page 92)

POPULAR MODEL GIVES
TIP ON SAVING

STOCKINGS!

9- cuCt'wuji /5tbctauA.ci
kMo IN HALF Ay[

Here's the girl you see in lots of fashion
photographs — lovely Evelyn Kelly. "I
furnish my own stockings," she says, "and
Ivory Flakes save me money. Stockings
washed with pure suds
wear twice as long."

ACTION ! DEMANDS PHOTOGRAPHER. Look at the
strain on Evelyn's sheer stockings! They
can take it, because they're kept fresh and
strong by Ivory care!

ONE MINUTE PLEASE! Evelyn Kelly, popular
photographers' model, takes one minute at
bedtime to dash her stockings through Ivory
Flakes suds. "Now they wear twice as long."

Pure soap prevents weakening
of silk stockings

"Protecting the freshness of silk is the
whole secret of getting real wear from
stockings," say fine stores. "That's why we
advise the soap flakes made from the fa-
mous pure Ivory Soap— the soap that pro-
tects even a baby's young skin."

Don't pile up stockings you've worn-
don' t use any soap less pure than Ivory
Flakes— don't let your stockings get stale.
All these make silk grow weak and old.

Start tonight with Ivory Flakes. One
minute of daily care can add weeks of
wear— Ivory Flakes are pure economy!

TRADEMARK REG. U. S. PAT. OFF.

SCREENLAND

yEAl yEA|

vose

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Tu for y°u ! " " " "Ovi'
be9',n S*'««9 V' "the

Miumbay?, low d

*UfE BEGINS
IN CbOEGE

Darryf F. ZanucJc
in charge of production

with a glo-roarious cast
of entertainment's top-^
notchers!

JOAN D AV I S
TONY MARTIN
GLORIA STUART

FRED STONE • NAT PENDLETON
DICK BALDWIN • JOAN MARSH
DIXIE DUNBAR • JED PROUTY
MAURICE CASS • MARJORIE
WEAVER • ROBERT LOWERY
LON CHANEY, JR.
Directed by William A. Seiter

Associate Producer Harold Wilson . Screen
Play by Karl Tunberg and Don Efflinger
Suggesfed by o series of stories by Darrell
Ware . Rifz Brofhers Specially Routines by
Sam Pokrass. Sid Kuller and Ray Golden

SCRE ENLAND

Nil HI!

HA! HA!

*°Tt|kE!

WOTTA
RIOT I

WOTTA

p^vooxM

Maybe :,L t
' *>vt it's c SScre*vb0//

Y 6 abo" that!

Edgar Bergen threatens Charlie McCarthy!

DEAR Diminutive Little Chum:
Welcome to our movies!
We've needed a chip out of the old block like
you for a long time. Someone to put certain pompous
egos in their right places — and you know where that
is, Charlie, as well as I do. Reduce 'em to chips, my
little shaving. Now that you've signed your new con-
tract to star in pictures, as well as on the radio,
Hollywood is getting ready to climb trees. Trying to
appear in your pictures will become the life work,
I'm sure, of every player on the Universal lot. You've
got them stomping in sawdust. Beautiful girls are
trembling in fear of your varnished leer, and strong
men are cringing in terror of being cast with you.
Maybe they don't like woodland pictures. Even W. C.
Fields takes to the seashore instead of the woods. You
would always have the last crack, Charlie, wooden
you? It's lucky there isn't a grove of you!

I would like to make some suggestions now that you
are permanently transplanted in Hollywood. I haven't
yet seen your first appearance in "The Goldwyn Fol-
lies," but it must have been good, or you wooden have
been signed for a lone-star film. I'm sorry that Nelson
Eddy is with another company and so can't appear
with you on the screen, because you have done wonders
with Mr. Eddy, Charlie, on that Sunday night radio
hour, and he needs you in pictures, too. The way you
have helped transform our Nelson from a somewhat
sawdusty and self-conscious concert singer into a
rather gay guy who can take it and dish it out is a
revelation. You've made a trouper of him, Charlie. So
please see what you can do with Katharine Hepburn,
won't you? Try heckling Hepburn. I don't say that
you will succeed with her as you have with Nelson
Eddy, but you can try. You may not be able to trans-

an open letter to
charlie McCarthy

form her, but at least you might give her ear a twig
and badger her into going back to Broadway.

Then there's Mischa Auer; there certainly is; every-
where you look, there's Mischa. He's on the screen prac-
tically continuously; you can't escape him even if you
take to the tall pines — and you know your pines,
Charlie. Now it happens fortunately that Mischa is
with Universal, too, so you'll be working on the same
lot. He might even be in your first starring picture —
but I warn you, Charlie, it might be his starring pic-
ture before he's finished with you. So be on your
guard. No log-rolling. Watch out, or Mischa will re-
duce you to splinters — and very good kindling too.
Anything for an effect. Ever since he scored such a
success in "My Man Godfrey" there's been no holding
him back. He stood out like a poplar. He was grand
in that picture, but since, he's taken to bigger and
broader gestures, wider eyes, more exaggerated accent.
You know how it is in the spring when the sap comes
out. In "Vogues of 193 8" he reaches a new all-time
low — like a fir seedling — and he really needs you to
heckle him back into a poplar.

And now to your favorite topic: to the ladies. You'll
have to remember, Charlie, that Will Hays will be
listening, so you may have to be more subtle in your
approach. But if you can do anything for Dorothy
Lamour, to get her bigger and better roles, I know
you'll leave no stump unturned. It took your radio
program to bring out the best in Dorothy, and so far
no picture has presented her successfully.

When you're a big movie star, in the Gable-Taylor
class, maybe you'll remember Dorothy Lamour, and
how sweetly she took your honeyed insinuations, and
give her a part playing opposite you, or at least sitting
in your shade. And now just one more suggestion.
You've got to begin to branch out. You don't want to
be "typed," do you? Your top hat and tails are all very
well for weekly appearances, but do you think you can
"carry" an entire picture with that man-about-town
stuff? Be folksy, be everyday, my little hatrack. Get a
pair of overalls and let them know you're just one of
them, put slacks on your — er — limbs. Think how
Fields would laugh if they called you a one-part actor,
like a lone elm„

Gosh all hemlock, Charlie, be the mighty oak you
are and do all of this for me. And when you've got it
done, take a bough, Charlie, take a bough!

ff*f fit

Svelte, smart, shimmering — here are the ultra ladies
of the lenses. Learn their secrets of sophistication

Understanding Man came into my life.
Adrian, the fashion designer for M-G-M.
And these were the all-important words he
uttered, which changed the whole course of
my life: 'You must dress as you think!'

'"Result: My first picture where I was
dressed as he thought I thought was 'When
Ladies Meet,' an undisputed success, if I do
say so as shouldn't. They even played up my
nose, and left all my makeup off ; that is,
only street make-up was used.

"To date, my career of 'thought dressing'
has won me the titles of Mrs. Thin Man,
Mrs. America, The Ideal Wife, etc., a far
cry from those sloe-eyed princesses of yore.

Very last word in Hollywood elegance is Marlene Dietrich, above,
who tells girls everywhere, in our accompanying story, just how
they, too, can be soigne. Myrna Loy, right, admits she was once
an ugly duckling, and became glamorous by her own efforts.

HAVE you ever longed to be soigne? Smoothly smart,
worldly, sophisticated? Of course you have. Perhaps it
has never occurred to you that Lombard, Dietrich, Craw-
ford, Wray and Loy, whose' names are now synonymous with
everything that's svelte and shimmering, were not always the
creatures of perfection they now are. So be not downhearted;
vou, too, can be soigne.

Listen to Myrna Loy on the subject : "I was an ugly duckling.
You know, constantly hiding in closets, under pianos and things,
to escape having the company see me. I ran past mirrors with
my hands over my face. I completely despaired of ever doing
anything about rav turned-up button nose and freckles.

"Then when I 'swooned all over the place in those Oriental
effects, I still felt very unhappy, in that the characters I repre-
sented were so unlike myself, and it was so difficult to make
them seem real even to myself. But at least the freckles were
hidden by tons of make-up and the nose was artfully disguised.

"It began to look as though I would have to go through life
in complete disguise as the only escape from the plain little
Myrna Loy. All of which did not make for peace and content-
ment, as you may well imagine.

"But, in true storybook fashion, about this time, a Very

By Linn Lambert

And I'm perfectly satisfied, because that's the sort of
person I feel I am inside."

So, my children, if there's no Adrian in your life, go
into a huddle with your-
self and decide what type
of clothes would best suit
your innermost thoughts,
capitalize upon your short-
comings, and see what
happens.

With Joan Crawford, it
is quite another story :
Joan's outstanding char-
acteristic is ambition, and
this has motivated her

Lombard, famous for taking life with a
laugh, nevertheless -rakes her career as a
glamour girl intensely seriously. That's why
she's a success at it. Joan Crawford, left,
extends valuable advice on this business
of being soigne. Fay Wray, at left below,
used to be "that girl in the blue suit. '
Now she works hard at sophistication.

radical change in appearance from
the little hot-cha dancing girl to the
sleek sinuous charmer she now is.
Adrian says of her :
"No movie star can start a fashion trend as quickly and defi-
nitely as Crawford. She is the most copied star in Hollywood."

Years ago, Joan adored tight waists and full skirts, as some
of you may remember. These were all wrong for her, but loving
them the way she did, it was very difficult for her to bow to
Adrian's edict and change to flowing picturesque afternoon
gowns, or extreme broad-shouldered tweeds (By the way,
Joan's shoulders are that broad; there's never any padding-
used.) But her intelligence and ambition won out and she
obediently wore whatever was suggested. Result: One of our-
top ranking candidates for the soigne set of Hollywood.

Joan's advice for girls who wish to be well dressed at all
times, is: "Never trust your own judgment. If you can't afford
a professional fashion counsellor, go to someone whose taste is
unimpeachable, and adhere strictly to their advice, no matter
what your personal wishes are."

Now as to 'Suivez-Moi' Dietrich : Of course you've all heard
that Marlene calls those long flowing veils which she wears on
her hats 'suivez-moi' (follow me). The Dietrich of today doesn't
need a veil to beckon her many admirers of both sexes, but time
was when such an airy accoutrement would have looked absurd
on her.

I mean when she first came to Hollywood. Von Sternberg
brought her into the Paramount publicity offices, after haying
cabled that he was bringing them a genius. She proved a distinct
shock to those who beheld her that first day.

Try to imagine the present-day gossamer, slumbrous Dietrich
as she appeared that day, seven years ago :

Eleven o'clock in the morning on {Please tarn to page 73)

A Week-End

ith

Crosby

By
Dick Pine

A visit to Rancho Santa Fe gives you op-
portunity to meet the famous song and
romance man in his most natural role,
as cordial host, devoted family man,
golf enthusiast, and lover of fine horses

T MAY have been fate, and it may have been Bing.
Anyhow, it was decreed that the most famous of the
Crosby family should enjoy a couple of months' free-
dom from picture and radio commitments. My own men-
tal picture of Bing was of an easy-going, happy-go-lucky
son of a gun who worked hard at his relaxation, and
when I heard that he had closed his North Hollywood
home, and was "resting and relaxing" at his country
place on the Rancho Santa Fe, I thought it might be a
good idea to "rest and relax" with him for a week-end.
Screenland thought so, too ; and, as there are no things
I do better than rest and relax, it seemed a perfect ar-
rangement all around. My few years in America still leave
me with the hope that even native Americans can rest

and relax. Maybe they can. I'm still hoping. But I'm not
entirely convinced. (Parker! Bring me the liniment!)

Now, don't get me wrong. Bing is a gracious host, and
I like him. I had a good time at his house. It was just
my rusty old bones that cried, "Uncle !"

Rancho Santa Fe lies about thirty-five miles north of
the Mexican border, and consists of some forty ranches

some of which are bona fide ranches, and some, like

Bing's, country play homes. As one rounds the last turn
in the semi-circular drive that leads to Bing's estate, lined
on both sides with palms and bamboo trees, one comes
suddenly upon a real Spanish hacienda which must have
been the pride and joy of some gallant don of a century
or so ago.

Bing, besweatered, and wearing corduroy slacks, rose
from the shade of a gigantic palm tree, and smiled his
greetings. "Welcome to my humble shack," quoth he.
"All that I have is yours !"

Though I had heard that greeting in the Orient, I had
never heard it in the Occident. And when a bird like
Bing Crosby utters it, he really has something to offer.
I thought I would take him up on it. His Paramount con-
tract flashed through my mind, but I didn't think that
Paramount might care about that. I looked about me, and
my eyes fell upon the largest and heaviest-bearing avo-
cado tree I had ever seen. It was the size of a small house.
My mind was made up. I like avocados.

"Gracias, sehor," I replied, using the only two Spanish
words I know. "I desire yon avocado tree." Bing grinned,
and looked at his tree with affection.

"D'you know, that was the first avocado tree ever
planted in California. If you can carry it back to Holly-
wood in your rumble seat, you can have it !" Bing still
has his avocado tree.

After I had washed away the dust of travel, Bing
showed me his domain. It had belonged to a Spanish
grandee, and has played a part in California's early his-
tory. The original adobe ranch house (with walls three
feet thick) still stands, and is now the guest house. The
additions which Bing has built are the same type of archi-
tecture down to the last detail. The door handles, for
instance, are the height of a man's knee, so that children
can let themselves in and out without bothering their
elders. Smart people, those Spaniards! They couldn't
have been thinking of the Crosby dynasty. Or could they ?

Of course, the first things we looked at were the horses
— eight mares with their foals. Nice beasties all. But I
saw that Bing was panting to get down to the new
Del Mar race track, of which he is president, and where
he has more than twenty thoroughbreds in training. For
sheer beauty of setting, I believe it is unequalled in this
country. Bing's own slogan for it is, "Where the turf
meets the surf." Now, I'm not particularly interested in
racing, but when Bing shows his horses, one cannot help
but be impressed with his intense enthusiasm. He croons
over them.

"Here's a smart little two year old, foaled in California.
His name's High Strike. And here's Rocco. He won four
straight at Caliente."

What interested me more than the horses was Bing's
complete absorption in his stable. He doesn't care very
much about riding himself, although he occasionally hacks
about with Dixie. He is interested in horses for them-

Life at Bing's ranch near Del Mar is as informal as mine
host's costume of corduroy slacks and windbreaker, and as
warmly friendly as his smile of greeting to his guests. Below,
the adobe ranch house, Right, Bing goes to work on a
big platter of sandwiches. Lower right, giving his personal
attention to one of his many fine race horses.

selves. His greatest thrill is watching a thundering good
race, with good horseflesh showing what it can do.

Back we went to the house for a cocktail on the lawn.
Dixie appeared, wearing — oh, I don't know. Anyhow, it
looked all right. She had slacks of some pale, shivery
stuff. The three husky, tow-haired youngsters, Gary and
the twins, appeared briefly, accompanied by a small army
of cockers, under the escort of a huge Newfoundland.
Gary suddenly announced that he would like to sing.
Well, Gary did sing, in an amusing four-year-old imita-
tion of his father. It was a ditty with the looniest lyrics I
ever heard. "Daddy made up the words," he confided to
me in a whisper which couldn't have been heard for
more than sixty feet. "He sings, too, you know, in pic-
tures and on the radio !"

He climbed up beside me, with a book in his hand, and
gave me an appraising look. Bing had previously in-
formed me that Gary's year's seniority over the twins
had given him a "tough" superiority complex. "Y'know,"
he informed me, "Dennis, that one over there, is a dumb
little guy. He's always divin' off things an' conkin' his
bean, an' . . .

"Gary," expostulated Dixie, gently, "bumping his head."

"Bumpin' his head," went on Gary ; and then, apropos
of nothing at all : "D'ya like books ? This is full of ani-
mals." He opened it at random. "What's that one?" he
demanded.

"A yak," I replied.

"What?"

"A yak," I repeated. {Please turn to page 88)

"Swap Syste

When a Hollywood producer has something an-
other producer wants, he offers to "swap" — star,
story, or director. And how do famous stars like
the system? Our authentic story tells you

By Liza

Bobby Breen, above, may be offer-
ing to "swap" his choicest agates for
some other boy's new kite. Well, it's
done every day in Hollywood, on a
gigantic scale. Kenny Baker's boss
demanded six kids in exchange for
Kenny, at right. Frances Farmer, far
right, was "swapped" for Joel Mc-
Crea. Below, the picture that started
the "swap" system in full force: It
Happened One Night," for which
Columbia borrowed Claudette Col-
bert from Paramount and Clark Gable
from Metro-Goldwyn-Mayer.

T USED to be, out in Hollywood,
that a five million dollar law suit
was almost as effective as a
trumped ace in breaking up a beau-
tiful friendship. In the old days if
Paramount had slapped a five mil-
lion dollar suit — there's nothing
small about Paramount — on Gold-
wyn because he lured, decoyed, en-
ticed, or shall we say snagged Gary
Cooper, Goldwyn would undoubted-
ly have gone hog-wild with his Gold-
wynisms and uttered enough of them
to keep the columnists in velvet for
months, and columnists look very
well in velvet if they don't sit too
long. The Goldwyn gang would have
been murderously furious with the
Para gang and there would have
been hot words and bloody noses
over the pickled pig knuckles at the
favorite snack bar. It used to be. It

isn't any more. Nimbly skipping around Holly-
wood these last few years I have discovered to
my amazement that it is practically impossible to
break up a beautiful friendship. Not so many
months ago Paramount actually slapped a five
million dollar suit on Goldwyn because Gary
Cooper signed a contract. Nobody seemed to get
mad. Then they called it off altogether, and Gold-
wyn and Paramount remain the best of pals. A
pretty state of affairs indeed.

Do you find this lovely peace and brotherly love
that envelops Hollvwood like a saint's halo some-
what baffling? Well, don't. The explanation lies m
the Swap System, which is as old as the hills
When you were very young and coveted the red
kite with the fancy tail that the little boy next
door owned, you didn't sock him one on the nose
and run off with it— or did you, point-killer?
No, you put on your prettiest smile and
offered to swap him six agates for it,
making your agates, of course, sound as
alluring as possible. The swap was made,
after you threw in an extra agate, and
everybody was happy. And so it is with
Goldwyn, Paramount, Metro, Columbia,
Wanger and all the rest of them.

The Swap System has become the very
foundation stone of the movie industry.

Happy result of the
"swap" system was
"My Man Godfrey,"
right, for which Univer-
sal borrowed Carole
Lombard and Bill Pow-
ell from their home
studios. Below, Joan
Blondell was loaned by
Warners to Wanger to
play opposite Leslie
Howard in "Stand-In.
Center, below, Gary
Cooper gets high bids;
and Irene Dunne,
delighted to be
"swapped." At bottom
of page, another "bor-
rowed" team: Claud-
ette Colbert and
Charles Boyer, for
"Tovarich.'

As long as a studio has some-
thing some other studio wants
you can be sure that a five mil-
lion dollar law suit, even murder
itself (the Warners would swap
a good murder for Greta Garbo
any day), will not disrupt a
beautiful friendship. Why, hard-
ly was the legal ink dry on that
important five million buck docu-
ment than the Paramount studio
had the Goldwyn studio on the
phone, and the conversation went
something like this, "What's
Joel McCrea doing next month?
Have vou found a girl for 'Come
and Get It'? What about Frances
Farmer? Say, she's terrific. Why,
we wouldn't think of loaning her
out to anyone else — but Goldwyn,
that's different." So Frances Farmer
was swapped for Joel McCrea, and
later Dorothy Lamour was swapped
for Toel McCrea, and Frances is
happy and Dorothy is happy, and
they do say that Goldwyn's "Hurri-
cane" will do as much for Dorothy
as "Come and Get It" did for
Frances; and Joel is happy (he's
starring in Paramount's "Wells
Fargo"), and Goldwyn is happy and
Paramount is happy and I'm happy,
and entirely forgotten is that Five
Million Dollar Law Suit that Para-
mount slapped on Goldwyn. And
who cares ? It could only happen in
Hollywood. But it's too bad it
couldn't happen in Europe. If those
warring nations would just inaugu-
rate the Swap -System think what a
beautiful friendship they too might
enjoy.

What do the movie stars think of
this bartering over their beautiful
bodies, or {Please turn to page 85)

Personality Portrait of

BETTE DAVIS leads a double life!
She really does.
That doesn't seem at all the sort of thing you'd
say about a good friend, unless you meant to be catty,
does it ? And I like to think of Bette as one of my good
friends — and I haven't the least idea in the world of try-
ing to be catty about her.

I don't suppose Bette ever thought about it — but if
you asked her she undoubtedly would admit to the double
life. It's a double hie brought on by being a Career

Woman and a Home Girl at the same time. Bette Davis
is a combination of Hard Boiled Gal and Dear Little
Woman, Cynical Woman of the World and Sweet Little
Home Maker. And difficult as it may sound, she's a suc-
cess on both sides. Which side do I like best ? That's the
funny part of it, I like them both !

Yes, I like Bette when she's gentle and when she's
calculating; when she's curled up on a sofa with her
knitting — and when her lips are curled with a sharp and
rather sardonic epigram. Bette is fun, either way. And

Famous author interviews famous actress! For
intimate impression of the screen's spitfire, rc
Samter Winslow's close-up of Bette he

here is something I don't think even she would admit : I think that the gentle
side of Bette is the true side— and that the cynical attitude is an armor she
has put on to protect her from the world— and a girl needs a shell of pro-
tection in Hollywood. , ,/ T 1 tu

Bette's life story is a combination of Cinderella, Young Love, and 1 he
Girl Who Was Misunderstood. It might have turned out differently except
for three things : a, Bette is a swell girl ; b, she is a splendid actress ; and
c she happened to fall in love with a perfectly grand man. And that third
may be the most important of all. Well, as important as the other two,

anyhow. , , , ,

No use going into details of Bette's life. You've read them dozens ot times,
I'm sure How she fell in love with Harmon Nelson when she was a very
youn°- girl And he paid no attention to her. Not the least bit of attention !
And she was in love with him even then. But she thought of it as puppy
l0Ve_and as long as he didn't care about her, why bother about it ! Thus
thought the very young and seemingly very wise Bette.

Careers seemed more important than love, anyhow. So Harmon Nelson
went away to college and Bette went on the stage. In stock. In New York
Bits at first. And then a grand chance. With Blanche Yurka in "The Wild
Duck." Getting ahead on the stage was the main thing, then. No time at all

for young men! , , ... , , ,

And then Harmon Nelson came to see Bette act. And he didn't come back

to see her! She heard he was in the theatre. And she

didn't see him !

So he didn't care, eh ! Oh, very well, then she^ didn't

care, either. After all, she was an actress, wasn't she!

And he was just a college boy! She was getting some

place ! How could she be bothered by a boy she used to

know! But she was bothered. And piqued because he

didn't come to see her. And something stirred — under-
neath the ambition — and the first new layer of being

cynical.

She got ahead. And Harmon Nelson got ahead. His
success lay in music. Hers on the stage. His continued
in music. He had his own orchestra, finally. And Bette
went on the screen — and you know of her success — of all
of the steps of it — and of the very fine pictures she is
doing right now.

But, before her big success came she met Harmon
Nelson again. And she found out — and very soon — trust
Bette for that — that his seeming coldness was because
he thought, because she was beginning to be a success
on the stage, that she wasn't interested in him — or in
being in love. Bette soon convinced him of the opposite
of that. And now everyone else is convinced. Their love
for each other — and trust of each other and faith in each
other — is one of the loveliest things I know. Too lovely
to write about. The sort of thing that reducing to cold
type takes off some of the fine glow. They are so swell,
both alone and together.

Harmon Nelson was a success in his own right when
he married Bette. But his success meant that they were
apart too much of the time. Love can't stand separation.
And, thinking it over, they saw no reason why they had
to be separated. Bette's success on the screen, to them
both, was more important than Harmon Nelson's success
as a musician and orchestra leader. Harmon liked living
in Hollywood. So did Bette. So Harmon did something
that only a very wise and very strong man could do — he
gave up his established position to be with Bette. He isn't
a parasite. Don't get that idea for a minute. Talk with
him for one second and you'll know that he'd stand on
his feet any place. Tall, very good looking, clever, amus-
ing, understanding, he felt that Bette's happiness and
Bette's career meant more to (Please turn to page 79)

She's one of the few
Hollywood actresses
notabfe for brilliant
personality as well as
flashingly clever act-
ing. That's why Thyra
Winslow, one of
America's most pop-
ular writers, picks
Bette Davis as most
interesting girl in
movies. At right, top,
Bette as Mrs. Harmon
Nelson, with "Ham.
Next, with her stand-
in, snatching tea on
the set between
scenes. Below, with
the tot who shares
scenes with Bette in
''That Certain
Woman."

CAREER
GIRLS

inger Rogers and
Katharine Hepburn
play the roles of girls
fiqhting for fame in the
theatre. Left, reading
own: Ginger, Lucille
all, and Ann Miller,
atharine Hepburn,

ndrea Leeds, and Lu- "I'D LIKE 3. TOOm with private

lie Ball; and Hepburn I bath » Terry Randall said in

ith Adolphe Menjou I , ' . • i J.i,„„-,_v, +v,o

r ±l i I the voice acquired through the

scenes from the play. I Lllc vull-c o^um-u . . °

virtue of birth and training m the
most exclusive schools in the coun-
try. And the girls lounging around the living room of
the Footlights Club resented the too perfect intonation
as much as they resented the question itself. A private
bath in a girls' theatrical boarding house ! It was just too,
too something or other.

Jean Maitland, who had been hovering near the tele-
phone on the desk hoping for a dinner invitation, drew
herself up with exaggerated hauteur.

"If you young ladies will pardon me, I shall take
the wolf hounds for a stroll through the park," she
mimicked as she walked model fashion through the door
and up the room.

Terry's hands tightening on her bag were her only
indication of annoyance. "Is there anything strange in
my request?" she demanded.

"Oh, you mustn't mind the girls!" Mrs. Orcutt,
who used to be an actress once herself, looked up
with her tired, vague smile. "They're just full of fun.
We're just like one great big family. I may not be
able to give you just what you want, but I can put
you in a room with a very charming girl, temporarily
that is, until we get a vacancy. That would be thir-

"Stage Door" novelized from the screen production of the
Broadway hit, with Katharine Hepburn, Ginger Rogers, and a
distinguished Hollywood cast in a thrilling story of theatrical life

fiction/zed by Elizabeth B. Petersen

CopyripM ty
RKO Radio Pictures, Inc.

itage-
is in
nger
her

livelihood in the thea-
tre. Right, Ginger and
Menjoo, as the pro-
ducer; Andrea Leeds in

teen dollars. Paid in advance." » J^ftjfi G|!S

ni-iT .1 > ,i i • i >» and Hepburn, Lucille

"Well, that's rather high, Bal) and Ginger, in

Terry said doubtfully. "Isn't there h umorous scene,

some reduction by the week?"

"That is for the week." Mrs.
Orcutt tried to suppress an outburst of giggles with a
frown. And she smiled her harried, too set smile as she
led the way to Jean's room, pretending not to see the
girl's exasperation at the trunks and bags being rapidly
piled in the small room.

"When does your baggage get here?" Jean asked
ironically as the door closed behind Mrs. Orcutt

"I'm expecting the bulk of it in the morning." Terry's
smile was as measured as Jean's had been.

"We could leave the trunks here and sleep in the
hall. There's no use crowding the trunks." Jean's voice
dripped icicles. "Or maybe we could live in the trunks."

"That's a good idea. You don't mind helping me un-
pack?" Terry suppressed a smile as she tossed a fur
coat over the girl's arm. "Oh, I beg your pardon,
you're not the maid, are you?"

"That's quite all right." The little red-headed spit-
fire of the Footlights Club sniffed contemptuously at
the mink. "Fresh killed?"

"Yes." Terry slipped a dress that could have come
from no other place than Paris on a hanger. "I
trapped them myself." (Please turn to page 81)

es he

owa ra s

"Hamlet" of the stage, debonair hero of the
screen, the noted English actor turns completely
small-boy as he tells you about his camera hobby

By Ruth Tildesley

A FRIEND, stopping at the
Leslie Howard house in
Hollywood, had occasion to
look for a handkerchief in one of
his host's bureau drawers. Instead
of handkerchiefs, the drawer fairly
bulged with prints of camera pic-
tures. He sought in the rest of the
drawers, but there discovered more
piles of prints, more spirals of film,
more strips of not-yet-enlarged
Leica shots.

"But what do you do with your
shirts and ties?" he demanded,
mystified, when the actor had come
to his rescue with the needed linen.

"Oh, Mrs. Howard sees to that,
— I don't know. I need this space
for my pictures!" returned Mr.
Howard.

He took trunkloads of camera
pictures with him to England, where
they are permanently installed in
the Howard homestead, but already
the new Hollywood domicile is over-
flowing with results of recent
Howard-Leica excursions.

The new home is not three min-
utes from the heart of Hollywood,
but once inside the gates you'd

Leslie Howard before the camera and
behind it. Right, view made on the
"Romeo and Juliet" set. Center, left:
his daughter before the Lincoln monu-
ment, and, right, with her father in an-
other view made in Washington, D. C.
Upper right, Linton, England. Upper left,
the picture-taker taken, with two pals.

never suspect that you were within a hundred miles of
the roaring town. The stucco house, with its flat roofs
and arched windows, is set into the side of a hill that
rises from the dark green of fir trees to the blue of the
sky. Yucca, those "candles of the Lord," dot the upper
slopes.

Below the driveway is the swimming pool, flower-
rimmed, with a stone terrace above the dressing-rooms,
gay with yellow furniture, tilted sun-umbrellas, and
water-proofed swings.

And here was Leslie Howard, slender and sunburned,
in blue bathing trunks, dark glasses, and a gold medal
suspended on a thin gold chain.

"Nice place for pictures," he commented, with a glance
at the sunlit panorama around us. "Eventually, you
know, I should get something rather interesting here."
The important thing about a house, I gathered, was that

he should be able to
■ make pictures around
it.

"I had cameras long before I thought of going into
motion pictures," he said. "I suppose the reason anyone
goes in for cameras is because he can't make pictures
with oils or charcoal or water colors. As a child, I
wanted to be an artist, but as I grew up I hadn't the
time or opportunity to devote myself to it, so I did the
next best thing and made my pictures with a lens.

"Leicas, or other miniature cameras, seem the best for
my purpose because of the swiftness of the lens. It takes
motion picture film, too, which {Please turn to page 90)

More samples from the
huge Howard collec-
tion. Right, view from
train window during the
"Hamlet" tour. Below,
San Francisco. Left,
Hugh Walpole's home
in England — a street
scene — showing theatre
where he played "Ham-
let." Lower left, extra
girl.

Cash

d c

Moreover, if you haven't
given Cary Grant credit
for a lively sense of humor
as well as a sane outlook
on life, you will after
reading this swell interview

Virginia Wood

HAT
would you
do," I
asked Cary Grant as
we sat on the set
at Columbia where
"The Awful Truth"
was being filmed,
chatting about this
and that, "if you
found yourself at the
end of your career
and with no money ?"

"Well— I don't
know," Cary replied,
reflectively, "I'd
never even thought
of it. Guess I'd just

start over again, and go out and look for another job."

And the funny part of it is, that's about what Cary
would do if he were confronted with such a problem.
Certainly, it wouldn't be the first time he's been broke
and had' to take the first job that came along to keep
on living. There were plenty of long, lean years after
Cary ran away from his home in England to seek his
fortune when he didn't know where his next meal was
coming from. And I can assure you Cary's present en-
viable position hasn't softened him to the point where
he wouldn't be able to buck those same hardships again.

"In the first place, Ginny," Cary went on, "I don't
think the day will ever come when there will cease to be
some medium of entertainment. I believe it will always
exist in some form or another — maybe not for myself, as
an individual, but certainly for us of this profession.

"Look back at the first days of the depression in thi 3
country. Theaters went out of business, to be sure, but
not nearly in proportion to other businesses. People would
spend their last half dollar to go to a movie or a vaude-
ville show, just to take their minds dff their own troubles.

"Charlie Laughton said something to me one time that
made a very deep impression on me. I was terribly de-
pressed one day at the studio — you know, in one of those
Russian cellar moods. I happened to run into Charlie on
the Paramount lot, where we were both working at the
time, and started to tell him all my troubles.

" 'Did you ever stop to think, Cary,' Charlie said, 'that
all those people in the audience who see your pictures are
faced with the same problems — and probably worse diffi-
culties than you are? It's something that occurred to
me years ago when I first went on the stage. I was
feeling very sorry for myself. I didn't think I'd ever
make a success of acting. I was terribly upset about finan-
cial matters and life just didn't seem worth the living.
And suddenly it dawned on {Please turn to page 70)

Mirror of her own real or simulated emotions, Rainer*s
face is fascinating to watch, particularly in our intimate ort-
the-set candid camera shots of her. Working on "Big City,"
her new film with Spencer Tracy, the little Luise is heart and
soul in her task of portraying character. Above, discussing
next scene with Tracy; center above, listening to director
Frank Borzage. Then, from top down at right: a poignant
close-up of the co-stars; concentrating on the director's
* demands; visualizing the next scene as Borzage explains it.
At bottom of page, in her dressing-room between scenes —
revealed as the young girl this great actress actually is, her
shoes kicked off for comfort as she reads her fan mail.

Try to Count

,tuse

many express
sions, if you can
keep up with 'em !

^ainer s

lam

cts tLve

Again!

As old as Eve, as urgent as Adam, is the moti-
vation of most cinema plots, from then till
now. But why not? Hollywood likes it, the
customers like it — and occasionally, as with
Gary Cooper, above, its expression becomes
practically a fine art. Gary is shown trying to
decide between a brunette Eve and a blonde
one, in his new character of Marco Polo. At
right, Patric Knowles is being persuasive with
Beverly Roberts. At far right, new boy Lee
Bowman is pleasantly menacing Gertrude
Michael, in "Sophie Lang Goes West."

«*

The merry game, Adam-chases-Eve, goes on. Above, James Elli-
son, hero of Paramount's re-make of Rex Beach's popular book,
"The Barrier," charms jean Parker in her rdle of shy Indian maiden.
At right, Nino Martini tells the old story to Joan Fontaine for
"Music for Madame," in which Martini supplies both the trills
and the thrills, and Joanie the frills.

J Of course, motion pictures are improving
every day, and audiences grow more sophistic
cated and demanding. But somehow the
theme song remains the same— with variations

At left above, you'll see our delightful decoration from "The Great Garrick":
three blissful, beautiful bar-maids, played by Marie Wilson, Lana ("They Won't
Forget") Turner, and Linda Perry, at the mythical "Adam and Eve" Inn. Top,
Leslie Howard as scholarly love interest for Joan Blondell in "Stand-In.'^Above,
two on a match are John Boles and Ida Lupino of "Fight for Your Lady." Below,
Joan Crawford and her two cavaliers from "The Bride Wore Red": Robert
Young, Franchot Tone. At left below, John King and Joy Hodges ride right
into romance on "Merry-Go-Round of 1938."

Just

J 4

Fur

■ M. r

Fun!

Nothing enhances a girl's heauty
as mucli as the sheen of shimmering
furs — so smart Hollywood swings
into action for the new season

Fur fashion portraits by
WilliamWalling.Paramount

Starring at far left, on other page: Gail Patrick in
swagger grey Persian lamb; new beauty Sandra Storme
in sophisticated kolinsky, new model; Ida Lupino in
brown squirrel, short and boxy; Gail again, this time
in "Tahmi," new trick of the mutton family; and
above, Mary Carlisle in her new topper. Below, San-
dra again, leopard-trimmed; next, left below, Mary
Carlisle in swank grey Persian swagger; then Miss
Patrick, in sheared beaver; and finally, 'way across
on next page, Miss Carlisle, a-gleam in shining black
broadtail, with big muff to match.

rom a jan

Forthcoming films offer a balanced
whicH pictures are the feasts, and

dwich

''Victoria the
Great," produced in
England by Herbert
Wilcox, gives great
promise of being an
important historical
photoplay. At far
left, an impressive
portrait of Anna
Neagle as Britain's
great Queen. At
left, Victoria in la-
ter years, with her
Prince Consort Al-
bert, as portrayed
by Miss Neagle and
Anton Walbrook.

"Summer Lightning," followed by drenching rain,
for Joan Bennett, shown at left playing the wettest
scene of her career, with Henry Fonda. Note the
technician protected by rain coat and hat. Lower
left, a quartette of zanies comprised of Bert Lahr,
Billy House, Mischa Auer, and Jimmie Savo, per-
form for Universale "Merry-Go-Round of 1938."
Below, a beautiful love scene between Gary
Cooper and the newcomer Sigrid Gurie, for "The
Adventures of Marco Polo," Samuel Goldwyn's
costly new epic.

to a Banquet!

menu for greedy moviegoers. But
which the snacks, we're not saying!

Glorifying that good
old South Sea style,
the sarong, is hand-
some Frances Far-
mer, far right, for
Paramount's Tech-
nicolor production,
the first drama of
the sea in all-color,
"Ebb Tide." In this
screenplay of the
tropics Ray Milland
plays opposite Miss
Farmer, as seen in
scene still at right.

A fight that may start a new comedy cycle is in
"Nothing Sacred," between Carole Lombard and
Fredric March. Our scene at right is just before
Carole gives up, after a furious hand-to-hand
struggle with Freddie — all because, says the script,
she wouldn't say "good-night." Below, all is
sweetness and light in this scene from "Make A
Wish," with Basil Rathbone and Bobby Breen.
Lower right, the Ritz Brothers getting into the
spirit of the big game, in "Life Begins in College."
Maddest of three, Harry, is at right.

It's a comfortable castle, Maureen
O'Sultivan's new Maliou Beach home,
and shows why the star will hurry back
from England after makins a picture
there as Robert Taylor's leading lady

At Malibu Beach, original playground of Holly-
wood stars, you'll find this decidedly charming and
enormously livable home of the John Farrows —
she's Maureen O'Sullivan, he's a director. Below
and at left, the lady of the manor on the beach
terrace. Across page at far left, reading down
from top: the playroom, with its interesting wall
treatment of a ship at sea; the dining room;
Maureen in her mirrored dressing-room; and the
bedroom, done in ice-blue and white. At right,
reading down from top: another view of the nau-
tical playroom, in the better modern manner; a
corner of the living room, with good 18th cen-
tury pieces; a large view of the same room, taken
from the balcony which forms the upper portion
of the house; and the breakfast room, where in
the window recess below which Maureen is sitting,
are many of the fine Chinese porcelains of which
the Farrows are avid collectors.

Hollywood has a way
with it, when it comes
to making seeing be-
lieving, and remem-
bering. For instance,
Katharine Hepburn,
far left, sees to it
that her poses live up
to her reputation as
a stormy petrel.

A big — but big —
hat serves as an
effective frame for
Mary Astor's
beauty, upper cen-
ter. Eleanor Powell,
upper right, peppy
priestess of the tap
dance, switches to a
very spiritual mood
for a striking picture
for the papers.
Right: Margot Gra-
hame,' remains in character
as an alluring siren of in-
triguing and inviting charm,
and Movita Castenada stres-
ses the primitive appeal of
the South Seas Hollywood
scouts discovered in her.

A little game to ke
you guessing is worke
out at the left. Whic
of the three girls yc
see really is Gloria Die
son? Well, we'll td
you. The one in th(
center is the GloriM
you'd recognize if yoiH
met her face to face oiff
screen. At far left, tl
brooding, defiant ladij
and, near left, the di
dainfully quizzical gil
are tricks of the trade!

tnc Trad

Giving you something to rememher them by is
a neat Hollywood stunt. Note these startling
samples of tricks that catch your eye, excite
your interest/ and keep you movioconscious

Hotcha a la Hollywood, is prettily por-
trayed by Eleanore Whitney in this pose
at the right. But for tricks of the acting
trade, you — and we, too — know that
John Barrymore knows them all. Here's
Jack, below, turning from great lover to
grizzly sea-farin' man — which transfor-
mation is a mere pipe and whiskers for
Jack. And note the neat trick that was
turned with a comb and curling iron, at
bottom of page. Of course you recognize
Ginger Rogers with her own adaptation
of the page boy bob she'll wear in some
scenes in "Stage Door," even though Gin-
ger turns her well-known and soothing
features away from our camera.

Then there's Enrol Flynn to consider in
this trick business. Errol jumps from
swashbuckling costume romantics to
the brawny business of prize fighting by
merely putting on a scowl and ring togs,
as shown in our movie at the right,
with fast action in the first three frames,
and a bit of makeup repair at bottom
right. Below, Errol makes love to Joan
Blondell, and Joan reciprocates — which
you may be sure is just a trick of the
trade, for "The Perfect Specimen."

other things on $e™^ (M^Ls"?un tan with her polo), Elissa Landi (who rides her
say, Virginia Field, Ma,^ ^^'^r!^ u tier> ieft to right. Florence Rice, Jean Rogers,

^sCan^Rc^^ burner. Joy Hodges, Jean

Iva i*ewart, ^ocn«»«|e af>d p^yUis Brooks, may be identified in the lower tier.

Shirley is growing up
gracefully. Her loveli-
ness is not only that
of an ingratiatingly
chubby child, but has
a rare spiritual quality
which, we venture to
Dredict, will keep Shir-
ley Temple a beloved
public figure all her
life. Now she stars in
"Heidi," from Johanna
Spyri's story which has
been a best-seller for

Our large pic-
charming

years:
ture is

study at the villagi
fountain. Below, with
Helen Westley. At
right below, Shirley
awes a small playmate.

The Most Beautiful Still of d» Month

Snirley Temple in Heidi

Virginia Bruce explains
that every man friend a
girl has isn't a potential
sweetheart, and goes on
to tell why she admires
five of her own friends

Sidestepping

AN a girl keep her sweethearts as friends, after
the romance cools down?" I suddenly asked
Virginia Bruce.
And Virginia, propped up in bed, battling a cold and
a menacing temperature, gave me a reproachful _ look
before replying, "Why come to me? I'm not knowing!"

But she went on, "Every man friend that a girl has
isn't a potential sweetheart, especially in this business
where we meet so many charming and brilliant people;
and even if at first they imagine they have a romantic
urge, they usually wake up to find it is a grand friend-
ship, instead.

"The demand for friendship is strong in everybody.
We all seek someone in whom we can confide, talk over
our troubles and our triumphs, ask advice, encourage
and be encouraged. Too, we like a congenial companion
for our fun, and so, when we find a trustworthy friend,
we appreciate him.

"For myself, I'm not interested in romance. Not for
the present, anyway. But I treasure certain friendships.

"I sometimes think that working in screen romances
takes the edge off the real ones ! After being soulful,
repeating passionate dialogue, and rehearsing clinches
and kisses before the camera all day, players demand a

complete change of scenery when they leave the studio ;
it is a relief to be with a person who isn't still acting.
After all, there are many interesting things in life be-
sides— love. Too, contrary to what many seem to think,
I believe most actors and actresses prefer simple amuse-
ments when their play-hours come. I certainly do, for one.

"I like amusing people. It is a great gift when one is
able to bring laughter and gaiety into social life, and
after the strenuous work at the studio it offers the nec-
essary antidote for high-strung nerves. My men friends,
among whom I count Jimmy Stewart, Cesar Romero,
David Niven, Ralph Jester,' Paul Warburg of New
York, Jean Negulesco — offer the widest contrast in per-
sonalities, but they all have a quick wit and a keen sense
of humor ; they see life at its best.

"Cesar is a gay companion and we laugh much of the
time we are together. He has an electric vitality, is
always thoughtful and chivalrous, and dances divinely.
We frequently have our dates here at home, dining with
the family, and my father and mother, as well as my
brother Stanley, welcome him as a charming guest. He's
a very comfortable person, too, and fits into any situa-
tion. One of our favorite stunts is singing duets, and
while they are sometimes (Please turn to page 72)

100 MEN AND A GIRL— Universal

✓jffi&v MOST refreshing picture in a long time! Deanna
Durbin's second starring film is better than her first and
V&SL ideal entertainment for the family. The dewy-eyed, char-
acterful-chinned Deanna presents a fresh and new style
in screen glamor. As direct and clean-cut as a young Norma
Shearer whom she somewhat resembles, Dubin challenges criti-
cism by behaving as though her rather phenomenal voice were
an entirely natural thing, not to be surrounded with hocus-pocus
but simply to be taken for granted. The result is always an audi-
ence at ease and in love with Deanna, the one prima donna who
doesn't demand homage and therefore gets it. She is a most de-
lightful child, and a joy to watch in her new role as Ado phe
Menjou's daughter trying to get work for her father and 9)
other unemployed musicians. To do it she pursues the eminent
maestro, Stokowski, playing himself in fine style, until in self-
defense he is forced to conduct the men m a big concert— the
musical occasion of the movie month, I assure you Deanna sings
two "popular" numbers, but the thrill comes' when she sings
Mozart's "Exultate," with Stokowski's symphony orchestra.
Menjou, Frank Jenks, and the other 98 men are splendid.

; Cn SEAL- OF) \

\ ~ :J>

DEAD END— Goldwyn-United Artists

STRONG meat in the month's movie menu is "Dead
End " masterly picturization of the important stage play.
Robbed of some of its impact by the censorship restric-
tions of screen speech, Samuel Goldwyn's version is never-
theless a powerful and moving photoplay. As it happens to be al-
most the only realistic drama of the current screens, it will im-
press you in its full force as a sombre, though not ^sordid social
study cleverly caught in terms of cinema. Joel McCrea gets that
part'he has been preparing for all this time in the role of the ideal-
istic Dave, who dreams of better things than his life in the dead
end street, and through his courage in defying the prodigal gangster
triumphs over his environment. McCrea is really excellent. Sylvia
Sidney too is at her very best as Drina, whose dream is to save
her young brother from the evil influences of the waterfront, it
is recorded that Joel and Sylvia said to each other : You know
who will be the real stars of this picture, don t you ? They mean
the five boys who play the young hoodlums, victims of the Dead
End" street, the same young actors who played m the original
staore play. I still think the picture "belongs" to Joel and bylvia
and to Humphrey Bogart. The boys somehow lacked conviction.

Reviews

of the best

Pictures

THE FIREFLY— M-G-M

"THE FIREFLY" was to me just that old operetta with
"Giannina Mia" in it, and I have been trying to duck
"Giannina" over the radio for years. It's a horrid song,
I think and I still think so even after hearing Allan Jones
sin- it But that is not Mr. Jones' fault. If anyone could make me
like that song he could. He has converted me to everything else
about "The Firefly" in general and male operetta singers in
particular. He helps make the new MacDonald musical movie a
rousino- and at times irresistible entertainment. Jeanette herself is
completely captivating as the lovely lady spy whose private ro-
mance threatens to interfere with Napoleons plans in Spain.
Mr. Jones is a gentleman spy and it was inevitable, m a Metro
picture, that they meet, make love, and sing duets. It was not
inevitable that the best of the love duets should be sung m a farm
wagon in a barnyard, and this is a fine bit of amorous buffoonery.
The high spot of the picture, however, is "The Donkey Serenade,
the best number in all movie musical history to my mind. Allan
Jones rides along beside Jeanette's coach singing in rhythm to the
coach wheels and the coachman's guitar as the donkey boy capers
ahead piping the tune. It's sheer delight, a classic. A fine show.

THE PRISONER OF ZEN DA — Selznick-United Artists

GRAND "escape" from gangster melodrama, fashion
shows, and maybe too much music this month is this remake
of the picturesque Anthony Hope romance. It is a gorgeous
show, this new "Prisoner of Zenda," and genuine fun all
the way — even though you may think you disdain such make-believe
as mythical kingdoms and mistaken identity, of which "Zenda" has
more than its share. I admit I may be prejudiced, because I like
any Ronald Colman picture, and this one offers Colman not only
once, but twice — oh yes, it's a dual-role film, too. But Mr. Colman
is twice as superb as Rasscndyll as he is as King Rudolf; so I had
a wonderful time, and I believe you will too, you old doubter you.
It's magnificently produced in the true Ruritanian manner, with
lavish settings against which the top-flight cast swashbuckles with
what seems true enjoyment. If you must know, the story concerns
the commoner who doubles for the king, with whom the Princess
Flaz'ia falls in love, but who bows out gracefully when the time
comes. It's beautifully sad at this point, for the Princess is none
other than Madeleine Carroll, the only actress I know who can play
this proud princess stuff and make you believe it. Douglas Fair-
banks, Jr., is a grand Rupert of Hcntzau. It's all first-rate fun.

SOULS AT SEA— Paramount

IT'S an epic. I know it's an epic, because it has trouble
at sea on a huge scale, and Gary Cooper being a hero
also on a large- scale, and it even has a trial scene. The
fact that George Raft, disguised even though he is with a
curly coiffure, comes narrowly close to stealing the epic right out
of the sea and Gary Cooper's hands, makes no difference, except
possibly to me and Mr. Raft. We enjoyed his part in it more than
anything else. The ex-slick dancing gangster-type has become an
Actor, and a darned good one. He is truly touching at times, and
with Olympe Bradna, the poignantly appealing little French actress,
as his team-mate, he enacts a dual death scene that, for me, was
as sincerely moving as in any "Romeo and Juliet." But to get back
to Mr. Cooper, who is after all the billed star of this show : won't
he ever outgrow "Mr. Deeds" ? Here he is practically on trial
for his life and honor, for strange doings in the Atlantic after
a shipwreck ; and for all he seems to care, the issue at stake might
as well be just a new form of doodling. "Souls at Sea" has big
moments in spite of Mr. Cooper's lack of enthusiasm and Miss
Frances Dee's phlegmatic heroine. Splendid sea "pictures" — and
Mr. Raft, and little Bradna supply most of them. Watch Bradna.

THIN ICE— 20th Century-Fox

THE amazing Miss Sonja Henie follows up her first
picture success with a new film almost as good. If you
thought the great little skater had run the gamut in glacial
exercise in "One in a Million," see this and change your
mind. Sonja hasn't even scratched the ice. That goes, too, for her
acting performance. Like Deanna Durbin, Sonja disarms her au-
dience by resolutely refusing to do any acting, as such, contenting
herself with being herself, and very nice too. The story isn't much
— when I tell you the scene is Switzerland, and Tyrone Power
plays a Prince incognito, and Sonja a skating instructress at the
local hotel where Tyrone and his political playmates are stag-
ing a conference — but of course she doesn't know he's a Prince,
though everyone thinks she knows — does that give you an idea?
I thought so. But somehow the story doesn't seem to matter so
much once Sonja swings into graceful action, which she does
at gratifyingly short intervals. She is a dream of loveliness on
the ice, and not shy on skiis, either. Mr. Power, being neither a
skater nor a skiier, has to be satisfied with occasional moments
of charm, as romantic support to Sonja. He's gallant about it.
Raymond Walburn, Arthur Treacher, Melville Cooper stand out.

VOGUES OF 1938— Wanger-United Artists

NO GIRL in her right senses will want to miss this one.
It's a field-day for fashion-conscious femmes — with a prac-
tically endless parade of advance fashions — say about 1940
— and an inside slant on what goes on behind the scenes
of a smart dressmaking establishment. "The Most Photographed" —
and most exploited — "Girls in the World" are here, too, undulating
around in fine fur and feathers ; but it remains for Our Own Joan
Bennett to show them, and us, how really to model clothes, moods,
and emotions. This is an all-Technicolor production, you know ;
and it was a lucky day for Miss Joan Bennett when Technicolor
was born; for the always pretty but often pallid Joanie becomes
in a flash a brilliant new beauty, whose Dresden-doll prettiness
comes to glowing life. She's a society bride-to-be who changes
her mind at the altar, and becomes instead a model for Warner
Baxter's clothes salon. Despite all the obstacles put in their way
by Helen Vinson, assorted models, and the dull plot, Joan and
Warner manage to keep things moving, either in new fashion
shows, romantic comedy scenes, or breathtaking close-ups. Night-
club scenes reach a new high in pictorial excitement. It's too long,
but it's awfully pretty. And how dull other pictures look !

Invitations to Grace Moore's
"Musical Evenings" are keenly
coveted in the screen colony.
You'll enjoy this brilliant ac-
count of Grace's latest party

I might have gone to my grave thinking them as dull
a crowd of bores as ever gathered over a mess of spaghetti
if it hadn't been for Grace Moore. In one evening she de-
stroyed mental adhesions I had had for years! Old prej-
udices fell off of me clippity cloppity. I who thought the
alpha and omega of music was Benny Goodman's swing
band suddenly became passionately intrigued with anas
and octaves. As a matter of fact I might even go for a
passacaglia, or a tenor.

I don't know how I happened to get invited to La
Moore's. I'm inclined to believe that it was an accident.
But strange things happen in my profession, so I never
penetrate too deeply into the why or wherefore of my

MUSIC lovers, I have always been big enough to
admit, are all right in their places. But I have
i never been able to find their place m my scheme
of things I think it was because I met the wrong people
during my formative vears : I would simply _ go into
ecstasies over a neatly 'cracked shin, provided it wasnt
my shin, on the hockey field ; Jane Cowl emoting, You
gave me a number, etc." (hot stuff in my day) ; and a
successful Queen finesse "after lights" in a drafty dormi-
tory__but a concerto, even a zippy concerto, left me cold.
Music Lovers, I was led to believe by my evil companions
who reeked of chocolate sodas and dill pickles, were a
bunch of undesirables with long hair and dirty nails who
didn't wash behind their ears and who dressed as dowdily
as a slattern from the other side of the tracks. (I was forced
to change my opinion when I met the very chic and
awfully clean Misses Moore, Pons and Swarthout.) rie-
ine of 'a good family I was sent to all the musical events
my city afforded so I might absorb by environment what
I had missed out on in heredity— but when given a choice
of Kreisler or Billie Dove I invariably took Bilhe Dove.
Later I switched to Clara Bow. I simply would have no
truck with those Music Lovers.

Grace Moore Parera,
at right in her gay
party gown, is one
of Hollywood's most
exclusive hostesses.
When she entertains,
her guests are the
cream of the musical
and screen worlds —
as at left: Gloria
Swanson, Gladys
Swarthout, Miss
Moore, Rosa Pon-
selle, noted singer.

invitations. I was never one to bite the hand that feeds
me caviar. Grace was too much of a lady to express sur-
prise and say, "And what are you doing here?" and I
was too much of a lady to answer, "Hell, I don't know,"
( I have a quaint Old World vocabulary that's a perfect
joy to my friends who have small children). Anyway,
why all this quibbling as to how I happened to get to
Grace Moore's party? It isn't that important.

The Parera estate — Grace is Mrs. Valentin Parera in
private life — consists of three acres out near Brentwood,
and directly across the street from the Gary Coopers
which means they must look out for burglars on warm
summer evenings as the Coopers seem to attract them to
that neighborhood. On the three Parera acres there are
at present the groundwork of a spacious and beautiful
house, a swimming pool, a badminton court (except the
Pareras insist upon playing Pelota on it ) , some elegant
trees, some termites looking over prospective home sites,
and a horrid little dog named Queenie, given Grace by
a Lord, who bites. I mean the dog bites, I'm sure I don't
know the personal habits of the Lord. While their home
is being built, the Pareras — when not

vacationing

Europe, where Grace being on the soigne side has a
villa at Cannes — live in a six room bungalow which when
the "big house" is completed will automatically become
the "guest house." Conspicuous in the living room, gay
and chintzy, are pictures of Gladys Swarthout and Noel
Coward, close friends of La Moore's, and Mary Garden,
whose protegee she was. It was the greatest diva of her
day, the glamorous Mary Garden, who first noticed that
the ambitious young girl from Jellico, Tennessee, had a
Voice. Years later Grace Moore in Hollywood was able
to return the favor.

All the way out to Bundy Drive (streets get awfully
coy out Brentwood way), I kicked myself for letting my-
self in for a boring evening. Grace Moore, I growled, is

Elizabeth Wilson

The merry Moore,
whose new ■film will
soon be seen, has a
flair for the unusual
in costumes, canapes,
and carnival capers.
At left, note her very
new clips, at neck
ond wrists. Far left,
surrounded by James
Melton, Valentin
Parera, her proud
husband, Lawrence
Tibbett, Herbert
Marshall.

a famous opera star making pictures in Hollywood. She
knows every composer, every conductor, every song-bird
in the racket. She knows everybody who even had a whiff
of the musty old Metropolitan. It was only natural that
the place would be jammed with Music Lovers, and fine
talk about fugues and concertos would be flipped over my
head with terrifying glibness. And of course there would
have to be a Child Wonder, there always is. Even at
Norma Shearer's parties.

A memory of all the horrors of my one musical inter-
lude in Hollywood swept over me. It was sanguine. It
was given by an actress, who shall remain nameless for
certain reasons (law suits, if you must know), and her
piece de resistance of the evening was a fat soprano with
an aura of garlic from the Met (Please turn to page 98)

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Y LIFE

Ever eager to applaud his fellow stars, Bob
was first to congratulate Sophie Tucker
for her singing of "Some of These Days"
in "Broadway Melody." Below, you see how
delighted Sophie was with Bob's tribute.

As told to Ben Maddox

UNKNOWN HOLLYWOOD DAYS

WILL never forget my letter asking to get
into the movies. It was a warm summer morn-
ing when I wrote it. Everyone in Hollywood
seemed headed for the ocean. However, I have
never cared for the beach and certainly I was not
going to be sidetracked from my all-important job
for that day. I had just graduated from college
and settled in a Hollywood rooming-house ; I was
trying to be an actor. The appeal to M-G-M had
ect sales line.

For three hours I sat there at the plain little desk in
my upstairs room and wished I had studied essay-
writing ! I fought with eloquent phrases, threw them
away, and eventually emerged with my masterpiece. Tact-
fully I pointed out that the previous winter one of their
talent scouts had noticed me in a college play at Pomona,
and I reminded them that for several months I had
reported for coaching at the studio. Of course I didn't
add that I had impatiently quit reporting when they
hadn't made me an actor immediately.

As I was running downstairs to take the letter to the
postoffice the elderly lady who was the only other boarder
came to the door of her room to wish me luck. I still
see her smile of encouragement. It kept me, frequently,
from wondering too much if I were making an awful
fool of myself. A country kid from Nebraska sticking
his neck into the weird windmills of Hollywood !

I had no friends at all at first. I knew no one influen-
tial. Emphatically I was on the outside of the studio
world. My name was not on any stellar part)- lists.

There has been comment on my "skyrocketing rise."
Obviously I have been most fortunate. Yet it was not
quite as quick as you may have been led to believe. No

Bob'
to tf
wor!.

one was checking up o
goes back to exactly h
are printed. I remem
telling the truth.

As a sales line that
perfect. I received no
while, I discovered wh
wood as a nobody. I 1
but I was pretty discc
spectacular happened.

I had a roadster, h
didn't want to fall in S
was strange to spend s
things aren't breaking
I can't laugh off disap;

An agent called m<
M-G-M the winter be
boulevard. He took m
tested. What excitemt
only didn't sign me ; he
up ! Instead I went <
There they didn't bot

Then when I thou

Home of the Robert Tc.
page. He was a ' room'
ments. Below, his preserr
place. Right, Bob and
romance has attracted <
highly popular appea

a young
merican
llywood

secretary into a
;r big with Fuller,
j off between you

the equable Hilda

"It always has been, Mr. Fuller, you know that. But
this <niy didn't get a square deal. You took him away from
his home and a job where he earned a living You made
him think you believed in him as an actor. \ ou brought
him to this madhouse where he didn't know a soul but
you You didn't take the trouble to see that he got a fan-
test or a chance to show his stuff. He can't buck this
game He's too nice and gentle and sweet. He didn t ask
you to bring him. It was your own idea. Now you re
shipping him back like a— like a crate of rotten eggs— ?

"Wa-ait a minute, wait a minute, wait a minute.
Fuller drawled it, but a slow fire burned behind his eyes
"So he's too gentle and kind for this game, is he? And
I'm supposed to wet-nurse him. Well, if he's too gentle
and kind, he better go back where the big bad wolf won t
bite him." He dropped irony for direct attack. Whats
this fella got, anyway, that sends you dames into dithers f
First my wife, then you. With her it was just an idea.
She gets one a day. Turns herself into a one-woman cast-
ing bureau. Now it's a big brown palooka from Honolulu.

Illustrated
by

Georgia Warren

Son of Nature. Primitive whatchamacallem. Put him in
pictures. Schony for a wedding present, Honolulu for a
coming-back present, next she'll go up to Alaska and pick
me out an Eskimo. Well, I put my foot down, see? So
what happens ? So she leaves me flat. I ain't got no culcha,
I'm a — a philispine or something, I don't know from art,
so she skips — vamoose, spurlos versenkt. Maybe she's
gone to Reno. Let 'er go. Is that any way to treat a hus-
band?" For one moment she caught sight in his gimlet
eyes of a little boy lost, then he stormed on again. "Get
this. I'm running my business. I'm not taking dictation,
not from my wife and not from my secretary — "

The phone rang. Through force of habit Hilda picked
it up. She wanted to laugh wildly at what she heard. In-
stead she said: "Greenwood's outside."

"Tell her to send him in." He took a cigar from his
pocket and bit the end off viciously.. "That's all. From
here on I'll handle it."

* *

They sat in a little park, facing Santa Monica Boule-
vard. The arclight, to which Hilda's back was turned,
shone full on Ferdinand. Her hands lay listless in her

1&P- • 1 T- 11 "

"Well, I certainly fixed it up fine with buller.
"What does it matter? This way or that, the end
will be the same."

There was a silence. "When are you going?
"He has arranged for tickets for Tuesday. So I
take the boat the same day I come in New York.
That is better, he said, it is cheaper to spend here
those few days than there." He smiled, and waited for
her answering smile, but none came.

His voice took on a graver note, and he moved a
little to see her face more clearly. "Miss Hilda, is
it for me you are sad ?"

For the first time intimacy sounded in his voice—
for the first time, now that she was about to lose him.
Plow sweet it sounded. How she wanted to wrap it
around her and lie close within it, that tenderness.
She caught a swift glimpse of days and weeks and
months, when there would be no "Here Ferdinand
von Schoenbauer" at the other end of the wire, no
thin brown face smiling at her across a table. A wave
of desolation swept her. But her gray eyes met his
steadily enough.

"No, Shavbar. It's for mvself."
"Yourself?"

"Yes. — I love you, Shaybar." Modern, courageous,
honest though she was, her voice faltered and died.

For what seemed to her an eternity he was silent.
Then he gathered her up in his arms, as one gathers
a child, and she lay there like a child. When he found
his voice again, he was saying: "I did not mean it to
be like this, my dear. I thought, when all is well with

me here and there is some
work and some little money,
and my people are cared for,
then if I can teach her to
love me, I will ask her for
my wife."

"What are we going to
do?" she whispered.

He released her, and took
her hands in his. "My Plilda,
What can I do? You understand, without me they
are helpless. There I will find something, that they
may eat."

"But what about us, Shaybar? What about us?
"You will be patient, yes? I will send for you.
Then you will come — you and your good mother—"
"No, no, it'll never be like that. You know it won't.
You know you can't imagine me in Vienna. Things'll
happen and I'll never see you again. There'll be
some horrible Austrian {Please turn to page 75)

Hollywood as usual Is well
represented in the current
London picture scene.
Above, Elizabeth Allan,
who is playing opposite
Anton Walbrook, left, in a
new melodrama. Patricia
Ellis, lower left, is making
her first visit to England to
play in a picture with Jack
Hulbert. Percy Marmont,
below, and Sophie Stewart,
lower right, are British stars
now engaged in important
new screen productions.

ond

TO SEE a perfect picture of English peace you
should come to Pinewood just now. Majestic oaks
and chestnuts spread fading branches over the spa-
cious, rolling lawns, surrounded by shrubs that nod lazily
in the cooling winds which lull them into their long
winter sleep. A peacock pompously preens himself on the
old stone terrace and only the songs of the birds disturb
the country silence.

But come out of the gardens into die great white
studio buildings and you'll have all the noise and crowds
you want! Half-a-dozen major productions are now in
"full swing, headed by "The Girl Was Young" which is
Director Alfred Hitchcock's new thriller. It's about a
young author suspected of murder, helped to escape from
gaol by the Chief Constable's daughter and her four
little brothers. There's a pursuit that leads to such
diverse spots as a seaside boarding-house and the bottom
of a disused mine — and there's pretty Nova Pilbeam as
the hustling heroine.

Less than three years ago brown-haired Nova was
hailed as the latest child star with her work in "Little
Friend." Since then she has been menaced with death
in "The Man who Knew Too Much" and executed on
Tower Hill in "Nine Days a Queen;" but now she is
seventeen and has just learnt to smoke mild Turkish

cigarettes

Hitchcock is letting her have her first

romantic role. She's a charming girl, delighted that her
pet terrier Brenda is appearing with her in the film, and
owes her unusual name to the fact that her mother hails
from Nova Scotia. She lives quietly with her parents in
a suburban house and has her bedroom decorated in tur-
quoise blue, her favorite color in which she usually
dresses too.

Tall Percy Marmont, who plays her father in the new
picture

declares Nova is sure to become a great actress

Studios hum and social gatherings glitter as
film notables work and play in and around
Britain's cai

By Hettie Crimstead

because she has the right kind of hands. "Supple, quick-
moving, sensitive in gesture, rather long and slim. All
the greatest players have hands like that— Garbo, Norma
Shearer, Katie Hepburn and Joan Crawford to name
only a few." So Nova is accordingly paying particular
attention to her manicure and looking forward to her
next assignment which is to play the youthful Princess
Victoria in the historical "Girlhood of a Queen."

Also at Pinewood they are busy on Jessie Matthews
new musical— the last our dainty dancing star will make
in England for she and director-husband Sonnie Hale
are off to America immediately it's finished. Jessie's
greatest ambition is to partner Fred Astaire and since
Fred likes the idea too and there's a lot of negotiations
going on between Jessie and Radio Pictures — well, don't
be too surprised this winter ! But first you'll be able to
see Jessie in "Full Sail," playing the adopted daughter
of a London bargee. (He's a stalwart gentleman who
navigates a little flat-hulled freight boat along our canals.
We've hundred of miles of them, connecting up with the
River Thames.) There'll be some lovely shots of Lon-
don's famous river and lyrics by Arthur ("Pennies from
Heaven") Johnson, all written in a week because he
had to dash back to Hollywood to provide Bing Crosby
with another epic.

Pinewood's recent visitors include blue-eyed tiutty-
curled Patricia Ellis, looking cutely Continental in a slim
black marocain frock with a gaily-printed red and green
jacket. She's come over the Atlantic for the first time
to be Jack HulbeYt's romantic interest in his new musical
film "Playboy." She's seen the Changing of the King's
Guard and walked in Hyde Park and eaten hot buttered
scones for tea, so she's getting quite Anglicized.

Patricia was also bidden to the cocktail party of the
month, given by wealthy and good-looking bachelor Sir
Anthony Weldon in honor of Merle Oberon. It took
place in a great green-walled room at our latest Society
restaurant, Le Vert Galant in Park Lane, and Merle
wore an unusual outfit in vivid blue and yellow and
looked supremely glamorous as usual.

Her latest film is being made entirely in color and it
is called "Red Shoes," Merle playing Tamara who's a
Russian Ballet dancer. She doesn't need a double for

the scenes where she is pirouetting on the stage of the
Royal Opera House at Moscow because she _ was
originally trained in dancing and once earned her living
as professional partner in a Mayfair club before she
went on the films.

Do you remember Merle as Lady Blakeney in Alex-
ander Korda's pro-
duction of "The
Scarlet Pimpernel" a
couple of years ago,
with Leslie Howard
playing the foppish
but gallant Sir
Percy ? Well, now the
inscrutable Alex,
with his characteris-
tic knack of doing the
unexpected, is mak-
ing the sequel, "The
Return of the Scarlet
Pimpernel," but he's
chosen two different
players for the prin-
cipal parts.

Sir Percy Blake-
ney is now Barry
Barnes, who is rather
like Leslie with the
same long lean face, light
blue eyes, crisp blond hair
and sensitive mouth. His
screen wife is Sophie
Stewart, absolute antith-
esis of gorgeous Merle
in every way. Sophie is
gravely shy and essentially
domestic, living with a
large family in a country
farmhouse where she
{Please turn to page 96)

Nova Pilbeam, at top of page,
with her pet terrier, grown up
since "Nine Days a Queen," is to
be seen next in a new Alfred
Hitchcock film. Lower, left to
right, Anna Lee, whose midnight
party was attended by many cele-
brities; George Arliss in his latest
role as "Dr. Syn;" and Whitney
Bourne, another American beauty
frequently seen in London.

Stars and their stand-ins are
congenial companions as well as
fellow workers. Here you see an
example as Joan Blondell, starring
in "Stand-In," chats with her
"set-up" substitute, Connie Rea.

ere s

Hollywood

William Powell's stand-in, W. W.
Dearborn, not only "holds it"
while cameras are focussed, but
clowns with his boss to entertain
colleagues on the set. That's Bill
behind the whiskers at left.

THE lowdown on the Clark Gable dis-
' appearing act he pulled on his recent va-
cation was because Clark couldn't even
complete his bear hunt he started out to do
without five million people tagging along. So
he tipped and turned his car the other way
and vanished into thin air because he really
needed a rest and even the studio didn't
know his whereabouts.

THAT party the Ritz Brothers gave the
I other eve, which was attended by dozens
of famous filmites, was really thrown in
honor of "Ritzie," their favorite poodle!
The guests claim they've never had such
a good time because their real host was so
amusing.

OVER on the set of "The Bride Wore
Red," Helen Hayes had the time of her
life, during her visit in Hollywood, taking
candid camera shots of Joan Crawford
from every conceivable angle to add to her
collection.

TYRONE POWER, in spite of the fact
I he's been seen round and about with Janet
Gaynor very frequently, insists that there's
only one gal he really cares for and that's
Sonja Henie. But on account of her ab-
sence, he just can't sit in a corner and
mope. And Sonja thinks he's pretty swell,
too.

GLORIA STUART and her hubby,
Arthur Sheekman, are one of _ Holly-
woods more devoted couples. During her
recent trip to Honolulu with her mother
and a gal friend, Gloria got so homesick
for Arthur she cabled him each and every
day. "I spent more money on cables than
I did on the trip," Gloria admits, ruefully.
"Guess I'll never take another without him."

BELIEVE it or not, the glamorous
Jeanette MacDonald can whip up a
mean dish when she puts her mind to it.
When she and Gene Raymond returned
from their honeymoon trip to Honolulu,
they discovered they didn't have a cook
between 'em. They borrowed one from
Jeanette's ma for a couple of days, but
this didn't work out very well. So Jeanette
donned her favorite apron and went to

The Gay Gossip in Brief

By Weston East

work herself. "And, boy," says the en-
thusiastic bridegroom, "can she cook!"
This went on for two weeks — until they'd
found a satisfactory servant.

EVERY year for the past seven, Dolores
t Del Rio and Cedric Gibbons have made
a trip on their anniversary to Santa Bar-
bara, where they were married. In fact,
they go through the same routine they fol-
lowed on their wedding day — a visit to the
priest in the church, followed by dinner
alone in the same cafe, and then a jaunt to
Carmel, Monterey, and Del Monte, where
they spent their honeymoon. How's that
for sentiment?

IANE WYMAN, that luscious babe who
J made her screen debut in "Mr. Dodds
Takes the Air," is buying furniture for
her new pent-houSe apartment. In real life,
Jane is Mrs. Myron Futterman and she's
getting a terrific kick out of fixing up
their very first Hollywood home.

DON MILO, Bob Taylor's best friend and
stand-in, is getting a swell break. Bob
wanted to take him to England, but British
labor laws wouldn't allow Don to work
in his usual capacity, as stand-ins must be
hired in that country. However, Bob finally
discovered he was allowed to bring in a
companion, so Don is having a marvelous
vacation with no expense to either of them
and won't have to do a tap of work until
he comes back to Hollywood.

DURING the filming of "A Love Like
That," Barbara Stanwyck was supposed
to hit Herbert Marshall in the face with a
strawberry short cake. They rehearsed and
rehearsed, but Barbara just couldn't make
a go of it. "I just can't throw that thing
at Bart," Barbara moaned, "he's simply not
the type." So the prop man had to do it
for her in the actual shooting of the scene.

THE Errol Flynns came back from their
boat trip on Errol's yawl, "The Cheerio,"
just like a couple of newly weds. Looks
like all the rumors of a separation were
just rumors and they're happier than ever
after being apart for so many months while
Lili was making pictures in Paris. And
they're a mighty handsome couple, if you
ask me !

BUMPED into June Lang out on the Fox
lot, clad in pink pajamas, and looking
anything but unhappy about her recent
marital mix-up. What we're wondering is
what's going to happen to all those gor-
geous wedding presents they received?
We're told on very good authority that
Vic Orsatti, the groom, did everything in
his power to persuade June to patch things
up, but it was no go.

THE latest mutual admiration society is
that combination of Paul Muni and
Spencer Tracy. Muni thinks Spencer is tops
in the acting field and Tracy goes into a
perfect dither whenever Muni's name is
mentioned. Nice to hear a couple of raves
like that in this town where so many knives
are aimed at the other fellow's back.

N SPITE of the fact that Wayne Morris
has been doing the town with that and
that young thing, it's Lana Turner, young
Warner actress, who's really carrying the
torch for him. Every chance she gets, she
pops over to the set where Wayne is work-
ing in "Submarine D-l" just so's she can
look at him.

pLAUDETTE COLBERT has two new
pets in her household. They're two
kittens, one Siamese and the other Persian.
And they answer to the somewhat startling
titles of "Monsieur" and "Bijou."

\/OU'D think, just off-hand, that Joan
' Davis would be perfect when combined
with the Ritz Brothers. But when they
tested Joan in the comedy lines for "Life
Begins at College." they found her par-
ticular brand of humor and theirs just
didn't jel. So she's playing herself in the
film and won't appear in any scenes in
which the hysterical brothers cavort

So far as Joan Crawford is concerned,
no breakfast is complete without
fruit, right out of the peel, like this.

Danielle Darrieux, Parisian star, is all
ready, and eager to make her debut in
a Hollywood screen production.

IOAN CRAWFORD'S latest hobby is
J whipping out petit point bags for her
friends. The bags are terribly clever, hav-
ing the initials of the party concerned
worked right into the pattern of the bags.
She's doing one, now, for Billie Burke.

\/OU can always' tell when Mrs. Pat
/ O'Brien is out of town. It's during these
rather infrequent intervals that Pat tears
loose with the boys and attends every fight
and wrestling match and other equally
masculine sports and really has a time for
himself. Then when Mrs. O'B. arrives back
home, Pat settles down to being but the
most model of Hollywood husbands.

FUNNY thing about that marriage license
George Mason and Paula Stone took out
in Santa Barbara. Seems George gave the
clerk her name as Pauline instead of Paula,
thereby holding up the whole procedure.
Anyway, we think it's a good idea he found
out her name was really Paula before they
got married !

OVER on the set of "Bulldog Drum-
mond's Revenge," they're not asking
for afternoon tea any more. Reason is the
cast and crew was somewhat miffed when
they requested permission to knock off for
half an hour at four each day for tea and
the director refused their request. On the
following day, however, they were handed
the finished script and found there were

Patricia, daughter of Director William
Wellman, tells Carole Lombard
her name and age — two years.

nine individual tea-drinking sequences to
be filmed in the picture. P.S. They're all
so sick of tea, you can't even mention it
to any of them. (It's the truth, s'help me!)

IN CASE you meet a rather florid gentle-
' man, riding around the streets of Bel Air
on a motor bicycle in the early mornings,
you can bet your boots it's W. C. Fields'.
This latest pastime has been taken up by
Bill, since his serious illness, as a less
strenuous way of keeping fit than his
former hard game of tennis'.

\ /IRGINIA BRUCE isn't awfully super-
V stitious about most things, but when it
comes to her dressing-room, she is. When
the studio notified her they had a brand
new suite ready for her in the fancy new
building they've just constructed, Virginia
agreed to move. But with her she took
most of the furnishings she's had ever since

Burgess Meredith and Ann Sothern
are ready to do a very informal
scene, all done up in their bathrobes
and being coached in dialogue by a
director, lower left. Buddy Longworth,
ace Hollywood photographer, shows
Lana Turner and Marie Wilson his re-
cently published book of camera art.
Right.

she first arrived at the studio — many of
them gifts from the late John Gilbert. And
Virginia swears no matter how many times
she moves her dressing quarters, those same
things will go right along with her.

MOST amusing is the fact that Helen
Vinson, married to the tennis champ,
Fred Perry, is taking tennis lessons, but
not from her illustrious husband. Instead,
she's learning to swing a wicked racket
under the instructions' of Elizabeth Ryan,
a former tennis ace.

A BIG-HEARTED cop stopped Wendy
/ \ Barrie when she was buzzing down
the boulevard the other day and ordered
her to pull up to the curb. Seems he'd been
passing by and noticed that Wendy was
crying. Upon being questioned, Wendy,
with tears still streaming out of her eyes,
told him she was just homesick for her
family in England. Handing her his hand-
kerchief, he told her to go ahead and have
a good cry, but not to try to drive until
she'd had it out !

THEY celebrated the close of "Park Ave-
I nue Dame" the other eve with a barbecue,
given by Fay Wray and Dick Arlen, at
Dick's Toluca Lake manse. Plenty of
steaks, baked beans, and all the trimmings
were served. The guests later played bad-
minton, ping-pong, or went for a swim in
the pool.

Cecilia Parker's modified
Page Boy coiffure, above,
has a soft roll in front to
flatter her high forehead.
Dorothy Lamour, right,
hopes it's true that long
hair is coming back!

amor Rules

air

Styl

Individuality, softness and historic inspira-
tion mark the coiffures worn in Hollywood

Large curls frame
Orien Heyward's love-
ly face, above. A
flower-like coiffure is
achieved by Lucille
Ball, left, who wears
a halo of soft curls
across the top of her
head. Olympe
Bradna's luxurious
hair, below, is ar-
ranged in a smart
coiffure that's natural
and well-groomed.

By Elin Neil

TURN back the clock and give us Yesterday ! That's
the theme song in the Fall of 1937 hair-style sym-
phony. There are myriad new twists and turns to
show off the beauty of your crowning glory, but each
has found its inspiration somewhere in the past.

Hollywood heads this season present a pageant of the
most femininely alluring hair arrangements history has
to offer, subtly adapted to modern life and fashionable
clothes. Cecilia Parker, for instance, wears the new modi-
fied Page Boy coiffure to perfection. The latest version
of this style, which sky-rocketed into popularity last
Spring, is shorter and neater, with a softer look in back ;
and it shows curls or rolls atop one's head wherever they
will be the most becoming. The severity of the original
Page Boy bob has gone by the board.

The "1900" fashions that are showing up so conspicu-
ously in clothes, are having their influence on hair styles,
too. Front curls, brushing one's forehead, are increas-
ingly smart. They're not the frizzed-bang variety, prod-
uct of the old-fashioned curling iron, though. They are
soft and smooth and shining.

Two or three little curls that caress one's neck behind
exposed ears have been borrowed from the days of hoop-
skirts and high powdered coiffures. They're ^ frivolous
and intriguing, especially if the rest of one's hair is
arranged simply.

There's a revival in hair ribbons. Little bows are being

used as evening deco-
rations almost as much
as the flowers, feath-
ers, and jeweled orna-
ments that have been
having such a vogue.
It's an ultra-smart as
well as a comfortable
habit to tie up your
curls in a cluster at
the back of your head

when you indulge in active sports. And little girls are
wearing big hair ribbons again without a whimper about
they're being "sissy."

Some hair style prophets are predicting that long hair
will be the coming rage, and unshorn tresses will be piled
high atop one's head, reminiscent of the pompadour days.
If this prediction comes true, Dorothy Lamour will be
in the height of style, without any hair "growing pains,"
because her crowning glory falls below her waist. Others
foresee a shorter bob, designed to promote back-of-the-
neck comfort.

Long or short, as the case may be, there are a few
very definite developments in hair styles. Faces are

framed with curls or rolls or soft bangs
breaking the hairline in front. More often
than not, there's' height above the forehead.

Straight, shiny hair at the crown of the
head has completely vanquished waves and
"wisdom bump" fullness. Shingles are fad-
ing right out of the hair fashion picture.
Nape-of-the-neck rolls are still popular, but
there's a decided tendency toward fluffing
them up so they won't appear too tight
and sausage-like. The shorter Page Boy
effect is another favorite way of finishing
off one's coiffure in back.

Some of the newest coiffures bring the
hair up from the back of the neck, arrang-
ing it in high-placed curls on both sides of
a diagonal part. The kind of long bob that
has- a "bedroom" look is rapidly becoming
passe. Your back-of-the-head view must
appear well-groomed, however soft and na-
tural-looking. The days of careless abandon
below the neckline are gone.

Waves grow fewer and farther between.
A smart new adaptation of the fingerwave
idea is the half-wave ending in a soft curl.

Don't go to extremes in the color of your
hair, if you want to ride with Dame Fash-
ion. The platinum blonde rage is dwindling
down to oblivion. And for this we're thank-
ful, because that artificial silvery shade
takes such strong bleaching that few heads
of hair can stand it for long.

We're in favor of having your hair
"touched up" (or doing it yourself) if you
want to disguise gray streaks or substitute
brightness for drab tones. Only be sure you
bring your hair to a shade that could be
natural with your type of coloring. Ob-
viously bleached or tinted hair is decidedly
out of style. And the blondes gentlemen
prefer are the ones that don't wear labels !

If you touch up your hair yourself at
home, the best method is a temporary color
rinse that washes out with the next
shampoo. This will brighten your hair and
lend it color. However, it won't bring gray
streaks into harmony with the rest of your
head. Henna, which leaves' a thick coating
on each hair shaft, will cover up gray, but
it produces a shade of red that's unmistak-
able to the discerning eye.

If you have your hair tinted at a beauty
shopj watch the part like a hawk. It'll give
away your secret if you don't watch out.
You can get a hair dye pencil that will keep
the new-grown hair in color harmony with
the rest of your head. And there's a liquid
retouch for the same purpose that you put
on with a brush.

And now I'm going to give you a very
important word of advice. If your hair is
bleached, dyed, or tinted, be sure to tell the
beauty operator what you've been using
when you get a permanent wave. Standard
permanent waves can be given on touched-
up hair with beautiful results. But the oper-
ator should know everything you can tell
her about the condition of your hair, so she
can give the wave accordingly.

Beauty to Match
New Fall Clothes

Lilte all movie girls, Eleanor Powell
uses the latest beauty methods.

the lathering
road to Beauty with
Lux Toilet Soap.

WE'D like to erect a
monument to lather
as beauty's first
hand-maiden ! When it's
the product of a mild,
pure efficient soap like
Lux, lather works mir-
acles for beauty. Snowy
white suds of Lux cleanse
complexions so gently yet
firmly that blackheads ■
and blemishes don't have
a chance to get a start,
unless they're due to in-
ternal causes. Its mild-
ness and non-drying qual-
ities make Lux ideal for
bathing and washing your
hands, too. Use it, either
in cake form or in flakes,
for kitchen and laundry
jobs, and you won't be
embarrassed by tell-tale
housework hands when
it's" time to go ladylike
for life's gayer moments.
Everybody knows how
good Lux is for washing-
fine silks, cottons, and
woolens, but the beauty
angle is sometimes over-
looked. Besides making
clothes fresh and new-
looking, it removes every
trace of perspiration odor.

DEAUTY news of the
D first importance has" to
do with Pond's famous
face creams. They've been
such great favorites for
years that we didn't think
there was any room for
improvement, but a very
great one has been made.
To each cream has been added "skin-vita-
min," a substance that's been proved by the
most thorough tests to have remarkable
powers for beautifying complexions'. The
color, texture, and fragrance of Pond^s
creams remain just the same, and there's
been no change in jars or labels. But every
time you get a jar of Cold Cream or Liqui-
fying Cream to cleanse and soften your
skin, or Vanishing Cream to give it a
smooth, flattering surface for make-up,
you'll know that it contains this new "skin-
vitamin" for beauty !

Lovely Lady solves powderbox
problems with a Spill-proof
container.

Youthful beauty to your eyes
with Maybelline Special Eye
Cream.

Enter "skin-vitamin" as a new
feature of Pond's face creams.

Galiardo's "Breathe-Rite
Dy-Nam-Ics" you can
make it work wonders
for your beauty. Under
this system of breathing,
which requires only a few
minutes of concentrated
effort each day, your own
lungs reduce over-fat parts
and bring your figure into
harmonious proportions.
And you feel so much
better from the energizing
effects and sense of inner
poise that you want to
carry yourself with queen-
ly grace. The system is
easy to learn through sim-
ple, illustrated lessons ob-
tained from The Health
Reconstructive Institute,
Inc.

A BURNING beauty
/ \ problem is how to
keep your face powder
where you want it, without
the inconvenience of hav-
ing it spill over in your
purse, dressing table, wash
basin or luggage. That
problem has been solved by
the firm of Lovely Lady,
who recently brought out
one of the finest inexpen-
sive cosmetic lines we've
found. Their Spill-proof
powder container keeps
the powder right in its
case until you dip into
it with a puff. Convenient
as it is, you'll find it at five-
and-ten cent stores. And
you'll find other Loveiy
Lady products — creams
and make-up — that are ex-
cellent quality in spite of
their low price.

IF YOU think eye cream
I is an expensive luxury,
just wait until you try
Maybelline's new Special
Eye Cream ! It's marvel-
ous for keeping the super-
sensitive skin around your
eyes smooth and fine-tex-
tured, preventing "age
signs." Smooth a little
Maybelline Special Eye
Cream over your eyelids
and around your eyes at
night. And you'll find it
an excellent "dressing"
to give your eyelids a
flattering shine by day.
A generous tube of Maybelline Special
Eye Cream costs a mere trifle.

A GREAT big demand has been growing

for a hair oil that's non-greasy.

IR may be just atmosphere to you,
but once you learn to harness it by

Men don't seem to mind whether the_ dress-
ing they use on their hair makes it look
varnished or not. But we women are dif-
ferent. Our enthusiasm for Vassar Hair
Oil mounts every time we use it. Yon
simply apply a few drops to the palms cf
your hands and rub the hair between them.
The result is a lustrous sheen, absolutely
minus in stickiness. And you'll find that
your hair falls into soft waves and curls
ever so much easier. At Ten-cent stores.

Cash — and Cary

Continued from page 34

me that whenever I did a good job on the
stage or screen I was diverting those thou-
sands of people down in front from their
own troubles by interesting them in mine
— as the character I portrayed.

" 'So I determined that no matter what
happened to my own private life, I'd try
my level best to help those folks forget
about themselves for at least as long as
they looked at my performance. And I
can't tell you what a great deal of satisfac-
tion I've gotten out of that one ideal'

"Don't misunderstand, Ginny," Cary went
on, "or run away with the idea that I
foiidly imagine myself a public benefactor,
philanthropist, or what have you. It's true
I'm being paid for it— but that follows as a
natural course. The better your acting is,
the more money, as a consequence, you
earn. But that's the same in any business.
If you're interested in your work, it's bound
to further you, thereby bringing in more
money. And actors, just as human beings
in any other walk of life, have the same
desires, the same disillusionments and dis-
appointments to contend with. It all boils
down to getting the most out of what you
have and making as few people unhappy
in the doing of it. And if you can add, in
any small way, to another's happiness, that's
about the best you can do. ^Phew—we're
getting profound, aren't we?"

Cary chortled and just then the director
called him back on the set. I watched him
as he loped across the stage. "Loped" is
really the only way to describe the way
Cary walked. Six feet one, tanned as dark
as a Hindu from his outdoor life at the
beach, wearing an old pair of slightly
mussed white pants and a not-too-new polo
shirt, Cary looked anything but a movie
star. And I must say he doesn't act like
one — except in front of the camera. On
this particular day, he was crouched down
behind it, as a matter of fact, playing with
a dog, while Irene Dunne and Ralph Bel-
lamy enacted the rest of the scene in front

"It's always been a mystery to me, Lary
went on, as he flopped down in a chair fac-
ing me, the scene finally completed, "how
people can feel that money is absolutely
essential to happiness. After all, there are
only a certain number of things that money

Cary Grant, always seeking good acting company, finds it in his newest screen assign-
ment, as leading man for Irene Dunne, here in a scene with Cary and Ralph Bellamy.

Popular co-stars Robert Montgomery
and Rosalind Russell are malting a
comedy for their next film together.

can buy. It can assure you of eating more
or less regularly, that's true, and it can
provide you, possibly, with a more com-
fortable bed on which to sleep. But all the
money in the world can't buy that harmony
and contentment which must exist only
w'ithin yourself.

"I can look back now and think of a
mndred instances when I was broke, jobless
and all the rest of it, when I was every
bit as happy as I am today. I can recall
dozens of times, when I've been down to
my last dime, spending it on some small
luxury and getting that full dime's worth
of enjoyment in return, simply and purely
because my mental attitude was right."

I know Cary really means this because I
remember, when he first came out to Holly-
wood from New York, how he would sit
around for hours with a few of histoid
cronies and reminisce about their various
and sundry escapades. And many a laugh
we've all had at his expense, too. Inci-
dentally, Cary enjoys nothing more than a
.good laugh on himself.

"Right now," Cary continued, seriously,
"the thing I'm interested in more than
anything else is to perfect myself at my
job. I want to be a really good actor more
than anything in the world. It's much more
important to me than accumulating wealth.
It wasn't easy for me to leave Paramount,
they made it worth my while to stay. They
were swell! But I've realized, these past
few years, that an actor can only be good
if he plays in the type of roles he has faith
in. When you're under contract to a large
studio, you have to take the good with the
bad.

"Besides, I got bored a long time ago
with straight leading man parts. And there's
nothing that gets a guy down as much as
being bored with his job, believe me! I got
so darned tired of always having to say
nice things, always acting like a perfect
o-entleman— as you do when you're a lead-
ing man. Character parts give an actor
much more opportunity to express himselt
— to be natural.

"And, actually, they're a lot easier. If a
director tells me, for instance, to walk
across the stage as / would, naturally, I
immediately become self-conscious. But if a
director tells me to stagger across the
stage like a drunk, it's a cinch and I snap
right into the role— (fine thing!).

"One thing that really broke my heart

was when another studio bought a play I
had seen in London and was dying to do.
I wanted to do that part more than any-
thing I've wanted in a long time and I
begged my studio to buy it for me. But
they were afraid the part (which was a
pretty unsympathetic one) would hurt my
career and they refused."

I was reminded of another story I d
heard about Cary the other day. A big pro-
ducer wanted Cary to play in a very im-
portant picture. Cary was crazy about the
part, although it wasn't the most important
one in the film. But the producer happened
to be a friend of his and Cary knew he was
spending a large sum of money on the rest
of the cast.

"You can't afford to have me in the pic-
ture in such a small part," Cary told him.
"Get someone else to do it for less money."
But the producer insisted.
"All right," Cary finally agreed. "Tell
you what — I'll play it for nothing!"

The producer was p-ractically overcome !
But of course couldn't agree. Cary finally
played the part and the picture was a tre-
mendous success, as Cary had been sure it
would be. The point is, however, Cary
really would have sacrificed any monetary
gain to appear in a part he was sold on !

"You know, you've got me all upset,"
Cary said, suddenly. "I don't know what I
really would do if I couldn't act any more.
I'd be rather badly equipped for any other
job after acting for so long. You don't
have to be particularly intelligent to be an
actor, you know. You just have to have a
certain peculiar facility of expression and
imagination that is indispensable but pretty
hard to acquire. And it isn't particularly
adaptable to any other business — unless it's
writing."

"Tell you what, Cary, I suggested, you
could write fan magazine stories."

"No thanks !" Cary said, emphatically.
"I have enough grief trying to be an actor
without taking anything like that on my-
self. Guess I'll keep on concentrating on
acting and not worry about the future.

"The best anyone can do, anyway, when
it comes right down to it, is to eat, sleep
and be as happy as you can and let the
future take care of itself."

And with that sound bit of philosophy,
Cary rushed away to his dressing room
to change clothes for his next scene. Think
I'll try his prescription myself. He certainly
seems to be thriving on it !

Now— this new Cream
wigs to Women theAeth

"Skin-Mtamiif

Applied right on the Skin—
this special Vitamin helps
the Skin more directly

"IT'S WONDERFUL," says
Mrs. C. Henry Mellon , Jr.

one of the first women to use
Pond's new "skin-vitamin" Cold
Cream. "It's wonderful," she
says. "My skin is so much bright-
er— and finer textured. The new
cream is even better than before.
Congratulations to Pond's — and
to all women."

This new cream does more for the
skin than ever before! It contains
a certain vitamin found in many
foods— the "skin -vitamin."

When you eat foods containing this
vitamin, one of its special functions is
to help keep skin tissue healthy. But
when this vitamin is applied right to
skin, it aids the skin more directly.
Here is great news for women!
First doctors found this out. Then
Pond's found a way to put "skin-
vitamin" into Pond's Cold Cream.
Now everyone can have Pond's new
"skin-vitamin" Cold Cream!

Famous beauty cream now has
"Something More"

Pond's Cold Cream has always been
more than a cleanser. Patted into

Badminton and horse-
back riding are Mrs.
Mellon's favorite
sports. Both of them
mean the out-of-
doors. And the out-of-
doors dries your skin.
Mrs. Mellon says:
"The new Pond's Cold
Cream with 'skin-
vitamin' in it keeps
my skin better than
ever. It's never dry or
rough now, in spite of
sports."

Same jars, same labels, same price

Already this new Pond's "skin-vitamin"
Cold Cream is on sale everywhere.

The cream itself has the same pure white
color, the same delightful light texture.

But remember, as you use it, that Pond's
Cold Cream now contains the precious
"skin-vitamin." Not the "sunshine" vita-,
min. Not the orange-juice vitamin. Not
"irradiated." But the vitamin which espe-
cially helps to maintain healthy skin — skin
that is soft and smooth, fine as a baby's!

the skin, it invigorates it, keeps it clear,
soft, free from skin faults.

But now this famous cream is better
than ever for the skin. Women say its
use makes their pores less noticeable,
softens lines; best of all, seems to give a
livelier, more glowing look to their skin!

SCREENLAND

TEST IT IN 9 TREATMENTS

I / Pond's, Dept. 7S-CL
Clinton, Conn. Rush
6pecial tubeof Pond's
new "skin-vitamin"
Cold Cream, enough for 9 treatments, with
samples of 2 other Pond's "skin-vitamin" Creams and
5 different shades of Pond's Face Powder. I enclose
10c to cover postage and packing.

Name-
Street-
City—

-State-

FOR

Mrs: Cole/

ILL

DISCOMFORTS

use

MENTHOLATUM

Sidestepping Romance

Continued from page 51

To Quickly Relieve

QkCOLD

BEAUTIFUL FORM

in 3 to the B HI B W B

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pretty awful — our harmony doesn't always
harmonize— we have great fun doing it.

"David Niven is a true cosmopolite, who
has lived fully and touched life at many
thrilling points. Sensitive, sympathetic, and
with an amazing understanding, he makes a
congenial friend. There's Ralph Jester,
supervisor of educational shorl subjects,
lie's a brilliant conversationalist, well up
on every current topic, and is a stimulating
as well as an amusing friend.

"jimmy Stewart is a merry companion,
though he has plenty of depth and one could
unburden one's heart to him. If Jimmy is
your friend you can always depend upon
his loyalty and trust him in every emergency.
One of our chief amusements is to spend an
exciting evening pounding out duets on the
piano and making up lyrics as we go along.

"I've known Paul Warburg for many
years, but naturally, as he lives in New York,
we see each other seldom — only on my rare
trips East, and his infrequent visits to the
Coast. But when we do get together we
make up for lost time, and we talk a lot and
laugh a lot. He is much interested_ in my
career and I look forward to getting his
opinions because his viewpoint is unbiased.

"A scintillating personality is Jean Ne-
gulesco. He's astonishingly versatile and is
not only a successful scenarist, but has won
acclaim as an artist. He made that copper
pastel portrait of me that hangs in the
library, and I'm tremendously proud of it.
Jean often comes dashing in, enthusiastic
over some clever game he's just heard about,
and within a few minutes he has the entire
family playing it. Under his exuberant lead-
ership, it always ends up as an hilarious
adventure.

"It's a wild life, isn't it?" laughed Vir-
ginia. "Of course, there are times when I
dress up in my best and go to parties, and
to night clubs — I love to dance. But I soon
tire of the bright lights; I've never out-
grown my small-town complex of early to
bed."

There are girl friends, too, many oi them,
with Veronica Cooper, (Mrs. Gary),
Dolores Del Rio, Betty Furness among the
intimates. But there are few leisure days for
her to lunch or go on shopping jaunts with
the girls, for besides her Metro-Goldwyn-
Mayer pictures, she is loaned to other
studios, most recentlv to Twentieth Century-
Fox for "Wife, Doctor and Nurse" in which
she is vying with Loretta Young for Warner
Baxter's love.

One day, when she was a very little girl,
back in the home town of Fargo, North
Dakota, she and a school chum were leafing
through a motion picture magazine, when
the friend breathlessly asked, "Why don't
you be a movie star?" Embarrassed, Vir-
ginia replied, "Don't be silly. First you've
got to be pretty. Then, you must live in
Hollywood to be a screen star."

Despite the suggestion, she never once
thought of becoming an actress ; instead, she
dreamed of becoming an artist, and already
her funny little sketches were being praised.
But life had other plans. Following financial
reverses, the family left Fargo and moved to
Hollywood ; by chance, Virginia met Direc-
tor William Beaudine, who gave her a screen
test, then put her into her first picture,
"Exiles." To this day, she wonders how it
all happened.

Like a shining thread running through
Virginia's thoughts is an intense desire for
happiness. Persistently, she side-steps all
sad stories and pathetic incidents because
they break her heart. When she finds she
has to do something, she immediately makes
herself like it because she hates doing things

she doesn't like to do. Naturally, she has a
sweet and placid temperament, but there are
times when she's likely to fly off and stage
a high-powered scene. But she doesn't, be-
cause it makes her miserable, afterwards.
It's all very simple; avoid unhappiness and
you'll be happy !

Said Virginia, "I used to drift through the
days and let things happen as they would;
but I discovered that because of so many
loose ends, I was wasting precious hours.
So, one day, I did a little serious thinking.
When we make a picture, plan a party, or
even a new dress, we figure how to get the
best results from the material at hand. Why
not do this with life? Why let it go helter-
skelter and become sketchy, instead of filled
to the brim ?

"With a little thinking ahead, I now have
time for my screen work, and my daughter-
Susan Ann was four in August, and we're
building a comradeship which I fondly hope
will be her most precious treasure. Also, I
have time for my family. We're a contented
household and I feel the intimate contact
with these sterling personalities is a priceless
experience for my child. Especially helpful is
the masculine influence which my father and
brother bring into her life, not to leave out
mother, who at all times is the backbone of
the family. Then, I'm building a new home on
two acres I bought here in Brentwood, a
block from this house. I play tennis, keep up
my music, and have a few social diversions ;
so all in all it's rather exciting, and believe
it or not, everything works out most happily,
without fret or worry."

Though still in her early twenties, Vir-
ginia, has had a full life and more colorful
experiences than many women check up at
forty. She's reached a high spot in her
career; she's known the love of handsome
John Gilbert in their romantic marriage;
she's had-a baby. Too, she's had heartbreaks,
and a divorce. And the love and admiration
of manv men. But today, she insists there is
no romance. Then, after a long pause, she
quietly admitted that Jack still fills her
thoughts.

"He did so much for me," she explained,
simply. "He enriched my life in every way,
teaching me to appreciate the important
things, the best in literature and art, the
magic of the starry heavens, the sweep of
landscape; he worshipped beauty in every
form. I bought many of his treasures when
his home was sold after his death, and his
chessboard is always set up in my room,
his favorite books are here, and his beautiful
desk that he loved. They bring him very
close, for whatever he touched seemed to
take on some of his vital, magnetic per-
sonality."

Through the quiet house we heard the
patter of footsteps on the winding stairway,
and Susan Ann burst into the room, bub-
bling with excitement as she exclaimed, "Oh
Mother, I saw a train — an engine train. I
wish you could see it."

Looking into her bright, blue eyes, I
asked, "Who do you look like.''" and
promptly, she replied, "I look like Susan,
'cause that's who I am, Susan Ann Gilbert!"

After the child left us, with characteristic
frankness Virginia told me that someday she
hopes to find romance again; a glorious one
that will open up new dreams for marriage
in the greatest adventure life can offer. Too,
she wants children.

The Prince will need no classic profile,
or soulful eyes, or even an impressive bank
account ; but he must be understanding, gen-
erous, and have a sense of humor ; he must
be strong, courageous, blest with a vital
personality, and alive!

But Virginia seems to be in no hurry and
is carefully sidestepping romance, as she
goes serenely on her way, contented with
her work, her family, and— her loyal friends.

SCREENLAND

Soigne Stars

Continued from page 23

a damp California day. She had on a baby-
blue chiffon afternoon gown, an enormous
pink horsehair hat which didn't spare the
bows, and PINK SATIN SHOES! Add
to all this the fact that she was more than
plump, and you have the German star,
Marlene Dietrich.

Seeing her on the set of "Angel," her
current picture, in flowing black chiffon
and transparent black picture hat, which
allows the sunlight to filter through in
such a manner that it picks up the gold
powder which she uses' in her makeup, one
can't help but feel that if a metamorphosis
such as this can be accomplished in such a.
comparatively short space of time, there's
hope for all and sundry.

To fully appreciate Marlene's advice to
the glamor-seeker, it's necessary to hark
back to the worn-out topic of those trousers
she affected. She was sincere in adopting
this fashion. She likes the freedom such
clothes afford. As she says :

"Women's fashions are always changing,
and it is so much trouble to bother about
my personal wardrobe as well as my studio
clothes, that it seemed to be a simple solu-
tion of the problem. I've never worn them
outside of Hollywood, and Hollywood has
such a country-like air, they seemed appro-
priate."

But you will notice that Marlene now
wears the usual trimly tailored suits, but
with frilly feminine blouses. So Marlene,
like our sage Emerson, has learned the
secret of gcod taste, which she passes along
to you: MODERATION. So all youse
little caterpillars who yearn to be butter-

flies with powdered gold, watch out for
extreme fashions.

And now in our journey down the soigne,
we come to that Gorgeous Gamine. Carole
Lombard. Somehow no matter how su-
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can always detect that mischievous glint in
her eye, that theoretical tongue in cheek,
which is the Carole her friends know ; the

Carole of the whooping laugh, the fun-
loving, life-loving gamine.

Barrymore was the man in Lombard's
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those coveted cups went for a very serious
purpose. For Mrs. Peter's little lass, Jane,
would arise bright and early the morning
after each contest and wend her way to
"Uncle," where her new trophy was ex-
changed for coin of the realm, and such
coin was again exchanged for clothes.

At this period, Peggy Hopkins Joyce was
Carole's idea of sartorial elegance, and she
assiduously copied her. What matter if
Carole's black satin was not quite so lus-
trous, nor so enticingly heavy? What mat-
ter if her pearls were by Woolworth rather
than Cartier? They were larger, weren't
they? And they were worn in the true
Joyce manner, for dressed thusly, Lombard
zvas Joyce.

Fortunately, when her next ideal crossed
her horizon, she had more of the well-
known wherewithal to buy the stuff girls
are made of. For by now she was a Mack
Sennett bathing girl, getting paid for
clowning around. This time, she fastened
her fascinated stare on Connie Bennett, the
elegante. This fixation ran into money, for
it called for great variety, and all of it
luxurious. Carole got a bit out of her depth
at times during this period, and was wont
to show up at a very informal swimming
party attired like the proverbial Christmas
tree. But her sense of humor apparently
conquered, for next we see her as the
Tailored Woman, the Ruthie Chatterton_ in-
fluence. This style was very becoming,
accentuating as it did that voluptuously
lithe figure, but unfortunately Carole was
such a perfect mimic that her friends began
to look around for Chatterton whenever
Carole spoke, and she's too much of an
individualist to want to be completely lost
in another identity.

So when Barrymore asked for her to do
"Twentieth Century" with him, Carole was
temporarily without benefit of any out-
standingly different personality whose color
she could take on. (Sounds like Carole the
Chameleon, doesn't it?) But all was not
lost, for Hepburn hit Hollywood about this
time.

However, she reckoned without Barry-
more, for here was an actor who had dealt
with women of the theater from 'way back,
and the first day on the set, he said :

"Miss Hepburn, come here a moment."
"You mean me?" intoned Carole mo-
notonously.

"Yes, you! Why don't you be yourself?
I wanted Lombard, that grand trouper, for
this picture, and what do I get? An imita-
tion Hepburn. Just remember you're a dis-
tinct personality. You don't need anyone
else. You've got everything." Then, with a
spank where it would do the most good,
which brought forth Carole's old gladsome
whoop, he continued :

"Now, remember, from now on, be your-
self."

And that finished the saga of a siren,
for Carole has found herself as the real
Carole Lombard, and not an imitation.

Speaking of sirens, have you seen Fay
Wray recently? There's one of the most
startling changes of all. Fay Wray speak-
ing:

"Ten years ago when I was doing
'Legion of the Condemned,' I thought of
clothes as a necessary evil. Something an-
noying, which took precious time away
from my work. So I just always wore a
blue suit of some sort. I did this until it
had become sort of a uniform, and people
would say: 'There goes that girl in the
blue suit again.'

"But that picture was the turning point
in my life. I met my husband on it. He
wrote it, you know. It even changed my
ideas on the little blue suit numbers. Like
every creative person John (John Monk
Saunders), is interested in the drama of
women's clothes. He even likes red finger-
nails," she added, laughingly. "He's not

one oi those husbands who believe their
wives should wear black things with white
collars, because they look ladylike. 1
strongly suspect he doesn't even aire
whether or not I do look ladylike, as long
as I look interesting." (But somehow she
always manages to look the perfect lady,
even the dignified grand lady, despite her
pocket size.)

"At the time I went in for that blue suit
routine, I had a blue suit personality. If
anyone spoke to me, I stammered and
stuttered and I only felt really at ease
when actually working before the camera.
I was looking at some stills from that pic-
ture recently, and I actually look like my
own grandmother. Wait — I'll show them to
you. Get the hairdress. That was what I
thought a spy would do with her hair."

Her naivete would fool you until you
realize what a clever gal the new Wray
is. She's reached the acme of cleverness
as a hostess. She makes you babble! Yes,

Louise Hoviclc's crowning glory is
topped by a fringe-trimmed hat
of gray kidskin that matches her
swagger coat.

and what's more, she makes you prattle !
Before you know it, you're going on like
mad about yourself, until suddenly stopping
in mid-sentence, you realize that she has
been looking at you with a look of sloe-
eyed interest, murmuring encouraging
yeses, and you're making an utter fool of
yourself. You know the type. They're
"deadly. After bearing your soul, you go
home feeling like the devil of a fellow, and
remembering that particular person with
a warm feeling around the heart, but not
quite realizing why. Not realizing you've
been given the utmost in flattery: a gen-
uine interest. And she's tops in this accom-
plishment. All the more strange for her
to be a mistress of this art, when she tells
you that her shyness amounted to a phobia
B. S. (Before Saunders, of course).

So the Fay Wray of today rightfully
belongs in our soigne salon, and her recipe
seems to be : "Dare to be daring, but always
be sincere." A tough combination, but
worth the effort, if we can judge by our
diminutive friend.

If you've stuck with me this far, and
you still want to be soigne, _ choose your
weapons and go forth, my friends!

SCREENLAND

Great Lover

Continued from page 63

THE STORY UP TO NOW

Ferdinand von Schoenbauer is
brought to Hollywood from Vienna,
■where he is a success on the stage, by
an agent, Fuller — chiefly because Ful-
ler's wife is sure he'll be "a discovery."
Ferdinand, whose last name is changed
to Greenwood, gets a small part in a
film largely because Hilda Drake,
Fuller's secretary, who is greatly at-
tracted to the modest and handsome
foreigner, keeps at her employer to do
something for the actor. With hopes
high, Ferdinand and Hilda go to the
sneak preview, only to find that his
scenes have been eliminated from the
picture. Broken hearted, for this failure
means Ferdinand must go back to
Vienna a failure, he takes Hilda to her
home. There the girl confesses to her
mother that she loves Ferdinand, and
the mother sympathetically advises her
to do her utmost to make Fuller give
the actor another chance.

girl — " She burst into wild weeping. "I
don't know what's the matter with me,"
she cried against his chest. "I've turned
into a regular wailing wall."

When the fit was spent, he dried her
face with his handkerchief. "What a child
it is — smaller than Annamarie. See — so I
make her to laugh." Two fingers became
a pair of long ears on either side of his
head. His nostrils quivered. His lips
munched contentedly. Despite herself, a
faint giggle escaped Hilda, even as she
sniffed. He was a pinknosed rabbit to the
life.

"Do you know any more like that?" she
gulped.

"Many. All that the Zoopark contains."
He looked cautiously about — "Do they give
here tickets for madness as for speeding?"
— and dropped on all fours. Head down, he
lumbered past her, a clumsy bear, regard-
ing the world out of sullen eyes. Then, in
one supple movement, he folded his limbi
beneath him, a tiger, wary-eyed, on the
watch for prey. Slowly he rose to his fore-
legs, bared his teeth and snarled. Now he
flung his head up, straightened his back,
his limbs seemed to grow long and delicate,
his neck arched, he picked his way daintily
through a forest, paused in fright at the
rustle of a dead leaf, and loped away.

"With the speed of an antelope," cried
Hilda, as he rejoined her on the bench.
"What else can you do?"

"Perhaps mademoiselle is hungry? It
will astonish you how one can fill the
stomach when there is no food." He plucked
a napkin from the air and spread it over
her lap, another over his own. He offered
her a plate. "A peach, if you please. I my-
self gathered them in the orchard this
morning, while you still slept." He took
one for himself and peeled it carefully, lay-
ing each non-existent paring on his non-
existent plate. Then he set the plate aside,
held his imaginary napkin under his im-
aginary peach, and took a bite. "Hm — a
little over-ripe, perhaps." He thrust his
head forward, that the napkin might catch
the juice, and continued eating, turning the
fruit round as he progressed, and finally
holding the pit in three fingers to nip off
the last morsel. Finished, he flung the
peachstone from him, touched the napkin to
his lips, and wiped his hands vigorously.
"So. I have eaten better."

Hilda's eyes shone. "Shaybar," she
breathed. "Who ever told you you were the
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Brows and shoulders lifted. "Who has
told you you were a secretary? It hap-
pened. But in words — only the Fuller. '

"Did you ever play comics?"

"But no. With what?"

"With this— that you've just been show-
ing me." . . . a

He took her face between his hands.
"Liebling, this is for children— a pastime,
a fun— riot for the stage." Weariness shad-
owed his eyes. His hands dropped. We
have been playing, Hilda. There is little
time left for play. Let us not cheat our-
selves to think there is hope for us here
together. For myself, I will take every
chance. I will live in a shoebox, I will eat
sand to stay with you here and be happy.
For them, I cannot." „

She rose. "All right, Shaybar. Let s go.

She entered the living-room where her
mother sat reading. Mrs. Drake threw her
a quick glance, then dropped her eyes back
to her book. .
"Guess I'll go to bed, mom. Im tired.
"Good-night, darling."
"G'night." „, , „ .

She was at the door. "Oh, Hilda Good
heavens, I almost forgot. Mrs. Fuller
phoned." _ .„

Hilda whirled. "Mrs. Fuller!
"That's what she said. Wanted you to
call her, no matter what time you got m.
The number's on the phone pad.

Hilda steered her car into the cathedra -
like garage of the hotel where Elaine dul-
ler had taken refuge from the persecutions
of her husband. On the phone the night be-
fore Elaine had told her to ask for Miss
Warwick. She had registered under an as-
sumed name. She didn't want Joe to know
where she was.

Mrs Fuller, a vision in orchid against
piled pillows, extended a suffering hand.
"My dear, this is sweet of you. Pull up
that chair and sit down close beside me,
won't you? You must be terribly surprised,
finding me here and having me send for
you like this."

"If I weren't so miserable," Hilda was
thinking, "I'd be having an elegant time."

"Now I'm going to tell you the whole
story so you'll see what I'm up against.
You know, I sacrificed my career to marry
Joe Mind you, I'm not saying a
word against Joe. For a business man Joe s
o-ot a good head on his shoulders, but he
don't understand the finer things of life.
That's where he falls down— m the finer
things. And that's where I have to help
him—where we both have to help him. She
leaned forward and spoke in solemn ac-
cents "I want you to tell Joe that you met
me accidentally on the street, and you know
for a fact I'm going to Reno."

"How will that help him to appreciate
the finer things of life?" asked Hilda
gravely. . . , T ,

"It'll scare him into it, see? Joes nuts
about me. Look, here's the thing, honey.
Down in Honolulu I found a guy— an
artist," she amended hastily, "if ever I saw
one. What a physique! I wanted to bring
him alon", but he wouldn't come without a
contract. They're getting good and cagey
down there, those natives, instead of appre-
ciating the interest we take in them. Any-
way I told him Joe would fix him up,
gave him my word and all. And what hap-
pens? Joe refuses." _

"Mrs. Fuller, I have another idea. Will
you listen, and then, if you still like yours
better O.K. The reason I think it may not
work 'so well is this. Something came up
yesterday—" Hilda was feeling her way like
a cat among bricabrac— "something hap-
pened that made Mr. Fuller tell me you d
left him and might be going to Reno. He
was heartbroken— I'm sure of that— but he
was terribly angry too. He said, whatever

happened, he was going to run the office

himself — "
"He did!"

"Yes, but look, Mrs. Fuller. Don't you
think he's a man who ought to be led, not
driven?

"Wasn't it you who discovered Ferdi-
nand Greenwood? I mean, that man from
Vienna with the long German name — "

Elaine's eyes turned bitter. "That's just
the trouble. If I hadn't messed around with
hini — . Joe says he's a washout. That's
why he won't — "

"Suppose you could prove he wasn't a
washout. Don't you see, Mrs. Fuller? Then
you'd have your handle. Then your husband
would have to admit you knew how to pick
'em, and Honolulu or anybody else would
be a cinch." Hilda had the grace to blush
inwardly as she dug pitfalls for her unsus-
pecting boss. But that was all right. He
could take care of himself. Her Shaybar
couldn't.

There was a long pause. Then: "What
makes you so sure this guy's going to be
a hit?"

Hilda lifted a guileless gaze. Her smile
was lovely. "First, because you picked him.
And then, by the audience reaction he

got — "

"And what's this scheme of yours? How
do we work it?"

A stab of elation set Hilda's head whirl-
ing. She pulled her chair closer. "Here's
how."

* * j*

On her way to the office she stopped in
at Ferdinand's room, and poured out her
story. "Yes, I know it's mad, darling, but
do it for me. What can we lose? Will you
ask me to kiss you? I still feel a little shy
about asking yon." Then she phoned to her
mother. She reached the office at 10 :30.

"Taking a day off?" Fuller asked, but
his heart wasn't in it.

"As a matter of fact, I've been making
arrangements to throw a party for you.
Will you come to dinner at my house to-
night ?"

His eyes stretched to capacity. "Well —
that's mighty nice of you. But why the sud-
den rush?"

"I expect Mrs. Fuller."

"You — what!"

She nodded, and held his wild glare un-
flinchingly. "I think she'd like to see you."

"Then whyn't she come here ?" he shouted.

"Or back home where she belongs?"

"Well — you know — women are funny
that way. They've got crazy notions about
dignitv or something."

He whirled. "Howjew get hold of her?

"That's something I promised not to tell.
I couldn't break my word to Mrs. Fuller,"
she said softly, "any more than I could to

you." ,■*'•'«
"All right, all right, all right, don t talk
so much. Where's the house? What time?
Put it down, put it down. Remind me. What
the hell do I pay a secretary for — ?"
* * *

Robbie, who came by the day or when-
ever she was needed, showed Elaine into
the living-room. She was exquisitely dressed
and a little nervous. She kissed Hilda, mur-
mured: "So glad—" to Mrs. Drake, ex-
tended a gracefully drooping hand to Ferdi-
nand. "Dear Herr Baron. So we meet
again."

Hilda threw him a startled glance. She
could scarcely contain herself till her
mother had led Elaine from the room to
remove her wraps. Then she pounced on
him.

"What did she call you?"
He flushed. "She called me nonsense."
"Listen, if you're a king or something,
you'd better tell me right now. I'm carry-
ing just about as much suspense as I can
handle." ,
"Hilda, I have no shame for my family s
title. But here I am Ferdinand Greenwood.

SCREENLAND

Everything else is stupid. They think you
are — phony, yes? — or they think you pre-
tentious— "

"They think you're a darling. And you've
taken a load off my mind. Imagine me
prancing around as the Baroness Hilda — ."

The doorbell rang as Mrs. Drake and
Elaine re-entered the room. Ferdinand
squeezed Hilda's hand and vanished. Her
knees threatened to give way. She heard
Fuller's voice, and her mother's, greeting
him. Through a blur she saw him advance,
and tried to move forward but couldn't.
Elaine came to the rescue.

"Hello, Joe." How meltingly Elaine could
smile. "We thought we'd fix you up a little
surprise."

"Surprise is right." But the ice had
thawed from his eyes. He put his arm
round his wife's shoulders and held her at
his side. The first crisis was over. Hilda
breathed more easily. "Mighty nice of you
to go to all this bother, Mrs. Drake."

Hilda sent her mother an imploring
glance. ("Pull the gracious hostess act for
all you're worth," she had warned her
earlier. "Else he'll take one squint at Shay-
bar, and the jig'll be up. You'll have to
keep him subdued.")

"It was good of you to come, Mr. Fuller.
I know from Hilda what a busy man you
are, and this was such short notice. I must
thank you for all your kindness to my
daughter. She finds life so — stimulating in
your office — "

Ferdinand tripped in, bearing a tray of
cocktails. Round his waist a frilly white
apron was tied, and a lace trifle adorned
his head, which was cocked at a coy angle.
His lashes were demurely lowered. As he
crossed the room, his hips moved to a
rhythm that suggested the swishing of short
skirts. Fuller half rose —

Mrs. Drake's voice came bland but firm.

Marie Wilson strolls in a two-piece
dress of mustard gold and black.

"Oh, please don't bother. Ferdinand will
manage — •"

He presented the tray to the Fullers.

"You!" said Elaine. Lips set, Joe picked
up a glass. Ferdinand whisked a napkin
from the tray and, with a murmured "Mon-
sieur," draped it over Fuller's knee. He
minced across the room to Hilda and her
mother. He started for the door and paused
midway, rooted to the ground. All blushing
confusion, he tucked into what would have
been his bosom, had he been a woman, a
bit of straying lingerie. He fled to the door
in an agony of shyness, turned with a swift
change of mood, fluttered his lashes at the
fascinated Fuller and disappeared.

Joe addressed his wife. "Ve-vy funny — "

"Of course it's very funny. But I pre-
sume you're too stubborn to admit it."

Robbie stood in the doorway. "Dinner is
served."

Five places were laid. They had started
on their chilled melon before the fifth
diner entered. He sauntered in, a cane under
his arm, a monocle in his eye. As he re-
moved what might have been from his air
a tophat and an opera cloak, and drew off
a pair of imaginary gloves, his gaze wan-
dered round the room, stretching it to more
spacious proportions, peopling it with a
larger assemblage.

He surrendered his outer garments to an
attendant, letting his stick drop unheeded to
the floor, moved toward the fifth chair,
became for a flash the obsequious waiter,
pulling it out, then_ again the gentleman of
fashion, dropping into it.

He scanned first the menu, then the wine
list, gave his order in French — including
an elaborate manual explanation of how he
wanted the salad mixed — and sat back to
survey the scene. Elaine was watching in
frank admiration. Hilda's glance stole from
her boss to Shaybar and back. Fuller made

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a dogged pretense at conversation with Mrs.
Drake, hut try as he would, he couldnt
keep his eyes from straying.

The merest flicker across the gentleman s
face indicated that he had glimpsed a lady
who pleased him. An indefinahle change m
posture, and he was the lady, lifting lashes
for a cool stare, then stooping to caress an
object at her feet. That the ohject was a
dog, Ferdinand next made apparent by
dropping his head over his hands on the
chair-arm, the while his eyes, grown larger
and more liquid, moved mournfully from
side to side. Having introduced the dra-
matis pcrsonae, he proceeded with the com-
edy, now seated, now standing now down
on all fours, slipping from role to role with
uncanny ease and complete persuasiveness.

The gentleman ventured a smile. The
lady stared through him, consciousness
manifest in the hand patting at her coiffure.
The dog raised his head uneasily to gaze
at his mistress, then turned his eyes on her

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* * *

Hilda and Ferdinand were saying good
night at the door that had witnessed so
many of their good nights and would wit-
ness so few more. They had left the tumult
and shouting behind them. They had inched
their way through the preview crowd,
where searchlights had glared and flash-
lights had popped. "There he is," a boy had
cried. "There's the funny guy." And Ferdi-
nand had signed his first autograph book.
"Oh, Mr. Greenwood, you were too, too
delicious," a woman had cooed, and his first
fan kiss had been planted on Ferdinand's
cheek. He'd been pumped by the hand and
slapped on the back and he'd smiled until
his face ached. Flushed with triumph,
Elaine had dragged him off to meet her
friends. "I found him," she'd squealed a
hundred times. "I spotted him in Vienna.
First time I saw him, I said to Joe, I said:

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James Ellison and Marsha Hunt are a romantic team in a new film, "Annapo-
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admirer and, after a moment, softly
growled. The gentleman sought a choice
morsel on his plate, 'lifted it to his napkin
and whistled an invitation. The dog stood
torn between loyalty and greed, now plead-
ing with his mistress, now yearning after
the tidbit. He made one hesitant move in
the gentleman's direction, looked back,
raised an imploring paw. The lady shook
her head. He curled up slowly at her feet,
a picture of woebegone submission.

The lady stole a glance at the gentle-
man. His head was cocked, his hand up
in absurd mimicry of the animal's plea. 1 he
lady bent to hide a smile. She whispered
in the dog's ear. The dog rose on his
haunches and barked twice in approval

At the sound, Fuller started. Elaine dug
her elbow gleefully into his ribs. "Quit
pokin'," he growled. .

Ferdinand jumped up. Elame was ap-
plauding. He looked at Fuller, whose face
seemed grim. A slow crimson crept into
his thin cheeks. Fuller pushed his- chair
back. '"Xcuse me," he muttered and left
the room. .

They remained staring at one another.
Then a bawl shattered the stillness. "How
should / know the number? Hilda!! ' What
kind of a phone is this, anyway? Whats
the number of the Derby f" Hilda scurried
out. Presently they heard his voice again,
quiet assured, shorn of bluster.

"I o-ot something, Al.— I got something,
I'm tellin' ya, that's all. D'ya want it?—
Sure you'll sec it. Ten o'clock in the morn-
jno-— Yeah? Well, if you won't, Louis B.
Maver will.— No, I ain't sellin' this time,
Al. You're buyin'.— Me? Brothuh. he

SCREENLAND

'There's a comic, if ever I saw one.' Didn't

I, Joe?"

"Yeah," said Joe.

At length they had escaped, heeling in
his pocket, Ferdinand drew out a folded
cablegram. A silver four-leafed clover came
with it. He touched the charm to his lips,
smiling, and slipped it back. The cable he
gave to Hilda.

She scanned it and gave it back. 1 rans-
late, please."

"Well, it says what for do I marry this
funny girl, and better I go back to Vienna."

"Better you stop being cute and read me
that cable!"

He looked down at it and shook his head.
"They think you are nice. Why, nobody
knows."

"Only nice? I'm marvelous. What else
does it say?" .

"It says: 'Gott segue dieh and acme
Braui'—GoA bless you and your bride. 'Wir
fahren am sehnten'—v/e sail on the tenth—

"Voter mutter Anna-marie — I can trans-
late that myself." She began drawing
spirals on his chest. "Darling, are you sure
you're not the least little bit disappointed?
Not even so much?"

"For what?"

"Well — maybe I shouldn't mention it —
but after all— you'll never ^have a chance
now to be the great lover."

His smile held something warmer than
amusement as he drew her toward him.
"Who tells you I will not—?"

"Mister Herr Baron von Ferdinand
Shayb— " But the rest was lost against

his lips. ,
The End.

Personality Portrait of
Bette Davis

Continued from page 29

him than anything else at that time, as now.

But— one minute after he gave up his own
career he had another. No idea "husband
of the star" position for young Harmon
Nelson. Now he is succeeding with a mu-
sical agency — and has had successful screen
tests, besides. I wouldn't be a bit surprised
if he made a very big place for himself on
the screen. It seems to me he has both the
looks and the personality to go over.

The Harmon Nelsons live in a very com-
fortable and delightful house in Holly-
wood. They have a new place in the coun-
try, too. Their town house isn't at all the
sort of place you'd expect a star to live in.
That's where Bette's double life comes in.
She isn't a star at home !

At home she is a housewife and a
hostess. And such a good one. She doesn't
entertain a lot. No wild Hollywood parties
at all. Nor even parties' that are faint
echoes of Hollywood parties. If you go to
dinner there will be just one or two other
guests in and the house will be gay with
flowers— but that is the only party touch—
and I have an idea those flowers are there
even when there isn't any company. The
house is furnished with livable things.
Bright chintzes. Lots of books. Chairs' that
are comfortable. There are dogs around—
Bette's dogs and Harmon's dogs — and they
are well trained and come to you only
after you show your fondness for dogs.
The servants are well trained, too, and
unobtrusive — not at all typical Hollywood
servants. I'm glad to report that the cook is
good.

At home Bette is wise and clever. Good
company. She and Harmon, by their very
happiness and congeniality, may destroy
some of the glamor that is supposed to be
around a famous woman star; but they
create something far better than glamor
— a sense of a wise enjoyment of life.

But at the studio! There you have the
other Bette 1

I don't mean that she goes around cold
and haughty — or in a towering rage. Noth-
ing like that ! She's far too clever. But try
to put something over on her. Or try to
do something she doesn't like. That_ flash
of lightning isn't even the studio's imita-
tion of lightning — it's Bette showing you
that underneath the calm exterior is real
fire. She's protecting herself — and I, for
one, am awfully glad that she is able to
do it.

Bette has less false pride than any girl I
know. Most stars are self-worshippers. Con
ceited. Frankly Narcissistic. Bette doesn't
care much about clothes' — though she likes
to look well — and her coloring is so ex
quisite and her figure so good she looks
pretty slick in anything she wears. But she
doesn't go in for exotic clothing — and she
doesn't think she's an exhibit of how a
girl ought to look.

And when a part calls for looking badly
— Bette will go any lengths to look as
badly as possible. That's the artist in her.
She howls in derision at the star who has
just been through a wreck or an illness —
and insists on being perfectly groomed. In
"Marked Woman," when Bette was sup-
posed to have been beaten up, she did a
large part of the make-up herself — and
she looked beaten — and most horribly so.
She took special delight in the scar on her
face. When she's supposed to be a girl in
prison or in a reform school she looks like
that girl — and not like a pretty star who
is just pretending. And yet — when she is
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(if the chance — and you know how she
comes up on that.

While I was writing at the Warner
Brothers Studio— and I'm just this minute
back from California — I was fortunate
enough Id sec a hit of Bette. In fact, know-
ing her was one of the treats of being in
California. I met her on the lot— and al-
most immediately we were laughing over
the same things. And that's a pretty good
way to begin a friendship. After that we
had such good times, tea in the Warner
Commissary, luncheon in the Green Room,
dinners at her home and at my apartment
in the Chateau Elysce. The last I saw ol
her was just a couple of days before I left
California, when Lawrence Riley, author
of "Personal Appearance" and "Ever Since
Eve," took us to luncheon at the Vendome.
Going into the restaurant, where we ar-
rived in the very special Riley car, an
English Swallow, the group of fans who
always stand around the door of the Ven-
dome paid little attention to us. Their eyes
were on the Swallow. But, when luncheon
was over, the fans had eye? for people in-
stead of cars and made the usual lunge
for autographs.

Riley didn't take the autograph hunters
seriously. He signed William Shakespeare
and Hugh Walpole, with a fine disregard
for facts, knowing, as I did, that the auto-
graph of a mere author is of no value.
Bette Davis smiled graciously and seemed
actually glad to sign the various books
that were thrust at her. I asked her if she
LIKED to sign them. So many stars are
so rude to autograph seekers.

"It's one of the things I must have
wanted when I started out," she said. "And
think how badly I'd feel if no one did want
my autograph."

Back in my apartment we talked about
a lot of things. Happiness. Life.

"Do you think Success and a Career in-
terfere with marriage?" I asked her. The
old question.

Bette was looking so pretty — and young
— and careless. In pastel sport clothes you'd
never have thought that the burdens that
go with stardom could possibly rest on her
golden curls.

"If they do interfere it is because the per-
son who has succeeded is too dull for suc-
cess," she said. "It's a job, combining a
career and marriage. A hard job. I like
hard jobs."

"What do you do about it?"
"One thing," she said. "I forget, when
I'm off the lot, that I'm a star. I don't
take stardom home with me. I take it off
with my stage make-up. Of course I worry
sometimes about things — about a part or
things going wrong at the studio. But I
try to keep the worry to myself. The right
sort of men don't bring their business
troubles home. Harmon married a girl —
not a career."

"But he gave up his career for you !"
"One of them. He has another. That boy
has more than one small idea in his brain.
He could make a success in a dozen fields !"
There was real pride there._

"You didn't mind him giving it up.'"
"Why should I? We talked it over. My
success was important to us both. But our
happiness was the main thing. We were
happier together — so he arranged things so
we are together. That's all."

It was so simple — the way she put it.
And yet I've seen marriage wrecked on
so much less.

But at the studio, when Better Davis
goes into her second personality, the
glamor girl — petulant star — she isn't think-
in? altogether of her happy home life. She
knows the wolves that hang around movie
sets — and she has her eyes out for them.

There are the rival stars — in the same
pictures, who try to steal scenes. Bette
gets in a very human rage against them.

"Being a woman there's nothing I can
SAY!" she wails. "If I say too much they
think I'm catty. So I sit back and plan."

And how successfully she plans only her
movie audience knows. For, so clever is
she as an actress, so skillful is her timing
and her sense of the dramatic, that the poor
rival who has attempted to put something
over on her is lucky if he or she is not
completely unnoticed in the picture. Bette
knows her rights — and she sees that she
gets them.

Yet she doesn't fight for an enormous
dressing-room. Her dressing-room is com-
fortable-— but it is small— and she is quite
satisfied with it. And she is quite satisfied
with the pictures Warner is giving her.
She enjoyed working in "Marked Woman"
— as well she might. She liked "Kid Gab-
had." She thought it was great fun working
with Leslie Howard, whom she admires a
great deal, in "It's Love I'm After." And
her great praise was for Eddie Goulding
who directed "That Certain Woman."

"The man is a genius," she said. "In the
scene with the whistle he made me cry.
Those tears, when I finally break down,
are genuine. In fact, stopping the tears was
the great difficulty. That woman — giving
her child up — that was a scene that tore
me to pieces. I like a director who gives
me something constructive. Too often di-
rectors let me alone — let me do what I
want to. It's easier, but I don't get ahead
that way."

And Bette will continue to get ahead.
There's no doubt about that. But if the
great success she has already had hasn't
spoiled her very great charm and sim-
plicity in her home life I don't think it will
be hurt by added honors. And as for Bette's
other self — the hard boiled side— I'd like
to bet that will stay hard boiled. No taking
off of the shell and opening yourself to
more hurts.

But, double life or not, I like Bette Davis
as is. I'm looking forward to seeing her
when I go back to California. She is one
of the civilized people that makes Holly-
wood a delightful and ever new place in
which to live.

Pat Paterson leans toward tailored
smartness in a turquoise wool
suit trimmed with black Persian.

SCREENLAND

Career Girls

Continued from page 31

It really was funny, Jean thought as she
slammed the door behind her, that of all
the girls in the Footlights' Club she should
have been picked as room-mate for the two
worst duds in it. First, Linda who had
moved in with another girl after a fight
that morning when Jean had caught her
wearing her last pair of good stockings;
and now this new girl Terry. And a phony
if ever she saw one, Jean vowed.

Linda was powdering her nose at the
mirror in the hall as unconcernedly as
though Mr. Powell's car hadn't been an-
nounced waiting for her almost half an
hour ago. She must be feeling awfully sure
of herself, Jean thought resentfully, to keep
the great Powell, the biggest manager on
Broadway, waiting. Most of the girls would
have given anything they had for a chance
to see Powell. But then they wanted jobs,
an honest chance in the theatre, not the dia-
mond bracelet and sable coat Linda flaunted
in front of them. And Terry was another

STAGE DOOR

An RKO Radio Pictures Production
CAST

Terry Randall Katharine Hepburn

Jean Maitland Ginger Rogers

Anthony Powell Adolphe Menjou

IJnda Shaw Gail Patrick

Miss Luther Constance Collier

Kay Hamilton Andrea Leeds

Randall Samuel B. Hinds

Judith Canfield Lucille Ball

Carmichael Pierre Watkin

Annie Ann Miller

Produced by Pandro S. Berman.
Directed by Gregory LaCava.
Based upon the play by Edna Fer-
ber and George S. Kaufman.
Screenplay by Morrie Ryskind and
Anthony Veiller.

Linda, Jean decided impulsively, with her
dozen trunks and Paris clothes.

"Need you be reminded that Mr. Powell's
car is waiting without?" she demanded
fliply. , ^

, "If you were a nicer girl, maybe Mr.
Powell would send his car for you some-
day." Linda etched glamorous lips over
her own somewhat nondescript ones. "You
know, I think I can fix you up with his
chauffeur, he has an awfully nice car too."

"Yes," Jean grinned, "but I understand
that the chauffeur doesn't go as far in his
car as Mr. Powell does."

"Even a chauffeur has to have incentive."
Linda closed her bag with a sharp clip.
"Well, I hope you enjoy your lamb stew
again tonight. I'll be thinking of you while
I'm dining on pheasant borderlaise."

"Well, be sure not to eat the bones and
give yourself away !" Jean shouted after
her, and then she saw Kitty Hamilton com-
ing in, drooping a little and trying hard to
pull herself together when she saw the
other girl standing there.

"It's just one of those days," Kay said
wearily. "Let's sit down and have a good
cry."

"All right, cry on my shoulder." Jean
could be tender with someone she liked as
well as Kay. "I'm going to bathe anyhow."

"No casting today," Kay said slowly. "If
you leave your name and number we'll get
in touch with you. Mr. Powell is not seeing
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that. Somewhere, somehow I had the idea
that I was a pretty good actress."

"Come on, shake out of it," Jean shook
her gently. "Who got all those rave notices
a year ago?"

"That was a year ago." Kay looked un-
comfortable as Mrs. Orcutt crossed the
hall, for she owed three weeks' back rent
with no prospect of paying her. "I don't
know why I'm hanging on, but there's noth-
ing else I can do and nobody I can go back
to— except somebody I'll never go back to."

"Listen, you don't have to go back to
anybody," Jean said hotly. "You're the only
good actress in the club. Something's bound
to come your way. Now look, Kay, I don t
like to butt into your private affairs, but
if it's a matter of a few bucks — "

"Oh Jean," Kay said wildly, "I've got to
get that part in 'Enchanted April.' It's me,
it's my life, no one else can play that part.
It belongs to me. I've got to get it, it just
can't be otherwise. I've got to, I've — " Then
suddenly and without warning she slipped
to the floor and hid her face in Jean's lap.

From the beginning it was Terry's con-
fidence in herself that left her definitely on
the fringe of things at the Footlights Club.
All the others had always known hard ne-
cessity and the drive to make their own
way. Terry thought she was doing that
when she had gone against her father's
wishes and insisted on a stage career for
herself. But always back of her was the
knowledge that she could go home again.
So she could be glib about ideals and in-
tegrity. Of course it didn't mean anything
to her when Jean and Add did an im-
promptu song and dance because they'd
gotten jobs in the chorus of a night club.

To her, that job was a lessening in ideals.
To them, it was food and a roof over their
heads. Failure had never meant more than
a word to her. The others lived with the
fear of it day and night.

So when Terry had flung them that chal-
lenge that she could see Powell if she tried
they took her up on it eagerly. If she lost
it meant she would take them all to lunch.
But it wasn't the lunch that made them
hope she would lose.

Kay had an appointment that day with
Powell, to read the part in "Enchanted
April." It had seemed too good to be true
—and it was. For as Kay came confidently
toward the reception desk the office girl
looked up and said that some unexpected
business had forced the manager to cancel
the appointment.

For a moment Kay stared at her unbe-
ieving. She had used up all the courage
that was left to her in those other days
when she had trudged up and down the
length of Broadway, and so there was none
for her now when she needed it most of all.
Her lips parted as if she was going to say
something, but only that small cry came
as her knees buckled under her and she fell.

Terry saw her lying on the couch in the
receotion room w'hen she came in.

"The doctor called it malnutrition." One
of the girls waiting turned bitterly to Ter-
ry. "That's Latin for not eating. All > she
needs is some good meals. Try and get 'em,
and a good long rest. It's all done with
mirrors. That Powell in there, he's a great
guy. Breaks an appointment with an actress
so he can have his shoes shined."

Terry's eyes widened and for a moment
she stood irresolute. Then her small chin
went up and she walked across the floor,
past the protesting girl at the desk, and
into Powell's office.

"What right have you to barricade your-
self behind doors and refuse to see people?"
she demanded. "Why, the greatest actress
in the world might be sitting out there
and you'd never give her a chance. Do you
know a girl just fainted in your outer office
because you broke an appointment with
her?"

"I'm sorry. I didn't know." Powell swung

away from the boot-black boy to look at
her and his cynical smile came. "Are you
the greatest actress in the world?"

"Never mind about me !" Terry said
hotly. "1 don't need you, but these other
girls do. They work and starve and go with-
out decent clothes in the hope that someday
someone like you will come out of his office
and notice them."

"Well, you're one that can't complain.
Powell gave her a long look. "I've seen
you, and you're not the type. I'd suggest
that you run along and leave me here with
my conscience."

"I doubt very much that you have a con-
science," there was something in Terry's
voice that had never been there before.
An uncertain. y almost, a doubt for the first
time of all the warm things she had known,
such as faith in life and herself and m
security.

She had seen a girl faint because she
was hungry. After that, even secretly pay-
ing for Kay's doctor bills and guaranteeing
her bill with Mrs. Orcutt didn't seem
enough to do. For the first time Terry
saw herself in a far lesser light than she
saw the others.

It hadn't made them like her any more
when they had seen her walk into Powell's
office and they had had to buy her lunch.
And as usual she was left out of the buzz
of excitement that came the night Powell's
flowers arrived for Jean.

Linda had taken the florist's box she
knew so well to Jean herself and Terry
came in just as Linda said, "Don't bother
to read the note. I can tell you what itsays.
'Eleven roses and the twelfth is you.'

"Why should you play with fire just to
spite Linda?" Terry asked as the door
slammed behind the other girl. "By the
way, that's a beautiful ermine cape you're
wearing. Remarkably similar to one of
mine."

Jean's face flushed. "I didn't think you d
be back so soon. I don't want you to think
I intended to borrow it. I just wanted^ to
see how I'd feel in one of these things."

"Do you feel any different?" Terry asked
quietly. And then as the girl's eyes lit up,
"Why don't you wear it?"

"You mean it?"

Terry shrugged: "You may as well go
to perdition in ermine. You're sure to come
back in rags."

Suddenly in spite of herself Jean laughed.
"You know you're funny. In some ways
you're not a bad egg."

It made Terry Seem almost like one of
them, Jean thought as she wrapped the
cape 'around her. Life suddenly was being

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good. That day a few weeks ago when
Powell had come into the room where she
was rehearsing she had seen his eyes light
in quick interest and she had been glib with
him. So glib that he was interested. Even
before she knew, she had guessed she owed
that job in the night club to him, and she
had gone out with him the first time to
spite Linda. But it was different now. She
found herself looking forward to the little
dinners for two in his apartment and she
had liked him for being so frank about the
two pictures so openly displayed on his
desk. The boy in the military school uni-
form was his son, he told her, and the love-
ly woman his wife. She was so happy she
told Terry about them and about the big
sign that was to blazon Jean's name in
lights on Broadway.

It was only after a few weeks that the
glow in her heart began to dim. Powell
was busier than he had been, he wasn't able
to take her to dinner so often ; and Linda
was the first to tell her he had been lunch-
ing with another girl at the Colony.

Terry wondered when the message came
from Powell asking that she come to his
apartment to discuss a part in his new play.

"Are you sure you brought me up here
to discuss this play?" she looked at him
with level uncompromising eyes. "I happen
to be a suspicious person."

Powell smiled. So this was the girl his
new angel had insisted he star in his new
show. If he hadn't needed the backing so
desperately he would have sent her on her
way. That scene in his office still rankled.

"Wouldn't you like to see your name
blazing across the horizon in letters that
big?" he parried.

"It's got to be a good-sized sign. I'm used
to that." Terry leaned towards him. "So
is Jean Maitland. Are you in love with
her?" she demanded suddenly, and then as
he shrugged his shoulders, "I thought so."

"She's just a little girl in whom I took
an interest," Powell laughed deprecatingly.
"As a matter of fact she's becoming some-
thing of a pest. Anyway, what has she got
to do with this? Do you want the part or
don't you?"

"How do you know I can act?" Terry
asked quietly.

"After all, I saw you perform in my
office," he smiled.

"I wasn't performing that day." Terry's
eyes darkened.

He felt uncomfortable and was glad of

the opportunity to get away when the
buzzer sounded at the door. Terry heard
Jean's voice then, torn halfway between
anger and tears, and Powell's voice sud-
denly hard.

As Jean's quick footsteps hurried toward
her Terry sank in front of the divan. If
she was ever going to act, she thought,
this was the time to begin. Now, when she
could still save Jean from this infatuation.

"You'd better hide your face !" The tears
had gone from Jean's voice leaving only
the anger as she looked at Terry. "You

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cheating, double-dealing, double-dyed—"
"Darling," Terry looked up at her im-
ploringly, "I didn't know what I was do-
ing-"

"My own roommate," Jean was shouting
now, "and you preach ideals, so you can
chisel when my back is turned. Well, you
can take your old red fox cape, and I'll
never borrow another thing from you as
long as I live!" She flung the cape to the
floor and turned to Powell. "I hope you two
snakes will be very happy together. I
thought I was in love with you, but I see
my mistake now. I only went out with you
in the first place to spite Linda."

The door slammed behind her, and sud-
denly Terry was convulsed with laughter.

"It's not funny at all." Powell was ir-
ritated. "What do you suppose she thinks?"

"Exactly what I want her to think,"
Terry said slowly. "You see, I happen to
like her."

"She won't like you very much after
this," the man protested.

"She'll see the light in time." Terry
shrugged. "Anyway, I wanted to show you
I can act."

"You're a faker."

"We're both fakers," Terry agreed. "But
you're a bigger one than I am. This young
man is your son, isn't he?" She held out
the photograph of the boy on the desk. "He
must be a lot older than you are because
this photograph has been used to advertise
a certain military academy for a great
many years."

"How did you know?" the man de-
manded.

"My brother went to that academy," she
said lightly as she picked up the other
photograph. "And this lady, whom you pre-
tend is your wife, she's done a lot of pos-
ing for powder ads, hasn't she?"

Suddenly Powell found himself liking
her.

"My dear, you've broken up a very con-
venient marriage !" he laughed — and held
out his hand.

"I think we understand each other," she
agreed gravely.

It was Kay who kept the rest of the girls
from making a scene when they knew Ter-
ry had gotten the part in "Enchanted
April."

"It wasn't my part just because I wanted
to do it." Kay tried to smile. "Last year I
took a part away from another girl who
wanted it. Terry deserves her chance, and
there's enough heartbreak in the theatre
without our hating each other."

And so Terry went on with her rehearsals.
It was harder than she had thought it
would be, those rehearsals. For the first
time doubt of herself crept into her
thoughts. Ann Luther, an actress of the old
school who she had asked to coach her,
believed in her. Terry had need of her
confidence when she saw the incredulous
glances exchanged over her acting and she
held on to it even when Powell left the
theatre in disgust after a rehearsal. But
it was only on opening night that she really
despaired. Somehow she saw then what
she had refused to see before, that she
wasn't really an actress.

Desperately she was going over her lines
in her room before going to the theatre and
it was then the door opened and Kay came
into the room.

"The doctor told you to stay in bed,"
Terry stormed, almost dropping the flowers
she held, but Kay only smiled.

"How do you expect me to stay in bed
with all this excitement going on?" she
asked. And then quickly. "Terry, may I
make a suggestion? The way you hold the
flowers. I always felt that Jeanette would
hold them as she would a child, and when
she says, 'in memory of something that has
died,' she means — "

"Kay, you know this play!" Terry said.

"It's not a play." Kay turned away to
hide the quick tears. "It really happened.
It happened to someone I know. Terry,"
for the first time something almost like
resentment crept into her voice, "this isn't
just your night. It's my night, too. You've
(jot to be a success tonight. You've got to
give a great performance. No matter what
happens !"

Afterward Terry was to know what Kay
meant; afterward just before the curtain
went up and Jean found her in her dressing
room and told her that Kay was dead.

"She jumped before we could stop her!"
Jean cried wildly. "She was lying there all
huddled in the rain. And you're responsible.
It was Kay's part. It was Kay's life. Now
it's too late, she's dead. Kay who never
harmed anyone. And all because you haven't
a heart. Because you're made of ice!

"I'm going to sit out front tonight and
every line you read I'm going to say that
should be Kay's line and every move you
make, I'm going to say that should be
Kay !"

"I'm not going on," Terry said dully as
the door closed behind Jean. "Why didn't
someone tell me? I'd have given up a thou-
sand parts rather than have this happen !"

"Are you going to let Kay down?" Ann
Luther's face was twisting. "You've got to
give the performance she wanted you to
give. Then perhaps wherever she is, you
may bring her peace."

Then somehow Terry was on the stage
and the curtain was lifting, and after that
first black moment she found herself saying"
the familiar lines she had rehearsed so
often. But it was different from all the
other times she had said them, for now
there was poignancy in every move where
before there had been stiffness, and her
words came simply and heartbreakingly
where before they had been meaningless on
her lips. She felt the audience reaching out
to her, felt the stillness that told the others
that a star was being made. But only Terry
knew it was Kay who was walking so slow-
ly across the stage, that it was Kay who
knew the meaning of those words.

And afterward when the house broke into
long applause a man sat silent in his seat.
He had been pointed out when he came into
the theatre and people had whispered, "The
wheat king," and had looked at him en-
viously.

But Henry Sims had failed for the first
time in his life. The money he had poured
into the play would yield an enormous
profit, the money he had thought he was
throwing away to prove to Terry that she
could not act. But what good would that
do now that she had made good — now that
he knew he had lost his daughter.

"My dear, you were simply wonderful,"
Ann Luther said tremulously as Terry ran
into the dressing room.

"That wasn't me out there tonight."
Terry was crying as she pulled her galoshes
on. "I was someone else."

Miss Luther patted her arm. "It's only
after we have suffered that we can make
the audience feel for us," she said sooth-
ingly.

"Does someone have to die to create an
actress?" Terry asked wildly. "Is that what
the theatre demands?" She pulled on her
hat and started for the door.

"But you can't leave now!" Miss Luther
protested. "There'll be people here, the
press, photographers. You're an actress
now. You belong to these people."

"I'm going to see Kay." Terry brushed
off her detaining arm and was gone.

So it was with Kay that Jean found her.
And now there was no longer any need to
ask or give forgiveness. No need for re-
proaches or regrets. Out of heartbreak a
star had been made and out of that same
heartbreak understanding had been built
into friendship.

SCREENLAND

The "Swap" System

Continued from page 27

shall we say talents, yes, I think we shall,
that goes on daily in the market place? Do
they like being considered a lot of chattel
over which their masters are scheming
lucrative trades ? Is Myrna Loy pleased
when she learns that she has been loaned
to another studio in exchange for Loretta
Young? What does Clark Gable think of
being swapped for Paul Muni, and vice
versa ? Is Kenny Baker a little flattered
that his master demanded six kids in ex-
change for him ? Does Leslie Howard think
that he was a fair exchange for Norma
Shearer? Is Carole Lombard pleased when
she learns that she has been traded for
such-and-such an amount of dough? (Stars
are not always swapped for other stars in
the Swap System, often they are swapped
for money. Miriam Hopkins was recently
swapped for a writer — but he was a good
writer. And suave Mr. William Powell
was once swapped for a script. Goldwyn
wanted Dudley Nichols to script "Hurri-
cane" so he loaned Miriam Hopkins to
RKO. Metro wanted "The Great Ziegfeld,"
owned by Universal, so in exchange for it
they loaned William Powell for "My Man
Godfrey.")

It used to be, out in Hollywood, and
this isn't where you came in, that actors
fought like mad over being loaned out to
other studios. They called it being "sold
down the river" and considered it 'way be-
neath their dignity, and until you have met
up with an actor's dignity, honey, you don't
know dignity. In those days producers
signed up stars to make pictures for them,
not to make money on loan-outs, and if an
actor was shuttled back and forth from
Burbank to Culver City to Hollywood it
meant only one thing, alas and alackaday,
he was slipping. But a little picture called
"It Happened One Night" which burst upon
a surprised public, not to mention a sur-
prised Miss Colbert and Mr. Gable, some
four years ago, completely changed all
that. But before I go into the saga of "It
Happened One Night" I should like to
mention, just as sort of an apology for
mys"elf, a conversation that took place at a
dinner party the other night. A director
seated next to me noticed that I was pretty
glum, and commented upon it. I told him
that if he had to write the story of how
stars liked loan-outs in Hollywood without

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FACTS ALL WOMEN SHOULD KNOW

Lehn & Fink Products Corp., Dept. 11-S.
Bloomfield, N. J., U. S. A.

Please send me the book called "LYSOL vs. GERMS",
with facts about feminine hygiene and other uses
of p Lysol". -

Name_

FOR FEMININE HYGIENE

Address^

Copr., 1987 by Lehn & Fink FroductB Corp.
TUNE IN on Dr. Allan Roy Dafoe Every Monday, Wednesday and Friday 4:45 P. M. E. S. T. Columbia Networl .

SCREENLAND 85

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mentioning "It Happened One Night" he'd
have the glums too.

"But why not mention 'It Happened One
Night'?" he asked in exasperation. "After
all, it started the thing."

"But," I argued weakly, "I've written
that story."

"Surely you can write the same story
twice," he said with a shrug. "I've directed
the same story ten times."

If a guy who gets three thousand a week
can repeat, so can I — so hold your hats,
folks, here we go merrily into "It Hap-
pened One Night" again. Harry Cohn's
little studio, Columbia to you, wasn't con-
sidered very chic in those days — no bath-
rooms in the dressing-rooms or anything —
and no star of any social standing wanted
to be loaned out to Columbia. But Mr.
Cohn had a good script and a good direc-
tor and he was anxious to make something
of it, so he practically burst a blood ves-
sel trying to borrow a couple of stars to
put it over. Through a bit of phenagling he
finally borrowed Clark Gable from Metro.
Clark's box office value wasn't so good
just then and it was the consensus1 of opin-
ion that he was slipping anyway so a loan-
out couldn't hurt him. Not a single feminine
star in the industry snapped up the role
opposite him (some difference now, eh
what?). After the script had been kicked
around until it was dog-eared and moth-
eaten by a whole slue of Glamor Girls,
Claudette Colbert finally decided to take a
fling at it. After all, what could she lose —
milk baths for Mr. DeMille, cavortmgs
with Jimmy Durante, and fine talk with
Clive Brook weren't getting her any place.
And besides, there was no Gable, even a
"slipping" Gable, on the Paramount lot. As
you well know "It Happened One Night"
turned out to be the hit picture of the
decade, it made Hollywood history, it won
awards for everybody, and tossed Claudette
and Clark right into the Big Ten (box of-
fice popularity), where jostled on the right
by Shirley Temple and on the left by Dick
Powell, they have been ever since. Mr.
Cohn made so much money he not only put
in bathrooms, but pent houses!

But of course the thing we are interested
in primarily is that it completely changed
the Swap System. Stars no longer men-
tioned being "sold down the river" with
wounded dignity; on the contrary they
made a special little prayer every night that
Mr. Goldwyn or Mr. Cohn or Mr. Mayer
or Mr. Somebody would borrow them.
Everybody said, "If Colbert and Gable can
do it, I can do it too." Then too, Bette
Davis who had been just so-so on the War-
ners lot was loaned to RKO for "Of Hu-
man Bondage," which picture proceeded to
establish Bette as Hollywood's great dra-
matic star. Janet Gaynor after years of
sickening saccharine roles at Fox was
loaned to Metro to do "Small Town Girl'
with Robert Taylor, and from then on the
little Gaynor's stock started zooming ter-
rifically. Carole Lombard was loaned by
Paramount to Universal to co-star with
William Powell in "My Man Godfrey" and
immediately became one of the leading
comediennes of the screen. The line forms
on the right to borrow Miss Lombard to-
day. And of course this brief summary
wouldn't be complete without mentioning
that Barbara Stanwyck and Anne Shirley
on a loan-out from RKO have a hit picture
in Samuel Goldwyn's "Stella Dallas" which
has made them ten times more valuable
than ever before. RKO never paid very
much attention to little Anne Shirley but
since her success in "Stella Dallas" they
are looking frantically for "A" pictures in
which to star her. And Barbara Stanwyck,
thanks to "Stella," now becomes one of
Hollywood's leading stars, a spot she should
have had long ago but for the lemons her
home lots handed her.

So quite, quite naturally, it is the dream
of every star in Hollywood, with few ex-

SCREENLAND

ceptions which we won't go into, to be
borrowed and catapulted to popularity over-
night. But even without the gamble^ of
fame and fortune in it the stars love visit-
ing because the hostess studio always gets
out the best china and the linen sheets.
They are accepted as a matter of course at
their own studio but once they go visiting
they automatically become important guests.
And they love the feeling. The publicity de-
partment on their home lot either treats
them as pals or poisons but the publicity
department of the studio where they are
visiting consults them reverently on every-
thing, and so great is the bowing and scrap-
ing that they soon begin to believe that they
are royalty. Movie stars who have been

Gossip note in pictures! Wayne Morris
and Frances Bacon, daughter of Di-
rector Lloyd Bacon, are holding hands.

treated like pals or poisons for months on
end simply eat up that royalty touch. Pity
the home lot when they return.

About the most expensive loan-out in
Hollywood (and we aren't Speaking of
salaries), was when Goldwyn borrowed
Mary Astor from Columbia to play in
"Dodsworth." Mary's divorce trial, featur-
ing the famous diary, came up at that time
and of course every reporter and pho-
tographer in town wanted to get to Mary
Astor. In fact they poured in from towns
thousands of miles away. Goldwyn had
to pay a whole army of policemen to stand
at the studio gates and the stage door to
protect Mary Astor from the Press. Mary s
home lot might not have been so consid-
erate—armed guards do cost money.

During the past summer Irene Dunne
left her small, dark dressing-room at Para-
mount and moved right into a pent house
at Columbia— a pent house so magnificent,
and so well equipped with everything in-
cluding a sun porch that when she returns

Second honeymoon. That's what Sally Eilers called the trip she and her husband, Harry
Joe Brown, made to Europe. Here they are landing home again, and very happy.

sleep as late as you wish, and ring for
whatever you want when you want it." He
paused, and looked rather plaintive. "Don't
you want to play golf tomorrow morning?"
he enquired.

Hang it all ! I felt sorry for Bing. Larry
didn't look as though he wanted to drag
himself from his bed to play golf. The
words of a childhood poem came into my
head :

"I will !" a gallant soldier said,
"I'll win the pass or die!"
And dashed into the middle of the
fray !

I dashed into the middle of the fray.
"I'd be awfully glad to go around with
you, Bing," I bleated, "but I didn't bring
any golf tools."

"Oh, that's easy," beamed Bing. "I've
loads of 'em. It's a date, then !" And off
he went to bed.

Normally, I'm not fit to speak to before
eleven, but I was called at six-thirty, and
hoisted myself from bed. At a few min-
utes before seven, I looked out of the win-
pAo-nnj 'Riner was on the lawn with Gary and

And for some sira"nge reason,' prooaufy
because she believes that at last she is go-
ing to appear in a picture that will "make"
her, nearly every star puts on her best
manners when she goes visiting. Frances
Farmer and Paramount didn't get along at
all — Frances was stamped as "difficult"—
but on the Goldwyn lot she was sweetness
personified. Metro heard that Janet Gaynor
and Loretta Young were very snooty and
wouldn't co-operate at all. But when Janet
arrived at Metro a petrified publicity de-
partment found her as* frolicsome as a kit-
ten, she had the set cluttered up with the
Press, brought cookies from home, and had
a hell of a time — she who used to work in
the great silences when she was Queen of
the Fox lot. And many a star who wouldn't
think of giving out interviews to help the

publicity of her picture on her home lot
will simply call in the Press for a gab fest
when she goes' visiting.

After years of being called "Claudette"
and "Toots" and "Hey You" by the studio
people on the Paramount lot and being
considered a swell person and one of the
gang, Claudette nearly fainted when she
arrived at Warner Brothers for "Tovarich"
and heard herself being called "Miss Col-
bert" by everybody from the prop boy to
Jack Warner. "And just imagine," said

Joan Blondell on loan-out to Walter Wan-
ger for "Stand-In" from Warner Brothers,
"they even ask me here if I feel like work-
ing! Me who had to do close-ups for
Warners before I could leave my bed after
an appendix operation !"

Yes, the stars are all for bigger and bet-
ter swaps. If it doesn't turn out to be the
picture they've been praying for, well, at
least they've had a comfortable dressing-
room and a lot of politeness. And Walter
Wanger always sends flowers !

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Paris . . . London . . . New York . . Toronto . . Buenos Aires . . Berli

SCREENLAND

TAKE HO CHANCES

with V* WayTooth Pastes

A Week-End with
Bing Crosby

Continued from page 25

!ne
:er

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BOTHJOBS* SAYEg QUMS

"I PREFER SITROUX TISSUES
...they cleanse better!"

"What?" I,
"Gary, darling," put in Dixie, wheik
you don't hear what is said to you, please,
don't say 'What?' say 'I beg your pardon.V
And now I think you'd better > wash yours
hands, it must be your tea time."

A puckish little grimace from Gary. "I-
beg your pardon," he murmured, in his-
mother's well modulated tone, "I didn't hearl
what you said 1" [
Then the twins opined that they would-
sing, but Dixie is not a mother who holdsa;
with "performing" children, so she shot a-
quick glance at the nurse who marchedo
them off to nursery tea. We visited theme
later, when they were ready for bed. Th/o.
nursery is a gay place, bright with Mothe.->d
Goose pictures, and things in chintz, on-
something. It has its own kitchen adjoin-
ing, and everything is so sanitary that you
keep wondering whether you could possibly
have a lurking germ about you.

The living room is a huge affair — all
windows; deep, comfortable chairs, and
solid, low tables which are meant to be
used'. Suddenly, servants produced, and be-
gan to lay a large table at one end of the
room. "We haven't any dining room," Dixie
explained. "We always eat in here." The
only other guests were Larry Crosby
(Bing's brother) and his wife, and John
("Pennies from Heaven") Burke, Bing's
favorite lyric writer.

Bing was expounding about the joys of
the wooded countryside. The land is heavily
timbered, and he assured me it abounded
in doves and 'possums. The hunting, he
beamed, was fine ! I must come and join him
sometime.

"Hunting?" I queried, wide-eyed. "I'd no
idea you had any foxes in this part of
the country."

"Foxes?" Bing looked blank. Then he
burst into a roar of laughter. "Oh you
Britishers, you have different names for
everything. No, when we go hunting, we
take guns out, and shoot things."

"Then why can't you say you're going
shooting. That's exactly what you are do-
ing, isn't it?" I countered. Here, Larry
Crosby leaned over to my chair.

"Remind me to tell you a story about
Bing's 'possum hunt — , I mean, shooting,"
he whispered. A few minutes later, the op-
portunity arrived, and Larry confided a
story which may surprise Bing when he
reads it in Screenland.

. . says beautiful
RUTH COLEMAN
Paramount Player

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ceptions which we won't go into, to be
borrowed and catapulted to popularity over-
night. But even without the gamble of
fame and fortune in it the Stars love visit-
ing because the hostess studio always gets
out the best china and the linen sheets.
They are accepted as a matter of course at
their own studio but once they go visiting
they automatically become important guests.
And they love the feeling. The publicity de-
partment on their home lot either treats
them as pals or poisons but the publicity
department of the studio where they are
visiting consults them reverently on every-
thing, and so great is the bowing and scrap-
ing that they soon begin to believe that they
are royalty. Movie stars who have been

Frances Gifford, above, is regarded
a real find by her studio — RKO.

It seems that Bing had had one or two
unsuccessful 'possum shoots, and Larry
thought something should be done about it.
Chatting with Oscar, the Paramount shoe-
shiner, he learnt that Oscar supports, of all
things, a 'possum farm ! Well, Larry bought
a 'possum from Oscar, put it in a box, and
hid it in Bing's stable. Sure enough, next
day, out went Bing 'possum shooting, only
to return a couple of hours later, hot, tired,
dusty, and scratched, but singularly 'pos-
sumless. He threw himself into a chair to
rest, only to be startled by a loud BANG
a few feet away. He rushed out, and found
Larry, smoking gun in hand, viewing a
dead 'possum, with the air of a nonchalant
nimrod.

"Where did you kill it?" demanded Bing.

"Oh, just near the front porch," re-
turned Larry with perfect truth. "When I
go out after 'possum, I get 'em." Bing was
fit to be tied, and this is the first inkling he
has ever had of this story. I hope that
brotherly love will still continue I

"What's for dinner?" Bing was asking
Dixie.

"Fried chicken," she replied, with a trace
of wifely patience in her voice. "You may
have Mulligan stew tomorrow." She turned
to me with a smile. "If Bing doesn't have
either fried chicken or Mulligan stew, he
simply thinks he hasn't eaten! I only hope
that the menu at our house doesn't become
too monotonous for other people."

"Fried chicken," crooned Bing, dreamily,
with satisfaction.

There was not only fried chicken; there
were corn bread, small, bun-like things with
honey, mashed potatoes, corn custard, new-
green beans, salad (at least, I think there
was salad but couldn't be sure because my
attention was completely absorbed in straw-
berry shortcake — a most excellent institu-
tion). Dixie is a southerner. Southerners
really have awfully good things to eat.

There followed an evening of casual
cards, of masculine conversation of golf
and horses. In a corner, a radio crooned
softly, to w-hich Bing gave an ear from
time to time. "I like to hear other fellows
on the air," he said. "I've never listened to
Dixie, and neither of us has ever visited
the other on a set, or in a broadcasting
station. Once in a while, at home, we sud-
denly feel like singing together, and then
we are pretty lusty about it, for a few
minutes. Neither of 'us can read music, and
neither of us feels like indulging in solos
about the house. I think it makes life easier
for both of us."

About ten o'clock, Bing rose. "I'm going
to bed," he announced. He turned to me.
"You do whatever you want to do. I have
breakfast at seven, and then I'm to play
golf. Join me, if you'd like to. If you don't,

Screenland

sleep as late as you wish, and ring for
whatever you want when you want it." He
paused, and looked rather plaintive. "Don't
you want to play golf tomorrow morning?"
he enquired.

Hang it all! I felt sorry for Bing. Larry
didn't look as though he wanted to drag
himself from his bed to play golf. The
words of a childhood poem came into my
head :

"I will!" a gallant soldier said,
"I'll win the pass or die!"
And dashed into the middle of the
fray !

I dashed into the middle of the fray.

"I'd be awfully glad to go around with
you, Bing," I bleated, "but I didn't bring
any golf tools."

"Oh, that's easy," beamed Bing. "I've
loads of 'em. It's a date, then!" And off
he went to bed.

Normally, I'm not fit to speak to before
eleven, but I was called at six-thirty, and
hoisted myself from bed. At a few min-
utes before seven, I looked out of the win-
dow. Bing was on the lawn with Gary and
the twins. So far as I could see, he was do-
ing his darndest to turn them into acrobats.
Bing was on all fours, and directly one
child was firmly established on his back,
Bing would buck. The lawn seemed to be
strewn with little Crosbys, all shrieking
with delight.

Bing refuses to get dressed or comb his
hair until he is good and ready. His morn-
ing costume consists of a deplorably de-
crepit sweater, covered with ancient overalls .
of old frontier days vintage; the whole is
surmounted by a seaman's battered cap.
When he goes out to the race track, he is
accompanied by his stand-in (and school
friend), Leo Lynn, who transports' Bing's
clothes, and a brush and comb. Just be-
fore the first race, Bing will graciously
consent to dress, and present himself to the
public as the public is accustomed to see
him.

I found Bing, bright-eyed, alert, and full
of joie de vivre. He consumed some orange
juice, a few hot cakes, and finished with
eggs and bacon. He then produced some
golf clubs for me and we set forth. Now
let me tell you, Bing is Moviedom's number
one golfer. When he shoots an eighty, he is
off his game. I'm not making excuses for
myself, mind you, but, after all, they were
Bing's clubs. Bing was down with a par
four at the first hole. I shot a very snappy
eight! And so it went. I think Bing went
'round in 78. I think I took 115, but I didn't
count very carefully after the first nine
holes.

We went to the club house, showered,
and whiled away an hour, while Bing ex-
changed pleasantries with (it seemed) sev-
eral hundred other members. I wanted to
get back to the house and lie down. I'm a
sedentary bloke. To my relief, Bing rose.

"Let's go down to the race track, and
then we'll go home to lunch," he suggested.
I raised my creaking bones' with a sinking
heart.

"Fine," I said, with the fortitude of an
empire builder ; "let's go."

Well, there were the horses' — a barn full
of 'em; just as we'd left 'em the day be-
fore. They were still there. But Bing had to
look at 'em.

Oh, how welcome lunch was ! Cold baked
ham, potato salad, and several other things.
After lunch, I pictured myself in a nice
chaise longue, with a pipe.

But it was not to be. Up the driveway
came one of the most monumental trucks
I've ever seen. Bing sprang up.

"Oh, here are my oats," he said, "ten
tons of 'em. Got a nice fat reduction in
price by buying ten tons'. Come on, you
fellows."

Larry sat on, looking, I thought, smugly
wise. John Burke and I followed Bing

James Dunn,
Columbia star
now appearing
in "Venus
Makes Trouble".

"I MET THEM ON SHIPBOARD —
Tom and Sally Roberts, on theit honey-
moon. They seemed ideally suited . . .

"IMAGINE MY SURPRISE, then, to
find Sally alone on deck one night— hud-
dled in a corner crying her heart out . . .

"SHE TOLD ME HER TROUBLES -
said Tom seemed to be tiring of her
...He was always finding fault with
her appearance and he didn't even
care about kissing her any more-..

"JUDGING TOM BY OTHER MEN —
who are always repelled by dry, rough
lips— I dropped a prettybroad hintabout
the lipstick that I've heard so many girls
•praising for its Beauty -Cream base ..."

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SCREENLAND

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meekly. The truck was backing up to the
stables. About fifty feet away, Bing yelled
to the driver to stop. "You can't get any
nearer, without damaging the trees." He
surveyed his forces — two stable boys", John
Burke, and myself. "Now, all hands on
deck. I'll get on the truck. You fellows
take the sacks from me, and stack 'em in
the stables."

"Why don't you let me get on the truck,
Bfng?" I protested.

But Bing, apparently, didn't hear me. His
face was a study in bland innocence. He
mounted the truck, and began moving the
sacks a few inches on to our backs. We
then humped them the fifty feet to the
stables, and came back for more, goaded
by Bing's complaints that we were so slow !
I didn't see a bead of perspiration on his
brow when we were through. Oh yes, be-
lieve it or not, we finished thejob. After
which, Bing suggested a swim in the pool.

Dixie came out and watched us cavort.

"Did you get the oats in, Mr. President?"
she sang out to Bing.

"Oh yes, Mrs. President, / got the oats
in!"

After we were clothed, I said, weakly,
it was time I was getting home. Bing pro-
tested.

"I'm going 'possum hunt — , I mean shoot-
ing, tomorrow. Why don't you come along.
Glad to lend you a gun. Besides, you can't
miss the Mulligan tonight. And then I
plan to . . ."

I don't know what he had planned, but.
in due course, I found my foot on the
starting button of my car, and I steered my
way northward to Hollywood. How good
the upholstery of that car felt.

But don't get me wrong. Bing is a
sportsman and a gentleman. I really had a
good time. (When are you going to ask
me again, Bing?)

REMOVE CORNS ROOT AND ALL

» A plug ot dead cells root-like In form and position. If
lelt may serve as focal point tor renewed development.

Leslie Howard's
One-Man Show

Continued from page 33

is the best there is, and you needn't stop
to reload every few minutes. _ _

"I prefer to do my own printing, but
it can't be managed very well while I'm
traveling and living in rented houses ; still,
I do my best with the chaps who take care
of my work, explaining what I want. Some-
times they get the idea, sometimes not. In
this picture of my daughter and myself
against the Washington monument, I had
to have them print it three times before
they understood that I wanted us in silhou-
ette against the pure white of the monu-
ment." , .

From a crammed suitcase beside him.
the actor selected a print of himself and
little Leslie, his daughter.

"I set -the camera for that shot and had
a friend make it for us, and I like the
result.

"My child had never flown up to that
time, and she wanted so much to go some-
where in a plane, so one day while I was
doing 'Hamlet' in New York, I decided
to take her to Washington by air. She was
thrilled with her trip and with our sight-
seeing, and especially so with the fact that
we could fly back to New York in plenty
of time for the performance.

"Here's a shot I made of her looking up
at the statue of Lincoln. It isn't so good
in composition as others I made of the
statue itself, but I like the human interest
note of the child looking up."

The contents of the suitcase were aug-
mented by numerous envelopes containing
enlargements of prints, some done with
etching masks that turned the prints into
what seemed to be hand-made sketches.

Yes, one of these days there is to be a
One Man Show of the Howard camera
studies. So many people have urged it that
it is now beginning to seem a good idea.
The prints in Screenland can, of course,
only give you a faint idea of the finished
beauty of the pictures.

"As a rule," my host observed, elbow-
deep in his scattered prints, "I don't care
for pictures made on Hollywood sets.
There's something so patently 'picture'
about them, and pretty girls and handsome
men don't interest me. 'Romeo and Juliet'
was different. It lent itself to the sort of
thing I like. For example, this shot is
authentically Italian. You could believe you
were in Italy rather than on a set." He
extended a print of tables, glasses, shadows
on an ancient wall.

"The shadows beyond the extra girl in
costume make this one interesting, the in-

Loretta Young, Warner Baxter, and
Virginia Bruce, respectively "Wife,
Doctor and Nurse" in a new picture.

formality of the group of extras, in this;
the face of the old woman in the fore-
ground of this one ; the feeling of the per-
iod in some of the others. But a production
like this is rare.

"While I was touring with 'Hamlet,' I
used to try to get shots from the wings,
or to have someone shoot from the house
while I was on the stage (after I'd set
the camera and arranged the angle and so
on), but I doubt if they are light enough
for reproduction. They enlarge beautifully,
though, and I hope to use a few of them
in my 'show.'

"I made a number of shots on the spe-
cial train we used during the tour, using
no light except that coming through the
windows. I rather like this study of a
friend about to order a meal. He didn't
know what was happening until I shot,
which explains his expression.

"Self-consciousness, of course, is the foe
of cameramen. It will be nice when they
perfect something that will take excellent
pictures when the subject is unaware. I've
just bought my child one of those tiny
things you can hold in your hand, unob-
trusively, but I doubt if the lens is fine
enough for my purpose.

"I remember, several years ago, they
got out a camera in the form of a watch ;
when you wound the stem you got your
picture, and anyone noticing you thought
you merely had an odd time-piece. But the
lens wasn't quick enough. Unless you told
them to 'hold it,' your subjects moved and
ruined the shot.

"Now they have a gadget you can put
on your little Leica. so that you can seem

Screenland

to be looking one way, while you take a
picture at right angles. I might seem to
be looking up at the house, while actually
I was stealing a picture of you, at my
right.

"However, my problems aren't usually
concerned with people. They are mainly
composition, catching moving objects or
birds in flight, finding the best spot for
my city shots, and so on.

"In these shots of sea gulls, we were up
at the top floor of a high building in San
Francisco, throwing bread up in the air
to attract the gulls, who swooped and flew
after it." The enlargements of these shots
show even the detail of color in the wings.

"I always use filters outdoors. When I
wish to make what will seem to be a night
shot, in moonlight, I take a dark red filter.
Here are some rather dramatic shots of the
sea breaking against rocks in what appears
to be moonlight.

"An orange or yellow filter is best, I
find, for ordinary daytime shots. It takes
away the glare and gives you the detail
of cloud or shadow. My Bermuda and San
Francisco shots were done with orange
filters. The sun in Bermuda is so intense
that even with the filter the walls are too
white. This shot is so intense that even
with the filter the walls are too white.
This shot of San Francisco, taken from
the roof of a building on one of the high-
est hills, is my pet. See the puffs of cloud,
the bridge in the distance, and the shadows
on the streets !"

It takes patience to make pictures. One
day, the actor lay down close to the sand
on the beach for hours waiting for just
the right wave to break on the shore, so
that the composition of his picture — one
of black rock, yellow sand, blue serene
sky and white breakers — would suit him.

"The idea in making a picture is to
get a mood, sometimes. Take these shots
made at Hugh Walpole's home in the Eng-
lish lake country. It rained all the time
we were there, and the country seemed
sad, sometimes ominous, sometimes deso-
late-looking, sometimes almost terrifying.
This one of my son, armed like a real
Howard with his own camera, enlarges
with an almost Bronte feeling.

"These shots of my home town, Dunster,
are definitely English, but somehow in
Hollywood they look like shots on a mo-
tion picture set. This is true of the view
of Linton, with the castle in the distance,
but the shot with the water in the fore-
ground loses that false feeling."

Shooting against the sun on a bright
day will give you interesting results. One
of the actor's favorite pictures is taken
outside the special train for "Hamlet" com-
pany, in late afternoon, at a midwestern
stop, when the combination of snow, train
smoke, and exhaust steam gives something
delightfully different.

A red filter used on the snow scenes
from the train window gives the right con-
trast to the water and shadows, the expert
explained. Etching masks on such scenes
do wonders for the picture.

"I like the mood of this shot of New
York, made from the top deck of our boat
as we came in. It was foggy and the city
looks like something imagined instead of
something real."

Just now, Mr. Howard's fancy has turned
to color film to be projected on a screen,
since as yet no process of printing has
been found satisfactory.

"The problems of composition are not
the same as those of the black-and-white
picture. It's like turning from charcoal
sketching to water colors or oils. It's in-
teresting. I'm sorry Screenland can't see
my desert flowers, or some of the San
Francisco water shots. Better than techni-
color; much better."

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Screen land

ARE YOU ONLY A
THREE-QUARTER WIFE?

TITERE are certain things a
■woman lias to put up with and
be a good sport.

Men, because they are men, can
nover understand a three-quarter
wife— a wife who is all love and
kindness three weeks in a month
and a hell cat the rest of the time.

No matter how your back aches
— no matter how loudly your
nerves scream — don't take it out
on your husband.

For three generations one woman
has told another how to go "smil-
ing through" with Lydia E. Pink-
ham's Vegetable Compound. It
helps Nature tone up the system,
thus lessening the discomforts from
the functional disorders which
women must endure in the three
ordeals of life: 1. Turning from
girlhood to womanhood. 2. Pre-
paring for motherhood. 3. Ap-
proaching "middle age."

Don't be a three-quarter wife,
take LYDIA E. PINKHAM'S
VEGETABLE COMPOUND and
Go "Smiling Through."

Inside the Stars' Homes

Continued from page 19

WOMEN WONTED

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FEMALE

Address envelopes at home for national
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young actress, "but I've always been glad.
Talking about food, though, in New
Orleans we bave a dish called Creole
gumbo, made of red beans and rice with
Creole sauce— maybe you can't get red
beans anvwhere else. Perhaps Suedell had
better tell you about her Creole soup
instead."

CREOLE SOUP
Wash and cut into slices l/2 dozen good-
sized turnips, adding a can of tomatoes
(Campbells), 2 tablespoons of sweet red
peppers, y2 teaspoon of allspice (Burnetts),
1 sliced onion, scant teaspoon salt, 4 whole
cloves, and 1 large tablespoon butter.
Place the ingredients over the fire, cover-
ing with water, bring to the boiling point
and cook until the vegetables are very
tender ; now strain and keep hot where it
will not boil. Heat 1 pint of rich milk in
the double-boiler, thickening with 1 level
tablespoon flour moistened with a little
cream ; be sure that the cream sauce boils ;
turn the vegetable puree into a heated
tureen, stir in a tiny pinch of baking soda
to prevent curdling and very gradually
pour in the sauce, stirring constantly.
Serve immediately.

Suedell added a recipe for lobster cutlets,
which she recommends to all who have
delicate appetites to cater for.

LOBSTER CUTLETS

Mix 3 cups of chopped, cooked lobster
meat with 1 teaspoon salt, dash of cayenne
pepper, 3 teaspoons lemon juice, the beaten
yolks' of 2 eggs, V/i teaspoons chopped
parsley, and 1}2 cups of hot, thick, white
sauce. Mix well and spread out on a plate
to cool. When cold shape in the form of
small cutlets. Dip in cracker crumbs, then
dip in beaten egg and then dip in fine
bread crumbs, fry in deep hot fat. Dram
and serve on small plates covered with
watercress. Serve tartar sauce separate.

We went up the blue-carpeted stairway
to the second floor, where we peeped into
Dorothy's bedroom, an apartment fit for a
queen where the wide eighteenth century
French bed is set on a dais carpeted in blue.
The bed is draped in ivory satin lined in
blue and is matched by a dresser.

"But you must see the Hawaiian room !"
cried my hostess, "It's the playroom and
we have such good times in it. It's the
ideal place for a buffet supper because we
have the bar for the buffet."

Once inside the room, you can hardly
believe it is a room in a modern apartment.

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The ceiling is thatched with palm leaves,
the walls are lined with bamboo, the bar is
of bamboo and so arc the furniture and
lamps. There's a grass rug on the floor
and a case full of coral specimens. At
either end of the bar hang red and green
lanterns, and under these are dolls pre-
sented to Dorothy as favors — one being a
replica of herself in "High, Wide and
Handsome."

"I've never been to Hawaii or to the
South Seas, but I'd love to go," sighed
Dorothv. "That's one reason why I de-
signed this room. 1 did it after I became
a South Sea Islander in 'Hurricane,' and
now that I've been working in this sort of
atmosphere for weeks, it seems more home-
like than ever.

"If you aren't serving liquor, there? a
grand fruit cup you can serve for a buffet,
that belongs in this room. It's Fruit Cup
Kailua, and you serve it with Ry-Crisp
wafers spread with cream cheese, parsley
butter or minced ham."

FRUIT CUP KAILUA
Mix 1 cup of Dole's diced pineapple with
3 peeled and diced oranges, 3 peeled and
diced bananas, 3 tablespoons fine sugar, and
1 cup of grated cocoanut (Bakers J ; fill
champagne glasses nearly full with the
mixture, over the top spread grape ice and
top with a Maraschino cherry.

Mrs. Lamour drew me aside to show me
a photograph of her son-in-law, when we
came downstairs again. Herbie Kay is a
handsome young man, and apparently has
the sincere admiration of his mother-in-
law.

"He's the most unselfish, delightful man
I have ever known," said Dorothy's mother.
"Some husbands try to hold their wives
back, but Herbie has always wanted
Dorothy to succeed, to have whatever she
wanted. I remember the night they met.
Dorothy had been asked to sing at the
Hotel Morrison as an amateur, and for
the first time in her life she forgot the
words of her song and felt disgraced, as
she sat down.

"Herbie was in the dining-room and sent
a note to her asking if he might see her.
Then he suggested that she come to him
for an audition, and he gave her a job.
I've always felt it was love at first sight,
though it was three years before they
married."

By that time Dorothy had returned from
a summons to the telephone.

"As to what we do at my parties," she
said, "we sit and talk, or we sing, and now
and then we play games.

"When Herbie can arrange to live in
Hollywood altogether — which I hope will
be soon— we'll take a bigger house, with
grounds and more room to entertain. But
until then, we're informal !"

SONG POEMS WANTED

TO BE SET TO MUSIC

Free Examination. Send Your Poems To

J. CHAS. McNEIL

BACHELOR OF MUSIC
4153-V South Van Ness Los Angeles, lalit.

Dorothy Lamour speaking! After "The Hurricane" Dorothy enjoys a nice com-
fortable day off, and does all her visiting by telephone from her own bedroom.

SCREENLAND

My Life

Continued from page 61

grandmother to move West to an apart-
ment near where I roomed. From that
time on I have been in absolute earnest.

When the coach at Metro arranged for
me to enact the juvenile lead, not more than
a walk-through role really, in a play at the
Hollywood Playhouse I imagined I'd be
signed by the studio for sure. I didn't have
stage fright and I wasn't considered bad.
Still, no contract. It was eight months alto-
gether before I was handed a Metro con-
tract.

What happened next has never ceas"ed to
amaze me. When I was put on the payroll
I was immediately loaned to Fox — where I
had been turned down so flat — for the
juvenile lead in one of their big produc-
tions ! My first screen part was in Will
Rogers' "Handy Andy." I was nervous as
the devil, believe me. And then Will Rogers'
ad-libbed often and those in his casts had
to be able to speak up sensibly when he
ignored the script. But I do all my floor-
walking at home, what's the use of annoying-
people with your worrying? I nearly wore
out the carpet in that rented room of mine.
No, I didn't go grand and foresake it for a
whole year— after all, I started at thirty-
five dollars a week.

The picture was finished before I could
realize it. I'd tried to put into effect the
things I had studied with Metro's coach —
tried to walk and talk correctly. I was
inclined, naturally, to over-act ; I attempted
to tone down my gestures. Will Rogers'
geniality was no longer a daily treat and
I was neither sensational nor terrible. So I
was loaned out again, to Universal, for a

Seeing's believing! Buddy Ebsen makes
sure Charles Igor Gorin produces
that volume unaided by a loud-speaker.

similar part. With the same denouement.
Metro decided to put me in a series of
"Crime Doesn't Pay" shorts, melodramatic
chapters of life in the raw. They furnished
excellent camera experience. Then I did
rate my big break — I was called to the front
office one afternoon and informed that I
would appear opposite Virginia Bruce in
"Society Doctor."

My greatest Hollywood thrill unquestion-
ably was the preview of "Society Doctor."

I felt, you see, that it would tell the tale
of whether I could deliver a decent per-
formance if given the breaks. The secret
showing was" at the Fox-Wilshire Theatre.
My mother's home is near there now and
everytime I pass that theatre I get a lift in-
side. I took mother that night. I was awful !
Why in the name of all the blessed saints
hadn't I been better ? Now they were near-
ing the love scenes. Would the audience
snicker? There I was, strangely up there
on that screen, and — why, no one was hiss-
ing. What was the undercurrent of sym-
pathy for the character I was interpreting ?
They liked him ! They were with him, for
him 1 He'd been doing everything wrong,
and yet — well maybe he was all right?
When the lights went on and the audience
clapped enthusiastically, when I escorted
my mother out through the crowd and
someone asked for an autograph — ! The
glow lingers on, I'm afraid.

It has been work and more work ever
since, the kind of work I have come to
love. Better roles in more important films,
perpetual digging to improve every poten-
tial facet of a performance. Sometimes I
have been disappointed temporarily in cer-
tain assignments. It isn't fun to repeat; I
would rather be given a character who
means something, of course, and try to play
a man who is an individual shaped by his
particular destiny. I am looking forward to
doing a picture with Spencer Tracy and
nope I may someday work with Clark
Gable. I have tremendous admiration for
both of them, professionally and personally.
I'm anxious, also, for a crack at some
rough-and-ready action plots. The story I
am keenest to do is "Gunga Din."

And now as to whether Hollywood is
worth-while. Hollywood has not disillu-
sioned me. On the contrary, I am very ap-
preciative to it for its opportunities and

Always have a supply of
gum on hand. Your druggist will
gladly serve you. Just ask for:

ifc c/ogett packaged o£!bou6& Mint

SCREENLAND

HOLLYWOOD'S

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exceptional rewards. I like the city, the
picture game, and the constant excitement
which rocs hand-in-hand with being an
actor. There are never any dull moments.
One is never "set"— in Hollywood you have
to prove yourself continuously and I enjoy
the challenge.

When I left my single room I moved to
an apartment which I shared with Don
Milo, the first close friend I made in Holly-
wood. He is an aspiring actor, too, and so
we've had much in common. He has a flair
for brightening up even casual remarks
and I like to be around people who can
laugh easily. They cheer me up.

Yes. I am moody. But when I have
friends who snap me out of the blues I
don't succumb to them as often.

Don and I, I remember, hired a Chinese
boy to cook and keep house for us. It was
the first step up and we were thrilled at
such evidence of our progress. I made my
friendly contacts at the studio, for I was
there most of the time and the people there
talked the language I was endeavoring to
master. Once I started to work steadily I
was never lonesome again. I never had
time to be.

Eventually I wanted more room, so I
rented a cottage in Beverly Hills. It isn't
more than a cottage, literally, and there is
no swimming pool in the backyard. I must
confess to a badminton net, though 1 Here I
have one faithful servant who is house-
keeper, valet, and general assistant. I do
not intend to build a home for some time
yet. It will be nice, someday, to have a
private gym; but the spare bedroom has
had its bed removed and is doing gym
duty satisfactorily. It will be pleasant, I
am sure, to have a larger place where I
can entertain. But that belongs to a future
chapter — tomorrow's which includes mar-
riage and a family! Meanwhile, I am not
trying to put on any airs ; whenever I en-
tertain I take my friends to dinner at some
hotel.

I have always seemed to get along well
enough with people, but candidly, I am not
very social. I never wanted to have double-
dates, for instance. I find that knowing a
few true friends well is more to my liking
than endeavoring to be a gay bachelor could
be.

The only disadvantage I can think of to
blame on Hollywood life is the publicity
pressure. It was a shock for me when I
discovered that all the personal details of
my everyday living were bound to be dis-
cussed. Not that I mind having what I do
or chance to say commented upon. I have
no want-to-be-a-mystery obsession. But
when you acquire a degree of film success
you trade your freedom for it; you are
gradually forced to curb your adventurous
spirit. I am impulsive by nature— but I
rarely dare to be anymore. There is that
bugaboo: But What Will People Think?
And it isn't sheer conceit; I never stopped
to worry about comments until I overheard
a few!

In this connection it is a fact that any-
one in Hollywood w-hose reputation has a
news value is- sadly handicapped if falsely
accused. You can't expose the true whys
and wherefores in the detail that's neces-
sary to explain to your fans. No one with
any self-respect wants to strike back sen-
sationally. The. one alternative seems to be
to hope fans have faith in your integrity.

But that -Sounds like one of those blue
moods I thought I had licked to a fare-ye-
well. The further you climb the finer mark
you make— that is an ancient adage.

It's no burden to be applauded for your
efforts. It's fun to be flattered—! You can
aways take a grain of salt when you reach
home. And, still speaking of publicity, it
not only aids in the build-up of an actor's
drawing power but it's a swell antidote for
complexes, too. We are cross-examined by

SCREENLAND

interviewers. We are asked not only what
we think, but why. Not only what we did
at the critical moments' of our lives, but
ever why? In replying we have to analyze
ourselves. We have to pause and ponder.
I took psychology in college, but I didn't
reason things through to the logical end
then. Since I've been in pictures I have
become practical in this respect; I haven't
an inhibition left in me for I have come
to know myself through all this probing.

The most persistent query I receive is :
How Have You Changed? Honestly, I
should say in this way— I no longer read
much, I no longer am seriously interested
in playing the cello, I no longer go to
church every Sunday as I used to. I'm
inside on stages, looking into bright elec-
tric lights so much, that I would rather
relax by going somewhere evenings instead
of reading. I haven't time to practice t any
musical instrument now — or perhaps it's so
much easier to turn on the radio! As for
regularity and religion, I have come to
think that the divine power isn't neces-
sarily at a certain spot on a certain day.

I have matured rather than changed in
other respects, I believe. Now I have pre-
view dates, instead of library dates — college
style. I go to the Trocadero, instead of to
the town dance hall — high-school fashion.
All of us grow more considerate as_ we
grow older, for we see that it's no joke
that "There, but for the grace of God, go
I." I hope I am more thoughtful of others,
that I'm acquiring tolerance and more un-
derstanding. I worry a little less, for I
realize that what happens to me won't alter
the course of the world in the slightest. I
accept more responsibility, I know, for I'm
developing the courage to glance back and
see that it was probably my own fault when
I made a mistake.

Acting with glamorous Hollywood ac-
tresses has not been dull, by any stretch
of the imagination! I have been tremen-
dously impressed by that ambition and
stamina which they all have. Most of them,
I have noted have deliberately created their
own niches, and against pretty terrific odds.

My ideas about the opposite sex have
not changed, however. The girls who've
attracted me — in high school, in college,
and here in Hollywood — have all been the
same type. They've all been good sports,
unaffected, and plenty sincere. They've not
been frivolous, nor make-up fiends ! The
first twenty-five years have been fine. I
wonder what the next twenty-five will
bring? To my satisfaction, I have found
that modern Hollywood needn't upset one's
equilibrium. I have a double goal — success
as a man, and success in my work; I'm
planning as intelligently as I know how.

I don't expect to marry very soon be-
cause I want to give my wife a feeling
of security and I couldn't do this at present.
When I have demonstrated that I have a
safer place in my profession, when the
momentum of demands on my time has
slowed to a calmer pace, then I intend to
marry. I don't think marriage is a simple
solution to a love story, either. I feel that
it requires the exercise of the finest qual-
ities a person can muster up.

Being the first M-G-M player to be fea-
tured at the company's new London studio
has been a privilege I'm trying to do jus-
tice to. I have been cramming in as much
sightseeing during my off hours as the
most naive Mid-Westerner could. I fancy
I'm still quite a naive fellow, at that. But
now that I'm crossing London Bridge with
all the aplomb of an old sophisticate, now
that I'm used to right-handed drivers, tea
for breakfast, and swing music at the
Savoy I dunno . . . when I get back to
Hollywood, to my horses at the stables
I've built next door to Barbara Stanwyck's
ranch, the horses may not know me.
Barbara better !

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London

Continued from page 65

bakes on Sundays and gets up lo milk six
cows before she drives herself to the studio
each morning. That's not publicity. It's true.

You've seen Scottish-bom Sophie s great
dark eyes and heard her soft gentle voice
as Celia in Elisabeth Bergncr's screen ver-
sion of "As You Like It" and also in
"Things to Come" and "The Man Who
Could Work Miracles." Twentieth Cen-
tury-Fox invited her to sign a Hollywood
contract last year but Sophie said she
couldn't- possibly leave the farm— her
brother might manage the chickens with
practice but nobody else could look after
the cows and the vegetable garden! It
does sound incredible but you don t know
Sophie. She's blissfully happy among her
animals and plants, so contented in her
family circle that she doesn't want to marry
and only acts occasionally as a kind of
recreation.

There's a famous lake in the wooded
o-rounds of Korda's Denham studios, but
don't mention that to Marlene Dietrich be-
cause she got accidentally pushed into it
while making "Knight Without Armor
and is the English country water cold! At
the moment it is a romantic moorland burn
for "South Riding," name of the North
of England industrial district where the
film's action is set. Victor Savile holds
the directing chair on this production and
the very large cast is headed by Ralph
Richardson and clever Edmund Gwenn and
beautiful Edna Best who is Mrs. Herbert
Marshall.

The Marshall wedding was the event
of the season eight years ago, when they
were acting together at a London theater.
Now they seem content to live their sepa-
rate lives, "Bart" in Hollywood and Edna
here appearing on the stage or in a film
every now and then. She's blonde and cool,
not very tall but exquisitely poised. She
lives alone in a modernistic apartment,
reads a lot and counts Noel Coward and
Diana Wynward among her special friends.
She never mentions her husband, though
he visited her when he paid a flying five-
day visit to London last year in connection
with legal business. They've an adorable
six-year-old daughter who has Herberts
eyes and his engaging whimsical smile.

I often see Edna at theatrical first-nights,
frequently wearing white which is undoubt-
edly the smartest after-dark color just
now. Mary Ellis was in floating white
chiffon watching Flora Robson's new stage
play and Elizabeth Allan looked like a
picture from a Dickens novel in her ruched
white satin buttoned down the back. She's
doing her soft hair a new way, brushed
quite straight with no wave and the ends
just turned under.

Elizabeth has quite recovered from her
recent illness and will soon be on the screen
again, sharing starring honors with Anton
Walbrook to whom she played opposite in
her last Hollywood picture "The Soldier
and the Lady." The new film is called "The
Rat," Anton becoming an apache leader
in the Parisian underworld. It's a virile
modern role vastly different from Prince
Albert the Good whom he has just finished
portraying in "Victoria the Great" with
Anna Neagle.

Anna too is making an equally drastic
change of part for her new film — I'm afraid
I shall never be able to write my dramatic
story about the dangers of "typing" now!
After being the stately imperious Queen
Victoria against a background of Royal
Palaces and State functions, lovely golden-
haired Anna now goes straight into a song

SCREENLAND

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and-dance film originally intended as a ve-
hicle for Jessie Matthews. She has- to play
a tea-shop waitress badly stage-struck with
humble settings that show the everyday
life of a London working girl.

But there's one star who never gives me
shocks like this — our own George Arliss,
who is always dignified and kindly even
when he pretends for the purposes of the
plot to be what he describes himself as
"ah — not quite a gentleman." Just as you
can always rely on an Arliss production
unit stopping work at four o'clock for tea,
so you can be sure that the star will ap-
pear in a part befitting his familiar friendly
character. In his new film, "Dr. Syn," the
parson-smuggler was intended to have some
frankly sinister aspects, but now that Mr.
Arliss has adapted his personality, he has
turned out quite an attractive old autocrat
with a sense of humor ! And in Hollywood

o* *» -ESS*-—

George Murphy and Josephine Hutchin-
son .are getting well acquainted
in their first film as a love team.

this winter The First Gentleman of the
English Screen will make a picture based
on the life of Samuel Pepys. That cele-
brated old diary-writer, wise and witty
and saucily benign, will be yet one more
screen portrait of George Arliss in wig and
costume but still his own inimitable self.

Pepys could have written some marvelous
pages about blonde Anna Lee's midnight
party for which nearly two hundred fa-
mous folks gathered at her Thames-side
home, The Cardinal's Wharf, which stands
in dockland facing St. Paul's Cathedral.
In the paved garden, with its cherry trees
and trailing clematis, I saw Lilli Palmer,
Evelyn Laye and Frank Lawton, Cicely
Courtneidge, Merle Oberon in white draped
satin and rubies watching her finger-nails,
John Loder, Elizabeth Allan, Alexander
Korda, and Charles Laughton. Lord Lovat
and Lord Pentland both danced with Elsa
Lanchester who was wearing her favor-
ite purple, and handsome Griffith Jones
escorted dainty Renee Ray and Whitney
Bourne.

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came alongside the little quay at the end
of the garden and Anna led her guests to
dance on deck while they sailed up the
Thames to Greenwich and back. A tradi-
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the saloon, all the dishes popular in Shakes-
peare's time like jellied eels and roast
swans' and birds-legs soup and tall goblets
of rum punch poured out from a steaming
bowl.

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SCREENLAND

Carnival Nights in
Hollywood

Continued from page 55

and it seems to me that for hours people
said, "Oh, please sing for us," but she
coyly shook her head, while the actress-
hostess whispered to everyone, "Coax her.
She likes to be coaxed." I was afraid of
that. After two hours of coaxing she took
her stance at the piano and cracked through
with the entire score of "Tosca" and
"Faust" and was just getting her teeth
into "Manon" when a bat flew in the room.
I swear even the Music Lovers were glad
to see that bat. But that wasn't all; the
hostess-actress, who fancied herself musi-
cally-minded, had a Child Wonder whom
she modestly informed us was the greatest
genius of the age. He flatted something
awful. Worse than one of our popular sing-
ing stars' who shall be nameless (lawsuits
again). And the more I looked at him the
better I thought of Shirley Temple. Ha-
rassed by my bitter memories I was ready
to bite nails, or at least a juicy maestro,
by the time I arrived at the Pareras. And
the fact that with my first wild glance I
saw the John McCormacks, Lily Pons and
her fiance (or husband?), Andre Kos-
telanetz, the Frank Forrests, the Lawrence
Tibbetts, Nino Martini, Elissa Landi,
Miriam Hopkins, Anatole Litvak, Gladys
Swarthout, Helen Gahagan and Melvyn
Douglas, and at least a dozen pianists, com-
posers, and conductors didn't make me any
happier. Music Lovers, I muttered, all
Music Lovers, and it will be as dull as"

ditchwater. I would have given my eye-
teeth for W. C. Fields, Charlie McCarthy,
and two quarts.

All during cocktails, served around the
swimming pool, and dinner, served buffet
on the badminton court, I played the
Moody Dane. However, I did cheer up a
bit when Valentin Parera undertook to ex-
plain the Spanish Situation to me, and I
must say of all the charming gentlemen
who have tried to explain the Spanish
Situation to me Mr. Parera is the most
charming. "When," I said at last to Miriam
Hopkins, who doesn't play or sing but who
has great "appreciation" of music, "when
do they start?" "Start what?" asked
Miriam. "The music," I said gloomily. "It's
a musical evening, isn't it? All these peo-
ple have got to do their stuff, haven't they?
You can't escape Brahms with a bunch like
this." Miriam was horrified, but managed
to conceal it very well. "Grace didn't in-
vite these people here to entertain," she
said. "Why, she never in the world would
do a thing like that. They are guests in
her home, not paid performers. Honey,
you don't know, artists. An artist resents
nothing so much as being asked to entertain
at a party." "Don't I know it," said Grace,
edging in on the conversation. "Shortly
after I made my debut in opera it seems
that every time I was invited to a dinner
party I barely had time to swallow my
dessert before my hostess was up and_ at
me with a : 'Miss Moore, will you sing
for usi' I sang for so many suppers that
I began to call myself Tommy Tucker. I
swore then that in my home I would never
ask anyone to entertain." That was all
right with me. I wish other hostesses were
just as considerate.

Much cheered, I re-joined Mr. Parera
and this time we went into the Trailer

Situation. It appears that Miss Moore's
very charming husband is a trailer nut.
Grace gave him a handsomely equipped
trailer for his birthday, (just like the one
Miriam Hopkins gave Anatole Litvak),
and on Saturday nights when Grace is
through work at the studio where she is
starring in "I'll Take Romance" with
Melvyn Douglas, (and so will I), they
drive their trailer to some beautiful spot
overlooking the Pacific. The next morn-
ing he goes to the nearest store and phones
a few congenial souls who drive down for
lunch, which is prepared and served by
Miss Moore, who, it seems, can handle a
frying pan just as skilfully as she can
a high C. Thj trailer is the nicest thing
that ever happened to Valentin Parera,
outside of Grace Moore.

What with a fog from Santa Monica
coming in the party gradually drifted down
the hill to the "guest house." Midway down
the incline I thought I heard something
vaguely familiar. And it wasn't pick up
sticks. Sure enough, it turned out to be
music. Richard Hageman, Met conductor
and excellent pianist, was ripping off the
Belle Song from Lakme with petite Lily
Pons giving it all the zip that a coloratura
soprano can give. "I like eet bettaire wif
my clothes on," Lily announced over the
applause. "In peectures eet ees my strip
tease numbaire." Giggling like a gay young
thing she did a whirl right into the arms
of Andre Kostelanetz, and no matter what
anybody said or did she giggled the rest
of the evening. It's an infectious giggle
and soon I was giggling too.

"The bridge tables are in the dining
room," Grace announced hostessly, but no
one listened to her, for that baritono
robusto Lawrence Tibbett who goes' in for
volumes of volume was clowning his way
through "Ridi Pagliacci" and practically
raising the Parera roof. Then he swung
into the Toreador Song with grandiloquent
gestures, following swiftly with the Song
of the Flea, also with gestures. Lily and
I giggled ourselves right into a beautiful
set of hysterics. "You like musick?" she
asked me. "Sure," I said, "I'm mad for
music." And I wasn't kidding.

"Perhaps some of you would like to play
backgammon," Grace called sweetly above
the din. "Or Hearts?" No one paid her
the slightest attention, there's a limit to the
politeness you owe your hostess. Grace
Moore was going to have a musical eve-
ning whether she wanted it or not. When
Mr. Tibbett wasn't looking Nino Martini
took over the piano and simply tore into
"Celeste Aida" which you all know he
does exquisitely — but alas for poor Aida.
"Swing it," said someone, a violent Music
Lover no doubt, and Mr. Martini did. I've
never heard anything quite so screwy, and
would you believe it not a soul was shocked,
except me.

Well, the evening was definitely on the
gay side after that, with Gladys Swarthout
pulling off a batch of rollicking cadenzas,
and Lawrence Tibbett and Frank Forrest
doing things to Tosca's Te Deum that have
never been done before. Such animated
pianism. Such juicy melodies. Why, ( I've
been all wrong about Music Lovers. "Pic-
colo, piccolo, piccolo," sang Tibbett all
gotten up in kitchen paraphenalia. "Bridge,
backgammon — " Grace made one last effort
to be a hostess, and it was her last, for
the next time I saw her she was a part of
the Sextette, a very merry Sextette com-
posed of herself and Mr. Tibbett, and if
you don't think two people can sing a
"Sextette you're crazy. When the morning
papers arrived I thought it was time for
even an avid Music Lover like myself to
leave. I'm sure I heard the Anvil Chorus
all the way in to Westwood. I'm dropping
my old friends who have nothing more
exciting than magicians at their parties.
From now on I must have tenors' and
baritones.

THE CUNEO PRESS , INC., U.S.A.

G/NGER

Rogers

RKO- RADIO
STAR

lORETTA

Young-

%>TH CENTURY. FOX STAR

GUARD AGAINST
| COSMETIC SKIN

THIS EASy WAV-
BY REMOVING
EVERY TRACE Of
MAKE-UP WITH

Lux Toilet
Soap

9 out of 10
lovely Screen Stars

use it to guard

Million-Dollar
Complexions

Joan
Slondell

WARNER BROS. STAR

Lux Toilet Soap has

ACTIVE LATHER THAT
PREVENTS CHOKED PORES. I'M
DELIGHTED WITH THE WAV IT
KEEPS MY SKIN SO SMOOTH

IT'S MILD l/lT'S PURE
IT HAS ACTiVE LATHER

The Smart Screen Magazine

icember

15c

( .1

Olivia de
Havilland

Deanna Durbin's
Unknown Story

»ust Baby

BeginnuMj^
By Margaret E. Sangster

GAY GIFTS FOR CHRISTMAS
THE WORLD AROUND

it speeds oruiis.

spirit

merry way— to Nassau or Nice orl^>teCiCLPans_or
far Bombay. Look for the loveMst women, the per-
fume they adore. It's gay/dnd young and joyous,
it's fragrance Gernev

Fragrance Gamey, her choice for Christmas the
world aroundrFragrance Gemey, now presented in
America b/Richard Hudnut in distinguished glamour
gifts. FVre are casual trifles for the toe of her stock-
ing, j/timate enchantments for her skin, her hair,
chafrm chests of alluring luxury. Through them all
r/ns this single thread of fragrance.

It's flattery, it's sorcery, it's the gay, Continental
way to say Merry Christmas ... the gift that's welcome
the world around ... fragrance Gemey!

RICHARD HUDNUT

New York ■ /oris • london • Toronto • Buenos Aires • Mexico Cilv • Berlin
cj^pesy^ for

Even your
best friend won 9t
tell you

EDNA was simply crushed by
' Charlie's curt note barren of
explanation. True, she and Charlie
frequently had "lovers' spats" but
these were not enough to warrant
breaking their engagement. Dis-
heartened and puzzled, she sought
Louise, her best friend. Perhaps
she'd offer some explanation.
Louise could, too; could have re-
lated in a flash what the trouble
was . . . but she didn't; the subject
is so delicate that even your best
friend won't tell you.

HOW'S YOUR BREATH TODAY?

You may be guilty of halitosis (bad breath)
this very moment and yet be unaware of
it. That's the insidious thing about this
offensive condition; you yourself never
know when you have it, but others do and
snub you unmercifully.

Don't run the risk of offending others
needlessly. You can sweeten your breath
by merely using Listerine Antiseptic, the
remarkable deodorant with the delightful
taste. Rinse the mouth with it every
morning and every night, and between
times before business and social engage-
ments.

As it cleanses the entire oral cavity,
Listerine Antiseptic kills outright millions
of odor-producing bacteria. At the same
time it halts the fermentation of tiny food
particles skipped by the tooth brush (a
major cause of odors) then overcomes the
odors themselves. Remember, when treat-
ing breath conditions you need a real
deodorant that is also safe; ask for Lis-
terine— and see that you get it.

If all men and women would take the
delightful precaution of using Listerine,
there would be fewer broken "dates" and
waning friendships in the social world —
fewer curt rebuffs in this world of business.

Lambert Pharmacol Co., St. Loins, Mo.

LISTERINE

Checks Halitosis
{Bad Breath)

NLAND

lotnatt

****

its ttV_„ dtatnj',,,,^ 5oneS'

d a

"8 ^^T^°t^^

v. \ c.

■ace

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©C1B 3 558 40

The Smart Screen Magazine

Delight Evans, Editor

Elizabeth Wilson, Western Representative Tom Kennedy, Assistant Editor

Frank J. Carroll, Art Director

We're Not
Bragging, But — !

We think we have something there.
We think you'll think so, too, when
you've seen the next issue of The
Smart Screen Magazine.

Beginning with the Carole Lom-
bard cover, which has a romantic
significance never , before offered on
any cover, and continuing inside the
issue, we're promising, and we'll
deliver, the most exciting array of
timely features a screen magazine
has ever given you.

Just to cite one example!

Getting Gay
With Cable!

What did we tell you? Is that not,
indeed, something? Something for
for you to watch and wait for, and
— when you've read it, and seen the
handsome photographs illustrating it
— to declare the best Gable piece
you've read in a long time. By
Elizabeth .Wilson, who really knows
the stars she writes about, "Getting
Gay with Gable" takes you inside
the private life of the screen's most
picturesque actor. Teils you what he
is actually like, when he has knocked
off work for the day and left the
studio behind him.

The Gable feature, that cover we
told you about, and many other ex-
clusive stories and photographs will
appear in the January issue of
Screen land-, on sale December 3rd.

December, 1937 Vol. XXXVI. No.

EVERY STORY A FEATURE!

The Editor's Page Delight Evans

Are American Women Unfair to Men? Charles Darnton

How Hollywood Has Conquered Radio Ben Maddox

Star-Dust Baby. Fiction Margaret E. Songster

Snubbing the Stars Jerry Asher

Cupid's Cycle Elizabeth Wilson

Carole and Freddie as Co-Stars.

Fictionization of "Nothing Sacred" Elizabeth B. Petersen

Deanna Durbin's Unknown Story Ida Zeitlin

London Hettie Grimstead

Reviews of the Best Pictures Delight Evans

Picture-Mad Milland. Ray Milland Ruth Tildesley

Strange Alice in Wonderland. Alice Faye Charles Lancaster
Screenland Glamor School. Edited by Rosalind Russell

19
20
22
24
26
28

30
32
51
52
54
56
58

SPECIAL ART SECTION:

Mad "Mr. and Mrs." William Powell, Myrno Loy. Topper Taylor-
Friendly Rivals. Tyrone Power, Don Ameche. On, and On, and On With
the Dance. Here Dwells Dainty Anita. Anita Louise at home.They're
Dictators — of Fashions for Men. Dick Powell, Ralph Bellamy, Jack Holt,
Preston Foster, Patric Knowles, George Raft, Ian Hunter, Cesar
Romero, Kent Taylor, Randolph Scott. Pictures Must Tell A Story.
Wake Up and Clown. Ben Blue, Judy Canova. Robin's Rest — Between
Gags. Bob Burns. It's Always Play-Time in Hollywood. The Most Beau-
tiful Still of the Month.

DEPARTMENTS:

Honor Page °

Screenland's Crossword Puzzle Alma Talley 8

Salutes and Snubs. Letters from Readers 10

Tagging the Talkies. Short Reviews 12

Inside the Stars' Homes.

George Burns and Gracie Allen Betty Boone 14

Ask Me! Miss Vee Dee 16

Here's Hollywood. Screen News Weston East 60

Beauty for Evening Elin Neil 62

Femi-Nifties 63

Cover Portrait of Olivia de Havilland by Marland Stone

,, , , , , , , ,, . , y- „„j pAifrvrial nffires 45 West 45th Street, New York City. V. G. Heimbucher, President, J. S.

Published monthly by Screenland Magazine. Inc. Executive and Editorial offices «^ WW * 3tn ^ 410 North Michigan Avenue, Chicago: 530

MacDermott. Vice President: J Superior, Secretary ™d/re*snu'"- A,?^ They will receive careful Attention but Screenland

W. Sixth St., Los Angeles, Calif. Manuscripts and drawings must .be ^accompanied^ by r^^P^S r„yha A Mpvlrn . 4ri0 in Canada: foreign $2.50.

. , i ... ~ t, en in'rhp ITnired States its dependencies, Cuba and Mexico; $2.10 in Canada: foreign $2.50.

assumes no responsibility for their safety. Yearly subscription $1.50 in me united at"", v ■ Hd -

Changes of address must reach us five weeks in advance of the next issue Be sure to g ive both the old and new address.

ber 30, 1923, at the Post Office at New York, N. Y. under the act of March 3, 1879. Additional entry at Chicago, Illinois.

SCRCCNLAND

Honor Page

A new star is born in "Stage Door" —
Andrea Leeds, who more than holds her
own with Ginger Rogers and Hepburn

ANDREA LEEDS reminds us of a grown-up
/A Janet Gaynor. Something of the same wistful-
ness, much of the same mobility of expression — but
perhaps even more poignancy, and certainly a vast
amount of personal beauty and charm. As the tragic
member of the group of ambitious girls in a theatrical
club in "Stage Door," Miss Leeds is touching and
truthful in her performance of what might easily have
become a maudlin character. Never once does she
descend to bathos, but the purity of her pathos will
win you. Her "big scene," ascending the stairs to
make her last exit from the stage of life, will be long
remembered. "Watch Andrea Leeds" — Screenland.

Paramount gives you
ebb tide" ..the first sea

llCTURE I

The story of a man
who thought
he was God I .

<*>Vv' ■

Adolph Zufcor presents

Oscar Homolka

(By arrangement with Gaumont British
Picture Corporation Limited)

HUISH, the little Cockney, had sobered up long enough to
take a fling at stopping this madman with the rifle. Now
he lay, dying a rat's death in a pool of vitriol. Thorbecke,
outcast of the Seven Seas, had done the same. Now his
hands pointed in mute surrender at the cobalt heaven of this
island of pearls. Only Herrick was left to defend the girl
against this man who thought he was God. Herrick! Uni-
versity man turned beach-comber. The madman's gun lifted
again* cocked. The girl saw his eyes, the eyes of a devil. The
gun leveled ... the shot rang out to shatter the somnolent
quiet of the island . . . forever.

Had the madman won ? Had Huish's pitiful little life been
tossed on the lap of the gods in vain? Had Thorbecke
brought them through the fury of the hurricane for this?

Was Herrick to lose his one last chance to

prove himself a man? Was this beautiful white
girl to descend into the pit of a madman's
private hell forever?

Frances Farmer
Ray Milland

"EBB TIDE

A Lucien Hubbard Production with

Lloyd Nolan • Barry Fitzgerald

Based on the story by
Robert Louis Stevenson and Lloyd Osborne
Directed by JAMES HOGAN
Photographed in Technicolor
A Paramount Picture

The South Seas. . . Robert Louis Stevenson's South Seas, with
all their haunting beauty . . . with all their primitive, soul-searing
adventure . . . with all the vicious fury of their mighty ship-de-
stroying typhoons . . . now at last brought to the screen as
Stevenson himself saw them in this greatest of all adventure-pic-
tures, produced in natural color . . . Another thundering triumph
for the company which gave you the first natural color adventure-
picture, "The Trail of the Lonesome Pine" . . . PARAMOUNT!

SCREENLAND

What makes lips tempting? Men admire
warm, ardent color . . . and soft, silky texture.
Dry, rough lips do not tempt romance.

Coty's new lipstick, the "Sub-Deb," pro-
tects you from all danger of Lipstick Parch-
ing. It contains a special softening ingredient
— "Theobroma"— which keeps lips appeal-
ingly smooth and dewy. Coty "Sub-Deb"
comes in five ardent and indelible shades.
JVeic.' "Air Spun" Rouge-50^. Torrents of
air blend its colors to life-like subtlety.

SUB-DEB LIPSTICKS'

Precious protection! ...Coty melts eight drops
of "Theobroma" into every "Sub-Deb" Lip-
stick. This guards against lipstick parching.

SCREENLAND'S

Crossword Puzzle

By Alma Talley

ACROSS

Harlow's last co-star

The remains of an ear of corn

Co-star of "A Star Is Born"

Star of "Ever Since Eve"

Exist

Scar of "Beloved Enemy"

"Knight Without ■",

with Dietrich
He's featured in "Submarine

D-l"

"Live, Love and ,

with Robert Montgomery

Blondes sometimes use this on
their hair

Beloved

Back of the neck
To observe
Of, in French
Cattle dealers
You and I

He's married to Ruby Keeler
A Hollywood word for humor

or joke
Ignited

Stage star, once Mrs. John Gil-
bert
Ma's husband
Star of "Seventh Heaven"
Tardy

She plays Antoinette in "Pri-
soner of Zenda"
Afternoon beverage
Co-star in "Artists and Models"
Small rug

To be under oligation to
Heron

Openwork fabric

He's featured in "The Firefly"

Note of rhe scale

She's famous for Gay Nineties

— Toles

Mrs. Bing Crosby's maiden

name
Malt drink
That old sun god
Greek letter
The screen's Juliet
To accomplish
The MGM lion
A continent
. Kind of meat

79. Part of the face

82. His new one is "The Perfect

Specimen"
84. Come in
86. Tropical vine
88. She's Mrs. Errol Flynn

90. Over (contraction)

91. She made good in "Three Smart

Girls"

92. Drawing room

93. To soak, as flax

94. Tears

DOWN

1. He plays Marco Polo

2. Ready for battle

3. Prefix, pertaining to life

4. She's featured in "On Again,

Off Again"

5. Printer's measure

6. Princess Flavia. in "Prisoner

of Zenda"

7. Natural mineral

8. Sisters Joan and Constance

9. Hepburn's role in "Little

Women"

10. Capable

11. Born

12. To rub out

13. Pulled apart

14. Angry

17. Compass point (abrev. )

19. Rod

20. Sailor
24. Bordered
26. Greek letter
29. That bump of conceit

31. By way of

32. Has been

33. Fall flower

34. Feudal term, sworn to

allegiance
36. Ingenue in "First Lady"

39. Pertaining to birth

40. Co-star in "Thin Ice"

41. Scene of action
43. To deface
45. Printers' measure
47. Pointed rock
50. Part of to be
52. Conscious of

55. Long legged bird

57. Co-star. "Broadway Melody of
1938"

58. "Souls At ", with Gary

Cooper

59. He's featured in "Angel"
61. "The Bride Wore — ", with

Joan Crawford
64. S-shaped worm
68. Irving Thalberg's widow

70. Hasten

71. Ever (contraction)

73. Charlie Chan

74. Guided

75. Epochs

76. Range of female voice

78. To run away

80. Hotels

81. Garden vegetable
83. Lubricant
85. Golf mound
87. Hero in "Confession"
89. One

91. Physician (abbrev.)

Answer to
Last Month's Puzzle

marasa aoa EinaaH
raaanHui maa humbiis
asaa anraaaas behb
aa aa aaaaa
era snail ana aa

a Sana hhb nsma
ana aaaniBss skshisib
mmm Ham caaa oasa
aisnaa BHaaHHH ®aa

aasn ass a|ai
ara ess maara bib

aana aHaHEaH Haaa
enrasraa bhh anaraaa

HaHHH BOH HBHHH

SCREENLAND

THE MOST EXCITING SCREEN EVENT OF ALL TIME!

The favorite play of America is

THE SCREEN HIT OF
THE YEAR!

A year of preparation — 3 months be-
fore the cameras — production costs
breaking all studio records-and now
the-love-and-laughter show that en-
thralled New York and London stage
audiences for two seasons is ready to
flash its glories on the nation's screens.

i BASIL RATHBONE
* ANITA LOUISE *

MELVILLE COOPER • ISABEL JEANS (

MORRIS CARNOVSKY • VICTOR KILIAN • Directed by V~< *
Anatole Litvak • Screen play by Casey Robinson • Adapted
from the play by Jacques Deval • English Version by Robert E.
Sherwood • Music by Max Steiner • A Warner Bros. Picture

SCREENLAND

Salutes and Snubs

Big broadcast of the
picture patrons, voic-
ing their own ideas
about stars and films

Read what your fellow screen e
thusiasts have to say about pictures ar
picture people. Their ideas give you
food for thought, and also a better in-
sight on how to enjoy the best that's
offered in film entertainment. Then write
us your own ideas. Kindly restrict each
comment to 50 words or less. Address
to: Letter Dept., SCREENLAND, 45
West 45th St., New York, N. Y.

This is the exquisite way to be exquisite . . .
for April ShoiversTak leaves a distinguished
floral fragrance on your body... yes, and
scents your lingerie with its subtle but lin-
gering perfume.

It is the finest imported talc scented with
"The Perfume of Youth"— April Showers.

The Talc, exquisite but not expensive, 28?.
The Perfume (in purse-sizes), 28(, 50(5 and $1.00.

Humphrey Bogart proves
that a "heavy" can be a
very great favorite with
the screen-goers. An actor
who plays every part for
all the drama that's in it,
Humphrey receives the call
to take a bow from the
honor niche here.

CAN YOU PICTURE IT?

Try to imagine, if you can:

Garbo as "Mrs. Thin Man." Martha
Raye as Vicki Lester in "A Star Is Born."
Shirley Temple as a "Brat." Robert Tay-
lor as a gangster. Jeanette MacDonald in
"Swing High. Swing Low." Nelson Eddy
in "Shall We Dance." Tyrone Power in
"Night Must Fall." The Marx Brothers
in a hair-pulling scene with the Ritz
Brothers.

Let's hope Hollywood doesn't come to

this. . .

Mary Jane Sterner,
Indianapolis, Ind.

KEEP BOGART BUSY!

Thanks. Hollywood, for letting us see
Humphrey Bogart in so many pictures.
But. pleas'e, must he always play the typed
"bad man" he portrays so excellently in
"Marked Women" and "Dead End" and
most of his recent pictures? Bogart has a
compelling screen personality, and for a
change, as well as for the good of some
forthcoming heroic role, he should be cast
in something different than the parts so
consistently given him of late.

Marjorie E. Harvey,
Boston, Mass.

never miss one of their pictures, and when
I see them on the screen, well they do
more than make the whole show entirely
delightful and satisfying.

Irene Dory,
Chicago, 111.

RAVE ON! WE LIKE HER TOO

Please, Mr. Chairman, give me the
floor— ! want to do some raving. A new
favorite is born — Frieda Inescort! This
charming Scotch woman has something.
She's different. Her acting calls for dozens
of daisies, and deserves the raves.

Dorothy M. Hulse,
' Los Angeles, Calif.

THE SHOW MUST GO ON!

"Artists and Models" would have been
a good picture if it had had more of story
and less of specialty numbers. Was the
story too short and the acts put in to
lengthen the film so the patron would feel
he was getting his money's worth?

Chester Gordon,
Greeley, Colo.

THREE "FIRST LADIES"

Here's to the Three Graces of the
screen! The beautiful Dolores Del Rio
Sylvia Sidney and Carole Lombard. I

BOARDWALK BUGGY BONER

I have been going to Atlantic City for
20 years, but I have yet to see the kind of
wheel chairs that they used in "Meet the
Missus," which was supposed to have
taken place there.

Ruth King,
Cranford, N. J.

SCREENLAND

"...but for the Grace of God, there sit I, Portia
Merriman, facing a verdict of life or death!"

A heart-tugging mother-and -son story as only
Faith Baldwin could write it. Played to perfection
by a superlative cast.

■30. -

WALTER ABEL

FRIEDA INESCORT

NEIL HAMILTON
HEATHER ANGEL
RUTH DONNELLY
BARBARA PEPPER

Directed by George Nicholls, Jr.

Screen Play by Samuel Ornitz • Adapta-
tion and additional dialogue by E. E. Para-
more, Jr. • Original storyby Faith Baldwin • _ ;
Associate producer, Albert E. Levoy . •

PICTURE

SCREENLAND

1 1

Luisc Rainer and Spencer Tracy co-
starred! There's something to promise
much — but, alas, too much in view of a
thoroughly unconvincing and trite melo-
drama' in which an immigrant wife and
her taxi-driving husband are caught in
the toils of racketeering and political
chicanery. The story offers nothing to en-
gage talents of the caliber of Rainer and
Tracy, and the film at best is mere routine.

First
Lady

Warners

Sprightly and entertaining satire of
political Washington, wherein two women
engage in typical feminine conflict over a
presidential nomination. Kay Francis de-
livers a bright and spirited performance,
and Verree Teasdale as Kay's antagonist
is superb. Preston Foster, Louise Fazenda,
Grant Mitchell, Walter Connolly, Anita
Louise and others in a fine cast do ex-
cellent work. Diverting conversation piece.

AGGING

th<

TALKIES

Delight Evans' Reviews
on Pages 52-53

Breakfast
for Two

RKO-Radio

Barbara Stanwyck and Herbert Mar-
shall, ably abetted by such talented troup-
ers as Glenda Farrell and Eric Blore,
throw restraint to the winds in a nonsense
comedy that may be designed to end all
nonsense films cropping up since "My Man
Godfrey." It's wildly farcical romance in
which woman chases man she loves — and
gets him. Comedy falls, pie-throwing,
everything goes. Maybe you'll enjoy it.

Music for
Madame

RKO-Radio

Nino Martini sings operatic arias as
well as a couple of popular style songs
in the course of a romance, the acting
highlight of which is comedy supplied by
Alan Mowbray, Alan Hale, Billy Gilbert
and Erik Rhodes. Joan Fontaine, young
and engaging, is the leading lady of this
story about a young Italian whose beauti-
ful voice becomes the center of a Holly-
wood mystery. Good music for all of you.

Sophie
Lang
Goes
West

Paramount

The intriguing lady with the light fin-
gers and winning ways makes her third
appearance, and this time we find Sophie
Lang in Hollywood, where, for all its
glamor, the surroundings are not as con-
ducive to thrills as the two previous films
in this series — the story has motives that
baffle more than its situations. However,
you'll enjoy Gertrude Michael and Lee
Bowman in this conventional crook play.

Make a

Wish

RKO-Radio

Bobby Breen plays the son of a musical
comedy star (Marion Claire), Avho has
quit the stage tor a wealthy suitor ( Ralph
Forbes). Through Bobby she meets play-
wright Basil Rathbone and as a result
makes a comeback. Donald Meek, Leon
Errol, and Henry Armetta round out the
cast. Story and direction are not convinc-
ing, but some rather cute business in a
kids' camp and Bobby's singing, appeal.

Wife,
Doctor
and Nurse

20th
Century-
Fox

This has bubble and bounce, that gay
and light tone that's tonic for sagging
spirits. "There's a lilt to the dialogue and
snap to the action, as Loretta Young, her
husband, Warner Baxter, very successful
doctor, and Virginia Bruce, his very effi-
cient nurse, work out an intriguing little
triangle and find ultimate happiness, all
tending to their own jobs. Nothing _ seri-
ous or sophisticated, understand, just lively.

Atlantic
Flight

Monogrom

This introduces to you Dick Merrill, ace
of the air, and Jack Lambie. his colleague
in a record translantic flight. You'll find
Merrill as engaging as his exploits, and
the enthusiastic reports of his reporter
friends, picture him. The story is adequate
to the job of holding interest for the prin-
cipals, who, in addition to Merrill and
Lambie. include Paula Stone. Weldon Hey-
burn and Ivan Lebedeff. Happy landings !

Public
Cowboy
No. I

Republic

Gene Autry carries on with his usual
very pleasing and highly popular style of
cowboy romantics, though his story here
is not up to some of the better grade
yarns afforded as an action background for
"the Autry singing and hard riding. As a
matter of fact the story is wilder than the
wooly West of cattle rustlers it tells about
— with airplanes and short-wave radio
helping the villains. But it's amusing.

Non-Stop
New York

Gaumont-
British

Mechanical melodrama glossed over with
fairish comedy and providing some very
well done aviation thrills, as an American
gangster, a Scotland Yard man, and a
chorus girl who can save a man from the
electric chair, work out their tangled pur-
poses during the flight of a plane from
London to New York. Anna Lee and John
Loder are the romantic pair who head an
able English cast. Weak yarn, well staged.

All Over
Town

Republic

Olsen and Johnson, vaudeville comics,
are starred in what sum; up as an
elongated two-reel comedy. The idea is
that these two have a trained seal they
want to put over as a great stage attrac-
tion are mistaken for millionaires anxious
to back a show, and thus get their chance.
Jt doesn't make much sense as a story,
and fails to deliver enough laughs to war-
rant the rather good production given it

BOY MAKES GIRL MAKE FOOL OF

CAROLE EBEDRIC

LOMBARD - MARCH

In SELZNICK INTERNATIONAL'S Sensational TECHNICOLOR Comedy

NOTHING SACRED

WITH

CHARLES WINNINGER • WALTER CONNOLLY

by the producer and director of "A Star is Born"
DAVID O. SELZNICK and WILLIAM A. WELLMAN

Screen p/ay by BEN HECHT • Released thru UNITED ARTISTS

SCREENLAND

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3 f w

Nat and Googie— otherwise George Burns and Grade Allen— have their
morning meal in the breakfast room of their Beverly Hills home, where
they take their jobs of bringing up daughter Sandra and son Ronnie
seriously, and entertain their friends graciously.

the Stars' Homes

Posed fry /n-ofesxio/M

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After-the-broadcast sup-
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entertaining. Here are
Grade's cooking recipes

By Betty Boone

YOU'D GUESS that a glamor queen
lived in the Early-American-Mon-
terery mansion on the Beverly Hills
street that is lined with camphor trees. But
you'd be wrong! It's Gracie Allen's house

and George Burns' house, too, of course

not to mention Sandra and Ronnie, and

there's plenty of room in it for any little
brothers or sisters that may happen along.

A wide brick walk, up which march
standard roses in blossoming pairs, leads
to the white door through a terraced and
flower filled garden, and there's a balcony
across the entire front of the upper story,
enlivened with California flower pots m
rainbow colors.

The butler — did it occur to you that
Gracie has a butler ?— admitted me to the
hall where the sort of curving white stair
that seems made for an entrance by a
glamor girl winds to the upper _ rooms.
There is a statelv old grandfather's clock
near the door, and the living room, beyond,
has gold-framed mirrors and delicate minia-
tures on its ivory walls.

"Harold Grieve decorated the house,
chuckled Gracie. after she had greeted me.
"All I said to him was : T want sott colors
He said 'Yes.' unconvincingly. and it took
me a long time to persuade him that 1

Screen land

meant soft. He thought I must be just like
my broadcasts- — loud, you know. When he
finally gave in and believed me, it worked
out well. Isn't it beautiful?"

She glanced about from the sage green
carpets to the floral drapes in peach and
°rav. these shades repeated in the furniture.
She' didn't add, "Am I right, George?" but
she was.

French doors lead from the living room
to an enclosed patio, furnished in rustic
redwood upholstered in green, and both
lighted and screened. There are backgam-
mon tables in the living-room and on the
patio.

"Yes," acceded Gracie. when I noticed
them, "and we have another upstairs and
we're having a fourth one made for the
Garden. We're mad about it ! "We learned
how to play on a boat when we were going
to Europe one time. I remember Hope
Hampton was on board and she taught us.
We've gone in for it ever since. I'm the
familv champion. Maybe it's a good thing
she didn't teach us to play polo. It's not so
good for the purse or the neck."

Green lawns stretch from the patio to a
picket fence that divides the garden from
the swimming pool, where a fair sized
sailboat swayed at anchor before the dress-
ing-rooms; it also divides the garden from
the children's plavground, where there are
sandpiles, slides, swings and an enchanting
game concerned with drydocks, wharves
and boats. „

"Show Betty Boone how you slide,
urged the mama of Sandra and Ronnie,
two small, fair infants in play suits.

Obedientlv. they did so, Sandra whooping
down the slippery slope as though she
enjoved it, Ronnie taking the trip wrapped
in gloom. His attitude toward exhibiting
(Please turn to page 69)

•AFRICA LAo,

Not since the days of Chaplin
and Harold Lloyd has so much
money,talent and creative effort
been devoted to pure comedy
— zestfully spiced with music,
youthful allure and romance.

THE NEW UNIVERSAL presents

BILLY *.
HOUSE

MISCHA AUER

JIMMY SAVO

THE 4 HORSEMEN
OF HILARITY

m% A TEN-STAR FUN FROLIC

with BERT IAHR • JIMMY SAVO • BILLY HOUSE
ALICE BRADY • MISCHA AUER • JOY HODGES
LOUISE FAZENDA • JOHN KING • BARBARA
READ • DAVE APOLLON and His Orchestra

Screenplay by Mont* Brie* and A. Dorian Otvot

Directed by Irving Cummings
Original story by Monte Brice and Henry Myert

Produced by B. G. DeSYLVA

CHARLES R. ROGERS

SCREENLAND

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Betty Gail R. I'm surprised that you
haven't seen Richard Cronus t il in some
of his big roles in such pictures as "Lives
of a Bengal Lancer," "Life Begins at
Forty," and "Annapolis Farewell." Cer-
tainly you must see him in "The Road
Back," playing the part of Ludwig. Ad-
dress him at Universal Studios, Universal
City, California.

R S V P. Nelson Fddy was born in
Providence, R. I., in 1901. He is 6 feet,
weighs 173 pounds, has blond hair and
blue eyes. He did not attend college, but
obtained his education at the grammar
school of the Rhode Island Normal. His
favorite sports are tennis and horseback
riding. He isn't married.

Katheryn S. D. You will find an article
on Brian" Aherne in the March, 1937, issue
of Screenland. He was born in England,
is 6 feet, 2 inches tall, has brown hair and
blue eyes. Once rumored engaged to Merle
Oberon, but Brian is still a bachelor.

An Irene Dunne Fan. Born in Louisville,
Kentucky, daughter of Capt. Joseph J.
Dunne who was a builder and owner of
Ohio River steamboats. Her role in Zieg-
feld's stage hit, "Showboat" first brought
her into prominence. Later she graduated
from the Chicago College of Music. She
made her film debut in "Leatherstocking,"
after which she played the leading feminine
role in "Cimarron." She is married to Dr.
Griffin, is 5 feet, 4 inches tall, has dark
hair and blue-gray eyes. Why not read the
story about her which appeared m the
January issue of Screenland.

Ron go Allan. "All Quiet on the Western
Front" was the picture in which Lew
Ay res made his first hit. He is 5 feet, 11
inches tall, weighs 160 pounds, has dark
brown hair and brown eyes. His current
picture is "The Last Train from Madrid."
a Paramount production. The more recent
pictures in which Craig Reynolds appears
are "The Great Garrick," "Mr. Dodd
Takes the Air," and "Back in Circula-
tion." Write him at Warner Bros. Studio,
Burbank, California.

Dolores M. S. "Shanghai" i? the title of
the picture in which Charles Boyer and
Loretta Young appeared: it wa- produced
by Walter W anger and released by Para-
mount in 1935.

L. C. B. "Buster" Crabbe is 6 feet. 1
inch in height, and weighs 188 pounds:
Kent Taylor is 6 feet and weighs lb5.

Irene T. Billy and Bobby Mauch have
blue eves and brown hair. Yes. they can
be identified, because Billy wears a ring
but sometimes the boys switch the ring —
just for a little fun !

Norma R. The original story of "The
Mighty Treve" is bv Albert Payson Ter-
hune. Noah Beery, jr.. and Barbara Read
played the leads, but of course "Treve"' is
the real star. Perhaps if you wrote a
letter to Universal Studio. Universal City,
California, you might be able to get Treve s
photograph.

Concetta A. Frances Dee is Mrs. Joel
McCrea in private life. Ray Milland was
born Tanuarv 3. 1907. John Deal, August
13 1909. Robert Tavlor, August 5, 1911.
Deanna Durbin, December 4. 1922. Errol
Flynn. June 20. 1909. Wayne Morns, Feb-
ruary 17, 1914.

Mrs. C. E. C. You are right, it was
Helen Wood who played the feminine lead
in "Giampagne Charlie."

Dorothy A. K. Claudette Colbert was
reallv christened Claudette, but her father
renamed her, Lily, and as Lily Chauchoin
she came to New York and remained Lily
Chauchoin until her first stage appearance.
Her married name is Mrs. Joel Pressman.
Clark Gable is the son of William H.
Gable. He had been married twice. Nelson
Eddy is Nelson's real name. He is not
married. Teanette MacDonald was recently
married to Gene Raymond. Yes, rred
MacMurrav is married and his real name
is Fred MacMurrav. Robert Taylor was
christened Spaneler Arlington Brough. He
is not married— yet. Have you a marriage
complex ?

Nqiii^_

Addret

City.

_ State-

In C'afiodo, Campana. Ltd.. S-241 Caledonia Rd.. Toronto

Camera angles on a Hollywood premiere! Wky, here come Gladys and Eddie—Mr*
and Mr. Edward G. Robinson— and, there's Irene Dunne with Melvyn Douglas, right.

Screenland

Homesick for Argentina? Not
Rigaud — Latin-American star re-
cently brought to Hollywood —
with Lola Jensen, Joyce Matthews
and Harriette Hadden around.

K. 0. Tyrone Power played the part of
Count Vallais in "Girl's Dormitory," and
Karl Lang in "Ladies in Love." His latest
pictures are "Thin Ice," with Sonja Heine,
and "In Old Chicago," with Alice Faye
and Don Ameche.

H. Trap-man. Perhaps you have noticed
the exchange of players in the various com-
panies. They are borrowed for one or more
pictures and no doubt your letters have
gone astray for that reason. Don't be dis-
couraged, try again. I am certain many of
the stars would appreciate your letters ;
almost everyone likes to hear praise and
commendation.

L. B. No, Edwina Booth's illness was
not fatal. However, I do not know whether
she has fully recovered, or is still conva-
lescent. She has not appeared in any film
to my knowledge since "Trader Horn."

Gwen. Thanks for all the nice things you
say. Nelson Eddy was born in Providence,
R. I„ in 1901. Yes, indeed, he and Jeanette
MacDonald are the best of friends, and
why not? Perhaps if you write to Metro-
Goldwyn-Mayer, Culver City, California,
you might be able to get the "Maytime"
song you mention.

Betty T. Harpo Marx happened to be
in a skit once, in which no lines or action
were given him — so he just pantomimed-
and hasn't spoken a word on stage or screen
since then. All four of the Marx brothers
were born in New York City. Groucho,
Chico, Harpo and Zeppo are the names.
Zeppo has gone into business, but the
other three are signed with R-K-O.

Jack R. Barbara Read is Barbara Read's
real name ; she was born at Port Arthur,
Canada, in 1917. She is 5 feet, 5 inches tall
and weighs 108 pounds. Ella Logan's
birthplace is Glasgow, Scotland; date of
her birth, March 6, 1913. She weighs 105
pounds, is 4 feet, 11 inches tall. Cecilia
Parker was born in Fort Williams, Canada.

Dorlene H. I haven't an idea in the
world as to the size of Tom Brown's
shoes, neither do I know his favorite author
nor whether he has real freckles ! Your
other queries concerning him appear in the
August issue of Screenland, except the
news that he recently married Natalie
Draper, a Beverly Hills society girl.

THE STERLING COMPANY, 212 W. MONROE ST., CHICAGO, ILL.

Gentlemen — Please have your local dealer send me

Merry-Go-Round Lounge Suits in gift box at $4.95 each or ship
direct parcel post prepaid.

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Screenland

Fun-making Eddie Cantor and hit-making 20th Century-Fox
go to town together! &u/fitsa Cawfcrtna^ orf 6ucy>6s/

now

CANTOR

(mm mm

WITH ALL THESE MERRY-MAKING ENTERTAINERS

TONY MARTIN • ROLAND YOUNG
JUNE LANG • LOUISE HOVICK

JOHN CARRADINE
VIRGINIA FIELD
ALAN DIN EH ART

DOUGLAS DUMBRILLE
RAYMOND SCOTT QUINTET
PETERS SISTERS • JENI LE GON

1001 SIGHTS!

1002 LAUGHS!

. .as Eddie tarns Bagdad in-
to gag-dud and streamlines
the Sultan's swingdom!

Hundreds of dancing harem
darlings! (Whoopsiedoops!)

About a million wild-riding
Arab horsemen (.all after
Eddie!)

The Raymond Scott Quintet
(putting the heat in swing!)

Countless kisses under the
desert moon (as Tony sings
to June!)

1938- model Magic Carpets
(with floating power!)

A hundred or so other hi-
de-highlights!

Gorgeous, spectacular, tune-
ful, surpriseful Cantortain-
menf !

Yes! You've got something
here!

Directed by David-Butler * Associate Producer Laurence Schwab
Screen Play by Harry Tugend and Jack Yell'en • Based on
a story b.y Gene Towne", Graham Baker and Gene Fowler

Darryl F. Zanuck

in Charge of Production

SCREENLAND

ernan

Letter

Gravet

Two famous French stars arrive, greeted
by the French consul in New York: Mile.
Danielle Darrieux, M. Fernand Gravet
(left). The Gravet smile is genuine.

DEAR MR. GRAVET:
Greetings. Or bon jour, I'amour, toujours
I'amour, and I don't mean Dorothy.

Anyway, whether in French or American, I m glad
you're back. Because you are, by far, the most satis-
factory Continental importation we've had. After those
icy goddesses, Garbo and Dietrich; the businesslike
Sonja Henie; the rather aloof Charles Boyer, and the
latest femme arrival, Mile. Darrieux (Dare- You and
I won't take that dare, thank you)— it's positively re-
freshing to find a French star such as yourself. Mon-
sieur: affable, modest, and still somehow very definitely
charming in that so-Gallic manner. It would have been
easy for you to have done a Darrieux and, like that
lovely lady, ducked and dodged the press as much as
possible during your stay in New York on the way
back to Hollywood. But no— I mean, non, non. Despite
the fact that the "celebrity ship," the Normandie, had
a somewhat stormy crossing as it brought over a record
number of stars and accordingly attracted a record
number of reporters and photographers who stalked
the decks practically at dawn tracking down their
prey, you appeared as blithe and debonair as in "The
King and the Chorus Girl," gave innumerable inter-
views, answered foolish questions about blondes, never
murmured when more reporters suddenly popped out
at you in your own hotel suite later, and amiably let
every waking moment of your stay in town be
scheduled by the publicity department. A portrait sit-
ing early the next morning — but certainly. A maga-
zine interview that noon? Out, oui.

With charm unruffled, and good humor unimpaired,
you kept on answering questions — yes, it was wonder-
ful to have Carole Lombard as your leading lady in
"Food for Scandal." But yes, blondes are charming —
and so are brunettes. You were delighted to be going

back to Hollywood, where making pictures is more fun
than anywhere else in the world. But just about there
the charm began to crack a little. A wistful look ap-
peared on your davidwindsor face. You answered some
of the questions a little absent-mindedly. Your mind
seemed to be on something else. You got more and more
wistful as more and more reporters kept coming m,
more and more dates were lined up for you, and finally
you came out with it: "I must have a little time to my-
self," you said gently. Aha — temperament, eh? ' Be-
cause, you see, Mr. LeRoy wishes to start my new
picture as soon as I arrive in Hollywood, and— I am so

sorry but I must take the time to make a date for

myself." Mmmm! These gay Europeans. "Yes. I really
must insist. I must get the time to make the date — with
Mr. Rogers and Mr. Hart, to find out the music they
are writing for me to sing in the picture."

And now, M. Gravet, do you mind, while you're m
Hollywood making your new picture, giving a little
time to making the date for yourself to coach some
of our ruder stars on How to have good manners,
though in the movies? Thanks so much.

Are A
Unf

merican

omen

air to

Men?

THERE'S nothing like a new point of view on that
most fascinating of subjects, women.
In this case it is taken, not by moon-struck
adorers whose ignorance may account for their possible
bliss, but by star-clear observers of the feminine per-
suasion itself, and accordingly it may be accepted as
expert.

Nor is their slant strictly domestic, as happened at the
recent convention of the National Federation of Business
and Professional Women where the confirmed card-
playing woman of no profession and few home cares was
given such a rough deal as to bring down the pronounce-
ment, "We are developing a group of parasites who
injure' society." .

For a change, here is the foreign angle. It gains added
interest, not to say glamor, from the fact that it marks
the attitude of five European actresses — Simone Simon,
Olympe Bradna, Luise Rainer, Sigrid Gurie, Rose
Stradner — who have brought their varied talents to
Hollywood.

All declare that American women demand too much
from men. Yet it should be said at once that these
imported ornaments to their profession by no means
impose any such rigorous strictures as those credited
to the stressful N. F. B. P. W. In general they are
kindlier to women. In particular — and this is sig- .
nificant — they are kindliest to men. Indeed, any
man hearing them might well say with the /f'*.
poet, "How sweetly sounds the voice of a
good woman."

Before you answer, read what Hollywood's
brilliant foreign-born actresses say! A story
presenting a fresh slant on a provocative
question, and a revealing view of Conti-
nental charmers' attitude toward romance

By Charles Darnton

Luise Rainer, above, the
Viennese star who is mar-
ried to an American,
knows both sides of this
question, and discusses
them. Left, the viva-
cious Simone Simon says
"America is the woman's
Garden of Eden." Why?

Olympe Bradna, right,
Is another Parisienne
who has had ample op-
portunity to compare
American with European
customs. Left, Sigrid Su-
rie, Norwegian beauty;
read what she has to say.

Let us
sound off,
then, with Si-
mone Simon, who
is very good at this
two-sided affair so
close to the hearts of
women and the bank-
books of men. Back from
France to resume her star-
ring career with Twentieth
Century-Fox, she puckers up
the brow of her innocent child-
face and solemnly decides:

"America is the woman's Garden of Eden. Everything
that grows in it drops into her lap. You know why this
is so? I tell you. The woman here she has the way to
twist the man ar-round her finger. The French woman
she is not so good a twister. Per-r'aps it is better I ex-
plain this, too. You see, in France it is the woman who
gets twisted. The man he winds her around his thumb —
z-z-z! The husband is what you call the boss. The wife
take orders, she never give them. She do not say, 'You
buy me this, you give me that.' She stand back and wait
for something. Always it is the man who stand in the
front like when they have their photograph taken."

By way of illustration the obliging Simone gets up and
shrinks humbly against the wall.

"But here," as she plumps down for emphasis, "it is
differ-rent. The woman she ask too much from the man.
She as-tonish me. Also the man he surprise me. He have
the money, but he do not make the big show. No, he
show off the woman. At night he light her up with much
jewels and is proud of her like the Eiffel Tower, so I
think this is why she comes high. And when I think of
this I am pretty sorry for the American man. She ask
him for lots of money and she get it. Oh, well, easy goes,
easy comes! And anyhow the man he get — what you
say? — his money's worth. If his wife say she want to

look like a million dollair he say
a'right. But in France the conversa-
tion it is not like that. It stop before
it begin. Here the money talk, and
this is nice. But if the French woman
talk the money she would right away
be afraid she lose her man. Sometimes
the American woman she lose hers,
but quick she get another, so she is
not easy frightened. In Hollywood I
am as-tonished when I read in the
same paper of her engagement before
she get her divorce. Then I think it
is because she provide so well for her
future that she don't worry. And all
the time she look so beautiful in the
face and keep her figure so good that
nobody suspect she ever has been a wife. But what puz-
zles me in the head most is that the husband he do the
same thing over again and spend his money like the
sailor on the land. This is str-range. But you know some-
thing? This is a gr-reat compliment to the American
woman — oh, yes!"

Now for another French charmer, the still more youth-
ful seventeen, to be exact — Olympe Bradna. She pleads

her youth in modest reluctance to giving her opinion.
Certainly this simple and pretty olive-skinned girl with
brown curling hair rippling to her shoulders from beneath
a white "beanie" looks even younger close-to than in
"Souls at Sea." Yet out of her tender years she brings
herself to say:

"Everything is done for American women. But they
must have something themselves, and they do have
everything to make them attractive and desirable. French
women don't have so much. They are— big. But here
women are beautiful both of face and figure. And they
have more chance to dress well. It doesn't cost so much.
This is true off the stage as well as on it. In France an
artist who gets two hundred francs a week must pay as
much as that for one dress. Even clothes for private wear
are expensive. But here I bought my first evening gown
for twenty-six dollars. There are good stores, and women
have everything to help them. (Please turn to page 72)

ol ywoo

Behind the scenes the show world
has been in an uproar, with the fu-
ture of screen idols at stake. Radio
vs. Hollywood, it was. Now it's
Radio with Hollywood, and look —
everybody's happy

Dietrich and Gable, shown broadcasting with Cecil DeMille, are
in Radio demand. Edgar Bergen's Charlie McCarthy, left, is
Radio's riot. Left below, Irene Dunne and Bob Taylor and, at bot-
tom af page, Grace Moore and Paul Muni, stars in two mediums.

Radio that plan went overboard. Now ninety per cent of
the headline air programs come to you directly from
Hollywood !

Here is explicit illustration of how Radio has capitu-
lated. A year ago the Columbia Broadcasting System had
four persons on its Southern California staff; today it
employs a hundred and ninety. It's completing a $2,000,000
building two blocks from Hollywood Boulevard to handle
its important entertainment. To present Hollywood folk
at their best CBS is to have eight air studios, one seating
over a thousand spectators. Accoustically perfect because
every wall is at a slight angle to cut out echo interference,
the building's master control room is separated from Sun-

DO YOU realize that Radio has moved
to Hollywood ? That it is copying Hol-
lywood's success system? That it is
shaping most of its major programs around
screen names ? That even in casting the sup-
porting roles for air dramas the preference
is being given to screen actors? That, as a
consequence, the movie stars are riding
higher than ever before?

Remember that when Radio City was
opened in New York there wasn't a single
national hook-up from Hollywood. The mag-
nificent metropolitan skyscraper was pre-
sumably the final word ; the Rockefellers
themselves said so. San Francisco was desig-
nated the broadcasting center for the coast.
But when Hollywood decided to tussle with

as v^onquered Kadio

Ben Maddox

Joan Crawford and Franchot Tone are Radio "regulars. Above, w,th DeM.lle
producer of the Lux Radio Theatre. Right, Claudette Co ber gets ^e-fng^.
Right below, affable president of "Jack Oak e's College. Below at ^bottom of
page two pets of pictures and radio, Dick Powell and Jeanette MacDonald.

set Boulevard by merely a plate glass wall. While you
stroll along you can easily watch the entire mechanism of
the plant. Certainly a Hollywood touch, this! And not
to be outdone NBC is discarding its new building of a
year ago for a much larger one. Hollywood has Radio
going ahead triple pace. Change and progress are local
habits.

Radio has come to Hollywood because the public re-
acted so strongly in favor of screen stars on the air.
Shrewd air sponsors forced the big chains to transfer to
where the desired talent is.

This influx of Radio has given a new fillip to the movie
colony. Every actor now has an agent to take care of his

air offers. The spectacular cash that can be
picked up is impressive to say the least !
Everyone discusses Radio propositions that
are staggering. Eddie Cantor and Jack Ben-
ny are tops in salaries, rating around $10,000
a week for their present programs. Jeanette
MacDonald is paid $5,000 a week. Add to
that her Metro wage and she's a modern wife
who's doing all right for herself. The Lux
Radio Theatre, the foremost dramatic air
show, pays according to a star's picture in-
come—a week's wage for a performance.
Thus Gable and Dietrich and the highest
salaried screen actors receive some $5,000
for starring for it. (You've noticed how
Hollvwood this hour has gone, haven't you?
It moved West, (Please turn to page 81)

Illustrated By Weldon Swain

CHAPTER I

KATRINE MOLLINEAUX and Bill Naughton had
been drinking champagne cocktails for most of the
afternoon, and they had reached the confidential
stage. They were going back — farther back than even
Hollywood, with its colossal imagination, could have
guessed. At the moment, Katrine was saying:

"It's a long way from Delancy Street to Beverly Hills,
isn't it, Big Boy ?"

Bill Naughton looked at Katrine quizzically from be-
neath lowered brows. He'd had one champagne cocktail
for every two of Katrine's.

"When I see you sitting in that red plush chair," he
said, "I realize it's a very short way! You haven't

changed much, Katie !" He ducked suddenly, as Katrine
threw a glass at him. It crashed, with a little silvery
tinkle, against a marble column that had come from
Pompeii.

"Shut up!" Katrine shouted, but it sounded ominously
mild under the circumstances. Bill ducked again, in-
stinctively, before he made reply.

"Better send for one of your army of Japs," he advised,
"and don't throw glasses. SonWday you'll hurt somebody
with your back parlor tricks."

Katrine beamed at Bill. Her temper was gone with the
wind. She murmured: "You know, darling, I'm really
very fond of you in a strange way. I'd find it rather hard
to struggle along without you !"

Bill told her: "None of that soft soap, Katie — I know
how vou feel about me. . . . You need me to go around
after "vou, picking up the broken glasses and the broken
hearts' and the broken lives. I'm a good publicity man.

Katrine gave a gasp and felt cold fingers
clutching her heart. In the doorway stood
a little boy who might have been seven or
eight, or at the outside an under-siied nine.
He wore blue overalls and a shock of red
hair, and his wide, scored eyes reached out
across the room until they found Katrine's
face and settled there.

aby

An author renowned for her tensely human stories
writes the amazing novel of a mercurial screen siren
whose passion for publicity tempts her to toy with the
irresistible forces that govern every woman's heart

Margaret E. Sangster

and an A-l fixer. If it weren't for the homework I do,
nobody'd go to see your lousy pictures!"

Katrine looked at Bill with eye- that were wide and
hurt. Her pictures weren't lousy — Bill knew it, and
Katrine knew he knew it.

"You're being nasty, this afternoon," she moaned
faintly, and started to cry. Her tears were large and
bland.

"Your mascara," warned Bill heartlessly, so she
thought better of the burst of emotion and rang for one
of her noiseless, perfectly trained Japanese servants, in-
stead.

"Kito," she drawled, as a minute, brown-eyed man
made his appearance, "you can sweep up that mess. Mr.
Naughton is so careless with glasses."

The Japanese servant made strange hissing noises be-
tween his teeth and beamed at Bill. Bill beamed back.

"Kito knows me better than that!" he said. "I never
drop> — anything !"

The Japanese servant beamed harder than ever, if
possible, and bent to retrieve the fragments of crystal
that lay upon the floor. Katrine watched him quietly, but
her even teeth worried her lower lip.

"When you get through with that business," she said
at last, "you can show Mr. Naughton out. He's about
ready to go home — aren't you, Bill?"

Bill chuckled and reached for a cigarette. He spoke to
the' Japanese, ignoring Katrine.

"Don't pay any attention to her, Kito," he remarked
placidly, "I'm probably staying for dinner."

The little Japanese broke into speech. Servants, chil-

dren and animals all adored Bill Naughton. He said:
"Good, veddy, veddy good!" and left the room as silently
as he had entered it, while Bill winked at Katrine and
-aid, "You see how I stand, honeybunch !"

Katrine twitched one slim shoulder, and muttered :

"You're as thick skinned as a rhinoceros, Bill. Can't
you take a hint ?"

Bill Naughton laughed softly and for quite a long
while. He said :

"You bet I can, when I want to, but this isn't one of
the times I want to. I came here to talk business and I've
done nothing but drink gallons of your cheap cham-
pagne— "

Katrine interrupted furiously. "You pay for a gallon
and see how cheap it is — " she told Bill. '"So what?"

"So this — ■" finished Bill. "I'm going to stay until we
have our talk, if I've got to make a night of it."

Katrine was undiluted sunshine again. She was mer-
curial, always. Well, almost always !"

"Are you propositioning me at this late date, darling?"
she giggled. "Should I be flattered?"

"No, I'm not propositioning you," Bill retorted.
"Oddly enough, I'm trying to earn the rather magnificent
salary you pay me. What are you going to do next, baby,
to get your name in the papers? Have you made any
plans?"

Katrine yawned as whole-heartedly as a kitten. "Divvil
a plan," she said. "Thinking of gags for me is your job."

Bill groaned, "I know it is and I'd rather play ping-
pong with Satan, any day."

Katrine yawned again. She (Please turn to page 64)

bbi

tars

They may be fortune's darlings most of
the time, but there are occasions when
Hollywood's pets have to "talc
whether they like it or not

Jerry Asher

BEING a glamor girl or a per-
sonality boy is awfully good
work if you can get it. But just
try and get it and it serves you right.
Don't ever think it's all moonlight
and shadows with Dorothy Lamour
in your arms. The Hollywood pixies
from Never-Never land have their
little moments too, when those fa-
mous faces are not their fortunes.
In spite of their world acclaim, the
Taylors, the Tones, the Tyrones and
the Simones get snubbed beautifully.
Even as you or I.

Believe it or Ripley, Fred Astaire
was refused admission to a public
dance hall. It was when he first
came to Hollywood. Before starting
a picture he made a tour of all those
local points of beauty recommended
by the Chamber of Commerce. His good
friend Randy Scott offered to serve in
the capacity of official guide. One week-
end they went to Catalina. Their first
night there they wandered down toward
the open air pavilion. Fred heard music
and quickened his step. (No pun in-
tended.)

"Let's go in and watch them dance,"
exclaimed the man whose own dancing
was destined to thrill fans all over the
world.

At the entrance they were stopped.
Randy could go in because he was wear-
ing a tie. But that gentleman with him
would have to put on a tie too. Or wait outside. The fa-
mous dancer of two continents preferred to run back to
the hotel and attire himself properly. Dressed according
to the rules and regulations, he gained admittance. The
following Christmas Fred received a box of the most
horrible looking ties in captivity. Enclosed was a note
from Randy Scott, that read: "Just in case you ever
need these in an emergency."

Robert Taylor got his in the Astaire manner. Only
Bob's was even tougher, because he happened to be with

You'd think, looking at
Ginger Rogers, top, that
she'd be welcome any-
where. But once she was
turned down cold! Fred
Astaire, above, was re-
fused admission to a
public dance hall. Read
why. Franchot Tone,
right, is regular enough
to admit it when he's
in the wrong.

n
ts
re
ore
nne
Dur,
the
am.
its of
>:o me,
written
irriages
[Miriam
id people
1 wouldn't
. f coffee, I
nood music,
that stained
with love and
liriam Hopkins
said my friends

before — I recall an

By Elizabeth Wilson

Two more film-famous couples who are recent

lice
nne
tessor,

willing victims of Hollywood's Cupid Cycle:
Faye and Tony Martin, at left above; and
Shirley and John Payne, at right above. Profe

lay

'Loh

engnn

especially good one tucked in between an influenza cycle
and a star sapphire cycle — so I knew exactly how to
comfort myself in the presence of a fresh, dewy-eyed
bride. The approach is simple, just a mere blending of
the spiritual and the sentimental, the madonna-like smile
and the sympathetic hand patting. I knew my lines per-
fectly, heaven knows I should by this time, but I regret
to say that Miriam didn't throw me a single cue, not one.
When I had arrived at the point, (with great difficulty
due to the constant ringing of the telephone), where
Miriam, as a fresh young bride, was supposed to look
dewy-eyed, blush modestly, and Tell All about her Be-
loved, she merely kicked off her mules and proceeded to
do her toe nails with nonchalance and a bright red polish.
During this ceremony, which I assure you is simply
devastating to the mystic ecstacies, I should say that at
least twenty people passed in and out of Miriam's
dressing-room, including her ex-husband Austin Parker,
a Madame Somebody or Other who reads fortunes with
cards, a masseuse, a producer, several Russians, and a
man with a script from the studio.

"Come on over, dear," Miriam had said on the phone.
"We'll talk. Just you and I." Just you and I, my eye.
It was about as cozy as Grand Central station when the
Century gets in with Robert Taylor. But Miriam has
always loved having people around her, the most ill-
assorted but thoroughly fascinating people, and if she
ever invites you to a quiet little just-you-and-I-dear
dinner in her lovely home don't be at all surprised if
eighty people sit down at little tables. Not party-crashers,
heavens no, Miriam knows each and every one of them,

and each and every one of them has the most thrilling
life story — when Miriam tells it. Well, there wasn't
much I could do about "the real marriage story" with
Austin Parker shouting, "The script smells. I wouldn't
do it if I were you," Madame shuffling the cards, and
Lubitsch crashing into Greig in the next room. But
eventually there comes a lull, even at Miriam's, and I
let loose with, "When did you meet Tola? When did
you fall in love?" When? When? When? Why? Why?

"I had to marry Tola," said Miriam giving me one of
her famous under-the-long-eyelash winks. "You see if
I hadn't married him I would have made a liar out of
one of the best fortune tellers in Europe. She would
have been awfully mad." No blushing bride had ever told
me that before, me who has survived, (without benefit
of grammar), at least six marriage cycles. This, indeed,
was going to be a new high — or a new low — in marriage
stories.

"Her name was Madame Hungaria and I met her in
Paris and she did perfectly marvelous things with cards
and crystal balls. She told me that when I returned to
Hollywood I would be hurt in an automobile accident —
and I was, when Mrs. Astaire's car bumped into mine.
Then she said that within a week I would meet a man
who would be very important in my life and I would
marry him and his name would be four letters. 'It's like
Tony,' she said, 'but it isn't Tony.' I was frightfully
intrigued.

"A few days later in the cocktail lounge of the Nor-
mandie I met a Mr. Litvak — [Editorial aside: Miss
Hopkins did not pick him up, he was properly introduced
by mutual friends] — who in the course of the conversa-
tion said his name was Anatole and I said what fun, I
can remember that easily because I once played in 'The
Affairs of Anatole' on Broadway. 'But my friends call
me Tola,' he said. 'T-o-l-a — it (Please turn to page 80)

^ ^veddi

When Carole Lombard and Fredric March team up in a
Ben Hecht comedy, the fun is fast and furious. At left,
Freddie as star reporter swears to his managing editor,
Walter Connolly, that he'll bring back the newspaper scoop
of the year — or else. What he "brings back" is Carole,
accompanied by Charles Winninger, and for what happens
then, read our story.

"HIS is New York,"' YVally Cook, star reporter of
the Morning Star, had written in one of his most
inspired articles. "Skyscraper champion of the
world, with a silk hat for a soul "and a mammy song for
a heart. This is Bagdad, Babylon, and Podunk in a cake
walk between two river banks. This is where the Slickers
and the Smart Alecks hang their gold hats, and where
the sky is a forgotten sign left in the wind by a defunct
firm. This is New York, where the handwriting on the
wall is part of a daily menu. The fortress of sophistica-
tion with a price tag for a flag. Where nothing is too
strange, too macabre, too humpty dumpty or too Ooh-
la-la — if it happened there."

And nothing had been too humpty dumpty to happen
in New York. For there he was, YVally Cook, the tops
in newspapermen, kicked smack off the front page into
the dismal backwash of the obituary columns!

What did a paper demand of a reporter anyway, he
thought glumly. Maybe he should have been born with a
crystal ball in his mouth. Maybe that's what OliverStone
demanded on his staff : psychic powers. Even now it hurt
to think of Oliver, that heel who used to be his^ friend
and was still his editor.

He'd been his pal all right when Wally Cook had
unearthed the Sultan of Mazipan at a night club and
brought that fabulous offer of his to erect a Temple
of Art in Xew York where the theatre, the dance, and

"Nothing Sacred," gay
and giddy Ben Hecht
romance with Lombard
and March, is here re-
told in sparkling fiction
form. Read season's
sprightliest screen story

More scenes from "Nothing Sacred"
something new in hilarious screen non-
sense. Left, Carole swings at Freddie
while Connolly watches. But don't worry,
love finds a way, as shown below, with
Carole and Freddie, after a series of
amusing events, reunited.

Fictionized by

Elizabeth B. Petersen

Please tarn to Page 74 for cast and credits of "Nothing Sacred,"
Selznick-lntemational technicolor picture released by United Artists

all the other branches of culture would be offered free
to the people, right to the city desk. Oliver had patted
little Wally on the head when" the Sultan had consented
to allow the Morning Star to sponsor his giant project,
and wasn't it that same Wally who had sat in a seat of
honor at the speaker's table at the banquet the paper had
thrown to introduce the Sultan and his plan to the great
and near great of the city?

Oh yes, Oliver had thrown plenty of bouquets at the
feet of his star reporter that night, until the fatal moment
when the dark lady from Harlem had crashed the
banquet with her brood of pickaninnies and de-
nounced the Sultan as her erring husband and the
bejewelled Sultana as the massage parlor girl who
had broken up her happy home.

And Oliver had blamed him, Wally Cook! As
if anyone in God's newspaper world could
have spotted the be- jeweled and turbaned
potentate for a Harlem waiter with a Sultan
complex.

And Ernest, alias Sultan of Mazipan, ex-
piating his sins by emptying the office waste-
paper baskets, proved a constant annoying
reminder of his other degradation. In a sud-
den spurt of indignation Wally jumped to his
feet and made for Oliver's office.

"There's a limit to human endurance," he
announced with that flamboyance even the obituary
page could not take away from him.

"Indeed, Mr. Cook?" Oliver gave him a cold,
disdainful glance.

"Listen, Oliver," Wally tried being his most
ingratiating self, "I've been sitting in that dog-
house for three weeks pounding out those daffy
obituaries and I'm getting sick of it."

"Not sick enough, Mr. Cook," Oliver exagger-
ated a shudder as he picked up a piece of proof
and began reading it.

"That's gratitude!" Wally threw charm to the winds
and bellowed protestingly. "I'm the best reporter you
ever had. I've handed you a dozen scoops. I've frozen my
eyeballs out for you in Labrador and I've run myself
bow-legged through fire and flood for you, and now just
because of some goofy little accident that might happen
to anyone, you do this to me! Oliver, I tell you the
paper's going to rack and ruin with me hidden in that
water cooler. Look at this." He picked up the piece of
proof and thrust it dramatically in front of the other.
"Three sticks on the biggest human interest story that's
hit this town in years. A poor {Please turn to page 74)

The adorable De-
onno is shown, right,
in her first evening
gown. Below, a
close-up of today s
Deanna, then at
bottom of page,
when she was very,
very young. Note
how her radiance is
not acquired — she
was, of course, born
with it.

a Zeitlin

For the first time, the
great heart interest
story of the screen's
sensational girl singer
is told here in all its
fascinating detail

WHEN Edna May Durbin was born less than fifteen years
ago, her sister Edith bent over the crib, and thought:
•'What a nice baby!" Now that Edith is grown up and
married, and Edna May has become Deanna Durbin. the movie
star, the elder sister's opinion of the younger remains substantially
the same.

She still calls Deanna Edna, because it comes more naturally to
her. Deanna calls her Deedee. "It was her baby name for me. and
it's stuck. She tacks an c on everybody's name. She calls my hus-
band Clarency. for instance, as if Clarence weren't bad enough.
Her smile is exactly like Deanna's, even to the little corner dimples.
Her manner is like her sister's too — friendly without exuberance,
wellbred without being stiff.

The Durbins are none of them given to extravagances of speech.
With true British reticence, they keep their feelings to themselves.
What they think of each other, you've got to catch in a glance or
intonation, for vou won't hear it in words.

But as Edith tells the story of Deanna's childhood, the picture
begins to form. A closeknit family of four, happy in one another,
modest in their demands on life, with a sane sense of values left
untouched by their transplantation into a new world. A household
where the children were cherished without being spoiled. When
it was discovered that their youngest had a voice which set her
apart they were pleased, but with a sober pleasure. They realized
too keenly the responsibilities involved for her, to be wildly elated.

"We knew she'd take the responsibilities hard," says
Edith. "She was always a conscientious child. I remem-
ber one Christmas she was ill with tonsilitis, and so dis-
appointed because she couldn't help trim the tree. So I
brought a little one home, and set it on the table beside
her bed. 'We'll trim it together,' I told her."

No sooner had they finished than, to Deedee's horror,
Edna slumped back among the pillows.

"But why didn't you tell me you weren't feeling well
enough?" her sister reproached her later.

"Well," she whispered, "you took the trouble to bring
it just for me. The least I could do was trim it."

The family knew she had a sweet voice and could
carry a tune. They saw nothing remarkable in that. Their
friends enjoyed hearing her, so when she was very small,
they'd lift her to a table and let her warble her favorite
Pal of My Cradle Days. Even when she grew older, and
people began asking her to sing on charity programs, it
never occurred to the Durbins that her voice might be
anything but a source of pleasure to a few. And Edna,
being a Durbin, accepted it in the same way.

For the rest, she lived the life of the average child
in moderate circumstances, went to school, made friends
among her classmates, spent the afternoons roller skating
with them, sang in school productions. An ice-cream soda
at a drug-store counter with the girls, or an early movie,
constituted special treats. She loved the movies. When
Clarence Heckman, engaged to Deedee, started working
in the music department of a studio, she would pelt him,
like any child of her age, with questions about the stars :
"Whom did you see today, Clarency?" she would beg.
Joan CRAWford? ! ! Really? How did she look, what
did she have on, how close did you see her ?— Heavens,
Clarency, weren't you thrilled?"

"Practically paralyzed, Ednerts," Clarence would as-
sure her. "They had to pick me off the floor with a
poker." Ednerts is by way of retaliation for Clarency.
Far from offending Deanna, she considers it cute.

It was a family friend who practically pushed the
Durbins into doing something about Edna's voice. Her
daughter was taking piano lessons from an accompanist
of Ralph Thomas, the singing teacher.

"Let me talk to him about the child's voice, she kept
urging. "It's too good to be left untrained."

"We didn't pay much attention at first," says Edith,
"because — well, you know how it is. You find it hard
to believe that right in your own family and for no good
reason, there's a voice that people will pay to hear. And
besides, we hadn't had the money for lessons. But I'd
finished school the summer before, I'd been teaching

Colorful close-ups of the Durbin career. Reading down: with her
director, Henry Koster; a singing lesson with maestro de Segurola;
then lunch with Koster and her producer, Pasternak; at bottom of
page, as the star of "Three Smart Girls," her first film, with Nan

Grey and Barbara Read; a kiss from
Eddie Cantor after a broadcast; and
finally, Deanna astride her first pony.

since September, so I felt that if anything did come of
it. I could at least help with the financial end.

"Our friend spoke to this man, she had him hear Edna
sing, she made the appointment with Mi". Thomas, she
all but carried us to the door. Xot that we were unwilling
exactly — just timid, I suppose, about daring to think
that Edna might become a professional singer."

Having been all but carried to the door. Mrs. Durbin
and the two girls went in. Edna, just turned eleven, sang.
It was no storybook scene. Mr. Thomas didn't fling his
arms in the air, and shout: "Here is a voice." His eyes
didn't sparkle with the joy of discovery. Maybe he was
naturally phlegmatic. Maybe he found no cause to be
otherwise. He thought it was a good voice. He thought
he could develop it. Such and such were his terms. Les-
sons were arranged for, and the Durbins went home.

The_\- were unique in this — that, living in Los Angeles
where' children with a spark of talent or none at all
bombard the studios daily — the thought of the movies
never entered their heads. It was opera that Edna began
to dream about. One day she came home and told them
quietly: "Mr. Thomas said that maybe years and years
from now I'll be able to sing in grand opera. You'd like
that, wouldn't you? Only I don't suppose I'd better get
excited about it yet. Because maybe I won't be good
enough." Meantime she enjoyed her lessons, was grate-
ful to Deedee for making them possible, continued at
school, sang at her teacher's recitals and looked ahead
to vears of the same routine.

And so it might have worked out, if Metro hadn't
needed a girl to play the young Schumann-Heink. Among
others, they asked Jack* Sherrill, an agent, to look out
for a twelve-or thirteen-year-old, "with a fairly good
voice, it doesn't have to be sensational."

One day a friend phoned. The fates seemed to be at
work, for he knew nothing of Sherrill's commission.
"I'm down here at Ralph Thomas's. I've just heard a
kid with an operatic voice. Say, Jack, she's good. W ant
to hear her?"

"Hold her," said Sherrill, grabbed his hat and ran.

One look at her face, and he knew he didn't have to
worry over that part of it. She sang // Bacio for him.
"How'd you like to go into pictures?" he asked.

Her eyes widened, the only sign of any inward tur-
moil. "Do vou think I could?" she returned soberly.

Deanna, at top left,
with Adolphe Men-
jou and Leopold
Stokowski in "100
Men and a Girl."
Reading from top
right: with her
mother; a family
scene, with father
Durbin reading the
paper, Deanna with
her dog, mother
knitting; and, at
right, Mr. Durbin
chats with Deanna's
beloved sister Edith.

Sherrill offered her parents a managerial contract.
"We were all quite calm about it," Edith recalled with
a gleam of amusement. "Mr. Sherrill's attitude may have
had something to do with that. He didn't seem to care-
very much one way or the other, sort of take it or leave
it. It wasn't until after the contract was signed that he
began getting enthusiastic. We were so ignorant of what
the whole thing meant and would mean, that we couldn t
tell what to do. Edna didn't urge us one way or the
other, she said whatever we decided would be all right.
So — mother and dad finally decided to take the plunge
and sign."

Sherrill arranged for an audition at Metro. The little
girl sang Bacio for an assistant musical director. He
summoned his superior. She sang again. A buzzjjjE whis-
pering, and a third expert was (Pkase turn to-4§§ - 70)

VU "Mr.

an<

irs.

Clarence S. Bull

William (Tell) Powell, wearing Myrna's
new hat and apparently borrowing
Spanky MacFarland's favorite toy gun,
and Miss (Apple a Day) Loy compose
their famous features into perfect pro-
fessional dead-pans to appease the
studio photographer's craving for "some-
thing new and crazy" in the way of a
funny picture. At left and right, the
skilful players counterfeit a domestic
battle; and below, they pose prettily for
a tender scene.

The madder and merrier the movie,
the greater the rush of customers to
the box-offices of the land. So that
popular team of Myrna Loy and
William Powell cast aside care and
discretion completely to pose for
"gag" pictures such as the one at
the top of this page; and to stage
many merry battles, and almost as
many sweet makings-up, in their
charmingly crazy new film. Don't
ask us where it will all end. All we
hope is, that M-G-M never arranges
a divorce between Nick and Nora, or
Myrna' and Bill, or whatever you
want to call the screen's most
sophisticated couple.

Most hilariously hectic
"married couple" in
our movies, AAyrna
Loy and "William
Powell continue their
"ThinManandWife"
cycle, this time titled
Double Weddins"

opper lay

Taylor!

Presenting Bob at his best in por-
traiture. Here are the latest and
most realistic close-ups of the screen's
Prince Charming

Willinger

iSL

Hundreds of thousands of
women can't be wrong — they
say Robert Taylor is even
handsomer off than on-screen.
These portraits are further
proof. For poise as well as
profile, consider this shot at
right; and for the easy infor-
mality and engaging Taylor
smile, study the three grand
close-ups above and at left.
Bob is now in England making
his latest, and first picture
abroad, "A Yank at Oxford."

Iff

> *

'In Old Chicago" the rivals, above, are
ryrone Power and Don Ameche, with
Mice Faye — very understandably, as
fou notice at the far right — the object
)f their affections. The scenes at right
ind below tell the story. Right, the
ines of battle are drawn. Below, Tyrone
ind Don fight it out. But they're pals
igain, with Alice Brady as mediator, in
the scene at bottom of page.

Friendl

ivals

Amiable, but none tne less ardent antago=
nists for tne favor of Alice Faye, are Tyrone
Power and Don Ameche, as two very
personable men and a very pretty girl be*
come romantically involved in a new and
elaborate screen play

On, and On,
and On
Witn tne

Dance!

Hollywood has been dancing for years. But now, for the
first time, it offers classic ballet to screen audiences.
Samuel Goldwyn, real picture pioneer of the artistic and
worthwhile, presents in "The Goldwyn Follies" the
American Ballet of George Balanchine. Left, Heidi
Vesseler, called "world's ballet beauty." At right, close-
ups of two other dancers, Hortense Kahrklin and Made-
leine Leweck; and across top of opposite page, views of
girl dancers in practice clothes, hard at work rehearsing.

Three differer.'
dance styles are il-
lustrated, at left, b*
Evelyn Thawl, new-
comer to Hollywood
from Broadway: ftf
left, the hey
"Charleston."
Center, the French
can-can. Left, to-
day's strut. Now,
at right, you set
Priscilla Lane re-
hearsing one of her
own original dance
routines, in gay,
reckless modern
tempo.

And still they dance! This time it's the "Mer-
ry-Go-Round," new dance performed in tango-
rhumba rime, created by Carl Randall for
Universal^ "Merry-Go-Round of 1938," and performed by John King and Joy Hodges, love team in the
picture— in eight positions, reading from left to right across the center of our two pages. Now you try it!

Here Dwells

Dainty Anita

Anita Louise, whose delicate colorings
and Dresden china charm are reflected in
the interior treatment of her house, is
seen at upper left, on the stairway that
ascends from a tastefully furnished re-
ception hall. Above, the star in her
music room. Top right, breakfast room.

There's a play room — equipped with bar — in Anita's home, and you'll
find it inviting and attractive as represented in the view at right center.
Right, the bedroom, daintily feminine to the last detail of the draperies
and bed-spread. Above, Anita does a bit of needlework there in the
far corner near a window in the sitting room.

jAnita Louise, perhaps more than any
jHoIIywood homeebuilder, finds the per*
feet expression of her own personality in
her fastidiously planned abode

The porch, a pleasant place to enjoy the
sunny — when it is — California weather,
also provides good candid camera shots,
as you see at top right. Above, breakfast
in her boudoir. At upper left, the lady
of the house supervises the final
arrangements of the dining table.

Close-up of the table set for dinner, gives you an idea of the tasteful
way crystal and lace, china and silver are arranged at Anita's house-
left center. Left, a view of the drawing-room from the library. Thats
Anita standing in center foreground. Above, a close-up view of the
fireplace, central feature of the living room.

Dick Powell boasts one of the most extensivi
and expensive — wardrobes in Hollywood, so
trust Dick to wear just the right clothes when he
goes places. You get the idea in the three
poses of Mr. Powell above: check sports jacket,
belted informal lounging coat, and high hat
with a timely tilt — all show style.

V^hat the well-dressed
man will wear — or will
he? Anyway, you must
admit Hollywood actors
know how to pick clothes
that suit their personalities

Dictators— of
Fashions forM <

Tennis is Ralph Bellamy's
favorite sport — he plays and
he also runs a popular tennis
club. What's more, as proved
by the picture at left, Ralph
knows how to dress when he's
going out to the courts. Jack
Holt, right, gives the mature
and substantial man of af-
fairs style ideas worth copying.

Preston Foster, apparently,
doesn't do things by halves,
and he puts on a real fashion-
plate pose to illustrate, above,
the very latest thing for for-
mal morning wear. Patric
Knowles, center above is an-
other smart dresser, gives just
the right twist to a black and
white checked scarf.

For something dashing
you may always look to
George Raft, who likes
his clothes to be lively as
well as smartly tailored.
George, above, sets a
sprightly pace with a
spirited sports jacket. Left,
a bit on the quiet side, but
always distinctive, are the
clothes Ian Hunter wears.

And speaking of
expressing person-
ality in the clothes
a man wears, here's
Cesar Romero,
above, over-
coated and hatted
precisely, it seems
to us, as you'd ex-
pect of the actor
who plays those
dark and menacing
screen rdles so convinc-
ingly. There's nothing in
the pose to suggest that
Kent Taylor, left, is set-
ting fashions — but have
another close look at the
trim fit and smartly striped
fabric of" his double
breasted outfit. Right, the
customary lounging cos-
tume of Hollywood, sweat-
er, slacks, and open-col-
lared shirt — worn with
that casual ease character-
istic of Randy Scott. Ran-
dy's taking it easy here on
a holiday from the studios.

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Wake II

p an<

own!

Dizziness begins at dawn for that zealous
Zany, Ben Blue. First chime of the alarm
clock starts Ben clowning—fine way to get
into tne mood for work

Here's a new game for
you! It's called
"around the clock with
a cuckoo." In otheT
words a day in the life
of a movie merry -go-
rounder who goes dizzy
to delight laugh-seek-
ers. Ben goes into his
dance before he gets
out of bed, and you
can follow him through
his morning ablu-
tions, to dressing and
breakfasting, from top
to bottom at left, and
on to a dip in the
ocean, right. Above,
Ben Blue and Judy
Canova, two successful
screen screamers, in a
new picture, "Thrill of
a Lifetime."

Bob Burns and his bride have a lovely new home in Bel-Air,
as you see in these pictures of the exterior and interior of
the house, below, with the comedian and Mrs. Burns en-
joying life there. Left, Robin has a feathered friend he's
proud of — says he swims like a duck. Far left, listening to a
recording of a recent broadcast — the elaborate equipment
in his home enables Bob to be his own severest critic.

iotin s Rest —

Between Gags

Boh Burns holidays at home — you under=
stand why when you look in on him as he
relaxes, which we make easy for you hy
presenting these reaUlife views

It s Always Play^Time

in ^

Hollywood

AH the year 'round, Hollywood's handsome
young people cavort by sea or stream, dune
or dude ranch. Top left, new team-mates
Jimmy EUison and Jean Parker take time off
from "The Barrier" for fun. Center, not
making much hay but looking lovely are
Jean Rogers, Judith Barrett, Frances Robin-
son. Top right, that cut-up, Marie Wilson.
Jean Parker again in her sun-suit, Jean
Rogers doing a lady Lincoln act; and, left,
Lana Turner kidding Izaak Walton.

Jane Bryan, left, takes her
sun seriously. Joy Hodges,
right, not only decorates
a swimming-pool, she can
really swim. Below cen-
ter, Larry "Buster" Crabbe
teaches Paramount's stu-
dent players the fine art of
posing in the pool. At
bottom of page, from left
to right: new twosome,
Betty Grable and Leif
Ericson; Mary Maguire,
ready for badminton; and
Margaret Lindsay, beauti-
ful support for a fine old
Hollywood star, Sir Tree.

Against the ex-
travagantly
colorful back-
grounds of Ori-
ental splendor of
the 13th century,
Gary Cooper
plays the adven-
turer who jour-
neyed from Eu-
rope to Asia,
and discovered
the riches of the
Great Khan's
court — and also
the lovely Prin-
cess Kukachin,
played by Sigrid
Gurie, Norwe-
gian star who
makes hei Holly-
wood bow in this
picture, and seen
in the Still of the
Month, at right.
Above, Gary in
a scene with Basil
Rathbone and
Ernest Truex.
Below, close-up
of the stars in a
romantic scene
from the new
Goldwyn epic.

i The Most Beautiful Still

f the Month

From "Tne Adventures of Marco Polo

Stars are brisk and hearty when they sojourn
in England for work or play

By Hettie Crimstead

completely captured them. He kept the make-up man
waiting five minutes one morning and apologized to him
profusely ! He never fails to open the door for a woman
or place a chair on the set for a visitor and he listens to
your conversation with the most charmingly flattering
attention.

During the making of his British pic-
ture, which has Maureen O' Sullivan in
the cast, Bob is (Please turn to page 67)

Leslie Howard, his wife and son, Ronald, arrive for
an extended stay in their native land. Roland
Young, right, goes penguin-collecting. Sonja Henie,
at far right with Monty Banks, was a popular
visitor. At right below, Raymond Massey, home-
comer; and Robert Taylor, new arrival.

A.RDON my bruises. I went to Southampton
Docks to meet Robert Taylor and since thousands
of his English women fans had had the same idea,
I literally fonght my way across the "Berengaria"
gang-plank and up on to the sun-deck where the hero
of the hour was standing. In a blue-grey suit that
exactly matched his eyes, Bob was waving down to
the seething feminine mass on the dock, calling out
that he was glad to see them and delighted the}- had
taken the trouble to come.

"Does it worry you?" I asked him curiously.
His sun-tanned face wrinkled into the famous
smile.

"It'll worry me when they stop mobbing me,'' he
replied. "I like my fans and I'm tremendously grate-
ful to them. I only hope they aren't disappointed
when they meet me in the flesh."

Well. / wasn't anyway ! Undoubtedly Bob is far
more good-looking in reality than on the screen
which can't convey his fresh complexion and rich
jet-black hair and the air of well-groomed health
he radiates. I've met many famous Hollywood vis-
itors but never one so natural nor so modest as Rob-
ert Taylor. He tries to have a smile, a wave, a word
for each and every one of the crowds that besiege
him and he signs autograph-books until his fingers
go stiff with cramps. He was so considerate for other
people aboard the "Berengaria" the stewards became
his fans to a man. They voluntarily mounted guard
outside his stateroom door when he asked not to be

disturbed— when he was having his daily ocean
phone talk with his mother, for instance, or reading
his mail which he always makes his own personal
duty.

Down at Denham Studios, where there is a won-
derful replica of the grey old college which Bob will
attend as "A Yank at Oxford," everybody echoes
the verdict of the ship, for the Taylor charm has

STAGE DOOR — RKO-Radio

TOP entertainment of the movie month, this very free
and easy-to-take screen translation of the Edna Ferber
^'play" surpasses every other offering. It's spirited and
sparkling, but surprisingly enough, not at all shallow.
Beneath the glitter of the good lines, both of dialogue and the big
cast of girls, is genuine heart-interest, revealed in terms of true
cinema, thanks to director Gregory LaCava. The account of the
goings-on in a girls' theatrical boarding-house in New York is
skimpy stuff until Mr. LaCava takes it in hand and turns it into
a warm, wise, and witty show. Cheers, too, for his inspired direc-
tion of Ginger Rogers, who for the first time proves she can
stand on her own shapely feet as an authentic artist without
Astaire. As Jean, wisecracking little dancer who is the life of
the girls' club, Miss Rogers dominates every scene in which she
appears, glowing with good spirits and that electric quality pos-
sessed by the few screen "greats." She steals Hepburn's scenes ;
she makes even Menjou a background actor for once. It's Ginger's
picture — except for those scenes in which Andrea Leeds appears.
This new Miss Leeds holds her own even with Ginger, as the
tragic young actress robbed of her coveted role by Hepburn.

ANGEL — Paramount

THE elegance of Dietrich, the suavity of Herbert Mar-
shall, the indifference of Melvyn Douglas, and dozens of
Lubitsch touches fail to put "Angel" into the heavenly
class of super-cinemas. We've been hearing of "Lubitsch
touches" for more years than we care to count ; and occasionally
we've seen some ; but if there are any typical "Lubitsch touches"
in this picture they are so light as to be barely noticeable. There's
the Eddie Horton touch, and the Ernest Cossart touch — as the
valet and butler of the Dietrich-Marshall household, these two
peerless performers bring the film to life whenever they appear;
but this is too seldom. The story is a mess of amorous mumbo-
jumbo in which Dietrich is the world's most desired woman, by
two men, her husband, Mr. Marshall, and the mysterious stranger,
Mr. Douglas. Admitting Dietrich is the world's most alluring
woman, need we be reminded of the fact in every scene? She's
lovely to watch, but we really wonder if a man like Herbert
Marshall, with his sly sense of humor and all, would have been
so patient. We're not so surprised at Mr. Douglas. It's hand-
somely mounted, gorgeously costumed, expensively produced ; but
it makes an old short story long in none too entertaining fashion.

< & ■ SEAL OF] i

vs — 3

Reviews

of the best

Pictures

LIFE BEGINS IN COLLEGE— 20th Century-Fox

AND mad movie comedy begins, and ends, with the Ritz
Brothers. If you like the boys, this will probably be your
favorite screen entertainment of the season. If you don't
like them, I'm sorry for you; you're missing a lot of fun.
To me they are filling, in fact overflowing, a long-felt need — now
that Chaplin has retired in gloomy grandeur, Harold Lloyd makes
so few pictures, and the Marx Brothers have gone to the races.
Of course, you have to fling yourself into the mood with some-
thing of the Ritz Brothers' own wild abandon, to appreciate them
at their true worth, especially since they are now Stars, carrying
the weight of the whole picture on their shoulders. It's all right,
though, in this case — "Life Begins in College" is just the blend
of berserk nonsense the boys can do the most good with. The
gridiron, as you've guessed, is the scene of their hilarious labors
here, and until you've watched the Ritz Brothers play football
you have not really laughed. Their other numbers include a
rhumba specialty, an Indian burlesque, and the Spirit of '76 boys
— stop, they're killing me. A surprise standout is Nat Pendleton
as an Indian football star. Tony Martin is present, too briefly.
Joan Davis does a funny song and dance. Gloria Stuart smiles.

GOOD:

"Life Begins in College"
"Something to Sing About"

BETTER:

"The Perfect Specimen"
"Ebb Tide"

BEST:

"Stage Door"

CHEERS FOR:

Ginger Rogers, Andrea Leeds in
"Stage Door"

Oscar Homolka, Ray Milland in "Ebb
Tide"

CHUCKLES FOR:

Errol Flynn, Joan Blondell, May Robson,

Edward E. Horton, Hugh Herbert in

"The Perfect Specimen"

James Cagney in "Something to Sing

About"

ROARS FOR:

The Ritz Brothers in "Life Begins in
College"

THE PERFECT SPECIMEN — Warners

A GRAND, gay show, with Errol Flynn proving he is
just as potent a personality — though no better an actor, I
must add — as in costume "period'' pieces ; and with Joan
Blondell delivering her deftest performance to date as a
young woman who, amazingly enough, takes one hour and forty-
five minutes to fall for the Flynn charm. This has what's so very,
very rare in screen comedy circles : a truly amusing idea — that of
an earnest, upright young man, heir to millions, whose doting
grandma insists that he study to become "the perfect specimen"
of physique, intelligence, and everything else, skipping only human
nature. It turns out, of course, that Air. Flynn is just as human
as the more imperfect specimen peopling our poor world, but it
takes a series of entertaining episodes — some hilarious, some
thrilling, all delightful — to awaken him to keen interest and ap-
preciation in such every-day occurrences as prize-fights, which I
regret to add he always wins; beautiful girls, of which Miss
Blondell is the prize specimen ; and a working sense of humor.
May Robson is superb as the tyrannical granny; Eddie Horton is
priceless as the absent-minded secretary ; Hugh Herbert is crazily
present. Mr. Flynn is definitely, here, No. 1 Threat-to-Taylor.

EBB TIDE— Paramount

THE most entrancing scenic shots in true technicolor yet
seen on the screen occur in "Ebb Tide," first fictional film
,to turn to tropic isles and dazzling sea for color values.
When you see the good ship "Golden State" ploughing the
waves with the sun sparkling on the Pacific — and also on Frances
Farmer's hair — you will probably be moved to applause, and the
certainty that color films are here to stay. When / saw how
Raymond Milland takes to color, I was more than ever convinced
that I had, 'way back there in silent days, picked a winner in
this handsome young Englishman with the rather lazy charm ; and
since Mr. Milland has survived the advent of both' talkies and
color pictures, I should say he is definitely here to stay, for which
cheers. Oscar Homolka, a fine actor whose one fault is that he
acts too much, dominates the drama with his characterization of
a renegade sea captain whose last adventure on a mysterious pearl
island very nearly results in disaster for Ray Milland and Frances
Farmer — which would have been too bad; and for Barry Fitz-
gerald— which was quite all right with me, for I was tired of
Mr. Fitzgerald's disgusting display of over-acting. But for
gorgeous scenery and romance don't miss "Ebb Tide."

SOMETHING TO SING ABOUT— Grand National

AND really something to cheer about, Cagney's new
picture — in which Jimmy is his old self, and a couple of
new ones, proving that for pungent characterization and
inimitable personality the cocky little Irishman is still
unique on the screen. Here's a comedy which gives Cagney his
best and biggest chance since his historic battle for cinema inde-
pendence, in a role combining the popular qualities of hard-guy
and boy-who-makes-good-in-Hollywood. If you can imagine a
cross-section of a Dick Powell musical and the roaring, rollicking
kind of melodramatics Jimmy himself used to knock out, with
slight overtones of "A Star is Born," you come somewhere close
to an approximation of the entertainment values of "Something
to Sing About." Jimmy plays an orchestra leader signed for films,
who finds Hollywood no paradise. After some typical Cagney
fisticuffs he turns his back on Hollywood, only to discover —
you've guessed it, you smart-aleck — that Hollywood wants him. Bill
Frawley and Gene Lockhart are good as press agents, and Mona
Barrie is decorative as a screen siren. A new girl, Evelyn Daw,
has a charming voice. And oh yes, our James sings and he dances.
While he's no Powell or Astaire, they aren't Cagneys, either.

Picture-Mad M

Talk about a busman's holi-
day! Here's a handsome
young actor who works in
pictures, then spends his
spare time taking 'em! Let
Ray Milland tell you what's
wrong with your pictures,
how to make the most of your
camera hobby

By
Ruth
Tildesley

ON exhibition in Munich. Germany, are three photographs,
each one signed in an odd, round scrawl "Jac R. Milland."
The first is a study of an old peasant woman in a black
shawl sitting by the roadside in the Thuringian Forest. The second
is a scene at Ardenza Beach in Italy. The third shows barges go-
Mac R. Milland" is that excel-
lent young actor known on the
screen as Ray Milland, and if
acting ever fails him he will turn
from amateur picture-taking to
professional camera artist.

He's been shooting candid pic-
Top, left, Ray aims at our reporter, Miss
Tildesley, on the beach at Catalina.
Then you'll see two sea shots, a pic-
turesque peasant, a Swedish baby, a
good interior, and — below — an informal
snapshot of Frances Farmer on the set.

tures for eight or nine years, using everything from a small
Brownie to his latest Contax.

"I don't know how to paint or how to draw," he said, as we
shared the brief shade of an umbrella on the Catalina shore, "but
before I had been working with a lens and a shutter and scenes
that appealed to me in front of them for a long enough time to
work out experiments, I discovered that photography is every bit
as much of an art as painting. Some experts say it is more difficult
and requires more artistic ability but in the end the results are
more satisfactory.

"At least, it is a fascinating hobby — one that
never grows old because there's so much to
learn. With each shot, you discover your mis-
takes and after a while you learn to avoid them.
Most amateurs over-estimate light conditions
— that one thing causes more failure than any-
thing else. Impatience is at the root of it, I
suppose. We see something we simply must
have and snip-snap we go! We don't wait a
second to find out if there is enough light on
the subject or whether or not there is too much
shadow.

"Of course, shadows make your picture.
Here are two shots I took on this location at
Catalina"- — Ray was working in "Ebb Tide,"
under director James Hogan — "This one I shot
from the pier at the Isthmus — you notice the
shadow of the palms and the deep color of the
sea which emphasizes the clear white of the
yacht and the small rocky island offshore. In
the other shot, they are dropping sail on
Golden State, our ship; see the odd shadow
effects."

Ray prefers making shots of inanimate ob-
jects, rather than of people.

"Any pleasant scene means a picture to me,"
he observed, "It needn't be pretty-pretty. For
instance, a row of lights high up on a studio
stage can make a fine picture. That's my idea of an interesting
shot; those lights, taken from a certain angle, can look as if
they are marching along; and they don't all look alike in your
picture, either, each takes on its own beauty.

"But when you try to photograph people they freeze up and
become selfconscious. All their natural charm vanishes. You
have to waste a lot of time cajoling them, talking to them,
trying to make them forget that you are hanging around with
a camera and that some time soon you'll be clicking the shutter
and how will they look? It's not worth the effort ! If you shoot
scenery, or inanimate objects, the place or the things are there
before you paying no attention to you ; all you have to bother
about is the angle you'll shoot from, the frame you want to
make, or the light situation.

"Take those Munich exhibition (Please turn to page 78)

Left, the camera artist
himself! Above, shadows
while dropping sail on
"Golden State," the ship
used in "Ebb Tide." Below,
Frances Farmer off-guard;
a tropical shot; lights on
parallels; and finally, at
lower left, "Bell House," a
noted club outside London,
England, and lower right,
mountain peaks and clouds.

Strange

She has blossomed into a real actress,
this lovely blonde who was once known
only as a singer of torrid songs. Above,
a love scene with Tyrone Power from
"In Old Chicago," and at right below,
a close-up of Alice in her first dramatic
role from this Darryl Zanuck "epic." At
right, the old Alice — fuzzy hair, sequins,
and feathers — but the legs are still as
lovely as ever!

PICKING violets is not Holly-
wood's favorite outdoor sport.
Lack of it is probably due to the
all but hopeless feeling that there
aren't any. Yet, amazing to tell, in
roaming over Westwood Hills to
Twentieth Century-Fox, wholly un-
awares I incredibly picked one —
Alice Faye.

Now I do not mean to give the
impression that this rare flower of
the films stems affectedly from the
shrinking variety. It is only that her
modesty is gratefully refreshing in
an atmosphere not unduly laden
with this engaging quality. Her
simplicity is as beautiful as her legs.

Happily, these twin possessions,
which by comparison made Marlene
Dietrich's seem like foreign liabili-
ties as they propelled their youthful
owner into a private dining room
of the studio commissary, were at
par in blue-gray slacks. Apparentlv
she set greater store by them — the
slacks, of course — than in her considerable professional
properties. And certainly I was quite unprepared to hear
her say :

"I feel very insignificant, and can't imagine people
noticing me and doing things for me. I've always felt
that way, that I don't matter around here."

She meant it, too — there could be no doubt about that.
But it was equally true that she was completely alone in
this feeling. Evidently she didn't know that the head of
the studio, Darryl Zanuck, in watching the "rushes" one
day had exclaimed of her: "My God! To think she was
on this lot four years and nobody ever discovered her !"
Not that it probably mattered at all had she known. For
when I tried desperately to talk her out of herself she
merely said :

"I came here as a singer and dancer, and that's all

Charles Lancaster

I am now. They tried to send me to school
at the studio and bave me learn how to act.
The teacher had me walk across the room
balancing a book on my head. That made
me feel so foolish that I never went back.

I can't learn anything that way. I
have to 'get' things."

It was only natural to wonder
how she got rhythm.

"It's just part of me. I don't
know music, can't learn it, it just
doesn't stick. I've got to catch
things as they come along. I caught
music young, like measles. As a
kid I was crazy about hand-
organs. I'd follow them in the
street till I got a tune in my head.
The first one I caught up with was
'The Sidewalks of New York.' It
was the same way with dancing.
Every tune I picked up would go
to my feet. I can't claim credit for
anything. Probably always lacked
the nerve for it."

But something in that whole-
some face of hers, a healthy cour-
age strengthening its glowing
charm, told me that she had an-
other guess coming.

"W ell," she reluctantly admit-
ted, "in my kid days I did do one
thing that took a lot of nerve. We
lived in the Fifties just off Broad-
way. That was my street. I loved
it. But what I loved most of all
about it was the theater. So I'd
sneak into a theater alley, walk up
to the stage door, then turn right

ice in

o n d e r and

around and come out proud as a peacock. I thought
people who saw me would believe I was an actress play-
ing in the company there. It was silly, but I got a big-
kick out of it."

All her life, I could readily imagine, the unpredictable
Alice had been as full of surprises as she was of spa-
ghetti in "You Can't Have Everything." One now was
forthcoming as the waitress returned with the eupeptic
star's order — crackers and milk !

"I don't dare eat much when I'm working," she ex-
plained. "The other day I had a pineapple salad, but I
was so nervous that it tied my stomach into a knot.
That's the way it's been ever since I came to Hollywood.
I didn't want to come and didn't want to stay. The first
vear I was here I made six trips back East. I hated the
place, couldn't stand it. I wouldn't have
stayed if it hadn't been for my mother.
After the George White picture the front
office called me in and offered me a con-
tract. I didn't want it. But when I got
home and told my mother she said: 'You
had better think it over. This chance may
never come again, and then you'll be kick-
ing yourself.' To please her I agreed to
sign the contract. Then I went to bed and
cried all night long. I figured I wouldn't
last. That was all right with me because
T was terribly lonely here.
I didn't know a soul out-
side the studio. My trunk
wasn't unpacked, and I
lived in one dress. But I'd
go out every night — had
to or go crazy. People
would say, 'She's a nice
girl, but win' doesn't she
ever stay at home r 1
thought them very pleased
with themselves — I still
think some are. But most
are swell. I can't knock
Hollywood. It has been
good to me. After a num-
ber it has patted me on
the back. This has helped
take my mind off trying
to be an actress. When in
doubt I can always sing a
song. People say the
other thing's easy.
Maybe it is for them,
but not for me. I i
just get along here J
the best I can. If I
went to an o t h e r
studio I'd be petri-
fied. Even here, on
the first day of a pic-
ture, I'm sick, shak-
ing. When we started
'In Old Chicago' I
fainted. I suppose it's
because I never seem
at home in pictures.
I've had the same
feeling about Holly-

wood. To me it always seemed like a kind of wonderland,
not a real place."

A strange Alice in Wonderland, she suddenly made
herself clear. In this new light she unwittingly turned
on herself she stood out as a real person, the genuine
article, not the manufactured Hollywood product. Yet
in spite of her nature, the differenca between it and
her surroundings, Alice Faye was forging ahead as no
other young actress in Hollywood. How did she ex-
plain it?

"Everything here is a puzzle to me," she protested.
"Maybe it's because I've never been much of a movie
fan. But I do like some actors. AYilliam Powell is my
favorite. Why? Oh. I suppose it's his ease, his natural-
ness. But Tyrone Power is my pal. He has done more

for me than anyone else.
It was his plugging for
me that got me this part
I'm now playing. And he
didn't stop at that. He
went right on and worked
with me. When a test was
arranged for eight o'clock
at night Tyrone begged
to be allowed to make it
with me. He had a date
that night, but broke it on
my account. I'd never
have been able to get
through the thing without
his help. But when I
tried to thank him all
he said was, 'Forget it.
Alice, and just remem-
ber you did the same
for me when I first
came on this lot as a
nobod}'.' He turned
away and I burst out
ring.

Her voice choked
and her eyes filled. It
was only after a gulp
of milk and a nibble of
cracker that she was
e to go on :
'But I couldn't stop
myself sick
I was so
full of troubles, so
pent up with them, that
on the first dav of 'In
Old
(Please

SCREENLAND

Glamor
Schoo

Edited by

Whether you're an all-year-round city gal or a lucky
■follower of the sun down South or far West, you'll find
valuable fashion pointers in Miss Russell's wardrobe. Top,
her favorite dinner gown: of heavy white crepe, with
military motif. The short, fitted jacket and the soft, blue
chiffon ascot are braid-trimmed. Right, her pet sports
suit, black wool skirt with a gay striped wool jacket. A
red crepe blouse with her initials on the collar, red felt
hat with grosgrain ribbon bands matching the coat, and
black bag and shoes complete the costume. Far right,
a navy wool suit with the ever-fresh and crisp pique
blouse, which Miss Russell wears under her fur coat or
as is if the California weather is not "unusual." The short
bolero coat features four set-in pockets. A wide red
leather belt adds color — "Roz" is partial to red, you'll
notice. The large brimmed off-the-face hat has a red
grosgrain ribbon trim. Navy shoes and bag, with white
gloves, are finishing touches of chic.

Glamor School photographs of Rosalind
Russell by Clarence Bull, M-G-M.

Rosalind herself designed the evening coat at left below: of
gay colored striped silk and Arabian atmosphere. The suit below
is of interest because of the beige shark-skin blouse with its
glove stitching. Her suede hat is two shades of brown, with
matching zipper gloves. At right, Miss Russell's grand, chubby
silver fox coat, with new exaggerated shoulder, rolled collar and
tuxedo front. At lower right, her evening cape of bottle-green
taffeta, with matching green braid worked around the neck and
shoulder. The cape, very full and flaring, is short at center front
and falls into trailing fullness.

No tour of the cinema
city is complete with-
out a look-see at one
Hollywood party at
least. Well, here's where
we crash a gay dancing
end dining event, and
find seated 'round the
lable such interesting
people as Loretta
Young, Tyrone Power,
Claire Trevor, and J.
Edwcrd Bromberg, read-
ing from right to left.
By strange coincidence
«ll four of these fav-
orites appear together in
"Second Honeymoon."

ere s

ol ywood

"I'M IN love with Nelson!" exclaims
• Eleanor Powell these days. Right to
the point, just like that. And so the skilful-
ly aloof Mr. Eddy, who made Metro bar
all interviewers who want romantic quotes,
is on the well-known spot at last. The spec-
tacle of the queen of tap, who was on the
wallflower side when she came to Holly-
wood, campaigning to get her man in such
a forthright, uninhibited fashion has the
colony gasping. Nelson hasn't even asked
her for a date yet — but how much longer
can he hold out? What's a gentleman to do?
She isn't kidding. Shades of Lupe !

SPEAKING of Lupe and her yesteryear's
high for whoopee, the Velez is back in
pictures but her niche as the fieriest wife
in Hollywood has been definitely taken over
by Mrs. Errol Flynn. No one's ever sure
whether Lili can live with or w'ithout the
fascinating Errol. But now David Niven,
with whom he was sharing a bachelor house
in Beverly Hills, has moved out and Lili's
moved in. Errol's bought the place and the
present theme song is something about to-
gether forever after. As the poet asked,
how long does forever mean with them ?

GARBO, highest-priced actress in the
world, just can't learn to relax regally.
She earned at least four times the presi-
dent's annual wage for her current click.
So what did she treat herself to? A trailer!
Greta admits she's a bust at being a private-
life princess.

FOR years George Raft has secretly been
yearning for a real California house. An
apartment, New York-like, was good
enough for awhile, but he wanted to revel
;n the advantages of a whole building of
his very own. He hoped, desperately, that
Virginia Pine could share it with him.
They have been in love for some time now,
and he adores her little daughter. However,
Mrs. Raft, from whom George separated

A topical tour of film town.
Star news in brief

By Weston East

before ever trying Hollywood, still — 'tis
said — wants the lion's portion of his star
salary as recompense for a divorce. So at
last George has built his dream place and
has moved in — alone. Talk about your
scenario triangles. Here's an actual one
behind-the-scenes that tops them all. And
the happy ending remains elusive.

EVERY week-end the Gene Raymonds,
dressed to the teeth, are swept out of
their Bel-Air estate in a magnificent lim-
ousine. They are off for a honeymoon re-
take at Coronado, Mission Inn, or an
equally swank desert hotel. Other couples,
like Frances Farmer and Lief Erikson or
Luise Rainer and Clifford Odets. may set
forth in Fords and stay at auto camps.
Rut the Raymonds have worked for their
money and they're going to enjoy all the
trimmings. Let who will be deliberately
commonplace ; they'll have elegance !

JOEL McCREA and Frances Dee don't

«J want to play opposite each other on the
screen. They think it's bad taste. But
they're breaking their rule temporarily.
Meanwhile, John Beal's greatest desire is
to have his wife, Helen Craig, as his
cinematic heroine. So far there is no im-
mediate prospect !

IF CARY GRANT doesn't get that long
• vacation he's been talking about for
years his friends are going mad en masse.
He was all set for a South American jaunt,

closing his ears to all offers of extra
bonuses for an extra picture on his schedule.
Then he was held over for re-takes and
missed his boat He and Randy Scott
thereupon "got away from it all" at Marion
Davies' luxurious mountain ranch, where
there's always a crowd of Hollywood folk.

CREDIT Crawford with the launching
of Alan Curtis, her new leading man.
A collar ad model brought West by RKO,
Alan was ignored by the studio that first
signed him. Even though Lela Rogers,
Ginger's ma, boosted for him and cast him
in two plays on the lot to illustrate his
possibilities. After getting his walking
papers, Alan reported to Metro on a deal
there. Joan wanted Cary Grant. Cary in-
sisted on a vacation. "If I can't have
a name w-ho's right for the part I want an
unknown who'll fit it," declared the gar-
denia girl. Someone remembered Alan. He
was tested. Joan beamed. Now it's up to
you to back up her hunch !

DARBARA STANWYCK simply wanted
P to see where she was born. That was
why she vacationed inconspicuously in Nova
Scotia. She stopped for only two days in
New York. If she can't go dancing with
Bob Taylor she doesn't want to dance. Her
trusty hairdresser was her sole companion.

(RINGER ROGERS' shrewd mother is
no longer on the payroll at RKO as
dramatic coach to the young aspirants. No-
body knows quite why she departed. Much
of Ginger's success can be credited to
Mama Lela, who surprisingly never wanted
to hog her good ideas. Many an ambitious
nobody is sorry to see her leave the studio.
However. Lela has been more than busy
supervising her famous daughter's new hill-
top farmhouse and she's sure to be active
again. "She made me what I am today!"
Ginger admits candidly. What's a better
recommendation ?

AFTER a couple of years at $5,000 per
> week Kay Francis has taken the
plunge. She's built a home and furnished it
precisely as she's dreamt of fixing her fu-
ture headquarters. Until now she'- merely
rented an exceptionally modest bungalow.
The story behind this story is this : when
Kay arrived in Hollywood she had, actual-
ly, but a few dollars to her name. She
had extravagantly spent her stage income,
been the life of the party in New York.
She swore that she'd save for her old age
before buying anything in California that
wasn't an absolute necessity. Scotch, they
called her. Now it's a different tune. The
adjective is smart. Probably she'll trade
in her Ford, too.

r VERY time Ann Sothern wangles a
L Chicago vacation with husband Roger
Pryor something adds flurry to their get-
together. This last time she had six whole
weeks and she refused to be talked into
personal appearances as she had been be-
fore. She settled in a comfortable suite
at the Edgewater, where Roger leads the
orchestra. But soon she heard that she was
here and there, doing this and that. She
discovered that she had a double who was
frequently being mistaken for herself.
Annie didn't kick too hard when the other
woman graciously gave out with auto-
graphs. But when faithful Annie was quiet-
ly resting and trying a good book, and
Roger was informed that she was out step-
ping, that was too much. She couldn't solve
the problem satisfactorily, for her double
wasn't literally posing as a star.

FIVE months away from Hollywood for
Joan Bennett, and for two reasons ! She
wants to get over her rift with Gene Markey
and to refresh herself, professionally, with
more stage experience. While it was Gene
who was really hurt by their divorce, Joan
isn't as hard-hearted as onlookers have
said. She tried to make a go of the mar-

Errol Flynn is back to robust adventure
in his latest screen assignment. Here's
Errol all ready and eager to bring Robin
Hood to life in the films.

Now for a close-up of a Tartar vamp!
On the "Marco Polo" set we discover
Binnie Barnes thus devastatingly sirenish
for her appearance as Nazama.

riage. She was honest ; when she was
through she told him so. Replacing ( Mar-
garet Sullavan in the road tour of "Stage
Door" gives her new demands to think
about. Incidentally, the Sullavan reputedly
paid $25,000 to be released from this show.
A hater of Hollywood, Maggie, since
motherhood, is a convert to films. Baby
hands bring her back to us! Touching,
isn't it?

THEY induced Paul Muni to decorate the
Hollywood premiere of "Zola," but when
it came to truckin' at the Troc afterwards
he balked. "I'm no attraction on a dance
floor, or at a ringside table," he maintained
in all earnestness. "Taking it big at the
opening is all I'm up to on a night out.
As a glamor boy I'm a fizzle !" Which

isn't, in its entirety, strictly true. Doing
Europe he's a swell date for Mrs. Muni.
He whips up a disguise so he won't be
stared at and made self-conscious, and
then away they go to do Paree. He's apt
to night club until dawn.

THERE are two reasons for Clara Bow's
• new "It" Cafe on Vine Street. First of
all, one of the town's best hotels is paying
her a tidy sum for the use of her name.
Clara dines there three nights a week, as a
drawing-card. Secondly, it's brought her
to the attention of Hollywood again and
that's what she's been scheming for.
Slimmed to an exquisite figure, her hair a
decent shade of auburn red, Clara looks
better than in her most successful screen
days. She has a happy home life, but she
wants to try some meaty roles. What about
teaming her with Taylor, Mr. Mayer?
That combination would heat any theatre
in the coldest week coming up. Wisely,
Clara refuses to appear in any old thing.
She declined $125,000 for one picture at
an independent studio.

SEVERAL ex-greats are in circulation
again. Alice White hit the headlines
when she maintained she needed $1,C00 a
month alimony; she estimated $250 a
month for singing and dancing lessons.
The judge slashed her request. Betty
Compson, considerably more beloved per-
sonally by the local folks, has a long-term
contract at Warners. Betty not only de-
livered consistently fine performances, but
never put on when she had the chance.
Consequently, everybody's ready to clap for
Compson.

I I ERE is the secret of Dolores Del Rio's
' ' clothes supremacy — Irene, one of Hol-
lywood's favorite coutouriers, is Dolores'
sister-in-law. Even blood by relation is
thicker than water, and in return Dolores
scorns all other modistes.

Hollywood romance can also be appeal-
ingly down-to-earth, as Olivia de Havil-
land and George Brent demonstrate in
"Gold Is Where You Find It."

Beauty for Evening

Hollywood backs and shoulders, as well as
arms, come in for their share of beauty atten-
tion now that fashion favors low-cut decolletage

By Elin Neil

Morlene Dietrich's fa-
mous shoulders gleam
with loveliness above
her tight-bodiced eve-
ning gown as the
camera snaps this pic-
ture while she's resting
on the set.

THE daring decolle-
tage of new evening
gowns brings backs
and shoulders out in the
open ! Will yours be as
marble-smooth and flaw-
less as Marlene Dietrich's
which can stand even the
strong lights on the "set"'
without showing faults to
mar their beauty ?

The styles are right for
making the most of body
beauty when the orders of
the evening are "please
dress." The corseted-bod-
ice effect, inspired by the
Gay Nineties, is ultra-re-
vealing of arms, shoulders,
back and chest. Narrow

shoulder straps replace high neckline elaboration. Sleeves
for evening are few and far between. When they do ap-
pear, they're the diminutive puff or arm-strap variety
that merelv accentuate alabaster smoothness and white-
ness, concealing nothing.

The first essential for decolletage beauty is smooth,
clear skin. See to it that every bath you take is a body
beauty treatment. Don't have the water too hot. That
causes temporary redness and "puckering." and the
final effect is drying out your skin, especially if you let
yourself soak lethargically in hot water.

Use a mild beauty soap for your bath, the same kind
you'd use for your face. An excellent preventive of
over-drying and consequent roughness is a good water
softener. There are many products, most of them pleas-
antlv perfumed, that counteract drying effects of water.
They may be in the form of bath salts, oils, essences or
soluble flakes.

Be sure to dry yourself thoroughly when you emerge
from the tub or shower. Large, thick-piled Turkish
towels are a good investment for body beauty. A liberal
sprinkling or dusting with bath powder helps remove
the last vestiges of moisture. And there are body rubs to
be applied after bathing that soften and beautify ultra-
dry skin. They're great favorites with women who prefer
a shower to a tub. and can't take advantage of water
softeners to keep their skin soft and smooth, in spite
of steam heat and biting cold winds.

A luxurious beauty bath that makes your skin feel and
look like a million dollars is produced by pouring a
powdered starch preparation into the tub before you
run the water. After you emerge from the tub. and have
dried yourself thoroughly, enough of the powdery sub-

stance adheres to your skin to leave it velvety smooth
and fashionably light-toned. And it won't rub off on a
man's evening clothes if your "heavy date" is a dancing
one.

From the tips of your fingers to the curve of your
shoulders, your arms should do justice to your evening
gown. The most vulnerable spots are elbows and
knuckles, as they're apt to look dark and wrinkled if you
don't give them beauty care.

You can keep your knuckles in harmony with the rest
of vour well-groomed hands by massaging them every
time you apply a hand cream or lotion. Using the thumb
of the opposite hand, work the lubricant into each
knuckle with a firm rotary movement.

I'll tell you an easy way to let your elbows massage
themselves to beauty. Smooth a liberal amount of lubri-
cating cream over them. Then "tie them up." Use pieces
of cheesecloth or old handkerchiefs, knotting them inside
the elbows. Then all the time you're moving your arms,
in housework or any other activities, your elbows will
be getting a massage that works the softening cream into
them.

Some girls have a "gooseflesh" roughness on their
arms that keeps them from looking their best in evening
clothes. This condition is caused by poor circulation.
(Insufficient drving after a bath is a contributing factor,
too.) A good scrubbing with a body brush, followed by
complete drying and the application of a lubricating
cream, will usually make arms that have been marred
with "gooseflesh" smooth and clear, provided you give
them this treatment daily for two or three weeks, then
as often as they need it to keep them smooth.

just because vou yourself don't see much of your back,

and it's hard to reach, you mustn't treat it
like a step-child. Powdering it when you
wear evening clothes, or even coating it
over with liquid powder, won't take the
place of naturally clear, smooth skin.

Give your back a little extra care even-
time you bathe, and you can be proud to
show it whenever the occasion arises. The
two beauty faults most common to backs
are excessive dryness and blemishes. Dry-
ness can be corrected by a few extra sweeps
with your towel after bathing, and by ap-
plications of the same lubricating cream
you use on your face.

In most instances, blemishes on one's
back are due to insufficient cleansing and
poor circulation. The best remedy I know
is scrubbing with a body brush and plenty
of lather from a good soap. Make back-
scrubbing a habit to keep your skin clear,
and you'll do a lot to avoid the embarrass-
ing discovery that your back is "blotchy"
just before you get into your evening
dress.

Of course, in some cases these skin blem-
ishes are caused by internal conditions. I've
known of many such cases where taking-
three cakes of yeast a day has improved
back beauty marvelously in a very short
time.

Now I've told you how to keep your
back clear and smooth so it'll be a de-
pendable beauty asset. But, whatever reso-
lutions you make for the future, you may
have blemishes or lines between the white-
and-tan that you want to cover up right
now. There are liquid powder preparations
and make-up blenders that'll hide a mul-
titude of sins and bring your decolletage
into harmony with your face. Most of them
come in several shades, flesh-toned, and
some are adherent so they won't streak or
rub off on your escort.

The last few years have brought such
effective blemish concealers into being
that there's no excuse for letting ugly
spots on your back spoil your good time.
By all means, cover them up ! I firmly
believe that every dressing table should be
equipped with a blemish concealer as first
aid for spots on one's face as well as one's
back. And you can get the same kind of
disguise in a convenient container to carry
around in your purse so you're always
prepared. Most of them look like lipsticks
or cream rouge discs on the outside.

Gifts of Beauty
for Christmas

The gift of a lifetime —
an authentic Lane
Cedar Chest.

"THERE'S not a

I woman living who
wouldn't get a thrill
to find a Lane Cedar
Chest under the Christ-
mas tree! Every size and
shape (and there are
many) is styled and fin-
ished like an exquisite
piece of furniture and
carries a guarantee of
moth protection. Some of
the styles are low and
long, true "hope chests."
Then there's a "window
seat" model that does
double duty. If you'd like
to make a gift of per-
manency and one that's
sure of a warm recep-
tion, jot down Lane
Cedar Chest on your
Christmas list. And we
wouldn't blame you a bit
if you dropped a hint to
someone who wants to
make a very special gift
to you !

Beauty for the bath is impris-
oned in House of Pine prod-
ucts.

"Scarlett" sculptured in plas-
tic holds a gift of fragrance
rare.

Fashionable
"Sierra" or

Flash! Walter Winchell and Si-
mone Simon are that way — above
— about each other, in the new
musical, "Love and Hisses."

WE'RE shouting the
praises of Run-R-
Stop, a fluid that will
keep a run in your stock-
ing from going further
without staining, discol-
oring, or stiffening the
fabric. All you have to
do is place a tiny drop at
each end of the run and
let them dry. The fluid
is contained in an easily
used little tube that comes
in an attractive red and
black bakelite case, espe-
cially designed to be car-
ried in your purse. It costs a mere trifle,
yet Camille's Run-R-Stop certainly does
provide social security for your stockings !

F THE fragrant aroma of pine _ doesn't
have the power to lift your spirits up
out of the doldrums, you're simply not
human! We've discovered a group of pine
products that are so bracing and delightful
to use, we can't wait to pass the word
along to you. They are put out by the
House of Pine and contain blends of oils
and extracts of pine from the Austrian
Tyrol, Black Forest and Siberia. A com-
bination package that would make a grand
Christmas gift to a friend (or your own

self) contains Vienna
Woods Pine Bath Salts
and Vienna Woods Pine
Spirit. The bath salts act
as a tonic to the skin,
soothe tired nerves and
take the soreness out of
muscles. The Pine Spirit
is a fragrant, invigorat-
ing liquid that gives your
skin a glow of healthy
loveliness. It makes a
grand body rub. And if
you're mentally tired, an
application on your fore-
head, wrists, and the
back of your neck is
amazingly restful.

ONE of the most un-
usual Christmas per-
fume bottles we've seen
is Pinaud's "Scarlett," a
lovely little figurine of
the epic character in
"Gone With the Wind."
It's sculptured of plastic
in dainty boudoir colors,
and would be an orna-
ment to any dressing
table. It's filled with
Pinaud's Skin Perfume
in the most popular fra-
grances. This perfume,
which is a light form, is
designed to be applied
direct to one's skin and
may be used liberally
without any danger of
over-perfuming. As Pin-
aud's "Scarlett" isn't ex-
pensive, we suggest it as
a bridge prize or bread-
and-butter present as well
as an addition to your
Christmas list.

TWO grand new shades
of nail polish that are
leaping into popularity
are "Sierra" and "Suez,"
introduced by Revlon. In
keeping with fingertip
fashions, they are both
subdued shades. Suez is
the deeper of the two. It's
a dusky, brownish red
with a suggestion of
mauve — a true autumn
leaf color that harmon-
izes with browns, greens,
blues and deep reds.
Sierra is a medium rose,
softened with brown and
mauve, that's good with
any costume color. As
you probably know, Revlon polishes are
famous for long wear and easy application.
They have been outstanding favorites of
professional manicurists for years.

fingertips wear
Suez" by Revlon.

HE friend who receives your gift of a
bottle of Hinds Honey and Almond
Cream (done up in a gorgeous Christmas
wrapper) will bless you all Winter long!
Personally, we look upon this delicately
fragrant emulsion as a cold weather neces-
sity. It has its own particular place on our
cosmetic shelf as first aid against the
beauty hazards wintry weather sets up. It's
wonderfully softening and whitening to
hands, whatever hardships they've endured..

Star-Dust Baby

Continued from page 25

managed to make the second yawn an open
insult.

"Going stale. Bill?" she wanted to know.
"There was a time when yon were as full
of ideas as a dog is of fleas I"

Bill sighed and answered: "Right y'are,
but you've taken the ambition out of me!
I'm ii"t full of ideas any more. Look what
you did to the last one I"

Katrine chuckled, "Do you mean that
garden party for the English author?''

"Uh huh," answered Bill. "I mean that
garden party. Was it ever a flop!"

"The guy bored me," Katrine said hotly.
"He's a pain the neck with his broad a's.
I felt all the time as if he were putting me
in my place !"

"He probably was." Bill agreed, "but
just the same you didn't have to slap him
in the middle of the lawn — if you know
what I mean !"

Katrine giggled. "You don't know the
half of it," she said. "That wasn't the first
slap — it was the third. I had already slapped
him twice in the pantry — if you know what
/ mean !"

Bill was suddenly and coldly angry. "Did
that so-and-so try to pull anything on you?"
he asked. "Because if he did, Katie, I'll
run him out of town!"

Katrine laughed. Her laughter was like
silver bells chiming in a dark forest.

"Sure he tried to pull something on me,"
she said, "but he didn't get to first base.
As for running him out of town, he left
town two weeks ago today."

Bill mourned- — ''You might have given
me the lowdown before he took it on the
lam," and Katrine murmured, "That's why
I didn't! I wanted to keep you out of jail,
my sweet."

Bill said, still mournfully — "Well, I sup-
pose it's neither here nor there by now.
We'll probably never see the guy again. I
suppose the only thing I should worry
about is that the garden party was a flop.
1 hate flops."

Katrine agreed blithely. "Everything you
have worked out for me lately has been a
flop." she told Bill. "I haven't had a good
headline for months 1"

Bill started to argue in his own defense.
He spoke hotly.

"Look at it from my point of view," he
almost shouted. "How about the flying
stunt? The minute you got in the plane you
started to up-swallow and — ■"

Katrine interrupted. "Can I help it if
I've got a weak, stomach ?" she asked.

"After ten j'ears in pictures you should
be able to control yourself," Bill told her
savagely. "Well, how about the time you
went to the night school incognito, when
you were playing that secretary part ? I
had the reporters down at the school all set
to discover you, and everything went
flooey."

Katrine was bitter. "You should have had
better sense than to send them down on a
night there was an oral examination!" she
exclaimed. "You might have known I
couldn't pass it!"

"I thought you knew something," Bill
told her. "I had to pay plenty to keep those
headlines out of the papers—Famous Star
Flunks Night School Intelligence Test!'"

Katrine said— "Oh, cut it out. for heav-
en's sake — you're getting tiresome,'' and
Bill answered —

"I couldn't cut it out, even if I wanted
to. The Big Guy's getting desperate. You've
g"t to do something spectacular."

Something spectacular. Katrine digested
'.he thought, slowly.

"Why don't you fix up a nice romance

for me?" site queried, at last. "If you were
worth a charge of buckshot I could have
been in Wally Simpson's place!"

Bill nodded his head thoughtfully. "You
probably could," he "said, "but I don't go
for love stuff in your publicity, and you
know it. I won't build newspaper linage out
of phony engagements and marriages."

"Why won't you, Bill?" asked Katrine
sweetly. She i>oured herself another cock-
tail. "Why won't you go for having people
try to make me?"

Bill grated, "You know darn well why I
won't," and Katrine chuckled.

"Back in the dark ages," she told her
publicity man, "you were stuck on me,
weren't you, Bill? I seem to remember
something about it."

Bill muttered — "Oh, for heaven's sake,
lay off me. I'm still goofy about you, and
I always will be ! I was goofy about you
when you were Katie Malloy back in New
York City. I was goofy about you when
you won that dance contest in Madison
Square Garden." He laughed bitterly.
"Gosh, when I saw you first, you were a
snotty-nosed little baby in a dirty set of
rompers, and I was kind of goofy about
you then. Honest to goodness . . ." He
broke off, for Katrine was out of her seat
and halfway across the floor.

"Gosh, Bill, you're a prince!" she said
"You've got it!"

"I've got what?" asked Bill, and his tone
was incredulous.

Katrine burbled — "You've given me a
perfectly swell idea, for once. We'll get a
whole flock of publicity out of it. Other
folks have: Miriam Hopkins took one, and
Gracie Allen, and Connie Bennett and the
Jolsons."

Bill wanted to know— "What in time are
you getting at, Katie?"

Katrine's face was rapt and dreamy as
she answered.

"It all came over me when you said
you'd known me since I was a babx. That's
what my next gag will be, Bill. I'll adopt
a baby."

Bill's face seemed to grow longer and
thinner. After a moment he said flatly—

"That's out. Babies are made of flesh and
blood and they've got souls. They can't
be used for gags."

Katrine said, "Any time they can't !" She
laughed. "Yes," she murmured, "I'll get me
a cute baby. I'll have Adrian design her
clothes — can you tie that? — and I'll get a
specially built Rolls with a chauffeur, and
maybe a pedigreed cow, and a French
nurse for you to make love to."

Bill said, "You're not verv funnv, Toots.
Lay off that stuff."

Katrine said, "I'm not trying to be funny
and I'm going to do it up brown . . . Til
have a nursery full of every kind of gadget
that the stunt boys can think of, and I'll
be photographed a thousand different
ways—" she hesitated. "That'll be the hard-
est part of it. I hate holding kids — they're
so damp !"

Bill's hand came crashing down upon the
top of a fragile little table that had come
from the Petite Trianon. It was his turn
to break something — the table shivered to
bits under his blow.

"This has gone far enough, Katie," he
said. "I told you before that you weren't
funny, and I meant it. What do you plan
to do with this baby when you've taken
the five thousand pictures, and it's teething
and maybe has the colic?"

Katrine said — "Oh, I'll have the best vet
in Hollywood come and see it, and then
mavbe I'll give it away like I did that
Borzoi !"

Bill growled, "I don't know why I care
for you, Katrine, you're such a bum. Babies
aren't dogs to be given away, and you
don't take them to vets, and if they die
there's sometimes a police investigation.
And besides, I like babies. I'm crazy about

them. Always have been, always will be."

Katrine giggled. "Well, if you're crazy
about babies, come and see mine sometime
and keep it from being lonesome !"

There was a moment of silence — thick
silence — in the room. Finally Bill spoke.

"You're not going to have a baby," he
said, and his tone was flat and dismal.
"You'd better get that dumb idea out of
your head as quick as it came in. Your
only excuse is that you're tight."

"I'm not tight," replied Katrine, "ar.d
I'll have a baby, or else — "

"Or eke what?" Bill wanted to know,
and Katrine told him—

"Or else you'll be looking for another
job, my little man. and I don't mean maybe."

Bill said helplessly, "But it's such a
phony idea. Katrine 1 It's been done to
death, and no matter how you look at it
you're not the maternal type."

Katrine laughed, but her laughter was
harder than it had been a few minutes be-
fore.

"That's why it will be such good pub-
licity. I know I'm not the maternal type."
She struck an attitude with her hands
clasped upon her breast and her eyes look-
ing heavenly.

"Screen siren." she said, "feels an age-
old urge — How's that. Bill? Can't you just
see motherhood sweeping over me by leaps
and bounds ?"

Bill got up so suddenly that the chair in
which he was sitting crashed over back-
wards. "You can go to the devil. Katrine !"
he said. "And you know what you can do
with my job! I don't want it any more!"

Katrine watched his progress toward the
door with an almost benevolent expression
on her face. She didn't speak until his
hand was on the knob.

"You can start going to orphanages to-
morrow, Bill." she called after him. "Or
maybe you'd better advertise. Have it your
own way . . . I'll invite the press in Sat-
urday afternoon for cocktails, and I want
to have that baby in its bassinet when
they get here."

Bill turned sharply. He said. "God'll-
mighty, Katrine. This is Tue-day."

"That's your hard luck." laughed Ka-
trine. As the door slammed on his retreat-
ing back she shrieked —

"See you Saturday. Bill, and watch your
step when you're choosing my baby. What
I want is a blond."

The cocktail party was in full swing.
Soft-stepping servants rushed hither and
yon, and everybody talked and drank at once.

Rose Strodner, Viennese star, ploys
a romantic scene with James
Stewart for Her first Hollywood
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They talked right on through a tenor solo
and almost a ton of Debussy. Katrine — out-
wardly smiling, but really foaming at the
mouth — made small talk. When gushing fe-
male reporters and amorous male ones
crowded around her, she answered them
with a careless gaiety which she was far
from feeling.

"You bet I have a big surprise for you,"
she said, "but the surprise isn't here yet !"

One of the men said anxiously — "You're
not going to announce your engagement,
are you?'' and Katrine answered, "What
I'm going to announce comes a long time
after the engagement."

One of the girls twittered — "You're not
married, are you, Miss Mollineaux?" and
Katrine twittered back — "No. What I'm
going to announce comes after the mar-
riage, too."

One of the boys from the press depart-
ment sidled over. He said —

"I don't know what snrt of a gag you've
got up your sleeve, Katrine, hut you've
pulled a record crowd. Where's Hill
Naughton, anyway ?"

Katrine told him — "Bill will be here any
minute now, and when he cont'es he'll have
an announcement to make !" She said in
the deep fastnesses of her soul. "He'd
better be here any minute, or I'll kill him."

The party had started at four o'clock —
which was early for a Hollywood cocktail
party — Katrine had made it early on pur-
pose. She had her lines all ready.

"Babies can't stay up late," she'd planned
to say. "The poor little things must run
on schedule just like the Century and the
Chief."

She planned to have the baby exhibited
briefly and taken out in a shower of cham-
pagne, the way you launch a boat — but at
five o'clock Bill hadn't arrived and at six
the crowd was growing very noisy and
there was still no Bill, and Katrine sudden-
ly/ found herself remembering that she
hadn't heard a word from her publicity man
since he had detached himself forcibly from
her presence the previous Tuesday. Of
course she had talked to his secretary the
following morning, and had been informed
that a child would be forthcoming on the
proper day and hour.

Because she trusted Bill implicitly —
they'd been working together for ten years,
and she'd known him for twenty-two — she
hadn't felt it necessary to go into details.
She'd been sure — too sure, she told herself
bitterly — that he'd arrive in the nick of
time with a cherubic infant and a deft
French nurse. Bill had never before let
her down — he'd always had the ability to
pull rabbits out of hats.

"Well," she thought, as an indigent
French Count was kissing her fingers, "he's
let me down this time, and I could murder
him in cold blood." She thought — "I'll get
good and drunk and tell everybody that I'm
going to marry this litte squirt with a title.
I've got to tell everybody something!"

But she was only four cocktails farther
along and it was only half-past seven when
the door opened and Bill entered the room.
Even as she saw him through a haze of
cigarette smoke and across a sea of
laughter, Katrine knew that in some odd
and inexplainable way he had changed dur-
ing their short separation. Something was
firmer about Bill's jaw-line and there was
a curious hardness — that wasn't really hard
■ — in his eyes. He looked at her silently
across the teeming room and when her lips
framed a questioning "Okay?" he nodded
his head and jerked a thumb back over his
shoulder in the direction of the patio.

Katrine hadn't time, just then, to wonder
how Bill had managed things and why he
was so late. She didn't even wonder
whether the baby was a boy or girl, a
blond or a brunette. She only knew with a
sudden deep sense of gratitude and aft'ec-

Dick Powell ond Frances Longford
in "Hollywood Hotel," new screen
musical.

tion that Bill Naughton had come through
again and that there teas a baby. With a
dramatic movement she raised her hand
for silence.

"Hey. people." she called, "pipe down!
I've (jot something to say."

From all over the room there came
murmurs of, "What's Katrine up to now?
. . . Do you suppose she's going to pull
the big surprise?" The laughter dwindled
to a whisper. Someone called "Silence !"
and someone else called. "Hear! Hear!"
The little Frenchman, clinging closer than
a leech to Katrine's side, said — "Why don't
you stand on the piano, cherie — then every-
one can see and hear you?" and Katrine
said, "That's a swell hunch, Mike — " (the
man's name was Bertram] ).

With her eyes fastened on Bill, she
hopped nimbly up to the piano bench and
— stepping across the keys with a swirl of
Madonna blue satin and a far above the
average display of hosiery — she gained the
piano top.

"Say, people," she called, "I've been
promising you something new . . ."

A cat, in the background, said soilo voce
— -"But you've done everything!" and Ka-
trine made a long nose in her direction
and countered, "Guess again. I've just be-
come a mother."

There was a moment of startled silence.
Then someone standing close by said —

"You can't kid us like that, Katrine. You
only finished your new picture yesterday,''
and someone else yelled, "Who is the
father?" But Katrine held up a slim, beau-
tifully manicured hand for silence.

"Don't be a bunch of dimwits," she told
her guests. "I adopted the baby, I didn't
born it." She glanced toward the doorway
and said —

"Trot in the youngster, Bill," and Bill
answered — very slowly and distinctly — "I
will." He turned toward the door and threw
it open and spoke again."

"Come in here, Peter," he said.

There was a rustle across the room like
wind ruffling a field of wheat. Katrine,
straining her eyes for the smart French
nurse with a little helpless baby in her
arms, gave a gasp and felt cold fingers
clutching her heart.

For in the doorway stood a little boy
who might have been seven or eight, or at
the outside an under-sized nine. He wore
faded blue overalls and a shock of red
hair, and his wide, scared eyes reached out
across the room until they found Katrine's
face and settled there. One of the eyes,
Katrine saw with a sense of horror, was
turning faintly black and blue !

(To be continued)

SfREENLAND

London

Continued from page 51

living in a quaint timbered little house just
across the fields from the studio. He's out
in the garden by seven every morning, get-
ting walking exercise before he has his
breakfast which is always the same. Two
broiled sausages, two poached eggs, an
apple, some toast and tea. He'd never drunk
tea until he boarded the "Berengaria" but
likes our national beverage so much now he
has it every morning and afternoon just
like we do ourselves.

We had a regular four o'clock tea-party
with him one dav in the blue and white
studio lounge. Bob passed the cups round
and offered his favorite light Virginian
cigarettes and told us all about his new
car, a black Rolls-Bentley that thrills him
tremendously. (He's got a special booklet
describing its mechanics and can gener-
ally- be found with his handsome head under
the bonnet admiring the cylinders when he
has a few minutes to spare between shots.)

All the stars came along from the other
sets to chat with Bob— Jack Hulbert and
Patricia Ellis "and Ruth Chatterton and
David Niven— and Merle Oberon, wearing
a billowing white crinoline frock from a
scene in "The Divorce of Lady X." Robert
Donat was to have been her romantic part-
ner in this new film of London's aristocracy
but he has been stricken with asthma once
again and is having clinical treatment in
Switzerland while dark-eyed Laurence
Olivier plays with lovely Merle instead.

Director Monty Banks looked in to greet
Bob too. He's busy preparing Gracie Fields'
first picture for Twentieth Century-Fox,
called "Her Man" with Gracie as a bar-
room singer with a likeable spendthrift
husband to be played by Victor McLaglen.
Montv came across the Atlantic in the

"Queen Mary" and was squiring pretty
blonde dimpled Sonja Henie when I met
them at Southampton— Tyrone Power not-
withstanding and anyway he was in Holly-
wood!

Sonja was all in green and white, with
her seven lucky mascots fastened firmly on
to a huge gold bar brooch which she had
pinned across her coat so that her good for-
tune couldn't possibly get Jost. She swears
she will wear her charms in her next Hol-
lywood picture "Bread, Butter, and Rhythm
for which she's got to master some tap
dancing figures far more ambitious than
any we've seen her do yet on the_ screen.

Karen Morlev was paying a vacation visit
to England too this fall, escorted by her hus-
band Charles Vidor, and we've also enter-
tained Francine Larrimore and brown-eyed
Sally Eilers who hobbled painfully into
London having injured her leg dancing in a
Continental cafe. Raymond Massey is home
as well, delighted with the baby daughter
born to his beautiful blonde wife while he
was film-making in California. Ray wanted
a girl this time, the two other children both
beTng sons, and he's given her a diamond
bracelet ready for her when she grows up.

Madeleine Carroll spent a few days in
town before going off for a sailing tour in
the Baltic with husband Captain Philip
Astley. Page patrician Madeleine in her
white flannel nautical slacks and sea-blue
sweater with a gaily-patterned peasant scart
tied over those blonde waves!

Jessie Matthews is in the hat competition
too, entering the peaked canvas cap she
wears in "Sailing Along," for which Roland
Young has hurried from California to pro-
vide some comedy interest. When Roland
isn't at Pinewood Studio, he's prowling
round the meaner London streets in his
characteristic quiet way, peeking into little
shabby junk-shops in search of penguin
models for that celebrated collection. His

latest addition is a penguin carved from a
human tooth if you please!

Roland was persuaded- to visit an ex-
clusive West End restaurant the other night
and confessed it was the first time for
years he'd been out later than ten o'clock.

Leslie Howard is back in London and
has gone into the Great Silence that always
enshrouds him for the first few weeks after
his arrival. He stays at a suburban board- ^
ing-house with his family, reads and plays *
chess and goes to the theatres and refuses
to meet any film folk or newspaper re-
porters until he considers himself suf-
ficiently rested. Then he moves to a great
West End hotel, announces the fact pub-
licly, and becomes a famous film star once
again.

Oscar Homolka returned to us after
finishing "Ebb Tide" in Hollywood and
promptlv got signed up for a British film
though "he's due back in California to play
the old sergeant in "Beau Geste" in before
long. I met him sharing a huge dish of
pickled beef and sauerkraut with his friend
and fellow-German, tall Conrad Veidt. Con
and exotic Vivien Leigh have proved such
a box-office draw teamed together in their
spy film "Dark- Journey" that now they are
to make two more on similar lines, be-
coming a kind of "Thin Man" family in
the Continental espionage business.

Charles Laughton has decided on "St.
Martins Lane" as the title of the first pic-
ture made by the new producing company
he has started with Director Erich Pom-
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street near Trafalgar Square where the
theatres are situated with all the stage-
land environment around them, the cheap
little restaurants and drug-stores and room-
ing-houses and pubs. This Bohemian dis-
trict is the home of the working-man whom
Charles plays, a comical yet pathetic figure
of a typical small-town man in a big city.

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Strange Alice in
Wonderland

Continued from page 57

said, I went down and out. That was a fine
start ! When I came to I was so ashamed
of myself that 1 wished I were dead. Hut
Tyrone was right there at my side again,
saying: 'It was all my fault. I made that
scene so tough for you that nohody could
have got through it. Don't think anything
more about it, Alice, because you're going
to be tops.' All I knew was that I'd hit
bottom. They sent me home and I tried to
sleep it off. Things were easier after that,
but somehow I had a hunch that something
more was going to happen to me. Sure
enough! After the big stage number I was
coming down into the audience when my
heel caught in the hem of my dress. As I
started falling I thought, 'I knew all along
I was going to be a flop, and here it is 1' "

A cracker snapped with such startling
''timing" that it sounded like the breaking
of a backbone.

"I'll be lucky to get through this picture
alive. So will Tyrone, I'm afraid. What I
did to him ! After pulling all kinds of
boners I forgot to pull my punch. In one
scene I was supposed io hit Tyrone in the
jaw. I tried to be careful and hold back the
blow. But Tyrone said, 'That's all right,
Alice, don't be afraid, let me have it!' Well,
you should have seen "his cut lip when I
connected with it! I was awfully sorry
and terribly worried. Then in another scene
I nearly brained him. I had to throw a big
vase at Tyrone. The prop man had a 'break-
away'— you know, one of those phonies that
fall to pieces at the slightest touch — but
Henry King, the director, said we didn't
need it. Tyrone would duck, and we could
use a real vase. So I threw it with all my
might. It hit Tyrone right in the forehead.
I nearly died. But fortunately he didn't. At
the last minute, without my knowing it, the
prop man had handed me the 'breakaway'
instead of the real vase. That was the only
thing that saved Tyrone's life. But I was
so broken up for days that he and Don
Ameche began ribbing me to get my mind
off the narrowly averted accident. They
finally succeeded in the wedding scene, with
Don, as the mayor of Chicago, performing
the ceremony. 'Let's do another one,' said
Mr. King, who was 'in' on the scheme. That
time Don used our real names, then made
me believe I was really married to Ty'rone.
Of course," she smiled, "I wouldn't have
minded on my own account, guess no girl
would, but I didn't want to get Tyrone in a
jam. I waited for a chance to get even
with Don. It came one day when he wag
showing a plaque awarded him by a maga-
zine for being the most popular dramatic
star in radio for the last four years. 'You
work your head off for four years,' I
cracked, 'then all you've got to show for it
is just a tin pan.' Of course it was all in
fun."

For the first time during our talk Alice

Faye laughed. Then, seriously :

"When we were doing the wedding
scene I had no idea I'd soon actually
be married : to Tony Martin. We had
talked about it, but somehow we never
seemed to have any spare time for it.
We probably wouldn't have found time
if it hadn't been for Labor Day. That
gave us a break. Even so, we couldn't
have managed it without flying to Yuma.
We left at fifteen minutes to twelve in the
morning and were back at four in the after-
noon. I was all dolled up in a new fall
suit with a bunch of orchids pinned on it.
That was all right in Hollywood, but not
in Yuma. Hot! When we got there it was
a hundred and twenty-eight in the sun. And

we had to wait our turn, for we were the
fifty-first couple to have the knot tied there
on that sizzling day. Matrimonially, Yuma
was doing a land-office business. That was
because of the holiday. Like all the others,
we were taking advantage of it. But when
we finished the round-trip I was almost as
wilted as my orchids. Anyway, I'd had my
latest and greatest Hollywood experience.
It made me happy. But I'm not saying, and
neither is Tony, that we know we'll be
happy for the rest of our lives. We don't
know anything about it. We are two mod-
erns, and we're not making any predictions,
just hoping that our present happiness will
last. That, we think, is all that anyone can
do. Meanwhile we want to be a help to
each other. This can be, and is, true of
Hollywood actors generally, in spite of
what you may hear to the contrary.

"So much has been said and written
about Hollywood actors stealing scenes
from one another that sometimes I think
people get the wrong impression of them,
think them mean and selfish. Nothing could
be further from the truth — at least so far
as my experience goes. I've known nothing
here but the greatest generosity. And I've
needed it, for without the help that has
been given me by everybody — why I don't
know — I wouldn't have been able to do any-
thing at all. I knew nothing about pictures
and had nothing to give them but a song
or a dance. All I'd done was work in a
Broadway chorus" and sing in night clubs
with Rudy Vallee's orchestra. I had no
more idea of acting than a girl in a candy
shop. But all the actors and actresses I've
been thrown with here have gone out of
their way to tell me what to do and show
me how to do it. But I've been very dumb.
For instance, I didn't even know who Spen-
cer Tracy was when I played with him in
'Now I'll Tell.' I didn't know what it meant
to be in the same picture with him. But
now I'd give anything in the world to play
with Spencer Tracy. For that matter I'm
thankful to be allowed to play in a picture
with anyone."

Surely, Hollywood was never like this
before. Conceit had nothing in common with
Alice Faye, vanity was no part of her when
first she arrived a Strange Alice, indeed, in
this land of the exaggerated ego. And con-
tact with it through experiences calculated
to build up a strong case of self-sufficiency,
not to say, self importance, has failed to
change her in this most refreshing respect.
Naturally changes have taken place, if not in
the girl, at least in the relation of the Won-
derland to the girl. Thus :

"Hollywood has changed for me,:' she
admitted. "I've been all wrong about it. It
isn't at all the dreadful place I built it up
to be in my imagination. At last I'm be-
ginning to feel at home here. Now you
couldn't drag me away from this place. But
at first I didn't like the platinum hair they
slapped on me and the slinky dresses they
put me into. I wasn't Alice Faye. But)
they've changed all that and made me look
.lore, and feel more, like a human being.
I'm only hoping I'll be able to make some
return for it all. But I'll not know till
this picture is finished. What I do know is
that in giving me the part of Belle Faurett
in 'In Old Chicago' they have given me the
chance of my life. Everything else is up to
me. I've had every opportunity to prepare
myself for what I'm now trying to do, one
part after another in a variety of pictures
with highly talented actors. It simply re-
mains to be seen if I've learned anything
from them. Now that the studio has steadily
built me up I keep asking myself if I'm
going to let it down. This is my one con-
cern. I myself don't matter. But if I don't
live up to the opportunity that has been
given me I will never get over it. That will
finish me. It will break my hear

She won't!

SCREENLAND

nvy the savage ?Yes/

This ancient savage had to work hard to get a
fire — and his cookery wasn't expert. But his
rough, primitive fare exercised his teeth — kept
them strong and healthy. We moderns eat
soft, civilized foods — our teeth get too little
healthful exercise.

Inside the Stars' Homes

Continued from page 14

himself at play continued to be: "I'll do it,
but you can't say I like it!"

"After our broadcasts, we usually come
straight home to dinner," said Gracie, "and
it usually isn't dinner really, but supper-
hot supper— with some of the gang drop-
ping in. The Jack Bennys, the Jack Haleys,
the Rufus LeMaires, the Georgie Jessels—
and Tony Martin, of course. We keep him
singing most of the evening, poor kid.

"One dish the whole gang is crazy about
is cracked crab. You get hard shell crabs
and you crack 'em — will you listen to the
housekeeper talking !— and everyone grabs
a leg or half a body and dips it in mayon-
naise.

"Tell her about some of Minnie s spe-
cialties," suggested George, who had been
wandering in and out for some time. 'Min-
nie's our cook," he added.

"I can't cook myself," smiled Gracie, but
Minnie will give you the recipes. There's
spaghetti and meat balls— the Haleys like
those a lot. And there's Chicken Paprika-
one of the Benny favorites."

CHICKEN PAPRIKA (HUNGARIAN
STYLE)

Quarter a heavy fryer and brown very
well in Yz Crisco and V2 butter. Brown 2
onions in butter and add 3 teaspoons sweet
paprika. Add just enough water to make
a sauce and pour over the chicken. Place
in oven and roast until done. Just before
serving add 1 teaspoon flour and 1 bottle
of sour cream to make the gravy sauce.

"Sandra and Ronnie always listen in to
our broadcasts," observed Gracie, watching
the youngsters scamper across the grass
toward the pool. "Ever since they were old
enough to understand, we've told them to
give us a report on what we do. Ronnie
always says: 'Aw-right!' and gets it off
his chest at once, but Sandra takes it seri-
ously. She points out that my song was too
fast, or too slow, or she liked it better last
week, or she does an imitation of me."

"The result is original," remarked George,
pretending not to be at all proud of the
fair-haired mite, "but we're talking about
food, Googie."

Gracie considered.

"We like chicken tamales and en-
chiladas," she decided.'

CHICKEN TAMALES
Boil a medium sized chicken in plenty of
boiling water to cover until tender. Drain
off the stock, cut the chicken in small
pieces, remove all bones and set aside until
wanted. Bring the chicken stock to a boil,
there should be five cups and stir into it
slowly two cups of yellow cornmeal, and
stir and cook for one hour; cool, work to
a soft dough with one cup of Crisco, add
a seasoning of salt and knead five minutes.
Place three large red chili peppers in the
oven and roast five minutes, remove the
stems and seeds, cover with warm water,
add one chopped clove of garlic and simmer
until the peppers are soft; run through a
sieve, add a little of the water they were
cooked in to make a puree. Melt a table-
spoon of flour ; stir and cook one minute,
add the chili puree, the chicken, one cup
of seeded raisins, one cup of stoned olives,
and a seasoning of salt and pepper, bring
to a boil, remove from the stove and cool.
Cover dry corn husks with cold water and
let stand over night; shake dry, spread on
a thin layer of the cornmeal dough over
half of each loaf, roll up, cover with four
layers of the prepared leaves and tie the
ends with strings made from the leaves.
' r) ' 'ied place them in a pot, add a
; water and steam one hour.

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Deanna Durbin's
Unknown Story

Continued from page 34

sent for. She sang five times in all, each
time for an augmented audience, each time
untlurried and outwardly serene. Not be-
cause she was sure of herself, but because
it was second nature to Edna not to give
herself away to strangers.

The final authority to be summoned was
Sam Katz. Having sung for him, Edna
was sent down to join her mother in the
car. Mr. Katz drummed on the table for a
moment, scribbled some figures on a slip
of paper, and handed it to Sherrill.

Sherrill raced out to the car, taking no
pains this time to conceal his elation.
Breathless, he stuck his head through the
window. "You're practically under con-
tract," he told them. Safe from alien faces,
Edna lost her composure for the first time.
Tears filled her eyes as she groped for her
mother's hand. "Isn't it wonderful, moth-
er?" A shaky laugh broke through. "Good-
ness, what am I crying about — ?"

That night she and Deedee slept together
— if talking for hours, telling each other
they must stop, and breaking out again,
can be called sleeping. With Deedee she
could let herself go, and she did. "Now
we really must close our eyes and not say
another word," Deedee would order. Then
a small voice : "Deedee, please pinch me.
If you'll just pinch me once more, I'll
know it's true, and I'll be able to sleep."
And a few minutes later : "Edna's all right,
but I can think of more attractive names.
I've always liked Diana. How do you think
it sounds ? Diana Durbin. Then I'd be D.D.
like you."

For six months she was under contract
to Metro. But the question of changing her
name didn't come up. Schumann-Heink fell
ill, and died. The picture was shelved.
Edna made a short with Judy Garland, and
nobody seemed to care very much.

Edith came home from school one day to
find that her sister had been crying. Which
in itself was unusual enough to be cause
for alarm.

"Nothing's wrong, Deedee. I'm perfectly
all right."

"Then what have you been crying
about ?"

"Oh — did you think I'd been crying?"
"I still think so. Come on, what's the
matter?"

"Nothing. They just didn't take up the
option." But the attempt at airiness was
a fizzle. Her chin quivered and, seeing that
the game was up, she buried her head in
her sister's lap and let the storm break.

"It was the worst day I ever lived
through," Edith says. "We all cried—
except my dad, and I expect he may have
felt like it. It wasn't the old picture or the
old contract we cared about, it was seeing
Edna in that awful state. She'd always
been such a controlled child, and here she
was letting herself go till we thought she'd
be sick. We kept saying: What difference
does it make? Option or no option, they
can't take your voice away.' And she'd sort
of hiccup through the sobs : Everyone'll
think I haven't got a voice.' "

But with the morning, the worst was
over. Whatever she felt, she'd regained
control of herself. Besides, Mr. Sherrill
had been there. Mr. Sherrill wasn't down-
hearted. He laughed at her tears. You'll
be laughing yourself before long," he as-
sured^ her. It's not as if you'd had your
chance and failed. When you get it, you
won't fail." She couldn't help feeling a
little better.

Rufus Lemaire had been casting director

at Metro when Edna May was signed.
Meantime he'd gone to Universal as exec-
utive assistant to Charles Rogers, the
president. The moment he heard that the
Durbin option hadn't been picked up, he
phoned to Sherrill. "Bring her over here."
It was then that her name was changed.
She suggested Diana. Someone else hit on
the more unusual variant of Deanna, and
Deanna it became.

No one, except possibly Joe Pasternak
and Henry Koster, producer and director
of "Three Smart Girls," realized what they
had in the picture and the new little
player. On the night of the Hollywood
premiere, Deanna was in New York with
her mother for a personal appearance.
Edith went to the theatre with her husband
and father. Deanna told her later that she
hadn't slept very well that night. Lying in
bed, she counted off the difference in time
between New York and Hollywood, and
followed her family through the evening.
"Now they're going in — now they're listen-
ing to the song in the boat — now I'm biting
my nails, they'll laugh at that — " (for
Deanna does bite her nails) — "Now I'm
singing // Dacio — " and so on, till she
knew the picture was ended. "I wonder if
they liked it," she thought, open-eyed in
the darkness.

That was characteristic. It was her fam-
ily's approval she longed for. Not that she
didn't want general approval too. But it's
hard for her to grasp the fact that she's
a public figure. She seeks shelter with
those she loves. Instinctively she knows
that they'll be honest with her. If they
think she's good, then she can hope that
others will think so too.

To Deanna, the motion picture business
consists of Koster and Pasternak. Since
she sees more of the director, she is closer
to him. In her bedroom at home, a rabbit
he gave her holds the place of honor. The
family calls him Peter. "It's the only sen-
sible name for a rabbit," they tease her.
"But his name is Henry, after Air. Koster,"
she insists, and compromises on Henry
Peter.

The idea is firmly fixed in her mind
that he can do no wrong. If someone were
to hint that a better director existed, good
manners would prevent her from scratching
his eyes out. But the impulse would un-
doubtedly be there.

A question people are quick to ask about
anyone in Deanna's spot is : "Has she
changed?" Pasternak, unsentimental Aus-
trian, answers it this way. "I will never
forget the first impression I had of this
child. She walked into my office. She said
nothing. But her eyes looked at me as if
to ask: 'What do they want of me?' All
her sincerity was in those eyes. Now, ev-
erything may change, yet if the eyes re-
main the same, the person has not changed.
I see the same look in Deanna's eyes to-
day. She doesn't realize that twenty mil-
lion people adore her. And this I credit to
her simple upbringing. Her mother is the
same. Two pictures we have made now,
and never have I heard Mrs. Durbin lift
her voice so much as to moo."

When Pasternak outlined to Deanna the
story of "Three Smart Girls," he stopped
before reaching the end. "What do you
think should happen now?" he asked her.

She raised imploring eyes to his. "Oh,
please let the mother have the father back."

It was the normal reaction of a child
untouched by sophistication, and though
she's going on fifteen, Deanna is in essence
still a child. She likes, for example, to
while away the minutes between takes by
playing that game whose name I've forgot-
ten, but which consists in holding out your
hands and trying to snatch them away
again before your partner can slap them.

Expensive gifts mean nothing to her.
She doesn't yearn for a car or a bracelet

SCREENLAND

or a fur coat. She wants what a child
wants. Three small glass horses decorated
a table for a scene in "100 Men and a
Girl." They may have cost a quarter a
piece. Koster noticed that her eyes lingered
on them, as the eyes of an older girl might
have lingered on a diamond trinket in a
jeweler's window. He knew that she
wouldn't ask for them. Because shes
learned that her merest hint will be grati-
fied, her delicacy shrinks from expressing
any. When the scene had been shot, he
picked up the horses and brought them to
her. "Would you like to have them,
darling?" The" undemonstrative Deanna
flung her arms around his neck, and kissed
him.

In no way does she take advantage of
her privileged position. You will find her
chasing the hinkydinky man, as they call
him, all over the lot for a coke. There are
twenty people ready to run errands for
her. She'd rather run her own when she
gets the chance.

She was eating lunch with Pasternak
one noon, when Joe, the studio bootblack,
came in, and asked for a word apart with
the director.

"I have something to tell you," said
Pasternak, on returning" to the table. "A
little girl of twelve is outside at the gate.
She has come every day for the past four
days to get your autograph. She lives in
Milwaukee, but she says she won't go home
without it. Her mother doesn't know what
to do, so she asked Joe."

Deanna said nothing. Pasternak added
no plea to his little story. He knows that
Deanna is shy about autographs, shy about
meeting fans. He asked her to excuse him,
while he talked to someone at a nearby
table. Out of the corner of his eye, he
watched her slip from her chair and walk
off with Joe.

George Raft and Virginia Pine, a
familiar twosome, at a preview.

There's one fly in the ointment. She
can't go swimming and roller skating, she
can't sit perched at a counter with an ice-
cream soda, chattering as she used to do
with friends of her own age. First, there's
no time, and second, she's lost her ano-
nymity. She went to a skating rink not
long ago, but the autograph hounds closed
round her and she couldn't stir. She feels,
however, that she's gained more than she's
lost. The movies are wonderland, and she
wants to go on living there all her life.
She still wants to sing in opera_ top, but
she's not impatient. Her voice is in the
hands of Andre de Segurola.

There's a scene in "100 Men and a Girl"
where you see her standing, a small, dark-
coated figure, high in the box of a concert
auditorium. I watched her making it. She
had just been begging the great conductor,
Stokowski, to find work for her unem-
ployed father and his friends. He had told
her to run along, little girl, and turned
back to his orchestra.

Suddenly, from above, a pure young-
voice soars out to the strains of the Mozart
hymn: "Al-le-/;f-u-ja-ah, «/-le-lu-jah — "
Koster stands behind the camera. Eyes
on Deanna, his head bobs too, his lips part,
his arms swing, his fingers lift the corners
of his mouth to indicate that he wants a
"bigger smile" — his body, despte its move-
ment, is tense — for the moment, he's
Deanna, Stokowski, the orchestra, all
rolled into one.

Then: "Cut. It was a lily, Schnups. Now
we do it again."

A "lily," in Koster's language, means "it
was good." Schnups is the latest in his
long series of pet names for her. "Now
we do it again" means that, though it was
good, it can always be better.

If she's hot or tired or hungry, you'll
never hear it from her. Sometimes Koster
will break through his own absorption.
"Schnups, do you want an ice-cream cone?
Do you want a coke? Are you tired,
Schnups? Will you rest for a little?"

She's not a talkative child, and has little
to say to strangers. She answered questions
politely, waited politely to be released.
Then, all unconsciously, I touched a hid-
den spring. "I'm going to see your sister
tonight," I told her.

The sweet round face lighted up like a
Christmas tree. "Going to see DcedecJ" she
cried, as one might cry "You're going to
see the king!" — "Oh, I think that's
lovely!"

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WAKE UP YOUR
LIVER BILE . . .

Without Calomel — And You'll Jump

Out of Bed in the Morning Rarin' to Go

The liver should pour out two pounds of liquid
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Are American Women
Unfair to Men?

Continued from page 21

Evidently men will do anything for them.
They, in turn, nut)' demand t<», much. This
could not happen in France. There the man
decides how much money the woman is
to spend. It may be lucky for the American
woman that is not the case here. I don't
know. But I do know that in France thir-
teen is considered a lucky number and
that at New Year's we send a friend a
black cat."

Mademoiselle lightly smiles off any
superstition lurking in the air, but at the
prediction she soon will be a star cries
out, "Where is wood around here?" and
desperately knocks it on the nearest table.

"I may be like the American woman,"
she admits, "in wanting everything I can
get. It is true I came to this country to
make money, but I do not believe that
money can mean everything to any
woman. She must value love more. But
for myself I cannot say. How little I know
about it you may judge for yourself. When
I came over from the Folies Bergere in
Paris to dance at the French Casino in
New York a waiter there said to me
'Who's your boy friend?' What a ques-
tion to ask me ! I had to ask my mother
what it meant. The English language then
was strange to me. But in two years I
have picked it up by listening to people
and reading. Best of all I like biographies
— 'Napoleon.' 'Marie Antoinette,' and now
'And So — Victoria.' But I have also read
many American books, largely to learn
about women here. In Paris they have the
reputation of being very extravagant with
their husbands' money. But this may simply
mean the rich women. I want to know
about the average American woman, for
I am to be one myself. I have already filed
citizenship papers. I intend to quit the
screen when I am twenty-five and marry
an American. If I had the money to do
it with now I'd buy a ranch and have cat-
tle and chickens and pigeons. That is
what I like. I don't like big cities. I love
working in the movies, but when I am
twenty-five I will have been long enough
on the screen. Then I want to have a
family life. And I can promise that I will
not demand too much, that my American
husband will not find me extravagant."

Already married to Clifford Odets,
American playwright, the brilliant Vien-
nese star Luise Rainer is not only in a
position to judge both sides of the matter
but her own earning powers are so great as
to make her wholly independent of any
pecuniary consideration. Double impor-
tance, then, is given her words :

"Romance should not be measured in
money. In entering marriage a woman
ought to seek to make a man happy, not
to find a soft berth for herself. Selfishness
can never bring happiness. One is the
enemy of the other, bound to kill the only
thing that makes life worth living. Natur-
ally, all of us enjoy comforts, but this
does not mean need of luxuries, as lux-
uries are never needed. One can be very
poor — I myself have been — and still be
happy.

"In the marriage relation a European
woman does not place so much value on
money as the American woman, at least
the socially ambitious type here whose love
of display causes her to make great finan-
cial demands on her husband. This differ-
ence is easily explained. In the old
country a woman is raised for marriage.
There is no alternative. It is the one and
only state destined for her, and so it be-

comes her career. She is not so independent
as the woman of this country. It is be-
cause of her independence that the Ameri-
can woman can, and does, demand more.

"Sometimes I wonder if she realizes her
advantages, counts her blessings. There is
one for which she may be especially grate-
ful. Nowhere else in the world is there
a country so marvelous for children. Here
they can be brought up with no apprehen-
sion of war, no fear of revolution, no dread
of turmoil, no horror of privation.

"Clashes, of course, are bound to occur
in any human relationship that is worth
anything. But they never should occur over
money. Financial lawsuits growing out of
romantic interests between men and
women are virtually unknown in Europe.
For that matter I can't imagine how any-
one could ever expect money for unre-
quited affection. Here the situation is one-
sided— the woman suing the man. If it is
a breach-of-promise suit so much the
worse, for then it amounts to an admis-
sion on the woman's part that she had
money in mind when she became engaged.
A woman who enters romance surely never
tries to collect if it doesn't work.

"I believe, too, in a certain individual
freedom after marriage. But this cannot
always be carried out as simply as it
should be. It is liable, as the saying goes,
to 'make talk.' Frankly, rumors have made
me unhappy. These arose from the fact
that when I was working in a picture and
going to bed at nine o'clock every night I
wanted my husband to go out and enjoy
himself with his friends. Certainly I didn't
want to take him by the arm and hang on
to him. I knew where he was all the time.
But this didn't keep reports from spread-
ing that we weren't getting along well to-
gether. Hollywood is a very bad place for
a happy marriage. People are so spied
upon that they don't have a chance to work-
out their lives in their own way.

"But in Hollywood man and wife are
more independent of each other financially
than anywhere else in the world. It is in
the nature of things they should be, as both
have their own work and their own in-
come. Even though marriage frequently
does go on the rocks here, it is not nearly
so likely to break up on the financial rocks
as it does elsewhere.

"In America it would seem that it is
the demand for money made on men by
women that causes most of the marital
trouble. In a sense conditions may be
responsible for this state of affairs. Ameri-
can women make themselves attractive to
men by being very beautiful, chic and
smart, so perhaps the whole situation may,
after all, be the natural one of supply
and demand."

Norway speaks. It has its say in the
pleasant voice of Sigrid Gurie who makes
her American debut as the exotic Princess
Kiikachin with Gary Cooper in "The Ad-
ventures of Marco Polo." It is her
opinion :

"This is a woman's country. What makes
it so is her early development. European
women are children longer. In America a
girl of fifteen or sixteen is grown up and
sophisticated. She already uses make-up,
which is not allowed for one so young in
Europe. Quite as soon she acquires style.
The result is that in the American woman
there is something dashing and attractive
that strikes the foreigner immediately.
With it she is definitely more independent
than the European. She wants more out
of life, and she makes it her business to
get it.

"But this is not merely of her own do-
ing. The American man spoils her. He
gives her an awful lot. First she expects
it, then demands it. The European woman
doesn't. All that she expects when she mar-
ries is to settle down, not to be going out

SCREENLAND

all the time, dancing and traveling, hav-
ing a good time. She works together with
her husband striving and saving so that
they may have a happy home and security
in their old age.

"Norway is very conservative. There
women are kept down. Here they come up
like flowers. They are more beautiful than
our women. Not that they are born so,
but they make themselves that way. The
American man has such lovely women that
he can afford to pay for them. They're
worth it. He is very friendly, and I think
this extremely nice. He is also very help-
ful. This keeps things moving. Naturally,
the girl doesn't want to lag behind, so she
is a woman before she knows it.

"It is the man who is responsible for
this quick tempo. It is the man who sets
the pace and compels the woman to fol-
low it. It is the man who drives her into
extravagance. It is the man who pays.
Why not?"

That latest newcomer from abroad the
sparkling Rose Stradner who won fame on
the Vienna stage and now is cast oppo-
site Edward G. Robinson in "The Last
Gangster," is convinced:

"The American woman makes life more
difficult for her husband than we do. To
begin with, she expects him to be rich.
We don't think so much about that. We
live more for the moment. This is because
we have seen so many changes. If we like
something we do it. We don't ask if it
will be the best thing for us in the long
run. We don't even stop to think about it.
American women think too much.

"The American man could do more in
Europe and not be punished so much. He
is very nice, and shouldn't be treated so
hard by women. Here a man can't get a
divorce unless he gives half of his in-
come to his wife. Alimony is one of the
greatest burdens he has to carry. In
Europe three hundred dollars a month is
the limit. But here it is terrible. The other
day I met a man who told me. 'I'm not
going to get married again. I can't afford
it' He was so afraid of divorce and ali-
mony. It is too bad for the American
man. He is a big boy and very good-
hearted. If the woman understood him she
could lead him very easily. But she fright-
ens him. The European man knows more
about women and just how to treat them.
When I see all the divorces that go on
here I feel sorry for the American man.
He works hard and he does not have much
amusement till he makes his business suc-
cess, then perhaps it is too late. American
women are more beautiful than any in the
world. But it all gets back to the man. He
puts up for it. This makes it an easy life
for the American woman. Now that I am
here I will become one. Outside American,
but inside European."

Lucky break for some man !

Tommy Kelly, Moy Robson, and
Victor Jory, in "Adventures of
Tom Sawyer."

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Carole and Freddie
as Co-Stars

Continued from page 31

NOTHING SACRED

Presented by

Selznick International Pictures
Released through United Artists

CAST

Hazel Flagg Carole Lombard

Wally Cook Fredric March

Dr. Downer Charles Winninger

Stone Walter Connolly

Produced by David O. Selznick in
Technicolor. Directed by William
A. Wellman. Screenplay by Ben
. Hecht.

NAME.,
i ADDRESS..

..Shade...

little working girl doomed to death from
radium poisoning."

"We've covered it." Oliver waved his
hand in vague dismissal.

"Covered it?" Wally shrugged elabo-
rately. "Oliver, you're getting old. Look !
Six lines on Hazel Flagg, a poor little
Vermont kid with a few months to live.
What does she think? What does she feel?
There's a story in this kid that ought to
tear your heart out. Where is it? Why
hasn't the star got it? Til tell you: be-
cause I'm stuck away in a water cooler
because of some whim of yours. Listen,
Oliver, give me a chance, will you? So
help me, may I drop dead, I'll redeem my-
self."

The old light flashed in the editor's eye.
"I ought to be shot for what I'm think-
ing," he said slowly, "but I'm thinking that
maybe you aren't the most tittering imbe-
cile on earth. I'm thinking that maybe
you've learned your lesson."

"Oliver, so help me," Wally drew his
first free breath in weeks, "I'll be in Ver-
mont by morning. I'll dig you up a story
that will make this town swoon. If I don't
come back with the biggest story you ever
handled, Oliver, you can put me back in
short pants and make me marbles editor.
Here's my hand on it."

It was years since Wally had been in a
place like this Vermont small town. It
brought back kid memories, the old swim-
ming hole and things like that. Things he
hadn't thought of for years. Made him feel
sort of warm and friendly, but he soon
found out that just the mention of Hazel
Flagg was enough to make everybody glare
at him suspiciously. Warsaw, Vermont,
wasn't doing much talking about the girl
who had contracted radium poisoning
working for the Paragon Watch factory
when the factory owned the town.

It didn't take much of an I.Q. to lead
Wally to Dr. Downer's office. After all,
a girl with radium poisoning needed a
doctor, and Downer was the only one in
town.

"You know what I think, young feller?"
Doctor Downer peered at Wally from be-
hind his huge old-fashioned desk, littered
with pill bottles and prescription forms.
"I think yer a newspaper man. I can smell
'em. I'll tell you briefly what I think of
'em. The hand of God reachin' down into
the mire couldn't elevate one of 'em to the
depths of degradation. Not by a million
miles. I'm a fair-minded man, young feller,
but when you've been robbed, swindled,
cheated out of a fortune for twenty-two
years, it's pardonable to form an opinion.
You don't happen to know of a newspaper

called the M orning Star ? Or maybe you do."

Wally didn't think fast enough that time,
for when he admitted his connection with
the paper the doctor launched into his
twenty-two year grievance against the
Morning Star. There had been an essay
contest and the doctor hadn't won and de-
cided the thing was a fake.

After that Wally was glad to escape to
the rickety verandah and contemplate the
situation. And so hopeless did it seem that
he hardly noticed the pretty girl in the
awful clothes who slipped past him and
went into the office.

The doctor was shaving when Hazel
Flagg came in, grimacing into the little
mirror that hung over the washbowl in
the corner of the office. His eyes twinkled
as he looked at her sitting lugubriously in
his consulting chair.

"You don't have to sit there looking so
dramatic, Hazel," he said. "Like Eliza
crossing the ice."

"I — I can't help feeling a little bad," the
girl spoke in the whisper she had taken
as her own ever since she heard the news
about herself. "You couldn't, either, if you
were going to die any minute."

"Well, Hazel," the doctor chuckled,
"you can stop givin' yourself the airs of a
dying swan. Accordin' to this last analysis
I made, you ain't gonna die, unless you
get run over or somethin'."

"Holy smokes ! Oh I" Hazel ran over to
the doctor and flung her arms around him,
her cheek buried in his lathered chin. "I
got to cry, Enoch, I can't help it. Oh,
Enoch, you saved my life."

"Shucks, it's nothin'." Downer tried to
assume a properly modest mien. "The first
diagnosis I made was a mistake. I got so
I was seeing radium poisoning every-
where."

Hazel was having the grandest cry fest
she had ever had.

"I've been awfully brave, haven't I, not
to cry before?" She gulped luxuriously.
"Please say I have."

Downer patted her awkwardly on the
shoulder. "Well, now that it's over, I don't
mind tellin' you I felt pretty sorry fer you,
sort of."

"I don't know what I'm so happy about,"
Hazel cried. "You've sort of spoiled my
trip, Enoch. I was goin' to take that two
hundred dollars they give you for dying
in Warsaw and go to New York and blow
it all in and die happy. Now I'll just have
to stay in Warsaw."

"Lots of people are glad to live in War-
saw, Hazel," Downer frowned at her re-
provingly. "It's one of the finest towns in
Vermont of its size. That's gratitude fer
snatching you from the jaws of death."

"But I kind of graduated from Warsaw,
while I was dying," Hazel said miserably.
"And now the thought of having to go
back to work and paint radium dials for
twenty years more and those ice cream
socials on Sunday night and Harry Haul-
er's new shoes creaking up and down the
front porch waiting to take me to the
Warsaw Grille and Cafe to listen to the
automatic piano playing, 'In the Gloaming'
I don't know which I am, happy or miser-
able. Enoch, listen, do you have to hand
in that report ? I know it sounds a little
dishonest, but if you didn't say I was cured,
they'd give me that two hundred dollars
and I would go to New York on a big
scale and study dancing or something !"

"Hazel, I'd do it for you like a shot."
Downer said sadly. "But I'd lose my job
the minute they found out you weren't
going to die. Besides, there's the ethics."

"Well, thanks for all your trouble,"
Hazel sighed. "I'm terribly grateful, Enoch,
only it's kind of startling to be brought
back to life twice and each time in War-
saw."

She held in pretty well until she was out

SCREENLAND

Good for many a gossip item
was this and other appearances
together of Janet Gaynor and
Tyrone Power, seen at a preview.

of the office, then her tears came again,
faster and more bitterly, and it was so
Wally saw her and realized that at last
he was looking at the girl "doomed to die."

"I know it's hard for you to talk," he
said gently after he had introduced him-
self, "but if you'll just listen to me for a
little while : I want you to come to New
York with me as the guest of the Morning
Star. We'll show you the town. You'll be
a sensation. The whole town will take you
to its heart. Everything you've ever
dreamed of, you'll have it on a silver
platter."

"You mean they'll like me because I'm
dying?" Hazel asked.

"That's a cruel way to put it." Wally
was already measuring the girl, deep blue
eyes, golden hair, a figure that had some-
thing even in the clothes she was wearing.
"They'll like you because you'll be a symbol
of courage and heroism. We'll talk about it
on the plane."

"An aeroplane!" The girl's voice was
hushed. "You mean we'll fly there?" She
was thinking fast, desperately. Oh, if only
she were really dying as she had been only
an hour ago. What fun she could have !

But Hazel was going to have fun any-
way, even if she was going to live. It
hadn't been hard to convince the old doc-
tor; after all, it was a way for him to get
even with the Morning Star for the prize
he was convinced they had cheated him of.
For they would pay his expenses to New
York too, as gallant Hazel Flagg's private
doctor.

It was all so exciting, the plane trip with
New York at the end rising like a fairy
city through the mist, and then whistles
blowing and bands playing in welcome, and
crowds staring and wanting her autograph
just as if she were a movie star; and night
clubs, and a suite in a big hotel. Sometimes
Hazel thought Downer's first diagnosis had
been right, after all, and that she had died
and gone to Heaven.

And seeing what clothes could do for
her, New York clothes, with grand duch-
esses selling them! Sometimes it almost
made Hazel feel guilty until she realized
that if she were fooling the paper, the
paper thought it was fooling her too. As
if she didn't know she was boosting their
circulation by the thousands !

Only sometimes, when Wally looked at
her as he was looking at her now, as if he
was liking her for herself or something,
she couldn't help that little pang of re-
morse.

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"I don't suppose newspapermen get
married as a rule," >he tried to say it so
casually with her heart thumping like a
drum. This day had been so perfect out
alone with Wally on the sailboat the paper
had chartered lor the day.

"Not after they're fourteen or fifteen,"
Wally grinned. "That's the dangerous age
for a journalist. His ideals are not yet
formed and he falls easy prey to elderly
waitresses. But once his finer self is born,
he waits."

"Waits for what?" Hazel demanded
practically.

"For the sound of the fire alarm. Miss
I lagg," lie bowed gravely, "waiting to go
rushing off to the fire."

What fire is that. Mr. Cook?'' Hazel
said, and of course she couldn't know that
her eyes looked as if a whole field of blue
flowers were waving in them.

"Love," Wally said tersely. "Look, we're
going to hard a lee and pick up that moor-
ing. When I head her in you drop the jib.
Are you following me?"

"Yeh," Hazel clambered out on the bow-
deck and started uncoiling the jib rope.
"Are you looking for a big fire, Skipper,
or just a little one made out of strawberry
boxes and lies?"

"It doesn't matter," Wally was attending
to nautical matters. "It's usually out before
your hook and ladder gets there. But what
I have in mind is a conflagration. And even
if it's a false alarm, there's the fun of
riding dow n the streets with the siren wide
open and — " He sprang into action. "Hey!
Down with the jib! Grab that mooring!"

It was too much for Hazel. She was
hanging on to the mooring, halfway into
the water when Wally hauled her back on
deck again.

"This is fun!" Her eyes were ecstatic.
"It's almost as exciting as riding on a fire
engine."

Neither of them were absolutely sure
just when it was they started riding the
engine. Except that the night Hazel col-
lapsed in a night club, Wally knew sud-
denly that she wasn't a story any longer.
It didn't matter that here was the most
sob-compelling, tear-jerking bit of copy
that had ever been banged out on his type-
writer. All he could think of was what his
life would be like with Hazel no longer
a part of it.

And Hazel, coming out of the fog of
too many champagne cocktails, was think-
ing of Wally too, and of herself, and what
a fake she was.

"Oh, my gosh, I can't stand it," she
wailed to Downer from the depths of her
hangover. "You know what's going to
happen when they find out that I'm a
horrible, good-for-nothing fake. They're
going to blame him. Everybody. They'll
just burn down that whole newspaper. Oh
Enoch, why did you let me come to New
York? If you were only as honest as you
look!"

There wasn't time for Downer's protest
for there was that quick knock on the door
and then Wally was there.

"Hazel," even his hands holding; hers
were trembling as he spoke. "I'm bringing
the greatest expert on radium poisoning in
the world to see you. I know it's supposed
to be incurable— but when I heard he was
on the Rex I radioed him. There's always
an outside chance, one in a million. It s a
long shot, but we can hope."

For a long time after he was gone
Hazel lay without speaking, then suddenly
she turned to the miserable Downer.

"There's only one way out," she said
slowly. "The only one way to save you
and me and Wally. I've got to commit sui-
cide ! I've got to be drowned. I'll leave a
note for the city thanking everybody and
I'll jump in and you'll be waiting in a row-
boat and fish me out. I can swim under

water and I'll change my name and hide
somewhere the rest of my life and — and
never see him again."

It was Ernest, erstwhile Sultan of Mazi-
pan, who found Hazel's note. He was de-
livering flowers from the Morning Star
and when he went into the hotel suite and
no one was there his insatiable curiosity
made him look around. It was against his
ethics to read other people's mail but when
he saw the letter pinned to one of the pil-
lows on Hazel's bed he couldn't help that
furtive peep into the envelope. As if any-
one could re^'>t reading a note pinned to a
pillow !

Then, goggle-eyed, he ran to the tele-
phone and called the paper. That was the
beginning of the search for Hazel Flagg,
"the gallant girl who had run away to die
alone in the night." Police boats flashed
their search-lights across the dark waters
and every available craft churned up and
down looking for her. But it was Wally
who found her down at the foot of the
btreet her hotel was located on.

He called to her first as he saw her
wavering a moment, then there was her
shriek and the splash, of her body hitting
the water, and Wally made the rest of the
block in nothing flat and jumped in after
her.

"W ell, that was a fine, sweet trick you
tried to play," he bellowed as he hauled
her up to the pier at last. "Listen, either
you give me your word of honor you won't
try that again or I'll spank your little — "
he paused, suddenly overcome. "Hazel, will
you marry me?" he begged.

"Oh, Wally," Hazel moaned. "Oh, darl-
ing, there's no future in it."

"Don't talk like a half-wit," he dragged
a burlap bag from a packing box and
wrapped it around her. "I don't care about
the future. What the devil is there to life
better than what we've got? A handful of
perfect hours, that's all the luckiest ever
get out of it, a handful of hours to save
and remember. And I'll be there at the
end, sailor. I'll be there waving you goodbye.
It'll be the same as if you and I lived
forever. You'll grow old in my heart."

There wasn't any answer to logic like
that so Hazel just gave herself up to the
luxury of being in his arms all the way
home in the taxi. But afterward when he
was leaving she called him back.

"It was a lovely ride," she said wist-
fully, "with the siren and everything. It's
a big fire." She flung her arms around
him. "And if you ever hate me, remember
this," she kissed, him, shyly at first then
w ith more and more abandon. "And this
and this."

"The biggest fire since Rome," Wally
whispered when he finally got around to it.

His heart was beating madly the next
day when Oliver sent for him. That meant
the X-ray pictures had come. That meant
he would know if there was going to be
a chance for Hazel.

At first the editor glared at him and
when he spoke there was a blistering re-
pression in his voice. "I'm sitting here, Mr.
Cook," he said grimly, "trying to figure
some way out of the blackest disaster that
has ever struck down an innocent man
since the days of Judas Iscariot. I am
sitting here, toying with the idea of remov-
ing your heart and stuffing it like an olive.
Yours, and Hazel Flagg's."

Wally glanced bleakly at the X-ray pic-
tures thrust under his eyes.

"Look at that skeleton !" Oliver had
worked his voice up into a fine frenzy.
"Not a bone missing. Down to the last
healthv vertebra, intact. That's Hazel
Flagg^ the biggest fraud of the century."

"It can't be true," Wally shouted as he
grabbed the doctor's report. Then ecstacy
lifted his voice. "Sweet Heaven, I can't
believe it! It's like some miracle!"

SCREENLAND

"You've ruined me !" Oliver shouted.
"You've ruined the Morning Star. You've
blackened forever the fair name of journal-
ism. You and that foul ■ botch of nature,
Hazel Flagg."

"Listen," Wally's fists clenched. "I'm
marrying her. Get that into that monkey
skull of yours. And I thank God on my
knees that she's a fraud and a fake and
isn't going to die. She's a fraud, but she's
no bigger fraud than any of them who
cried over her. When you start yelling
foul remember that she was just a circula-
tion stunt for you and that you used her,
like you used every broken heart that's
fallen into your knapsack, to inflame the
daffy public and help sell your papers."

He stopped as the telephone rang, then
his heart contracted as he heard Oliver
repeat Hazel's name.

"Pneumonia, eh?" He hung up the re-
ceiver. "Wally, it's like a pardon on the
gallows. But I'm taking no chances this
time on Hazel Flagg. Hello," He jiggled
for the operator. "Get Dr. Egelhofer on
the wire. Get him to Hazel Flagg's hotel."

Wally broke all taxi records getting to
the hotel. But when he saw the girl lying
languidly back on her pillow he advanced
on her furiously, pushing a protesting
nurse out of the room.

"I knew you were faking," he said
grimly. "Now cut out the shenanigens, will
you? We haven't got any time to lose. Dr.
Egelhofer will be here in a few minutes."

"Oh Wally," Hazel wailed. "I put the
thermometer under the hot water and threw
a fit. You'll never forgive me for what
I've done to you. You'll hate me for the
rest of your life. Oh, Wally, I want to die."

"It must have been fun playing me for
the world's prize chump," Wally said bit-
terly. "Listen, my dying swan, this is no
time to stop faking. You're going to have
pneumonia and you're going to have it
good. We've got to raise your pulse to a
hundred and sixty quick. We've got to
have you gasping, panting, and covered
with a cold sweat inside of five minutes."

It was the battle of the century, with
the bleachers empty and no takers for the
ring-side seats. Wally had always prided
himself on his boxing and for a girl who
knew nothing of the Queensberry rules
Hazel wasn't bad at that. They fought,
and chairs crashed before them and at
the end of perspiring, practically unconsci-
ous Hazel was hoisted into bed.

But it was all for nothing. The great
doctor from Vienna had already left the
city and now there was no one to call
Hazel's bluff.

New York wept over the story that ap-
peared in the Morning Star the next
morning. "Radium Girl Disappears," read
the headlines and below in a black-bordered
box was the "last letter" of a brave girl
who had left the city to die alone. Wally
had written his heart into that story.

It was just at the time Warsaw was
putting up a monument for its famous
daughter that a honeymoon couple boarded
a boat bound for Europe. A woman stand-
ing at the rail gasped a little when she
looked at the bride, and came toward her.

"I know what you're going to say," Mrs.
Cook clung tighter to her husband's arm.
"You think I look like Hazel Flagg. I'm
getting sick and tired of people mistaking
me for that fake."

"Fake!" The woman almost screamed
her resentment. "Young woman, how dare
you slur the memory of one of the most
gallant girls that ever lived?"

But Hazel and Wally had moved away.
They had other things to do. Important
things, like standing at the ship's rail and
seeing the water widen between them and
the shore, and finding each other's hands
and whispering all the foolish, tender little
words that come so easily to lovers' lips.

MISS WRIGHT, GET A BITE \
OF SUPPER AND THEN J
COME BACK FOR SOME <
IMPORTANT LETTERS. J

I HAVE TO WORK TONIGHT
AND MY PAINS HAVE COME *M
ON SO HARD THAT MY EYES H

WHAT A BREAK.'

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A

\ f THAT WAS A LOT \
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Picture-Mad Milland

Continued from page 55

pictures ; with that old woman, I had a
frightful time. She had to know I was
shooting her, but I spoiled fourteen shots
before I got a good one. I had to keep
talking to her, and getting her to loosen
up, otherwise she sat stiff as a poker with
a grimace on her face. But in the other
shuts, the barges were simply there — I
didn't have to argue with them. The beach
scene was only a boat drawn up on the
sands."'

The young actor never uses an exposure
meter. He thinks that wouldn't be fun, it
would take all the guesswork and art but
of the thing.

"With a mechanical gadget like that,
it's set and you shoot and that's all. Maybe
the picture is perfect, but if so, it's nothing
to do with you. Let me show you. I'll shoot
yuu here on the shore in this boat, with
the glare of the water and sun and sand.
1 should be able to judge the light."

He borrowed a Leica camera and while
he shot, the still man crept up and took a
picture of him doing so. The shot of me,
alas, demonstrated little for there was no
film left in the Leica !

Ray took some informal shots of Frances
Farmer, leading lady in "Ebb Tide," which
he considers "not bad."

"In this one, she's singing happily, un-
aware that I'm shooting her." he smiled.
"This one at the studio, where she was
being made up, isn't 'set;' also this one
where the chap is handing her her lunch.
In the fourth shot, she's posed but I like
it; I mean, I selected the background, fore-
ground, and surroundings and made her
the central point of the picture.

"And this one is a shot of Bell House in
1933. It's a famous night club and road-
house twenty eight miles outside London
at Beaconsfield, England. It's owned by
one of my boyhood chums. See how clear
even the back meadows are?

"This is rather a pet of mine : an old
lady I saw on the Bremen in 1932 when I
was on my way to this country for the
first time. She had a huge suite all to her-
self that probably cost something like
seven hundred dollars, and she was coming
over to see a son she hadn't seen for thirty
five years. Most of the crossing she sat on
deck with her face toward America. I think
you can see her great expectations in her
face.

"This was a test shot I made of my
sister's living room in Wales. I wanted to
see if I could change the exposure and
test the time. It took three minutes, accord-
ing to my records.

"Some of pictures I have enlarged m
panels and use them as wall decorations.
Two of my shots I made on the Europa
I have on my walls in Hollywood. I think
it's a nice idea and I expect to do more
of it.

I don't take children's pictures as a
rule — they're too hard to manage. But I
did shoot this young one in Sweden in
1933. He belonged to the caretaker of the
cottage where I stopped on a skiing expedi-
tion."

Snubbing the Stars

Continued from page 27

that Ham step on the gas. Down Sunset
Boulevard drove last year's Academy
Award winner. |f

"There's a wonderful place over there,
cried La Davis. "Stop and let's go in."

Ham pulled up in front of an eating joint
that featured one row of counter stools for
the cash customers. Over the door in large

blazing letters, was painted this name:
"Butcn's Beanery — Eat 'em While They're
Hot." And Bette did!

There was a time in Tyrone Power's life
when he didn't have the twenty-two dollars
to pay the landlady who was holding his
trunk. So naturally there wasn't money for
such luxuries as taxi fare. Came fame wav-
ing her ma^ic wand and Tyrone breathed
a huge sigh of relief. No more waiting on
corners for busses until death by freezing
was a sure fate. Xo more walking in at
the crack of dawn because he had missed
the last street car. And then Tyrone went
on his first vacation to Chicago.

Visiting friends in the loop, he hailed a
cab and asked to be driven across town
to the Belmont Hotel. The driver gave him
a strange look and a few blocks away,
pulled up to the curb and insisted that
Tyrone get out. There were no explana-
tions. The driver was gone with the wind.
Tyrone hailed a second cab. He gave his
instructions and a few blocks further, he
experienced the same treatment. In des-
peration he hailed a third cab.

"If I were to ask you to drive me to the
Belmont Hotel, what would you do?" he
asked.

"I'd stop the car and make you get out,"
came the quick reply. "There's a taxi war
going on and that location is where it's
hottest."

"Then I might as well start walking,'*
sighed Tyrone. Several hours of hitch-
hiking later, Tyrone arrived at his des-
tination.

If you were the manager of a big hotel
and it was a national holiday, and Ginger
Rogers suddenly walked into your lobby
and asked for accommodations, wouldn't
you find a place for her? That's what we
thought. But it didn't work out this way
for Ginger when on last July fourth she
decided to get away from it all. Ginger
forgot it was a holiday, and naturally
rooms were at a premium. It was dark

Statement of the Ownership. Management. Cir-
culation, etc.. required by the Acts of Congress
of August 24. 1912. and March 3. 1933. of Screen-
land, published monthly, at New York, N. Y..
for October 1. 1937. State of New York. County
of New York. ss. Before me. a Notary Public
in and for the State and county aforesaid,
personally appeared Joshua Superior, who.
having been duly sworn according to law.
deposes and says that he is the Business Man-
ager of Screenland. and that the following
is, to the best of his knowledge and belief, a
true statement of the ownership, management,
etc., of the aforesaid publication for the date
shown in the above caption, required by the
Act of August 24. 1912, as amended by the
Act of March 3. 1933. embodied in section 537.
Postal Laws and Regulations, printed on the
reverse of this form to wit: 1. That the names
and addresses of the publisher, editor, man-
aging editor, and business managers are: Pub-
lisher. Screenland Magazine. Inc.. 45 W. 45th
St.. New York City. Editor. Delight Evans, 45 W.
45th St.. New York City: Managing Editor.
Delight Evans. 45 W. 45th St.. New York City:
Business Manager. Joshua Superior. 45 W. 45th
St., New York City. 2. That the owner is:
Screenland Magazine. Inc., 45 W. 45th St., New
York City; V. G. Heimbucher. 45 W. 45th St..
New York City; J. S. MacDermott. 45 W. 45th
St.. New York City. 3. That the known bond-
holders, mortgagees, 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 company but also, in cases
where the stockholder or security holder
appears upon the books of the company as
trustee or in any other fiduciary relation,
the name of the person or corporation for
whom such trustee is acting, is given; also that
lhe 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, association, or corporation
has any interest direct or indirect in the said
stock bonds, or other securities than as so
stated by him. Joshua Superior. Business Man-
ager Sworn to and subscribed before me this
24th day of September. 1937. Edward A. Geelan,
Jr Notary Public. Rockland County. Certificate
Filed in New York County No. 720. (My com-
mission expires March 30, 1938.) [Seal.]

Screenland

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when she pulled in at an unfamiliar hotel.
The clerk took one look at her dusty, in-
formal appearance and assured her there
was nothing to be had. So a Ginger
who had lost some of her snap, climbed
back in the car and started driving again.
At dawn she arrived at the Del Monte
Hotel and was welcomed with open arms.

The worms in Mammoth Lake are so
plentiful, the trout there enjoy the snootiest
reputation on land or sea. That's why
Franchot Tone was so pleased with him-
self, when he rapidly pulled in the limit.
Soon Franchot was speeding merrily on his
way home. Then, out of the nowhere, right
into Franchot's life came one of those
California motor cops — who always gets
his man just when he's happiest.

"Wait until he sees who you are. He
won't give you a ticket," said Bob Davis,
the Tone stand-in, who had gone along.

The strong arm of the law went right
to work. Franchot presented his driver's
license. His name was copied on the ticket
and he signed for it. With a warning not
to let it happen again, that man started to
drive on to his next victim.

"Hey, wait a minute," called out Fran-
chot, who is regular enough to admit it
when he knows he is in the wrong. "Maybe
you'd like to have some nice fresh trout."

"Sure would," came the reply. "Thanks
very much — Mr. Stone."

Pajamas in Hollywood are just about as
common as bacon with eggs. But at the
fashionable hotel in Chicago, where Ann
Sothern was visiting her husband Roger
Pryor, pajamas were worn but never seen.
Therefore one morning when Ann slipped
out to go to the beauty parlor, a doorman
who put his heart in his work refused to
allow Ann back in the lobby. She told him
who she was and explained that she did
not know about the pa jama ruling. The
man had been instructed that no lady wear-
ing pajamas was to be allowed through.
And that meant Annie. Finally, in despera-
tion, Ann went around to the tradesmen's
entrance. She entered her sumptuous suite
via the freight elevator route.

It was pretty hot working on "Submarine
D-l" but Pat O'Brien didn't mind too
much. The day was almost over and soon
he would be back at the Coronado Hotel
and enjoying a wonderful dinner. But just
as he did sit down at the table, Pat was
informed that he would have to wear his
coat in the dining room. It was scorching
hot and Pat was weary. Besides he only
had the regulation uniform coat he was
wearing in the picture. This he was forced
to put on, because no allowances for tired
movie stars was on the hotel's list of rules
and regulations. And to make everything
perfect, every naval man who walked into
the dining room saluted Pat, who gradually
grew old, saluting in return.

When John Beal returned to the East
from Hollywood after making "Another
Language," he waited breathlessly for the
premiere at New York's Capitol Theatre.
Finally the great day arrived. John took
his best girl friend (who became Mrs.
Beal in spite of it all), and his father
came down from Joplin for the occasion.

Going up to the man on the door, a self-
conscious John Beal, sure that he would
be recognized, asked to be admitted ahead
of the others. At the same time he extended
a dollar bill.

"You'll have to go to the end of the
line and wait your turn," was the curt
answer. But the dollar bill was not re-
turned. Hours later the weary party got
to their seats. John felt that all eyes were
turned in his direction. It certainly was
great to be a star, drawing crowds like
this to a theatre, he thought. But when the
lights went on John made an interesting
discovery. Robert Montgomery, as adver-
tised, was appearing there in person!

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Continued from page 29

is like Tony but it isn't Tony.' Libby, who
had been with me at .Madame Hun^aria's,
shrieked and 1 upset a glass of water right
in his lap.

"I decided to marry Tola the Wednes-
day before the Saturday that we took the
plane to Yuma. But the next Thursday
night Tola had to work late — [Editorial
aside: Mr. Litvak was finishing 'Tovarich']
— and 1 went with some friends to a poker
party and lost and that depressed me so
when 1 got home 1 phoned him and told
him I simply couldn't face it, the marriage
was off. lie said all right. So the next
night, Friday, he saw to it that I didn't
play cards and he took Mady Christians,
I ritz Lang and me to the concert at the
Bowl, but we stopped at the Troc so Fritz
could have dinner and by the time we
arrived at the Bowl the ushers had all
disappeared and we had to ask about ten
people if they had any idea where Box 12.
Section C might he. They didn't. Finally
we found it and had just settled down to
enjoy a good symphony when suddenly we
looked up and we were alone in the Bow l —
except for a few musicians who were
wrapping up their instruments. So we just
sat there and planned the wedding.

"Marriage in Yuma is very simple, really.
Bellboy number 3 at the hotel takes charge
completely and I had hardly finished my
iced coffee, it was only 112 there though
the hotel was air-conditioned, when he
brought in the License Lady — he introduced
her as the License Lady so I never really
knew her name. And Bellboy number 3, the
very soul of efficiency, ushered in the
Judge who is known as the Marrying Judge
of Yuma and is a perfect darling, and
immediately everything became sentimental
and lovely, and I was off on a cloud when
suddenly I heard Mady scream. 'Stop,' she
shouted, 'Miriam, you're marrying the
wrong man!' And so I was. The Judge,
poor dear, was a bit confused and tired by
forty-one marriages that day — I'm a forty-
second bride — and Tola and I were both
terribly nervous, and sure enough I was
marrying Fritz. So it seems I married
Fritz for the first part of the ceremony
but Tola got in for the second part and
that's the part that has the 1 do' in it and
I think the 'I do' is the most important
tiling in the ceremony, don't you?"

Well, I could see that L'amour was going
to get a good kick in the pants if I stayed
around Miriam much longer. Not a heart-
throb, not an eye-lash flutter, and not the
ghost of a blush. Now I ask you, how
could I make a saccharine story dripping
with sentiment and adjectives out of that?

Better luck, I said sharpening my pencil,
with Alice Faye and Tony Martin.

Alice, having spent her honeymoon at
the Trocadero, was a little sleepy when I
ran her down on the set of "A Young
Man's Fancy," the Tuesday after the
Saturday elopement. Alice is Irish and you
can always count on the Irish being senti-
mental even on a studio stage, swathed in
silver fox and the thermometer 110. Alice.
I was sure, would not let me down, pro-
vided she didn't faint before she finished
the telephone scene. The Alice Faye-Tony
Martin romance has been one of Holly-
wood's best ever since the two kids met
in "Sing, Baby, Sing," nearly two years
ago. _

"Friday night," said Alice with that cute
smile she has, "I gave the most horrible
broadcast of my life. Everything bad that
could happen, happened, so after it was
over I just sat down and cried. Tony was
so sweet and consoling that I decided to

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marry him the next day. Somebody told me
a bride wore blue so I put on a blue suit
and an orchid corsage and with a few
friends we flew to Yuma where the heat
was something awful. 'Let's get it over
with quickly and get back to Hollywood,'
Tony said, mopping his brow and so white
I thought he was going to pass out with
a sunstroke. And when the Judge told him
to put the ring on my finger he was so
nervous he couldn't see my hand though I
was waving it right in his face.

"And you'll die when I tell you what
the Judge said. I was sort of choked up
after the ceremony, I've never married any-
body before and it was impressive, even in
that heat, so I shook hands with him cor-
dially and very politely, I thought, I told
him I hoped I would see him sometime.
'Oh, you will,' he said, 'I'll be seeing you
again soon.' Of all things for a marrying
judge to say!"

Anne Shirley, the third bride of my mar-
riage cycle, slipped off very quietly to Santa
Barbara to marry handsome young John
Howard Payne of the Virginia Paynes,
(and not one of the Paynes in the neck,
that I know), in one of those quaint little
bungalows adjoining the swanky Biltmore
Hotel where society meets the sea. Paula
Stone and Henry Willson stood up with
them and Anne's mother cried and it was
all quite lovely and bona fide except that
they too had to dispense with the honey-
moon on account Anne had to do retakes
on "Stella Dallas" and John had to rush
back to "Love on Toast." In fact, they
say it was because of this I'amour that
Anne gave such an inspired and brilliant
performance in "Stella Dallas." Even Anne
seems to confuse the two on occasion, be-
cause when an RKO executive said "Con-
gratulations" to her one day, she turned
to some friends and said, "I never know
if people are congratulating me on my
work in 'Stella Dallas' or my marriage to
John Howard Payne."

Well, anyway, all daffy abstractions
aside, when it comes right down to the
bare facts, I would say that I'amour and
marriage cycles in Hollywood aren't what
they used to be. They're a lot more fun.

How Hollywood Has
Conquered Radio

Continued from page 23

hired Cecil B. DeMille of Paramount as
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The most remarkable stipend unquestion-
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expressions so valuable in films are value-
less on the air. Looks are no help.

Never a victory without the conqueror
assimilating some of the traits of the sub-
dued. A visitor to Hollywood is in for a
surprise at the town's new business-like
complexion. Evenings of gay, carefree fun
are definitely fewer and farther between
because most of the stars have an air pro-
gram on the fire and are maneuvering for
rehearsals.

"W hen I do an hour's play for Radio,"
says Joan Crawford, "I need forty hours
of advance rehearsal." That's the all-time
high fur preparation, but Joan is ambitious
and she's not given to kidding herself.
When she spent that much time she scored ;
she eased up once and wasn't so well pre-
pared. But forty hours at eight a day —
union standard — add up to five full days.
Now figure out how you'd sandwich in five
days into Joan's picture-making schedule
for a week! Il'd turn you into a pretty
methodical person, also. In days of yore
Joan could capture Charleston cups; now,
except for Saturday night fun, she studies.
She is scared stiff of the new medium, but
wants to click in it as a prelude to stage
success. ''The only thing to do," counselled
Franchot Tone, "is to beat your nervous-
ness by working like a dog." Fine chatter
to a glamor girl, but a swell tip. And Joan
accepted it gratefully.

Anyway. Miss Crawford can now stand
up before the mike and an audience; but
Claudette Colbert, once on Broadway and
outwardly a lot calmer, isn't up to getting
off her stool. Claudette sits on a high stool,
with her script propped on a stand that
won't shake or drop it. She then slips off
her shoes and endeavors to remember that
she's positively serene. Her doctor husband
stands in the control room and holds the
good thought, too. Recently, during a
broadcast, Claudette accidentally fell off
her perch. The audience giggled, and so did
she. Dr. Pressman impulsively cried, "They
must have a funny sense of humor !" Frank
Oiapman, husband and manager of Gladys
Swarthout, is likewise in the control room
and unwittingly mouths every nuance of
hers. She glances towards him frequently
for assurance, a clinging-vine type. He's
dripping with perspiration when she fin-
ishes. Paul Muni, who wants Mrs. Muni on
his picture sets to okay every move of his,
is valiantly becoming self-reliant via Radio,
though. Studied rather than impetuous,
he is forcing himself to go on the air
without her help.

Bette Davis' hands fascinate everyone
watching her at a broadcast. She is so in-
tense that she grips her script stand, run-
ning a veritable gamut in gripping. When
she's most intent it seems as if she may
break the wood.

The nonchalant Clark Gable is runner-
up to Bing Crosby for number one most-
at-ease star. Clark wears sweatshirts or
tricky sweaters to rehearsals and wins
everyone by behaving as though he were
the most unimportant person present. When
he broadcasts there are so many fans that
he has to be spirited out through the door
where the pianos are shuttled.

Bing is amazing. He's as peaceful as the
Rock of Ages. The other night, three min-
utes before he was to sing, his sheet of
music performed one of those mystery
odd stunts. The band was readying. Bing
didn't know the words. Everyone else went
wild. He ambled around the stage, before
the audience, peering hither and yon. He
couldn't locate the music and there he
was on! He boo-boo-booed melodically
through a refrain, until someone spotted
the paper under the drumstand. Bing's
show is the only big one that has no elabo-
rate dress rehearsal. The last get-together
is informal. Bing will chat with the song-
pluggers who hang around. After rehears-

Dorothy Lomour's leoding mon —
not screen, real-life! He's Herb
Koy, Dorothy's husband. They
ought to be in pictures together.

ing his songs awhile, he'll wait for Bob
Burns to drop around. Bob never sees the
show script before then, and last week
what a rare crisis popped up as a result!
The program had been devised around the
beard Bob had been wearing for a picture ;
Mr. Burns checked in clean-shaven. All
the dialog had to be revised immediately.
Yet neither Bing nor Bob could be fazed.

Dick Powell glows when he senses a
favorable audience ; nevertheless he's strict-
ly on his toes. As he finishes each page of
his script he rolls it up and tosses it at
someone nearby. Robert Taylor is ex-
tremely conscientious, and personally liked
as a result. The inner worry that seizes
him is ever concealed. He demands no
privileges and goes without his meals if
necessary to be on schedule. Perhaps be-
cause he doesn't forget that three years
ago he was only an extra in air shows.

See Marlene Dietrich rehearsing for a
broadcast and all those vanity cracks go
up in thin smoke indeed. She sits on the
floor to go over her lines, and when there's
a funny one she roars and has to start all
over again. She dresses not in plumes and
veils, but in chic simplicity. She manages
very well without mirrors. Alice Faye hon-
estly hates to put up a front, but since
she's been broadcasting at night she's prom-
ised to appear in a chic gown. She now
brings along her own hairdresser to guar-
antee that her coiffure is correct. Julius
Stein, from her film studio, arranges all
her tunes. Alice doesn't read a note, you
know, so she'd rather rely on a pal. She
has recordings made of her broadcasts, so
she can replay them for self-improvement.

NBC rents a theatre set at Warners'
Sunset Boulevard film studio. Tyrone
Power and his guest stars act here. Audi-
ences revelled in his kissing duel with
Loretta Young, incidentally. The first time
they teamed on the air he kissed her so
hard she practically reeled into the wings.
When they teamed anew she got even ;
she gave him "the business."

Martha Rave is hail-fellow-well-met still,
but she is anxious to get more true char-
acter into her public character. So she's
stopped singing hot rhythms on the air.
She hasn't been practicing with a teacher
solely for the fun of it.

Comedians need audience reaction. At
least. Eddie Cantor and Jack Oakie feel
so. Eddie is a terrific clown ; he plays
chiefly to his visual fans, it seems. He
throws bakers' pies when there's an op-
portunity for slapstick and he doesn't mind
stopping the show for audience howls. Jack

ad libs, making mince-meat of the script.
Charlie Butterworth is unique ; he's so quiet
and he'll sit munching in a next-door cafe
until two minutes before he's to be on the
air. He won't rush then, but casually walks
to the mike. Gracie Allan is as hilarious
as an ogre before her broadcasts; she
doesn't want to spoil a one of her silly
remarks so she isn't to be disturbed. She
lets George Burns do the bantering ; he
doesn't have to get into the mood. You
never see even George before the team's
literally in action, though. With Jack Ben-
ny it's the opposite; he comes out a half
hour beforehand and chums with the audi-
ence.

The riot of Radio today is, of course,
Mister Charlie McCarthy. You'll be see-
ing him in pictures any moment. He wears
green satin pajamas to shock his heckler
Mr. Fields, and he enjoys every minute of
the shows he's in on. When he was doing
a burlesque on a spy drama, with Nelson
Eddy, he was so versatile juggling three
different accents that Nelson had to hold
the Eddy face to keep in character. The
world's favorite dummy rates a kiss hello
from Dorothy Lamour, without fail. ( She
hasn't gone glamorous on her Radio bud-
dies; she still drives up in her coupe.)
W. C. Fields, invariably attired to perfec-
tion, with spats and all, has given up try-
ing to top Charlie. Don Ameche, who is the
A-l prankster of a great film studio, does
behind-the-wings antics to distract Charlie,
and to no avail yet. Eddie Bergen, Charlie's
dad, is a dignified, well-mannered young
man who bought a second-hand camera and
made post-card views of grocery stores
until he decided to be a ventriloquist. He
dates Loretta Lee. But he has to cart
Charlie McCarthy along to most of his
parties, and just after politely acknowl-
edging an introduction Bergen is appalled
to hear Charlie mutter. "Who's this guy ?
And what's his racket?"

Currently Nelson Eddy is matinee idol
number one, if the ardent feminine fans
have anything to do with the ranking. He
was fond of closed studios, where he could
take off his coat and unloosen his collar
and concentrate on his singing. But now
he's unbending, doing comedy lines with
new facility, and getting a kick out of
tliis. So many girls think he's irresistible
that two page boys regularly act as body-
guards to get him out of the station safely.

Every picture star but Shirley Temple,
Chaplin, Garbo, and Mae West has been
featured on the air by now. Mrs. Temple
has rejected fabulous propositions, believing
Shirley's film work is enough. Chaplin's
voice isn't in keeping with his tramp char-
acterization and he hasn't yet had the heart
to come out of his mold. Garbo, it's re-
ported, has turned down $15,000 for a
single air show. It would ruin her mys-
tery line. Myrna Loy and William Powell
had a hunch they'd be a keen air team.
Their agent asked $15.000 — and as yet
there are no takers. Mae West is rumored
to want ten grand, a little too much for
the sponsors.

From New York to Hollywood to broad-
cast have come such Radio stars as Rudy
Yallee, Don Ameche, Walter Winchell.
Lanny Ross, Irene Rich, Dorothy Lamour,
Bob Hope, Kenny Baker and Ken Murray.
Rudy is now playing in the Cocoanut
Grove, for the first time, and like all the
rest in this illustrious group is acting for
the movies besides.

The talent for the supporting roles in
air shows used to be all Radio-trained. But
now this is altered. That monopoly is
broken and Hollywood's character actors
juveniles, and ingenues are receiving mo^t
of these bit assignments.

Yes. when Radio vowed it could make
the movie stars cry Uncle it forgot one
thing: Hollywood had the stars the public
love? !

THE CLNCO FPESS. INC.. U.S.A.

IS THE

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THEY'LL LIKE

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Your friends will like THIS Christmas Gift BEST OF ALL! A Full Year's subscription
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news from Hollywood! Each month for a solid year your gift will be remembered
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Mrs. II In I ne, 's quests cli nili n hoard . . . light up Camels. . . . Willi a "Hani alec!" Mrs. It hilney /mis tin- helm orer . . . heads out to sea.

The Whi tneys will be sailing
in southern waters soon

SOCIETY EDITOR

(above) Mrs. Howard F. Whitney, of Roslyn,
Long Island, at the helm of the Chinook. "I value
healthy nerves," she says. "So I smoke Camels.
They don't jangle my nerves!"

ng th

MRS. HOWARD Y. WHITNEY
told me, the other day, that
they hope to do some sailing in the
South this winter. The W hilneys had
a lovely summer on Long Island —
and on the Sound. Mrs. Whitney is
a skillful yachtswoman and handles
a racing class boat like an expert
Their converted New York 40, the
Chinook, is a very "shippy" boat.

Mrs. Whitney will be remembered
as the former Hope Richardson. Her
wedding was an outstanding social
event. I recall how enchanting Mrs.
Whitney looked as a bride, in a gown
of white satin with a yoke of net
embroidered in tiny pearls, and her
tulle veil held in place by a bandeau
of orange blossoms. This year Mrs.
Whitney's committee work had much
to do with the success of the colorful
Greentree Fair at Manhasset. During
the summer she got in a lot of ten-
nis, riding, and — as always — sailing
and cruising.

Hope s enthusiasm for the ener-
getic life is proverbial among her
friends. "Don't you ever get tired?"
I asked. " Of course," she laughed.
"After a long trick at the helm, or
any time I feel worn out, I refresh
myself with aCamel — and get a 'lift !
I can smoke Camels steadily, without
the slightest feeling of harshness on
my throat." Which shows how mild
Camels are! It's true that women
find the costlier tobaccos in Camel's
matchless blend more enjoyable.

Mrs p
Mrs n ^

refreshing:

boston

n. JV.

ici"ola

Camels are a matchless
blend of finer, MORE
EXPENSIVE TOBACCOS
...Turkish and Domestic

' Gardner r ,. *ork
Anil, °,,dSe 2»d Bn

Aniiony r n - Boston

Y °re*ei 3rd n-,

188 Mo

TVRKISH & DOMESTIC , *

BLEND
^ CIGARETTES

e'" York

tof-loui,* ... ""'"'"York

Wnold. Tob,

"""<>■ Jr.

•cag0

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Vinsto„.Sa|

■"a, N. c.

CiT A LIFT WITH A CAMEL

The Smart Screen Magazine

etting Gay

ith Gable

January

Itastic First Nights

rhe Amusement World is Ablaie! ^

' i . ii ■ . ' * i ' » . i ' lift // ^ '

/< / 7(

£j / Ziegfeld created it on the sfage —
/ his greatest triumph! Now — on the
_\ / screen — M-G-M tops even "The Great
Ziegfeld" itself with a new happi-
I \ ness hit! ... Thrilling music! Gorgeous
girls! Laughs galore! Tender romance
— of a Princess and a West Point /?
cadet — with the grandest cast of
/ stars ever in one spectacular picture!

COLE PORTER
SONGS

All Over But the Shouting"
"Spring Love Is in the Air"

"Rosalie"
'In the Still of the Night"
"Who Knows"
"Why Should I Care

"Why Should I Care" ^^C^1^ k — M>

^Tn'a «AJ ouv» ; «•* oujj

Produced by
^UArAA^HOH^'"

f t

f / '"ft

°5S

-r'"4"* Oh 0/W

°y s,

;"ver
9er

SCREENLAND

The Smart Screen Magazine

Delight Evans, Editor

Elizabeth Wilson, Western Representative

Confessions

of a Hollywood

Secretary

We've given you the glamor-
slant on Hollywood in many a fea-
ture story, in beautiful art portraits,
in gossip items. We've presented the
color of the cinema capital in fiction
form, in our big-name serials. But
there is another side of Hollywood —
an "inside" slant, if you like to call
it that — which is not often revealed
to the public who pay to see motion
pictures. It is not scandal; it is not
sensationalism for its own sake. But
it is, very definitely, the real low-
down on Glamor-land. It concerns
the important people who help make
pictures — not the stars. It tells the
fascinating actual story of how films
come to be created. The "idea" peo-
ple of pictureland are introduced to
you.

In Screenland's next issue — Febru-
ary, on sale January 5 — we give you
"Confessions of a Hollywood Secre-
tary." Yes, if is a sprightly title; and
it's a sprightly story, too. But it is
also important; we suggest that you
should not miss it. We know you'll be
entertained; and we suspect you will
gain a new understanding of this
fantastic Hollywood.

Tom Kennedy, Assistant Editor

Frank J. Carroll, Art Director

January, 1938

Vol. XXXVI. No. 3

12
14

16
18
20
22
24
26
28

30
32
34

EVERY STORY A FEATURE!

The Editor's Page Delight Evans

Hollywood's Fantastic First Nights Eileen Creelman

Getting Gay with Gable Elizabeth Wilson

Star-Dust Baby. Fiction Margaret E. Songster

How to Impress the Stars Helen Louise Walker

The Scream of the Jest William H. McKegg

Double Exposure of Loretta Young and Myrna Loy Ben Maddox

Companionship by Camera. Ann Sothern Ruth Tildesley

Reviews of the Best Pictures Delight Evans

Kay and Pat are Like That. Kay Francis, Pat O'Brien .Liza

Pirate Gold.

Fictionization of "The Buccaneer" Elizabeth B. Petersen

Fields without Hedges. W. C. Fields Ida Zeitlin

Are You Insane? Peter Lorre speaking Gladys Hall

Secrets for Smart Girls.

Confided by Madeleine Carroll Dickson Morley

Screenland Glamor School. Edited by Bette Davis 52

Screen Sirens Set the Styles. Fashions 54

Notes for Gift Lists 56

Cheer-o! London News Hettie Grimstead 58

SPECIAL ART SECTION:

Eddy in Action. Nelson Eddy. The New Home of Fred MacMurray. A
Day with Charlie McCarthy. More Applause Please. Buck Jones, Akim
Tamiroff, Warner Oland, Ralph Bellamy, Leo Carrillo, Phil Regan,
James Gleason, Gene Autry, Claire Trevor, Alan Dinehart, Frieda
Inescort, Alan Hale, Cedric Hardwicke, George Zucco, Henry
Armetta. Ah! It's Art! Pictures Must Tell a Story. Fredric March, Her-
bert Movius, Judy Canova, Marjorie Montgomery, Bobby Clark, Ella
Logan, Lola and Rosemary Lane, Joan Blondell, Marie Wilson, Jane
Wyman, Ronald Colman, Olivia de Havilland, George Brent, Claude
Rains. We Want Action. Carole Lombard, The Mauch Twins, Edward
Arnold, Shirley Ross, Rufe Davis, Lana Turner, Ann Sheridan, Alan
Curtis. The Most Beautiful Still of the Month.

DEPARTMENTS:

Honor Page 6

Screenland's Crossword Puzzle Alma Talley 8

Here's Hollywood, Screen News Weston East 60

Tagging the Talkies. Short Reviews 64

Inside the Stars' Homes. Gale Sondergaard Betty Boone 65

Cover Portrait of Carole Lombard by Marland Stone

Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President, J. S.
MacDermott, Vice President; J. Superior, Secretary and Treasurer. Advertising Offices: 45 West 45th St., New York; 410 North Michigan Avenue, Chicago; 530
W. Sixth St., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful attention but Screenland
assumes no responsibility for their safety. Yearly subscription 31.50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign S2.50.
Changes of address must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered as second-class matter Novem-
ber 30, 1923, at the Post Office at New York, N. Y. under the act of March 3, 1879. Additional entry at Chicago, Illinois.

_AND Honor Page

Conquest of artistry! Garbo as
Marie Walewska, Charles Boyer as
Napoleon, make screen history

TRUK magnificence is uncommon in th(
cinema. Somehow it is most often founc
in Garbo's pictures! Her new screenplay,
"Conquest," is an event because it permits our
noblest actress to portray a hauntingly ro-
mantic figure of history, Napoleon's Polish
sweetheart, Marie Walewska. Perhaps it is
Garbo's best performance in all her career
because it is her subtlest. All the histrionic
fireworks are reserved for Charles Boyer in
his more colorful role as the Emperor, an<
Boyer is superb in every scene. But it is Garbo
who assures "Conquest" lasting importance,
for her creation of Marie marks the first time
within our memory of self-sacrificing motion
picture heroines when nobility has not been
boring, but beautiful. Again we honor Garbo!

Garbo and Boyer in "Conquest," right, set a new
standard for screen acting. Below, the characters
of Marie Walewska and Napoleon, as brought to
the screen. At bottom of page, two close-ups of
the co-stars in thrilling moments.

GENE AUTRt

LEO CARRIUO

HIT TUNIS . . .
"Round Up Time In Reno"
"Hove You Ever Been In Heaven?"
"Mama, I Wanna Make Rhythm"
"I Owe You"
"All Over Nothing At All"

PICTURI
CREATE HAPPY HOURS

SCREENLAND

WORKED WONDERS
FOR HER SKIN!

r.Mv skin was awful. I «as ,

, ML l Iven hob in a mirror
ashamed to t.i?> _

Novate again\A O

TONIGHT- AND NOP
IVONDSRJ '

otherS-1 to see results.'

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fering needless embarrassment — because of a
pimply, blemished skin? Then heed this story!
It's the actual experience of a grateful user
of pleasant -tasting Yeast Foam Tablets.

Let Yeast Foam Tablets help you as they
have helped thousands of others. This pas-
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Ask your druggist for Yeast Foam Tablets today—
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Please send free introductory package of Yeast
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Name

Address

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. Canadian readers please send 10c to cover postage and duty

SCREENLAND'S
Crossword Puzzle

By Alma Talley

ACROSS

1. Co-star of "Dead End"

5. He's featured in "The Man

Who Cried Wolf"
10. She used to be Mrs. Bruce

Cabut

14. She's featured in "The Thir-

teenth Chair"

15. A rooster fattened for eating

16. Fritz Tarlenheim in "The

Prisoner of Zenda"

18. Again

19. The wife in "Wife. Doctor

and Nurse"

21. A famous divorce center

22. A hill (terra used in Western

films)

23. "A Day The Races,"

Marx film

24. Railway (abbrev. )

25. Annoys

26. And, in French

27. Note of the scale

29. Co-star of "Big City"

33. Ma's husband

34. Compass point (abbrev.)

35. Not working

37. Exclamation of triumph

38. Eat dinner
40. Owns

42. His new one is "Rosalie"
44. What you do with a book
46. Vigor

49. A wise bird

50. The first man

51. Pealed

52. Fuss

53. She's Mrs. loel McCrea

54. Singing star, "Music For Mad-

ame' '

55. "You Only Live ," a

movie

56. Short sleep

57. Footwear
■>9. Nothing

61. Indefinite periods of time
63. Scene (abbrev.)
65. Either

[66. To spoil (as an egg)

68. The opposite of yes

69. Since

171. Where a chicken's food goes

73.
74.
76.

79.
83.
84.

86.
87.
88.
89.
90.

'The Last

'High, Wide

9.
10.

11.

12.
13.
14.
17.

19.
20.
28.

30.

31.
32.

33.

35.
36.

38.

" The Avenue," a movie

That old sun god
Wide-mouthed comedienne (in

"Double or Nothing")
Halo

She's starred in "Stage Door"
Mud

He played "The Good Old

Soak' '
Din

Wilted, lost color

Load

Pronged

Malt drinks

DOWN

Star in "A Star Is Born"
Individuals
His new one is

Gangster"
Chinese measure
He's featured in

and Handsome'
Sailor

Open (poetic)

Negative

Place of entrance

Advertisement (abbrev.)

She's featured in "Saturday's

Heroes
Always

Goes down (as a boat)
Crippled

Prescribed amount of

medicine
Note of the scale
Forever

Dancing star of ' 'Broad-
way Melody of 1938"

He married Jeanette
MacDonald

Exclamation

Princess Flavia in "The
Prisoner of Zenda"

He's featured in "A
Girl With Ideas"

Islands

Star of "Ali Baba Goes
to Town"

"Shall We — ■ " a

Fred Astaire film

(of sheep —
"Artists and

39- Ingenue in "The Thirteenth

Chair"

40. Bricklayer's equipment

41. Reverential fear
43'. Man's nickname
45. Give birth to

archaic)

47. Leading lady in
Models"

48. Cleaning implement
58. He's starred in "Stand-In"
60. Small European fish

62. Typical

63. Crust formed over a sore

64. Brutal

66. Concerning

67. Made a mistake

69. He's featured in "Hold 'Em,
Navy"

70. What you plant in a garden

72. Open space

73. Exclamation
75. One

77. Military assistant

80. Hawaiian food

81. Receptacle for coal

82. Employ
85. You (Biblical)
87. Note of the scale

Answer to
Last Month's Puzzle

MlAl

RlMIOIR

A B;LiEBC 0 BM-

r 11 lo nBaIrIeBc

O Nl

EBB HHHH GflHHB BBB

mm ESEffiHSB mm
ran ®Hs HDD asm uei

SnUlHEIH HHDB QBQEH

oan nan iaiesu hob

E G R ETlME! S HHW ARRE'N

HB BBB HBB EH

\IW EE1HHHHB HE
BBS HBDH BBBH HDH

HBaEB arjBQHB uncsosa

0HEMDE EBUJ HBGLEGSB
BHBEE] BHQ SHU10S

SCREENLAND

HOL D 1«w *U'

Here comes Fred's big dancing
show . . . with Hollywood's Girl
of Your Dreams for romance . . .«
and George and Gracie Gracier
than ever! . New daring dance
creations! . . . New biuezy song
swingsatiohs ! . . . New knock-
out laugh sensations! . . . in a
dizzical, dancical, musical
show thrilled to the top
with buoyant life at its
gayest !

UP YOUR J0£s

■=0y^S P. G. Wodehouse • Ernest Pagano • S. K. Lauren llfl I llUIIUJU

SCREENLAND

DRAFTS?

GARGLE LISTERINE

Like wet feet, drafts are dangerous
hi'caiiso they chill the hotly un-
equally, weakening its resistance to
perms. Avoid all drafts, and w hen you
have been in one, gargle Listerine.

Listerine kills germs
associated with colds and
sore throat

Tests During 7 Years' Research Show Cold Prevention
Results That Amaze Even Medical Men

EXPOSURE?

GARGLE LISTERINE

When a person coughs or sneezes on
you, the ah carries bacteria and de-
posits thern in your nose and throat.
Prompt action with Listerine, which
kills germs, may avert an oncoming
cold.

No remedy or treatment that we
know of can show the brilliant
clinical record in fighting colds that
Listerine advances. Listerine offers
you the possibility of getting off
with light colds this year, or ??o
colds at all. It is the new therapy
that succeeds.

Tests made during 7 years of
research showed this:

That those who gargled Listerine
Antiseptic twice a day had fewer
colds, milder colds, and colds of
shorter duration than non-users.
More important still — colds of Lis-
terine users reached the dreaded
danger zone of the chest less fre-
quently than colds of non-users.

Why such results, that impress
even medical men? Why is Lis-
terine preferred to drastic purga-
tives that may weaken the system,
vaccines that sometimes upset the
patient, and those inhalants which
may irritate the nasal passages?

Here is why: Listerine treats
colds for what they really are —
acute local infections. And the
quickest way to combat local in-
fections, as any doctor will tell you,
is to kill the germs involved in
them. That is exactly what the
Listerine gargle does.

The secret of Listerine's success,
we believe, must be that it reaches
the virus (germ) which many au-
thorities say causes colds. At the
same time it kills by millions the
threatening "secondary invaders"
— germs that usually inhabit even
normal mouths, waiting until re-
sistance is low to strike. Among
them are the dangerous influenza
and streptococcus germs. These
"secondary invaders" are the germs
that complicate a cold and produce
inflammation. They must be held
under control.

Five minutes after gargling with
Listerine Antiseptic, tests showed
a germ reduction averaging 94.6%.
Fifteen minutes after,96.7%. Even
one hour after, nearly 80% on the
average. This amazing germ reduc-
tion gives Nature a helping hand,
and materially reduces the risk of
cold. That is a matter of labora-
tory record.

Use Listerine night and morning,
and at the first symptom of a cold,
increase the gargle to once every
two hours. This pleasant precau-
tion may spare you a long and ex-
pensive period of suffering.

Lambert Pbabmacal Company
St. Louis. Mo.

"fa/MTrfifW SWEEPS AWAY TOBACCO-STAINED DEPOSITS"

IT POURS ON THE TEETH A VJONOEQ FULLY \
Fa«CO«tiT, CLEANSING, MILKY WHITE
SOLUTION THAT SIMPLY SWEEPS AWAY t
THOSE TINY DEPOSITS STAINED BY
TOBACCO SMOKE. ALL THE GIRLS
AT THE BRIDGE CLUB ARE TALKING
ABOUT IT .

WHY DON'T YOU TRY A TUBE?

Don't take our word or the
word of famous New York
beautiesabout Listerine Tooth
Paste. Try it yourself. See how
quickly it attacks tobacco-
stained deposits on teeth. How
its fragrant, milky-white so-
lution bathes the teeth and
gums and leaves them fresh,
clean and healthy. How its

high-lustre polishing agents
restore natural brilliance and
beauty to your teeth. Don't
forget its economy either.
More than a quarter of a
pound of first-rate dentifrice
in the 40c tube. The 2.5c size
is proportionately economical.
Get a tube from your chug-
gist today.

SCREENLAND

y^EAR CLAIRE TREVOR:

I 3 You fooled me. You really did. I thought I had
you all figured out. I was wrong. Perhaps it will amuse
you to watch me eat my words. (Gulp, gulp.) Remem-
ber our lunch, the first time I met you, only we ate
chicken and crepes suzette, not words; and it was all
very gay, and a Certain Celebrated Billionaire across
the smart cafe stared and stared, and who could blame
him, for you were by far the prettiest blonde in the
crowded room. You sparkled, from your smile to your
star sapphires, and I thought, "Now here's a carefree
actress, for once, with never a worry; and I'll bet she
will never go arty on us!"

Well, you told me all about your new house, for
which you were selecting every scrap of curtain and
every stick of furniture, yourself; and you seemed to get
more frivolously feminine
every minute. And then,
eventually, talk turned to
pictures — it doesn't usual-
ly take that long, but
you were so charmingly
casual about your career,
I thought it would be al-
most vulgar to bring it
up. But somehow or other,
I seemed to hear you re-
ferring to yourself as a
"Class B" star. Now, there's
a big difference between be-
ing a "Class B" star, and a
star in "Class B" pictures;
so I argued politely; and
your big brown eyes grew
bigger and darker, if pos-
sible, and you said quite
positively: "I'd be willing
to play a bit, just a bit, in
a big picture, to show I
can act." It sounded well,
but it didn't make much
sense to me. Claire Trevor,
a big box-office attraction,
if not in epics, playing a
bit? Come come, now, Miss Trevor, I said
to myself. It's awfully cute, but it isn't in
character.

And then what happens? You did it, by
gosh. You locked your big dressing-room
with the star on the door, went over to a
strange "lot," and took a "bit" to play —
the comparatively small but oh, so potent
part of Francey in "Dead End" — you
played that part just as it was written,
with no frills, no false bids for sympathy;
and lo and behold when "Dead End" was
released, people were exclaiming: "This
Claire Trevor is an actress." You knew it
all along.

Well, it would have been nice if Holly-
wood had suddenly swept you into a big,
showy star part such as "Stella Dallas"
which would have catapulted you into the
front rank of important stars. But this
isn't wonderland. It's Hollywood. So you're

An O
to CI

pen
aire

etter

revor

back in your big dressing-room, making more good
money pictures, if not epics. You make every part you
play stand out for some reason — for instance, in your
latest, "Big Town Girl," you get yourself up in a black
hair-do; in some scenes you're smothered in specs;
you're doing some trouping. And if anyone thinks
you're wasting your spare time mooning around, let
them listen to your rich cello-voice on the radio, oppo-
site Edward G. Robinson. The best part is,
you're still The Prettiest Blonde in the Room.
And some day, I think you'll be one of the Big-
gest Stars. I'd like to change that picture title
to "Big Time Girl." That's you, Claire Trevor.

Claire

Right,
Above,

Trevor, trouper
the girl herself,
in character for
new film.

There's no spectacle in the world to com-
pare with it! A motion picture premiere in
the cinema capital is unique among world
events, and the reason is devastatingly
described here

S ONDON had its coronation, New York its American
Legion convention, Philadelphia the Army-Navy
1 football game. These are all very well in their way,
nice little shows that draw quite a crowd. But for sheer
fun, spectacle, and insane showmanship, none of them
can compare with a Hollywood premiere.

They are terrifying in a way, fantastic as a circus.
Wallace Beery was so startled by the crowds at one open-
ing that he drove away and sneaked in a back door.
Harold Lloyd, although never recognized without those
dummy glasses he wears for pictures, tries always to find
a side entrance. But Hollywood as a whole takes fierce
pride in that unique and expensive entertainment, a
movie opening.

The show of course doesn't take place on the screen,
although the theatre always does conscientiously run the
scheduled film. They are always trying something new
at those openings. Some publicity man may get the bril-
liant idea of not bothering with the picture at all on
premiere night. This would save trouble ; and the celeb-
rities would come just the same.

A Hollywood premiere is not to show off the picture.
Their one purpose is to show off the audience. Well does
the audience know this. This is the one opportunity to
parade, arrayed in all the splendor of sables, ermines, and
dirty polo coats, before real people. These are not cameras
watching them, although there are cameras everywhere,
but thousands of fans, eager, articulate, wild with en-
thusiasm. Even a Wallace Beery or a Harold Lloyd, the
most modest actor in town, gets a thrill out of those
cheers.

As for a Douglas Fairbanks, he never misses an open-
ing. Mr. Fairbanks is always part of the show at each big
premiere, enjoying the crowds as much as they enjoy
him. With Sylvia Ashley, elaborately dressed, on his arm,
he can stroll up the longest theatre entrance without a

^ By
Eileen Creelman

trace of shyness or annoyance as thousands stare.

Not all of Hollywood can face those crowds with the
aplomb of a Fairbanks. But all of Hollywood turns out
for a premiere. There you will find them all, Myrna Loy,
Irene Dunne, Virginia Bruce, Charlie Chaplin and
Paulette Goddard, Norma Shearer, Ginger Rogers, Paul
Muni and his wife, the Fredric Marches, Errol Flynn and
Lili Damita, all the hundreds of others whose very pres-
ence makes the opening a show impossible to put on any-
where else in the world.

Of course they would never think of such a show any-
where else. These big openings cost between four and
five thousand dollars, half of which goes toward lights.
That money is spent to impress Hollywood, to make the
industry sit up and take notice. Incidentally, of course
they provide hilarious evenings for those thousands of
fans who have time and energy to endure them.

Every effort is made to keep these fans happy. It was
the Warners who last year thought up the grandstand
stunt. They built huge bleachers for the opening of the
latest "Gold Diggers" and filled part of them with beau-
tiful chorus girls. Fans occupied the other seats.

That started it. Now each company must provide
grandstands. Those for "High, Wide and Handsome," at
the Carthay Circle, held between eight and ten thousand
people. They were solidly packed by five in the afternoon.
The show was not even scheduled to begin until eight-
thirty at night. At midnight, as the stars sauntered out,
the bleachers were still filled, and the streets behind them
jammed with people hoping at least to see Fred Mac-
Murray or Martha Raye or perhaps Mae West drive by
them in an automobile.

Those stars were all there, scores of them, Dorothy

Gayer than a circus, more clamorous than an American
Legion convention, is the Hollywood First Night! Here's a
pictorial cross-section: at far left, just a glimpse of the crowds
approaching the theatre; next, autograph-hunters being held
back by police. Above, the stellar attractions: top row, left
to right, Mr. and Mrs. Fred MacMurray, Mr. and Mrs. Errol
Flynn, Gene Raymond and Jeanette MacDonald. Lower, Mr.
and Mrs. Paul Muni, Dorothy Lamour, Harold Lloyd with his
mother and daughter; and, center above, Fredric March at
the microphone, with Mrs. March.

Lamour in slim black, Dorothy Jordan in a red polo coat,
Virginia Bruce in glittering white. Those fans who
couldn't see could at least hear. Announcers saw to that.
They announced everything, whose car was coming down
the boulevard, whose car was approaching the flood-
lighted entrance, who was just stepping under the block-
long canopy to walk self-consciously up that red carpet
to awaiting microphones.

You couldn't miss anything. The real show was there,
outside the theatre, on those painful walks under the
glaring lights while thousands of eyes discussed you, on
that broad green square surrounded by bleachers on two
sides, by the theatre entrance on the third, by the canopied
walk, cameramen, lights and policemen on the fourth.

Just for good measure, as though the antics of a Holly-
wood celebrity audience were not enough, an elaborate
program of entertainment preceded the picture. And
this took place outside the theatre, all for the benefit of
the waiting fans. Ben Blue, for no reason except that
it was a warm evening and that he had a part in the
picture, drove up to the theatre in a sled drawn by a team
of Alaskan huskies. He was suitably dressed too, in fur
coat and straw hat.

Lynn Overman was acting as master of ceremonies
outside the theatre, Fred MacMurray inside. The effect
was the desired one, that of a three-ringed circus. Judy
Canova, with Zeke and Anne, did some of their routines.

Betty Grable sang. So did the Four Yacht Club Boys.
Bob Burns, Gracie Allen and George Burns, and William
Frawley stayed out in front of the theatre to indulge in
expert wisecracking for the crowds. Their amusing revue,
broadcast on a coast-to-coast hookup, lasted for an hour.

The breathtaking exuberance of a Hollywood premiere
is no happenchance. The natives begin to get excited
days ahead ; and the natives are the movie colony.

Jeanette MacDonald and Gene Raymond cut short
their honeymoon, sailed back from Honolulu, a five day
trip, just to be in town when "The Firefly" opened. That
was an evening too, big enough to coax Norma Shearer
into the limelights again, to bring Edward G. Robinson
back from a vacation. Constance Bennett, probably the
most inveterate and certainly the most conspicuous of all
the local first-nighters, might not even stop at crossing an
ocean in order to see and be seen at a really gala premiere.

All of Hollywood takes part, one way or another, in
the show. Even the publicity departments of studios ap-
parently unconcerned have to do a bit of worrying. Their
job is casting the audience, seeing that the right people
walk up that red carpet two by two.

It is usually the young actors who consult the publicity
departments. They wish advice about the girls they
should escort. This is an important decision for any
player. To take a girl to an important premiere is not
equivalent to announcing an (Please turn to page 70)

Getting

Gay
with

Gable

What happens when
Clark cuts up

By Elizabeth Wilson

Hollywood swonk means nothing
to Gable. He has no cook, no
valet, no chauffeur — "I'm not help-
less," says Goble when someone
suggests that a movie star should
have servants.

IF IT hadn't been for East's mild little diamond bid
Clark Gable probably never would have gone duck
hunting, Claudette Colbert wouldn't have been invited
to Walter Lang's for dinner, and I would have gone
serenely, well, not too serenely, through life without ever
knowing what a duck press is. It certainly had unex-
pected repercussions. Up until then the game had been
quite a nice little game, not brilliant, but nice, and South
hadn't yawned more than five times. But when East
made that mild little bid in a weak voice it started a
bidding duel between East and West which ended even-
tually in a fourteen hundred point gain for North and
South. East, who in private life is Carole Lombard, said
that she was sorry. West, who is known to millions as
Clark Gable, said that there was really no law that forced
people to sit down at a bridge table for hours and glare
at each other for making foolish bids and that personally
he thought it would be more fun to go duck hunting.
Fieldsie and Walter Lang (North and South to Mr.
Culbertson, but best friends to Carole and Clark) said
don't forget to bring back some ducks. And Carole said
no pumas this time please.

So the next morning Clark, who is a good shot,
brought back a bevy of wild duck and because he lives
at a big hotel in Beverly Hills and has no cook, no valet,
no chauffeur, no second maid, no China boy ("I'm not
helpless," says Air. Gable when someone suggests that
a movie star ought to have servants), he dumped them
on Walter Lang's ping pong table and said it would be
nice to have a couple of people in to help eat them.
Walter didn't want any people in because he had just
bought a new house and the pictures and drapes weren't
up, and Walter, like all directors, wants to have his sets

perfect before the action starts. "When you have duck
you have duck," said Clark with a grin and a shrug,
which rather expresses his philosophy of life — if you
have a treat tossed at you don't grumble, enjoy it — "I'll
hang the pictures and I'll make the sauce."

Clark Gable with all his being Screen Lover Number 1
has never been known to make an "entrance," and it's
a safe bet that if you invite him to dinner at seven-thirty
he will be there at six-thirty, which is another reason
why he and Missy Lombard get along so well, Carole
being the only glamor girl in Hollywood who keeps her
appointments to the dot. So when Claudette and the
doctor and I arrived the pictures were all hung and all
kinds of little knick-knacks which would eventually be
a Gable sauce were gathered about the chafing dish on
Walter's bar. Shouts of laughter from the game room
announced that Carole and Clark were whipping up an
extra edge to their appetite for pressed duck by an ani-
mated game of ping pong, not just the usual ping pong,
but "match" ping pong, a little variation that Walter
brought back from China. Clark is crazy about match
ping pong and is the match ping pong champion of
Benedict Canyon though Carole is no slug at the game
herself. Walter's match bill is terrific. The idea it seems
is for each side, East and West again if you wish, to
place an opened box of matches on the base line and see
who can upset the most matches in the due course of a
ping pong game. I'm better at rummy. Claudette is better
at parchesi, and Walter promised her she could play after
dinner. If anyone would play with her. Movie stars aren't
as coddled as you might think.

On a large silver platter the ducks, well roasted and
with their meaty parts removed, were brought in from

Clark, at left, blinks as
the news photographer
takes a "grab shot."
Carole Lombard is with
him. Below, when he
goes on hunting trips
the studio photographer
isn't always along, but
this time he was. Clark,
however, is actually no
phony outdoor fellow,
but the real thing.

Wide World

that you haven't been out much. It is a duck press, isn't
it?" she said in an aside to Fieldsie. Clark said sh-sh-
s-s-sh h, and we all did. It was going to be a Ceremony.

And just so you, my little kiddies, will have something"
on the crowned heads of Europe I'm going to give you
the famous Gable recipe for pressed duck here and now,
and if it brings on a good case of indigestion don't blame
me. First of all, you clean and singe and wash wild ducks
just as you do domestic ducks. Rub inside and outside
with salt and pepper and brush with melted butter. Put
a teaspoonful of butter inside of the ducks, onion and
celery to help kill the wild taste, place them in a baking
pan with a tablespoon of water, and roast in a hot oven
for twenty-five minutes, the time depending upon the size
of the ducks. When done, carefully cut the breasts off the
ducks and place in a warm dish ; then pile the carcasses
(if you can get them away from your guests — not a
chance if Colbert and Lombard are there) into a platter
and one by one drop them into the duck press. When
sufficient pressure is put upon the press the juice pours
out of a little spout into the container.

And here's where the famous pressed duck sauce makes
its entrance. Have a slow flame under the chafing dish
and into it put a tablespoon of butter, a teaspoon of very
hot dry mustard, a tablespoon of currant jelly and a glass
of port wine. Cook it about three minutes but never let
it come to a boil. Then pour in the juice from the duck-
press container and cook about (Please turn to page 75)

the kitchen and placed on the bar, and everybody
stopped counting silly matches and with a "Woo
Woo" (Mr. Hugh Herbert really started some-
thing in Hollywood) made a wild dash for duck
legs and wings. Such picking of bones ! How re-
volting ! I unearthed the biggest leg and Claudette,
like something starved out of a Dickens novel,
snatched it away from me. Really, Miss Lombard
and Miss Colbert, if your public could see you now
with duck behind your ears ! "Tut, tut," said Mr.
Gable whacking away at grasping fingers with a
huge spoon, "you aren't supposed to eat that, that's
for the sauce. Haven't you been fed today? Hey
lay off, I want to show you how to make pressed
duck sauce, the recipe for which kings have offered
me their crowns."

Well, I always know a chafing dish when I meet
one out socially but there was some kind of an
apparatus at the end of the bar that had me com-
pletely baffled. "What's that funny looking thing ?"
I said pointing a greasy finger, "a cocoanut cracker ?
Dear me, what will the rich think of next?" "That
funny looking thing," said Carole scornfully, though
it wasn't very effective with a duck wing in her
mouth, "is a duck press, and it is quite evident

tar-

ust

Bab

By Margaret E. Sangster

"Who told you to say I was beauti-
ful?" she asked. "Nobody told me
to say nothing," Peter replied, and
gulped — "You are beautiful."

CHAPTER II

HE cocktail party was over and done with, and the
last guest had been taken out and poured into a
taxicab. The drawing room of the Mollineaux
house was empty save for the lingering ghosts of a
thousand cigarettes, save for an army of sticky glasses.
The soft-moving Japanese servants swarmed like moths
in the patio, gathering up debris, and a gardener was
already busy with a flower bed that had been brutally
trampled. But Katrine Mollineaux sat back in a deep
chair, with the tips of her slim fingers pressed together,
and stared at her publicity man. There was such blazing
hatred in her eyes, and her silence was so fraught with
meaning that, after some fifteen dragging minutes, Bill
Naughton spoke.

"Better say it," he advised, "before you explode !"
Katrine made drawling answer. "I never thought you'd
put the bee on me," she said, "you snake in the grass — "
Bill countered: "Now, now, Katie. The party was a
wow, and Peter was a howling success !"

Katrine snarled — "Yeah! Here I had fifteen sob sisters
and ten camera men, all set to get a load of me with a
little blonde baby in my arms. And then you bring in
a big kid with freckles and a black eye. What a razzing

they'll hand me !"

Bill Naughton grinned, but only with his mouth. He
said :

"Pipe down, Katie — the kid's in the next room. I
wouldn't want to hurt his feelings."

Katrine's eyes weren't blazing any more. The)' were
veiled, and as hard as marbles.

"Trot the kid in," she said.

Bill asked, "Why?" His tone was mild. He added,
"You're not in any mood to see him, now. Wait'll you
cool off."

Katrine said — "If you know your onions, you won't

ILLUSTRATED BY
WELTON SWAIN

wait 'til I start to jell. You'll take me warm, and like
it." She called, "Hey, Peter, come here — "

There was a sound of footsteps pattering on parquet.
Almost sooner than you could imagine, a little red-
headed boy was in the room. He stopped running, after
he'd crossed the sill, and stood — his wide eyes, one badly
bruised, fastened on Katrine's furious face. After a
moment Katrine said —

"Why are you staring at me?"

The little boy fumbled for speech. "Because," he man-
aged at last, "you're so beautiful. You look like an angel
in a church."

The dramatically human story of a screen
siren whose daring plan to advance her
career precipitates a crisis in the lives of
three extraordinary people

Bill gave one quick, mirthless snort of laughter.
He stopped as suddenly as he had started, and said —
"Come here, sonny. Come to Uncle Bill." But
Katrine interrupted — "No. You come here, Peter,"
and the child, with one frightened glance in her di-
rection, came haltingly toward her. When he had
stopped only a few inches from her chair, Katrine
spoke again. Her voice was deceptively soft.

"Who told you to say I was beautiful?" she asked.
"Did Uncle Bill learn you a lesson?"

Peter answered : "Nobody told me to say nothing,"
he replied, and gulped — "You are beautiful. Like an
angel in a church — "

Katrine said, "Heaven help you if you pull that
line again! Where'd you come from, anyway, and
what's your name, and how old are you?"

The little boy said — "I came from th' Good Shep-
herds' Home, and my name's Peter. I ain't got any
other name."

Katrine began, "Oh, so you're a little — " but Bill
Naughton interrupted her. His voice was all at once as
sharp as a knife.

"Shut up!" he said. "One dirty crack out of you, and
so help me . . ." Suddenly his voice lowered — "The
kid's only eight," he murmured, "and he's had a tough
time. Go easy with th' whip."

The little boy's eyes were so large that they seemed
to swallow up his entire face. He stared painfully at Bill.

"You told her to shut up," he said. "You hadn't
oughta do that, Uncle Bill !"

Katrine laughed. "That's all the thanks you get," she
said to Bill Naughton. To the child she addressed a
question.

"How long have you been calling this bozo uncle?"
she wanted to know.

"Ever since I seen him," answered the little boy. He
volunteered, "That was yesterday."

Katrine laughed. "So that was yesterday!" she said
"I can't help thinking that Uncle Bill might've bought
you some decent clothes — "

Bill said: "I hadn't time, really. The papers came
through so late today that we only just made it without
stopping for a thing."

Peter supplemented: "We came in a big car. We did
eighty on th' straight roads — " and Katrine said, "That
was just dandy. You must've been in a hurry to get
here . . ."

The little boy looked at her with his soul in his eyes.
He said simply —

"We was. Nobody ever wanted me a-fore . . ."
Bill Naughton drew in his breath sharply. He mur-
mured—

"For God's sake, Katie," but Katrine laughed. Her
laughter was as sweet and brittle as a New Orleans
praline.

"I wonder," she said, "if you'll make as good time
going back? Eighty on the straight roads, I mean . .

The little boy's face had been flushed. Suddenly it
was so pale that the freckles stood out on it like flecks
of nutmeg on milk.

"Going back?" he asked. "You said, going back?
Back — where?"

Katrine's laughter was a little louder, now — and if
anything more brittle.

"Why," she answered, "back (Please turn to page 67)

So you want to make friends among
Hollywood's great? Here are some
rules to follow — fun, too!

#55

Who wouldn't want to make friends with Ginger
Rogers? She looks receptive here, at left in group
on set of "Having Wonderful Time," with writers
and director. Fred Astaire, right, will beam if you
ask him about the songs he has composed.

How to

mpress

By Helen Louise Walker

EVERYONE seems to be telling everyone else, these
days, how to do something or other. How to make
friends, how to influence people, how to live alone
or in large groups, how to be polite, how to be com-
fortable, though married or in Africa. How to antagonize
people — how to — well, anyhow, who am I to be left out
of all this? With the influx (and what an influx!), to
Hollywood these days, it seems that a bit of advice might

be in order about how to get along or not to get along
in "the colony." For Hollywood, like Africa, Shanghai,
and Berlin, is a rather specialized community, and it is
well to know a few of the fundamental rules if you hope
to make friends and thereby do something for yourself.

Let's say, for simplicity's sake, that you have come
to Hollywood in the hope of making some friends. Let's
just start with that. I wouldn't bother, just at first, with
trying to influence anyone if I were you — not unless I
had a great deal of money or owned some race horses
or were related to a big producer. And I shouldn't give
much thought to the problem of antagonizing people.
You don't need a book for that, goodness knows !

Let's assume that you have come to Hollywood and
hope to make some friends. Suppose you are intro-
duced— bang! — just like that, to Fred Astaire. It doesn't
happen very often but sometimes people are introduced
to Fred. He's a friendly person to meet, too. But if you

so that we may discover what makes the English go "Ha, ha!" and laugh with them.

Not to be outdone, Paramount will present Beatrice Lillie, another Britisher,
whose comedy quells once and forever the erroneous belief that the Anglo-Saxons
lack humor ! Bee is the rollicking gal of Broadway's musicals.

George Burns undoubtedly prefers the inimical Gracie Allen as wife, to someone
after the style of Constance Bennett. Gracie keeps a fine home for him and the two
children. There's nothing funny in her domestic life. But as a radio and screen star,
Gracie is the nuttiest of the nuts— for which we are mighty glad !

Several years ago, some movie friends of mine (you probably thought I had
none) took me to the hillside home of Nick Grinde, the director. Nick entertained
us with slick card tricks and startling declarations. He took delight in foretelling
events he believed would come to pass. Talk of Arabian Nights Entertainment!
Well, if Director Grinde were not at this moment gadding through China, or some
other oriental pasture, I'd demand his instant prediction for Marie Wilson.

Marie is a sort of protegee of his. Hollywood has reported them engaged. When
I asked Marie if it was correct, she looked startled and said: "I imagine you would
call it that. We like each other's company and go about together. Yes, I suppose
you'd say we were engaged."

She didn't seem sure about it. The idea dismayed her. After all, it was her en-
gagement, not mine. But engaged or single, Marie is a knockout. Nick might be
a prophet in his own chalet, but Marie has predicted what could happen if Warners
followed out her suggestion.

In James Melton's "Melody For Two," Marie appeared with a huge cello_ and
said to Fred Keating: "If you build an orchestra around me, you'll have something."

If Warners build a cast around Marie, they'll have a sure-fire star. As it is, they
regard her with pride, and are training her for leads. There is a good likelihood of
her doing the lead in "Boy Meets Girl."

When I met her she had but recently come out of hospital, having received^ a
crack on the cranium, following an auto accident. But that did not down Mane.
She turned up with a Russian handkerchief round her blonde head, the patch plainly
showing where the hair had been cut away.

She takes things seriously — Hollywood, acting, the
fans and all connected with them, "if they see me as a
good comedienne at the moment," she explained, with
terrific earnestness in her eyes, "I'm only too glad to do
what they see best. But I'd like to study and get other
parts — maybe with pathetic touches in them, even drama.
If the chance is given me, I'll take it."

The nymph is wise. There's nothing dumb about Marie.
Listen to her talk ; note her wise
remarks ; her fluent speech — she's
got her head screwed on the right
way !

She's a demon for learning,
and studies drama, languages,
singing, and anything that helps
her advance in acting. The results
we (Please turn to page 70)

Martha Raye's lusty yells come back in
echoes of loud guffaws from the audi-
ence. Martha in action, top left. Be-
ginning from left, across page, see Doro-
thea Kent, Glenda Farrell, Joan Davis,
Helen Broderick, and, below, Marie Wil-
son— they save many a film from dull-
ness. Right, Patsy Kelly, and above,
Mice Brady and Gracie Allen, more in
demand than many glamor girls.

Double -Exposure of
Loretta Young and Myrna Loy!

SO YOU want to knc
perbly ?"
Myrna Loy eyed 1

>\v w

rhv 'Gretch' ticks

•n Mi-

ne alertly. It was noon in her
dressing-room suite at M-G-M and stars are suppused
to be involved in a thousand flurries during their brief
respite from their sets. Myrna behaved as calmly as
though she were miles away from it all and had an entire
week-end to devote to my curiosity.

"I don't," she offered with a half grin, "call her
Gretchen. Even though I'm Minnie to her! And I'm
glad I am, for that proves she really is a pal of mine.
However, only her family still use her given name ; she
has always been Loretta since I've known her.

"It is noteworthy, don't you think, that Loretta has
gone on when most of the ingenues who began when
she did have fallen by the wayside? I'm not implying
that she's aged," Myrna said with a full smile. "As you
know, she's just approached her mid-twenties. But she
played her first lead at fourteen, with Lon Chaney, and
ten years in constant demand and the sort of a future
she has indicates that she's away above the average in
Hollywood.

"One reason she is, obviously, is that she has talent.
Another is that she has great stamina. Determination
isn't enough out here. Loretta wanted to be in pictures,
was determined to be, and seized opportunity when it
seemed to be knocking. You know that story, how at
thirteen she reported to Mervyn LeRoy in place of her
older sister when Polly Ann was out of town. She's had
the push to go after her chances. She was bound to rate
recognition — any girl with that much gumption at
thirteen would.

"But I've known many ambitious girls, and I know
that your determination isn't worth much without great
stamina to back it up. Loretta is a fragile vision. But
she isn't at all fragile of spirit. She's progressed while
other aspiring ingenues have fizzled because she wouldn't

Loretta Young, through the
eyes of "Minnie" Loy

By Ben Maddox

be stopped. And then couldn't be discouraged. W hy,
when she was doing her first lead she was subjected
to a reproof that would have beaten the ordinary girl.
The director told her — before everyone — that she was
impossible. She cried. That was what he wished, to touch
the emotion locked within (Please turn to page 66)

Few Glamor Girls of Hollywood get to be good -friends.
Loretta Young and Myrna Loy prove the exceptions.
At right, close-ups. Left, Miss Loy with Walter Pidgeon
in a scene from her new picture, "The Four Marys."

f m

Wide World

ER apparent wall ot mystery always was a chal-
lenge to me. I wanted to know her well, at first,
so I could be certain; learn what she is really
like, what her secrets are. I discovered, besides more
important things, that she is not mysterious at all. In
fact, I also now call her — affectionately — Minnie !

"Crisp glamor is only a part of her, actually. Equally
outstanding is this — you are able to talk to her as you
are to few people. She is so easy to be with !

"She is the epitome in the eyes of the modern sophisti-
cates, yet she wouldn't attempt the terrific pace. She is
such a comfortable person. Provocative because she has
definite ideas and can be nonchalant about them. Stim-
ulating to me because she gets what she wants. But
unique among all the women in Hollywood because she
is smart and smooth and comfortable !

"She is the most contented star I know. Finally I've
unearthed why. It's due to her distinct philosophy ; she
is a direct result of a particular attitude towards life.
She does have a success system, you see. An explicit
one. And although she looks inscrutable, she's quite
frank about how she proceeds. She's no stuffy siren of
the old school."

It was Loretta Young, speaking candidly. I had gone
to her for the authoritative solution to the prize problem
of Myrna Loy, for I'd noticed that in these past two
years Myrna has shown a partiality for Loretta.

A solitary, enchanting figure she was, in white silk
slacks and blouse, at the far end of her fragrant hidden
garden. No parasol, no picture hat, nor trailing skirts.
Loretta is femininity, with or without trappings. She put
down her Noel Coward's autobiography- — "He was a

Friendly group at left; Loretta Young with Mr. and Mrs.
Arthur Hornblow (Myrna Loy). Above, Loretta in a
close-up with Tyrone Power from "Second Honeymoon."

Myrna Loy, as her friend Loretta knows her

bit precocious, wasn't he? The latter half, where he
mentions some of the people I've met, is more interesting
to me !" — and rose from her wicker chair. The late after-
noon sun jumped over the green roof of the playhouse
to catch the transient sparklets in the blue water of the
swimming pool at her side ; it revealed her gay freckles,
too. Daytimes Loretta scorns all traces of make-up ex-
cept lipstick.

"I don't after dusk, when I'm dressing to go out," she
stated impulsively. "But take Minnie now ; she has
freckles, as I have, but you wouldn't catch her ever
trying to veil them off-screen. Not even for a big evening.

"Ours hasn't been a sudden friendship, you know.
We've drifted together comparatively recently, though
we were cast in several films with one another some
years ago. The other night we had 'The Devil To Pay'
run off — in spite of all the improvements since then
Ronald Colman was still grand ; but we — why, we were
so awful !" Loretta chuckled. "And Minnie in her blonde
wig — !

"In the beginning I was a little afraid of her, and not
because she played the menace, either. It was her quiet-
ness that puzzled me. She kept so to herself. When I'd
walk onto the set she was polite enough, but strangely
aloof. So I'd say good morning and wait to see how she'd
take it.

"Then I made a picture at Metro. My last day there
I passed her and she declared, T wish we could have
had lunch while you were over here !' I was dumbfounded
at her cordiality.

"Soon after we met socially and I find that she's shy
instead of mysterious. She has to know that you truly
enjoy her company before she can relax.

"Naturalness is Minnie's greatest quality. There is
nothing forced about her. ('Please turn to -page 66)

Companionship
by C

amera

"We share each other's good
times, see what the other is
seeing," Ann explains in this
story of how she and Roger
Pryor became snapshot fans.
Center, right, Ann takes a
shot of Victor Moore, on lo-
cation. Right, one she took
of Roger playing ball. Be-
low: circus stunt; Al Scott
and George Murphy; Edward
E. Horton, Lily Pons, and
Luis Alberni on a studio set.

ANNIHILATING distance, hands-across-the-conti-
A-\ nent, keeping the separated up-to-date — call it
/ \ whatever you please — but that's what candid
cameras mean to Ann Sothern and Roger Pryor, who
have spent so much of their married life in different cities.

"You can share each other's good times, see what the
other one is seeing, get a better idea of what it's all about
than you can get from letters, if you keep candid camera
pictures flying back and forth," smiled Ann, sorting over
an envelope of snapshots on the set of "She's Got That
Swing."

"As a little girl, I don't think I ever noticed a camera
much. We didn't go in for picture-taking as a family,
though we were often separated, and think what we
missed ! It wasn't until I met Roger that I paid any atten-
tion to camera fans, and then it was just that he was
interested. I bought him, one Christmas, a German-made
camera that was supposed to be very fine, and he was so
thrilled over it that I began to wonder if there was
really something in it.

"He kept me posing, until it got so that whenever I
turned around there was Roger clicking a shutter, or I'd
find it had just clicked, catching me in an unguarded
moment. I imagine I took it up in self defense. I bought
a small camera at first, thinking I'd show Roger how
it felt to live with a camera fiend, but next thing I knew I
was really interested. Now we have a Leica, too, and
whenever I can I borrow the Graflex from the boys on
the set.

"This is a shot I made with it over on the Lily Pons
set ; she had on her bird costume but she'd wrapped a
robe around it, and Edward Everett Horton and Luis
Alberni were sitting with her waiting for a new set-up.
I didn't fuss over that shot, just used what lights hap-
pened to be there and didn't change anyone's pose or
anything. I don't think the studio likes people to run
around sets with a candid camera, anyway, so I almost
never do it.

Ann Sothern and her husband, Roger
Pryor, bridge miles to enjoy each other's
company with their candid cameras

esley

Ann likes to take action
shots — and she knows
how, as you see in the
tennis subject, left; and
below, Clyde Beatty in
the climax of his circus
act with the big cats.
Center below, the pic-
ture-taker snapped as
she takes a Graflex shot
of Helen Broderick and
Victor Moore. Bottom,
dance director and
chorus girls.

"I don't do much fussing, though. I know how bored I
get with those everlasting 'Wait a minutes' and 'Just a
lee-tle to the other side now' and 'Look over this way,
please' when I'm not working, so I generally just look
in my finder and shoot."

A chorus of "Ann !" sent her flying onto the set, where
she sat strumming on a piano while Helen Broderick
vainly tried to take a telephone call. They had todo the
scene several times because Helen slipped out an "Ann !"
instead of a "Carol !" which was Ann's picture name.

"It's the simple mistakes that cause trouble in taking-
pictures, too," philosophied Ann, presently, coming back
to the snaps. "The first time I ever used my little camera,
I forgot to take off the cap over the lens and I shot a
whole priceless roll of film before I discovered what I'd
done. Some of those things I'll never get again.

"I often make mistakes, no doubt because I'm in a
hurry. I see something and can't wait to grab it. But I
usually can tell when I look at the negative or the print
what it was I did or didn't do. I under-expose or over-
expose, at times, or forget about change of light. Roger
has an exposure meter that gives the exact exposure, but
part of the time I haven't the gadget with me, or I think
I can judge.

"Another thing most of us amateurs do is not to notice
the background. The figures before us are interesting or
colorful and we forget that a distant telephone pole or
some old ugly fence is 'way back there, but will show
up in the finished print.

"When I take what ought to be a grand shot, and it
turns out to be anything but, and I can't figure out why,
I take it to the boys on the set and ask them. They
usually know. It's amazing the way they can tell at a
glance what I must have done to miss."

Roger and Ann have been separated a great deal since
she began to be a candid camera fiend, and they hit on the
idea of sending each other shots of every interesting
event they attended separately. (Please turn to page 74)

CONQUEST — Metro-Gold wyn-M oyer

TRULY a notable motion picture, an achievement reflect-
ing credit on all concerned, is this handsome picturization
.of certain dashing and dramatic episodes in the life of
the Emperor Napoleon. Addicts of Napoleonic lore will
find this romantic version satisfying despite historical discrep-
ancies; addicts of Garbo will find themselves in a fine poetic
frenzy, for never has The Great G.G. been lovelier ; as for addicts
of M. Charles Boyer, they will have something to shout about
in a big way at last, for this time the fine French actor has a
role sufficiently showy to impress his powerful appeal, as well as
his artistry, upon the public. Almost, it is Boyer's picture ; almost,
but because of Garbo, not quite. She is still the star of "Conquest."
It is a fine romantic tale the picture tells, of the noble influence
of the Polish Countess, Marie Walcwska, upon the great Bona-
parte. Her selfless devotion is shown to inspire and sustain him
even through his Waterloo; from his grand triumphs to his final
crushing defeat. Somehow, you believe it all, every scene, because
of the touching performance of Garbo, the tragically human por-
trayal by Boyer. Splendidly staged, expertly acted from stars to
extras, "Conquest" is an important film in every sense. Thrilling!

VICTORIA THE GREAT — Wilcox-RKO-Radio

THE finest historical film from England since "Henry
the Eighth," Herbert Wilcox's masterly screen treatment
.of the life of England's great Queen should be seen by
all picture-goers who value dignity and sincerity above
sensationalism. "Victoria the Great" is invariably reverent in its
references, but it also performs the feat of never being dull, for
which the producer-director, Mr. Wilcox, and his bright star,
Miss Anna Neagle, deserve loud huzzas. Necessarily episodic,
the cinematic account of Victoria's reign must have sweep rather
than suspense ; it must depend upon verity, not invention ; and
it must have, for us on this side of the sea, at any rate, more
of a nostalgic appeal .than a powerful dramatic pull. But because
Miss Neagle is successful in claiming audience interest from her
very first scene, as the untried girl who becomes England's Queen,
and because she manages to sustain that interest as Victoria's
amazing career unfolds, and finally because she gradually wins
a very warm sympathy which she never loses, this picture emerges
as of first importance among current offerings. Anton Walbrook
is similarly successful in carving his character of the Prince
Consort — a difficult portrait, but an understandable human being.

< &SEALQFJ

Reviews

of the best

Pictures

ALI BABA GOES TO TOWN— 20th Century-Fox

I'M NOT quarreling because Eddie Cantor's new picture
turns out to be a swing circus instead of the "political
.satire" it set out to be. And it's my guess you're not.
either. Somehow, screen satires are never much fun — but
Eddie Cantor's broad comedies are. Give me comedy when it's
as good as "Ali Baba," and let that old sour-puss over there in
the°corner keep the "satires," and see how much good that does
him. The irrepressible Eddie, who won't be mad if you designate
him "that mighty midget of mirth," is at his zaniest as a bit of
Hollywood flotsam and jetsam who dreams himself back into old
Bagdad, where he proceeds to persuade the Sultan (Roland
Young) to experiment with twentieth century methods, such as
the New Deal, etc. It's really pretty funny, and with appropriate
and stunning interludes for song and dance, and exotic glimpses
of Louise Hovick and June Lang and other beauties, and Tony
Martin's sultry tones. "Ali Baba" takes his audiences right along
to town with him. Mack Gordon's tunes, to say nothing of his
partner. Harry Revel's lyrics, contribute a great deal to the gen-
eral amusement; in fact, it might be a good idea to have Mr.
Gordon and Mr. Revel write all the screen tunes— how about it?

HURRICANE— Samuel Goldwyn-United Artists

MAGNIFICENTLY thrilling movie! Frankly, un-
ashamedly aimed to amaze and entertain with its smash-
ing scenic effects, its lush South Sea Island romance,
and its tremendous climax, "Hurricane" is a success
from every standpoint. It provides an evening of rousing enter-
tainment in the melodramatic manner of the old-time theatre and
the silent screen, and it is a tribute to the showman's astuteness
of its producer, the fabulous Goldwyn. From the start, "Hurri-
cane" enthralled this spectator with its gorgeous tropical setting,
its naive and charming native romance between Mamma and
Teremgi— Dorothy Lamour and Jon Hall ; its breathless suspense
when the handsome hero escapes from the law; and its final
terrific climax of a tropical hurricane — done in the Great Gold-
wyn's most incredibly spectacular manner. It's true cinema, and
honest thriller, all the way. Dorothy Lamour is alluring; Thomas
Mitchell very fine. But "Hurricane" belongs to Jon Hall, young
Greek god who turns out to be poetically sensitive, imaginative,
intelligent — at one leap he takes his place among the Taylors,
the Tyrones, even the Gary Coopers; and I think he is already
head and shoulders above most of them. He's the hurricane!

STAND-IN — United Artists

HOLLYWOOD laughs at itself again, but very, very
gently — more a sympathetic snicker than a genuine
. guffaw— in this latest in the series of "inside Hollywood"
pictures. "Stand-In" is a really good movie, and it is
excellent entertainment ; but it is always pretty much Hollywood's
own fond idea of what Hollywood is like. Its particular appeal
is none other than the distinguished Mr. Leslie Howard, who
after all these years has apparently decided that he is a comedian
at heart, and let who will play Hamlet: for here he plays the
lightest comedy possible for an actor of his talents. Mr. Howard
almost does a Harold Lloyd, in fact; he takes such punishment
as Eddie Cantor is accustomed to; he seems to enjoy it— and so,
of course, do we. It seemed a very fortunate coincidence that
Joan Blondell, one of the few really good comediennes we have,
should be around in an important capacity. She lends just the
right light touch, always, as the secretary to Mr. Howard's big
efficiency man from the East, come to Hollywood to make a big
studio pay dividends. Miss Blondell helps — oh, how she helps.
You'll probably enjoy watching more wheels go round than you
saw in "A Star Is Born," and if you get a little dizzy, why not?

THE AWFUL TRUTH — Columbia

FRESHEST, most original film of the season, and the
most fun for and from everybody. I don't know just
whom to thank : the authors, or the director Leo McCarey,
or the stars, Irene Dunne or Cary Grant. They have all
performed wonders. They have made me laugh and I'm grateful
to them. But I think it would simplify matters all around if I
just thanked Mr. Smith. You have met Mr. Smith before; don't
think you haven't; his name then was Asia, and he is, in other
engagements, the dog of Nick and Nora Charles. Here, he belongs
to Jerry and Lucy Warriner, or Mr. Grant and Miss Dunne,
instead of to Mr. Bill Powell and Miss Myrna Loy. Perhaps the
pet knows which household he prefers; I'm sure I don't. The
Warrincrs as played by Cary and Irene are charming, crazily
inconsistent people. No sooner have they decided to separate, and
their case comes up in divorce court, than they begin to enjoy
themselves hugely. The question arises, who shall get the custody
of the dog ? Mr. Smith steals scenes .from the co-stars, they steal
scenes from one another. Ralph Bellamy enters the picture and
starts stealing everybody's scenes. It's a grand picture. It isn't
art; it's far from subtle; but it's the best fun of the month.

THE GREAT GARRICK— Warners

CHARMING high comedy, so rare on the screen, comes
into its own in "The Great Garrick." Here is a picture
which will appeal only to those who appreciate - fanci-
ful, imaginative romance, delightfully acted, beautifully
mounted— (this means you, of course). Brian Aherne is trium-
phantly cast as that great English actor of the 18th century,
Mr. David Garrick. It's a flamboyant part, and Mr. Aherne _ at
his best is a showy actor; so he is nothing short of perfection
as he swaggers through this screenplay, a picture of manly beauty
in the knee-breeched, damask-coated, lace handkerchiefed period
costumes; and a flawless performer always, particularly as to
mellow voice. It's a fable of Mr. Garrick' s visit to Paris, to be
guest artist at the Comedie Francaise. But the jealous French
players prepare to play a trick on the English actor which will
send him back to London on the run. Their little melodrama,
staged at the Adam and Eve Inn, was sheer delight to me; and
Garrick enjoyed it, too— but he did not run away. He, greatest
actor of them all, played the others right off the boards. Olivia
de Havilland.is a joy as the only "non-professional" in the big
cast of "actors." Messrs. Horton, Cooper, Alberni are grand.

Kay

d Pat

WHAT with feuds and floods and
flotsams I have seen a deal of
Unrest in my life, but never an
Unrest that could compare with the colos-
sal Hollywood Unrest of 1937. Everyhody
was sulking about something. Nobody was
pleased about anything. Somebody was
happy, I guess, but it wasn't anybody I
knew. In the "front offices" there was more
stomping of feet than you've ever heard
West of the Cotton Club. But it wasn't
exactly a Susy Q or a Big Apple. Even if
they had consulted a couple of fortune
tellers and tried terribly hard Pat and
Kay couldn't have picked a worse time to
launch a new screen love team in "Women
Are Like That." Everybody said that the
fur would fly.

It seems that Kay Francis wanted to
play the Grand Duchess in "Tovarich" (so
did Garbo who pouted something aw.'al) ;
in fact, Kay claimed that the role bad been
promised to her when she signed her new
contract, and so when Claudette Colbert
was borrowed for the coveted part Kay,
quite annoyed by it all, started suit against

It's an incredible co-starring combination, Pat O'Brien
and Kay Francis — but it works! Top, left, a convincing
love scene. Above, a gay encounter on the set. Right
above, Pat entertains Kay Stammers, English tennis star,
and Lana Turner between scenes of "Women are Like
That." The big Irishman is a favorite studio host.

her employers, Warner Brothers. And it seems that Pat
O'Brien was scheduled to go into "Swing Your Lady"
but he didn't like the script (neither did Joan Blondell
who walked right off the set and took a course in hula
dancing), and Pat didn't want to pile up another sus-
pension, so he said hoi}- mackerel and jumping catfish,
haven't you got something else around here I can do?
And so with a fugitive from "Swing Your Lady" and a
would-be Grand Duchess for its stars you can well im-
agine that "Women Are Like That" got off to a sour

are Like

That!

start. Despite the usual heat which came in in scorching
gusts from the Valley the atmosphere of Stage Nine was
as cold as a producer's heart, and so heavy and ponderous
that no one dared speak above a whisper. Heavy, heavy
hangs over their head. Fine or superfine? A very fine
lawsuit, my dear.

A suing actress isn't the most sociable person in the
world — instead of the customary one chip she has the
whole block on her shoulder — she is utterly convinced
that the studio is trying to ruin her, so why should she
be pleasant to anyone. The boys and girls from the
publicity department hang an imaginary "Small-pox"
sign over the door of the stage and keep as far away
as possible. Little people like you and me run like mad
in the opposite direction. A suing star, it seems, has all
the delightful charm of a coiled cobra. But the leading
man, unfortunately, can't run, or duck, or dodge — he's
got to stay right there and face it, venom and all. Poor
Pat, his friends said, he'd better take his heavy under-
wear, it'll be awfully cold there in the tombs.

Kay Francis is a prestige star. She is undeniably the
"First Lady" of the Warner Brothers lot and gets the
best iii everything else, if not always in pictures. On the
set she is slightly aloof, even when not suing, and doesn't
like to have crowds of tourists gaping at her when she
is doing her scenes, or interviewers hanging around

What, the aloof Miss Francis and the genial
O'Brien as a love team? Yes — and our ex-
clusive story tells why they liked to work
together — much to Hollywood's surprise

By Liza

our Mr. O'Brien replied, "If you want to tear down the
sides of the stage and put in grandstand seats it's all
right with me." So what-to-do-about-the-set was the all-
important question when the social Mr. O'Brien met the
aloof Miss Francis. But it was a question with only one
answer. Poor Pat, his friends said, he'll die of loneliness,
we'll send him wires addressed Commander Byrd. Poor
Kay, her friends said — oh, I forgot to mention that Kay
has some friends too — they've given her a fast-talking
Irish mug who hasn't been out of a uniform in years for a
romantic lead, why couldn't she have Fernand Gravet !
Or Charles Boyer !

But the funny thing about it all, of course, was that
while everybody was poor-Patting Pat, and feeling awful-
ly sorry for him, Pat himself was quite pleased with the
turn of events. It seems his suppressed desire for a long
time had been Kay Francis. Now for goodness sake,
don't get me wrong ! Pat is happily married to Eloise
Taylor, a society girl who went actress in the Frank
McHugh stock company some years ago, and who since
her marriage to Pat has completely given up the stage
saying that one actor in the family is enough. Pat and
Eloise have a lovely home in Brentwood and have
adopted two of the cutest kids you've ever seen — one of
them a born football player. No, there's no scandal in
Pat's suppressed desire for Kay Francis. He merely
wanted to co-star with her (Please turn to page 69)

waiting to ask her if she is going to marry Delmar Daves.
On the other hand Pat O'Brien, a cordial good-natured
Irishman, and as natural as the day is long, likes nothing
better than having mobs of people watching him act — in
fact he and Humphry Bogart even act better, if that is
possible, when they have an admiring audience — and he
doesn't care what an interviewer asks him because his
life is an open book. When Pat first started working at
Warners a guy from production asked him, "Mr.
O'Brien, do you want your sets closed or not?" To which

"My happiest engagement in pictures," wrote Paf
O'Brien on a picture of himself Kay Francis asked him
for, after completing their first co-starring film. And
Pat meant it. Left above, director Logan seems to
enjoy watching Pat make love to Kay as much as she
does. Above, they play man and wife in the picture.

in "The Buccaneer" re-lives the high ad-
mance of Jean Lafitte in the new Cecil B.
production stirringly fictionized here

The saga of a man who saw life
as an adventure to be lived dan-
gerously — until he found love

Ficiionized by

Elizabeth B. Petersen

THERE was war in those days of 1812. War
with England to make the Atlantic a haz-
ardous path for American ships. There were
pirates too, who sailed the seas to strike fear in
the hearts of men and women. And the most feared
of all these outlaws was Jean Lafitte, he who had
written his name in letters of blood across the
beginning of the nineteenth century.

But those who fared forth on the water then wore
courage in their hearts as a great lady might wear a
rose in her hair.

The Corinthian, trim American sailing ship was alive
with preparations for its departure for Europe. Sailor-
men ran up the riggings and black men struggled under
the trunks they carried on their broad backs and pas-
sengers milled around in a flutter of departure.

There was none to wish bon voyage to the little
Gretchen, so strong for all that small, fair softness of
her, sitting so still near the coiled anchor rope, her
knitting in her hand and her dog beside her. She did

not want to go back to her native Holland but her father-
had died and there was nothing else that she could do.
But someday she would come back. She told herself that
and gathered courage from the thought.

Near her, standing close to the gang-plank Annette
and Marie de Remy wept as they clung together in
farewell. They had been more than sisters these two,
more than friends and confidants. In all the world they
had felt the need of no other than the two of them until
now, grown up to love they knew how urgent another
need could be. For Marie was leaving New Orleans,
eager and forgetful of everything but that she was going
to France with her voung husband. For in her as in all

Please See Page 80 for Cast and Credits.
Copyright by Paramount Pictures, Inc., 1937

The love romance of the
greatest pirate of them
all, this novelization of
Cecil B. DeMille's im-
portant new picture of-
fers Fredric March as
Jean Lafitte, whose
courage and daring was
turned to America's
cause in the War of
812. These pictures
show Fredric March in
scenes with Franciska
Gaal, Margot Grahame,
and Akim Tamiroff.

high born Creoles was that intermingling of the best of
Spanish and French strains to quicken and sharpen the
love that had come to her.

There was just time for Annette to unpin her mother's
jewel-encrusted miniature from her dress and give it
to her sister before the going ashore call came. And she
tried to smile as she saw her sister and the man she had
married take each other's hand as they leaned over the
rail.

But her heart was heavy as she stood on the wharf
watching as the Corinthian moved out towards the sea,
to whatever harbor or whatever danger its fate might
decree. She thought of British warships and she thought
of pirates, but in her heart the last did not frighten her
for hadn't Jean Lafitte assured her his men would never
plunder a ship flying the American flag.

He the greatest Buccaneer of them all, who ruled all

other pirates with his strength and audacity, who
laughed at danger and swaggered through life
and confided in no one but her. Even though she could
not accept it, his love was like a safe, warm cloak.

She thought of him as she rode so sedately in her
carriage towards the fabulous town in the swamps that
was dominated by Jean Lafitte. This pirate's haven, this
place they called Barataria was known to the authorities
who had put a price on his head, though there were none
who dared attack this stronghold where the pirates re-
ceived the great of New Orleans to sell their plundered
goods in open market. From the far, wild corners of
the world they had come these men and they claimed
allegiance to no country and to no flag and feared only
one man and that man Jean Lafitte.

It was here Senator Crawford of the Louisiana Legis-
lature sought him and it was of wine they talked, the
finest of Amontillado sherry (Please Him to page 80)

His humor often obscures the human

being that he is — but this time
W. C. Fields is really

close-upped

FIELDS

SCENE : A stage in the NBC building in Hollywood.
A rehearsal is in progress. Or rather, a rehearsal
has been in progress, and now they're waiting for
someone —

"Clang! Clang! Clang! What is this sound I hear?"
The voice comes from offstage in a stentorian bellow.

Charlie, who has been seated pensively beside Bergen,
jerks into watchfulness. Bergen speaks in soothing tones.
"You know who it is, don't you, Charlie? Yes. You're

not afraid are you? No. Why fear that big noise

"Don't make me laugh. I'll

"Afraid?" pipes Charlie
mo-o-ow that big stiff down.

"Meanin' me, I suppose?" Enter our own W. C, with
his own rolling swagger. He looks elegant in every sense
of the word. His gray suit matches his gray fedora, that
slips ever so slightly toward the back of his head. His
glasses slip ever so slightly off the bridge of his nose.
His face is healthily ruddy, and its ruddiness is concen-

without Hedges

trated in no one spot, whatever Charlie may have to say
to the contrary. He smokes a cigar and carries a cane.
After months of retirement, after wild rumors of what
illness has done to him, his appearance fills you somehow
with a comforting sense that, in a world of strife and
change, some pleasant things do remain the same.

He sits down beside Charlie to talk to Bergen. For a
moment his hand rests absently on the hatless red head
of his diminutive little chum. In the midst of grave mat-
ters, Charlie darts to the attack: "Just a sissy, hey?"

Fields sticks his cigar under the impudent nose.
"How'd you like to be a bonfire, Charlie?"

"You "wouldn't need a cigar for that, Mr. Fields.
You've got a lighter right in the middle of your face."

"I wouldn't even need that, my dainty pipsqueak. I'm
a match for you any day."

"Did you hear that, Bergen? He thinks he's smart
because he's all dressed up. At that I can't blame him."
He eyes with distaste Bergen's casual costume of green
hat, brown suede jacket and denim trousers. "Excuse me,
Bergen, but you look like a ploughed furrow. Well, thank
heaven there's one gentleman in the family." He flicks
his lapel and gestures languidly toward his monocle.

Says Fields: "I always wondered about that damn
thing, Charlie. "What's the point of three glass eyes?"

"To look straight through you, Mr. Fields."

"Come on, take 'em out, and we'll shoot immies."

This might go on indefinitely, except that there's work
to be done. They sit at a table — on one side Don Ameche
and Bergen, with Charlie on his knee — on the other side,
Fields. As his enemy opens fire, Charlie turns in what
looks like helpless wrath from Bergen to Ameche and back.
Fields glares — in his glare an ill-concealed benevolence.
His asides must be left, regretfully, to the imagination.

Fields said to me once
when he was riding high :
"I'm scared — I'm always
scared. I've been thrown
out on my ear so often.
This game's just one
merry round of bein'
thrown out and discov-
ered all over again. You
never know when the
(Please turn to page 71)

"Along comes radio and makes
me a dazzling offer," says Bi"
— and how he made the mosf of
that opportunity! Immediately
below and in two close-ups at
right, Fields at the microphone.

Out of the rough and into the fair-
way again, Fields enjoys the solid
comforts of his home, below. His
favorite dish is pies, as shown at
near right above — he bakes 'em
with an ability that rivals his ca-
pacity for eating 'em. Right, two
comedy poses — Fields goes from
football to golf in his forage for
laughs. Bottom right, Bill in a scene
for "Big Broadcast of 1938."

Are You
nsane?

Play as you read! A story that turns
into a game: Peter Lorre tells you
many startling things about himself
and asks you to decide if he too is
insane. You will relish this feature!

ARE you insane? This question has the
r-\ possibility of becoming a parlor
/ \ game amounting to a national craze.
Good, clean fun to check your friends — and
yourself — by asking such questions as : Do
you talk to yourself? Do you lose things
constantly? Do you think you are Na-
poleon? Or a poached egg on toast? Do
you forget the name of your best friend?
Do you crow like a rooster, bay like a
hound dog, act queer when the moon is on
the rise? Have you little phobias lurking
in the crannies of your mind ?

Peter Lorre and I played the
game of Are You Insane t ' F 'or
Peter is interested (wouldn't
you know it?) in mental quirks
and quavers, in abnormal psy-
chology, in the behavior, strange
and otherwise, of his fellow
men. In his youth, in Vienna
and in Berlin, he was analyzed
by Freud, sat at the feet of Jung
and Adler, read Krafft-Ebbing.

"Insanity," said Mr. Lorre,
"is a matter of opinion. It's the
old cliche of 'the whole world is
queer, everyone is queer save
thee and me and even thee is a lit-
tle queer.' What is sanity to one
person's mind is sheer insanity

A fascinating study in contrasts: Peter Lorre,
brilliant and entertaining conversationalist,
above, and, center, in a film impersonation.
Left, a scene from "Look Out, Mr. Moto,'
with Robert Kent, Rochelle Hudson, J. Edward
Bromberg. Bottom, an informal snapshot of
Mr. and Mrs. Lorre at home.

to another person's. And vice versa.

"For instance, I did not sleep one
wink last night because Spotty, one of
my two cats, disappeared early in the
evening. And Blackie, my other cat,
cried all night, thin wails of bitter
despair. I cried with him. Spotty finally
showed up at dawn, a self-satisfied smirk
on her face. A reconciliation with Blackie
was effected and I went at once to sleep.
Now, to many people such behavior
over the evanishment of a cat would be
labelled insanity. To me, for
me, it is utter sanity. It is
one of the laws of my being
to be so concerned about
anything I love. I am the
type who does not love many
people or things but love the
few intensely. I do not spread
my affections thinly. Thus
they penetrate and are deep
in my roots. So it would be,
for me, insanity not to be so
. worried.

"I believe that each of us
has a law, a separate and in-
dividual law of our own be-
ing. If we follow our own law
with the acute and unerring
(Please turn to page 72)

Acti

ction

Photographs by Willinger and Clarence S. Bull.

ravo, Baritone!
Nelson Eddy kicks
his way out of staid
musical tradition as
a footbalU playing
idet in

It may be the radio in-
fluence of Charlie McCar-
thy— it may be the West
Point atmosphere of "Ro-
salie"— it may be the
magnitude of this new
musical movie for which
one of the sets covers sixty
acres — or it may be Elean-
or Powell or Cole Porter's
new tunes. Whatever it
is, you'll meet a "new"
Nelson Eddy in "Rosalie"
— robustly reassuring. On
this page: Mr. Eddy on the
gridiron — he worked out
on the field at the Univer-
sity of California; as a
West Point Cadet; and, at
top right, as team-mate to
Miss Eleanor Powell.

"Rosalie"

A serene, well-ordered life is possible in "hectic Hollywood," and Fred
proves it! Above, he works hard at keeping fit— part of his job. Left
his hobby: wood-working in his fully equipped carpentry shop, one of
his two extravagances. Center left, cleaning out his own swimming-
pool— the other extravagance! Top, left, the proud young home-
owner on his terrace. Top right, the fireplace. See amusing table.

First pictures of the "first" Hollywood
home of an important young actor, who
cannily waited until he was certain of
his screen future hefore huildins the
house of his dreams

Charlie would rather have vanilla than the razzing Edgar Bergen dishes
out when they touch up the McCarthy face for Technicolor. But,
right above, comes the revenge, when Bergen gets the glamor treat-
ment. Right, just when Bergen and Andrea Leeds thought they were
alone, Charlie appeared.

A Day Wit!,
Qiarlie

McCartli

Below: Charlie decides the sound engineer can have hts job — "listen
to everybody and talk back to nobody — not for me," he says. Next, a
big moment — meeting a brunette, Vera Zorina, so beautiful Charlie
puts on specs to enjoy the view. Then a scene with Adolphe Menjou.
Zorina, and Bergen, of course.

Twice-around Ascot, nothing!" jeers Charlie at a wardrobe worker, above,
k* twice around McCarthy's neck-that's what that tie .s. Charlie doesn t
e ieve in signs, and walks right on the set while cameras are turning, center
Jilnove Another case of love at first sight, right, as Charlie meets Andrea Leeds

for the first time.

Follow the high-hatted heckler around, and
you'll know why everybody on the "Goldwyn
Follies" set is having a ribbing good time-
You can't see the glamor for the gags — they
even pop out of the woodwork!

We hate to think it, but doesn't that trick topper and gay scarf Charlie's
wearing, below, look very Hollywoodish and just a leetle as though
McCarthy may be going grand on us? Left, Bobby Clark another
Bergen-McCarthy cast-mate in "Goldwyn Follies, ' seems to be getting
a bit mad about something. Lower center, day is done and Charlie
leaves the studio for home, riding high on Bergen s shoulders.

No, this young man isn't
"Art," but he represents
it in ballet form in "The
Goldwyn Follies." He's
Charles Laskey, called
"Adonis of the Dance."
Far right, the greatest of
all Wagnerian sopranos,
wonderful Kirsten Flag-
stad, who sings in "The
Big Broadcast of 1938."
Lower left, water-nymph
ballet and, next, Vera
Zorina, premier ballerina,
in another number from
Goldwyn's Follies.

All great artists of musk
and the dance find their
way to Hollywood

t is positively rampant in Samuel Goldwyn's
'ish technicolor "Follies." Above and at
iter left on opposite page, Helen Jepson sing-
! the Drinking Song from "La Traviata," with
larles Kullman. At very top left on this page,
tta Zorina with a prancing plaster charger in a
jjllry princess ballet. The lovely lone ballet
L top center, is Heidi Vosseler, an American
illet beauty. Top right, the Metropolitan
pera tenor, Kullman, now converted to screen
;ollies." And at right, still supreme among
usical artists, Grace Moore, in her latest film,
'11 Take Romance." Make ours with music!

We Want
Auction !

Best sport in Hollywood, most action-full glamor girl of all
Carole Lombard! Yup, it's Carole, above, toting that
heavy saddle. Across the top are more grand and gay shots
of Lombard on a day of horseplay at her ranch. The horse,
a handsome Palomino whose mane is as blond as Carole's
own tresses, and the dog, Pancho, black and tan shepherd
really belong to her — not props!

Glub-glub! The Mauch Twins, in two pictures above,
may remind you of your own days in the old swimmin'
hole. Billy and Bobby haven't yet learned to dive; the
pool is borrowed, not their own. Right, graceful Vivien
Fay floats through the air like a breeze. Below, and to
the left, Fred Astaire in action, doing his new "Drum
Dance" for "Damsel in Distress."

were getting action

o star is too spoil

high»salaried to resist the call of tke candid cameramen
in quest of fast^moving copy

Pic****** r

far

io^e

fat «

'\oo''

Wade6

\ acceP1 ^

roui

L o

and Rosemarv
Lane: "Try to tell us
apart, we dare you! One of
us you've met often before, in dra-
matic roles; the other, you met first
'Varsity Show.' Now we're together, playing a
movie star and her stand-in, with Dick Powell in
'Hollywood Hotel.' Here we are again, and is
Dick baffled! Even when not made up to look more
alike, we're still a case of mistaken identity. As for
love scenes- Dick didn't know which was which."

Encore for our snort=snort suh<=
jects, with feattire=strength stars

Ronald Colman
Goes Calling

Talk about
your busman's holi-
days! You'd think that Ron-
nie would want to rest up after all that
sword play for "Zenda." But no! He visits an-
other movie studio to watch other actors make a picture!
The star attraction is Olivia de Havilland, as you see at
left, above. Center, Colman also calls on George Brent
and Claude Rains, Olivia's support in "Gold is Where
You Find It." At right above, two fine actors talk it
over. Now, Ronnie, get right back to work yourself!

The cowboys have taken a new lease
of life on the screen with the coming
of crooning Gene Autry who has
garnered many garlands, deserves
more. Right, Claire Trevor wears
specs (all the better to keep her eye
on Alan Dinehart), in "Big Town
Girl." Fine players.

Frieda Inescourt, above, lends
distinction to every picture in
which she plays — as you know
Here she is as the star of "Portia
on Trial." Center right, for
years he's been giving us action,
drama, and romance; so now
applaud Jack Holt again.

For those mature men, serious or humorous
as the script may demand, try and pick more
consistent troupers than Alan Hale, Cedric
Hardwicke, George Zucco, and comic Henrv
Armetta, left to right, above.

Tkese great troupers should take more bows, lor
benefits bestowed by great acting. Altogether, now !

WARNER RROS: CHRISTMAS PRESENT!

It's on the way to your favorite theatre now — the grandest
love and laughter picture of this or any other year! . . . A
glorious Christmas treat for a hundred million movie-goers.

ro THE WHOLE WIDE WORLD!

-/,

'Yesterday is done! Tomorrow — who knows?
. . . Tonight's our night!"

Tne Most Beautiful Still of tne Mon

Claudette Colbert and Charles Boyer in "Tovarich"

& -4 •», :

tip

Exciting screen event is the translation of the stage success, "Tovarich," with these
two ingratiatingly Gallic stars. Mile. Colbert plays a Russian Grand Duchess reduced
to lady's maid, while Monsieur Boyer enacts her aristocratic lover who becomes an
invaluable valet. It's gay, gallant, tempestuous, as our pictures prove: above, Best
Still; left, big moments from the film.

Secrets
-or Smart
Gir

Madeleine Carroll's own rules for the escape
from mediocrity and the capture of romance

By Dickson Morley

*MART girls are the girls who escape medioc-
rity, who win real, exciting love and worth-
while niches for themselves in spite of all of
todav's hectic handicaps. It can still be done, you
know !"

Madeleine Carroll, Hollywood's current Exhibit
A, wasn't boasting. She was answering pointed ques-
tions. I put them to her because she is one screen
star with beauty and charm so extraordinary that
friends flock to her wherever she goes. Besides, she
has what few other actresses actually have — a per-
fect, story-book marriage.

No disappointment complexes for Madeleine, and
no divorces, either! She's remained happily married
to the gallant Londoner who's given her a
fashionable apartment in Mayfair, a pic-
turesque cottage in the English country-
side, and an estate in Italy. She never
mentions it, but — as his wife — she's the

Her success secrets really work! Madeleines
own life attests to that. Top, the beautiful
English girl who has captured Hollywood.
Above, as she looked when she arrived in
America. Left, in "The Prisoner of Zenda."

only movie star who's ever been
presented at Court in London.

The crest of the wave ... a glam-
orous career . . . romance — because
she contends, she has success secrets !

Talk to Madeleine Carroll in
Hollywood, where she works for
public approval with all the zeal of
a mere novice, and you uncover
them. Now she is in an enviable
spot. But what she never confessed
before is exactly why she got where
she is. She admits, finally, that she's
employed a system. One she evolved
herself.

"A girl needn't have a drab, dis-
appointing life. She needn't at-
tempt to force herself to
be satisfied with half-mea-
sures !" Across a luncheon
table in the Beverly Hills
Brown Derby Madeleine
{Please turn to page 76)

Bette likes jacket costumes,
particularly hers at left,
above — dress of brown vel-
veteen topped with a jacket
of bright plaid wool. Three
bright gold buttons mark the
front closing. At right above,
three-piece suit for specta-
tor sports wear, the coat
and skirt of amethyst tweed
flecked with beige, the
blouse of beige wool crepe.
The flattering collar of the
coat is of lynx, shaded from
cream to dark brown. Di-
rectly at right, cocktail suit
in black and gold; nubby
wool skirt and jacket, blouse
of gold lame. Bette's turban
of black felt boasts a gold
feather "fancy." At far
right, ensemble of beige ac-
cented with brown acces-
sories. The dress of mottled
jersey shows brown and gold
buttons accenting the tabs
of the collar.

Glamor School picture* of Ilctte
Davis by Elmer Fryer, Warm , Bros.

Study in white and gold is Bette Davis
in the large picture at left, above.
White bengaline with gold lace ap-
pliqued diagonally has been used for
her formal gown. The bodice is formed
by two bands of the fabric which are
draped across opposite shoulders and
finished with large flat bows of self
fabric. Bette accents the gown with a
pair of bracelets of beaten gold. At
right above, the vogue for metal cloth
is indulged in Bette's wine-colored frock,
with waistline swathed in a girdle of
gold cloth. A binding of gold cloth has
also been used to edge the high neck-
line. You'll notice that Bette wears very
little daytime jewelry — she believes the
new clothes, particularly with metal
cloth, speak for themselves. At left, the
sequin accent is seen on her dinner
gown of flat-surfaced black crepe ac-
cented with silver cloth showing a sequin
applique. And now, at right, a study in
black and white. Bette's evening wrap of
black velvet has a turned-down collar of
ermine, and a small muff finished with
ermine tails, like a little girl's muff.

Screen
irens Set
e Styles!

Sleek sequins! Subtle veils! Fine furs!
Our pictures illustrate. Frances Drake,
at far left, wears daring princess gown
of opalescent sequins in Columbia's
"She Married an Artist." Directly below,
Frances again, featuring a casual beaver
jacket with wide shoulders and lapels.
Above, June Lang's cut-out brimmed
black felt hat. Upper left, Helen Jepson,
song-bird, likes long veils. Olivia de
Havilland, left, wears grey kidskin coat,
topped with round beret.

If it's worn by
Hollywood stars,
it's fashion news
—and good news
for you

Graceful Lull Des+i goes exotic, at far
right, in classic black evening gown with
pink satin scarf caught at center front
by two clips which match the large chrys-
anthemum clip at her waist. Her cape
is blue fox. Below, Miss Desti in her
French blue worsted suit with off-face
hat with chenille-dotted veiling, sable
stole, black suede gloves and purse.
Above, a delicate veil for ethereal Vir-
ginia Grey. Large, black chenille dots
for Helen Jepson's veil, upper right.
Olivia de Havilland prefers the softer,
shorter veil for her high turban, right.

Some suggestions from Hollywood and a
few of our own — for glamor and
beauty — for more luxury and
utility and good times

"What shall I give?" is the theme
song of the season. Here is the re-
sult of a coast-to-coast scout for
you. Get your pad and pencil, run
over our list and gift questions
answer themselves. Opposite, left
to right: 4711 Geranium Rose eau
de Cologne. A delicate flower scent
and a refreshant. Bath accessories
in the same fragrance, too. For real
floor cleaning, Hollywood's favor-
ite is the Royal vacuum shown. The
little fellow, Royal hand cleaner,
is for above-floor use, furniture,
mattresses, cars. From Bourjois,
Kobako perfume, oriental and new,
perfect with satins and sequins.
Encourage letters by giving paper
from Eaton. For Her, metal paper
box containing a fine deckled edge
Eighteenth Century reproduction;
for Him, good taste, fine quality
in hunt series boxes. Center left:
From Elizabeth Arden, a little idea,
that Royal lipstick, specially per-
fumed to scent the bag; a bigger
idea, Blue Grass perfume and three
light blue satin matching sachets.

4 \ |

Twelve ideas that carry that "just for you"
thought — make them gaily mysteri-
ous in holiday wrappings and
stickers and ribbon

Center right: Little masterpieces
in perfume — Cheramy's April Show-
ers; next, Cheramy's floral four,
muguet, carnation, violette and
gardenia. Last, Houbigant's immor-
tal Quelques Fleurs, about $1 each.
Below, left to right: Lady Esther
devotees will welcome a gift box
of her famous cream, powder, lip-
stick and rouge. For amateur pho-
tographers, Kodak Bantam fits the
palm but gives pictures larger than
itself. "A Gift From Hollywood,"
Max Factor's great big treatment
and make-up box. It's very com-
plete. Cutex creates two grand kits,
the handsome saddle leather one
for masculine good grooming; Mo-
diste, the sewing kit design, is for
the ladies. Seventeen's cosmetic
shelf, ready to hang, holds bath
salts, toilet water and dusting pow-
der. Last, Hudnut's Marvelous Eye
Matched Make-Up solves type prob-
lems.Choose by the color of her eyes.
The vial holds Hudnut's haunting
Gemey perfume. Gifts are for sale
in the better stores everywhere.

Cheer-o!

LONDON
N£WS

What do they think of Robert Taylor —
what's Charles Laughton doing now —
how's Merle Oberon? Here are answers
to these timely questions

By Hettie Crimstead

OXDON'S foggy clays are setting in now but
our screen stars — both Hollywood-imported
and home-grown — continue to sparkle scintil-
atingly. Never before have the British studios been
so busy as they are today, with eighteen important
productions in the making and over twenty others
scheduled to begin very soon.

Down at Denham the biggest stage in Britain
has been turned into a grey old Oxford college
where Robert Taylor is being educated as "A Yank
at Oxford." Bob says he has never had to train
so strenuously in his life before, not even in his
own college clays way back, for his role calls for
him to take a prominent part in many Oxford
sports. You'll see him in shorts and singlet rowing
in our famous annual Boat Race on the River
Thames. (He was coached by King George's own
waterman Bossy Phelps for these scenes.) You'll watch
him running too, and skating for the first time. Bob has
a wonderful sense of foot-rhythm, which is the basis of
good skating as well as good dancing, so he is achieving
skill on the ice very quickly.

Edmund Gwenn plays the dignified Dean of Robert's
college and there's double heart interest in Maureen
Q'Sullivan and Vivien Leigh, Maureen as an under-
graduate and Vivien as the flirtatious wife of a local
bookseller. You couldn't conceive two girls more oppo-
site. Merry Maureen with her sweet smile and open-air
personality, simply dressed and hardly wearing any
make-up. Sophisticated Vivien with elegant town clothes
and cool serenity and the latest styles in coiffures and
nail-lacquer.

Maureen is escorted around town by her blond
director-husband, John V. Farrow. They've' taken a little
country house not far from Denham and Maureen's
father and mother have come across from Ireland to
stay with them. Bob Taylor went over to dine the other
Sunday night, eating beefsteak and tomatoes and drink-
ing lemonade. He's been put on a special diet and made
to give up smoking while he's playing this athletic under-
graduate !

The world-famous Worth has designed the clothes
which Maureen wears in the film and she likes them so
much she has bought them all for her private wardrobe.
She has an enchanting suit in pale blue wool and dark-
blue velvet, with a tiny upstanding white collar and a
natty blue beret cap. Then there's" a plain grey tweed

walking coat, figure-flattering and with huge black but-
tons and a black velvet schoolgirl collar right up to the
throat.

Other clothes notes at Denham are being provided by
Merle Oberon. Page her arriving to work in a vivid blue
silk suit with quaint pockets and her favorite white pan-
cake hat. Merle is doing her best to make up for those
weeks she lost while convalescing after her car smash
last spring. The very day she completed her scenes as
the self-willed Leslie in Korda's rew fTm about Ensfhsh

during that era. Time passes and now
Clara, happily married, has returned to
the Hollywood front as a cafe runner. The
other evening Ronald brought Benita in.
He wanted to say hello and good luck to
Clara. It was just the red-head's luck to
be home with a cold that particular night !

GARBO is the foxy one. There are four
gates through which you may drive
onto and out of the M-G-M lot. Greta
alternates, so it's an impossibility to know
where to look for her. The studio em-
ployees themselves are so intrigued with
this super-mysteriousness that they ex-
citedly telephone grapevine reports on
where she's liable to exit. If you imagine
that Garbo saves her secretiveness for the
fans, you're wrong. She won't be pinned
down to portrait sittings ; when she's in
the mood she phones 'em that she'll be
there tomorrow afternoon. Lesser celebs
are ruthlessly shoved into the discard at
the last moment.

ANNE SHIRLEY and Dorothy Lamour
won't go elegant, even though they're
successful. Anne's bridegroom John Payne
got a salary raise at Paramount, but they're
remaining in their bungalow court. "Of
course," her studio confesses, "it's no
ordinary court. We think of it as 'a
bungalow court with a college education."'
Anne says it's swell and she dotes on
buffet suppers for their gang. _ Dorothy's
orchestra-leader husband Herbie Kay is
clicking at a local night spot; but she's
resolutely signed a lease on a two-room
apartment for five years. If that isn't sanity
in einemaland, what is ?

THE battling Weissmullers have fought
through to a mutual appreciation which
is delightful to see. Love at last reigns
in both their hearts. And business is pick-
ing up for both. Johnny's been re-tagged
by Metro. The studio, having passed the
"Tarzan" yarns on to an independent out-
fit, is going to star him in "The Wild Man
of Borneo." Besides tree-leaping, Johnny
will render light comedy lines — or so 'tis
promised. While waiting to begin he got
the family yacht under way to Mexico.
Lupe Velez starred in Mexico's greatest
film adventure to date, putting in three
weeks of acting at — get this ! — $12,500 a
week. Who says she's finished? Lupe isn't
smacking the slammers ; she's casually
showing them her bank entries.

Blonde Annabella becomes a brunette charmer in "Dinner at the Riti," made
before she left London for Hollywood. Romney Brent and David Niven appear
with her in the gayly intimate little interlude above.

Hollywood's newest behind-the-screen
romance! Above, J. Walter Ruben,
young director, and Virginia Bruce, long
fellow artists and friends, who have an-
nounced their engagement to wed in the
near future. Left, David O. Selznick,
Janet Gaynor and her mother.

P\ ISPATCH from the blissful Gene Ray-
mond-Jeanette MacDonald sector : the
love birds' Western complex was distinctly
not a novel publicity gag to further mark
them as different from run-of-the-mill
sweethearts. Jeanette went about in those
blue overalls and in that plaid shirt because
she was secretly learning how to properly
characterize "The Girl of the Golden
West." She'd always ridden side saddle
and for the picture, of course, the riding
is definitely Western. She took her les-
sons, incidentally, from Buck Jones him-
self and he threw in some rope-twirling
which she'll spring between songs. Gene's
cowboy get-up was for another reason. He
was readying for his present vacation.
With a pal he's down in the desert herding
sixty wild horses to a distant round-up.

ROMANCING with the right guy can be
so pleasant. When Joan Blondell waited
on table in her parents' restaurant in Santa
Monica, back in her high school era, she
used to moon over marrying a breezy beau
with a swell yacht. That would be some
future! She was content with Dick Powell
without a boat to his name. But what do
you suppose he produced as a present on
their first wedding anniversary? Joan
looked hopefully under her pillow, then
under her napkin at breakfast. No jewelry,
no check. She glanced casually into the
patio, where a new motor might be parked.
No streamy convertible. She was consoling
herself with the thought that all wives
have greater anticipations than they should
have when he told her about the yacht. It
is Scotch, an ocean-crosser, and finished in
mahogany and teakwood. Mrs. Dick
Powell walks about these days with her
heels hardly connecting with the earth.

NOTHING is so provocative as an ob-
viously startling personality contradic-
tion. Wayne Morris, consequently, has
certainly set himself. He's not only a tri-
umph of unspoiled masculinity, but he's a
puzzle to boot. As apparently unpolished
as Gary Cooper originally was, Wayne is
confounding his native reputation by rush-
ing almost all of the Hollywood belles.
It was pleasantly touching to learn that
his favorite hobby is collecting hotel
stickers on suitcases. His genial shyness
is enchanting. He seems but a babe in the
woods, to be protected against wiles. Then,
bewilderingly, comes the news that he's
out with still another beauty. Wayne may

A coloratura who struts with the best of
'em — has the needed eye-taking pedal
equipment too! Left, Lily Pons in a
dance number for her new film.

JOHN BEAL. according to M-G-M, is
J digging a swimming pool in his back-
yard. All by himself! It makes a pretty
tale of stellar industry. But it seems thai
John actually decided to excavate for a
badminton court, which is considerably an
easier task. And, truth to tell, after one
day's furious shovelling he chalked it up
as simply a good idea when and while he
was in the mood.

ANNABELLA'S welcome party in New
> York, day after her arrival with 25
trunks of finery (the press department says
so), proved that the Personality Girl from
Paris rates 'way up at tops with her
American bosses — the scale and opulence
of the cocktail party for the visiting star is
a sure clue, and this one was a deluxe
rendition of the ritual. Shy, almost diffident,
Annabella took it all with engaging mod-
esty; shaking hands, with that single
downward, somewhat vigorous stroke in

be superbly untouched, but the very fact
that he gets around so and is avoiding
capture by any one Diana hints at a secret
savoir-faire.

AT A major preview the other night Gail
> Patrick dripped with lovely lynx. She
was all any fan could expect. But Gad
doesn't have any truck with trappings or
elaborate make-up ordinarily. Even to in-
viewers she's untrimmed. That's why the
press adores her — she doesn't put on the
act unless it's absolutely necessary.

Grace Moore and her husband, Valen-
tin Parera, arrive in the east, buy an-
other new home — a farm in Connecticut.

TOM BROWN wants his bride to become
I an actress and he has a definite scheme
for transforming her into one. "I won't let
her go to a dramatic school," he declares.
"Do that and they think of you as an
amateur !" He hopes to get her under long-
term contract to one of the major studios
with a big-time coach. "When they pay
you for learning they're a darn sight more
'serious about you," he explains sagely.
Meanwhile, the young Browns are going
through that first-year adjustment. The
very attractive Natalie, who is but eight-
een, currently finds it difficult to talk
freely and, dance well with Tom. Attempt-
ing to be' a splendid wife has given her
a complex with him !

Father and son scene in Hollywood.
Above, Eric Blore sees his son off to
military school. Left, Kent Taylor plays
doctor, gets a message straight from
Wendy Barrie's heart. Good news, Kent?

the French manner ; smiling and affable
as she was introduced to people at the
right, left, and in front and in back of
her, there was complete absence of osten-
tation in an atmosphere that was perfect
for "an act." Indeed, Annabella made no
pretense of concealing a certain nervous,
but unflustered, reaction, by twirling the
ring on her right hand with her thumb, and
dabbing at an errant lock of brown hair
back of her left ear. On her triumphant
return to Hollywood (she was over some
years ago to do a foreign version film —
a riow discarded practice — opposite Charles
Boyer in "Caravan") Annabella is to co-
star with William Powell for 20th Cen-
tury-Fox.

WACATIONING in British Columbia,
V Joe E. Brown came across the fastest,
roughest, toughest game there is. It's Box
La Crosse, played inside. Seven thousand
folks applauded the players when he caught
an exhibition. At the half he was asked
to give the losing team a pep talk. "I've
never seen this thing before," he pream-
bled, "so I should give advice. But it looks
something like basketball to me ; I'd say
you're not breaking fast enough." They
thereupon broke double tempo and skipped
defeat.

The new Tarzan and his mate. Right,
Glenn Morris and Eleanor Holm, both
■famous athletes, in "Tarzan's Revenge."
And don't overlook the monk.

THAT old stand-by about motherhood
' ruining a girl's figure is surely dispelled
by Dixie Lee Crosby and Mrs. Phil Regan.
The Crosby's fourth child puts them on a
par with the Regans. Furthermore, Re-
public offered Mrs. R. the lead opposite
Phil in his new picture; she's fetching
enough to be a film sweetheart. One actor
and four off-spring are sufficient, she re-
plied. Dixie, to Bing's surprise, still has a
hankering to resume acting.

DARBARA STANWYCK has made the
D final step, too. When the swank Beverly
Hills Tennis Club gave its smooth Cham-
pagne Circus at the Troc there was a dis-
tinguished committee in charge. You'd
expect Mary Pickford, Dolores Del Rio,
and Madeleine Carroll to be among the
members of it. But so was Barbara, right
along with a baron and two princesses to
boot. The woman who was so bitterly
scornful of Hollywood society has learned

A couple of stout fellas relive thrills of
early mail carrying. Above, Bob Burns
and Joel McCrea in "Wells Fargo."
Right, Alice Faye wears a topper in a
scene with leading man George Murphy.

that it can be amusing. Lots of things are
amusing, when you're in love gloriously.
Barbara was in love miserably when she
carried that chip on her shoulder.

CREDDIE BARTHOLOMEW may be
' back at work, and with a salary now
raised to $2,000 a week for the next forty
weeks. But don't assume that his aunt is
buying mink. Aside from supporting his
numerous family, as usual, Freddie re-
putedly is paying the attorney who helped
engineer the squabble into success the sum
of $35,000 for legal services. Subtract ten
per cent as agent fee, a big slice for federal
and state income tax, and lo the poor child
will be saving a speck of the bacon by
summertime. And he's shot up into long
pants, an omen of his fleeting precious im-
maturity.

K I OW that Alan Curtis has overnight
' N jumped from bit player to Crawford
screen lover jealous onlookers are saying
that he's gone Hollywood. Look at the
wardrobe he's splurging around in ! More
inside data : before anyone cared enough
to pan him, Alan still had a handsome va-
riety of clothes. He had to be able to ap-
pear in any kind of modish outfit, for he
earned his living as a model for commer-

cial photographers. The current wardrobe
is really last year's essential "props." In-
cidentally, the newly-eligible Alan is dat-
ing Priscilla Lawson, a stock contractee at
Metro. But it isn't a flaming affair. He's
turned for friendship to the girl who used
to be his vis-a-vis when both were posing.

THIS month the delectable divorcee June
I Lang is giving the young and dashing
men-about-town the big go-bye. Her escort
is A. C. Blumenthal, millionaire who is a
behind-the-scenes financial potentate of
pictureland. "Blumey," as he is frequently
tagged, apparently • finds June the_ most
enchanting of all the girls he's invited
places. Pie even invites her mama along.

CTRANGE as it may seem, Charles But-
terworth is Gloria Swanson's rival
when it comes to numerous divorces. He^s
chumming with a dashing blonde who's
worth millions, Hazel Forbes by name.
Gloria, since her split with Herbert Mar-
shall, prefers New York admirers. It's easy
to see why she would never have to croon
torch tunes. But Charles isn't even a
scream off-screen. Nor has the camera lied.
He has manners, but no sweep of the Col-
man calibre. He's languid, but nevertheless
he's Lothario No. 1 !

The Paul Munis take a vacation from
Hollywood — the actor's first in a long
time. Above, their arrival in New York.

Sub-

D-l

Warners

Take a dive in an undersea craft the easy
way ! You'll come up smiling after experi-
encing some thrills but even more laughs
from this tale about some boys who belong
to the submarine corps of the U.S.N. The
fresh lad who makes good is Wayne Mor-
ris, dynamic newcomer who proves he be-
longs by holding his own in such fast
company as that of Pat O'Brien, Frank
McHugh and George Brent. Worth seeing.

M-G-M

Robert Montgomery and Rosalind Rus-
sell come in out of the shadows to the
sunshine of irresponsible comedy romance,
and we know you'll like them for it. It is
a sort of "Animal Kingdom" about an
artist, Bob, who gets caught in the social
whirl, and nearly loses his bride, who quit
society for the more soul-satisfying life of
a Greenwich Village Bohemian Robert
Benchley and Helen Vinson also rate bows.

Dr. Syn

A colorful costume thriller with George
Arliss playing a lusty character role. It's
about pirates, smugglers, and such intone
of England's sea coast towns. There's a
Conan Doyle flavor to it, with the ex-pirate
iwsing as a clergyman and being brought
back to his past by a mulatto who, in pun-
ishment for his crime against the pirate's
wife, was left to die on an island. Very well
acted, this makes pretty good entertainnient.

Trie
Bride
Wore

Red

M-G-M

Scenically this is a treat, and Joan Craw-
ford, in some striking Adrian creations,
adds to its visual splendors. Add also uni-
formly good acting by Joan. Franchot
Tone, Robert Young, Billie Burke and
Reginald Owen, and you have all there is
to this saga of a Cinderella who, on a brief
vacation as a fine lady, finds such beauty
as she never knew as a bar-maid in a water-
front cafe in Trieste. Passive romance.

AGGING

TALKIES

Delight Evans' Reviews
on Pages 26-27

Heidi

20th
Century-
Fox

Just about perfect as a vehicle for the
Shirley Temple of today, and something the
adult as well as the juvenile population will
find as enjoyable as it is fitting to this holi-
day season. The translation of a favorite
classic about the little girl who brings joy
to the life of her grandfather, an embittered
hermit of the Alps, makes grand entertain-
ment as played by Shirley, Jean Hersholt
and a splendid cast. Excellent. Sec it !

Madame
X

M-G-M

Hardy perennial of stage and screen, and
in this new edition a still potent tear-
jerker, but perhaps still more interesting
as an example of fine emotional acting by
Gladys George in the name role. In addi-
tion to this striking star performance,_ there
is good direction and a nice production to
make this an interesting remake of a fa-
miliar story. Warren William. Henry
Daniell, and John Beal, are all notably good.

Lancer
Spy

20th
Century-
Fox

George Sanders turns star, Gregory
Ratorf turns director, and 20th Century-
Fox turns out one of the best thrillers of
the season, a war spy story that is meaty,
compact, and superbly, acted. Sanders is
the British officer who impersonates a Ger-
man captured by the English, gets to Berlin
and is in constant risk of detection there.
Dolores Del Rio was never prettier. Joseph
Schildkraut, Peter Lorre and others, fine.

Double
Wedding

M-G-M

Going all the way in nonsense, this is
something to carry you to the peaks of
lunacy for laughing purposes only. William
Powell and Myrna Loy, John Beal and
Florence Rice, Jessie Ralph, Edgar Ken-
nedy and others do an expert job of their
acting assignments. They'll have you
chuckling most of the time, even if the
picture as a whole doesn't come close to
"My Man Godfrey" as capricious comedy.

M erry-
Go-
Round
of 1938

Universol

Like seven acts of vaudeville reeled off
in one film. Such headliners as Bert Lahr
and Jimmy Savo, and Billy House, all of
the stage, reinforce Hollywood's own humor
brigade, consisting of Alice Brady, Mischa
Auer and Louise Fazenda. It is a series of
farcical episodes strung together on a
thread of romance concerning Joy Hodges,
newcomer, who sings pleasingly, and John
King. It is mighty amusing in spots.

Alcatraz
Island

Warners

One of those more than welcome films
that come along quietly, with no outstand-
ing stars to give them glamor, but plenty
of good sound acting, a substantial melo-
dramatic yarn, and good suspense to make
your evening entertaining. The famous
Federal prison is the "come-on" for most
of the interest you take right from the
start. You'll like John Litel. Mary Maguire,
Ann Sheridan, and Gordon Oliver.

West of
Shanghai

Warners

Boris Karloff veers from horror to hu-
mor, playing a Chinese bandit who is
general of his own army. It is an interest-
ing change and Boris himself seems to en-
joy it immensely. His fellows in this "Good
Bad Man" of the Orient melodrama are
Gordon Oliver. Beverly Roberts, and Ri-
cardo Cortez. in the more prominent parts.
This is pretty fair entertainment of the
purely fictional sort. Capital, Mr. Karloff!

■ ■ ■ . ■ . ■■.

1 SHU]

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Gale Sondergaard, one of
Hollywood's best actresses,
entertains in the Danish fash-
ion. Try her unusual recipes

By Betty Boone

ONE of the proudest home owners in
all Hollywood is that dark beauty,
Gale Sondergaard.
"And a few years ago," she confided,
laughing, "if you had told me I'd ever own
a house, I'd have knocked you down !"

It's a Spanish house with a red roof and
blue doors, set like the eyrie of an eagle,
on a high hilltop, and built on varying
levels, so that on first view it seems to be
honeycombed with red-tiled stairs. Stairs to
the bedrooms, stairs to the living room,
stairs to the hall that leads to the dining
room, and flight after flight roaming up
and down hill from patio to patio, from
summer-house to outdoor living rooms. If
/ lived here, I'd have broken a couple of
legs by this time, but Gale and her husband,
Herbert Biberman, adore their mountain

craS- .. .

One whole side of the white-walled living

took her to Denmark to pay a visit to
her grandmother.

"I'll never forget my grandmother's
table ! It was ' charming. There were in-
dividual vases with forget-me-nots at each
place, and a perfectly huge soup tureen
with an enormous ladle. I suppose I was
fascinated by these things because I adored
soup. My mother used to make Danish
soup, too.

"At Grandmother's, in Denmark, we had
fruit soup occasionally, and that is simply
delicious ! You can make it of any fruit
juice, but Grandmother used grapejuice and
rhubarb, slightly thickened and served pip-
ing hot with small slices of toasted bread
floating in it. You can use any combination
of fruit juices, and it would be rather
interesting to try it with California's fruit.
Here is a recipe for Rhubarb Soup we have
used and found good :"

The dark beauty of Sondergaard is
set off by her interestingly decorated
dining table, with its tall Russian
candlesticks, and black china.

room is lined with open book shelves filled
with tempting volumes ; there's a piano, of
course, and not an uncomfortable chair in
the place. The dominating note in _ the
room, however, is a picture of Gale in a
blue gown, painted by Herbert Biberman s
artist brother Edward.

Gale, in a black dinner gown banded in
gold, gold earrings and bracelets contrasting
with her shining black hair, sat on a sand-
colored chesterfield.

"This is our first house," went on my
hostess, surveying the room. "On our way
out from New York, we said to each other :
'One thing we will have in California — and
that will be a house on a hill!' The very
day we arrived, a real estate agent brought
us up here to Hollywoodland, showed us
this place, and we rented it immediately
and moved right in. We hadn't been here
very long before we found out that the
owners wanted to sell, and we knew some-
one else would seize it if we didn't, so here
we are — home owners at last !"

Gale is decidedly not a housekeeper, but
she remembers fondly the delicious Danish
dishes she ate as a child, when her parents

RHUBARB SOUP
1 bunch pink rhubarb

grated

y$ cup sugar

1 lemon rind
Yi cup water
1 wineglass (Y CUP) sherry

Cut rhubarb in small pieces and stevy
with lemon rind, sugar and water until
rhubarb is tender. Put through sieve and
add sherry before serving. This may be
served hot or chilled.

"Another I loved as a child was Bester-
moder Budeing or Grandmother's Pudding.
It is made of dried bread rusks rolled out
with eggs and milk and steamed for hours.
Then it comes in a mould with the most
heavenly crust, and you serve it with hot
fruit sauce. We used to make a full meal of
this, as it is so good you can't help coming
back for more and more. It can be served
for buffet suppers in the winter time."

DANISH APPLE CAKE
3 lbs. apples
' pt.

cream

boxes sweetened zweibach
% cup melted butter
cinnamon to taste

Pare the apples and with very little
water, cook into applesauce. Sweeten to
taste. Add cinnamon. Roll contents of boxes
of zweibach into fine crumbs and mix
melted butter with them. Butter a deep
baking dish. Place layer of crumbs on bot-
tom, follow with layer of applesauce. Re-
peat until the dish is full, ending with a
layer of crumbs. Place in a slow oven for
15 minutes. Allow to cool and place in ice
box to chill thoroughly. Turn dish over
onto a large platter and remove the pan.
Serve with a thick layer of whipped cream
covering the entire molded cake.

"A Danish salad is no mere adjunct to
a meal. It's a main luncheon or supper dish.
This one is very good served with Ry-crisp
or Crax Butter wafers."

DANISH SALAD
Put the following ingredients in a meat
grinder together.

Yi lb. cold, cooked meat

2 cold boiled white potatoes
1 large peeled apple (firm)

Yz small onion

3 pickled beets

Yz stalk crisp celery
1 small dill pickle

Mix well together, season highly with
salt and pepper.

Add V/z tablespoons Wesson Salad oil
and 2 tablespoons red vinegar in which
beets are pickled.

Arrange on an oblong platter and garnish
center of the mould with grated egg yolk.
Arrange chopped egg white around yolk.
Garnish the platter with crisp lettuce.

Loretta Young

Continued from page 22

her. It was the severest way. But she re-
acted as lie suspected she would and even-
tually understood that pictures are no
child's game. Later she had other disap-
pointments to conquer, most difficult one
being the marriage that was all romance
and then was all wrong. She was tempo-
rarily torn from her family and her re-
ligion. She wasn't downed, though. Not
even when illness threatened her as she
was coming into her own.

"This self-reliance is what has de-
veloped her so markedly, in my estimation.
She has a maturity far beyond her years
and appearance, and that is what makes
her excellent company.

"She is fun. I like her because she is.
She could be taking herself dreadfully
seriously. She could have become so
spoiled. A Hollywood leading lady at four-
teen, going to elegant premiers and the
best movie parties and being acclaimed.
Loretta contends her first major social
triumph occurred when Mary Pickford, at
a Mayfair ball soon after Loretta's debut,
solemnly addressed her as Miss Young.
She floated for days. But only on the in-
side ! With all her excuses for 'going into
a front,' she never does. She has the cour-
age to be herself. To laugh and be demo-
cratic.

"Unquestionably her home life accounts
for this democratic, streak. Yet, on the
other hand, her home life is precisely what
Loretta has elected it to be. She wouldn't
have what she didn't want. At home she's
one of the family; they don't treat her
with any privileges because she's the most
famous member. She's ever 'Gretch.' be-
loved and loyal daughter and sister. She
enters into everything any one of the fam-
ily is up to, unreservedly. She doesn't want
a" lot of friends, but a few who are as true
as her own flesh-and-blood.

"She could," declared Myrna reflectively,
"be conceited about being the most attrac-
tive unmarried actress in all Hollywood.
Men can't help falling in. love with her,
and that's flattering no end. They can't help
it, because she treats them so unaffectedly,
with that sympathetic warmth the wise
woman acquires.

At this moment luncheon arrived from
the commissary. Soon I realized that Myrna
was drinking my milk rather than the
coffee she'd ordered.

"Perhaps you did want coffee," I inter-
posed as gallantly as I could.

Myrna grinned. "Now you've evidence
that I'm concentrating!" She located an-
other glass and divided the pint of milk.
Without the slightest fuss. Serene lady 1
"I consider Loretta remarkable," she
continued, "because she is not squandering
her potentialities. Because she's making
them all materialize. She is an opportunist,
as every girl ought to be. She is gloriously
adventurous, as all magnetic women are.

"She is, therefore, quick and sure in her
decisions. No shilly-shallying or dawdling.
If she can't see a benefit she won't do
what's proposed. For instance, she was
asked to pose for some color portraits the
other day. It would have taken a lot of
time. 'No,' she said and stuck to her 'no.'
'I spent a whole afternoon with that pho-
tographer once. The pictures he took were
not good and none of them were used by
the magazines. I'll spend all the time neces-
sary with someone else, but I'm not posing
for him again!' She has learned to work
intelligently for results.

"Loretta hasn't complained of respon-
sibilities as burdens. She never looks for
loopholes, but eagerly accepts duties. 1 hey
mean that she is creating a reputation, that
she is growing stronger as an individual.

'Loretta is the creative girl at her best.
She has created a beautiful home. Each
of those ten rooms in her Southern Colonial
background reflects the personality Loretta
is. There is a gentle elegance that grace-
fully compliments her. There are beautiful
antiques, carefully gathered— when I hear
of a particularly good showing at some
collector's gallery, and fancy I may find
something for my house, I arrive to watch
Loretta or her mother walking out with
the prize piece!

"It gives me a lift to note how domestic
sne is — Cven if she can't boil an egg, as
you say she confessed. I'll have to confer
with her about blasting my hard-earned
renown as the model wife — an hour-and-
a-half to concoct poached eggs on toast for
my husband ! I never counted on that get-
ting out. Goodness me — well, anyway,
Loretta won't even employ a personal maid.
She's a working woman and yet she loves
to be domestic. She takes care of her
clothes, her room. She makes her own bed
and she's nutty over neatness. Her bed-
room is Directoire and the figurines are
delicate Dresden and a speck of dust sends
her flying for a dust-rag. However, when
I'm invited to Miss Young's I am sure of
splendid food and lots of it. Loretta is an
epicure — with a gigantic appetite. She's
crazy about steaks, thick juicy ones, and
French-fried potatoes. She tackles a tur-
key like nobody's business. She never is
bashful about second helpings.

"Nothing is too much trouble in her
work. It was amazing how she wore those
bands on her teeth several years ago. She
saw that a slight straightening would be
advantageous photographically, and so for
a whole year she wore bands like children
do every time she wasn't acting. When
you're in the spotlight and can do that-
well, you are in Loretta's grade. '

Myrna found another cup and we poured
from my coffee pot. She leaned back in her
chair, comfortably. . .

"Right now Loretta believes a definite
flair for wearing glamorous costumes on
the screen will further her box-office draw.
And I think she is reasoning well. So
she has no objection to standing for hours
for fittings !

"But even in private life she revels in
stunning modes and here is where she

Muff and sleeves of ermine tails
feature Sonja Henie's suit.

does consult her mother for all details —
she always wants her mother's final word
on chic. She wants to look at everything
the best shops have, and not content with
three trips a year to New York for a
Fifth Avenue clean-up she's now adding
Paris to her routine. When she is fond of
a film costume she buys it for her personal
wardrobe; she wore five especially de-
signed negligees in her last picture and
look all five for her own use. She selects
her screen clothes with minute care, after
extended conferences with exclusive de-
signers. She knows that super-flair is a
studied effect. She's reached the point
where she's even designing for herself,
and has taken to cutting and sewing. Her
favorite color is French blue, the color of
her eyes. She's dippy over hats and will
try on and buy another at the least sug-
gestion she do so. But she's never pleased
with her hair. She blames her hair, not her
hairdresser whom she's had for nine years
and who is a highly-regarded friend.

"She hopes to marry again. She believes
in marriage as a woman's major experi-
ence. Unlike myself, she doesn't want to
go on acting— in the end she'll be happy
being a home body. But I think this is be-
cause she fears 'outside pressure.' She's
seen how Hollywood life can intrude on
two who are in love. The primitive in her
cries for guaranteed safety.

"Loretta" thinks of the admirable husband
she wants, thinks of him a great deal. Her
sincere desire for a successful marriage
should make it materialize. She's building
toward it to the best of her ability.

"I haven't," asserted Myrna, "come to
what assuredly is a basic quality in
Loretta. I couldn't mention her without
emphasizing it. Loretta is religious, Deep-
ly, sincerely so. She is an individualist, a
femininist, a canny business woman and not
above flirting. But there is something else
that's essential to her. This is an answer to
an inner soul-cry. She has found the right
path for herself. She has a guiding faith.
Implicit adherence to the tenets of her
church brings her a very real uplift. She is
gay, soigne, and all of that— but I myself
never think of her without remembering
her devotion to the idealistic pattern she-
wants to follow. If you were to ask Loretta
why she has such stamina, why she has
never been defeated or disillusioned, _ she
would tell you of her faith. That it is a
fundamental inspiration to her."

Myrna Loy

Continued from page 23

When you get acquainted there's no hint
of aloofness.

"Her marvelous poise fascinates me. 1 ve
never seen her embarrassed; hers is one
hundred i>er cent aplomb. I've that kind of
mind that would wonder why and how. So
I investigated!

"As a child she rode frequently with her
father. Her closeness to him must have
had a lasting effect; I should say she has a
man's mind about values. Complexes? Not
a one— they take up too much time!

"Her home life intrigues me. Before she
married she wasn't muchly concerned with
what a home was like so long as it was
comfortable and soothing. She didn't think
of furnishings or decorating. None of that
touched her. Vaguely she had a dream of
a home which w-ould someday be of her
own making. When she met Arthur Horn-
blow this crystallized. At last she has her
very own home and she's made two trips
to New York to select the right things for
it. It's exactly what Minnie would have.
A. charming, rambling farmhouse where life
is informal. But conveniently on the edge
of the city! There's an orchard instead of

fountains. A tennis court. A swimming
pool in a dell with the pool irregularly
shaped like an old Montana swimming
hole. There are flowers scattered freely,
most of them by Minnie herself. She's a
tool for seed cataloges and she adores
digging and transplanting in her garden.
She doesn't weigh herself down with any
sunbonnet nonsense !

"She didn't want a projection room, even
though her husband is a producer and has
to see most of the pictures made. When it s
movies they step out to previews. That s
business. However, she did put in a gen-
erous playroom, for Minnie has a weakness
for games herself. Not so much bridge and
cards as guessing and pencil-and-paper
teasers. She has a passion for Sunday
morning breakfasts, leisurely ones; after-
wards every guest 1 does what he wants.
No riding herd on them!

"By way of contradiction in the woman,
added Loretta, "I might tell you this : she
never entertains buffet. She'll telephone
you, which is pleasingly informal, and you
join a small group and sit down in conven-
tional style. Not to matching china— Min-
nie decided why have dishes that match
and so none of hers do!"

With a remembering smile Loretta was
into an amusing incident. "Minnie's at ease
from then on. Last Fourth of July, for
example, someone pulled out firecrackers at
the table and shot them off. Now there
was a situation to daunt any hostess. But
she wasn't flustered. She reached for a
drink of water, dodging meanwhile.

"Her marriage, it's been reported, has
made her more social. Possibly. Still, I
couldn't describe her as socially-inclined.
She only has friends over when she s in
a mood for relaxation. She isn't the fever-
pitch, want-to-impress type at all. I sup-
pose that's why she is the colony s perfect
hostess. We sense that in her home we can
be ourselves.

"Minnie even shuns an act when she
goes out. Most actresses make big en-
trances into night clubs ; she doesn't — the
fewer who'll see her the better. She's out
for relaxation, not for parading. I guess
her marriage, and if I bring it up again
it's because it's the tonic that has brought
her happiness, is a success because she
makes it so congenial. She and Arthur
seem to be playing together. Sometimes
I've seen her treat him like a little boy,
adoringly so. Then she'll rise to irresisti-
ble banter. One night he'd been kidding
her as a 'movie queen.' When he wanted
her to get something for him, later, she re-
plied, 'Listen, don't you recall ? I'm a movie
queen, and we don't budge.'

"But then there was the evening wed
been to the theatre and Arthur confessed
he'd like eggs. Minnie hauled me into her
kitchen. 'I'm no help . . . I can't boil
water,' I announced promptly. I can stare
down a camera,' she retorted, 'but now
dinged if I'm not up against a more
ticklish job. I've got to beat this racket for
my man's sake, pal!' For an hour and a
half she tried toasting French bread, tak-
ing the center out, and dropping eggs m.
And before Arthur starved he got a plate
that would have done credit to the Derby.
She's patient that way.

"There are just sufficient minor surprises
in her to season her specific, down-to-earth
personality. She omitted the word obey in
her marriage ceremony and she'll read the
last pages of a book first. Calm in spots
that distract most women, she's too scared
by mystery stories to try them. And even
with that man's mind I mentioned, she
abhors details. She dotes on letting Arthur,
or whoever else is about at the moment, see
to them.

"Much has been made of Arthur's recog-
nizing that sirens weren't her forte. He
deserves all that credit; yet I can't be-
lieve Minnie was ever wholly discouraged

"Season's greetings," says Anita Louise,
serving the holiday cake.

at being typed. Somehow she would have
painstakingly found her niche.

"I wanted to know about her beauty
regime To me hers is the kind of beauty
that's fascinating; I'm bored with the
candy-box sort. I've burgled her secrets.
Well " sighed Loretta enviously, Mm-
nie'll' fall asleep anywhere! And it's mere-
ly mind over matter. She takes reasonable
care of herself, but her motto is : Be Nat-
ural. She likes the outdoors; these week-
ends she's at her mountain lodge literally
roughing it to get cozily settled there.
When she's tired she just lies down for a
nap- when she's in the mood for fun she
may exercise. But no scheduling, no both-
ering about now it's time for thus-and-so.
'Rest is a lot better for a gal than exer-
cise,' she swears.

"Clothes attract me, so of course 1 ve
watched Minnie in this respect. She wears
pastels although she threatens to switch
to brilliant colors. She's smartly styled,
however, because she sticks to simplicity
She may pay $75 for a knit blouse and
skirt; it won't have a thing adorning it.
<\nd she'll be the ultimate in smoothness.
Most women who pay $75 for a dress want
everyone to think they've paid much more
Minnie doesn't over-dress. She can't stand
gewgaws. She doesn't go m even for_ cos-
tume jewelry; she never collects any junk.
She hasn't a bursting closetful ; she'll wear
the same ensemble three days in succes-
sion if she wishes-.

"She keeps fresh mentally by changing
hobbies every year; she's veered from
sculpturing to an examination of chemistry.
She isn't gushy. If she dislikes someone
she takes the easiest out— casually ignores

him." " . , ... a,

Loretta was reminded of her babies, bhe
walked to my car with me. Her sleek black
town car lurked in the background. She
ignored its shadow to see me into my one-
of-a-million. ; .

"Minnie's so popular because she s in a
class by herself," she concluded.

So is Loretta, and I don't say so in-
cidentally. Anyone who can talk _ about
another woman and a rival professionally
without intruding into the praise ought to
be further checked on.

I made a luncheon date with Miss Myrna
Lov.

Star-Dust Baby

Continued from page 17

to the Home of the Good Shepherds.
Where you came from ..."

The little boy's under lip began to quiver.
He steadied it by biting it, hard. He didn t
speak and after a moment Bill Naughton
broke the silence.

"She's only having her little joke, kid,
he said. "Katie's a great joker— you'll find
that out the longer you two live together.

The little boy was still holding his un-
derlip steady with his teeth. There was a
drop of blood on his chin. It had rolled
down from his mouth. Katrine, watching
him, spoke to Bill.

"So I'm a little joker, am I? she asked.
"Practical or otherwise?"

Bill's eyes were hard, now — harder than
Katrine's could ever be. He said — n

"Yes, you are. The practical kind . . .
He added, "Run out to the kitchen, Peter,
and you'll find a nice Jap named Kito . . .
Give him my compliments and say I sent
you for a slab of chocolate cake and a glass
of milk."

The little boy released the lower hp — it
had been rather badly tortured. He said to
Katrine — , ,

"Can I ask for it? The cake and the
milk?" and Katrine said — »

"Oh, for crying out loud, yes! Just so
as you beat it!"

* * *

It was only after the little boy had jour-
neyed at least four rooms away, that Bill
spoke. tt T

"I'd call you something," he said, if 1
could think of the right name. I was
brought up just off the Bowery. I haven t
got much of a vocabulary — "

Katrine said— "I was brought up on
Delancey Street, and I know plenty of
things I could call you."

Bill rose and walked over to the piano,
upon which Katrine had stood when she
made her announcement. He played a
couple of chords, aimlessly. He said —

"Only a complete louse would take a
kid's heart in her two hands, and crush it
to a jelly!"

Katrine said— "All right, I m a complete
louse. So what?"

Bill replied slowly. "The kid's not to
blame, you know," and Katrine countered—
"But you are. You knew what I wanted,
and you made a bum out of me. All Holly-
wood will be laughing by tomorrow morn-
ing. The whole country will be laughing
by tomorrow night !"

THE STORY UP TO NOW

Katrine Mollineaux {nee Katie Mal-
loy—of Nezv York's east side) decides to
adopt a baby, to get publicity headlines
she deems necessary to further her ca-
reer as a screen star. The press agent.
Bill Naughton, upbraids her for the idea
as both dangerous and cruel. But Katrine
demands, and her orders are final. She
proposes to announce her suddenly ac-
quired motherhood at a cocktail party
for the press. The party advances far
beyond the appointed time for the an-
nouncement before Bill arrives with the
"baby" Katrine ordered him to bring her.
Theatrically calling for silence, Katrine
announces that she is adopting a baby,
and orders Bill to have the child brought
in. The press agent calls "Peter," mid
into the room comes a boy about eight,
red-thatched, freckle-faced, and wearing
faded blue denim overalls. Dumbfounded.
Katrine looks from Bill to the boy. Nozv
qo on zviih the story.

Bill struck a couple of new chords. He
said —

"What folks want and what folks get
isn't always the same thing. You can't pick
up blonde girl babies in a couple of hours.
I did the best I could — "

Katrine said — -"Oh, yeah?" And waited.

After a space measured by eternity and
nothing less, Bill went on.

"The kid's swell," he said, "a regular
soldier. Did you see him bite his lip to keep
from crying when you were torturing him?"

"If he's such a soldier," Katrine said
indifferently, "he can stand the gaff. How
soon will you make the return trip?"

All at once Bill laughed. His laughter
held no mirth at all.

"Peter isn't going back, Big Girl," said
Bill. "Know why? Because you've adopted
him in front of every newspaper man and
woman on the West coast. You've cracked
him over the head with a bottle of cham-
pagne, so to speak, and launched him. You
may hate his guts — but you've got to go
through with it."

Katrine walked over to the piano and
stood beside Bill. He played another chord,
lingeringly, before she dashed his hand
aside.

"You're the one that got me in this box,"
she said, "and you can get me out of it.
See?"

Bill told her — "I can't. You've hooked
Peter, for better, for worse — "

Katrine began to play chords herself.
The effect was strangely ecclesiastical. As
Peter had said, she looked like an angel
in a church.

"I could murder you," she said at last,
"and bathe in your blood. But I see your
point, Bill — the kid's got to stay. A while,
at least."

"Bully for you !" applauded Bill. "I
knew you'd see the light."

"The light be darned!" said Katrine.
"You can make me keep him, but you can't
make me like him . . . How'd you happen
to pull such a boner, anyway?"

Bill said: "Sit down, and take a drink.
Yes, this is the millennium — I'm asking
you to take a drink!"

Katrine rang. When one of her servants
came she let Bill order Brandy sodas with-
out interference. When they each had a
tall frosted cylinder, she said —

"Well, spit it out. I'm waiting."

Bill took a long drag from his glass.
He needed it. He said :

"In the first place I couldn't get a blonde
baby. There weren't any blonde babies
nearer than the Cradle in Evanston — and
that would have taken too much time."

Katrine asked, "Why didn't you go to
Central Casting?"

Bill said, "You're just dumb enough to
think of that. Most of your trick publicity
has flopped lately — you couldn't afford a
big expose about a phony adoption. Xo — I
wanted to make something stick. I went to
this orphan home I'd heard about, and
fiddled around tying red tape into a mil-
lion knots — "

Katrine murmured, "You would."

Bill continued. "As I've already told you,
there weren't any blonde babies to be had,"
he said, "that sort don't stay in asylums.
They're as much in demand as silver fox
furs on West End Avenue."

Katrine took a sip and said — "Oh, yeah ?"

Bill said: "Not being able to get a
blonde baby girl, I went after the next best
thing. And that's where Peter comes in — "

Katrine murmured, "I see your point. A
red headed kid with a black eye is un-
doubtedly the next best thing to a blonde
babv . . ."

Bill said savagely, "Sarcasm won't get
you anywhere. I'll admit I fell for Peter,
personally. I like him. He's the kind of a
kid I'd want, myself. And he had a bum
break, too, before he was an orphan. He
had a mother who drank and a father that
wouldn't come through with a ring . . .
Luckily they both died, and Peter was put
in a home."

"Luckily for him," said Katrine, "but not
for me !"

Bill went on, just as if she hadn't said
a word.

"When the matron took me through the
asylum — and it was as bare as a prison,"
he said, "I saw lots of kids. Some were
pretty — not many — and a few were cute.
But when I came to the bed where Peter
slept, and saw him sitting on it in those
faded blue overalls, he got under my
skin . . ."

Katrine asked, "Wras it the black eye

that sold you?" And Bill answered briefly

— "He didn't have a black eye — then . . ."
* * *

There was a moment of silence. Some-
where, far off, a clock chimed, but neither
Bill nor Katrine bothered to count the
chimes. The gardener had finished with the
scattered flower bed. It looked neat and
trim again, almost as if none of the radiant
blossoms had been smashed. Bill sighed and
said —

"Some things are so darn easv to
straighten out. But take this child, Peter.
Shot from one tragedy to another, and
nuts about you. too."

Katrine said : "None of your soft soap,
Bill. What gives you the idea that the boy
is nuts about me ? Oh, I know you re-
hearsed him — that angel in church stuff
was too pat to be funny, but — "

Bill interrupted. "As God is my witness."

he said, and there was nothing profane in
the vehement expression, "I didn't rehearse
him . . . Where'd I leave off, Katie? Oh,
I'd got to the place where I saw the kid
sitting on his bed. Well, guess what was
pinned to the wall over that bed?"

Katrine laughed. Her laughter was sud-
denly careless.

"Probably a baseball mitt and a scalp
from Sitting Bull's collection," she said.
"What do you think I am, psychic?"

Bill >aid, "What I think you are isn't
the point of this discussion. The kid had
half a dozen pictures of you pinned to his
wall — that's what. Among them was the
one with the Borzoi that you gave away
when you got tired of it . . ."

Katrine said, "Where'd he find the pic-
tures ?" and Bill answered —

"The Lord only knows. I guess he cut
'em out of fan magazines and newspapers,
and they were pretty ratty. You could tell
he'd handled 'em a lot . . . After I'd talked
to the kid awhile he told me he called you
mother, inside, and said his prayers to you
at night. Go on, now laugh some more — "

"Anything to oblige," said Katrine, and
laughed long and loud. She added, "I sup-
pose the coincidence was too much for you.
I know how the Irish are."

Bill said. "You ought to know — " and
hesitated. "The black eye," he said at last,
"maybe you ought to know the truth about
that, too . . ."

"Maybe I should." agreed Katrine.

Bill cleared his throat. If he'd been talk-
ing to anybody else you might have thought
he was embarrassed.

"When we were leaving the asylum," he
said, "one of the bigger boys — a tough,
nasty bozo — asked where he was going, and
Peter blurted out that he'd been adopted
by you. The older boy laughed and said
something that I won't bother to repeat,
and Peter took a quick poke at him."

Katrine said slowly, "He did. did he?"

Bill answered, "Yes, he did — but he
didn't come up to the tough kid's shoulder.
Before I could get between them Peter was
down on the ground, and his eye was al-
ready beginning to close. But he didn't
cry or anything."

Katrine yawned. "How interesting," she
said. "How very interesting!"

Bill said gruffly — "You're darn right it's
interesting. Peter took his first licking for
you before he ever saw you — in person.
It probably won't be the last licking he'll
take, either . . ."

To Be Continued

Rewards for Jane Withers come In
bundles of brightly wrapped gifts.

Kay and Pat

are Like That

Continued from page 29

because he thinks she is one of the most
talented and charming stars on the screen.
And boy, after you've co-starred with a
submarine, an airship, and an oil tank, a
Francis with all her glamor and her Orry-
Kelly clothes is a gift from heaven A
closed set or no, and a Francis slightly
aloof or no, Pat was pleased.

"I never worked with Kay in a picture
before" Pat told me, "though she and I
were on the stage together in a none too
successful play about eleven years ago.
For four years my dressing-room has
been next to hers on the Warner Brothers
lot but we never seemed to be working at
the same time so we never did get ac-
quainted. After the 'Swing Your Lady
interlude I thought well, Pat my boy,
they'll probably want you to support a pipe
line now." (Interruption from me: That s
already been done, Pat. Irene Dunne sup-
ported a pipe line in "High, Wide and
Handsome," and I thought they'd never
finish laying those pipes)— "and so you
can just imagine how surprised and happy
I was when they told me I would go into
Women Are Like That' as the romantic
lead opposite Kay Francis. In the first
place, ever since I've been in Hollywood
I've been eager to co-star with Kay be-
cause I think she is a beautiful and glam-
orous woman, and a mighty swell actress.
Then, too, I was pleased because it gave
me a chance to get out of a uniform for
one picture at least— I've been in every
uniform they've got in the wardrobe de-
partment, and it gets monotonous being a
cop or a sailor all the time. In this little
number I'll have you know I wear white
tie and tails ! Even my own mother_ won't
know me on the screen." (Kids like to
wear uniforms and actors like to wear tails
—that's one of my little observations of
life and things that don't matter.)

Well, that's all very true, Mr. O'Brien,
I said to myself, but I betcha you'll be
glad to climb back into your uniform after
a session with a suing star. But I have
been wrong. And I was again. This time.
One bright afternoon when I was "doing
sets" at Warner Brothers, I usually _ do
sets when there is a swing band in action,
I very graciously remarked that we could
skip the "Women Are Like That" set be-
cause I didn't wear my mittens and sudden
cold gives me chilblains. But no, said my
escort, that's the gayest set on the lot.
You can't miss Kay and Pat romping
around like a couple of high school kids.
Curiosity got the best of me so I walked
right past the "Absolutely no admittance"
sign on the door but very cautiously took a
stance near the exit so I could run easily
if necessary. Oh, that's all right, said my
escort whom I considered either an ex-
treme optimist or a fool; just don't men-
tion her lawsuit and everything's okay.

Well, they were doing a scene, a most
amusing scene, where Kay and Pat as hus-
band and wife and rival advertising agents
meet in the lawyer's office to arrange for a
divorce. Kay thinks she wants to marry
Ralph Forbes who, suffering from a severe
cold (a picture cold), is stretched out on
a couch fast asleep. The lawyer is delayed
getting there. Kay looks at Pat and Pat
looks at Kay. The office radio starts play-
ing. "Shall we dance?" says Pat, and the
next thing you know she is in his arms,
and there is no need for a lawyer. Fade-
out! And right here and now I wish to
go on record as saying that if any of Kay's
friends think that Pat isn't the romantic

type they're due for a change of mind.
Fernand Gravet ! Charles Boyer ! Piffle
That romantic new screen love team of
Francis and O'Brien is really something to
write home about on pink scented sta-
tionery. Woo! Woo!

At the end of the take the First Lady did
not hastily retire to her dressing-room;
instead she sat down on a property box
and yelled "Pat" at the top of her voice.
Followed by a series of giggles and laughs,
and if everything else is quiet about Kay
Fsancis her laugh certainly isn't. "Pat," she
shrieked, "come here, I want to show you
my burglar alarm. You haven't got any-
thing like that." "You'll need one m
Gopher Gulch," said Pat pulling up another
prop box— and there they were as cozy
and chummy as two bugs in a rug.; "It's
been like this since the second day," said
one of the wardrobe girls. "Miss Francis
was rather aloof the first day, she was
worried or something, and Mr. O'Brien
seemed to have the attitude that if Miss
Francis could be cold so could he. But on
the second day of the picture somebody
brought Mr. O'Brien the plans for the
new house he is building overlooking the
sea at Del Mar and in his enthusiasm he
showed them to Miss Francis. She immedi-
ately sent for the plans of the house she is
building in Hidden Valley, and ever since
then they have been talking^ their heads
off about ventilation, landscaping, etc."

"Don't let all those fine feathers Kay
wears in most of her pictures fool you,"
Pat told me. "She really doesn't give a
damn about being called Hollywood's Best
Dressed Woman. She'd much rather be
called the Gal of Gopher Gulch. Wouldn't
you know she'd choose to build her first
home in California not in a ritzy sounding
place like Beverly Crest or Riviera but in
a canyon called Gopher Gulch! She asked
me to autograph one of my pictures for her
playroom and I wrote on it, 'My happiest
engagement in pictures.' And I meant every
word of it. Working with Kay has been a
lot of fun; in fact, this picture has been
more of a romp than any I have ever made.
Kay is so considerate of her crew — she
has had the same crew for every picture —
and I guess they would just about lay down
their lives for her. If anyone gets sick she
is the first to visit them at the hospital.
She spends her time on the set talking over
bits of business for the picture, or else
when she gets tired of us she retires to her
dressing-room and reads a detective story.
I've never seen a' woman so crazy about
mystery thrillers, and the bloodier the bet-
ter. No wonder she's having burglar alarms
installed all over Gopher Gulch !"

"But why," I persisted, after all I'm not

going to sit idly by and let the First Lady
be turned into a saint, "but why does she
dodge photographers and interviewers.''
Unless you're an old friend from way back
she will not give an interview during a
picture — and not very often between pic-
tures." That'll hold him, I said to myself.

"Well," said Pat, "something I heard
Kay tell a newspaper reporter the other
day rather explains that, I think. It seems
this newspaper guy was from out of town
and had been stalled by the publicity office
for several days. Finally Kay said she
would see him on the set. The first thing he
asked her was, 'Miss Francis, why are you
so hard to see ?' 'When I was an actress on
the New York stage,' Kay told him, 'I
went into one of the big newspaper offices
one day and asked to speak to the manag-
ing editor. I waited for quite some time.
Finally I took my nerve in my hand and
walked right into his office. He told me
very patiently that he would like nothing
better than to have a nice long chat with
me, but unfortunately he had a paper going
to press and he was much too busy to see
me. I,' said Kay, 'unfortunately, have a
film in production.' Does that explain it?"

"That'll do," I muttered, "until some-
thing better comes along."

The fact that there was a little lawsuit
dangling didn't dampen anybody's spirits
at the end of the picture, for Kay cracked
through with a party in her dressing-room
for the cast and crew that reached a new
high in Hollywood parties. If she wins her
suit she may not make another picture
there but she was going to be awfully sure
that everybody had fun while she was
there. I recall that when Kay left Para-
mount for Warner Brothers some five
years ago she presented nearly everybody
who had contacted her at the studio with
a handsome farewell present. Most stars,
in case you don't know, do not bother to
give presents after the people can no
longer be of any use to them. Pat wasn't
going to let Kay outdo him when it _ came
to a party so in the midst of festivities he
invited everybody out to his Brentwood
home the following Wednesday for a bar-
becue. The entire cast and crew of "Women
Are Like That" arrived practically fam-
ished, and who was it that pitched right
in and barbecued a mean steak for a prop
boy, a hairdresser, a wardrobe woman, and
a bit player— that's right, Miss Kay
Francis.

"How I hate to see the end of this pic-
ture," said Pat with one hand wrapped
around a steak and the other around Kay,
"it's been fun." Yes, I think we can safely
scribble on all the garage doors: Pat and
Kay, Are That Way.

Producer Mervyn LeRoy greets Fernand Gravel with the script for his
next picture, as the Continental star and hi: wife retjrn to the coast.

Hollywood's Fantastic
First Nights

Continued from page 13

engagement ; but it docs mean that they
are willing to have their names linked in
the next days' new spapers. Columnists, pen-
cils in hand, and cameramen lie in wait
at either end of that flower-strewn red
carpet. Young actors, and young actresses
too, are cautious about their appearances
at these openings. Even the older ones, ar-
ranging dinner parties to precede the pic-
lure, think twice about their invitations.

While stars are treating themselves to
facials and new hair-dos at the beauty
parlors, the fans are slowly assembling in
those grandstands. By noon there are al-
ways a few hundred already seated. Prop-
erty men are spreading out the red carpet,
hanking it on either side with hundreds of
baskets of flowers several feet high. Dis-
tracted box office men are explaining to
furious celebrities that there are no more
tickets for sale, that even the last seat in
the top balcony is gone. No matter where
placed, each ticket costs $5.50. Publicity
departments discreetly assign them, in the
order of importance, trying discreetly to
keep separate divorced couples, to remem-
ber Hollywood feuds, to see that rival
producers do not sit too near the critics.

They have all seen the picture before of
course, even the critics. They may have
seen it in a studio projection room, or at
the home of Joan Crawford and Franchot
Tone, or Harold Lloyd, or Jack Warner,
all of whom love to show pictures. Seeing
pictures is a regulation way to wind up a
Hollywood Sunday. Sometimes most of
Sunday is spent that "way. More hardy
than any admirer of double-feature pro-
grams, the movie colony can sit through
three full-length pictures and three car-
toons without a quiver — just a few groans.

By the time they reach the theatre, that
part of Hollywood looks like a circus.
Searchlights with some 300,000 candle-
power pierce the sky, guiding the long
line of limousines to the playhouse. Police
passes are enclosed with all first night

Attending a preview! Lana Turner, right,
poses with her mother.

tickets, as streets surrounding the theatre
are shut off to ordinary traffic.

The premiere may concentrate on one
personality, as "100 Men and a < lirl" did
with Deanna Durbin. Deanna, not yet fif-
teen, wore her first evening dress that
night, a blue marquisette trimmed with
English daisies and velvet ribbons. Even
with the eyes of all Hollywood upon her,
little Miss Durbin never for a second lost
her amazing poise. Her premiere was one
of the year's most brilliant.

Sometimes the premieres go in for dig-
nity. "The Life of Emile Zola" had the
usual bleachers, the thirty-piece orchestra
playing outside the theatre, the hundred
efxtra policemen on duty, the broadcast
presided over by George Jessel, the crowds
of celebrities ranging from Charles Boyer
to the John Barrymores. But the theatre
scornfully refused to go in for circus stuff,
even refraining from sailing a captive bal-
loon, complete with loudspeakers, above
the theatre.

It was at this premiere, however, that
weary celebrities were greeted with short
speeches, to be read by them before the
microphones. The broadcast lacked the
usual cozy series of "Hello, everybodies —
I'm awfully glad to be here."

These Hollywood openings have only
been revived during the past year. They
were common enough in the old hoopla
days. Sid Grauman used to present pro-
logues before the picture, stage shows so
long that sometimes the feature didn't go
on until twelve-thirty. After the opening
of "Rain," you could see celebrities out-
side the theatre at five in the morning look-
ing for their cars. The fans were still
there too.

It was in those days, at Grauman's
Chinese, that Wallace Beery did that fatal
imitation of Greta Garbo, burlesquing her
"I tank I go home" on the stage before all'
their fellow workers. It caused a sensation,
with Garbo, who doesn't attend premieres,
deeply hurt and Beery apologetic for
weeks.

"City Lights" stopped all of that. Hol-
lywood hadn't noticed the depression yet ;
it was still just a word in the newspapers.
Charlie Chaplin put on the most spectacular
premiere of all time. They had had big
openings before, with boulevard traffic cut
off, the militia on duty, and all the rest
of it. But "City Lights" was shown in
downtown Los Angeles, too near the
slums. When the stars appeared in furs
and jewels, the crowd of twenty thousand
or so went mad. They hooted, jeered,
rioted, broke into cars, tore finery off stars,
and caused many arrests. Hollywood,
frightened, stopped going to premieres.

Now the depression is over. The War-
ners, with their bleachers and their bands,
began the new vogue for premieres a year
ago. As each really important picture
comes along, every few weeks, its pro-
ducers try to put on a bigger show than
ever.

Soon someone may come along to top
that gag of Wilson Mizner's, the best ever
pulled at a premiere. The writer went to a
good deal of trouble with his joke, even
measuring the amount of gasoline needed
to reach the theatre entrance. Then he
bought an aged flivver for ten dollars, a
dilapidated, paintless, fenderless, topless
car with flat tires. Attired in all the finer}'
he could find, gardenia in buttonhole, top
hat on his head, he drove alone to the
premiere. The flivver gave one last gasp as
he reached the red carpet. Even the an-
nouncer was silent as Mr. Mizner emerged.
As he started the long, slow walk toward
the microphones, a panicky doorman ran
after him. The car, he asked, what of the
car? Mr. Mizner turned majestically,
beamed upon the silent crowd, and said ;

"The car? Oh that, my man, is your tip."

Lew Ayres, Mary Carlisle, and John
Howard, in "Hold 'Em, Navy."

The Scream of the Jest

Continued from page 21

laugh at her work. It is delightfully droll.
Her vague, helpless mannerisms make her
outstanding in comedy. With this, Marie
is content for the present.

If you saw "Wake Up And Live," you
saw Joan Davis doing a burlesque Spanish
dance that was something not soon over-
looked. She is funny. I saw her first in a
two-reeler. Once seen, never forgotten. La
Davis won a fan. Now she is winning fans
galore.

Joan has no secret sorrow over art. She
always wanted to be funny. Her heart's
delight will be to hear herself called the
"Female Charlie Chaplin." Starting out in
vaudeville, with Si Wills, they appeared as
"Wills and Davis." If the bill gave Joan
second spot, she got top billing in Si's heart.
Funny or not, Joan got her man. She also
got Beverly, now four years old.

At her home, somewhere amid the can-
yons of Beverly Hills, I thought myself
suddenly transported to Egypt. The archi-
tecture resembled what is imagined to be
Egyptian. It has a minaret, but no Muezzin
to call the unfaithful to prayers.

Should you wish to enter the garden of
fruit trees from the road, you must toll a
cow-bell over the gate. Instead of a cow,
Joan appears and lets you in — likely as
not wearing a Florentine skull cap and
beach gown, smoking a cigarette.

Art may be art for those that want it,
but let Joan get her laughs. Give her her
California canyon Egyptian-Byzantine-cine-
matic home, Si and Beverly. She's content.
She should get dramatic for nothing.

Christmas a jear ago I received a card
from an unknown person — Martha Raye. I
thought it awfully nice of her, since we
were strangers. I swore a royal oath that,
come what may, this movie maid should
one day be the queen of a story.

Not the languid lady, Martha is buxom
and bouncing, possessing a pair of lungs
fit for the barker of a carnival side-show.
But is she downhearted ? No ! Garbo and
Bergner may keep their places. Martha had
only to make an appearance at the Holly-
wood Trocadero to be clutched to Para-
mount's heart as its comic consolation.

Today, she is monarch of all she por-
trays-. Not everyone can do her stuff. That
is why little Martha can afford to yell and
roar. People roar with her.

Patsy Kelly squeaks. Since her first Hal
Roach comedies, with the late Thelma
Todd, Pat has held her public. She doesn't
want to be arty. She knows her stuff and

offers it in every picture employing her.
Merry and bright, Pat thinks life is just
swell. From a Brooklyn environment, she
crashed Broadway's musicals, ending for
the present in movies.

"I'm content doing my stuff, she squeaks
at you. "It's a line all my own." No tears
and moans for Kelly. She's out to enjoy
herself in the fillums.

Helen Broderick exemplifies the comic
comedienne in mind and movies. She
never thinks of worry. She is a living
representative of what she portrays — a tol-
erant, dry-humored lady, knowing _ better
than the average person, but putting up
with life's oddities.

A favorite star of Broadway, she first
came to Hollywood for Warners. Suddenly
it was deemed that musicals were anathema
to the public. Helen returned to Broadway.

It was merely another Hollywood mis-
take. With Astaire and Rogers and Brod-
erick, musicals are tops once again.

If I were to tell you that Miss Broderick
admits being in her middle forties, you'd
laugh, laugh, laugh, like ye old clown. Then
laugh, clown, for she does and is. Her
twenty-five year old son, Broderick Craw-
ford was seen to advantage as the nutty
butler in "Woman Chases' Man."

Belonging to a theatrical family, Helen
started out as a Ziegfeld Follies' girl. She
had ideas of becoming dramatic. This might
have been her sorrowful lot had she not
met a very nice young man, yclept Lester
Crawford.

Our Lester thought our Helen could cash
in on her laughs while out front, not back-
stage among the chorus girls. With one
eye on her, the other on her career, Lester
gave wise suggestions. And Helen, with
one eye on him, the other on her career,
followed his advice. Marriage and Brod-
erick Crawford were the happy results.
Not forgetting a successful career as a
comedienne for our Helen.

Glenda Farrell is our rebellious come-
dienne. A swell gal, Glenda thinks it just
too daft of all concerned to see her only
as a wisecrack artist, when she can get as
dramatic as the best of them.

"I made a hit as a wisecracking, hard-
boiled girl," she related. "From then on
my picture path was carved out for me.
I'd like a change. I gained just as good
notice for my work in 'I Am A Fugitive
as in 'Life Begins.' Anyhow, I do the best
I can in whatever comes along."

Glenda's North Hollywood home was de-
scribed to me as very modernistic. Sure
enough there were modernistic touches but
they were all but lost in Louis XVI fur-
niture and decorations.

I asked Glenda to supply me with copy
for a story on gold-digging. Since her pic-
ture roles are well portrayed by her in
this character, I took it that Glenda would
give me good points on the art. With in-
genuous innocence, she told me she had
never known any gold-diggers.

Even in my sheltered life, I've met many
gold-diggers. Some are quite clever, that
you've got to admire them.

I left Glenda with the conclusion that
she was at her best as a comedienne.

Alice Brady is the greatest of all. An
actress, a comedienne, she knows her art.
Her life has not been without trouble. Her
mother, a French dancer, left her and her
father, William Brady. Alice's own mar-
riage did not last long. Her young son was
for several years an invalid. But Alice
never grumbled to the world.

Among the many inscriptions sent to
Marie Dressler's funeral on floral tributes,
Alice Brady's seemed to contain the very
essence of good common sense, sane philos-
ophy, and affection. "I'll be seeing you,"
was Alice's last farewell.

With the rest of the comic gals, Alice
saves many a picture. The picture might be
a jest, but all of us must admit that Alice
Brady is the scream!

Fields Without Hedges

Continued from page 33

guys with the dough will decide you're
through. When they do, it's waste of time
and pride to argue with 'em. So you laugh,
clown, laugh, and put up a front, till one
fine day some big shot says: Why isn t
that fella workin'?' And there you are—
sittin' high and pretty again, and lookin
down over your shoulder for the boot.

I laughed at the notion then. It may have
happened before. I couldn't believe it would
happen to him again. Well, it did. Not
through any loss of popularity, but through
a long illness. Still, the cause doesn't mat-
ter much when the fact is bleak.

I'm not going to shed any tears over
Fields. He hates sob-stuff as he hates few
things in this world. Running away from
a comfortless home at the age of eleven
sleeping in alleys, living on what he could
be«- or steal from free-lunch counters, he
insists: "I had a swell time. The other
kids had to go home at night. I could stay
out." Lying in a hospital, assailed by a
variety of ills that ranged from arthritis to
lobar pneumonia, he snorts: "Never en-
joyed a year of my life more. First vaca-
tion I ever had time for. Suppose I had a
little pain. What about it? What's a little
pain compared to a lot of pretty nurses
smoothin' your head and makin' you feel
like a pasha, without his worries?"

During those long months on his back,
he decided he was through. Not because
he'd given up. But because, when Adolt
Zukor and William Le Baron, his good
friends at Paramount, came over to see
him the thing they never talked about was
Bill's return to pictures. While they were
thinking: "We've got to give this guy a
chance to get well before bothering him
with business," Fields was thinking : If
they don't want me, nobody will. I his is
the finish the blowoff, the washup, so
where do I go from here? I can't sit chew-
ing the cud— there's an idea. I ( guess 1 11
start writing my reminiscences."

Zukor came over one day. Bill, I wont
feel my Silver Jubilee is right, unless
you're in it somewhere. If we send a man
liere to hook you up, do you think you
could go on the broadcast?" .
"If I don't have to lift a piano, or kiss

Baby Leroy— " . .

He was to do a dialogue with Jack
Benny. He'd never been on the air before.
He had read no lines in over a year. There
he lay his leg still hoisted aloft by pulleys
to ease the pain. He couldn't hear Benny,
nor Benny him. The mixer behind him was
to signal his assistant, the assistant was
to tap Fields on the shoulder as the cue
for his line. .

"I was slightly apprehensive, he says.
"We hadn't had a chance to rehearse this
double talk. The doctor and nurses were
standing around, looking kind and solic-
itous. The general effect was that of a
wake, with me as its mam attraction. 1
felt a tap on my shoulder, and galloped
off. Incontinent mirth. I gawped— gratified,
naturally, but with a dark suspicion that it
wasn't as funny as all that. I turned, and
it was the nurse, her lilywhite hand on my
robe de mat, wanting to know do I feel
all right I said : 'Bless your heart, dearie,
and your soothing feminine touch, but keep
it off my shoulder till this hurlyburly s
done, till this battle's lost or won, or I m
likely to get nervous and eat a finger So
they all stood at the foot of the bed where
I could see 'em, and the assistant stood
behind me, where I couldn't see him, and
that way I knew I'd keep my taps straight,
business and social."

When it was over, he breathed a sigh
of relief. He'd done his best by his friend,

and that was that. He paid little attention
to the comments that were freely offered.
"Some said it was good. Some said it was
terrible, and don't do it again. I said:
'What the hell difference does it make?
Marconi won't sue me.' "

Just the same, he began growing restive.
This was of course a sign of returning
health, but to a certain extent it had been
induced by that radio program. The old
firehorse had heard the clang, clang, clang
of the bells, and all but literally leaped
out of his bed.

A friend rented a house for him, he
kissed the hospital goodbye and settled
himself in. "If you're in jail, you have to
be a convict," he reasoned. "If you're in
a hospital, you have to be an invalid. In
a house, you can be whatever the law and
your own instincts permit. I'll find out
what I am. If the public's finished with
this sideshow freak and gone on to the
next tent, I'll find that out too, and lay
my plans accordingly."

He didn't have long to wait. Hardly had
the news of his having left the hospital
got out, when the procession began to form
at the right. He was torn between in-
credulity and glee. He still didn't realize
that it was regard for his health, and that
alone, which had kept them away from his
door. "I kept pinching myself, till my skin
yelled: 'Quit it, Bill.' What's a pinch be-
tween friends?' I yelled back. 'Be glad I
don't jump straight out of you, like one
of those whatchamacallem birds, because
that's how I feel.'

"How' would you feel? Along comes
radio, and makes me a dazzling offer.
Along come the movies, and make me a
dazzling offer. Along come magazines and
newspapers, and make me more dazzling
offers. I thought they were crazy. I de-
cided to find out, so I tried to raise the
ante on them. They weren't that crazy, so
I figured the deal was good and signed
the contracts." _

Fields comes back to the screen m ihe
Big Broadcast," and Paramount has pic-
tures lined up for him as fast as he can do
them, which is as fast as Fields himself
can work out his always carefully planned
comedy. Over at Paramount they laugh at
the idea of Fields' being through. "Not till
he's through with living," they'll tell you.

Dorothea Kent and Mischa Auer are
paired in a new film romance.

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Name Age

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Are You Insane?

Continued from page 34

nose of our instinct, we are sane. If we
deviate from this law, allow others to
mock us out of it, we are insane.

"We behave, as you may have noticed,
entirely differently when we arc alone and
when we are one of a mob. The mob psy-
chology is well understood. We even re-
act to pictures differently when we see
them with an audience and when we see
them alone, at home, or in a private pro-
jection room. I have gone to the theatre,
watched some fine and poignant bit of
acting, heard the crowd around me roar
with insensitive laughter and have laughed
myself — always to come out of the theatre
sick with myself, a bad taste in my mouth,
because I was not my own man, using my
own reactions. I was a link in the chain,
clanking as the chain clanked, an atom in
the mad and maudlin mass of the mob."

He told me of himself, "I have little —
ah — phobias. Once, in Europe, while tour-
ing with a theatrical troupe I spent one en-
tire year and devoted it entirely to trying
to make a sour-faced actor laugh. It be-
came an obsession with me. I did every-
thing from appearing- on the stage in my
underwear to laughing in the man's face
in an effort to provoke an answering- laugh
from him. I never succeeded. It haunts
me still, my failure. It was a year out of
my life — and without result. Insane? Not
for me.

"I drink lemonade all day long ; some-
times all night long when I cannot sleep.

'"I order meals with the utmost particu-
larity. I am something of a gourmet ;
something, if I may say so, of an epicure
when it comes to food. I order exquisite
meals — and never so much as put a fork
in them, leave them untasted. I derive my
gustatory delights from anticipation.

"I dream every year of playing- Na-
poleon. I do not think that I am Napoleon
— not yet. But I am constantly dreaming
of how I shall play Napoleon one of
these days.

''I love crowds of strangers. I get a
warm, rich physical relish out of being
jammed and elbowed and shoved and suf-
focated by crowds of people I do not know.
On the other hand, I have a phobia about
being in crowds of people I do know.
Crowds where there are those who may
slap me on the back, roar greetings, extend
moist, effusive hands. I am exhausted,
physically, mentally and emotionally if I
have to be party to such a crowd.

''The first and only autograph I ever
asked for was that of Man Mountain Dean.
I wanted it. I cannot say why.

''I adore Hungarian goulash. I abhor
milk. I cannot look at milk.

"My favorite hobby is hearing my friends
play the piano. They must be my friends.
I do not play myself.

''I must have a cup of tea placed right
under my nose as I am zvaking. Not after
I awaken. For then it is too late. The
salutary effect is gone.

"I play badminton and tennis. I take
long walks on the beach. Now and then,
at such times, I sing to myself. Sing, mind
you, not talk. Sea chanteys, mostly. I do
not go to many pictures. I do not want to
know what other actors are doing. I do
not want to run the slightest risk of be-
coming a copyist.

''I am, however," said Peter Lorre, his
eyes suddenly, sensationally ablaze, "I am
a fanatic. I admit it. And because I ad-
mit it. it's not insanity.

"Yes, I am a fanatic. I am a fanatic
about my work. I would. I have sacrificed
everything for it. I ran away from my
comfortable home when I was seventeen. I

Charles Bicltford and Evelyn Brent, old
favorites in a new •film.

ran away from my mother, father, three
brothers, my sister. W e were born in the
village of Rosenberg, Hungary, in the
dark Carpathian mountains. When I was
six we removed to Vienna. We lived our
childhoods closely linked, the one to the
other. But I ran away from them and lived
from hand to mouth because my father
disapproved of the theatre and I — I had
to go to the theatre.

"I ran away and joined a group of
renegade youths who, like myself, found
reality only in acting. We played in im-
provised theatres. We lived.

"In 1922, driven by hunger and want, I
secured a clerk's post in a bank. I ate
again. I slept snugly. It is insane, then, to
say that while I ate well and slept snugly,
/ was cold and hungry. But so it was. In
a few months I was discharged from the
bank because I was always late for my
work. My feet were laggard after some-
thing I did not want. I stayed up most of
the nights with my theatrical troupe,
breathing in the oxygen of greasepaint.

"Then, after a bit, I was given a year's
contract to do small parts with a company
in Breslau. After that year I went to
Zurich where a part in Galsworthy's 'So-
ciety' brought me my first recognition.
Then to Vienna where I played, for two
years, roles of both comedy and of drama.
It was 1928 when my performance in
'Pioniere in Inoplstadt' was something of
a sensation and I was hailed as a star."

Even then, Peter Lorre told me, there
were those who told him he was insane to
follow the stage. He would be limited, they
said, to so few types. He was not, after
all, of the proportions of a Conrad Veidt,
a Robert Donat. What chance would he
have in America, his friends asked, pitted
against the Gables, the Coopers, even the
late Lon Chaney whose heavy make-ups
concealed a well-setup and personable man.

Not long after this Fritz Lang, noted
Continental director, saw Peter rehearsing
Wedekind's "Spring's Awakening." Then
and there Lang asked Lorre to hold himself
in readiness for the starring role in a
screen production, as yet unselected. Lorre
agreed and in 1931 threw Europe into clam-
my convulsions with his astonishing por-
trayal of the pathological murderer in
"M." After "M" people on the streets of
Berlin backed against the wall as Peter
Lorre passed. When he entered a cafe
china rattled, cutlery dropped, women
grabbed their children and hustled them
out and away. He went, one day, to call on
old and intimate friends. The children of
the family were in the salon. As Peter
entered, bearing his customary gifts of
sweets, the nurse herded the little ones
out of the room where, before "M," kind

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''Uncle Peter" had so often played with
them.

He was hurt, in his heart, at this revul-
sion. They did not realize, then, that a
great actor had played, to curdling perfec-
tion, a macabre role? He did not want to
be typed. When offers came, from all over
Europe, to play similar roles, he refused
tliein all. He did not want to put on the
garb of the pathological horror man and
never take it off. He wanted to wear the
motley of all men. He left Berlin. He left
stardom. He left vast sums of money be-
cause he would not permit them to cramp
and restrict his work. And — "you are in-
sane" his friends and agents said now, ''you
have a fortune ready to your hand. In a
year or two you will be able to retire."
"To me," said Peter Lorre, "they were
insane. As if money or retirement were
what I sought!"

So, after a few pictures in England and
in Germany, Peter Lorre came to Holly-
wood. With him, forsaking her own con-
siderable career on the stage, came his wife,
Cecilie Lvovsky.

"I came to Hollywood, to Columbia Pic-
tures," Peter was saying, "and after awhile,
after 'Crime and Punishment,' I realized
that I was again playing only horror roles.
I knew that I must play horror for a cer-
tain length of time here in America; that
if I did not I would be disappointing my
new public who were conditioned to horror
by seeing me in 'M.' But I would not go
on indefinitely. And so, for months. I did
not work. I refused to work. I turned down
all offers brought me by my agents. They
were numerous offers and, financially, flat-
tering. I knew well that I might never
work again. It was conceivable. I had be-
come typed. I was losing vast sums of
money. I was depriving myself and, more,
my wife of future security. She stood by
me every inch of that difficult way. She
believed in me. I knew well what I was
risking. I am not insane enough to dis-
count the importance of future security.
There are those who will label this stand
of mine insanity and nothing else. Who
is to judge? I think it must be the little
monitor inside of us. Some call him Con-
science. I only know that I would have
embraced poverty, gone without future
security, rather than do my work as I do
not believe it should be done."

Companionship by
Camera

Continued from page 25

'T took shots of the tennis matches for
Roger," said Ann, pushing back her long
fair hair that reaches well below her shoul-
ders now. "I got some good action stuff —
see this one where the man is hitting the
ball and is off the ground. And I like this
informal shot of Al Scott and George
Murphy — they didn't know I was at my
wicked work. Don't you think the distance
in it is good?

"The circus was in town last week, too,
and I was there with my camera. Roger
likes especially the shots of Clyde Beatty
and his animals. I put the lens right up
to the bars — that's what makes the white
marks at the sides. In this one, Clyde has
his chair and the animal is snarling and
ready to make its leap. I got it just as he
made it.

"Lots of serious picture-takers go in for
filters, etching masks, shadow prints and
so on, but I'm afraid I'm not in their class.
I do it all for fun. I have some light red
filters, but I usually forget to put them
on. I've never used the dark red ones that
they put on to turn day into night, espe-
cially for turning the sun into a moon, but
that's because I never have any reason
to do that."

It seemed too bad there wasn't a color
camera around to shoot Ann in her red
jacket with her fair hair bright against
it and a dull blue glass silhouetting one
side of her curls.

"But I don't feel any great urge toward
a color camera," she objected. "Do you
know what I'd like? And the very next
thing I get is going to be a telescopic lens !
That ought to be fun ! You put the lens on
your camera and then you can sit 'way
over here on the set and shoot things by
the door to the stage, hundreds of yards
away. I could be in my chair here and
you could be over there having a tem-
peramental fit over something _ and not
knowing I was within miles._ Click ! — and
I'd have a close-up of you going into your
dance !"

Ray Milland, guest-starring at Ann Sothern's home studio, stops by Tor a
'tween-scenes visit, and Ann gets another picture for her album.

SCREENLAND

Getting Cay with
Cable

Continued from page 15

three more minutes, stirring constantly, and
then add the sliced breasts of the ducks and
baste with the sauce until they are sea-
soned through. Then serve with wild rice.

It was a great success and Clark took
bows none too modestly and ladled out
second helpings from the chafing dish and
we all practically ate ourselves into a coma.

After dinner there was a definite lull as
everybody seemed to be in the mood for a
bit of relaxing (the effect of the sauce, no
doubt) but it soon wore off and by the
time Walter had attached his recording ma-
chine, with Fieldsie at the "mixer," the
guests had revived one by one. A record-
ing machine, in case you don't know actors,
is in the nature of a postman's holiday.
All day movie stars sing or talk into a
mike at the studio, so home they come at
night and sing and talk into a mike again.
Then it's called fun. If Fieldsie is operat-
ing the "mixer" correctly you can "play
back" on the machine and hear a record-
ing of what you said or sang. You heard
Clark sing "The Horse with the Lonely
Eves" in "Saratoga" but you haven't heard
anything until you hear him sing "Arizona
Cowboy Joe," which he sings gustily to its
lustv end, and then with a little encourage-
ment will start all over again.

Carole then favored with a recording of
"Swing High, Swing Low" with "Arizona
Cowboy Joe" coming in as a refrain, and
the blending, or rather the non-blending of
those two songs as rendered by Lombard
and Gable would drive a music lover to
drink. And in my quiet way I am a music-

Moonlight is so perfectly simulated by studio electricians, that a romantic
team like Betty Grable and Leif Erikson readily capture the required mood.

lover. As a request number our host, Wal-
ter Lang, contributed "All I Want Is To
Be Called Baby Doll" which is the first
song he ever sang in amateur theatricals
when he was a kid in knee pants with a
voice that was changing. Then of course
everybody had to follow with a couple of
verses of "On the Good Ship Lollypop,"
though it wasn't nearly so good as Joan
Blondell's impersonation of Shirley Temple
in "Stand-In." Under pressure Claudette
came through with a recording of the little
Russian number she sings in "Tovarich"

with Clark strumming away on a tennis
racquet and I am sure that it would have
been quite lovelv and thrown us into a
Russian mood and we'd have jumped off
the cliff in the back of the house except
that the record showed a none J:oo faint
trace of "Arizona Cowboy Joe."

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one tiny bit of success, one good picture,
and they suddenly become conceited, in-
solent, arrogant lords of creation. But no
amount of success — and be lias bad the
most of any male star — has ever affected
Clark in the least. Hollywood swank means
nothing to him. He has a big movie star-
ish car but it sits in the garage until the
battery goes dead because he prefers to
drive about in the remodeled fliver that
Carole gave him for a birthday present, or
his station wagon — he loves his station
wagon (with a big PRESS on the wind-
shield) because lie can dump all sizes of
guns and things in it and hitch on his horse
trailer. He and Carole drove down to the
Pomona Fair one day recently in the station
wagon, stopped on the side of the road and
Spread a basket lunch, and then took in the
l-'air, everything from the jelly booth to the
livestock.

Rather than attend a smart cocktail party
where he is sure to be lionized and oh-ed
and ah-ed over by the most beautiful fe-
males in Hollywood, Clark had rather
pile things into the station wagon, includ-
ing Carole, and drive out to the Valley
where they can go skeet shooting — and
boy, when Gable pops a clay pigeon the
pigeon is popped. Carole doesn't exactly
knick them either — though the first time
she started shooting at them the gun fairly
knocked her chin off. Carole fusses over
that gun now more than most women do
over their hair.

Instead of a dinner at the Trocadero
Clark much prefers a good juicy ham-
burger at a drive-in — or a hearty he-man
meal at the Brown Derby. He has a great
habit of ordering two eggs "one of them
good" which always gets a surprised look
and then a giggle from the waitress. When
the eggs arrive he will ask, "Which is the
good one?" and the waitress will be a little
shocked and then break up completely in
laughter. On nights when the movie colony
is dressed to its teeth in ermine and white
tie for a formal opening at the Carthay
Circle, you can be sure that Carole and
Clark, in old sweaters and slacks, will be
catching up on their back movies at the
Drive-in Theatre on Pico Boulevard. He
usually avoids all social affairs but every
now and then one catches up with him. At
a recent dinner party in Beverly Hills he
was suddenly missed by his hostess who
found him sometime later in the backyard
lassoing pots and pans from the kitchen
with the clothesline. Carole was seated on
the back fence keeping score for him on
the side of the garage. If you want to make
him deliriously happy give him a paint
brush and let him paint your house — or
let him sing "Arizona Cowboy Joe."

.Yame
Address

Citu State

Ann Dvorak and Leo Carrillo, together
in "Manhattan Merry-Go-Round."

Secrets for Smart Girls

Continued from page 51

looked devastatingly chic. She'd returned
from two months' vacationing abroad and
was ultra- feminine in a blue satin after-
noon dress and a Parisian picture hat a
shade lighter. At my compliment on her
appearance she grinned. "You'll be drag-
ging all my secrets from me. Naturally I
wouldn't meet you here in slacks !"

"But you weren't ever in the average
rut," I declared frankly. She has such a
Hair for enchanting people, 1 thought, that
her poise makes it easy for her to phil-
osophize in a generalizing way. "And
America may be the land of opportunity,
but the average girl here never gets a crack
at the breaks you've had!"

"Oh, but you're wrong," she protested
quickly. She isn't afraid to be definite, I
observed. "I shan't be so overly-modest
as to pretend I ever considered myself just
a gaga nonenity. I never did. No woman
with any spunk believes in her heart that
she's a ninny and is fated to be ordinary.
But let me tell you this : I wasn't born
with a silver spoon in my mouth — luxury
publicity to the contrary is wrong ! Very
deliberately I prepared for my breaks.

"I had advantages ; yes. A good home.
Fond parents. But I had to leave it and
them and I had little money when I de-
termined to run away from the common-
place. I had no irresistible beauty to bank
on — if you're going to bring that up ! I
was in England, you must recall, where
they don't have beauty contests. I had this
same face, but before I started to climb it
was called attractive and folks let it go
at that. A girl must literally capitalize on
herself to make others appreciate her pos-
sibilities. I had to study styles in clothes,
coiffures, and make-up, you see.

"Every girl, I fancy, is up against these
fundamental problems : what to do about
work, what to do about acquiring a charm-
ing manner, and what to do about the
love situation.

"Some girls never have to work ; I was
never in that class until I married and,
candidly, I still can't understand a person
who'd delightedly fritter away her time. I
suppose because I so emphatically rank
with those who had to learn to be self-
reliant."

The daughter of an Irish professor who
married a Frenchwoman — "Mother's an
angel, for when you get a fine French-
woman you've got something wonderful !"
■ — Madeleine was English-born and early
slated to be a teacher. You'll remember
reading how- dutifully she attended the Uni-
versity of Birmingham. She received her
B.A. degree and for three months pleased
her father by teaching school. Then she
exploded.

"So did father! I'd managed to save one
hundred dollars and I'd been quietly tak-
ing elocution lessons at a neighboring girls'
school. I'd decided to become an actress,
and so I was off to London to begin !
Mother sympathized with me, as mothers
are apt to, but father was adamant. He
forbade • such an outrageous course. If I
persisted I could expect no future help
from him.

"Away I went, nevertheless, to conquer
the world on a hundred dollars and with
two tailored suits comprising my ward-
robe. That's all I had, really, in addition
to my ambition ! Fortunately it was spring
so I didn't freeze without a coat !

"A smart girl," said Madeleine, accept-
ing a cigarette, "will have this kind of
confidence in herself even when she has
to compete with many others for the big
opportunities. I'll never forget how I won

SCREENLAND

Blondes prefer black velvet, at least
Muriel Hutchison seems to.

my first screen role. It was a lead in the
most expensive British picture to date, and
they'd tested a hundred and fifty actresses.
I'd never been inside a studio. I knew no
camera technique. But I wanted that chance
to show what I could do. Oh, I wasn't
cocky. I really didn't see how I could make
a better test than all the rest of them. But
I trampled on this thought. Why shouldn't
I be as good a bet? Why couldn't I be
developed by the studio as others had been?
When I'd waded into their make-up and
walked before their cameras I simply act-
ed for all I was worth— and was chosen !

She paused for a moment. "Here is
another secret of mine. It isn't bizarre,
as you may have hoped. Girls can't take
it like a pill. Yet if it's followed success
will come inevitably. I have never deviated.
I have had a one-track mind!"

I objected to that. By comparison to
most Hollywood women she is mentally
cosmopolitan.

"It may not be quite so one-track now,
she amended. "But for a long while I had
absolutely no other goal outside of acting-
success, believe me. I am not super-human
by any stretch of the imagination. So I
concentrated. Honestly, this has been so
essential to me. I've many friends who
are much mpre versatile. I know people
who can paint, who can play the piano
exquisitely, who are brilliant conversa-
tionalists. At the same time they can be
past masters at entertaining. I envy them.
But not too much, for I know that I my-
self could never have climbed as an actress
if I had tried to excel in everything. I am
impressed with them, but not disastrously.
I've never tried to shine except in my
special field.

"But what," I asked, "of your secrets
for charm — and about love?"
She toyed with her demi-tasse.
"The quickest way to attract a man is
to put on a pleasant expression. A man
will automatically like you. When I went
to London it was then the vogue among
the debutantes to appear utterly blase, to
wear a condescending, indifferent face. I
had no such background as theirs as a
magnet, so I fell back upon the three-word
recipe my mother had given me : charm is
graciousness.

"Incidentally, don't allow the lack of a
college education to worry you. As a mat-
ter of fact, I hardly recall a thing I
learned in college. What it did for me,
however, was bless me with sufficient con-
fidence for meeting people. I'm not em-
barrassed. For ten minutes, at least, I can
hold my own on a fairly decent range of
topics! But the girl who's going to be

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Gloria Holden plays dramatic roles in
both films and radio.

smart can acquire such poise by reading
and reasoning. After all, the books that
universities use are available in public li-
braries and you must study people them-
selves to learn how to hold their interest.

"How to hold a man's attention? My
secret? Why, just discuss what he wants
to discuss. I don't chatter on like a parrot.
I take my cue from the man. This doesn't
require stupendous effort, obviously ! But
here's a minor trick, while we're on this
angle. Women should talk to their husbands
about their husband's business affairs ! Don't
be a kibitzer, nor a nag. But don't be a
dummy. Men want divertisement and they
want companionship, also. If you don't give
them both they have reason for straying.
On the continent the women seem closer to
their men than American wives, for there
they become genuine pals by talking about
the conditions which affect him. Read the
financial pages. I do. Of course," she
chuckled, "there's a time for everything.
When I'm dancing to a heavenly orchestra
I don't murmur, T see that steel took a
drop today !'

"And so what," I probed then, "about
a smart girl and love?"

"She won't worry about it. She won't
go out looking for love. She won't pay
any attention to it until it enters her life
so strongly that there's no doubt but what
he's the one man. She'll make the most of
herself first, and then she'll have the ex-
perience in dealing with men and women
that will enable her to make him happy.
I'd no intention of being anything but a
career woman until I was persuaded other-
wise by my husband. I'm glad I was that
way, that I wasn't sidetracked.

"Never be jealous of the one you love.
Treasure him. So highly that you'll make
the adjustments which are the basis of
mutual content.

"Don't be overly-independent just be-
cause you can climb, or instance, I turn
over all my picture salary to my husband.
He invests it for me. I wouldn't think of
being so absurd as to say, T must manage
my own affairs.'

"I find life thrilling because I refused
to have my life otherwise. This is why
I don't agree with those old pessimists
who tells girls afire with marvelous dreams
that 'Such things are not for the likes
of you !' I can't agree to that at all, for
I found out they're the type who just
lacked the push to go get what they
yearned for. I felt there must be so much
for me around the corner and — "■ — she
waved gayly at Captain Phillip Astley
who'd arrived to fetch his famous wife —
"well, it's great around on this side!"

How to Impress
The Stars

Continued from page f9

Now, if you encounter Joe E. Brown or
.Martha Raye, I advise you not to bleat,
".Do tell me how it feels to have such a
funny face!" The reason I pair these two
is that, while both of them are famous on
the screen for their funny faces, either of
them will tell you that their faces aren't
really funny in private life, as it were.
There is a difference between having a
funny face and being able to make a funny
face, to order for the camera. Which, by
gosh, there is !

But you could ask Joe who is his tailor.
Joe is certainly one of the best-turned-out
men in Hollywood and he must be inter-
ested in the subject of masculine attire. You
could ask him (and would he love it!),
about his friendship with people who ar?
famous in the world of sport. You could
ask him about his children. You'll get
along all right if you stick to those sub-
jects.

As for Martha, I reckon it wouldn't do
a bit of harm if you were to say that you
read somewhere that she had the mo>t
beautiful legs in Hollywood. You'll prob-
ably get along even better if you know
that a famous photographer said that her
face is so beautifully mobile, so perfectly
sculptured that it is an ideal subject for
really distinctive portraits. That won't hurt
you any with Martha !

Luise Rainer, like Katharine Hepburn,
can't stand small talk (she calls it "little
talk"), about weather and how've-you-
been? _She isn't embarrassed, as Miss Hep-
burn is. She is just cross about it. She
likes discussions of Art — Real Art, with
idealism, and self-sacrifice, and vision. She
will discuss with impartial, earnest en-
thusiasm her career, the state of the
theatre, symphonies, the growth of mo-
tion pictures, dogs, cooking and gardens.
You will probably be stimulated by what
she has to say about most of these things.
Y'ou will be pretty surprised, I'll wager, at
what she has to tell you about dogs, cook-
ing, and gardens. She is — er — unconven-
tional in her views on these matters.

Basil Rathbone bristles slightly — oh, in
the most well-bred manner ! — if you imply
that he is at heart a domestic soul. Hon-
esty compels me to maintain that Basil is
domestic, in that he is interested in well-
planned, well-run homes, in well-planned
food. He enjoys entertaining. He lo-oves
being the genial host and don't let him
fool you about it. Incidentally, he gives
some of the nicest parties in Hollywood.
You may discuss these matters with him
with safety and mutual pleasure — if you'll
just remember not to ask him for any
recipes or to burble, "Why, you're just a
homebody, aren't you, Mr. Rathbone?" If
you make either of these errors, you will
see a bristle which is really a bristle !

Ask Joan Crawford about her singing
lessons. Do that right away. If you can
talk about "resonance," that will be fine.
You might even produce a little "mi-mi-
mi" of your own and ask her to criticize it.
She would probably be very sweet about
it' and tell you gently that it takes a lot of
hard work and concentration and conscien-
tious practice to produce a really superior
"mi-mi-mi." Which, by gosh, it does !

But don't — please don't — bring up the
subject of dancing. Everyone knows that
Joan dances beautifully and that much of
her early success was due to her terpsi-
chorean agility. But when Joan discovered
within herself the ambition to follow in
the footsteps of Bernhardt and Duse, she
had trouble enough persuading the studio

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"IN FAST COMPANY"

That's the tempting title of a feature
which will appear in the next, the Feb-
ruary issue, and it also seems to us to
apply to the February number as a
whole! The story itself holds its own in
the fast company of other fine features
in this issue; and its idea, to show how
the mercurial young performers of Holly-
wood hold their own in the race for film
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a freshness and originality as appealing
as these youngsters themselves — fast-ris-
ing players such as Dorothy Lamour,
Olivia de Havilland, Kenny Baker.

pitching

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and the public to forget how valuable those
lovely feet and legs had been at the box-
office. She won't want you to bring it up !

Ask her about her little, student theatre.
Ask her about her dogs or the price of
fresh vegetables. Ask her about Lynn
Fontanne. But never, never mention a black
lace teddy. Why, you never heard of such
a thing — now did you?

Gene Raymond is sensitive about his
blond hair and it seems to me, now that I
think of it, that it doesn't look quite as
blond as it did when I first met him. But
he will glow with an engaging, boyish
pride if you ask him about the songs he is
always composing. Mention his excellent
work in some picture and he will view you
with suspicion. He doesn't quite believe that
you mean it and it is just as well to let
that sort of comment go, whether you do
mean it or not. But he does like to talk
about his songs. And— this is important
Gene is one of those rare actors who ac-
tually likes to be asked for autographs.
Or, perhaps I should say that he is one
of those still more fare actors who will ad-
mit that he likes it.

If you meet Barbara Stanwyck, ask her,
by all means, about her little boy and her
stables. But don't— please — mention that the
child is adopted or ask her, on any account,
whether she is afraid of horses. I'll tell
you why.

Several years ago Barbara, who had al-
ways been afraid of horses, was thrown
from one and suffered an injury to her
back which she feared would cripple her
permanently. While she was convalescing
she became interested in a home for crip-
pled children and she would tell you, if
she didn't hate to talk about it, that the
courage of these tots was the thing which
inspired her to get a real grip on herself,
to be determined that she would not only
recover but that she would never be afraid
of anything again — not even horses.

She adopted a little boy. "It takes a^child
to teach you what bravery really is," she
said. The first picture for which she signed
after she was well again required her to
ride a horse. "I had to take that part. I
couldn't have gone home to my small son
and told him that I was afraid!" She
made, as you know, a magnificent comeback
in pictures. She is successful. She is happy.
She owns a stable now and she rides every
day.

You see, the child is a symbol to her
and so, in their way, are the horses. But
you can understand why she'd rather not
talk about the significance of them — any
more.

Gloria Blondell, Joan's sister, is all set
with a film contract.

SCREENLAND

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Pirate Cold

Continued from page 31

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Fictinnizatlon 0/

THE BUCCANEER

A Paramount Picture-
Screen Play by Edwin Justus
Mayer, Harold Lamb and C.
Gardner Sullivan based on an adap-
tation by Jeanie MacPherson of
"Lafitte the Pirate" by Lyle Saxon.

Produced and Directed by
Cecil B. DeMillc

THE CAST

Jean Lafitte Fredric March

Gretchen Franciska Gaal

Dominique Akim Tamiroff

Annette .\largot Grahame

Ezra Pcavcy Walter Brennan

Bchtchc Anthony Quinn

Crawford Ian Keith

Governor Claiborne . Douglas Dumbrille

Gramby Fred Kohler, Sr.

Captain Brown Robert Barrat

Andrew Jackson Hugh Sothern

taken from a Spanish ship and sold now
to this man who knew it was stolen. But
it was of other things that they thought.
Crawford of that dangerous alliance of his
with the enemy and of the talk he had
had with the British Admiral Cockburn
when he had advised him to buy Lafitte's
support. And Lafitte's brown eyes fixed on
the other so carelessly and knowing that
never could he trust this American Senator
with his twitching dark face and his eyes
that seemed unable to meet another's
glance.

But later he forgot Crawford and the
strange foreboding that had come to them
as he talked. For Annette had slipped away
from her aunt in the pirate's market, away
to the little place near the bayou where she
had met Lafitte so often before, under the
old oak with the moss hanging from its
gnarled branches as her own fears hung
on her heart.

"Annette," even here in his arms she
was frightened of the strange love she bore
him. Even here with his voice making a
caress of her name. "Your hair is softer
than sunbeams dancing on silk and _ your
eyes are deeper than the Devon springs."

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"Jean, I was in terror that 1 wouldn't
see you and in terror that 1 would," her
voice broke somewhere between a tear and
a laugh. "What are we going to do?"

"You marry me and I'll marry you," his
words came so eagerly.

"And I suppose you'd print the wedding
invitation on the back of Governor Clai-
borne's reward for you dead or alive?''
she laughed.

"My sweet," his arms tightened about
her. "You can have the Governor's ears
for a wedding present."

"Won't you ever he serious?" She sighed.
"We can't hide behind bushes and trees all
our lives. I want you to be able to come
to my house like other men who are more
honored. Can't you understand? I want to
be proud of my love. There's nothing in
your life that I can share.

"I have wealth." His head lifted. "I have
Barataria."

"Barateur is the word for cheap." And
an edge of disdain crept into her voice.

"It's a kingdom with a thousand men
and ships that sail the Caribbean and the
Gulf." For the first time he felt the need
for pride with her. "I can give you any-
thing."

"But self-respect." Her words can e
quickly, tearing at the pride in his voice.

"You can give me that, my sweet," his
arms reached out for her and held her.
"Your love will bring me that."

"Even if it brings me shame?"

"Annette, I'd pluck the moon from
Heaven for you ... I'd . . ."

But he could not quite reach her.

"Francois Villon said that first, Jean."
And she tried to laugh.

"Well, then he must have loved a woman
as I love you," he protested.

"And I want to save that love." She
pulled herself out of his arms, pulling
peace and contentment with her. "That's
why I won't see you again after this."

"Until I'm respectable?" His lightness
closed over the old fear. "I know you're
right, but it's too late for me to change.
The law puts a price on my head. What
can I do but fight?"

"You can give up this terrible life," she
said slowly.

"Oh, no!" His laugh came edged with
bitterness. "The law won't forgive me be-
cause I want to be good, or because I
want to marry a lovely girl and live hon-
estly. It makes a criminal pay for his
crime and that's right and just, but it gives
a pirate short shrift."

"You've done the impossible a thousand
times," she whispered. "You can do it once
again, for me."

Well-groomed "Buccaneer" Fredric
March and a fellow pirate.

SCRE ENLAND

Buck Jones is mighty happy to welcome Helen Twelvetrees back to the
screen. We're with you there, Buck. Helen plays leading lady tor Cowboy

Jones in a new picture.

WAKE UP YOUR
LIVER BILE...

Without Calomel— And You'll Jump
Out of Bed in the Morning Rarin' to Go

The liver should pour out two pounds of liquid
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He thought of that as his ship toned
her prow toward the Caribbean. And he
thought of it again when they sighted the
ship flying the Skull and Cross Bones
that was pulling away from the burning
boat flying the American Flag.

"Get on deck !" he thundered to his men.
The little Gretchen held to her courage
as she cowered under the tarpaulin one of
the pirates had thrown over her and her
dog whimpered in her arms. She had seen
men and women and children die that day
and her tears came softly for the lovely
Marie de Remy and her young husband
who had clung to each other so desperately
in that last moment of living.

But she was to see more before that day
was over. In spite of all her resolve she
could not help that sudden trembling when
the grim-mouthed captain of the pirate s
ship discovered her.

"You come this way, lass," he said gruffly.
"Where?" she asked and her hps
trembled. . . , . .,

"Where?" Brown nodded toward the
rail. "That plank will take you quick to
Heaven, lass. I've never had any com-
plaints about it."

She tried to walk steadily and proudly
but in the end her knees bent under her
and she swaved a little as she fell and
so she crawled to the end of the plank and
only that one cry came at the end. 1 hen
there was a stir in the water beside her
as her dog jumped in after her, barking
as he swam toward her and it was the bark
that Jean Lafitte heard and that guided
his boat toward her.

Lafitte took command then, seated at the
long table in the cabin. Nothing from the
burned Corinthian was to be sold, though
even now his trusted man Dominique was
pulling at the spoils in Marie de Remy's
trunk and Gretchen was to be kept a
prisoner. They could not let her go, she
who was the only living witness to the
Corinthian's doom.

She looked so like a child that day she
came with them to Barataria _ with a
pirate's cape slung over her prim little
Dutch dress and her dog barking at her
heels that Lafitte's heart lifted at the sight
of her.

"And how are you to-day? he called
to her. .

"I am very well, Mister Captain. She
swept him a half-curtsey. "But these men,
they say I give them hemp fever."

"Did you hear that?" Lafitte laughed

over his shoulder to Dominique walking
behind him and the man joined m the
laughter. , „

"A gentleman does not laugh at a lady,
Gretchen said primly.

"Dominique, she says you're not a gen-
tleman!" Lafitte roared.

"No I say it to you!" Gretchen s eyes
flashed. "Your rings tell me. One ring, it
is a gentleman. Two rings, it is a vain and
foolish man."

But after that there was only one ring
on his finger and later that day, seated at
his table with his pet cockatoo shrieking
from his shoulder, he sent for her.

Her eyes passed over the room scorn-
fully, over the spoils* from many countries,
over the plunder from many ships.

"A gentleman's home?" Her eyes lifted.
"No wonder the fine people of New
Orleans, they laugh at you."

"They laugh at—" he stopped appalled
and his quick frown came. "How do you
know? Were you ever inside their homes?

"Yes." The word came defiantly. 'I
worked there."

"And they laughed at me!" He looked
at her long and hard. "It's laughter that
puts nails in coffins. You've scrubbed their
floors but you've got nerve enough to
stand there and tell me. All right, since
you're such a monument of judgment, you
can stay here and make yourself useful.

It was silly to be so angry at this girl
scarcely more than a child, but it gave
Lafitte a strange unreasoning joy to see
her scrubbing his floors as Negro servants
had done before. Then came the day when
the British Admiral came to Barataria and
made him a fabulous offer for his men
and ships to fight on England's side. But
this time he understood the exultation that
came as he refused it.

He went to New Orleans then and offered
his services to Governor Claiborne and
when they were accepted he went to
Annette. Went to her as he had _ never
gone before, to the house she lived m and
with pride in his heart.

"I'm respectable." His words came al-
most in a shout. "They've accepted my
offer to save New Orleans. Lafitte, Clai-
borne, Andrew Jackson, those names will
live in history. I'm on the way to the tail-
or's now. If I give them two hundred men
it'll be a captain's uniform. Five hundred,
I'm a Colonel. One thousand, it's a Gen-
eral's epaulettes. The Governor thanked me
for my loyalty. Kiss me!"

SCREENLAND

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A Christmas Carol — sung by Shirley Temple, who, even without the sound
track, here makes a picture to warm your heart and spread good cheer.

"Oh Jean, you're just an adorable idiot,"
she whispered.

"Respectability!" Lafitte's eyes shone.
"It's really not a bad feeling."

There were wings on his feet as he
walked away holding the miniature Annette
gave him so happily. Wings in his heart
too and that new feeling of honor so
strong in him that he could laugh even
at Gretchen as she held his new flag so
proudly.

"I make it for you. A present," she ex-
ulted. "Fifteen stars and fourteen stripes
and every star and stripe is a state."

"Thank you, funny one." His eyes soft-
ened as he took it from her. "It's splendid.
It will make us think of you when we get
you home to — what's the terrible name of
that place?"

"Dooruspiyk arm Zuider Zee," her face
fell. "But that is not my home any more.
I will stay here."

"But we're going into battle," he pro-
tested. "Women don't know anything about
fighting."

"Ha, you don't know anything about
women," she said defiantly. "Why do you
want that I go back to Holland?"

"You can't be seen here and you can't
be found in New Orleans," he said shortly.

For the first time Gretchen saw the
miniature on the table before him and her
eyes clouded. "Who is that?" she asked.

"A lovely lady who lives in New Or-
leans." Strange how even Annette's pic-
tured smile could bring that ecstacy.

"Oh." He saw the little pulse beat in
her throat, the shadow close over her smile.
"That is why you want me to go home?"

"You're a little fool, aren't you?" He
laughed indulgently. "You'll meet the
Dutch ship at the mouth of the river. I'll
give you plenty of money and — "

"Her hair is very pretty too." Somehow
it didn't sound like Gretchen's voice with
all the eagerness gone out of it. "I will
go."

But even as they stood there looking at
each other, even as he saw for the first
time she was not the child he had always
thought her they heard the sound of can-
nons and after that there was no more
talk about Gretchen or Holland or even
Annette. For the ships that were firing
on them were American and Lafitte's heart
was heavy within him as he gave the
orders that no man should return the fire.
He had offered everything he had to
America and this was America's answer.

For he could not know it was the treach-
erous Senator Crawford who was behind
it all and who wanting Lafitte's support
for the British had convinced the Governor
that the pirate chief was not acting in
good faith.

Afterward, after he had counted the
dead among them and his heart had twisted
to find Gretchen's little dog one of those
dead and he had seen the living among
them marched as prisoners on to the ships
and Barataria in flames about him, he saw
he was not quite alone after all. Gretchen
was there talking quietly beside him as he
stumbled toward the swamps and her eyes
were as bewildered as his own.

"Maybe you sleep a little now," she said
at last. "The stars are out."

"Not for those men lying in the sand
back there," his voice was hard. "Not for
the ones they've taken prisoners. They'll
hang every man they caught to-day. A one
day's trial in New Orleans and four feet
of rope."

"What those ships did to your men is
only what you have done to other people."
There, she had had the courage to say
it to him at last. "I saw it on the Cor-
inthian. When the people fought they were
cut down by swords. They were thrown
into the water. They — "

"Those were never my orders," he said
slowly. "But I am to blame for every man
dead at Barataria, and somebody's going
to pay for that."

He knew then what he must do if ever
there was to be peace for him again in
all the world. And he did it, going straight
to Andrew Jackson himself and knowing
when he looked at that stern face that here
was a man he could trust at last.

And Jackson too. knowing this man with
a price on his head was telling the truth,
told his servant to put away the gun he
was holding to the pirate's back as he
talked to him.

So the thing Lafitte wanted came true
at last and his men came back to him from
their prison and like him they were wear-
ing the uniform of the American Army
and like him they fought at the Battle
of New Orleans.

Gretchen too, in the uniform so much
too big for her and trying to keep out of
Lafitte's way for he did not know she had
followed him even in battle. But he saw
her and his arm grasped hers furiously.

"What in Heaven's name are you doing
here?" he demanded.

"I'm — I'm powder monkey," and she
whimpered as a shell burst near them. "If
this is what you like more than you do
me you're a fool !" she sputtered.

After the battle ihcre was no more talk
of hanging pirates in New Orleans but
instead a great ball was given in honor
of Lafitte whose men had played such a
big part in saving the city. And though no
one had thought to invite Gretchen, she
went just the same in the clothes and
jewels that Dominique gave her, the clothes
that he had taken from the trunk of the
lady who had once been Marie de Remy.

For Dominique loved Gretchen and so
he could understand when she said so tear-
fully. "I must go to the Victory Ball."

But for all the fine clothes of her, for
all the jewels that sparkled at her throat
and wrists, she saw that Lafitte had
eyes for no one but Annette looking up at
him with that new, proud happiness in her
eyes.

It was more than Gretchen could endure,
seeing them together like this. And with
her smile twisting she went up to them and
it was then Annette saw that the girl was
wearing a gown that had been her sister's
and that her mother's miniature sparkled
at her throat.

Gretchen stood white-faced as the dancers
swarmed around questioning her.

What happened to the Corinthian? After
all these months of silence, of not hearing
any word from one among those who had
sailed, was this the answer at last, this
dress, this miniature worn by a girl allied
to the pirates?

And Lafitte standing there so still as he
said at last, "Gentlemen, the Corinthian
was sunk and every soul on board, but one.
was lost."

They would have hung him then if it
had not been for Andrew- Jackson.

"He fought for us." The words came
grimly. "He shall have an hour's start."

An hour's start. Lafitte looked up then.
In an hour he could get away from all of
them, away to a place that he knew where
a ship was waiting. But first he went to
Annette and his face tightened as she
looked away from him. And even then with
the pain new in his heart he knew somehow
that it had never been real, the love she had
given him. It had been bright and lovely
like a star but like a star it had never
been really within his grasp. And knowing
somehow made it easier as he gave her
that small half bow and left.

The nightwind pulled at the sails as he
felt the deck of his ship underfoot again
and he heard the creak of ropes as men
pulled at the riggings. Dominique came to
him then.

"What flag we break out, Boss?" he
asked.

"We have no flag." Lafitte gazed out to
sea. "Steer the course, Dominique, straight
to — straight out to sea."

He turned as a hand tugged at his sleeve
and something hard and defiant broke in
him as he saw Gretchen standing there, in
the little Dutch dress that made her look
so almost a child.

"You shouldn't have come here," he said
softly. But she shook her head and smiled.

"I go where my boss goes. You will need
a powder monkey."

"This deck under our feet is our only
country." he said then. "And our home
port, sooner or later will be the bottom
of the sea."

She touched his hand then, and nodded.

"I'll be there too," she whispered. "With
you. Boss."

She smiled then and suddenly the hurt
was gone and with it the bitterness went
too. This girl was real, this dream had sub-
stance. And he forgot how distant stars
could be, how lost and how fragile, as his
smile came to answer her own.

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women chew Double Mint Gum daily as a smart,
modern beauty aid as well as for the pleasure
derived from its refreshing, double-lasting mint-
flavor. Be lovely the Double Mint way. Buy
several packages today.

Style, what you wear is important.
Double Mint Gum asked one of the
greatest designers in the world,
Elizabeth Hawes, New York, to cre-
ate for you the smart, becoming
dress that you see on this page. It is easy to make.
Double Mint has even had Simplicity Patterns put
it into a pattern for you. It's the sort of dress that
brings invitations along with the admiration of
your friends. So that you may see how attractive
it looks on, it is modeled for you by Hollywood's
lovely star, Joan Bennett.

^-Thus you see how Double Mint Gum makes you doubly
lovely. It gives you added charm, sweet breath, beautiful lips,
mouth and teeth. It keeps your facial muscles in condition and
enhances the loveliness oj your face and smile. Enjoy it daily.

^OZl4t~ <^e*i4te&, — beautiful Hollywood star now
appearing in "I Met My Love Again," a Walter W anger
production — modeling Double Mint dress . .
designed by &^-u^-eZZ& ^Azus&S-

' at any Simplicity Dealer

Dress

Well

THERE are millions who tread the
lonely path; who have never known,
and perhaps never will know, the sweet-
ness of love; the tonic of good compan-
ions; the warmth of true friendship.
You see them in little tearooms, hun-
gering for a dinner partner; sunk in
movie chairs drinking in the romance
which they cannot share; alone in
friendless bedrooms, groping for gaiety
through a kindly radio. All have stood
at some time, perhaps, on the threshold

of happiness only to find the door sud-
denly closed.

Is it worth the risk?

Of all the faults that damn you with
others, halitosis (bad breath) ranks
first. It is unforgivable because it is in-
excusable. Curiously enough, no one is
exempt; everybody offends at some
time or other, usually due to the fermen-
tation of tiny food particles in the
mouth. All you need do to stop this, is

to rinse the mouth with Listerine Anti-
septic. Among mouth deodorants, it is
outstanding because of its quick germi-
cidal action. No imitation can offer its
freshening effect ... its pleasant taste
... its complete safety. To fastidious
people who want other people to like
them, Listerine is indispensable. Never
•mess about your breath; use Listerine
Antiseptic morning and night, and be-
tween times before meeting others.
Lambert Pharmacal Co., St. Louis, Mo.

HELEN S A PROBLEM. SAYS SHE
HATES SCHOOL BECAUSE HER
— =-5^-sTtACHER CRITICIZED
* HER TEETH, AND SHE

WONT CLEAN THEM
PROPERLY BECAUSE
/ SHE DOESN'T LIKE OUR^
~\ TOOTH PASTE

JOE SAYS HIS
KIDS LOVE
LISTERINE
TOOTH PASTE

LET'S
TRY IT
ON
HELEN

TOOTH POWDER IN A TUBE!

Who ever heard of such a thing?

That's what Listerine Tooth Paste really is—
fine dental powders "creamed" into a paste.
You get the cleansing power of powder in the
convenient form of dental cream. It's easy to
put on the brush ... no waste ... no mess.

And how it makes your teeth
gleam! Delicate cleansers and high-
fustre polishing agents quickly re-
move dingy film from your teeth
and restore their natural, dazzling
brilliance. Listerine Tooth Paste
is available at all drug counters.
Get a tube today.

SCREENLAND

JAN -7 1938

EJCIB 302773

The Smart Screen Magazine

Delight Evans, Editor

Elizabeth Wilson, Western Representative Tom Kennedy, Assistant Editor Prank J. Carroll, Art Director

Have You
A Trauma?

Everybody's got a trauma. Par-
ticularly in Hollywood. So don't be
afraid to admit that you have one,
when every star in screenland has
admitted it and, what's more, tells all
about it in a feature story in our next
issue.

Want to know what Edgar Bergen
is most afraid of? Read the story.
Shirley Temple, Mae West, Simone
Simon — they're all frightened of
something; but what? You'll enjoy
reading our feature in the next issue
to find out.

That next issue — March, on sale
February A — will have a most un-
usual program, but we want most
of it to be a surprise so we're not
telling you much more right now. Just
enough so that you'll look forward
to a feast of features sensational
and romantic, "inside" and amusing,
with all of your favorite stars repre-
sented both in fact and in photo-
graphs. Don't miss the next, the March
issue of The Smart Screen Magazine.

February, 1938

Vol. XXXVI. No. 4

EVERY STORY A FEATURE!

21
22
24
27

The Editor's Page Delight Evans

What's Behind the MacDonald-Eddy "Feud"?. ...Elizabeth Wilson

Once Over Lightly Barry English

In Fast Company. Youngsters who have startled Hollywood. ...Liza
How Crawford Keeps Glamorous.

Joan Crawford Today Jerry Asher

The Confessions of a Hollywood Secretary.. ..Kathleen King Flynn

"Hurricane" Hall. Jon Hall Adelheid Kaufmann

Benny The Good. Benny Goodman Anne Carples

Reviews of the Best Pictures Delight Evans

Screenland Glamor School. Edited by Anita Louise 54

Fiere's What They're Wearing in Hollywood 56

"Man-Proof." Fictionization. Elizabeth B. Petersen

London , Hettie Grimstead

Star-Dust Baby. Fiction Margaret E. Songster

Paris Stiles Dickenson

Ungilded Lily. Lily Pons Dick Pine

Fay's Magic Carpet. Fay Wray Ruth Tildesley

30
32
34
51
52

58
60
62
64
65
66

SPECIAL ART SECTION:

Powell Pools His Interest. Dick Powell, Rosemary Lane. The Men in Her
(Movie) Life. Carole Lombard-Fernand Gravet, Fredric March, Fred
MacMurray. Ginger By Herself. Ginger Rogers. Silly Sequences. Mabel
Todd, Robert Benchley, Victor Moore, Ann Sothern, W. C. Fields, Shir-
ley Ross, Charles Butterworth. Battle of the Babies. Shirley Temple,
Jane Withers. Spice on Ice. Sonja Henie. A Star Test for 'Jezebel."
Bette Davis. Cary Grant: $250,000 A Picture? Gable or Taylor? The
Most Beautiful Still of the Month.

DEPARTMENTS:

Honor Page 6

Screenland's Crossword Puzzle Alma Talley 8

Salutes and Snubs. Letters from Readers 10

Ask Me! Miss Vee Dee 12

Tagging the Talkies. Short Reviews 14

Inside the Stars' Homes. Beverly Roberts Betty Boone 16

Flashes from Film Town I 8

Here's Hollywood. Screen News 68

Time on Your Hands. Beauty Article Courtenay Marvin 70

Femi-Nifties v 71

Cover Portrait of Joan Crawford by Marland Stone

Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York Ciry. V. G. Heimbucher, President, J. S.
MacD'ermott, Vice .President ; J. Superior, Secretary and Treasurer. Advertising Offices: 45 West 45th St., New York; 410 North Michigan Avenue, Chicago; 530
W. Sixth St., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careftil attention but Screenland
assumes no responsibility for theit safety. Yearly subscription $1.50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign $2.50.
Changes of address must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered as second-class matter Novem-
ber 30, 1923, at the Post Office at New York, N. Y. under the act of March 3, 18^9. Additional entry at Chicago, Illinois.

Through the doors of that workshop cease-
lessly flowed girls, girls, girls . . . each with
a dream and a hope heyond reaching.
Here is one shopgirl who lives a drama so
amazing, so rich in deluxe living, that it
will fascinate and excite you. And
Jessie might have heen you, or you, or you I

JOAN CRAWFORD
SPENCER TRACY

WITH

ALAN CURTIS • Ri

A FRANK BORZj

A Metro -Goldw]
Screenplay by
Directed by FI

MORGAN

icluction

Picture
:nce Hazard

BORZAGE

Produced by Joseph L. Mankicwicz

CAROLE LOM-
BARD has been ac-
claimed for beauty,
for glamor, for style-sense.
But she has never received
the applause she so defi-
nitely deserves for her rare
flair for comedy. Carole is
the one stellar girl on our
screens who deliberately de-
serts all glamor rules in the
cause of comic effect ; she
never hesitates to blind us to
her beauty to gain the nec-
essary gusto. Sometimes
Lombard ceases to be a
beauty when she goes after
laughs; at times in "True
Confession" she is far from
breathtaking ; but she is al-
ways gay. always charming,
unfailingly funny when she
wants to be. What's more,
in "True Confession" she
achieves a real characteriza-
tion, amazingly believable,
of a lovable but rattle-
brained wife mixed up in a
murder. We hail Carole
Lombard as the best trouper
among Hollywood beauties.

SCREENL AND

onor

On this page, Carole Lombard in various states
and stages of amusing emotion in "True Con-
fession," ably abetted by Fred MacMurray.

To Carole Lom-
bard, First Com-
edienne of the
Screen, who can
forget glamor to
get a laugh

GENTLEMEN obviously prefer..

BRMNET1E?

if she

nt Pi'"* *

CHESTER0'

H'R_M.A?0NKl'N

ploy

An
Oire«

ted by

A-

"Every Day's a Holiday" all right when you can see
the one and only Mae West herself in a roaring
comedy-romance-with-mosic set in the hail and
hearty days of New York's Gay 90's— a gala and

glittering picture featuring the antics of five of the
greatest screen comics of our time... a picture with the
dash of Mae's Schiaparelli gowns— it'll have your
boy-friend in hysterics and you in a gale of giggles.

SCREENLAND

DO XXXS
SIGNIFY KISSES?

• When people could not write, they used to
''make a cross" — and often kissed it as a sign
of good faith. Hence the cross (on paper)
came to represent a kiss.*

Today, Campana's label on a bottle of
Italian Balm is a "mark of good faith" with
von. Close inspection has safeguarded your
confidence in Italian Balm from the moment
the "raw materials" enter the Campana labo-
ratories until the bottled product has been
shipped to a store in your community.

Many physicians, dentists, nurses and other
professional people will tell you that with
Campana's equipment for
making a skin protector
— plus scientific analysis
and control of manufac-
ture— there's no doubt
that Italian Balm is a su-
perior skin preparation.
Why not try it— FREE?
Get a Vanity Bottle — use
Italian Balm for several
days. Compare results.

(♦Authority: * 'Nusfgets of Knowledge"
' —Geo. W. Stimpson. Pub.. Blue Ribbon
Books.)

Ca/m^xtvrLCLA

Italian Balm

An Exclusive Formula — A Secret Process

CAMPANA SALES CO.

242 Lincolnway, Batavia, Illinois

Gentlemen: I have never tried Italian
Balm. Please send me VANITY Bottle
FREE and postpaid.

Name

Address

City.

_Stc

In Canada, Campana., Ltd.. S-242 Caledonia, ftd,, Toronto

SCREENLAND'S

Crossword Puzzle

By Alma Talley

ACROSS
1. New Western star, in "Western

Gold"
6. Epoch

9. She's featured in "The Hurri-
cane"

14. He's featured in "You Can't

Have Everything"

15. Spanish article

16. Female relatives

18. He's married to Ann Sothern

19. Co-star, "It's Love I'm After"

21. Morning prayer

22. That thing

23. A famous South Sea island
25. "Knight Without ,"

with Dietrich

27. A continent (abbrev.)

28. French article

30. Large grass plot

31. Persia

32. Viper

33. What talcum powder is made

35. Paddle

37. Lairs

39. Common bird

41. Her new one is "Angel"

44. At Sea

47. Bird of prey

48. Upward

49. Swede comic in movies

50. His new one is "Adventures of

Marco Polo"

51. Precious stone

52. Judge in a sporting match

56. What you see with

57. Back

59. Greek letter

60. Island

62. To make lace

64. He plays Fh/gelman in "Music

For Madame"
66. Female relative
68. She's featured in "Souls At

Sea"

71. "Double — Nothing," with

Bing Crosby

72. Regulated the pitch (of pianos)

73. Rob

75. Public notice (abbrev.)

76. Semi-precious stone
78. Stale

80. Sentry

82. Star of "100 Men and A Girl"

84. Small fish

85. Softly

86. Fruits

87. Automobile

88. Borders

DOWN

1. Struck

2. One of "Little Women"

3. Frosts a cake

4. Spell, enchantment

5. That man

6. Dancing star, "Broadway

Melody of 1938"

7. Decay

8. His new one is "A Damsel In

Distress"

9. One

10. Co-star of "Seventh Heaven"

11. Rip

12. Month of the year

(abrev. )

13. Restrains

14. Dry

17. To break off

19. Ex-movie star, now

Mrs. Rex Bell

20. To make a mistake
24. He's co-starred in

"Exclusive" .
26. Co-star of ' 'The

Prisoner of Zenda"
29. Co-star of "Seventh

Heaven"
32. Tested (as gold)
34. Part of the leg
36. He's married to Ruby

Keeler
38. She's featured in

"Footloose Heiress"
39- Which person:
40. To knock
42. Monkey

43. Born

45. Before

46. Positive votes

53. His new one is "Nothing

Sacred"

54. What? (Exclamation)

55. Covered pan for baking

58. He plays "The Great Garrick"

61. Produced (as a theatrical show i

62. Frog

63. Ready for battle
65. Allow

67. Indian

69. English lords

70. His new one is "Rosalie"
72. Leading lady in "Carnival

Queen"
74. Organ for breathing
77. What a sheep would say in a

talkie

79. The Lady in "Fight For Your

Lady' '
81. Dined
83. Since

85. Goddess of earth

Answer to
Last Month's Puzzle

SO HB QQHHQ HQ BB

□HHB USEES (DDES

cans aaraa wana aam

HE3H HHHlffl SOdS HHB

aaa cangtta mibhh hqb

BfflHB mum BHHUB
BH HQ QUHHB BSS USB

am anna
usmma caaBam am crasa

0HHHH dHQSH aHEBH
HHBB OOBiaH HHBB

SCREENLAND

9ttbv& 1,000 ARTISTS
THREE YEARS fix make ttj

The most anticipated picture in 20 years will be the show sensation of
1938 — and for years to come!.. The most amazing advance in screen
entertainment since the advent of sound! .. You'll gasp, marvel, cheer
at its wonders as you thrill to an experience you've never lived through
before!.. Without a human actor, it's more human than all the dramas
that ever came out of Hollywood! . . Power to make you laugh, cry, throb
with excitement! . . Music to fill your soul— 8 big songs, several as good as
"The Big Bad Wolf"! .. Romance, adventure, mystery, pathos, tragedy,
laughter and beauty such as you must actually see and feel to believe! . .
Truly the miracle in motion pictures — the new wonder of the world!

WALT DISNEY'S

first full-length
FEATURE PRODUCTION

and the

Seven Dwarfs

in the marvelous

MULTIPLANE TECHNICOLOR

Distributed by RKO RADIO PICTURES. Inc.

Screen land

THIS EFFECTIVE WAY
TO CHECK COLDS

AT the first sign of a cold, just drop one or two
' * Alka-Seltzer tablets into a glass of water.
When they bubble up and dissolve, drink the
crystal clear, pleasant-tasting solution. It's bene-
ficial action starts immediately. Continue using
Alka-Seltzer according to the directions for colds
as explained in the direction sheet in every
package of Alka-Seltzer.

Since it is a recognized fact that most colds are
accompanied by an over-acid condition which may
be retarding nature in her battle against the com-
plaint, Alka-Seltzer is especially helpful because
it acts to restore your normal alkaline balance.
And because Alka-Seltzer contains an analgesic
(sodium acetyl salicylate) it gives prompt relief
from the dull achy feeling of a cold. Thus Alka-
Seltzer gives relief in TWO ways.

AT ALL DRUG STORES

f30c & 60c Pkgs.
Also Sold By The Glass At
Drug Store Fountains

SONG POEMS

Warned At Once
Mother. Home,
Love. Patriotic.
Sacred, Comic or any subject. Don't delay —
send best poem today for our offer.

RICHARD BROS., 28 Woods Bldg., Chicago, III.

Banish Gray Hair

Why look older
than your years?

TT IS NOW so easy to get rid
1 of gray hair that no man or
woman need look older than
their years. Right in your own
home you can prepare and use
a better remedy. Simply get,
from any drug store, a box of
Barbo Compound, an ounce of
Bay Rum, one-fourth ounce of
Glycerine. Mix these in a half-
pint of water or your druggist
will mix it for you. Comb this
colorless liquid into your hair
several times a week.

You will be amazed how nat-
ural-looking and youthful gray,
faded, streaked hair becomes.
Nor will this color wash out,
color the scalp, or affect perma-
nents or waves. To take off 10
years in 10 days, try Barbo today.

Salutes

and

Snubs

YOUNG, WINNiNG AND ABLE

For the kind of acting ability that makes
pictures more interesting things to see, I
choose Robert Young, who makes the char-
acters he plays seem real as well as engag-
ing, and the stories more entertaining.
Robert Young certainly has the ability to
entitle him to the best opportunities Holly-
wood can give him.

Dorothy Mae Supansic,
Pittsburgh, Pa.

THE TOPS IN TEAMS

My salute goes to the most attractive and
romantic screen sweethearts — Don Ameche
and Alice Faye. In that delightful musical
hit, 'You Can't Have Everything," Don
sings beautifully, looks breathlessly hand-
some and romantic, and possesses a mag-
netism that reaches out beyond the screen.

Sonise Monroe,
Peoria, 111.

MAKES 'EM

COWBOY-CONSCIOUS

Grandma hated "hoss operas." But that
was before Gene Autry appeared in those
grand action westerns. Gene's refreshing
personality, his pleasing voice and masterful
riding, all combine to make "hoss operas"
not only bearable but downright thrilling
for grandma — and for me, too !

Elizabeth Selfe,
Corona, N. Y.

THE STAR BEHIND THE

SCREEN

My favorite star of Hollywood is Walt
Disney — and there should be more said of
him in this department. It's a rare treat to
see his Mickey Mouse comedies, especially
after a week of just fair to middlin' pictures.
Disney's rare ability in making us feel
young and joyous over the whimsical im-
possibilities of Mickey and his fellow car-
toon characters is just what we need as
inspiration to a happier spirit and outlook
on life.

Perry Shanks,
Granite City, 111.

WHAT THE SCREEN NEEDS IS —

More Technicolor pictures. The color
photography makes pictures so much more
vivid, glowing and human — and good box
office, as witness "A Star Is Born." New
faces ! Joan Crawford, Norma Shearer,
Carole Lombard, Claudette Colbert, and
all the other established stars are swell —
but who wants ice cream at 3 meals a day?
And for goodness sake, somebody please
tell Robert Taylor to stop looking so
smug. He's very handsome, and we all
know it, but must he look so smug as for
instance in that scene at the piano in the
train scene of "Broadway Melody of 1938"?

Jewelle E. Dutton,
Washington, D. C.

THAT CERTAIN GREAT
ACTRESS

After -seeing Bette Davis in her latest,
"That Certain Woman," I must Salute that

The award of honor goes to Robert
Young, who, above, occupies top place
in the department this month by virtue
of votes from our readers.

marvelous little actress. In this part Bette
was so sincere in the scene where she gave
Jackie up, that I know those tears had to
be real.

Louise Rogers,
Indianapolis, Ind.

MORE ABOUT MARLENE!

What goes on here ? Why not more talk
about Marlene Dietrich in letters from the
readers ? They aren't writing as much about
Marlene as I think they should. We can't
let Glamor Girl No. 1 down, can we? And
you've got to admit that Dietrich has done
plenty toward giving us more excitement
in "Desire," "Allah," and other pictures.
Robert J. Creay,

Indian Orchard, Mass.

NOW YOU'RE TALKING TO
HOLLYWOOD!

Whatever you have ro say — be it a Salute or a
Snub — here's the place to say it. Your letters
are welcome here, and the ideas they express
are important to stars and producers as well as
your fellow film-goers. So send along your
thoughts on pictures and picture people to this
deportment — your own opinions of films recently
seen, performances that were worthy of your ap-
plause, or those that could hnve been better;
indeed, whatever is on your mind about Holly-
wood and its stars. Address letters to: Letter
Dept., SCREENLAND, 45 West 45th St., New
York, N. Y.

SCRE ENL AND

LIGHT-PROOF FACE POWDER!

improvement m uetfM

THIS is what happens when your make-up
reflects every ray of light.

SEE the difference with light-proof powder that
modifies the light rays.

Luxor Powder is Light- Proof. If you use it, your face
won't shine. We will send you a box FREE to prove it.

• At parties, do you instinctively avoid
certain lights that you can just feel are
playing havoc with your complexion?
All that trouble with fickle make-up will
be overcome when you finish with
powder whose particles do not glisten

in every strong light Many women

think they have a shiny skin, when the
shine is due entirely to their powder!

Seeing is believing

With a finishing touch of light-proof
powder, your complexion will not con-
stantly be light-struck. In any light. Day
or night. Nor will you have all that
worry over shine when you use this kind
of powder.

You have doubtless bought a good
many boxes of powder on claims and
promises, only to find that you wasted
the money. You don't run this risk with

Luxor. We will give you a box to try. Or
you can buy a box anywhere without
waiting, and have your money back if it
doesn't pass every test you can give it.

Test it in all lights, day and night -
under all conditions. See for yourself
how much it improves your appearance
—in any light. See the lovely softness
and absence of shine when you use light-
proof powder. See how such powder

subdues those high-

lights of cheekbones j
and chin, and nose.

How to get light-
proof powder

Luxor light-proof face
powder is being distrib-
uted rapidly and most
stores have received a

reasonable supply. Just ask for Luxor
light-proof powder, in your shade. A
large box is 55c at drug and depart-
ment stores; 10c sizes at the five-and-
ten stores. ... Or if you prefer to try it
out before you buy it, then clip and
mail the coupon below.

Don't postpone your test of this amaz-
ing improvement in face powder; sooner
or later you will be using nothing else.

LUXOR, Ltd., Chicago s- u--2"38

Please send me a complimentary box of the new-
Luxor light-proof face powder free and prepaid.

□ Flesh □ Rachel

□ Rose Rachel □ Rachel No. 2

Name .

St.&No.

. State.

SCREENLAND

TAKE THE SYRUP THAT

CLINGS TO
COUGH ZONE

If there is anything that common sense dic-
tates, it's this: a cough medicine should do
its work where the cough is lodged ...Tight
in the throat. That's why Smith Brothers
Cough Syrup is a thick, heavy syrup. It
clings to the cough zone. There it does three
things: (1) soothes sore membranes, (2)
throws a protective film over the irritated
area, (3) helps to loosen phlegm. 60<?.

SMITH BROS.

COUGH SYRUP

IMPORTED
SIMULATED

N G

DIAMOND

To introduce HOLLYWOOD'S
Newest ORIZABA Diamond re-
productions. Dazzling, Brilliant,
full of Blazing Fire (worn by Movie Stars)
we will send 1/2 Kt. simulated Brazilian
DIAMOND MOUNTED IN SOLID GOLD
cfTect ring as illustrated, (looks like
$150. gem) for 15c sent postpaid. Money
back if not delighted. Agents Wanted.
FIELD'S DIAMOND CO.— Dept. SU-510
S. Hill St., Los Angeles, Calif. (2 for 25c)

Visual education in the art of the love scene, direct from Hollywood, with Ray
Milland and Miriam Hopkins teaching by an example that's mighty exciting.

Ask Me!

By Miss Vee Dee

, ic=-; „»>■" jt v*";

Hibbard M. If I answer all the questions
you ask about Claire Trevor it will be a
ease of "continued in our next" — however,
here goes for a few. Born in New York
City, March 8; educated in Larchmont
public and high schools ; also, American
Academy of Dramatic Art. On the stage
in "Whistling in the Dark," "The Party's
Over:" signed a contract with Fox Films
in 1933 and has been in pictures ever since.
She is 5 feet, 3 inches tall, blonde hair and
brown eyes, weighs 112, loves living in
Hollywood, is not married, and her most
recent picture is "Big Town Girl."

Nash G. Of course Fredric March is a
grand person, and just wait until you see
him in "The Buccaneer!" Let's hear from
you again and you don't have to address
me formally at all — I liked your letter.

A Sincere Fan. Alice Faye was born in
New York City ; began her career as a
Chester Hale dancing girl. Gail Patrick
was born in Birmingham, Alabama. She is
5 feet, 7 inches tall and can be addressed
at Paramount Studios, Hollywood, Cali-
fornia. Irene Dunne born in Louisville,
Kentucky, is 5 feet, 4 inches tall, with dark
brown hair and blue-gray eyes.

Constant Reader. Address Fernand
Gravet, care Warner Bros. Studio, Bur-
bank. California. He was born in Belgium.
No, Ronald Colman is not married. Jean
Hersholt plays the part of Adolph Kramer
in "Heidi" which is Shirley Temple's cur-
rent picture.

Dnddy G. Yes, some of the stars really
do autograph their photographs for their
fans. You forgot to tell me what particular
star's autograph you wanted, so I can't
tell you to which studio to write. Why not
write to me again ? Always welcome !

Marion C. John King was a radio singer
who was brought to California by Ben
Bernie with his band from Cincinnati
where he had been an air favorite for a
long time. He was signed by Universal

and first won applause for his role in
"Three Smart Girls." After appearing in
several pictures he was given the lead in
"The Road Back." King's latest release
is "Merry-Go-Round of 1938." Address
him at Universal City, Calif.

M. K. F. The feminine players in "The
Last Train From Madrid" were Dorothy
Lamour, Karen Morlev Helen Mack and
Olympe Bradna.

Ann P. Write to Dick Purcell at Warner
Bros. Studio. Burbank. California. Yes.
Richard Cromwell played in "The Road
Back," a Universal picture.

Annette T. Lewis Stone was born in
Worcester, Mass.. November IS, 1879. He
is 5 feet \0)A inches tall and weighs 160
pounds. His first stage role was in a New
York play entitled "Side-tracked." He
played in several more Broadway produc-
tions, and his first work in Los Angeles
was as leading man in the old Belasco
Theatre, where he became the matinee idol
of the West. His first screen role was in
"Honor's Altar;" since then he has played
many outstanding roles for all of the lead-
ing producing companies. Yes, Mr. Stone
is happily married.

Lcta F. The leading characters in "The
King of Kings" were as follows: H. B.
Warner. Dorothy Cummings, Joseph
Schildkraut. Victor Varconi, Jacqueline
Logan. Ernest Torrence and Rudo'ph
Schildkraut. It was produced in 1927.
Sorry, but I can't identTv the picture from
your brief description. "Sweetie" was re-
leased in 1929. Aren't you interested in
any of the recent pictures ? And such swell
ones for you to ask about !

Charleie Mae. Another cowboy fan ! Gene
Autry was born in Tioga, Texas. Septem-
ber 29. 1907. Yes. he is married. Before
appearing in pictures, he became populai
on the radio, in fact his first broadcast
was in 1928. Perhaps it would interest you
to know that "Ridin' the Range" and "Cow-

Screen land

boy's Heaven," those good old cowboy
songs, were written by him. He entered
on his screen career in 1934. Unfortunately,
I don't know about the freckles.

Marie. Where Jimmy Stewart came from
originally? You mean where he was born?
Or did he come to the films from the stage ?
Well, he was born in Indiana, Pa. Went
to Princeton, from there into stock, and
now has a long-term contract with Metro-
Goldwyn-Mayer. Why not write him that
letter you yearn to ? Address it to the above
mentioned studio at Culver City, Califor-
nia, and be sure to mark it "personal."

Edith L. Ronald Colman is "an extra
special favorite" of mine, too ! His eyes
and hair are dark brown, he weighs 158
pounds, and the name of his first picture
is "The White Sister." And are those all
the questions you have to ask about your
favorite? Of course you saw him in "The
Prisoner of Zenda" ?

Jane B. Sorry, but you will have to be a
trifle more explicit in your description of
the player in "The Prince and the Pauper,"
if I am to help you — Errol F4ynn is
handsome enough to answer your "rave"
and if you -write to Warner "Bros.. Bur-
bank. California, with your request for his
photograph, you probably will receive it.

Gtvyrm. Nelson Eddy is 6 feet tall and
weighs 173 pounds. His favorite sports are
riding, at which he rates 100 per cent, and
tennis. Spencer Tracy's current picture is
"Big City" opposite Luise Rainer.

L. H. It has been said of Jack Holt's
fans : "Once a Holt fan — always a Holt
fan." So here goes for a little information
on your old favorite. He was born in Win-
chester, Virginia, on May 31st, the son of
an Episcopalian minister, and the direct
descendant of John Marshall, Chief Jus-

ON'T BE THE

fflO HAS TO
ELEPHONE

I JUST

:alled

<0Y-HE
WAS
UMOST

honey, y^/\^

YOU WOULD
HAVE ROY

CALLING 6 H(, J

tice of the United States, and John Holt,
Lord Chief Justice of England. He re-
belled at being a lawyer ; an outdoor life
lured him. He became a cowpuncher and a
stunt rider ; was starred in many Western
pictures, and right now is as popular as
ever. He has two children, a boy and a
girl. No, David Holt is not his son. His
son's name is John Holt, Jr. (screen name.
Tim Holt), and his daughter's name is

Woo, Woo! Rosemary Lane bites;
Hugh Herbert's eager to imitate.

Elizabeth. His home is in Santa Monica,
Cal. Am glad you enjoyed the story on
Buck Jones. It would be easy guessing the
kind of pictures you like!

/. Baiter. It was Gloria Stuart who was
the bandit's sweetheart in "Wanted, Jane
Turner," an RKO production. Now here's
about her. She has blonde hair, blue eyes,
is 5 feet, 4 inches tall, and weighs 118
pounds. She's married to Arthur Sheek-
man, scenario writer, and is a proud mama.

Mary H. Of course, I'm glad to answer
your questions. The address of Jane
Withers is 20th Century-Fox Films, Hol-
lywood, California. Deanna Durbin can be
reached at Universal Studios, Universal
City, California.

Betty J- S. Constance Bennett played
the feminine lead in "After Office Hours,"
and Clark Gable played the male lead.
"The Unguarded Hour" was way, way
back in 1925; to be exact, it was released
in November of that year.

A. S. D. Oh my, but you do make me
dig way back into the long ago! Irene
Castle's pictures were made by Pathe;
short subjects and serials in Universal re-
leased "Broadway" in which Evelyn Brent
was starred.

West Chester. James Ellison Smith is
Jimmie Ellison's real name. He was born
in, Valier, Montana, the 4th of May. His
home is in Hollywood, and he is married
to Grace Durkin.

Josephine C. "Ramona" was filmed way
back in 1916 by W. H. Clune. In 1928, it
was filmed by United Artists, Dolores Del
Rio playing the leading role. The recent
Technicolor production, starring Loretta
Young as Ramona, by 20th Century-Fox,
is one of the outstanding all-color pictures.

Marine F. New York City is the birth-
place of Philip Reed, and he is 29 years
old. He was educated in Erasmus Hall
High School, Brooklyn, and at Cornell
University.

THEN LOIS TOLD
EDNA HOW SHE
OFFENDED
OTHERS BY
PERSPIRATION
ODOR FROM
UNDERTHINGS.

EDNA BEGAN
LUXING HER
UNDIES DAILY.
NOW . . .

OM, MISS EDNA, TUEY'S
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FO' YOU.' MISTAH
ROY-HE CALLED FO'
FIVE TIMES.'

DON'T WORRY,
HE WILL-
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AGGING

TALKIES

Delight Evans' Reviews
on Pages 52-53

Blossoms
on

Broodwoy
Paramount

Hollywood goes to the musical revue
well again, tries a blend of that old one
about getting a wealthy backer for a show
with an attempted new twist that fails to
click. Result : Songs by Shirley Ross,
specialties by Rufe Davis and others, and
isolated instances of fine acting, as when
Edward Arnold gets a scene to take hold
of, are about all you get. Well staged and
played, but grade B a*s entertainment.

Korda-
United
Artists

Different and entirely refreshing is this
English import about the pother that brews
when an Irish widow's dog is impounded
for license taxes. You never saw a dog
innocently start more amazingly amusing
things than this Patsy. Why. it starts a
romance, almost wrecks a political career,
and puts the Scotch town where it all
happens really on the map. Vivien Leigh
and Rex Harrison head an excellent cast.

52nd
Street

United
Artists

Everything to make a good show — but
what a story ! It's a case of an inane plot
getting in the way of a musical revue that
might well have justified itself merely
from the standpoint of Kenny Baker's
singing, Ella Logan, Sid Silvers and Jack
White comedy, and characterizations by
Leo Carillo and Zasu Pitts. As things
stand it is just another musical, gorgeously
staged but very spotty as entertainment.

HUting
A New
High

RKO-
Rodio

Lily Pons dazzlingly displayed, both in
the visual and vocal planes. A bedizined
package of farce this is — one to end, per-
haps, (we hope), that stuff about the singer
who finally gets that opera audition by
singing in night clubs or whit have you.
If you don't get its satire it'll seem too
silly for fun, but Lily's siiv:'ng and the
corking clowning by Jack Oakie, Eddie
Horton, and Eric Blore just can't miss.

Boy
of the
Streets

M ono-
gram

Jackie Cooper grows up, plays a youth-
ful version of the type associated with
Jimmy Cagney, and does a good job of
it in a melodrama of the slums. Over-
emphasis on the squalor of tenement dis-
tricts and sentiment over the boy's admira-
tion for his father are its fault in common
with most such plays, but this one carries
your interest right up to the climax and
will delight Jackie's fans. It has punch.

Night

Club
Scandal 4

Paramount

Murder will out, and it does here, but
not until you have had an abundant quota
of thrills as John Barrymore, playing the
diabolical Dr. Tindal, has cunningly planted
the crime on the innocent Harvey Stephens.
It's rather exciting melodrama with good
work by Barrymore, Lynn Overman,
Charles Bickford, Evelyn Brent and others
to make an unpretentious production reg-
ister as entirely satisfactory entertainment.

The

Barrier

Poramount

One of Rex Beach's best yarns returns
to the films and has the benefit of better
than most photographic settings as it re-
veals the rugged Alaskan mining country
about which this romance of an Army
officer and a supposed half-breed Indian
girl concerns itself. In an era of much
comedy, something as earnest about itself
as this is may be welcomed by you. Jean
Parker, James Ellison, Leo Carrillo, fine.

SCREENLAND

Edward G. Robinson starring, so you're
sure of a powerful and gripping perform-
ance. His play is a bit on the sombre
side this time— that of a gangster jailed
for a long term and living only to get
out and kidnap his son. because he loves
the boy, and also for revenge on the wife
who married another man. Rose Stradner,
new importation, is the wife; registers
pleasantly. James Stewart also scores.

Second
Honey-
moon

20th
Century-
Fox

Frivolity's fascinations in this case are
the people who perform it in a new co-
starrer for that top love-team of Loretta
Young and Tyrone Power. Stu Erwm,
Claire Trevor," J. Edward Bromberg and
Lyle Talbot are present, so you see there's
real talent here. And if Marjorie Weaver
isn't the cutest trick, of this and many
months, at making a minor part mighty,
then you name one ! Highly diverting froth.

Look Out
for Love

Gaumont-
British

Yes, and look out for Anna Neagle—
for she is an actress of much allure and
many talents. But recently Queen Victoria,
now she's a London gamin with a talent
for dancing that makes her famous after
a foreign diplomat finances — very honor-
ably, you understand — her training. With
Tullio Carminati as the diplomat who falls
in love with her. it's a fine starring com-
bination this entertaining film offers.

M-G-M

The youth, particularly boys, of the land
will have a corking time at this show.
And adults can find sufficient plot interest
to engage them pleasantly throughout the
telling of this story about an English boy
over with his grandfather and a horse they
hope will win a big stake race. Mickey
Rooney and Ronald Sinclair are the chief
actors, but also pleasingly prominent are
Judy Garland, Frankie Darro and others.

Claudette Colbert, Charles Boyer, Basil Rathbone, and the remainder of the distinguished cast
who appear in the forthcoming Warner Bros, production "Tovarich" are typical of the group
of artists who prefer this glamorous refreshing make-up created for them by Miss Arden.
The great stars of Hollywood have found their answer to the relentless cameras, the hot lights,
the demand for glamour and loveliness at any hour of the day or night . . .

They have discovered the new

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A complete line of preparations are available
for professional — and taking a hint from the
stars — for private use too. They are priced at
a dollar {$1.00) each, and sold by exclusive
Elizabeth Arden distributors everywhere.

SCREENLAND

The booklet "Professional Information" S-3,
containing procedure of make-up application
for effective use, may be obtained by writing
Screen an d Stage Laboratories, 5533 Sunset
Boulevard, Hollywood, California.

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Name Age

Address

City state

THE reason Beverly Roberts chose her
bachelor apartment is because it re-
minded her of the Latin Quarter in
Paris, where she struggled and starved
when she was very, very young. She's al-
most three years older now, but she doesn't
look it !

The apartment is in a tall, narrow house,
and consists of a room, bath, and kitchen
at the top of a flight of narrow white
stairs. There are five windows, each
equipped with Venetian blinds but without
drapes and curtains.

At one end of the room is a white fire-
place, with half -doors at either side leading
one to the dressing-room and bath, the
other to the kitchen; at the other end is a
wide day-bed heaped with cushions, oc-
cupied today with a family of gayly colored
teddy bears.

"You see," explained my hostess, her
brown eyes dancing, "Willie told me he
had caught a bear for me while he was up
north making 'Robin Hood.' He told me
over the telephone and one of the com-
pany heard it and sent down the bear family

nside the
Stars'

Homes

Hollywood bachelor
girl entertains — o
gay, informal visit at
Beverly Roberts'
charming apartment

Betty Boone

Now she's a Hollywood
heroine. But only three
years ago, Beverly Roberts
lived in Paris' Latin Quarter
— and her new home re-
flects that gay informality.
Left, our hostess. Below, at
ease. See the teddy bears?

so I could get used to the idea!" C Willie
is William Keighley, director, Beverly's
fiance.)

Her long blue hostess gown made her
look taller, but it added to the impression
she gives of a little girl playing at being
grown-up. Her hair is soft and fair and
curls on her neck. She's that pleased that
it's growing.

"You can see for yourself that we have
no privacy," she pointed out. introducing
the occupant of the pint-sized kitchen,
whose name is Maudie and who is sub-
stantial and dark and sympathetic, with a
gleaming smile. "The other night my com-
pany was shouting away — everyone seems
to yell once they get here, somehow — and
we could hear shrieks of mirth from
Maudie whenever anything was said that
tickled her. Maudie's like that — she weeps
when I weep, and shrieks when I shriek!"

We sat down, Beverly in a chintz-cov-
ered chair, I in a rust-colored one, the
white coffee table between laden with tea
and sandwiches.

"But when I serve dinner I use the com-

SCREENLAND

bination card and dinner table," confided
Beverlv, "it folds up and I painted it my-
self and covered it with magazine covers.
Am I keen about it! Janet and Margaret
Gaynor are coming to dinner tonight. Want
to "know what we'll have?

"Maudie's special spaghetti, mixed green
salad of lettuce, romaine, chicory and
watercress, with Golden Rich cheese and
coffee for dessert. Poor Maudie's trying, to
reduce and I ought to gain, so she's put-
ting on weight! I'm her little picked
chicken, you know ; she's here to take care
of me, and she'll do it. or else !

"I wish you'd see her go shopping with
me! She went with me to buy my wooden
plates— Oh, Maud-ie! Bring Betty one of
the wooden plates! — and I had to take
what Maudie thought we could afford. The
ones I wanted cost fifteen cents more. But
it was o.k. Then we bought some darling
onion soup pots. — Maudie, the onion pots —
quick! — Oh, thanks — and now you're here,
Maudie, tell Betty how to make— Look,
Betty, these are the plates and pots."

Maudie opened her mouth to tell me her
culinary secrets, but Beverly broke in,
excitedly :

"Wait a minute, let me tell about my
onion soup first. When I was in Paris,
starving and looking for work, I lived on
onion soup. In spite of that, I love it!
Listen : you must have some good beef
stock. Consomme will do, if you haven't
anything else, though. You put in the usual
salt, pepper and seasoning. You can use
some of the water you've boiled your onions
in, if you like. But it's the onions that
matter. 'When you've boiled them, you put
them in hot fat— not too much of it — and
burn them. That's what gives the different
taste to my soup — burning the onions. Have
your bread toasted, cut in squares, and
spread with yellow cheese (Blue Moon).

Ann Graham, who deserted the
stage for a career in pictures.

Pour on the heavenly onion soup and you
have a dish fit for a king !"

She laughed and tossed back her curls. ,
"Oh, yes, I'm a cook, if necessary, al-
though not often. But Maudie is a real
cooking genius. Maud-ie! Come and tell
her how to make angel food cake. That's
her specialty."

ANGEL FOOD CAKE

Whites of 15 eggs
\y2 Cups Swansdown Cake Flour
1 teaspoon Cream of Tartar
1 teaspoon Burnett's Vanilla
J4 teaspoon salt

The trick lies in the way the cake is
made. Egg whites may be beaten with a
wire egg beater, one way, no shifting
around. Sift the sugar, cream of tartar and
salt together, and sift the flour 4 times.
BUT fold in the flour the very last thing
of all. Bake it in a very slow oven for one
hour. This is important. When it is done,
turn it upside down on a pan.

"We like Eggs Bernay at this house,"
said Beverly. "You poach your eggs and
serve them with cream sauce and chopped
chives. That's all there is to it."

The telephone rang. It had been ringing
most of the afternoon, with Maudie an-
swering and subduing the callers.

"Maudie's like that," said Beverly, tap-
ping a silver slipper on the rust-colored
rug. "If anyone comes or calls up that she
doesn't think I should see or talk to, she
shoos them off. 'You don't want to _ see
him,' she says, and he just doesn't get in!"

The room was full of flowers, but more
arrived as we finished our tea. A box of
sweetheart roses.

The telephone rang again. We could hear
Maudie in the dressing-room shrieking with
mirth.

"That was a gentleman who wanted to
know was the worm here," she informed
us. "He kept asking for the worm, and I
says we don't have any, and he says he's
the worm's pappy, but he must have the
wrong number."

"That's the kind of place this is," giggled
Beverly. "Crazy things happening all the
time !"

CULTIVATE
CHARM

in your Hands''

soys

Joan Bennett with Henry Fonda
in Walter Wanger's success,
"I MET MY LOVE AGAIN".

(Walter Wanger Star)

,PAGm^-totS>^ -ft

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ELEANOR FISHER... Paramount Plsyer

STARLET

-j( Here is Eleanor Fisher, charming beauty contest winner, who
canie ro Hollywood co play in Paramount's new picture "True
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All eyes — and that's something
for a rabbit; but this one lets
his ears take care ot them-
selves— because June Lang has
made him her special pet.

FLASHES from

FILM TOWN

THE current love situation: Gaynor and
I Power are in full flame, with Stanwyck
and Taylor ecstatically reunited for the
second chapter of their romance. Lombard
and Gable continue to care in their own
big way. The other day Carole, who even
dons high boots to go duck hunting, had the
entire "Food For Scandal" troupe in an up-
roar. One of those nutty death rumors had
mysteriously popped up and it had been
reported that Gable was suddenly dead.
Rosalind Russell and James Stewart are
teaming, but it really isn't a great affair.
Eleanor Powell and Wayne Morris VA-°-
wise date often, but not with a determined
glint in their respective eyes. Since Wayne
discovered Eleanor, though, he no longer
haunts the night clubs. With her he takes
long drives and goes to neighborhood
movies. His ex-flame, Dixie Dunbar, pre-
fers Kenneth Howell. And so it goes.

ALICE FAYE loves Tony Martin more
* than ever since she's found out that,
at the age of eleven, he almost went to
juvenile court because he insisted on tack-
ing up election posters for a man he ad-
mired. The police didn't approve of the
strategic sites Tony chose. "I think it illus-
trates his loyalty," Alice sighs. She doesn't
mind if he does collect traffic tickets for
hurrying. "He can't be perfect!" She wishes
she had time to stay home and surprise him
with potato pancakes, his pet dish. They
contemplate such a delightful happening be-
tween "takes" on their current picture to-
gether. Anyway, Mr. Zanuck's presented
them with a honeymoon tour of Europe
and what could be better?

UNA MERKEL is sporting a gold daisy
on her charm bracelet. It is a present
from Carole Lombard. They did a picture
together and were up on location at Lake
Arrowhead. Mr. Gable dropped around
often, -to see Carole, naturally. Una's name
in the film was Daisy.

THERE is no connection, but Mary
I Carlisle has been getting these leads with
Bing Crosby since Everett Crosby has been
her agent. And now Mary goes places with
Everett, who is getting a divorce from his
non-professional wife. Bing, by the way,

proved his loyalty to his brother Bob in a
concrete fashion. When Bob's orchestra
played at the Palomar, Hollywood's pet
giant dancehall, Bing made several personal
appearances and entertained magnificently.

yOU won't be seeing Elizabeth Bergner
in an American production and here's
why : Hollywood wants her, but not her
director hu-band who has had full charge
of her English films. Elizabeth can come on
over any time, but she won't work for any
other director, and so she'll not be a threat
after all. The Bergners' working set-up in
London has always astonished the Holly-
wood girls. 'Liz relies on husband Paul
Czinner like Marlene used to depend on
Von Sternberg. But Dietrich could function
without closed sets, whereas Bergner can't.
Or won't. "A nice system if you can get it,"
mutter the local ladies.

THERE is nothing, vows Henry Fonda,
more strange than the long arm of coin-
cidence. ( He ought to know, since he and
his ex-wife Margaret Sullavan and her hus-
band Leland Hayward are planning to
produce plays together.) Henry didn't think
of that coincidence, but rather of the one
which placed him opposite Bette Davis in
a picture. Bette had to remind him. Some
years ago, when she was bent on turning
actress, she went to the Cape Cod Play-
house to ask for a role. They had none for
her, so she became an usherette for them.
And who do you suppose was starring on
those boards in "The Barker"? None other
than Henry himself. Bette maintains, how-
ever, that she did not swear n'ghtly. "That
man's going to be my hero in Hollywood."

S GREENLAND

The embrace of lovers their
wild flight from an avenging law through
the awesome beauty of a South Sea paradise
...Perilous escape that reaches its climax
as the roaring hurricane descends upon
them in all its thundering fury !
In "The Hurricane" the authors of "Mutiny
on the Bounty" have contributed another
stirring tale of love and adventure. In cost
of production, in the two years of effort, in
the fond care with which it was produced,
it proudly carries on the Samuel Goldwyn
tradition . . . truly a must-be -seen picture.

SCREENLAND

20 SCREENLAND

. - - ■ — — — -

An Open Letter to

Ann Sothern

Ann Sothern could be a
Glamor Girl if she'd bother —
see portrait at right. But she
has been relegated to playing
opposite Gene Raymond,
right below; and she likes to
sit and knit, below. What's
the answer? Read our Open
Letter here.

"TNEAR ANNIE:

\~J Now that's what's the matter with you.
People like me can call you "Annie" and get away
with it. This should not be.

You do not look in the least like an "Annie." And
yet everybody who knows and likes you calls you that
and you take it and like it, too. I wish you wouldn't.
I wish you would spend more time looking in your own
mirror and trying to realize that you are face to face
with a genuine Glamor Girl.

I have a suspicion you don't like Glamor Girls and
wouldn't want to be one. But you shouldn't be a
Handy Annie, either. You are one of the most gorgeous
and scintillating blondes in all Hollywood, but you
don't live up to it. What's the latest in your life? Why,
you're knitting, in your nice, comfy rocking chair.
And you let 'em take pictures of you rockin' in your
rockin' chair and knitting away like mad. What a
waste. You give out story after story about your long-
distance marriage to Roger Pryor, and how you miss
each other, and it's all true; and you have home pic-
tures of yourself with a mutt dog — a darned sweet
mutt, too — when you are so definitely the wolf-hound
type for "pet art." And you have kept on playing
Gene Raymond's sweetheart in picture after picture,
until Gene, not you, decides to pack up his makeup
kit and move to another studio where he can get a
job playing some other part for a change. Seems to me
Mr. Raymond could do a whole lot worse than playing
in pictures opposite you; but no star seems to want
to be teamed if he or she can help it; and Mr. Raymond

apparently can help it, and is going to.

But what about you? Are you content to keep on
making more or less indifferent movies and, between
scenes, sittin' in your rockin' chair, rockin' and
knittin'? No. I can't believe that you are content. I
remember you scintillating in that gay picture with
Francis Lederer, and I thought: "Ah, at last, Ann
Sothern is going places." But the only place you went
was back to RKO to make more Gene Raymond pic-
tures. Can it be you are resigned to such a fate — or
worse? Think what can happen on that lot. Ginger
Rogers can become great-without-Astaire, and Hep-
burn can come back; but they also make pictures with
Milton Berle and Parkyakarkus; and if you're so sweet
and amiable, one of these days they may come upon
you sittin' and rockin' and knittin' and say, "Aw,
come on, Annie — be a good sport and help us out,
just this once." Don't let that happen.

Here you are, one of the really original lovelies in
Hollywood; with a grand voice both for singing and
speaking; and terrific talent, and a sense of humor —
but maybe it's that sense of humor that stops you.
Maybe you can't be bothered putting on the old act.
If so, I honor you; but I wish that just once you would
behave like a Glamor Girl, get that One Good Big
Role, and be a beeg success; then I would be satisfied,
you would be set — and you could go right on rockin'
and knittin' — but in some corner where the camera-
man can't catch you.

Jeanette MacDonald and Nelson Eddy made movie
box-office history beginning with their first film
together, "Naughty Marietta" — shown in scene at
right. Then they repeated their success with "Rose
Marie," at left above on opposite page; and
surpassed even their own triumphs with "Maytime."
Their next film together will be "The Girl of the
Golden West." Now read our timely exclusive story.

MacD ona

■Feud ?

Id- 1 ddy

IT SEEMS I have been playing Rip Van
Winkle again. I came to with a start the other
day and discovered that for months now one
of the biggest feuds in history has been raging
right under my nose, and me much too interested
in my little gnomes to realize it. I suppose, how-
ever, that it is true that ''the family" is always
"the last to know." It is always the wife who
is the last to know about "the other woman,"
and the mother who is the last to know about
Junior's drinking. So I suppose it is only hold-
ing with the tradition that we in Hollywood
should be the last to know what everybody else
in America seems to know already : namely, that
two of the more illustrious members of our big
happy family, Jeanette MacDonald and Nelson
Eddy, are feuding like mad. I was a little miffed
to have to find out about it from Canada,
Colorado, Indiana and Texas. Are the mani-
curists in the Hollywood beauty shoppes
slipping ?

Judging from
MacDonald-Eddv

the letters written by the
fans — who don't seem to be
particularly inhibited — the feud has been going
on ever since "Naughty Marietta," but it

become a real good conflagration until

didn't
after
to an

"Maytime." In which picture, according
Eddy fan who evidently went equipped with
a stop-watch, Nelson only had nineteen minutes
on the screen! A MacDonald fan intimated that
that just might happen to be nineteen minutes
too much! (What a chump I must have been
sitting there enjoying that picture without timing
anybody.) Another fan writes, "I'm afraid I'm
not converted into a MacDonald fan even with
'Maytime.' I admit she has a lovely voice, acting

The real truth about the
rumors surrounding the
screen's greatest singing team

By Elizabeth Wilson

ability, and she is beautiful, but why did she try to steal
so many scenes?" Another writes, "I agree that Jeanette
MacDonald has a lovely voice, she is pretty and her
acting is fine, but just where would she be if it were not
for Nelson Eddy? The box-office records show that she
was not quite so successful in pictures before she was co-
starred with him. It took him to bring her to the top
and yet he is continually given the back seat. Singers
who are any singers at all know that without the accom-
panying music their singing wouldn't be so beautiful.
So it is with her and Nelson Eddy as the accompanying
singer." Another writes, "Why all the fuss over
Nelson Eddy ? Jeanette was a great singing star
long before he was ever heard of in pictures. If
she hadn't been so generous and considerate of
him in his first picture — and everybody knows
he couldn't act — his career in movies might not
have been quite so brilliant."

"I hope 'Rosalie' will be such a personal
triumph for Nelson," writes an Eddy enthusiast,
"that he can demand, and get, his just deserts
in the next Eddy-MacDonald film. M-G-M may
be a woman's studio, but MacDonald can't carry
a picture without Eddy. Her voice is shrill and
squeaky and her false teeth just ruin the scenery
for me unless a much handsomer man than the
calf-faced Jones, and one with a glorious, real
voice like Eddy's, is in the offing to back her -
up. Thank you." And thank yon, ma'am, but
don't you think you're being a bit nasty? Miss
MacDonald's teeth are not false, and Mr. Jones
in no way resembles a calf. And you ought to
go right upstairs and wash your mouth out with
soap and water.

Still another fan writes, "People who say the
rumors of the Eddy-MacDonald feud are cheap
talk are misinformed. Don't they know that
Nelson and Allan Jones both went to Jeanette's
wedding-circus at the studio's command? It's
all true that MacDonald caused numerous delays
on the 'May time' set because she was determined
to occupy as much footage as possible. She is
hurting herself just like Grace Moore did by
being a camera-hog." Fine talk! Well, I suppose
it is human nature that people should enjoy a
good feud ; me, I love 'em, and it is only natural
to want to "take sides." It's no fun being namby-
pamby in this world about anything, and par-
ticularly not about (Please turn to page 86)

ver

...

"Fussiest patron" is William Powell,
precise and demanding in the matter
of the welfare of his hair and mous-
tache— but always likeable.

T ISN'T a Trocadero, or a Clover Club, a Cinegrill, a
Victor Hugo's or a Brown Derby; it's no Swing Club,
Hawaiian Paradise, or South Seas; it's much smaller
than the Roosevelt lobby, less pretentious than the Cocoa-
nut Grove, and older than the Paramount Studios. Bnt
Hollywood "bigs" have gathered there since the thought
that celluloid might be used for something besides combs
and toothbrushes was first generated.

Springing from the shop that once was his father's,
Bill Ring's Barber Shop on Bronson Avenue is a four-
chaired salon where Doug once courted Alary, where
Valentino trysted slyly with Mima Banky, where Clara
Bow escorted Rex Bell to see that his tonsorial opera-
tions were performed to her liking, and so on and so on ;
but more important, it can be said with little chance of
contradiction that more million-dollar heads are being
groomed, more two-million dollar faces shaved, and more
famous moustaches cared for today at Bill Ring's than
in any other single room in the country.

But let's get a look at some of these big guys in the
chair.

'"The customers I think I could count on if all the
others decided to let their hair grow," says Bill, "are
Dick Aden, Stuart Erwin, Gary Cooper, Bing Crosby,
Jack Oakie, and Joe Penner.

"1 think any one of these boys is as much a fixture
here as the barber-chairs or the mirrors on the wall," he
told me with feeling.

When Oakie is working at Paramount (nearby) he
busts into Bill's nearly every day.

"Give me the woiks," is Jack's standing daily order.

"By this we know he means a shave, facial, shampoo,
manicure, and shine," interpreted Bill. "Jack doesn't care
what he does with his money. Just a big, happy, good-
natured guy, spending it as it comes. The fact that he

"The holiness
of his mous-
tache" is held
against
A d o I p h e
M e n i o u ,
above. Dick
Arlen, left, is
always smil-
ing, and \vell-
wearing.

Barber-shop manners, as practiced by
some of Hollywood's more luminous
males, amusingly revealed

Barry English

Title of "most fidgety customer" is
conferred upon Fred MacMurray,
shown here as he submits more or
less patiently to the barber's
ministrations.

has bought some twenty* different brands of trick razors
from me doesn't seem to have interested him as yet in
shaving himself. 'They only make it for one thing,' says
Jack in regard to gold, 'and that's what I'm doing
with it.'

"After a stretch of good behavior," Bill continued,
"coming in every day regularly for a week or so, Oakie
suddenly becomes barber-shop enemy No. 1, and then
we have to watch him. He simply forgets, or neglects to
come in. Two or three days later he appears in the door-
way, a sheepish grin on his face, sporting a stubble that
might well be used for scouring out pots and pans, and
my barbers make for shelter. Running about even with
Pat O'Brien, Jack has probably ruined more of our
razors than any dozen and a half ordinary customers."

In the chair, Jack again vies for top honors in the
competition for title of barbers' chief nemesis. Always
talking, laughing at Oakie jokes, or twisting his head to
make sure he has an audience, Jack is one of the most
difficult of clients to work on. "But don't you think this
place wouldn't suffer if Jack stopped coming in here,"
said Bill in a glow of conviction. "I really should be
paying Oakie.

"Bing Crosby is probably our most informal cus-
tomer, and the most easily satisfied. His tonsorial^ wants
are few. 'Just give me a hair-cut — plain,' is Bing's cus-
tomary request. And he never tries to tell the boys how
to do it."

Unaffected and alien to forms of vanity, Bing is al-
most entirely oblivious to matters concerning his per-
sonal appearance. He feels that he can generally shave
himself and wash his own face, he dislikes a high polish
on his shoes, and when asked if he would like a manicure

Bing, before and after shav-
ing! Crosby is the barber's
most informal customer, and
the most easily satisfied.
He's alien to affectation or
vanity.

lie usually responds in a
polite negative. The last
time he was solicited for
a manicure his reply,
typically Crosbian, was
this: "If you doctored
up my nails, how do you
think my friends would
identify me in case of an
accident?" This he pur-
sued with the remark,
"And I'd probably bite
them off, anyhow, the
minute I got outside."

According to Tony, the barber who does most ot
Crosby's work, Bing relaxes in the chair and is com-
paratively easy to work on. He is ordinarily quiet dur-
ing the operations, and quite often will doze off to sleep.
"When questioned about one of his various hobbies or
enterprises, though," says Tony, "Bing waxes immedi-
ately falkative and takes his place as one of our ace
'anecdoters.' His stories about golf, horse racing, and
boxing have the added flavor, as contrasted with the
usual yarns heard in here, of being based on knowledge
and experience in
the fields under dis-
cussion."

Of Hollywood's
more serious males,
Gary Cooper is
probably Bill's most
dependable cus-

Gary Cooper, "most
dependable patron," as
he looks just before em-
barking upon a formal
evening, tonsorially and
sartorially perfect. Far
right, the face you can't
mistake, even when cov-
ered with lather in the
barber's chair — yes, Bi
Fields'!

tomer. He has been com-
ing to the Ring establish-
ment for nearly ten years
and has had the same
barber, Harry, do his
work for eight out of
the ten. Even when he
is too busy to come to
the shop, Gary's loyalty
continues and he calls
Harry to his studio
dressing - room, whether
it be on the adjacent
Paramount lot or a lot
in some remote section
of town.

"In the chair," says
Harry, "Gary is one of
the quietest, most unob-
trusive persons I have
ever worked on. He
rarely speaks unless he is spoken to, he answers questions
generally in monosyllable^, and yet he is most polite,
pleasant, and on occasions comes out with a witty re-
mark that shows him to have a truly deep and keen sense
of humor."

Gary is a member of the Bill Ring group known in the
inner circle as a "newspaper reader." Along with Melvyn
Douglas, Director Frank Lloyd, and Producers Lubitsch
and Schulberg, he spends the greater part of his time
during a tonsorial session enveloped in the world events.
"And half the time," says Harry, "no one except me
knows that he's in the shop."

Says Gary, regarding the whole thing: "T believe that
to most actors, and especially to those who, like myself,
play a large number of historical character roles, the
barber-shop is like the golfer's nineteenth hole, or the

oasis in the desert to the weary traveler. With the
roles assigned to me in such plays as "The Plains-
man,' 'Souls At Sea' and 'Marco Polo,' it has been
necessary for me to go weeks on end without a
haircut, and for days without shaving. You can
believe me it's a relief when the final scene is shot
and I can dash over to Bill's and have the whole
business taken off. (Please turn to page 74)

om pa ny

Youth serves itself! The story behind
the success of newcomers who leaped
to fame playing with the screen greats

By Liza

Dorothy Lamour, signed by her studio for "B"
pictures, soon was playing opposite of the best
of the stars. With W. C. Fie'ds in "Big Broad-
cast of 1938," top center. Dorothy herself, right
and above. Andrea Leeds made good^ in a big
way. Below, with Adolphe Menjou in "Goldwyn
Follies;" left, keeping fit; and with McCarthy
and Bergen, upper left.

IT IS all pretty swell
how the young kids
of Hollywood are
stepping into line with
the experienced players.
I have nothing but the
greatest admiration for
them. Just imagine be-
ing asked to dance on
the screen with Fred
Astaire, or exchange
peppy patter with Pat
O'Brien, or co-star with
the superb technician,
Brian Aherne, or go
completely mad in a bit
of gooferie with that
foremost comedian, W.
C. Fields! Why, the
very thought of it would scare the living daylights
out" of most young people with acting ambitions. But
Joan Fontaine did it. Wayne Morris did it. Olivia
de Havilland did it. Dorothy Lamour did it. They
held their own and not once did they look silly. Those
kids, all of them depressingly young and with prac-

Olivia de Havilland takes and
makes good in roles that would
scare many experienced ac-
tresses. Right with Leslie How-
ard; left, with Errol Flynn;
below, smiling confidently.
Wayne Morris, right center
below, put punch in his first
picture; played next with
Pat O'Brien and George Brent.

tically no experience, stepped
right in and started pitching
like troupers. (Several of the
more famous glamor girls took
a good look at Olivia in "The
Great Garrick" and decided
then and there that the time
had come for them to retire.)
So let's give a loud lust}- cheer
for the kids who have proved
that they can take it, these
juniors who are destined to be-
come the stars of tomorrow.

Besides Olivia and Joan and
Wayne and Dorothy we have
Andrea Leeds, who stirred
you so deeply as she climbed
up the stairs in "Stage Door."
Andrea held her own with
those two professionals Kath-
arine Hepburn and Ginger
Rogers and well nigh stole the
picture right from under them.
Andrea is from Butte, Mon-
tana, by way of the Chicago
Conservatory, and according
to the famous director Ernst Lubitsch she will eventually become one of
the greatest dramatic stars on the screen. Her resemblance to Katharine
Cornell is remarkable. Andrea, a college girl who has learned to use her
head, feels that she can hope to hold her own with the big stars on the
screen only in so far as the script is suitable to her talents. After she was
well received by the press in "Come and Get It" Mr. Goldwyn, to whom
she is under contract, assigned her to the heavy part in "Woman Chases
Man" — the role that was finally played by Leona Maricle. Andrea read the
script and then called on Mr. Goldwyn iii his office and promptly informed
him that she would not play the part. "It isn't the kind of thing I can do,"
she said, "I would be utterly absurd in it." Mr. Goldwyn stormed. "I've
heard many things in my life," he roared, "but I never thought I would
hear a beginner tell me how to cast her." He promptly suspended her and
took her off salary. It looked as if Miss Andrea Leeds' career would close
practically before it was started. But she held her own against Goldwyn,
and finally the thought that a young twit of a girl had defied him, the Great
Goldwyn, amused him so that he forgave her and loaned her to RKO for
a part in "Stage Door" — the part that made her famous over-night. She is
working now in the "Goldwyn Follies." Andrea knows exactly what she
is doing. She refuses to play the social angle or the publicity racket in
Hollywood^-none of that "easiest way" for her — but she'll be a star before

Joan Fontaine, duplicating her sister
Olivia de Havilland's amazing ac-
complishments, played opposite op-
eratic star Martini, then was asked
to dance with Fred Astaire. Joan
affects a sophisticated mood, right.

Marjorie Weaver was all ready to
pack for her home in Tennessee
when they offered her a part in
"Second Honeymoon" with such
polished players as Tyrone Power
and Loretta Young. Marjorie took
it, made it a hit, and now she's on
top. Right, with Tyrone; close-up
below, and in a revealing study,
center below. Isn't she a honey?

you can say Jack Robinson.

"The hardest time I had hold-
ing my own with experienced
players," says Andrea, "was in
the' test I took for 'Come and
Get It.' I had to spend the en-
tire day being kissed before the
camera by Frank Shields, John
Howard Payne, and Charles
Lowery. I counted back at the
end of the day and discovered that I had
been kissed 365 times. My lips were prac-
tically worn off — I tell you those young
men were very experienced kissers."

And there's Marjorie Weaver, the little
gal from Tennessee, who, broke and dis-
couraged, was all packed ready to go back
home when Director Walter Lang decided

to give her a
crack at the
southern girl
part in "Second
Honeymoon."
Mr. Lang had
tested several
young actresses
for the part but
the practically
unknown Mar-
jorie Weaver
seemed to him
the best bet.
Old-timers Lo-
retta Young
and Tyrone
Power — well,
old in experi-
ence at least,
(Please turn to
page 89)

Ik.

HHHb

How Crawford
Keeps Glamorous

_ Because she never stops living, never stops
loving! Read the most colorful of all Joan
Crawford close-ups here

By Jerry Asher

NOT so long ago my good friend Joan Crawford
asked me to meet her in the studio commissary
for lunch. That in itself was an event because
Joan almost always eats in her dressing-room, w here she
can apply a completely fresh make-up for the afternoon's
work. But there was no afternoon's work on this par-
ticular day. Joan had just completed her role in "Man-
nequin." To feel free and to he able to look hack on an)
completed job is always a joy in Joan's life. So in a way,
our date was sort of a celebration. Joan could relax and
lunch in leisure. We were to meet "sharply at twelve."

Crawford, perennial
Glamor Queen of the
screen, and how she
does if! Far left, on
opposite page, latest
in her long series of
Glamor portraits.
Lower left opposite,
with her new screen
lover, Alan Curtis, in
"Mannequin." Sur-
prise! Crawford poses
for "leg" still for scene
in her new film — far
right. Above, a Craw-
ford kiss with Spencer
Tracy as the lucky
man, in "Mannequin."
Right, a fashion-wise
close-up.

Determined to be ahead of Joan just once in my life,
I arrived early. At the table next to me were a group of
visitors who almost stared themselves into a stupor. It
was easy to guess that this was their first time in a studio.
And they were not to be robbed of one tiny curious
moment. The doors swung open and in walked Joan.
There was no unusual sound or unmistakable sign to
herald her arrival. But the entire assemblage stopped,
turned, and made mental note of Joan's progress toward
my table. Studio stenographers looked and almost auto-
matically reached into handbags for compacts or mirrors.
The men in the room seemed to straighten back in their
chairs, tuck in stray cuffs, readjust ties.

Our friends at the next table stared at Joan with open
admiration. Thev took in her smart black crepe street
dress, her Russian-looking hat with its peasant embroi-
dery, her silver fox coat (with shoulders just a little wider
than anyone else's shoulders), her black veh'et gloves,
her stunning backless laced pumps, her black velvet bag,
the star sapphire clip at her throat. They' noted the clear-
ness of Joan's skin. The perfect roll of her page boy bob.
They stared and they stared. Just before Joan reached
my side, I heard one of the visitors say : "There's one
thing about Joan Crawford. She certainly does give you
your money's worth. She's everything one expects an
actress to be."

Truer words could never have been said at that mo-
ment. Joan is everything one expects an actress to be —
because Joan sincerely loves (Please turn to page 72)

onressions o

'■| 'YE a proposition to make you,'
whom I had just been

said the
"Do

writer

you d!

| checkers?"

"No1 if I can help it," I said, and mentally cursed
my luclc.

Most writers

secretaries m

granted what is sometimes called genius

take for
there are
could get

v\\ I

hut

several better names for it. I wondered how I
out of the assignment.

"Playing checkers helps me to think," continued my
new Nemesis. "To make the game interesting I propose
to give you a fifty-dollar stake, the two of us to play for
five dollars a game until the day my six-month contract
expires, when the loser will pay off."

"At five dollars a game it won't

take me long To lose the fifty dol-
lars." I said. "What happens then?"

'Tf you're clever you can make
more than the fifty dollars," said the
writer.

Though I had never done much checker playing I did
have a high opinion of my cleverness. I agreed to the
proposal, determined to win as much as I could. I read
hooks on checker playing, analyzed the checker problems
given daily in the newspapers, and spent my free eve-
nings at a checker club where I kibitzed at games played
by experts.

After six months of playing, sometimes starting at
nine in the morning, with no break for lunch, for a solid
eight hours a day, weeks at a stretch, I retained forty
of the original fifty-dollar stake. I know now how Judas
felt when he collected his thirty pieces.

How does one get to be a valkyrie in this checker-
playing Valhalla? Specifically and naively, I, a young

girl with some newspaper
and magazine experience, four
years ago left the Middle-West
for Hollywood to become a
scenarist. I became and contin-
ued to be a Writer's Secrctarv.

Our drawing gives you a satirical slant on, of all
things, a Hollywood story conference. You'll read
all about it in this grand, gay story. Left, Fred
WacMurray and Carole Lombard in a scene from
a film with an amusing story behind it. At lower
left, Thyra Samter Winslow, one of the better
screen writers.

Li VI'

o y woo

d s

ecretary

The first time I tried, my second day in Hollywood,
on the thirteenth of the month, through no pulling of
strings — for I knew no one — I got a job. Sadly, it was
not a Friday, but it was as simple as that.

The studio was Twentieth Century. (This was before
Darryl Zanuck went on his biggest hunt and caught the
Fox.) I had read in one of the gossip columns something
about the quarrel Zanuck had had with Jack Warner
and that his newly organized firm on the United Artists'
lot boded well to prosper. I called, asked for an inter-
view, obtained one, and though I admitted not knowing
a thing about script form and terminology, with several
other girls was put to work on a temporary basis for a
rush job, to start at nine the next morning.

At the requested time we assembled in a large room
with desks lined up on either side. The immediate con-
cern of the department "Madame" was not advice or
instruction, but "Have you all an ash tray?"

Shortly after Nunnally Johnson's script came in and
all the typewriters were roaring,
two messenger boys arrived
each carrying a stack of bound

Discovered: a new slant on the inner work-
ings of fantastic filmdom, by a sparkling
new writer who knows her Hollywood as few
know it. You'll be amazed and amused —
don't miss this!

By Kathleen King Flynn

scripts. An error had to be corrected. This meant every
copy had to be dismantled, the page removed, restencilled,
remimeographed and rebound. All because George Arliss,
who was to appear in the picture and who was super-
vising the script, did not want one word of business to
read " 'red' rose in buttonhole," but " 'pink' rose in
buttonhole." And the picture was not in technicolor.

Somehow or other, with

At right, Dorothy Parker and Alan
Campbell, noted Hollywood writing
team. You'll relish reading about them
and other "big name" story creators.
At lower right, the brilliant Nunnally
Johnson, who started as a writer and is
now an associate producer, one of the
best in Hollywood.

the unbound scripts lying
(Please turn to page 95)

Webster defines "Hurrlcone" os "Vio-
ent whirlwind." That describes Jon
Hall's effect upon the ladies in his
movie audiences who discovered him
in a big way in Samuel Goldwyn's
breathtaking picture. Right here, Jon
Hall himself. Left above, in action;
below, as he appears in his next film.

urncane

god

"Terutevaegiai.'

heaven's

laughed.

highest

JON HALL, the incredibly Jiandsome young man in
"The Hurricane," has an unpronouncable name his
Tahitian friends gave him
"It means "young white
shelf — that's me," he said, and

"I'm. almost read)- to admit it's true at this point. If
I'm not on heaven's highest shelf I'm darned near it :
one day no job, the next da}' I'm given the lead in
'Hurricane.' Think of that for a break! And 'Hurricane'
of all pictures ! What luck ! I was born in the South Seas.
I learned to swim around coral reefs almost before I
could walk. All the magic and beauty of the islands, the
native songs, the superstitions, I knew by heart when
most kids are reading 'Huckleberry Finn.' "

"My grandmother was born in France but lived and
died in Tahiti. She was a wonderful person," Jon smiled
apologetically for his enthusiasm. The natives called her
'Lovina.' Men like Frederick O'Brien, who wrote 'White
Shadows of the South Seas,' and Somerset Maugham
knew and loved my grandmother. They put her in some
of their stories. W hen she died, she was mourned by
everyone — English, French, and Tahitians. My grand-
dad was Captain Chapman. He was the first Xew Eng-
lander to establish tin and lumber trade between Tahiti

New whirlwind hero has personal his-
tory as romantic as he looksi- Read
all about Jon Hall here

By Adelheid Kaufmann

and America. A real pioneering sort, the Captain — "
Before I go any further in letting you in on all the
things this amazing young man told me I've got to make
a confession. Sometimes I forgot to listen ; I just looked
at Jon and marveled. He's a young god whether he
admits it or not. He's tall and lithe and stunning. He's
unspoiled and clear-cut. He has the rare quality of mak-
ing friends the world over. In the islands he played
around with the natives, heating them at their own
games — even winning the swimming and diving cham-
pionship of all Tahiti. In London lie was a friend of the
former Prince of Wales and the rest of the glittering
Mavfair crowd. On the French Riviera Jon was adored
by the gay international set (Please turn to page 94 )

Powell Pools His Interests

^^^^

Looks nice and easy,
doesn't it? Just loaf-
ing around with a
charming new girl,
on the edge of a lily
pool, and maybe
singing a new song —
so Powell calls that
work, eh? Well, yes,
he does, as a matter
of fact. The pool
scene for "Holly-
wood Hotel" —
which occurs when
Dick and Rosemary
Lane retreat to a
garden to rest their
feet after dancing —
took two hours to
film after a half day
of rehearsals. Dick
is discovered, above,
between "takes."
Center below, the
actual filming of the
scene. Far left, as he
looks in other
scenes, at ease.

A pretty girl, a garden pool
— and Dick Powell, getting
his feet wet for art

Tne Men In H

(Movie) Life

Lovely Lombard is most in
demand to be made love to ty
Hollywood's prise actors

"Ooh, la la!" Fernand Gravet, left, might be
saying as he contemplates his easy screen job
of loving Lombard — if M. Gravet did not
speak such flawless Oxford English. But
whether accented or not as his roles require,
the irresistible import meets the amazing
American in Mervyn LeRoy's "Food for
Scandal," and the result is — cinema fireworks.
Below, Fredric March seems pleasantly
melancholy as he doubtless remembers work-
ing with Carole in "Nothing Sacred." Mac-
Murray Misses Lombard! Anyway, Fred
broods as he sun-bathes on the home lotr
Paramount, waiting for Carole to complete
her Gravet chore and, forgiven, come home to
make another "True Confession."

GINGER

"Stage Door "
proved she could do
it. No Astaire, but
a great personal tri-
umph for Ginger
Rogers. Now in her
new picture, adapted
from the stage play
by Arthur Kober,
Ginger reveals again
her streamlined tal-
ents in the tragi-
comic part of a little
working girl on her
grand and glorious
summer vacation.
You see, on these
two pages, Ginger
playing at work and
working at play.
Above, shooting a
scene of Ginger in
the "Kamp Kare-
i Free" bus. In other
shots, she shoots,
plays tennis, rides
| horseback, plays
i ping-pong, canoes,
' golfs. At upper right
on page opposite,
getting ready for a
scene with Douglas
Fairbanks, Jr.

— A

\ r - \ - — im..

SILLY SEQUENCES

mil

5 7

Victor Moore, above, to Ann Sothern:
"Fair lady, I can trip the light fantastic on a
Big Apple, or even a little core, if it but please
you." Ann: "Sweet of you, Victor. Maybe
you're no Fred Astaire, but your heart, if
not your step, is in the right place."

Mabel Todd, left, speaking: "Hi, folks! I've made
it, the old top of the ladder itself. Nice view up
here. Hope I can reciprocate, if you know what I
mean, and I think you will if I make a turn about
for fair play. Gosh, it looks so nice down there I
wonder why I came up in the first place."

Robert Benchley tells "How to be a Fireman,"
left. "Columnists peep at key holes, but
firemen must put their ear to anything that
even looks like a phone receiver — it may be
an alarm coming over the wire or through
the hose. Drive, don't walk to danger."

It's the irrational thing to do — hut let7 s skip that
and watch star comics go to town for laughs

Encore, and more of it. Above, Ann and
Victor. Vic: "Stomping comes natural.
Back home we did it to keep fhe tootsies
\ warm in zero weather." Ann: "I don't know
i what the audience thinks about your grace,
; bur you're game. Now, a final fling at swing."

w\ C. Fields, right: "I have a beautiful little
story for you, my radio audience. Oh! If
you'll pardon the interruption, there's more
seauty here at my side. Name's Shirley Ross.
Lovely girl. Sings, too. But she gets in my hair
now and then — the sweet."

More pages from Charlie Butterworth's "Dear
Diary," right. "Decided to take a spin with Cory-
phee, that's the name I've given my new 1908
town car. There was a little misunderstanding
when I turned the crank one way and Coryphee's
engine turned the other way. But we smoothed
things out, and were off, whizzing like the wind."

Most of the movie-going world lo
little Temple — see all box-office repoi
Here she is in her latest film, "Ret*
of Sunnybrook Farm" — not precisely
same "Rebecca" of the well-loved bo
but with 1938 trimmings. The new edin
sings over the radio and plays Cupid
Gloria Stuart and Randy Scott, abo
as well as carrying out the bucolic
and conditions of the plot.

Battle of the
Baties

Shirley for sweetness, or
Jane for ginger?

The world also wants Jane Withers.
She's new Number Six star in recent
popularity poll. The clever little hoyden
scores again in "Checkers." At right,
a nice portrait, complete with pet. At
right above, not so pretty, but typical.
Below, just Jane.

pice on Ice

Salute to Sonja, goddess of
glacial grace. May she always
have a "Happy Landing"

The paradox of the morion picture hit parade is Sonja Heme, amazing
little Norwegian who came to Hollywood to skate and remained to con-
quer as an important screen personality. Studio boss Darryl Zanuck says
Sonja can be great even without her skates. Do you agree? In her new pic-
ture "Happy Landing," she sticks to skating but contributes a character-
ization of warmth and charm as well. The two scenes show her at left
embraced by Don Aroeche; and, at left above, with Jean Hersholt and

Cesar Romero.

Yes, even the star —
Bette Da vis, here —
must make tests for
clothes and make-up
before a single scene
is shot for a new
picture

IT.

Cary Orant:
$2,60,000 A Picture?

'Bringing Up Baby"
is one more in Hol-
lywood's cycle of
charmingly crazy
films. Cary Grant,
as you see at right,
even dons a frothy
negligee to help the
fun along, to the
dismay of May Rob-
son and Geraldine
Hall. Center above,
Kate and Cary,
so-0-0 whimsical.
Top right, a tender
scene — for a change.

■

W9 MT^*

That's a Hollywood rumor
which may come close to
fact. Rumor: Cary Grant
gets somewhere in the
neighborhood of that sum
for every picture that he
makes, and it's a very
nice neighborhood. Fact:
Cary Grant is currently
most=in=demand free**
lance youns leading man
in films. "Topper" helped.
"The Awful Truth"
added. And now Cary is
clowning with Hepburn

Emmett Schoenbaum

Clark Gable, America's
most forthright male
star, is admired by
women and respected
by men because of his
genuine geniality, his
un-actorish vitality.
Just before starting
work in "Test Pilot,"
his new film, Clark
vacationed on a ranch
in the San Fernando
Valley, where his five-
gaited horse, Sonny,
took Clark on a daily
canter over the South-
ern California hills.
Here are pictures to
prove it. At left below,
Gable with a quartet
of beautiful Palomino
pals.

please:

Take Taylor — and millions of
worshipping young women
will. Greatest movie romantic
idol since Valentino, Bob has
been mobbed on two conti-
nents by frantic fans. He
made "Yank at Oxford" at
the M-G-M Studios in Den-
ham, England, after a wel-
come unprecedented in Lon-
don. His new picture marks
M-G-M's attempt to build up
Taylor as an action hero after
the passionate pallor of "Ca-
mille." Bob runs for Oxford,
left below; he dips an oar in
bump races on the Thames —
see him at stroke, above; he
even has a mellow air of
English country squire about
him. At right, a candid close-
up. Right, below, entertaining
Bill Powell on the set, with
Maureen O'Sullivan, center,
who is Bob's heroine in the
picture. Next stop, Holly-
wood!

Tfic AAost Beautiful

Still of tKe Montli

Eleanor Powell in "Rosalie"

Eleanor Powell's biggest dance number for
"Rosalie" hits a new high in screen extrava-
ganza. Performed on a 60-acre set, as shown in
our Still of the Month, below, Eleanor's dance
follows her as she taps her way down 16 drums,
the largest being 16 feet in height, the smallest
10 inches, until she literally flies through the air
to land on a platform, as pictured at right,
where she is surrounded by the 500 dancers of
the ensemble, for a grand finale. Glittering, gay,
gaudy, it's a Hollywood million-dollar "touch."

Oraybill

News right off
the platter for
millions of swing
fans! Benny
Goodman takes
his clarinet into
the cinema and
the hot licks are
let loose

"Benny the Good"
comes into the movies
in earnest in "Holly-
wood Hotel." Above,
Goodman, at left, with
Frances Longford and
Dick Foweli in a scene
from the big new
screen-musical. At left,
above, Goodman with
Rosemary Lone.

Anne
Carples

BENNY GOODMAN, Benny the Good, comes into
the movies in earnest with the picture "Hollywood
Hotel." Fans of the phenomenon of swing are cheer-
ing— now they can get a good close-up. On the bandstand
it isn't so easy. The whole ensemble gets so hot and trans-
ported that it's hard to keep the eyes focused. The sense
of vision gets confused.

When Benny plays the Palomar or the Madhattan
Room of the 'Hotel Pennsylvania the crowd nightly
around the bandstand: is twenty deep, several hundred in
a semi-circle that won't budge. The fascination is Benny,
calm and cool, and crowding music until in the swing
lingo, "he takes it out of the world." There he is with
less tricks than any band leader you've ever seen, no
baton, no effort, his face sunburned and imperturbable.
Then he takes the clarinet in his mouth and the licks
nature has heretofore kept in reserve are let loose.

He says such funny things into the mike. "The gas is
lit, boys," in introducing an old-timer. Or he bows to
sentiment and sums up the lyrical query, "Don't you
know or don't you care?" with the condescension, "We
do both, doctor." His swing fans know just how to inter-

pret his continuity for the king of swing is definitely two
personalities : one when he plays, and one when he is
himself. In his own personality he is laconic, easy, effort-
less. He has a warm down-to-earth quality that the band-
stand crowders love, and paradoxically a dignity and
apartness which they worship equally. "The Good," the
sobriquet tossed at him, has nothing to do with common
virtue, it's a boxed orchid to the Goodman supremacy
and skill.

How much of the Killer-Diller, Sing, Sing, Sing, he
will integrate with his personality on the screen as a per-
sonality remains to be seen. But if the miracle works, as
it does on the bandstand, it will be as if Gary Cooper out
of his deep integrity suddenly started erupting V esuvius.
The fans which sit at Benny's feet watch for this trans-
formation, and when the band takes off and it's on, when
the playing is "jive," when it's "in the groove," they just
turn their faces to him with an intimacy of recognition
that makes it the only contemporaneous thing alive.

The screen has had band leaders before, any number
of superlative favorites of the moment in every line, but
there is a little difference here, (Please turn to page 92)

5 ~~

TRUE CONFESSION— Paramount

THIS is completely mad, and comparatively unimportant;
but it is so much fun that I have no hesitation in advising
. you not to miss it. It is no small triumph for Miss Carole
Lombard, who dashes through it with pretty superb
charm and chic, hurdling implausibilities and absurd dialogue
with her own special brand of insouciance. For the first time, it
seems to me, la Lombard manages to sustain a true characteriza-
tion. She is not the Lombard of "Nothing Sacred." She isv if
possible, even madder than that. Here, she plays the well-meaning
wife of struggling lawyer Fred MacMurray who promises faith-
fully to let well enough alone and then gets herself engaged as
secretary to a gentleman who is immediately thereafter found
murdered. Before she, or you, or any of us know what's happen-
ing, she is on trial for her life, her husband is defending her,
and the most farcical courtroom scenes in screen history are
being unrolled before your astonished eyes. This episode of "True
Confession," including John Barrymore as a mysterious tipsy
stranger, is well worth anybody's admission money. There are
other laughs, lots of Lombard, Una Merkel, and Mr. Barrymore
in his most intentionally amusing screen appearance.

WELLS FARGO— Paramount

HERE is our epic, and we can use one. Into the merry
midst of so many crazy comedies comes "Wells Fargo" —
big, heavy, handsome, highly dramatic — no cream-puff
picture, I assure you ; but one you can get your teeth
into. If it's a little tough going at times, remember it's an epic,
and like it. 1 did. Frank Lloyd has told the stirring story of the
founding and progress of the Wells Fargo Express Company in
bold, slashing strokes ; he covers his huge canvas with colorful
action, strong characterization, and a few lusty fights ; and the
result is a motion picture for the American family, of particular
appeal to the men who complain because there's too much pink
glamor and not enough red meat on the screen. Joel McCrea
gives his finest performance as the trail-blazer for the express
company, whose devotion to his job alienates him from his
beloved wife when the Civil War divides their allegiance. Frances
Dee is opposite her husband, playing his screen wife with com-
passion and charm. Bob Burns supplies the homely humor in his
inimitable fashion. The excellent cast includes Mary Nash, Henry
O'Neill, Ralph Morgan, and many other lustrous names. Here
is a fine and wholesome film worthy of your staunch support.

; Co SEALOF)|

Reviews

of the best

Pictures

tress

DAMSEL IN DISTRESS— RKO-Radio

DID somebody say it should be "Astaire in Distress"?
The great dancer himself is said to have sent a one-word
• telegram to Ginger Rogers following the preview of his
solo picture: "Ouch!" was the word. "Damsel in Dis-
isn't that bad. But it is a triumph for Miss Rogers all
the same. Her gay ghost is present wherever this picture is
shown. Perhaps if Mr. Astaire had not attempted to find a new-
romantic partner in Joan Fontaine, "Damsel in Distress" would
not be haunted by Ginger Rogers. When Gracie Allen is dancing
with Fred we can forget all the grand and gorgeous procession
of Astaire-Rogers dances; Gracie is reminiscent of Fred's sister
Adele, she has truly twinkling toes, and her wise comedy foils
Fred's wistful appeal. Too, when Reginald Gardiner occupies the
screen all else is forgotten, for Gardiner's is the most exceptional
new comic gift to films in years. As the operatic butler in the
P. G. Wodehouse castle where most of "Damsel in Distress"
spins out, Gardiner is a thoroughgoing joy. Audiences enjoy the
fun-house sequence, Astaire's drum-dance, Burns and Allen patter.
And now, Miss Rogers and Mr. Astaire, that you have proved it
can be done, don't let it happen again, please. Dance and make up !

HIT:

"Tovarich"
"Nothing Sacred"
"True Confession"

MISS:

"Damsel in Distress"
"Dinner at the Ritz"

BEST GIRL:

Carole Lombard in "Nothing Sacred"
and "True Confession"

BEST MEN:

Charles Boyer in "Tovarich"
Joel McCrea in "Wells Fargo"
Reginald Gardiner in "Damsel in Dis-
tress"

TOVARICH— Warners

ENTRANCING! "Tovarich" is original, refreshing film
fare. It presents the two most endearing- leading char-
acters you have seen in many movie moons : a Grand
Duchess of the Imperial regime and her consort, penni-
less hi Paris, who "go into service" to provide their vodka and
caviar. They are artless, engaging, childlike Russians, and as
they are written and acted they become memorable screen por-
traits. Charles Boyer and Claudette Colbert co-star, surrounded
by a splendid cast. You'll follow with keen interest and sympa-
thetic amusement their adventures as lady's maid and butler
in an erratic banker's household; you'll rejoice with them in their
new-found domestic felicity; you'll darn near weep with them
when they are confronted by a charmingly sinister commissar
who recalls none too pleasantly their tragic exile. Charles Boyer,
comedian, turns out to be as perfect as Boyer the tragedian; lie
is, once more, a revelation in subtle, shimmering acting. Miss
Colbert is, as always, a delightful personality: but she falls far
short of realizing the potentialities of her priceless part. She is
always Colbert, seldom the character. Melville Cooper is the
new comedy sensation as the banker. Basil Rathbone is fine, too.

NOTHING SACRED— Selznick-United Artists

MOST provocative picture to be seen these days, and
not only once but bearable for return engagements,
"Nothing Sacred" is by way of being a screen sensation.
It stayed three weeks at Manhattan's snooty Radio City
Music Hall — by request. It played to those mythical native New
Yorkers and to countless contented visitors, who doubtless went
home to see it all over again in their neighborhood theatres, if
only to hear the dialogue that was drowned in shouts of laughter
—oh, yes, they laugh out loud at the Music Hall. "Nothing-
Sacred" thumb's its nose at practically everything hitherto held
sacred in the cinema — including even the Grim Reaper, no mean
feat when you think back . at the awed treatment accorded old
G.R. ever since movies began — remember all the long-drawn-out
death scenes you've suffered through? Here's comedy that's
unselfconsciously ribald and unconventionally robust. That Fight
Scene, of course, is still the high spot of the screen season.
Carole Lombard and Fredric March mix it— don't stop me if
you've heard this, it won't do you any good — -and the fair heroine,
"hangover and all, is knocked out by the gallant hero. Just try to
sell us any more old-fashioned lovers' quarrels after this. Cheers !

DINNER AT THE RITZ— 20th Century-Fox

OF INTEREST only because of Annabella. If she is an
acquired taste for some screengoers, I suggest they start
sampling right now, for we'll be seeing the one-narne
French girl in a good many American-made movies.
Whether Simone Simon is twice as good as her fair compatriot,
I wouldn't be knowing. The little imports seem to be all different,
and all delightful — not moulded as our Hollywood stars, but
distinctive. Where Simone is all gamine, Annabella is the little
lady who can be by turns coquette or aristocrat; in fact, I feel
that Annabella is actually one of those protean performers we
hear about but seldom see. Yersatile is the word. In "Dinner at
the Ritz," a rather bewildering offering, with melodramatic
overtones, the star appears in a continual masquerade, in which
she runs that gamut from Spanish girl to East Indian, and back-
again. There are jewels involved, and a Gang, you see — / didn't
because it was all extremely confusing; but fortunately, in
addition to Annabella, David Niven is present, and this young
Englishman continues the progress he made in "Prisoner of
Zenda," and if he can progress in this picture, it proves he's good.
Paul Lukas and Romney Brent are also pleasantly present.

Lovely as a fragile French Marquise of the 18th century, Anita Louise is Hollywood's
"model girl" — in modes as well as manners. The large picture above shows our heroine
adding the final fillip of powder to her perfect nose, just before an evening at the
Troc. Anita is wearing white net encrusted with silver sequins in a line-and-star motif.
At top right, a picture hat for a picture girl: large-brimmed black felt with crown
band of brilliant brocade. At right, she steps out in an ensemble of silver fox. Her
off-the-face turban shows two pompons of the fur, her scarf cape shows a high
neckline, her muff of fabric matching her black crepe dress is accented with two
silver fox heads. Debutante elegance in the grand manner.

Frances Dee wears mi ddle-
American period clothes in
"Wells Fargo" for Paramount,
so she splurges on her own
ward.obe to make up for it!
At left, Frances' formal eve-
ning gown of gold lame, with
interesting draped treatment.
At lower left, her cape of blue
fox. Dorothy Lamour, at right,
wears a dinner gown of black
velvet with full skirt accented
by bold white lace applique.
Her dinner hat boasts a
sprightly veil.

They re
Wearing
■Hollywood

Songbird Gladys Swarthout, at left, likes her
chiffon house gown, designed by Travis Banton:
a twisted sash of pale and bright blue chiffon
enlivens its soft grey; its pleats and loose-sleeve
treatment make it charming.

The "Persian Princess" influence is
accepted by Miss Swarthout, at
right, who wears this costume in her
new film, "Romance in the Dark."
Below, Dorothy Lamour goes in for
stripes: red, white, and blue Rodier
fabric makes a dashing scarf for a
simple, straight, navy blue wool day-
time dress. Another piece of the
striped fabric is pulled through the
crown of Dorothy's bright red sailor
hat and is tied at one side in the
back. Smart note for Spring!

Hollywood brunettes adore
grey. Dorothy Lamour, now
in "The Big Broadcast of
1938," selected the suit
shown above. The skirt is
short and straight and
mode of novelty grey kasha.
The cape is of grey kasha
ined in grey crepe and
trimmed in grey Persian
lamb which also fashions
the smart "jumper" and
muff. Dorothy's hat is of
grey suede and her gloves
and shoes blue antelope.

Frances Dee's final
ensemble for the
season is a black
crepe daytime dress
v/ith a bolero of
mink, topped by a
genuinely high-
hatted black velour
draped into a severe
high crown, with one
side flanked with ir-
idescent blue feath-
ers. Joel McCrea likes
this outfit!

MlMl (Myrna Loy) sees the man
s'le loves married to Elizabeth (Rosa-
lind Russell), and believes she w
never conquer her thought that
Alan (Walter Pidgeon) really be-
longs to her. But just then Jimmy
-ranchot Tone) appeared, and
when Hie honeymooners return,
Mimi assures Elizaseth that she sti
likes, but no longer loves, Alan-
and means it at the time.

Adaptation of "The Four Marys"
with Myrna Loy, Rosalind Russell,
and Franchot Tone

THE bride was so very lovely, so young and radiant
and so very triumphant — but nobody was looking
at her. It was the prettiest bridesmaid they were
watching, the one with the pert, ever so slightly turned
up nose who was staring so straight and tragically ahead.
The one they called Mimi;

Only once did her eyes lift, at the very end of the
ceremony when Alan slipped the ring on Elizabeth's
finger. Then they moved for the smallest fraction of a sec-
ond to the bride's tranquil ones and from hers to Alan's.

Despair, stark and sick and just a little bit too dra-
matic was there for all to see. And someone among the
guests tittered and someone sighed, and Meg Swift who
had been watching her daughter with that apprehension
she tried so hard to keep to herself leaned anxiously
toward the young man beside her.

" Jimmy," she whispered, "look at Mimi!''
As if she needed to tell him, as if Jimmy Kilmartin
hadn't been watching her himself with something of that
same apprehension.

"That guy must have been crazy to have turned her
down," he growled.

"That's what I think, but / love her." Meg sighed.
''Oh, Jimmy, I wish you were in love with her !"

"If I fell in love with anybody in the Swift family it
wouldn't be Mimi, it'd be her mother." And Jimmy gave
Meg that special grin he always had for her.

Meg leaned back as the bridal party moved slowly
away. Why, she thought wearily, out of all the men in

Please Turn to Page 7S
for Cast anil Credits

If Mimi and Alan are thrown to-
gether again, it is really Elizabeth's
fault, Mimi argues. But that does
not convince Jimmy, and he warns
Mimi she is heading for unhappiness

which i< true, and Mimi herself

realizes it when Elizabeth very
frankly unburdens her heart in a sit-
uation that leads to an amazing
climax in the tangled lives and loves
of four fascinating people.

Fictionized By
Elizabeth B.
Petersen

An ultra-modern love story fic-
tionized from the screen version
of a widely popular novel

tro-GoM-

linraliolt

the world, did Mimi have to be so desperate about Alan
Wythe, charming, good-looking, penniless young man
about town that he was. If only she could have written
her daughter's story how different it would have been.
Gay and exciting and happy, that's how she would have
written it, just as she wrote those best sellers of hers.
And she would have made Jimmy the hero. Jimmy, who
for all his happy-go-lucky ways, was making a name for
himself as a newspaper cartoonist. But then Jimmy had
always been as casual about Mimi as she had been about

him. . . .

Even in the beginning when Minn's eyes were shining
all the time and she was always humming the newest love
songs and the telephone kept ringing, Meg hadn't been
too happy about the situation. Then Elizabeth Kent came
along, and after that Alan couldn't seem to make up his
mind which one of the two girls he liked best.

It wasn't really that he was a fortune hunter, only that
the Kent millions and the important job he was given
in Elizabeth's father's office had seemed to be enough to
make him finally decide between them.

Meg looked toward the bridal couple and the eager
guests crowding around them with congratulations. Then
her hand dug into Jimmy's arm as she saw Mimi look-
ing desperate and tragic going up to Alan, and her eyes
closed as she heard the hurt in her daughter's voice.

"I hope you'll be very unhappy." The words came
stark and bitter for everybody to hean'T mean it. Every-
thing I hope for, never comes true." m

Jimmy jumped to his feet then and somehow got Muni
away But he couldn't get her (Please turn to page 78)

DO seem to have been chatting with
screen stars in some unusual places
_ lately! 'When I went to have tea with
Merle Oberon she received me in bed. "I
often spend a day in bed," she said. "Rest-
ing, reading, listening to the radio and only
taking fruit juice and milk. It's the best
beauty treatment I know — splendid for the
skin and the figure."

Y\ ell, Merle's new bedroom is lovely —
the walls painted cream and the curtains
and covers of pale pink satin spotted with
silver. The bed is an antique one with
draperies of rose brocade and there's a
fitted dressing-table between the two win-
dows with a fresco of cherubs and flowers
painted above in old Venetian manner and
gold brushes and combs set out on a mirror
top. Arum lilies stand on the bedside table,
along with Merle's toy bear mascot which
she calls Captain, and a wood fire crackles
merrily in the open hearth.

I sat in the Juliet chair, given to Merle

News parade of stars who glitter at
Mayfair haunts on time off from
Hollywood and British studios

By
Hettie
Crimstead

by her

greatest

friend Xorma Shearer-

Binnie Barnes, left, let
her heir down for your
London reporter and
you find out that
Binnie definitely does
NOT wear a wig.
Above, Lionel Barry-
more, another Holly-
wood favorite we find
in London, where he's
working in the film
starring Robert Toylor.

Norma used it in the bedroom scene in "Romeo and
Juliet" — and looked at an exquisite miniature of the
giver in a golden frame studded with pearls. "I'm gomg-
back to Hollywood for a spell because I want to see
Norma again 'so very much. We talk on the Transatlantic
phone at least once a week but that isn't sufficient."

Merle has just signed a new contract with Alexander
Korda to make two films at his Denham Studios every
year for the next five years. As soon as she completes
her Hollywood picture with Gary Cooper and David
Niven, she will have to' return to London so she has
bought this quaint old-world style house overlooking
Regents Park for a permanent English home. It has an
ancient spiral staircase of mellow stone still lit by crystal
candle-holders just as it wa,s in those begone days when
lords and ladies in silks and satins bowed and curtseyed
their stately way into the salon that is now Merle s
drawing-room, a symphony in pastel green and silver
with a touch of crimson.

Merle's latest Korda picture is called "Over the
Moon." a gay comedy in which she has no less than five
leading men, headed by Rex Harrison and Jchn Clem-
ents. She's adopted a new type of hair-dressing for it,
bunching her chestnut-brown curls at either side of her
face and piling up more curls behind. (Merle is defi-
nitely not an admirer of those long straight coiffure

styles!) . . _

'Talking of hair, I was called into Bmnie Barnes
yellow bathroom and found her brushing out glorious
blonde locks that fell below her waist. "So you can see
for yourself that the rumors I wear wigs are quite un-
true," she announced. After which we went into the sit-
ting-room and Binnie smoked a Turkish cigarette and
said she was "disgustingly sick" of being The Other
Woman. "I hate ail these hard-boiled parts I get. Being
a callous vamp so often is making me really unhappy. 1
want to get back to comedy again, those mad. merry parts
I used to play before Hollywood decided that blondes
should be selfishly sophisticated if they were more than
twenty-two years old."

When I was introduced to Lionel Barrymore he was
reclining on a stretcher in the ambulance van that was
standing near the set at Denham. "No, I haven't had an
accident," he smiled. "But the door was open and I thought

I could wait for my call more comfortably like this."

At fifty-nine, Lionel looks at the world with a mellow
sense of humor, but his cheery voice and ever-twinkling
eyes are tributes to a great heroism. He has suffered so
much these last years, making his pictures during brief
intervals of respite from the wracking pains of arth-
ritis. His twisted hands bear eloquent evidence of what
he has bravely endured. Before the camera he keeps
them out of sight as much as possible.

Lionel's current part is in Robert Taylor's film of "A
Yank at Oxford," and young Bob himself has certainly
never been so man-handled on the screen before. He's
thrown into the river, knocked down while
thoroughly punched
and pumelled during
a boxing-match and
the day I {Please
turn to page 84)

skating,

Social side of studio life, left. Bob Taylor
and Merle Oberon, with Tim Whelan,
Merle's director, and Laurence Olivier
right, form the Sappy group our camera
catches hore. Heading iron top down,
above: Sophie Stewart in the new Re-
turn of the Scarlet Pimpernel;" Leslie
Howard goes to town from his country
place every mat'nee day; Victor Mc-
Laglen hasn't missed a boxing match
since arriving to play in a British film.

Star-
dust
Daby

Margaret E. Sangster

don't want you —
and I never did,"
Katrine shouted at
the boy, as Bertrond,
unobserved by either
Katrine or Peter,
stood in the doorway
watching the scene
with amusement.
When she saw the
Count, Katrine
flared. "Who told
you to come in?"
she demanded
sharply.

CHAPTER III

"O THE casual observer Peter fined
into the scheme of things as smoothly
and effortlessly as he fitted into the
new clothes that Katrine had Bill Naughton
bnv f< ir him. To those on the inside he was
still an orphan, though a gilded one. His
black eye vanished almost as rapidly — and
quite as completely — as did the faded blue
1 overalls. But neither the overalls nor the
1 eye were allowed to vanish before Katrine
had made capital of them.

"lie got the eye fighting for me," .-he
bragged. "He laid out a fellow four times
his size." She went on to explain that the
overalls were what had caught her interest
in the first place.

"Any sissy can adopt a little baby," she said, "but
it takes character to bring up a boy . . ."

The public, listening, went for it in a big way, and
Peter was much photographed. Unfortunately he
didn't take a good picture. The camera brought out
odd. elderly lines and hollows in a face that was just
losing its infantile contours. So, after a few weeks,
Katrine began to send Peter into the house when-
ever a candid camera put in its appearance.

"This kid deserves some private life," she alibied.
"I didn't adopt him as a publicity gag."

The public loved that, too — but Bill Xaughton had
a way of turning on his heel whenever Katrine
started along that line.

"I can't take it." he told her simply. "The only
thing I hate worse than wood alcohol is a liar !"

Katrine, in public, smiled softly whenever Peter's
name was mentioned. But when she surveyed the
child in the occasional seclusion of her magnificent
home, she did not smile.

"Run away." she'd tell him. "Go play in your own
back vard !" Once when he brought her a grubby

An imperious screen siren bargains for
headlines when she becomes a mother by
adoption, but not for the emotional crises
her plan provokes

Please Turn to Page 7-5 ior Synopsis oi Preceding Chapters

bouquet of flowers that he'd gathered in a field— some
strange sense of delicacy kept him from picking his
blossoms in Katrine's full-to-overflowing garden— she
said sharply,- "Don't litter up the place with trash!" and
dropped the pitiful offering into a scrap basket. As
Peter walked stiffly out of the room — his small hands
clenched into white knuckled balls — she turned venom-
ously to Bill Naughton.

'"For the love of heaven, stop priming him — " she said,
''or you'll be sorry."

Bill countered, "I'm already sorry for a lot of things.
First of all I'm sorry I was ever born." He added after
a moment, "If you'd only treat Peter one-half as well as
you treat that pint-sized Count of yours — "

Katrine laughed. "The Count's in love with me," she
said. "I may marry him before I'm through. I'm getting
very fond of him — "

Bill said, "Peter's in love with you, too, and he's twice
the man that your precious Bertrand is — "

"You wouldn't know," said Katrine languidly. "You
suspect Bertrand because he's French and claims a title.
But I have reason to know that the guy has what it
takes — " '

Bill grated: "Now you're showing off! Shut up."

Katrine said slowly. "Maybe I won't marry the
Count, at that. Maybe I'll just have an affair with him.
I haven't had an affair with anybody for a coon's age — "

Bill knew that he was being goaded to a slow fury,
and vet he was unable to control himself.

"You never had an affair with anybody in your life!"
he told Katrine. "Why do you pull that sort of
stuff — on me, of all people? I know you're
straight — that way, at least !" ,-/

Katrine started to laugh — she sighed instead.

"You only see me during working hours," she
told Bill. "You don't know how I spend my evenings . . .
Good-bye, Bill," she called after his retreating back. "If
you meet Bertrand anywhere, tell him I sent my
love . . ."

So it went. Through the whole of a dragging, misera-
ble month during which Peter ate balanced meals and
drank certified milk and lost weight alarmingly. During
which Bill Naughton grew to have a blue line around
his mouth — so that he always looked a trifle in need of a
barber. During which Katrine Mollineaux worked like
a dog on her new picture — and was seen everywhere
with the pint-sized Count, named Bertrand, clinging to
her like a leech.

"He takes a good photo," she told Bill, when
Bill remonstrated — as he did regularly, twice
every day. "It's a pity I didn't adopt him in-
stead of" Peter. At least I could've divorced
him, later."

Bill made no response to that. He
couldn't think (Please turn to page 75)

Illustrated By
Welton Swain

Because the stars go
there to play, the City
on the Seine is a
swell place to capture
close-ups of notables,
as this story proves

By Stiles Dickenson

ARIS is putting
on her best smile
and gayest air. be-

cause its beloved
prodigal is once more
at home. At home,
not for just a vaca-
tion, but at home to
actually make a film.
The cause of this joy
is Charles Boyer.
"When he first went to
Hollywood he arrang-
ed his contract so as
to be free to make one film a year
in Paris. Each year he has done this,
or appeared on the stage, except
last year. Then he could only man-
age a short visit but now he is hard
at work on the production of "Le
Venin" at the studios in Joinville,
the Parisian Hollywood. I went out
to the studio for a visit with Charles
and found him in fine form. In
France, after all sorts of hand-wav-
ing and shoulder-shrugging of the
artistes (in France the actors are
called artistes), the directors and
electricians, they settled, legally, on
the strict eight-hour-a-day program.
So the work at the studio starts at
noon and ends at eight o'clock at
night. Many of the artistes play in

With pardonable pride, Charles
Boyer points tor Paris at least
once a year. This time he's doing
a film there — a scene from which,
center below, shows Boyer with
Robert Manuel. Ruth Chatterton,
at the right, really flies to Paris at
every opportunity. Tullio Carmin-
ati, bottom center, vacations from
film acting.

the theatres so this noon-starting hour
pleases them greatly. Also, on the lighter
side, those who love parties have all morn-
ing in which to get rid of that "morning
after" look and feeling. At the comfortable
hour of noon I rolled up to the studio
restaurant for a bite of lunch with Charles.
He was quite the center of attraction, even
in the studio restaurant. Somehow, Holly-
wood gives one a dazzling halo. Even in
other Ava'ks of life the casual mention of
having been in Hollywood awakens a new
light of interest in people's eyes. Charles
didn't have time to finish his coffee as they
needed him on the set. The scene was in
a poor, sordid French version of a hall
bedroom, so I knew I would have to de-
pend on Charles' sparkling eyes and sly
sense of humor for any lightness in these
drab surroundings Every time he cuuld, he
would run over between shots and chat
with me. As the (Please turn to page 88)

^ed Lily

A nightingale who loves to skylark, petite
Pons proves the prima donna needn't be
pompous. Here's a candid cameo of the
vibrant coloratura

By Dick Pine

MA.YBE I'm getting old. I'm probably out of touch with
the modern stream-lined tendencies in this and that.
But there is something in this picture which seems
out of drawing, somehow. I am talking of Lily Pons.

I thought that I knew something of prima donnas. I have,
in a modest way, been a patron of opera in England, on the
Continent, and in this country. I have met several prima
donnas; had tea with a few of them; paid my respectful
tributes at larger parties. I've closed my eyes reverently
while portly ladies galumphed through the Wagnerian operas.
What I am getting at is that I thought I knew my prima
donna enough to realize that there are hard and fast 'fules
governing her deportment, her temperament, the extent of
her tantrums. And then again, the love of good music and
the beautiful voice of a prima donna overcomes any love ot
feminine pulchritude. If she sings like an angel, one should
be able to imagine that she looks like one.

All this was before I met Lily Pons. I had heard her on
the radio, but I hadn't, I regret to say, seen her. When I did
catch up with her, while she was working in "Hitting a New
High" at RKO, they had to lead me out and feed me aspirins.

Lily (oh yes, I'm calling her Lily) was wearing a few
feathers and some beads. I was assured, solemnly, in answer
to my incredulous enquiries, that the befeathered, beheaded
wisp of a thing really was a prima donna. I rubbed my eyes,
and had another look. Yes, there she was, just as I had first
seen her. Five feet of her. About ninety pounds of her. The
size I/2 B feet of her. Wearing a few beads and feathers.
And here I was — a fellow who had taken a solemn oath never
to attempt to interview a luscious young thing. I set out to
write a story about a prima donna, and found myself con-
fronted with a gay creature wearing beads and feathers (but
I think I mentioned that before).

Anyhow, this prima donna had the giggles. She had just
emerged from a large tank of {Please turn to page 83)

Spice as well as song for the cameras of Hollywood! Lily clowned with
Jack Oakie and Eddie Horton, in "Hitting a New High," above, and
found it more fun than work. Below, the scene for which she told the
director: "I'll go to the ceety on this," when he asked for lots of pep.

.... .

ay s

agic

It's a camera! The pictures Fay Wray takes trans-
port her back to beloved scenes of beauty and
enjoyment in places near and far

By Ruth Tildesley

"All I had. up to the time of that Christmas
camera, was a hankering to draw. I did sketch a
little, nothing very good, but I always thought
that some clay it would be nice to take lessons.
You know, those 'some day' ambitions? 'Some
day' I'll take up the violin — 'some day' I'll really
go in for piano — 'some day' I'll learn
to speak really good French — or Ger-
man— or Chinese ! One of those things.

"Now. I know that what I want to
do is to be a really good portrait artist
with a camera. I know it will be years
before I am good, but that's the fun of
this hobby — so much to learn, so many

"The fun and excite-
ment of this camera
hobby," Fay says, "is
that it may lead you
anywhere." Fay has
traveled a lot — and has
made pictures along the
way. The picture of
Dolores Del Rio, at
right, however, was
made right on the beach
of Fay's California
home.

in-:

excitement

camera
and going in for
picture-taking as a hobby
is that it can lead any-
where," said Fay Wray,
looking up from the piles
of prints that lay be-
tween us on the scarlet
leather of the couch.

"You might go on
from the pictures to
writing stories suggested
by the scenes you've
taken, or writing articles

about the countries your pictures show. Or you
become a traveling specialist in some line because you
get the wander-bug. Or you might become a real artist.

"I never had a camera in my life until my husband
surprised me with a little Leica camera as a Christmas
present one year. I hadn't even vaguely thought of want-
ing one, but' I was delighted. John — "His. name, as you
probably know, is John Monk Saunders — " had a Graflex
camera for years. He got it for use when he was a re-
porter and has never stopped taking pictures. Somehow,
once a camera fiend, always a camera fiend, it seems.

might

People and scenes from
far and near, are shown
in this group of diversi-
fied subjects made by
Fay Wray. Center
above, the lalce at St.
Moritz. Above, charac-
ter study: caretaker of
a church at Leksund,
Sweden. Right, Richard
Arlen and his dog.

Carpet

interesting experiments to make. Portrait-making
interests me because I like people. The next thing
I get for my camera will be a portrait lens and a
good supply of patience. I find that patience — of
which I have no over-supply — is more important
than anything else. I hope to develop it."

In her navy blue suit, with a blue "beanie" on
her red-brown hair, she looked like an earnest
schoolgirl.

"I say I want to be a portrait artist, but I'm
not good enough yet," she went on. "First, I must
learn what there is to know about lighting and
focus and so on, and then I'll take the next steps.
In the meantime, I've been taking scenery and
action shots and informals.

"I know you can buy postcards of scenes at
every place you go when you travel, and they will
probably be ever so much better than the ones you
take yourself, but somehow when I see something
beautiful I can't help getting out my
own camera. The pictures mean more to
me because when I look at them I can
remember exactly what we were doing
the day I snapped it and live over again
the. happy times. It's a travelogue, but a
personal one

"When we were in Switzerland, I

Snapshots that show an
eye for composition, and
set an example for Fay's
fellow camera enthusi-
asts. Left center above,
view of a canal in Sweden.
Above, a view of the
ski track at St. Moritz.
Left, Anita Louise and
her Irish setter, Rambler,
in Anita's front yard.

Fay says she some day
hopes to be a good
portrait artist, but she
seems to do very well
now at portraits as well
as scenics and informals.
Left, for example, an in-
formal portrait of her
husband, John Monk
Saunders, at St. Moritz.

was sitting at the break-
fast table by a window
overlooking the lake at
St. Moritz when I saw
this breath-taking scene.
I couldn't wait till I got
my camera. I took it
through the window pane
and you can see the faint
reflection of the table.
Postcards may give love-
lier views, but they won't
mean the same to me!

"The ski track picture
is another I couldn't help
snapping, because it
shows the track as it looked from our seats — one of the
jumpers was in mid-air when I shot. I love the powder
of snow on the trees and the tiny black figures against
the white drifts. I used a green filter for the snow shots;
it tones down the glare.

"This shot of the ski jumper who landed right in front
of us is an example of ' the sort of picture belonging to
a travelogue because it brings back a thrill of a moment,

find a dozen

:>ut actually a camera expert can
wrong technically."

Fav's ideas on candid {Please

things

turn to page 82 )

ere s

woo

NOW that Garbo has gone home for a
long vacation the choicest anecdote
about her comes to light. Years ago, when
she was a salesgirl in Stockholm, a young
man brought in a pair of gloves to be
mended. They became friends. In 1937 he
showed up in Hollywood and Greta got
him a job playing a bit in "Conquest."
One day she was completely indifferent,
giving him the snub supreme. He was
upset all night and next day went right
to her to get an explanation. She was as
friendly as ever. It appears he had ap-
proached her double and — well as he knew
the star — had believed the double was
Greta. So when you hear their doubles
aren't much like them, remember this.

HOW different Sonja Hcnie's current
exhibition tour is ! There are the same
great crowds and there is an even bigger
salary for each grand performance. More
fans besiege her for autographs. But there
are no orchids impetuously sent -by a tall,
dark and handsome lad. There are no
more exciting telephone calls from Holly-

Chatter, chiefly cheerfu
porting star news and

By Weston East

wood, catching up with her
wherever she may be tem-
porarily. In Sonja's life
there is no more love.
Tyrone Power cares for
Janet Gaynor now.

AS soon as Shirley
' Temple finishes a pic-
ture her parents whisk her
down to a fashionable Palm
Springs hotel for a sun-
shine pick-up. Shirley is so
proud of her current tan.
She wishes she had a port-
able plunge on hand to
demonstrate how keen a
swimmer she's becoming,
too. The Temples employ
the hotel swimming in-
structor for her. "It is so
hard to do that crawl they
do in Australia, though!"
exclaims Shirley. "Gosh,
you have to take all your
breath to keep your feet
up," Mrs. Temple wisely
forbids close-ups of Shirley
in the pool; when it's time
to relax there shouldn't be
cameramen snapping furi-
ously.

p\ICK POWELL and Joan
L' Blondell have moved
from a house to a Holly-
wood apartment. They have
sold their lot in Bel-Air,
dismissed their architect.
All those splendid plans
for an elegant mansion
have been torn up. Not be-
cause they don't want a
home, or because they've
been scared by the stock
market drop. The answer,
actually, is : the servant
problem. They couldn't find
satisfactory help and after
a series of annoying incidents they decided
life would be far simpler if they took an
apartment.

IOAN BENNETT has picked herself up
-J after her marital mishap. She put her
older daughter Diane in St. Margaret's,
the exclusive school for girls in Connecti-
cut where Joan once studied. Then she
took Melinda, her four-year-old daughter,
along with her on her road tour of the
play, "Stage Door." When romance goes
blooey, Joan contends, the only sensible
recourse is to carry on as though the past
never was. You can't depress a Bennett !

IEANETTE MacDONALD can't help
J it. She just has a mathematical, orderly
mind. When you snoop in her kitchen, for
example, you learn that inside the cup-
board above the stove there are two de-
Hard to beat — for charm as well as at
tennis — is Virginia Bruce, left, snapped
on the courts at Del Monte.

tailed lists. One's for Jeanette. and one is
for Gene Raymond. Each, in the bride's own
scrawl, is headed What I Like— What I
Don't like. Neither star cares a bit for
pastries. But, as a concession, Jeanette now
indulges in sweetbreads broiled on ham, a
rich concoction Gene craves.

ALLAN JONES has to obey the red light
^ on his dressing-room door or else. Or
else M-G-M will rip out his personal loud-
speaker set-up, and he'll be reduced to a
good book between scenes. Allan grew
bored by the waiting between camera shots
so he went into consultation with the prop
boys. He emerged with the germ of an idea,
which he proceeded to develop. Soon he had
a two-way communication line from his
dressing-room to the set. With a flick of
the wrist he could either talk or receive an
earful. It's been some fun hiding his private
mike under chairs and behind backdrops,
then booming out remarks from a distant
hideaway. He has captured some surprising
conversations. He generally waits until the

ideal second to toss in his absentee two-bits'
worth. That always stuns someone. How-
ever, he talked when acting was going on —
hence the red light warning. When it
flashes on he knows they're shooting and he
controls that urge.

JOAN BLONDELL'S three-year-old son
^ Norman now attends kindergarten.
"And what do they call you at school?"
the fond mother chanced to ask the other
day. "Cute Baby," replied Norman. Rolling
over on the floor and grinning, he added,
"Can you blame them?"

WHILE Paul Muni is away seeing the
world leisurely his brother-in-law
Abem Finkel is busily adapting the story
of the Wright brothers for filming. Maybe
the wandering Paul will illustrate how
airplanes were born next. He wants to do
something in a comedy vein, he writes,
though.

ANN SOTHERN has checked in from
. k El Paso, Texas, where she's spent the
past six weeks vacationing. Husband
Roger Pryor was leading his orchestra

The Paul Munis continue their vacation.
Seen above, left, on a sight-seeing tour
of European capitals.

"Why travel? There's such fun and sun-
shine at home," say the Jack Oakies,
right, at Del Monte.

The honeymoon continues for Francis
Lederer and his bride, Margo, left, seen
at a California resort.

there. The Pryors had an apartment where
milady did every bit of the cooking. Ann
turned down the role of Deanna Durbin's
mother in the new Durbin film to play
housewife. Now she's back in her Beverly
Hills home and letting her negro chef
bend over the stove. Dining alone she
grows wistful over Roger and the hashes
she loved to concoct for him.

THERE'S a surefire system if you want to
meet Joan Crawford. Just be a master
in your own racket. Some day, w:hen
you're in Hollywood or New York, Joan
will walk right up, introduce herself, and
earnestly tell you how much she admires
you. It's a habit with her. Incidentally,
when Franchot Tone was ordered to make
another picture when he was ready to go
New York jaunting with her he insisted
that she go on and have some big city fun.
She hadn't been East for three years. The
holiday spirit was exciting. But Joan was
famous and feted and forlorn. No Fran-
chot !

THE spot to see the stars now is defi-
nitely the clubhouse at the Santa Anita
race track. It's a Waldorf-like lounge,
ritzily apart from the crowd scene. There
Hollywood lunches, bets, and luxuriously
eggs on the first nags of the nation. Cock-
tails are served in the umbrella-dotted
stand. Santa Anita is America's swankiest
track, thanks to Hal Roach being at the
helm. This season Bing Crosby, Joe E.
Brown, and Barbara Stanwyck own the
best racehorses among the actors. Al Jol-
sOn is the biggest bettor. Bruce Cabot is
the shrewdest player — he financed a special
airline from Palm Springs to Santa Anita,
so a star really can't afford to stay down
in the dejert for the afternoon !

HOLLYWOOD can afford the best. So
now Stokowski is co-starring with
Mickey Mouse! You can't blame the
crashing of his second marriage on the
movies — he had come to an emotional
impasse before he came to California to
work and live.

WHEN Nelson Eddy moved into a big
Beverly Hills home at last he didn't
regally order a flock of flunkies to cart

over all his belongings. He gave his mother
complete charge of the transfer. That is,
excepting his musical possessions. He
moved them all himself. Not counting his
piano and Capehart !

ONE way to lure a star to your town is
to name a theater after him. The
good citizens of Lubbuck, Texas, have a
fondness for John Boles and so they named
the new theater in his honor. What could
he do but fly to its opening and meet every-
body there ?

IT'S easy to get the axe in Hollywood.
I Ida Lupino thought she finally was
amounting to something. Her roles at last
gave her a chance. Then she was handed
an insignificant part in support of Dorothy
Lamour. The Lupino realized the Lamour
had become the pet of Paramount, so she
walked out. Next day Dorothy Howe, an
ex-telephone operator in Dallas, was put
into Ida's part.

Hear, hear — here's Mae West back in
the limelight, starring in a new film,
"Every Day's a Holiday."

ime
On Your
Han

FOR several
years, I've
been doing
some private in-
vestigation. It
concerns the
modern man's
views on the
modern woman's
appearance. He
has definite likes
and dislikes, as
you may guess.
On some points
he is vague.
Most men can-
not tell yon the
color of their
loved ones' eyes,
nor the shape of
month and nose.
But on skin,
hair, figure and
hands, they miss
nothing. On
hands, especially
are men in-
tensely sensitive.

Hands tell all to observant people. They speak elo-
quently of your character, habits and tastes, and there
are three ways in which they speak — appearance, touch
and use.

In appearance, we must think twice. We must have
soft, attractive looking skin and we must have neat, well-
groomed fingertips. It is hardly necessary to impress
upon anyone the necessity for plenty of hand cream or
lotion in a season that brings chapped, reddened and
roughened results. There are
so many fine preparations.
We all have our favorites be-
cause of quick absorbent qual-
ities, good results, perfume,
perhaps, or handy container.
The mention of container re-
minds me of the nice, white,
squarish bottle on my desk
now. It's new and it's prac-
tically accident-proof. It has
grooved sides that simply
cannot slip from creamy
hands and a permanent
stopper that it's fun to ad-
just. The contents are a rich,
creamy lotion that does an
efficient smoothing and scent-
ing job all at once. Please
never let yourself be without - -

Hands make that important
first impression. Be sure yours
speak well for you

By Courtenay Marvin

Exotic nails for the
exotic Merle Oberon,
but not for every-
day girls. That's a
grand file, long, flex-
ible and sharp. Be-
low, the luncheon
hour is being de-
voted to the drama-
tic Katharine Hep-
burn hands. They are
getting a softening
and finishing treat-
ment. All hands, both
work and play, need
plenty of this in
winter weather.

some emollient
hand aid, espe-
pecially before
going out in
winter weather.
If you find your-
self without, for
the moment, use
a little face
cream.

Hozv you use
your prepara-
tions is often
as important as
what you use.
Hands should be

clean before anything is applied. Tepid water and mild
soap do that. And they should be really dried — dried
until they are slippery and the towel slides over them.
As you dry, never forget our grandmothers' beauty secret
of gently molding back cuticle. It's a good beauty habit.
To apply your softener effectively, hold up your hand,
as if a glove were to be fitted on it. Smooth the softener
down over it, including wrist and arm. Press and mold
your hand, as if shaping it more delicately, and over

knuckles and joints use a
rotary movement to do a
better job. Always leave
cream or lotion about the
cuticle, if you are not apply-
ing a special cream there. For
badly roughened and red-
dened hands, sleeping gloves
are a boon. They are made
for this purpose, or loose old
suede or chamois make good
substitutes. The soft leather
seems to hold the softener
better than cotton, unless
specially treated. With the
short sleeve so popular, arms
and elbows must have atten-
tion, otherwise they will ap-
pear harsh and scaly. After
hand and arm treatment, set

your elbow in a creamy palm and wriggle
it about. This is helpful because the elbow
is horny and cream needs to be rubbed in.

A weekly manicure is a necessity.
Whether you skip out to a salon or do a
neat home job is for you to decide. There
probably isn't a star— at least I never met
one— that couldn't do a very good self-
manicure if she had to.

A friend saw "Vogues of 1938." in
which Joan Bennett's small hands were
adorned with red lacquer right to the tips.
This friend had always gone conservatively
pink-tipped because she thought her hus-
band would prefer it. Imagine her surprise,
during the picture, when he turned to her
and said, "Why don't you do your nails
like Joan Bennett's?" That just goes to
show we can make the boys like almost
anything when we do it well and gracefully.

In choosing a color, remember the occa-
sion, your own coloring and your costume
tone. You can juggle the three and come
out with smart, well-groomed fingers. And
it's interesting how that term "well-
groomed" enters into every demand for
charm and loveliness today. Hollywood
scouts, in search for new talent, business
personnel directors, models' agents and em-
ployers—all stress two important require-
ments, both of which mean, the same,
•'refinement" and "good grooming." They're
rated far above mere perfection of features.

I wonder if you've ever stopped to think
that the touch of your hand acts like a
clear character reading to another. Like
a smile, it is genuine, warm and likeable,
or it's cold, forced, insincere. Smoothness
and softness alone won't give that hand
others love to touch. But sincerity and
honest evidence of your joy, understanding-
and realness will. Remember this when
shaking hands. A half shake is worse than
none. Make yours firm, sincere for a mo-
ment— that's all.

If you were being groomed for the
movies, you'd be surprised how much time
and patience would be spent in the train-
ing of your hands. Watch the stars on
their use of hands and take some lessons,
because most of us need them. Hepburn's
dramatic hands are famous. Margo's hands
speak as well as her lips, undoubtedly
because she was a dancer before she went
to Hollywood. Garbo, Dietrich, Lily Pons—
they use their hands with telling effect,
' but so subtly, so artfully that you are not
aware of this until you concentrate on
hands. That's the way it should be.

Black gloves make the hand skin look
shabby. There is no smart substitute for
the black glove with a black costume but
there are grand washable black suede ones
that may be kept so fresh by a flake bath
that they will not soil the hands. I have
seen these gloves after many washings, still
velvety, deep black and new looking.

A few familiar situations : home hands
must do lots of chores. There are savers,
if you'll use them. Soap flakes, chips or
beads for washing jobs from dishes to
underthings, and two containers of cream
or lotion, one for kitchen, one for bath.
Use old gloves for dusting and other grimy
tasks.

Secretarial, sales and other business
hands are always in evidence. Keep them
in the pink of grooming, but use your
intuitive feminine sense to "feel" whether
brilliant or subdued polish is the thing.
Other things being even, promotions and
demotions can depend upon some little per-
sonal point, like that.

For true sophisticates, there are now
portable manicure bars that look like small
cocktail affairs. They push about and offer
you lacquer tones blended to your every
whim. Sophisticated, too, is the idea of a
drop of perfume rubbed between the palms
for evening. Very, very perfuming!

Our Pre-Vue of
New Beauty

The Captivator capti-
vates by efficiency.

Unit Magic Milk Mask
is o brand new idea.

New Sachet-Cologne
by Rubinstein.

HELENA RUBIN-
STEIN, ever creat-
ing the new, gives us
Sachet-Cologne, a four-
purpose luxury for after-
bath use. It's a pungent
eau de Cologne, an in-
vigorating body rub and
conditioner, a rich body
sachet with a dusting
powder concentrate and
a deodorant, all in one!
For neck, arms and back,
it gives a velvety finish-
in fact, wherever it is
applied, and is so easy
to use. Think of the time
it saves in body groom-
ing and remember it for
legs and ankles with
those next-to-nothing eve-
ning stockings and san-
dals when bitter winter
winds are blowing. For
it's soothing because of
a moist base. Tricky, tri-
angular bottle with a
big, gold-colored knob. A
grand gift idea.

IADIES carry too many
L miscellaneous knick-
knacks in their bags, as
the boys all know. So
along comes the Capti-
vator Compact to end
this situation. Hand-size,
finished in rich enamel,
with engraved, cloisonne
or jewel motif, as you
prefer. I can't imagine
anyone needing more than
is inside — cake or loose
powder and puff, rouge
and puff, lip rouge, two
tones of eye shadow, mascara with brush
and miniature eyebrow crayon. A fine
mirror is big enough for all make-up pur-
poses. With the Captivator, you're all set
for day, night or week-end, cosmetically
speaking.

X/OU'RE probably on intimate terms with
/ Linit Beauty Bath, but have you tried
the Linit Magic Milk Mask? Hollywood
knows the value of the mask and milk,
separately, as skin beautifiers, and here is
a new idea that combines the benefits of
both. Use about three tablespoons of Linit,
one teaspoon of cold cream and enough
milk to make a consistency convenient to
apply to cleansed face and neck. Apply as

Sophisticated, sparkling
Lelong's Penthouse Co
logne.

you would any mask and
relax about twenty min-
utes, like our lady in the
sketch, then remove with
tepid water. You'll see a
finer, firmer skin, soft,
smooth, refreshed. Try
this after a hard day
when you must look your
best for a sudden date !

C EM-PRAY Jo-Ve-
Nay, meaning "Al-
ways Young," is an old
friend. For a long time
it has made mothers' skin
rival that of debutante
daughters' and plenty of
screen names have en-
thusiastic words to say
for it. This preparation
is a cleanser, emollient,
general corrector _ and
powder base combined.
Very easy to use, too,
in a container that serves
as a holder. The contents
push up, stick-like, to
come in contact with skin.
Sem-Pray Jo-Ve-Nay^ is
protective and soothing
for the children in winter
and for men after a
shave.

AT LAST, some of the
problems on powder
tone are being solved
for fastidious moderns.
Poudre Incarnat by Louis
Philippe, maker of that
very popular Louis Phil-
ippe-Angelus lipstick, in-
troduces five new shades,
two of which belong in
the rachel family, two
in the naturel, with the
fifth going quite exotic
for the extreme brunette
or one who prefers un-
usual make-up. This, be-
cause it has been found
that most of us belong
in the first two classes,
so now you have ample
choice. A fine, smooth
air-blown powder that
veils you softly but does
not make you look pow-
dered. More — if you use
the Louis Philippe-
Angelus lipstick, and it's
surprising how many pro-
fessionals do, the powder
tones are keyed to lipstick
shades, so that make-up
may have a rich, harmony
in depth of tone. The powder box is gold-
tinted in a charming metal design, strong
and substantial for constant use and cannot
grow worn and shabby as less firm boxes
have a way of doing.

THE cosmetics and perfumes by Lucien
I Lelong are as chic as are the costumes
designed by this famous Frenchman. And
so with these Penthouse Cologne triplets
Under a gay cover, very sky-scraperish and
amusing, are gathered three generous bot-
tles of Whisper— after that exciting per-
fume—Gardenia and a real eau de Cologne.
The bottles are leak-proof with shaker
openings, and here's refreshment, per-
fumery and luxury for a long time.

How Crawford
Keeps Clamorous

Continued from page 31

every single second of being an actress. All
the world acclaim, the glamor and the ex-
citement of being a movie star have never
ceased to thrill her. She milks every mo-
ment dry of its importance. Every time she
starts a picture, every time she faces a
radio audience, every time she sits for por-
traits there is that same grim determina-
tion, that breathless enthusiasm, as if it
actually had never happened before. It
couldn't be any different even if she wanted
it to be. Joan has long since become a
Hollywood legend. If ever there has been
a movie star, it is Joan Crawford, who
comes from the stuff of which actresses are
made.

When you stop to think of it, Hollywood
should be eternally grateful to Joan. How
few actresses there are who live up to the
traditions of the make-believe world. How
few there are who supply that fascination
the colorful life of an actress represents.
But Joan never lets us down. She puts
on a magnificent show, just as all the glam-
orous women of theatrical history used to
do. And she has a wonderful time doing-
it. There is one possible flaw in the picture,
if you can call it that. The very things
that actresses were hailed for in another
era, are the very things that Hollywood
frowns on and brands with disapproval.

Unfortunately for Joan, she rose to great
fame in a town that reeks of provincial
unreality. Being a sensitive person Joan
has struggled between resigning herself to
the mediocrity of the average Hollywood
actress' life or living within the colorful
confines of her own creative world. As a
result, Joan has been ridiculed, often mis-
judged, sometimes disliked and many times
offended. She has been accused of taking-

it all too seriously. But just try and get
her to take it any other way. Some of her
stories haven't been as good as Joan would
like them to he. But she always compen-
sates in some way.

In spite of her almost super-sophistica-
tion, there is a sentimental side to Joan's
nature that is remindful of a small town
girl just starting out in life. I remember
when the I'll Capitan Theatre on Holly-
wood Boulevard was taken over for broad-
easting purposes, Joan went on a program.
She had invited me to see the show from
the wings and I was to meet her in her
dressing-room. Much to my surprise, I
found her in the small dressing-room at
the end of the backstage hall, rather than
the large front one usually allotted the star.
Just before she went on the air. Joan ex-
plained why.

"I just couldn't take that room," she
said. "It would have been sacrilegious
on my part. The last time I was in there
Paul Bern took me backstage to meet
Pauline Frederick, who was appearing in
a play. Miss Frederick had always been a
great ideal of mine and I hoped some day
to be as fine an actress as she is.

"I shall never forget that meeting. Miss
Frederick held my hand and gave me won-
derful encouragement. She told me to keep
my chin up and if I felt I could accomplish
things, never to allow anyone or anything
to destroy that thought. I never have. And
I've never forgotten her kindness to me."

The name of Paul Bern naturally brings
to mind the tragedy of Jean Harlow. After
Paul Bern's death Joan never would speak
of it. He was a great friend to her when
she needed a friend. His loss was a great
one. Joan and Jean Harlow never knew
each other very well. They had met once
at a party, long before either had achieved
the golden touch of success. Working on
the same lot they naturally came in con-
tact with each other. They always spoke
but each went her separate way. There was
no particular reason why they should have
become great friends. But the stories of

Holly-
wood's
glamor
girl in the
role she
plays with
such zest
and pleas-
ure in pri-
vate life
—that of
''Aunt
Joan,'1
idol of
her niece,
Joan
Le S u e u r,
aged 3 .
Aunt Joan
had a
slacks en-
s e m b I e
Just like
her own
made for
Niece
Joan, and
was that
little girl
proud!
Especially
when this
picture
was taken.

Crawford chic, illustrated in a
recently photographed close-up.

a feud were greatly exaggerated, as Holly-
wood exaggerates all rumors.

One day, Franchot who was working
with Jean Harlow, came over on Joan's
set. When he explained that the company
were through for the day because Jean was
ill, Joan ran right over to see if there
was anything she could do. Joan and Jean
met just outside the sound-stage door. Joan
offered Jean some nerve tablets that she
sometimes used. Jean explained that she
had her own but they would not help. That
night Joan received a beautiful box ot
flowers. Attached was a note of thanks
from Jean Harlow. A few days later Joan
asked Jean to come for dinner. At the time
Jean couldn't keep the date. She never
lived to accept a second invitation.

Certain people are born to lead in this
world. And certain ones are born to follow.
It requires no master stroke of brilliancy
to determine in which class Joan belongs.
She has defied the time-worn traditions of
conventional living with the same ease that
a duck flicks water from its back. She
establishes a precedent and flees from its
limitations. For example, when all the pink
and white blondes were being selected as
typical Hollywood beauties, Joan went out
and par-boiled herself in the sun. Her ma-
hogany-colored skin and freckle-spattered
face were copied by girls all over the
nation. Thousands of grateful letters poured
in from freckle-faced girls, whose own in-
feriority had magically disappeared when
Joan established the homely freckle as a
mark of beauty. In the meantime Joan pro-
ceeded to bleach herself out and become
as pale and interesting as the fragile hero-
ine of "La Boheme."

Joan was one of the first to wear men's
tailored slacks. But one day she awakened
to the realization that femininity had hit
a new low. From then on she turned from
slacks and is never seen in public unless
she is the last word in sartorial splendor.
The freedom the slack-wearing craze
brought to Hollywood resulted in an in-
formality that was nothing short of sloven-
liness. Tourists depart from Hollywood
with weird stories of having seen five-

thousand-dollar-a-week actresses shopping
in filthy dungarees and spotted shoes. You
will hear that some of your favorite glamor
girls can be seen in any corner drug store,
their faces bearing unmistakable signs _ of
a recent mayonnaise massage. Leo the Lion
might easily turn green with envy at the
hirsute appearance of some of your dream
girls, who comb their hair with electric
fans.

But Joan always gives them their
money's worth. At home Joan's dressing-
room" is equipped with every known kind
of boon to beauty. She has a practical
manicure table, complete with electric light
and wheels. She owns her own store-sized
drier for her hair. She has dozens of
shelves of shoes, each shelf for a different
color. She has every width and color of
ribbon by the bolt. She has several closets
filled with dresses, and yet with Joan it
never ceases to be a problem when it comes
to making a selection. Being right for an
occasion and looking her best for it means
as much to Joan as giving a fine perform-
ance. Once when she was invited to the
Frank Borzage anniversary party, I saw
Joan sit down and sew new jet buttons
on a dress, because she wanted to wear
this particular dress, but she wanted it
to look different. Yet she could have closed
her eyes, gone to her closet and blindly
selected any one of a number of dresses
and looked equally well. Another time I
remember Joan gave a dinner party and
wore a breath-taking vermilion crepe dress
with a white cala lily pattern. She looked
so beautiful, it was just impossible to say
anything about it. Later on she asked me
if "her dress was ugly, because it had gone
unnoticed. I pointed out that she always
looked her best and one got so used to it,
she'd have to look her w-orst, in order to
rate special attention.

Other women might want to look like
Joan but they aren't willing or they don't
enjoy going to such meticulous extremes.
With Joan it is almost a hobby. And of
course she is oftimes resented. I've seen
her enter a room and each woman present
becomes conscious of a hat that is off-
slant. Or a hem suddenly becomes uneven.
The men present suddenly remember to do
all the nice little things. The ones that
most women never look for. The ones that
Joan always expects. I've been in rooms
where other actresses walk all over the
place trying to find a match for a cigarette.
Yet the click of Joan's- cigarette case auto-
matically brings a dozen different lights,
from a "dozen different directions.

During the years that Joan has been
criticized and maligned, she has never
ceased to be a good sport. And even if
she does appear to take it all pretty seri-
ously, she knows when to keep her tongue
in her cheek. She proved what a humorous
perspective she has when her publicity de-
partment asked her to meet a group of
Middle-West politicians. Over a period of
years Joan has always been the one who is
so willing to co-operate when it comes_ to
posing with visiting firemen and shaking
hands with the "Apple Polishers' Union of
America." Garbo just didn't have visitors
on her set. And it usually worked out that

Norma Shearer's sets were closed on the

particular days there were visitors on the

lot.

But on this particular day Joan was
tired. Everything had gone wrong and to
cap the climax, on to the set walked the
little group of politicians. Joan blew up
and point-blank refused to come over and
act cordial. The publicity department was
in a dither. They explained to Joan that
they had already said how charming and
gracious she was. What were they to
say now?

"Just tell them," flipped Joan, "that
there's another new Crawford."

Patricia Ellis wears navy blue,
with trimming of white kid.

On another occasion, Joan pulled an
amusing disappearance act. She was at the
Trocadero and excused herself to go make
a phone call. When she didn't come back
Franchot began to worry. He went to the
phone booth and she wasn't there. So
Franchot asked Barbara Stanwyck, who
was in the party, to see if Joan was in the
powder room. Sure enough, she was there.
And busily engaged in helping Margot
Grahame sew a broken strap on her low-
cut evening gown. Joan had never met
Margot before in all her life. When she
walked in and saw the difficult time Margot
was having, Joan offered to give her a
helping hand.

Speaking of Barbara Stanwyck, one nat-
urally wonders about her friendship with
Joan. For five years they lived right across
the street from each other. They had met
but their lives had taken such a com-
pletely opposite course, a close friendship
had never developed. When Barbara left
Frank Fay, Joan realized that she must be
facing a terrific ordeal. So Joan sent a
message and asked if they couldn't meet
again. -

Soon Barbara was driving all the way
out from Beverly Hills where she had
moved, to Joan's house in Brentwood
Heights. Across the street stood the home
that Barbara Stanwyck left behind her,
where Fay was now living. It's strange
that all the time they could have seen each
other on a moment's notice, it couldn't
work out. But today they are the closest of
friends. Joan is very devoted to Barbara.
Outside of Franchot's picture, Barbara's is
the only other one that Joan displays in
her home.

In many ways Joan and Barbara, who
have had the same struggle for success,
are faced with similar problems. Both are
highly sensitive, hard-working, independent
personalities. Both are extremely loyal to
their friends, expecting little from friend-
ship, willing to give twice as much in
return. They are, very good for each other,

because when Joan tries to help Barbara,
she is actually helping herself. When Bar-
bara recognizes certain traits in Joan's
nature, she recognizes them because they
also belong to her. Barbara is so emo-
tionally equipped that in acting she finds
escape from reality. But she only seeks
that escape through the medium of her
work. The rest of the time she retires to
her own little world. Joan, with her great
beauty, her flair for life and living, was
meant and does belong to the world at all
times.

There are many people who have helped
Joan along the way in her career and these
people come first in her heart. Any time
Joan has had furniture made, alterations
on her home, decorations to be bought, she
has always patronized William Haines.
From time to time people have come to
Joan and urged her to patronize some other
decorator. Joan has always given them the
same answer.

"Bill Haines was a star when I was try-
ing to make good. He gave me a chance
in his picture and I have never forgotten
it. Bill's business is going wonderfully
well. He doesn't even need me for a cus-
tomer, but I still would never go to any-
one else, as long as Bill will do the work
for me."

I remember too how sad Joan was when
Renee Adoree passed away. Joan had not
known her but she was captivated by
Renee's zest for life. When it became nec-
essary to sell the Adoree jewelry to pay
doctor bills, Joan asked to buy it. Her
ambition was to make Renee a present of
her treasures when she was well and strong
again.

"When the ill-fated Pickfair was put up
for sale, an enterprising agent came to
Joan and asked her why she didn't buy it.
Back in his mind was the thought that
Joan had once been refused admission
there, when she became the bride of
Douglas Fairbanks, Jr. It could have been
a moment of triumph for Joan — if there is
any triumph in sifting dead ashes. Joan
shook her head wisely and the look on her
face more than told what a long, long way
she had traveled from those days when a
date at Pickfair had seemed so important.

Joan's enthusiasm isn't strictly confined
to her personal efforts. It involves material,
financial and spiritual aid as well. When
Joan isn't busy making monogrammed
petit-point for Billie Burke, she is trying to
find out why Delia Lind (her newest
friend) hasn't been given a chance to sing,
when she was brought from Vienna almost
a year ago. One day finds Joan putting
up the money to establish her hairdresser
in business. The next day she's trying to
encourage Alan Curtis, her new leading
man, who hasn't been able to quite relax
in front of the camera.

When Frank Borzage learned he was
to direct Joan in "Mannequin," he naturally
asked to meet her as soon as possible. They
talked for a long time and Frank kept
gazing inquiringly at Joan. The first day
they started shooting, Frank said:

"You know, I have a feeling that .we
have met before. Of course I've often seen
you on the screen. But it seems to me that
I've known you personally, too."

"Do you remember a girl you tested
when vou wTere looking for someone to
plav Diane in 'Seventh Heaven'?" Joan
reminisced. "Well, I was that girl. I
wanted that part so badly, but of course
you said I w-ouldn't do. When my studio
sent me over to make that test, they told
me if I didn't get the part, they were going
to loan me out to Tom Mix for a picture.
It just so happened that they didn't becaus~
they had something else for me. But I
made up my mind that someday you would
want to direct me in a picture!"

Part of Joan's equipment is her vivid

Dolores Costello, very modern
and modish, returns to the screen.

imagination. There is an over-compensating
quality in her nature which is another rea-
son why Joan gives you your money's
worth as an actress. Joan is never quite
satisfied with things— just as they are.
Through her eyes and emotions they must
become enhanced. Oftimes I tell Joan the
newest story of the moment. She imme-
diately repeats it to someone else. But she
doesn't tell the same story at all ! She gives
it her own version, but it doesn't matter.
Most of the time hers is so much better.
Recently Joan decided that her hair would
photograph better if it were red. So she
made it red. But just a little more red
than anyone else. Joan was one of the first
to wear blood-red polish on her hands and
toes. When others started doing it, Joan
switched to flesh pink. Originally Joan
started the fad of wearing a braid on the
side of her head. When other actresses
began to sport a braid, Joan unbraided hers
and tied it with a tiny bow. When the
bow was taken up, Joan put gardenias in
her hair. The gardenia phase became a
symbol, and even though they still remain
her favorite flower, Joan took up the lowly
white carnation.

Joan's flair for fads manifested itself
recently when she purchased glasses. Joan
bought them to wear at pictures and in
the theatre, because she found the constant
strain gave her slight headaches. Instead
of resenting the fact that she had to wear
glasses, Joan was delighted. She could
hardly wait to get to a place where she
was supposed to put them on. To her they
were the same as a new toy to a child.
What's more, after Joan began wearing
her glasses sooner or later she'd ask any-
one she met if he or she wore glasses too.
If she received a negative answer, Joan
almost shook her head sympathetically and
conveyed that they really were missing
something !

There has been a great deal said about
Joan's singing. Actually she takes lessons
because she enjoys it. And she is anxious
to sing. Beyond that Joan has not com-
mitted herself. When the studio suggested
that Joan sing something classical for the
screen, Joan pleaded that she could not and
was not ready to sing for an audience. Un-
less you were a close friend of Joan and
understood that she was still in the experi-
mental stage, nary a note could you get out
of her. Then one night Joan went dancing

at the Trocadero with a party of friends.

Joan was looking unusually beautiful this
night. And she was feeling unusually well.
Being Crawford, she just couldn't let it
go at that. Suddenly without warning a
voice filled the room. Joan, dancing by the
bandstand, had quite unexpectedly pulled
the microphone over and stood there sing-
ing away with perfect ease. When she
finished the song the applause was deafen-
ing. Joan bowed graciously and acted as
if it had all been part of the day's work.
If the management had come up to her
table and asked her to get up and sing,
Joan probably would have been running

yet. ' •

Joan didn't start the gadget bracelet
craze in Hollywood. And she didn't take
up the style until every other actress had
collected hundreds of amusing little orna-
ments. Then just as the interest was be-
ginning to die down, Joan started to collect
miniature hearts. She had them of gold,
platinum, enamel and crystal. One had a
tiny diamond in the center. Another was
decorated with hand-painted forget-me-
nots. Joan was pleased because her gadget
bracelet was different. Invariably she is
criticized for her ever-changing innova-
tions. But in the meantime everyone else
follows suit.

Joan delights in being first with the
latest. I've seen her tear out an ad from
the New York papers and air-mail the
illustration with her check. Therefore Joan
always has the newest, whether it is girdles
or gramophones. Burgess Meredith accom-
panied me out to Joan's one night, when
he was making a picture in Hollywood.
On the way home I remember Burgess re-
marked that two of the most glamorous
women he has ever known, Katharine Cor-
nell and Joan Crawford, both own Dachs-
hunds. And looked like they should own
Dachshunds.

When the fans fight for her autograph,
when the police have to get her through
the crowds, Joan really gets a huge kick
out of it. There have been times too, when
she- has been too nice to people through
the impulsiveness of her generous nature.
Had she used better judgment she wouldn't
be cascaded to the depths of despair. But
Joan never seems to learn a lesson. That
is, she won't turn her back on her own
emotion or cease to help people if she
thinks she can do them any good. It never
occurs to her that there are some people
you never can do any good for. But she
must be right because she keeps right on
going ahead. People keep on going to see
her pictures. And she seems to thrive on
all the things a less dynamic person might
never rise above.

I shall never forget a conversation I
had with Helen Hayes, who is one of
Joan's greatest admirers. Helen was visit-
ing Hollywood and I had called for her
to drive her out to Joan's house for dinner.
As we drove along Helen confided that she
would rather go to Joan's house than al-
most any other actress in Hollywood. Helen
asked why anyone would criticize Joan or
censure her for the very things that make
an actress exciting. To Helen, Joan per-
sonifies everything that an actress should
be. She feels that it is almost a tragedy
that Joan wasn't born in another era, when
actresses were expected to have the kind
of fire, emotion, and imagination that
swayed rulers of Empires. According to
Helen, Joan was born to sleep in glass
coffins and make spectacular entrances. She
feels that Hollywood should be grateful to
Joan for her struggle against the common-
place and her endless effort toward making
the career of an actress as colorful and
fascinating as the make-believe world
should be. There are far too few actresses
today who live up to their own tradition —
and actually give you your money's worth.

Once Over Lightly 1

Continued from page 26

"Speaking of 'Souls At Sea,' though, re- I
minds me of the uproar that was created
at Paramount when 1 dashed over to Bill's
a little too soon during the shooting of
that picture. The final shot was supposed
to have been made, the company was dis-
missed and, as usual, I beat it over to k
Bill's for my reward. Snip, snip snip went
the shears, and shah, shah shah went the
razor, all to my very great delight. As fl
Harry neared the completion of the job
the 'phone rang and Bill answered. He
was very attentive for a few seconds, then,
looking over at Harry and me with a most
grave expression he dropped the receiver
bluntly and shouted, 'Hey ! Hold every-
thing! Cut it out! — I mean, don't cut it!
Hold it!' When he was able to regain his
breath he went on to explain that it was
a call from Paramount's production de-
partment and advice had come through
that there would be retakes the next day.
I was to report on the lot for the extra
shooting. Looking down at the pile of
hair on the floor, my heart missed a beat
as I thought of the reception I'd probably
get from Director Henry Hathaway when
I appeared on the set, sans hair and sans
whiskers. As it turned out, a wig was
made which was passable, but while the
wig-maker was trying to match my hair
Paramount lost several hours' shooting
time and consequently several thousand
dollars."

Bill's long-time customer is well-wear-
ing, smiling Dick Arlen. Dick has been
coming to Bill Ring's for his hair-cuts
since 1924, and. incidentally, in all that
time has had but two of the establish-
ment's men do his work. Like Crosby.
Dick doesn't care how they cut his hair
as long as they get it done, and, as he
puts it, "as long as they get it out of my
ears." Dick relaxes in the chair, and is
easy to work on. As patriarch of Bill
Ring's group of clients, Dick has the fol-
lowing to say : "I've been kicked all over
Hollywood in the course of my jagged
movie career, but when things get tough
I feel that I can always go into Bill's
and get a sympathetic hearing. If not
from one of the gang, there's always Bill

Barber shop blues! Spencer Tracy
gets 'em it seems, above.

to fall back on. He has yet to fail me as a
listener to tales of woe."

Joe Penner does a lot of thinking while
he's in the chair. According to Bill, joe
puts on a serious expression, says nothing,
but just as it looks as though he's going
to go to sleep comes out with some crack '
that sends a ripple of laughter clear out
to the sidewalk. According to Joe he is
Bill's prize sucker, and has an almost
pathological lack of sales resistance. "I
wonder what Bill's going to sell me
today?" is the expression Penner is known
by around the shop. (Bill Ring is one of
Hollywood's leading pipe and tobacco mer-
chants, also sells tooth-brushes, razors,
smokers' equipment and general gadgets).

Stu Erwin serves the dual function of
keeping Bill Ring's marble games going on
merrily and bringing in all the very latest
dope on football, baseball, the horses ; and
the beauties, health-giving qualities and
charm of the Sierra Mountains (where
Stu was born — and proud of it.)

The title of fussiest patron of Bill Ring's
has been contested about evenly between
William Powell and Adolphe Menjou.
Precise and demanding in the matter of
the welfare of his hair, moustache, and
finger-nails, Bill Powell is as pleasant as
possible during the maneuvers, but still
insists that the work be done in a certain
way. "It's a toss-up," says Ring, "as to
who uses the hand-mirror more often dur-
ing a session here, Bill Powell or Menjou.
However, I think I'll give Powell the edge
on points, for Bill not only uses the hand-
mirror to excess but also at times stands
up in order to get a better view. But still
I like him," Bill Ring appended.

All that has been said about Powell ap-
plies generally to Menjou, with the ex-
ception that, when everything is going well,
Menjou will soften up and talk about his
dogs. "We hold against him particularly,"
remarked Charlie, the youngest of the
tonsorial artists, "the holiness of his
moustache. Never, since he has been com-
ing here, has he allowed any one of us to
lay hand, scissors, or razor to that sacred
turf."

"But still," rejoined Bill Ring, "we all
like him."

The fidgety customers, according to Bill,
are most noticeably Fred MacMurray, all
of the Marx Brothers, Eddie Cantor,
Jack Benny, Paul Lukas, and Producer
Lubitsch. On account of their long legs,
Vic McLaglen, Andy Devine, and W. C.
Fields are added to the list. For these

high-strung Hollywoodites the barber-chair
seems to be designed as a source of dis-
comfort, rather than a place to relax.

Contrasted to the fidgeters, Bill boasts
of such prize relaxers as Melvyn Douglas,
Lloyd Nolan, Kent Taylor, Bob Burns,
Mischa Auer, Pat O'Brien, "Skeets" Gal-
lager and Jack Mulhall.

Of the gregarious clients, W. C. Fields,
Jack Benny, Groucho Marx, and Eddie
Cantor stand out. Whether it is that these •
gentlemen have a lot of talking to do, or
that they have some lagging childhood fear
of having their tonsorial needs attended
to without company may never be known.
The fact remains that only rarely are
these stalwarts seen alone in a barber-shop.

"Although we have never, to my mem-
ory," said Bill, "been favored with any
Adeline-singing quartets in our shop, such
foursomes as Ben Bernie, Walter Win-
chell, Mack Gordon, and Harry Revel,
and, believe it or not, Einstein, Count
Tolstoy, Jack Dempsey, and Thomas
Meighan have been frequenters (without
definite purpose) of our establishment."

Occasionally Bill receives off-campus
calls, in answer to which he is always
willing to oblige. Outstanding of such
summonses was the job that called _ for
Charlie to go out and shave W. C. Fields
at the Cedars of Lebanon Hospital during
his rather recent illness. With all the pain
and discomfort that were wracking the
fibers of the ailing buffoon, Bill Fields was
still able to come out with the statement:
"Charlie, I believe that is by far the
worst, the dullest razor that has ever
come in contact with my epidermis."

Going to the Paramount lot to answer a
call from Cecil B. DeMille, this same
Charlie received the compliment of his
life. Said Cecil DeMille when Charlie had
finished, "That, my. boy, is the best hair-
cut I have ever had. Why hadn't I been
told about your place before?" Charlie
didn't know how to answer, but went back
to the shop throbbing with the DeMille
praises.

"And that," observed Bill Ring, "is the
last we ever heard from Cecil DeMille !

"We thought we were going to have
Charlie McCarthy to work on the other
day," (Bill's expression was that of un-
requited hope) "when Ed Bergen brought
him in under his arm. We were disap-
pointed, though, for Bergen simply stepped
up to the smokers' counter, bought a cigar,
and walked out. Oh well, maybe someday
we'll get McCarthy's business."

Star-Dust Baby

Continued from page 63

THE STORY UP TO NOW
Katrine Mollineaux (real name Katie
Malloy) orders her press agent, Bill
Naughton, to find her a baby to adopt —
"it will be headline publicity for me,"
she argues. The "baby" Bill brings is a
boy, about 8 years old. Furious, Katrine
tells Bill he must return the lad to the
orphanage. The agent says that's im-
possible, and tells Katrine how the lad
got the black eye that adds to Peter's
disheveled appearance. He got it, Bill
informs her, "defending you against slurs
by another boy." Little affected by this
show of devotion, Katrine tells Naughton
she may have to keep the lad for a while,
"but that doesn't mean I'll like him."
Now catch up with the story.

of a proper — or improper one. After a
moment Katrine went on.

"That's what gripes me," she said. "You
can't divorce a kid — not ever." She paused.
"But as soon as the fireworks have
stopped, I can send Peter to a boarding-
school in the east. I can make arrange-
ments to have them keep him during vaca-
tions, too — "

Bill said to that: "I'll take care of
Peter's vacations — " but Katrine shook her
head. "No," she said, "I won't have you
spoiling him. In fact, Bill, I think you
spend too much time with Peter already!
I was going to talk to you about it."

Bill was stung to answer. "Do you want
to isolate the kid entirely?" he asked. "He
likes me, and he's crazy for affection and
he gets thinner every day. If you ask me,
you won't have to worry about boarding
schools — or vacations or anything else — if
this goes on !"

Katrine looked at Bill with level eyes.
"Are you accusing me of being mean to
the kid," she said, "and not giving him
every luxury? Now, Bill — "

Bill answered, "There's such a thing as
mental cruelty. I saw that business with
the flowers a week or so ago. Peter got
up long before breakfast to pick them — "
Katrine queried, "What flowers?"
Bill told her, "Don't pull that innocent
line on me ! I mean the bouquet he brought
you — the one you threw away because you
happened to be feeling cussed. Peter'll
carry a black and blue spot on his soul
because of that !"

"Balogney," Katrine objected. "You're
making a mountain out of a mole hill.
Peter probably found the weeds in a gut-
ter. They were more'n half dead."

Bill said : "He'd been holding them in a
hot little paw, trying to get up the nerve
to give them to you. Katie, I hate you
sometimes !"

Katrine went to a nearby vase and took
from it an orchid, not quite fresh.

"Here's a posey. If you like 'em this
way, Bill, you can press it — and put it in
your memory book."

Bill stared at the slim hand holding the
flower. The smooth nails of it were tinted
with a new rusty shade. Bill loathed the
color — it was too much like drying blood
to be funny.

"I really do hate you," he heard himself
repeating, "you've got something clammy
back of your smile. You've got a two-
edged sword in your voice. You've — "
Katrine said, "Go on! Do!"
Bill growled. "I will. I hate you and I
wish I'd never seen you in my whole
life—"

Katrine drawled, "Do you indeed? I

wonder where you'd have been today, if
you'd never seen me. liver think of that,
Bill ?"

Bill had thought of it. Too often, of late.
He replied, very low, "1 was getting along
when you took me on to do publicity."

Getting along . . . Katrine, looking at
Bill, giggled. "I seem to remember," she
said, "that you were doing some adver-
ting copy for a cut-rate gents clothing
store on Avenue B . . . Radio was coming
in, about then — you were hoping to meet
somebody who cleaned spittoons for one of
the smaller broadcasting companies. Once
you were a newsboy, weren't you?"

Bill told her : "I owned a third interest
in a swell little newsstand."

Katrine giggled again. "Oh, sure," she
said. "You were going to get reckless and
put in a line of chewing gum and penny
candy, weren't you?"

Bill interrupted. "Listen here, Katie," he
said, "you were just starting, yourself,
when I began to do your publicity. We
came along together. A newsboy — and a
hoofer with more figure than brains. You
gave me a break, but I got you lineage in
the papers. It was just about even — "

"It isn't any more," said Katrine. Just
that.

Sometimes eyes can stare into other eyes
for so long that they get locked, almost.
Bill Naughton had finally to wrench his
eyes from Katrine's gaze.

"I guess you're right," he said. "Almost
any half-baked publicity man could get
you what you want — now."

Katrine nodded slowly. "You said it !"
she told Bill. "And I wouldn't have to go
to night school, or learn to fly, or adopt
kids."

Bill laughed. "This is a joke on both
of us." he said. "Am I fired, or do I
resign ?"

Katrine put out a hesitant hand toward
Bill. The movement was involuntary —
with a little annoyed exclamation she
snatched it back again.

"If it would make you feel better about
it," she said, "you can resign."

"Thanks!" said Bill. He didn't have
time to say any more, for Peter stood
in the doorway, looking at Katrine with
the sad gaze that a certain Borzoi had
once worn.

"There's a man to see you," he said.
"Kito wasn't around and the man asked
me to announce him. It's the Frenchman."

Bill began to laugh. He said, "Some day
Katie'll be making a butler out of you,
Peter ! He laughed all the way down the
corridor until he almost collided with the
little Count. Then he jammed his hat hard
down on his head and swore and walked
rapidly along the avenue, bordered with

Martha Raye whoops it up in
"The Big Broadcast of 1938."

palm trees, that led to Katrine Mollin-
caux's front gate.

Back in the drawing room Peter stood
twisting his fingers together. Instinctively
he knew that something was wrong, but
he didn't know just what it was. After a
long minute he spoke: "Uncle Bill left
in a hurry, didn't he?" he said.

Katrine surveyed him coldly. "Yes," she
said, "and it's a pity some others couldn't
take a lead from him. You picked a fine
time to come barging in, Peter."

Peter spoke in his own defense. "But
the man sent me."

Katrine said, ignoring the defense, "It
you had the sense of a rabbit you'd have
told him I was out — the Frenchman, 1
mean."

Peter answered, "But I couldn't. I kneiv
you were in."

Katrine had a wild desire to shake the
child until his teeth rattled. She found
that she was mentally cataloging all sorts
of things, obscure and unobscure, that had
annoyed her since the hour of his coming.
The initial disappointment, the way in
which he had absorbed Bill Naughton's
interest, the unexpected devotion of the
Japanese servants, the hurt expression that
came into his eyes when she spoke sharply,
even the stray kitten that she hadn't let
him keep. She said suddenly and vehe-
mently, "Darn it all, Peter — you're just a
pain in the neck to me!"

Peter hardly ever answered back ; it
wasn't a part of his code of acceptance.
This time, however, he broke an estab-
lished rule.

"Why?" he asked. "Why am I — a pain
in the neck?"

,Katrine, meeting the child's wide, intent
gaze, found the question a trifle difficult
to answer.

"I guess it's because I don't like little
boys," she said at last.

Peter's shoulders seemed to straighten
in a dreadful, unchildlike way, beneath the
hand-sewn linen of his blouse.

"But you like me, don't you?" he
queried. "Even when you're cross — you
like me? Even though I am — a boy?"

Katrine found all at once that she was
embarrassed, and it was a long while
since she had been embarrassed by any
male person. Out of the embarrassment
she spoke.

"No, I don't like you," she said, "every-
thing's been ga-ga since you got here. Bill
and I were getting along fine — just like
we always had. Nobody butted in, and
nobody made me look cheap."

Peter's voice was so unsteady that it
fairly ached. "I don't sort of — understand,"
he said.

Katrine told him bluntly, "Then you
must be even dumber than you look," she
said. "I should think a kid half your age
, would get it. I don't want you — and I
never did — and that's that !"

Peter was biting his underlip again, as
he had on the day of his arrival. His
voice, when he finally spoke, was no longer
steady. It was, in fact, almost blurred.

"If you don't want me, an' never did,"
he asked, "why'd you take me?"

Katrine said, "I didn't take you, Peter.
You were wished on me by darling Uncle
Bill. It was all a gag."

Peter whispered, "A gag?"

Katrine laughed. She didn't know that
her laughter was nearly as unsteady as
Peter's voice.

"You're too young to know what a gag
is," she told the child. "For gosh sakes,
beat it before I say anvthing I'll be sorry
for !"

Peter didn't speak again. He swung on
the heel of his flat. English-cut sandal,
and went very quietly from the room. It
was only as he passed through the doorway
that Katrine became aware of the not very

Jack Haley and Phyllis Brooks in
"Rebecca of Sunnybrook Farm."

large man who stood there amusedly
watching.

"Who told you to come in?" she asked
sharply of the French Count, named Bcr-
trand. "You're a swell guy to stand in a
doorway and listen to a private conversa-
tion."

The Count interrupted. "I followed the
boy," said the Count, "I couldn't help
hearing — "

Katrine's eyes were narrowed as she
surveyed her suitor. "You didn't try to help
hearing!" she said. "You're a slimy little
goof—"

The Count laughed. "And you are ut-
terly charming when you are in a rage,
Katrine," he said.

Katrine's voice was a snarl. "You think-
so?" she asked. "You're so bright you
ought to be one of the arc lights on the
Boulevard !"

The Count was not adroit at reading
danger signals. Besides, he. had for a
month been warmed by the golden color
of Katrine's favors. He said, "The child
is very unattractive. I do not blame you
for disliking him."

Katrine heard her own voice speaking.
It was so different from her own voice
that she scarcely recognized it.

"And now you're being psychic," she
said. "Who told you that I dislike Peter?"

The Count laughed. "You said it your-
self," he remarked placidly. "You said it
to the child. Mon dicu, I thought he was
going to faint ! It pleased me to hear you
express yourself, Katrine. I, too, dislike
children. But intensely!"

Suddenly Katrine Mollineaux was blaz-
ingly angry. Angrier than she had ever
been in her life, to date. Somehow she
found herself blaming this blandly amused
Frenchman for the way in which she ha l
hurt Peter, and the breaking of her long
association with Bill, and a million other
disconnected things.

"So you dislike children, too, do you!"
she raged. "You little bum ! You little
half-pint so-and-so! Why — " there was the
sound of a smack, so sharp that it might
have been an echo from a lost but glorious
Fourth of July, and the Count stepped
back, nursing a crimson cheek.

"But, cheric, you said — "

Katrine screamed, "It's none of your
business what I said! You take it on the
lam before I have you kicked out !"

The Count went rapidly — fear stamped,
with the mark of five glaring fingers, on
his face. It was only after he had entirely
vanished that Katrine began to cry. When
the tears became a torrent, she threwr her-
self upon the floor and beat against the
thick piled oriental rug with clenched, im-
potent fists . . .

(To Be Continued)

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"Man-Proof"

Continued from page 59

"MAN-PROOF"

A Metro-Goldwyn-Maycr Picture
CAST

Mimi Swift Myrna Loy

Jimmy Kilmartin Franchot Tone

Elizabeth Kent Rosalind Russell

Alan- Wythe Walter Pidgeon

Florence Rita Johnson

Meg Swift Nana Bryant

Jane Ruth Hussey

Bob Leonard Penn

Tommy Gaunt John Miljan

Director : Richard Thorpe. Producer :

Louis D. Lighten.
Screen play by Vincent Lawrence.
Waldemar Young and George Oppen-
heimer from a book by Fanny Heaslip
Lea.

away from herself. And Jimmy had lived
long enough to know it would be useless
to try to stop her from drinking the cham-
pagne she turned to so eagerly. He wished
he could do something for. her. She was so
super, and she was so young, too, and so
vulnerable.

But he couldn't keep her from the cham-
pagne, nor from the bitterness, nor even
from that last talk with Alan. Elizabeth,
dressing in her going-away clothes, heard
Mimi's voice outside in the corridor as
she hailed Alan. Funny, she had thought
she would gloat over Mimi today, for the
race had been much too close for comfort.
But she hadn't been able to, not with
Mimi's eyes looking at her.

"I'm sorry for that crack I made down-
stairs," Mimi said, and Elizabeth moved
into her dressing-room so that she wouldn't
hear the pain in her voice. "I was trying
to be smart. It wasn't so hot."

"It was all right," Alan said uncom-
fortably.

"No. No, it wasn't." Mimi's hands
twisted. "Listen, Alan, the losing lover
must be a lovely loser. She had a big part
in this play and now she's got to get Jhe
curtain down."

"You're lovely enough, Mimi," he said
slowly.

"Sure." She made a horrible grimace of
an attempted smile. "That's why you mar-
ried me." She waited, hoping for words she
could hold to her heart and remember
afterwards, but Alan said nothing and she
went on desperately. "Well, congratulations
— and I hope you'll be happy."

"I know you do, dear," Alan said shame-
facedly.

"And you will !" Mimi swayed a little.
"She's worth marrying and the job her
father is giving you is worth a million."

Alan shook his head. "The wine is a
funny fellow. Imagine you talking like
that."

"I'm not a nice girl, Alan." Mimi looked
at him steadily. "I tried every trick in the
bag to be the bride ! But I'm this nice, I'm
perfectly willing to warn you : when you
return, I wouldn't have anything to do
with a girl like me. I would put the seven
seas between us and wish there were
eight !" And then she turned and ran away.

It was Jimmy who found her late that
night after Meg had called him in a frenzy.
She was sitting at the bar in the tenth night
club he had gone to in search of her, her
floppy bridesmaid's hat hanging limply from
her hand.

He tried to be casual, but she was so

Slink that it didn't make any difference what
his approach was.

"Congratulations," he tried another line.
"Because you almost won that guy and
didn't. Wouldn't that have been a fancy
marriage, with a man who has no dough !
What would you have lived on, I ask you?"

"I'll tell you what I think," she edged
away from him, "when Alan comes back,
you can bet all the cartoons you can draw
in a year I'll be waiting for him and — "

"Ah, now you're talking, lassie," Jimmy
grinned derisively. "Listen, he doesn't need
a guardian, that lad. I le'll get a piece of
change out of her all for his own." Sud-
denly his voice changed, became almost
gentle. "I know you're having a bad time,
Mimi. And I know it's no good to say, I
don't think love is worth suffering for. Not
any love I've ever seen isn't. All I've ever
seen is the kind that's all around us and,
for my dough, the real thing is something
that grows too high on a tree for us to
reach."

Funny, how Mimi remembered that
speech of Jimmy's the next morning and
how her lips twisted remembering it and
remembering other things too. For a long
time she lay there loathing herself and the
champagne that had festered her unhappi-
ness into that galling bitterness. She tried
to smile when her mother came, much more
matter of fact than she felt, to say goodbye
before making her train into the city.

"Aren't you going to say something?"
Mimi asked wistfully. "Haven't you any
sense of duty ? You ought to scold me or
console me or something."

"You know I hate to play that kind of
mother," Meg said slowly. "There's some-
thing so awful about a mother advising you
when you've had a crack on the jaw, to
say nothing of a hangover with it."

"I want you to, Mother." Mimi reached
out for her hand.

"What would you say," Mimi said slow-
ly, "if I said I thought Alan had made a
mistake and I intended to keep on being
eager about him ?"

"I think you're better than that," Meg
said slowly.

"Suppose I felt I have a right to Alan,
an even greater right than Elizabeth," Mimi
insisted. "What would you do then?"

"Well," Meg looked at her steadily, "as
long as you were doing what you thought
was right I'd be with you, even fight for
you, but I'm afraid I — well, I wouldn't
have much enthusiasm for the cause."

For a moment Mimi looked as if she
were going to cry, then her hand reached
out impulsively. "Mother, I guess that licks
me." She smiled a woebegone little smile.
"You can go now, you don't have to worry
about me any more."

Of course it wasn't really a career to

Boots Mallory, of Grand National,
peers over a puffed sleeve.

SCREENLANE

FOOLISH words of a popular song. But there's truth in
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begin with, that job Jimmy got (or her in
the art department of his newspaper, but
it wasn't long before Mimi was really
doing things with that talent she had for
drawing.

So after three months she came over to
him one day hugging the drawing for the
furniture ad she had just done.

"I'm excited, I admit it." Her eyes were
shining. "It means so much to me, it means
I'm making good and I'm getting such a
thrill out of it !"

She stopped as a boy came in with a
pile of papers just off the press and took
one and turned to the page her ad was on,
with Jimmy grinning over her shoulder.

"Here's a paper full of the news of the
world, life and death and destiny, and
what you're excited about is a furniture
ad," he jibed, then suddenly he stopped
and her eyes followed his to the social note
on the opposite page.

There was only that first sharp intake
of her breath as she read that Elizabeth
and Alan were back from their honeymoon
and were planning a celebration for the
members of their wedding party.

"Funny, being in the same paper," Jim-
my said, and then he asked: "Will Mimi
Swift be at that party?"

She turned to him as if she'd suddenly
made a great discovery and he saw her
eyes were shining.

"I often wondered what I'd feel like the
day that was in the papers," her voice came
eagerly, "and I find that I'm still excited
about my drawing. Do you get that, Mr.
Kilmartin?"

It was all too easy, that party, greeting
Elizabeth with the old affection she'd had
for her before Alan came between them
and their friendship, greeting Alan so
casually and meaning it too, as he came
over to her on the verandah after dinner,
and talking about her furniture ad as if it
was the only thing in the world that mat-
tered and her heart not skipping the lit-
tlest beat when she saw he looked vaguely
disappointed.

"Well, this isn't what I expected," his
voice sounded almost sulky as he sat down
beside her. "I was wondering what we'd
talk about when we met again but it's a
cinch I didn't think it was going to be
about a furniture ad. You see, I was more
or less led to believe it was going to be
about oceans, or seas as you put it once.
That it would be dangerous for us unless
there were eight of 'em between us."

'Mimi leaned over to accept a light for
her cigarette.

"The wine is a funny fellow, as you put
it," she smiled.

"Oh," his voice sounded blank. "Then
it was just the wine talking and as socn
as I left — all as if nothing had happened."

"No, not so soon," Mimi said quietly.
"But- I'm all right now. Aren't you glad,
Alan ?'.'

"No !" The word was torn from him. "So
this is the end. Somehow it's a little sad."

But Mimi didn't even feel the least bit
sad or even triumphant when Elizabeth
came toward them and she saw her quick
glance of apprehension.

"Hey, come here, you !" Alan hailed his
wife. "Protect me! I've been insulted. My
ego's gone. All this time I thought Mimi's
been carrying a torch for me and now
she says she can't believe she ever was in
love with me. So it's all set now, we've
got it all in blue prints, we're going to be
friends. I, she, you !"

"Let me tell her, Alan," Mimi said slow-
ly. "Elizabeth, you know- Alan never loved
me. He likes me and now I like him. That's
all there is to it. And I want you to
believe me."

"Thank you, Mimi, and I do believe you,"
Elizabeth said and she smiled with Mimi as
the quick frown knotted itself between
Alan's eyes.

I hit for all her talk of friendship Mimi
hesitated the day Alan came to the office
with two tickets for a prize fight at Madi-
son Square Garden.

"I drove Elizabeth to bed talking about
the fight," he grinned. "And she told me
not to feel bad. That tomorrow would he
the happiest day of her life. The fight will
be over !"

"I can't go alone with you," Mimi said
slowly and then, "Does Elizabeth know you
were going to take me?"

"Of course she knows it," Alan grinned.
"What about this beautiful friendship you
sold me? Are you going to throw it in
the ash can before it's even started?"

So after that, there was nothing Mimi
could say. She went to the fight and some-
how it was almost the way it used to be,
laughing with Alan like that, getting ex-
cited with him, grabbing his hand once at
a knockout punch, thrilling again as he
took her hand and he'd it. Once she looked
up and saw Jimmy sitting across the aisle
and a flush came to her face as she saw the
look he gave her. But after that there
wasn't time to think of Jimmy.

There were so many things to do, excit-
ing things, going to a night club afterward
and swinging hands as they walked home
through quiet streets and nothing said that
couldn't be said and yet all the time old un-
dertones were there and old feelings stifled
too long rekindling and becoming important
and exciting again.

"If it hasn't been the gayest time I've
ever had, don't ever give it to me any
gayer. I couldn't take it," Alan said as he
left her at the door of her apartment.

The excited happy smile was still play-
ing about Mimi's lips as she closed the
door of her apartment behind her, then
suddenly it was gone as she saw Jimmy
waiting for her. She had never seen Jimmy
look at her like this before. Almost as if
he didn't like her.

"Lovely fight, wasn't it? Nice and
bloody, or didn't you notice? Oh yeah,
sure, you went to the ball to show 'em all
how free you were of him; well, you
showed 'em tonight all right, sister."

"I just love you in the role of big
brother, Jimmy. It fits you so perfectly."
Mimi laughed, then she sobered. It was all
so clear to her now why Jimmy had been
waiting there in the apartment. He had
misunderstood things. He had not thought
she would be coming home alone. "I am
really glad you came around tonight."

Jimmy was taken off guard at that.
"Why?" he demanded.

"Well," she hesitated, "you've made me
realize he wasn't even thinking about —
what you thought — and I'm just realizing
why the night was so lovely. What I'm try-
ing to say is, you don't know how swell it
is for you to be wrong."

She would have been so happy if it hadn't
been for Elizabeth. Why did that girl have
to be so grand, anyway ? Why couldn't she
have been the sort of wile that no one
would mind hurting? But after all, that
couldn't be helped. Love was the thing that
counted.

She was going to play fair, though, she
told herself that as she took up the tele-
phone the next morning and called Eliza-
beth. But she wasn't quite prepared for the
happiness in Elizabeth's voice as she an-
swered.

"Sorry I missed the fight last night,
Alan said it was so exciting. But I think
I'd rather have scarlet fever."

"Not me." Mimi couldn't help the tense-
ness that crept into~ her voice. "I wouldn't
have missed it, not for anything. You didn't
mind my going alone with Alan ?"

"I don't mind you, Mimi. Especially after
our friendly little .alk."

Mimi spoke softly into the phone now.
trying to take the edge of the shock away.
"Try to. understand this, Elizabeth. The

SCREENLAND

other night I said a lot of things about
friendship. I meant them then, but they re
not true any more. What I'm trying to say
is I'm still in love with Alan."

There was the sharp little click of the
phone in Elizabeth's ear and the sudden
fear in her heart. But in spite of that it
was Elizabeth who sent Alan to Mimi again
that night. And she knew she was doing it
too when she pleaded a headache and sug-
o-ested he go off for a night at the club.

"That man's here again," Alan shouted
the salutation as he knocked at Minn's
door. And he smiled as he heard the eager
rush of feet inside.

"Carry him in," Mimi laughed as she
opened the door.

"Where shall I put him?" he asked, and
his eyes were eager. .

"Oh, just dump him anywhere! Mimi
laughed but she might as well have said,
"I love you." _

"Oh, you can't treat him that way, Alan
jibed. "He's marked fragile. He needs a
lot of care and kindness ; in fact, what he
really needs is more of the same medicine
you gave him last night. You're gay, Mimi :
you're fun— in fact, you're swell. Why
can't things be like this always?"

"Can't they?" she said quietly. "Is this—
is this the way you want it to be, Alan?
The two of us, always?"

His mood changed just a little.
"I know we've got a lot of talking and
thinking to do, but let's not do it now—"
He stopped as the knock came on the
door, and then he stiffened as Mimi flung
it open and Elizabeth stood there.

"Hi, dear," she called to Alan, and even
her eyes did not show her hurt as she came
into the room. Then she turned to Mimi
"Well, between three old friends, can I

have a drink?"

Alan poured stiff highballs for the
three of them and Elizabeth took ( a drink
of hers before she spoke again: "This is

The old well lures the alluring Leah Ray, songbird and screen actress who brings
a strictly modern touch to the rural retreat where she spends holidays.

different than I expected to find it. You
both look— well, very sure of yourselves.
I'm confused by the way you look, Alan.
I never saw you look like that before. 1
don't think we have to talk much. I think
you're in love with her and all you want
is a divorce. .

"I'll tell you why I was so surprised.
Elizabeth turned to Mimi. "On our honey-
moon I knew that Alan didn't love me.
So, having naturally rated him higher than
a fortune hunter, I found myself married
to a man who had lost his size. Who was
just — ordinary." .

She saw Alan staring at her then.

"Then I began to realize something-
else." Her fingers tightened around hej

glass. "And it was strange. He was trying
to be in love with me, so desperately that
I knew Alan had never been in love and
never would be. But his not wanting to
be like that, made a difference— and instead
of hating- him for being ordinary, I found
myself sorry for him because he was a
very lonely man.

"Well, being in love with him what was
I going 'to do about it ? I knew there would
be a parade of women, since he would be
trying to find love some place, but they
wouldn't be getting any of his heart for
he had none to give them. And the fact
he had married me seemed to say he liked
me better than any.

"Not very much to have, but that much,

rWTHTfflKK- AND
TOM TAKES HER HOME

AND THAT MAKES ME A PRIZE SAP!
BUT I'D CERTAINLY LIKE TO KNOW
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Minii. And added to that it isn't everyone
who can charm and amuse me. So I was
going to let it ride. But I wouldn't want
Alan in love with another woman. He
wouldn't be very charming or very amus-
ing with a heavy heart. So now since he
is in love at last — well, I had it pegged
all wrong."

She put down her glass and got slowly
to her feet.

"I'll pass up the drink. I won't be good
at being noble much longer," she said.

It was Mimi who spoke first after the
door closed.

"There goes a Major-Gcncral in any
woman's army, even though she did lose,"
she said.

But she saw then Elizabeth hadn't lost
after all.

"All this time I've been married to her
I've been sitting for my portrait and didn't
know it !" Alan looked like a man who
had suddenly been startled from a long
sleep. "She clocked it, Mimi. You zvcre to
be in the parade. Oh, right out in front —
you know that, but in the parade never-
theless. Then the charm of last night gets
busy again, you believed so much that it
was a great love and so I thought it was
the McCoy at last. And then in comes a
wise guy and shoves a mirror in front of
my face."

"Are you in love with her?" Mimi asked
in a small sick voice.

"No, but — well, Elizabeth does count
now. And I know you wouldn't want to
count — that way. I guess you're lucky,
Mimi."

"Sure." Her head lifted. "Sure. We're
both lucky, I guess."

But after he was gone there was that
sickness in her heart that was different
from that other feeling had been, the first
time she had lost Alan. For now it was
shame she felt. A sickening, agonizing
shame.

She really didn't know she was going to
Jimmy when she got out of the house at
last. But she did. And when he saw her
face he wasn't cynical or bitter with her the
way he usually was as he bundled her into
his old Ford and started driving her out
to Meg.

The night air felt good on her face.
Fresh and clean and brisk. And suddenly
being with Jimmy seemed that way too.
It was almost like getting to know herself
all over again, feeling the shame go and
laughter coming instead, feeling so calm
with Jimmy saying all the things to put
a girl right with herself.

It was so grand they kept on riding
through the night so that when they came
home it was at the breakfast table they
found Meg. They tried to tell her of the
thing they had found and Meg listened
with that wise smile of hers.

"So you've both come to a great under-
standing!" She shook her head. "There's
no such thing as love. You've put it out
of your lives. Friendship rules triumphant !"

"How can you sit there and not get
excited?" Jimmy bellowed. "Your own
daughter has come out of the ether. She's
through with all that romantic mush. She's
a real person now and—"

"Jimmy, look at Mimi," Meg said sud-
denly. "Not me, her ! Look at her eyes.
They're sparkling. And Mimi, look at
Jimmy. Where's that old indifference?
Where's that lack-lustre look? You idiots,
don't you know love when you see it?"

They didn't know it, not for a minute.
There was that first startled silence and
their hearts bounding and Mimi's knees
trembling. But then Jimmy took a quick
step toward her and she was in his arms,
and after that even a fool would have
known what it was all about, not to speak
of a smart girl like Mimi.

Fay's Magic Carpet

Continued from page 67

pictures are decided. She never keeps a
shot that shows anyone in an unfavorable
light.

"People only look as they do in those
dreadful shots for an instant," she said. "It
may be a trick of light, or a glare in their
eyes, or because they have their mouths
open to speak, and they look either imbecilic
or drunk or hideous. Why preserve that ?

"I don't mean that the people in my pic-
tures must be always at their best — always
well-groomed and well-dressed — but they
should give me an impression I want to
keep.

''These shots of Dolores Del Rio on the
sands at my beach house aren't the most
beautiful pictures ever made of her, but 1
love them because they give me a Dolores
mood that I seldom see. Her hands are so
expressive, her face thoughtful. It has an
old Italian painting quality that I'd like
to get oftener."

"I like some of my Swedish stuff. The
hay drying on the rails here in Rattvik —
this Gota Canal scene. I traveled by boat
across the lakes and through little canals.
The boats progress through a series of
locks ; you can get off and take a walk
inland for an hour or so and when you
come back your boat may be a hundred
yards farther down the canal. In this I
like the water reflections and the dappling
of sun through the trees.

"When I get that portrait lens, I'm go-
ing in for character studies. I don't want
just young, pretty faces— I want real char-
acter. In this shot of an old caretaker of a
church at the village of Leksund, Sweden,
you can see the sort of thing I mean.

"When I get that portrait lens I shall
probably annoy all m)' friends terribly by
telling them to move a little toward that
shadow, or draw in that foot, or shift your
glance to the left. Or I may get to be a
serious artist who will sit patiently waiting
for four o'clock and a certain phase of
light, before I will shoot. Who knows?

"But I had rather good luck with these
two that I shot without waiting a second :
Richard Arlen racing across his garden
with his dog, and my husband sitting in a
sleigh opposite me at St. Moritz. See the
snow falling on his coat ?

"I'm not a specialist in animal pho-
tography," Fay went on, selecting two
more prints from the little heap on the
couch, "but here are two pictures of Anita
Louise and her Irish setter, Rambler. The
house is Anita's. The girl's dark figure
against the white fence makes a good
contrast. Perhaps the two should both
have been shot against the light back-
ground, but when I take a picture of a
dog, I'm lucky if I get the dog, without
worrying over where he is by the time the
shutter clicks !"

Fay is convinced that it's a good thing
for a husband and wife to share the same
hobby.

"It makes for friendly rivalry," she
laughed, "especially if you each have dif-
ferent cameras. We both take pictures on
our trips or at the beach or at the current
excitement and then we can hardly wait
till the prints come home.

" 'Mine are really quite something this
time !' we will say to each other, and it's a
triumph when you actually discover that
yours are a little better.

"With two people in a family doing it.
you feel you must improve. It won't dc
to make the same mistakes and have the
other one say : 'Your lighting is bad —
again!

SCREENLAND

Ungilded Lily

Continued from page 65

water, and she should have been dank and
depressed. But she, and the whole company,
had the giggles. I pieced the story together.

It seems that Director Raoul Walsh had
given Lily a pep talk when it was time for
her song. "We want plenty of pepper in
this number, Lily," he had admonished.
Solemnly, Lily assured him. "I onderstand.
You wait. I go to the ceety on this one!"
I don't know why "going to the city"
sounds so much funnier than "going to
town," but it just does.

"Do you ever have your serious mo-
ments?" I asked, when she and I could get
our respective breaths.

She has, of course. You gather that life,
on the whole, was pretty serious for Lily
until she came to Hollywood, and found
herself involved in "these too, too mad pic-
tures, which are such fun !"

Lily Pons was one of those sad crea-
tures, a child prodigy. She was a seven-
months baby, and the doctor who officiated
at her birth will attest that she had two
teeth. He adds: "If she had waited the
normal length of time to be born, she would
probably have arrived equipped with rubber
boots and a fur coat!" At four or five, she
was picking out operatic tunes on the
piano. But let's skip it. I can't stand child
prodigies, and I like Lily Pons.

The Chamber of Commerce will be jarred
to learn that Lily doesn't like the climate
of Southern California ! The nights are top
cool. So she just pauses in our midst until
her picture is finished, and then away she
goes to her farm in Connecticut, where she
really feels at home. There are twenty-
seven acres of land snuggling around her
farm house, and she treasures those acres.
She raises chickens, and turkeys, and
cabbages and things, and has a game pre-
serve for wild birds, and a haven for deer.

Domestic ? No, one could hardly call Lily
domestic. She simply hasn't had time in her
short, busy life to learn to cook, for in-
stance. She likes to go to the market, how-
ever, and she will come home with the most
astonishing pile of things. "The tomatoes,
they look so red, I thought I'd buy sev-
eral," she will say. Her idea of "several" is
really something. "They tell me the feesh

Lily Pons makes pets of all kinds
of animals, even leopards.

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is nice, so I liave bought some t'eesh." She
has indeed bought "some" fish.

I asked her to tell me of the preparations
she makes before an important operatic
premiere, thinking that here, at any rate,
she might conform to the popular con-
ception of a prima donna. But it was not
to be. She makes no special preparations.
She just takes all the rest she can, and
then goes on and does her stuff.

She is, as a matter of fact, one of the
gayest people you can imagine. The giggles
which greeted me when I first met her
were not unusual. They are practically
chronic.

"One of the things I like best about
America," she told me, "is how it laughs
and laughs. I like so much your American
magazines, the laugh ones, with all the
funny pictures. I like the funny motion
pictures, too. They have grown funnier
and funnier. It's nice, isn't it, to laugh?"

It was Jack Oakie who christened her
"Snooky," and she loved it. She liked it
so much that she would pretend not to
hear when someone on the set addressed
her as "Miss Pons." Bewildered property
men, trying to observe the laws of po-
liteness and still please her, solved the
difficulty by calling her "Miss Snooky."

The enti-re studio dissolved in mirth when
it heard of Lily's introduction to a "jam
session." It seems that she came upon Cary
Grant, Jack Oakie, and Eric Blore, in a
corner, knocking the living daylights out
of Siveet Adeline. "What ees thees?" in-
quired Lily. Jack Oakie assured her,
solemnly, "This, my dear, is a jam session."

"Eet sounds like fun. I theenk I jam,
too, huh?" quoth Lily, and she forthwith
trilled a merry obligato to that good old
corner-of-the-kitchen ditty, until several
people from all over the lot came running
to see what went on. "Me? I am jus'
jamming," Lily informed them.

When irate critics waxed wroth over
Lily's feather and bead costume in "Hit-
ting a New High," the studio was upset.
But Lily was amused. "I thought it was
rather cute, that costume," she commented.

She hates rain and fog, and nothing will
induce her to venture forth on a damp eve-
ning— except a circus. A first class blizzard
won't keep her at home on a circus night.

She likes to arrive as early as possible,
and spend hours, if she can, prowling about
the animal tent. She exerts an almost
hypnotic influence over the most savage
animals. She makes cooing noises at them,
and they purr or whimper, or twitter, ac-
cording to their noise-making equipment;
and a good time is had by all.

She owns several dogs, a pair of turtles,
and a parrot. She tries always to have some
of them with her, even when she is on
tour. The turtles present the smallest prob-
lem when she is traveling, she declares.
Her favorite pet is an English sheep dog,
"Pouf." I asked her why he was named
"Pouf," and she informed me, "I jus' look
at him, and it came to me." When she
| had an appointment at the studio to have
publicity pictures made with "Pouf," Lily
was on time, but "Pouf" was not. She had
sent him to the veterinarian to be groomed
for the cameras.

People who know Lily very well, who
see her every day, will tell you that she
has a wistful quality, a kind of cosmic
sadness which overwhelms her sometimes.
I have never seen it.

She did confide once that she had a
theory, a plan, about the future and the
function of grand opera upon the screen.

She is in earnest, too, about her plans
for retirement. She first "retired" from the
stage after notable successes in Paris, while
she was still very, very young, and, of all
things, before anyone realized that she
was a great singer. She has been planning
to retire all over again, "in five years,"

ever since. Two years ago, she set the date.
"In five years." Now she has bought the
Connecticut farm, and avers that she is
preparing it for her retirement, "five years
from now." She is very serious about it,
but I don't believe for a moment that Lily
Pons will retire five years, or fifteen years
from now. She is too active, too interested
in her work, too imbued with the habit of
work. Horseback riding, gardening, caring
for her birds — these things will never sat-
isfy Lily Pons. Or, at least, not for a long,
long time, I hope.

Of course, there is her reputed marriage
to Andre Kostelanetz. They have admitted
their intention to wed "when we have
time." It takes only a few minutes, after
all, to be married, and there are those
(plenty of those) who are convinced that
Lily and Andre have been married for
some time. But I, and several other million
people, do not know whether or not the
pair have taken that step.

Lily is deeply interested in children,
especially talented youngsters. She works
quietly and earnestly, in an effort to see
that they get their chance to develop. Aside
from these activities which are thoughtfully
planned, her charities are impulsive, and
unorganized. She likes to make gifts which
are surprises to the recipients.

As she doesn't share the traditional opera
star's taste for rich foods, neither does she
share her taste for jewels or expensive
furs. Lily wears strictly tailored clothes
in the daytime : navy blue, or any of the
tawny or nasturtium shades. She has these
made in New York, and she likes to have
a hand in designing them. In the evening,
she wears white. She is clever about
clothes, and no one knows better than she
that nothing will set off that dark vivacity
of hers as well as crystal or ivory. It gives
her height, too. She wall dangle a gem or
two on formal occasions, but never many.

She does have one hobby. She collects,
for goodness' sake, snuff boxes ! Good,
ripe, elderly snuff boxes, of course with
historical value. She has one which was
used by Lord Nelson.

In fact, she never labors anything. She
works hard — very hard — at her music, but
she doesn't moan over it. No one has ever
heard her mention the "sacrifices" she has
made for her "Art." She has loved her
music, and she doesn't feel that her efforts
have been sacrifices. Life for Lily is gay.
interesting, amusing, exciting. She has
made it gay, interesting, amusing, exciting,
for countless other people. The littlest
prima donna — long may she wave and
twitter !

London

Continued from page 61

watched him working he had a bicycle col-
lision in the cause of his Art. As the
newly-arrived student at Cardinal College
he goes for a ride along Oxford's famous
old High Street and collides with the Dean,
otherwise Edmund Gwenn, both falling
heavily on the cobblestones. Seven times
did they shoot this scene, and then Director
Jack Conway congratulated Bob. "Splen-
did! You looked as though you really were
bruised then." "I am!" said Robert, rub-
bing himself tenderly. "That was not act-
ing !" And did the extra girls sigh as they
watched the studio nurse efficiently_ anoint-
ing the manly Taylor forearm with lini-
ment.

I haven't seen Robert at any of the smart
Mayfair night-haunts yet, but plenty of
other screen celebrities are around. I met
Gertrude Michael and Mr. and Mrs. John

SCRE ENL AND

Lodge dining at the Savoy and Jessie Mat-
thews made one of her rare social appear-
ances, all in golden net, to sing at a chanty
cabaret attended by King George's brother
the Duke of Gloucester and his Duchess.

Maureen O' Sullivan was often to be seen
with her husband John V. Farrow — usually
they were dancing together and Maureen
was wearing something white and frilly.
Her footwork is so dainty I wonder she
hasn't danced on the screen ere this,
especially as she seems to enjoy herself
immensely on the ballroom floor.

Charles Laughton and Elsa Lanchester
threw a party at their apartment the other
night with a double purpose, to celebrate
the completion of their picture "Vessel of
Wrath" in which they repeat their real-life
role of husband and wife, and to show
their friends the new bedroom which
Charles has made for himself. It's all in
dull white, chests and cupboards fitted into
the walls so that the only piece of -furni-
ture is the bed. Charles has it covered
with a remarkable quilt made from the soft-
est finest white feathers plucked from the
breasts of young swans. He can't sleep un-
der heavy covering and thought this a
marvelous way of combining warmth with
lightness.

Handsome Anton Walbrook has been
decorating, too. He is shortly going to
make another film for Herbert Wilcox who
presented him so deftly in "Victoria the
Great" so he has taken a cottage on Hamp-
stead Heath where he can indulge his fa-
vorite hobby of riding. The Clive Brook
home is only half a mile away, a Georgian
house with a spacious playroom where
Clive entertains his friends every Sunday
evening.

William Powell was wearing a more
■ than somewhat startling line in red scarves
when he looked in on London for a day
before returning to California after his
European vacation. But the masculine fash-

A gold-miner and his girl! Victor McLaglen and Grade Fields, make a perfect
tintype in character for their parts in "He Was Her Man," a new English film.

ion prize this month undoubtedly goes to
Victor McLaglen for his sumptuous ap-
pearance as the town dandy of Johannes-
burg in the good old gold-rush days.

Vic is playing in "He Was Her Man"
with our blonde comedienne Grade Fields
on the new Twentieth Century-Fox lot
where it is authoritatively said that Shirley
Temple will be working next spring. When
he isn't required to do a little gold-mining
or drinking in the bar-room, Vic changes
into very quiet clothes and drives off in
his big black sports car to a boxing match
or a football fixture.

Most of the new British pictures are
technicolor — wait until you see the full
beautv of Merle Oberon's creamy com-

plexion and Elizabeth Allan's soft curls and
Vivien Leigh's exotically-lacquered hands!

At a recent film premiere Madeleine
Carroll appeared in becoming turquoise
chiffon, exactly the color of her eyes, with
pearl and diamond jewelry and her tall
husband Captain Philip Astley as devoted
escort.

Even Anna Neagle appeared, which was
decidedly a departure for Anna prefers the
quiet life at her country home twenty miles
from London. She looked very young and
gracious in her pink dress and white fur
coat, sitting beside Herbert Wilcox who
discovered her as an unknown chorus-girl
in one of Jack Buchanan's musical shows
and built her into a famous film star.

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What's Behind the
MacDonald-Eddy
"Feud"?

Continued from page 23

movie stars who, like it or not, must live
their lives with as little privacy as they
might expect in a Saks Fifth Avenue show-
case. But it isn't fair to either star to dis-
tort and misrepresent . the truth ; that's
carrying enthusiasm a little too far. If
the writer of the letter quoted will return
from her crusade for a few moments I'd
like to acquaint her with a few facts which
have been corroborated, she might be inter-
ested to know, by Nelson Eddy.

Neither Nelson nor Allan was com-
manded by the studio to attend Jeanette's
wedding. Allan Jones and his wife, Irene
Hervey, are close friends of the Gene Ray-
monds, and it was Jeanette not long ago
who gave Mrs. Jones her baby shower —
and you don't go around giving baby
showers to casual acquaintances from
the studio. Allan thoroughly enjoyed the
Raymond wedding, and was terribly em-
barrassed when he read in the paper the
next day that his shoes squeaked. He has
been shoe-conscious ever since. It was Nel-
son himself who suggested to Jeanette that
he sing at her wedding, and Jeanette nat-
urally was delighted. (By the way, Nelson
and Gene Raymond used to play tennis
together a lot and were very good friends
long before Jeanette and Gene even met
each other.) He decided to sing the con-
ventional 0 Promise Me and / Love You
Truly before the ceremony. Then one day
he came to Jeanette on the set and said,
"Jeanette, I want to sing something special
at your and Gene's wedding, not just the
usual songs, and so I went through several
of my old song books last night and have
selected a little known but perfectly beau-
tiful prayer set to music, called Oh. Perfect
Love." Jeanette, as well she should be, was
deeply impressed. As a sort of benediction,
while' Jeanette and Gene were still kneel-
ing. Nelson sang Oh, Perfect Love.

The "numerous delays on 'Maytime' "
which our indignant fan accuses Jeanette
of causing were explained away quite effec-
tively in an interview Nelson gave at that
time. "Jeanette is one of the world's best
sports," said Nelson. "You could see an
example of that right here on the set_ a
few weeks ago. She was in torture, with
sun-poisoning she got over the week-end
on a yachting trip. Her face was peeling,
her eyes were burning, and her lower lip
swollen, discolored, infected. She should
have been at home in bed. Hang the delay
to the picture. But there she was instead,
trying to smile, going through the re-
hearsals for the Jump Jim Croiv dance in
'Maytime.' " Further on he says, "Nobody
got sore when she picked up this sun-
poisoning and delayed production. Every-
body said, 'Sorry you're in such misery.'"
Those fans (and count me in) who
could have done with more of Nelson
Eddy's brilliant singing in "Maytime"
might be interested in knowing that they
have only the studio to blame, and not
Jeanette MacDonald. Jeanette does not
nave the right to select her pictures. She
does what the studio producers tell her to
do. "Maytime" always was, and I suppose
alwavs will be, a woman's picture. She
didn't demand "Maytime," she just hap-
pened to get "Maytime." In "Naughty
Marietta" and "Rose-Marie" I believe,
though I didn't have a stop-watch with
me. Teanette and Nelson had their songs

equally divided. In their latest co-starrer,
"The Girl of the Golden West" (which,
by the way, was turned down by a number
of other singing stars so shouldn't be con-
sidered too great a "plum" for Jeanette)
as far as I can gather from running over
the script the songs are just about fifty-
fifty, tliciugh Jeanette has the title role.
You'd be surprised how very little the
glamorous ones, under contract to a pow-
erful studio, have to say about their parts
and pictures. You don't tell producers,
even though you are a prima donna with
red hair and a temper. They, little kiddies,
tell you.

And oh yes, while we are clearing up
things, those fans who write into magazines
and plead, both politely and belligerently,
"Why don't you give us more Nelson Eddy
stories?" might like to know that Nelson
Eddy is one of the most difficult people in
Hollywood to get stories on. He's one of
the stars — and whether he is right or wrong
is still another argument — who insists em-
phatically upon having his private life pri-
vate. He does not like to give interviews
about himself, or his friends, or his home;
he doesn't like to give interviews. He is
kept so busy with his four-square career —
he makes pictures, he broadcasts weekly,
he makes records, and he goes on an annual
concert tour — that he has very little time
for romance and the gay social life. He is
a conscientious worker and he spends sev-
eral hours of every day personally reading
and answering his fan mail. From his mail
he chooses the four songs he sings on the
radio every Sunday afternoon, so eager is
he to give his fans what they want. Though
I say it as shouldn't, I admire him for not
stooping to cheap publicity tricks, like
escorting a glamor girl to the Trocadero
several nights a week, so the photographers
can click their cameras and the columnists
pop out with juicy tidbits. But alas, all
work and no play makes a movie star very
"bad" copy. So if you can't find a story
on Nelson Eddy in your screen magazine
every month don't blame the editor, don't
blame the studio, don't blame Jeanette Mac-
Donald, and for heaven's sake don't blame
me — just blame Mr. Nelson Eddy, who
"won't talk."

Of course as soon as I faced Nelson and
Jeanette with this feud thing, they strenu-
ously denied it. "Feud believe what you
see for a change and not what you read."
began Jeanette, who can't resist a pun even
when she is choking with rage. And

Nelson Eddy and llona Massey, in
a romantic moment from "Rosalie."

SCREENLAND

Jeanette is right. That old bromide about
actions speak louder than words contains
a mighty lot of truth. No movie star with
two grains of sense is going to say to me,
or to any other member of the Press, "I
loathe that ham" or "Who does she think
she is, Mrs. Metro-Goldwyn-Mayer ?" Oh,
no. Oh, no, indeed.

Whenever she starts a picture, whether
he is in it or not, the gallant Mr. Eddy
fills Miss MacDonald's dressing-room with
flowers. Does that smell of a feud? Because
of hard work Nelson isn't much of a diner-
outer but he finds time ever so often to
have dinner at the Raymond home where
he and Jeanette and Gene, shouting at the
top of their voices, solve the musical prob-
lems of the universe. Though he was fa-
mous on the concert stage Nelson was
practically unknown in pictures when he
was assigned the lead opposite Jeanette in
"Naughty Marietta." Jeanette was already
Hollywood's Singing Star Number 1 and
had she wanted to she could have ritzed
Mr. Eddy something awful, for the babes
in their mothers' arms know more about
picture-making than Nelson did at that
time. But Jeanette went out of her way
to be helpful. She could easily have taken
advantage of Nelson's lack of picture tech-
nique and stolen every scene from him. But
she didn't. Instead, she threw scenes his
way. She took time to put him wise to the
tricks of the trade. "She wasn't a bit like
a prima donna," Nelson told a friend, not
a reporter, "she was like a pal. She did
such a good job of making an actor out
of me that when the picture was finished
the Front Office wanted to bill my name
in big letters too. Jeanette didn't have to
stand for that. She was a star, and I was
only her leading man, and all she had to
do was to remind the Front Office of that
fact and my billing would have been quite
small. But she didn't. She was a pal."

If you know Hollywood, and how jeal-
ously most stars guard their stardom and
try to thwart any competition, you can
appreciate, as Nelson Eddy did, how much
Jeanette contributed toward getting - him
off to a good start in his picture career.
Nor, once he was established, and his fame
and popularity as great as hers, did Jeanette
do a right-about-face and turn on him —
which is an old Hollywood custom and has
been done many times by a jealous star
who can't take it. She seems to be just as
pleased today to be working opposite him
in "The Girl of the Golden West" as she
was three years ago when she was showing
him the ropes in "Naughty Marietta." And
ditto Nelson Eddy. His fans might have
squawked about those nineteen minutes in
"Maytime" but there is no record of Nelson
resenting his lack of footage in that film.
Like Jeanette he cannot pick his pictures,
but he can raise cain when the part doesn't
please him. He didn't. Jeanette's perfectly
willing that he get the break on the footage
next time. "I have always been content to
let M-G-M assign me to my pictures," says
Jeanette. "I have been both happy and
pleased that they have let me do four pic-
tures with as fine an artist and as charm-
ing a person as Nelson Eddy. I hope there
will be many others."

And that, my friends, is saying a mouth-
ful. Because the big glamorous stars of
Hollywood do not want to be teamed with
the same person all of the time. They say
it destroys their individual personality.
Only this morning I read in the Hollywood
Reporter: "Loretta Young's request to
Twentieth-Century-Fox that it cast her
with a_ different lead than Tyrone Power
to avoid being typed has resulted in the
indefinite postponement of 'Accent on Love,'
scheduled as the next for the co-stars."
Ginger Rogers objected to being co-starred
with Fred Astaire (and vice versa, I hear)
for so many pictures, and now Ginger is

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on her own, and so is Fred. Myrna Loy
is raising a rumpus in the Front Office
these days because she does not think it
wise for her to co-star again with Bill
Powell. Gene Raymond and Ann Sothern
managed to break up their team by Gene
leaving the studio. Stars just don't like to
"team" these days; it hurts their personal-
ity, they say — but Jeanette and Kelson,
who are supposed to have a "feud," are the
only ones who go teaming merrily along
without complaints.

How do these Hollywood "feuds" orig-
inate? There are several possibilities. In
Hollywood now there are thirty-eight peo-
ple who broadcast Hollywood gossip one or
more times a week. There just isn't that
much gossip. These thirty-eight air chat-
terers have any number of stooges or op-
erators or legmen working for them. There
are also over three hundred and sixty bona
fide writers and columnists who have pages,
but endless pages, to fill every day, every
week, every month. Everybody wants a
scoop. The town has just gone mad with
gossipers. They'll grab at anything. "Just
give me a lead," they mourn in the pub-
licity offices. "I'll make it into a story."
A "little thing like accuracy, in this race
for news, has simply collapsed and died
by the wayside. So all that is necessary
for a good first-class feud is the follow-
ing: "Hello, what goes on with your little
dream children today? Did the new Mac-
Donald-Eddy picture start? She didn't
smile when he came on the set? Thank
you, my lad, we've got something there."
It's on the air in another hour that Jeanette
and Nelson aren't speaking. All the col-
umnists pick it up and so do all the other
air chatterers. In less than twenty-four
hours it is all over the world that Jeanette
MacDonald and Nelson Eddy are having a
feud. As casual as that.

Then, too, a feud is always good publicity
for the two stars supposed to be indulging
in it. And of course I wouldn't throw
stones, not from the front porch of my
glass house, but poor young men in pub-
licity offices, realizing the publicity value
in a good feud — it gets more space than the
sweetness and light stuff — are not a bit
averse to stirring one up occasionally to
toss to the Press.

And last but not least we have the fans
themselves. Whenever there is a team they
seem to feel called upon to "take sides" at
once. If anyone says a kind word about
one half of the team, immediately fans of
the other half become wildly indignant.
You can see from the excerpts from the
letters given how violently partisan they
have become. Jeanette and Nelson may like
each other tremendously but the fans aren't
going to have it that way. Their idol has
been neglected. So it's a feud. There is
something very earthy and American about
a feud, and I say that if the fans want one,
let them have it. But no distorting of facts,
no false teeth and calf-faces, mind you.
And remember, as Jeanette who loves her
pun says, "Feud believe what you see — "

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Paris

Continued from page 64

afternoon wore on I wondered why he
seemed to enjoy chatting • with me. Later
on, I found out, for shortly before I left
he grabbed my hand and said "You are
really wonderful for here we have spent
the whole afternoon together and you
haven't once mentioned Garbo's name, or
asked a single question about her !" I told
him. with a smile, that I was much too
well brought up, cinematigrafically speak-
ing, to do such a thing. Confidentially, I
know a great deal about that young lady
so don't have to pester friends with ques-
tions about her. Now, after such boasting,
will continue on the amiable subject of
Charles. He seems younger, happier and
much less nervous than on his former
visits. Why shouldn't he be? With a lovely
young wife, success the world over and, at
the time I saw him, back home in Paris
among old friends. The work in the sordid
bedroom continued. Then there was a sud-
den general movement as everyone pre-
pared to leave the scene. It was four
o'clock and tea-time, my dears. Yes, all
work ceases and everyone goes to the studio
restaurant for tea, toast and the far-famed
French pastries. It makes such a pleasant
break in the otherwise long stretch of
steady work. As all the companies stop at
the same time the artistes have a chance
to visit with friends from other sets and
companies. All too soon the bell rings and
they must fly back to their respective jobs.
Charles told me that he had been to the
Exposition several times, which he found
magnificent, in spite of the endless stairs
one has to climb and, naturally, descend. At
other times, he is busy seeing the plays
and old friends. He is still a son of the
theatre and loves everyone and everything
connected with it. Then too, his mother
and. relatives come up from Auvergne to
see their Charles. I must admit that the
sombre hall bedroom scene sort of bored
me, so I skipped off to another set where
the action was livelier.

While on the continental flavor, another
delightful star is in our midst. Tullio Car-
minati, just winding up his holidays in
his native Italy, decided to linger in Paris
before facing a cold, foggy winter of work
in London. Carminati is a most interesting
fellow. Equally at home in English, French
and Italian, he radiates charm and wit — a
real sense of humor. We were at several
cocktail parties together and I heard Tullio
chatting away with the guests in all these
three languages. He has the same suave
polish off that he has on the screen, only
more so. Just next door to Tullio, at
the George V was another American fa-
vorite, Ruth Chatterton was over in Paris
to meet her mother, just arrived from
America. That looks as though Ruth were
planning to settle in Europe for a while.
I say settle in more ways than one when
speaking of this air-minded young lady
who only seems happy when in full flight in
a plane— her own or a chartered one. Other
gals fuss about face lotions, massages and
diets and never seem to look any better
for their trouble. Ruth bothers about none
of these — eats and drinks everything she
likes and looks younger and lovelier than
ever. Maybe she gets something from those
high altitudes when flying that gives her
that radiant smile and certain sparkle in
her eyes. It wouldn't surprise me if Ruth
burst into a French film, for of late she
has been in close conference with several
film heads. She speaks French beautifully
so the language would present no diffi-
culty. If she does, I will haunt the studio
for Ruth is one of those grand persons one
loves to be near.

SCREENLAND

In Fast Company

Continued from page 29

though not in years— had to stay right up
on their toes to keep little Miss Weaver
from stealing their scenes. Indeed it was
she who was the "talk of the picture"
after the preview, with most of the preview
cards reading "give us more Marjorie
Weaver." Majorie has unpacked her bags
again and decided to stay — and why not,
what with Twentieth Century-Fox groom-
ing her for stardom. "I guess, by all right
of reason," says Marjorie, "I should have
been afraid of going into 'Second Honey-
moon.' I knew that the film's eventual_ audi-
ence would see me with such experienced
players as Tyrone Power, Loretta Young,
Claire Trevor and Stu Erwin. I knew, for
that reason, that every mistake I made
would show up all the worse by comparison
with the work of the experts. And yet I
wasn't afraid. In the first place I felt that
Mr. Lang would never have permitted me
to take such an important role if he had
the least suspicion that I'd fail. The truth
is that / wasn't sure of myself, but his
confidence in me gave me confidence in
myself.

"And then there was another marvelous
thing, which made me feel that I'd just
have to do well. Everybody in that cast felt
that my role would be the stepping stone
to something really important. And they
all tried to help me. It was just as if they
saw, in my efforts, themselves at the be-
ginning of their careers. Every one of them,
particularly Miss Young and Mr. Power,
encouraged me and gave me advice — advice
that had cost them many years of labor. I
don't see how I could possibly have failed
with all those wonderful people believing
in me."

Ella Logan brings her bouncing brand of humor into this little seaside sequence
with Kenny Baker and Andrea Leeds, very attractive in her beach attire.

And there's Jane Bryan, a Hollywood
High School girl, who held her own so
beautifully in those difficult scenes she
played with Basil Rathbone, the most suave
and finished of actors, in "Confession."
So sincere was her performance that there
were those in the audience who sighed quite
audibly when Kay Francis came on the
screen and Jane became a minor character.
Other kids who have held their own beside
experienced troupers are Kenny Baker, who
arrived in pictures via radio, and Jon Hall,
who had the ladies swooning after "Hur-
ricane," and Joy Hodges who used to

warble with a band, and Lola Lane's two
younger sisters Rosemary and Priscilla —
and don't forget the girl genius, Deanna
Durbin.

But how do they manage to walk on the
screen with such overwhelming aplomb
and savoir fake? Why aren't they petrified
with fear? It takes a lot of nerve for a
rank amateur to stack up with those pro-
fessionals, most of whom have been in the
theatre for years. Just in case you think
the stars of tomorrow are a new race of
gods and goddesses utterly devoid of such
human emotions as fear and embarrassment

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SCENARIO BY HENRY FONDA

and humiliation I hasten to inform you
that the kids are simply scared to death.

"Oh boy, was I scared when I had to
stand there and sass Pat O'Brien.*' said
Wayne Morris who recently emerged from
Warner Brothers' "Submarine D-l" witli
flying colors. "I kept thinking to myself,
'Kid, you're only a dopey little twirp, how
are you going to hold your own with the
fastest talking actor in the business? Winn
he finishes with you you'll look like some-
thing the cat brought in out of the rain.' "
Despite the fact that he claims his knees
were shaking and his teeth chattering in
all his scenes with Pat, George Brent, and
Frank McHugh (he felt a!l right in his
scenes with the girls he admits), young
Wayne acquitted himself nobly in a regular
Jimmy Cagney part, and the studio must
have been well pleased for they gave him
second billing.

Wayne Morris was born in Los Angeles
on February 17, 1914, and attended the
Los Angeles Lligh School and Junior Col-
lege where he distinguished himself in
football and basketball. He thought he'd
like to be a lawyer but then when his fam-
ily moved near the Pasadena Playhouse
School of the Theatre he decided he'd be
an actor. Casual just like that. Although
he had lived most of his life only a stone's
throw from Hollywood he had never been
inside of a studio gate and so for his
graduation present he asked the Playhouse
to get him a pass to a studio so he could
see how movies are made. He never got
to use the pass because the week diplomas
were awarded Irving Kumin, assistant cast-
ing director at Warner Brothers, saw
Wrayne playing Private Dean in "Yellow-
jack" at Pasadena and sent him a note
backstage asking him to come to the studio
the next day for an interview. The inter-
view ended in a long term contract.

Wayne's first real break came in "Kid
Galahad." "And was I scared having to do
scenes with Bette Davis !" says Wayne.
"She was an Academy Award winner and
tops in my estimation. I thought it all over
and decided that there wasn't any point in
my trying to act around such professionals
as Miss Davis and Mr. Robinson so I just
tried to be natural." Wayne's "naturalness"
was a terrific success. Girls and women
■went mad about him. His real name is Bert
DeWayne Morns and his present ambition
is to "get famous."

"I felt like a silly fifteen-year-old school
girl when the studio told me I would play
Brian Aherne's leading lady in 'The Great
Garrick,' " said pretty little Olivia de
Havilland who has reached the ripe old
age of twenty-one. "Mr. Aherne had al-
ways been my favorite actor, and for sev-
eral years I had worshipped him from
afar as one of his most ardent fans. I think
he knows more about acting than anyone in
the profession and I just couldn't bear to
have him find out what a miserable little
actress I am. He would probably make me
look ridiculous — and that I knew would
break my heart." Poor little frightened
Olivia timidly intimated to the powers-
that-be that maybe she shouldn't play the
girl in "The Great Garrick" and especially
with such an important actor as Brian
Aherne. but she couldn't talk them out of
it so there was nothing for her to do but
bite her lips (Olivia always bites her lips
when she gets nervous), and face the lion
in the den, who in this case happened to be
her favorite actor on the set. She saw him
act out his lines in front of a mirror with
a sinking heart — she would never be able
to hold her own with him. It would be the
most humiliating experience of her life.
Better Leslie Howard and Bette Davis any
day than the great Aherne. So imagine
Olivia's surprise one day near the end of
the picture when Brian Aherne wanted her
to have lunch with him and during the

SCREENLAND

f € m

H Y G

n €
n €

luncheon asked her if she would consider
doing a play on Broadway with him. She
almost choked on her tomato juice, much
to 'Brian's amusement. "You're a very tal-
ented little actress," he said. "You definitely
have a future in the theatre, and a season-
in a legitimate play in New York would
do you a world of good." Now Olivia
doesn't have to worry over whether or not
Brian Aherne will make her look ridiculous,
but she does have to worry over whether
or not she should accept his offer of a
New York play.

No one in Hollywood can wear cos-
tumes so beautifully as Olivia de Havil-
land. She may have taken your breath
away in "Captain Blood" but you haven't
seen anything until you see her in techni-
color as the lovely Maid Marian in "Robin
Hood." In "Call It A Day" and "It's Love
I'm After" she proved that she could hold
her own even without fluffy ruffles and
furbelows. Olivia's one boast is, "I may
not always know how to read my lines,
but at least I know them." She is a keen
observer and rapidly absorbed movie tech-
nique. She claims, however, that it was
Brian Aherne who made her camera-con-
scious as he insisted all during "The Great
Garrick" that she be given the close-ups
and the advantage in the two-shots. Her
real name is Olivia de Havilland and she
has large brown eyes and reddish brown
hair. Camera men love her because she_ is
one of the few people in Hollywood with
such perfect features that she can be photo-
graphed from any angle.

One year younger than Olivia is her
sister Joan Fontaine who is rapidly making
a name for herself at the RKO studios.
Joan's and Olivia's mother married a sec-
ond time and when she signed a contract
Joan, eager not to trade on the name of her
already successful sister, took her step-
father's name. When "Call It a Day" was
produced as a stage play at the El Capitan
Theatre in Hollywood Joan tried out for
a part and won it. The opening nightfound
the famous producer Jesse Lasky in the
audience and before he left the theatre that
night he had signed Joan to a contract.
She was given a fairly important role in
Katharine Hepburn's "Quality Street" and
through no fault of her own landed on the
cutting room floor. It was decided that if
she remained in the picture Franchot Tone
would become an unsympathetic character
so except for a few seconds in a party
scene she was completely cut out. But Joan
Fontaine had found a friend and a cham-
pion— none other than Katharine Hepburn
herself, who proceeded to tell all the right
people at the studio that Joan had amazing-
talent. She asked to have Joan play one
of the studio club girls in "Stage Door",
but in the meantime the executives had
been running over Miss Fontaine's "rushes"
from "Quality Street" and decided to give
her a leading feminine role opposite John
Beal in "The Man Who Found Himself,"
and later opposite Nino Martini in "Music
for Madame."

When Joan heard the rumor that Ginger
Rogers would not appear in the next
Astaire picture and that the studio was
looking for another leading lady for Fred
she immediately started taking dancing les-
sons. She was tested and selected for the
English girl in "Damsel in Distress" and
trouped so confidently with Fred through a
dance routine . that she is now the fair-
haired girl at RKO. She had to sing with
Nino Martini and dance with Fred As-
taire. That, I think, can safely be called
holding your own with experienced
troupers.

Dorothy Lamour, Charlie MacCarthy's
beloved Dotty, is another young girl who
is traveling in fast company. Dorothy is
twenty-two years old and was born in New
Orleans. In 1931 she went to Chicago where

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she worked as a model, and then later in
nearly every department, at the Marshall
\- >< M departnieni store. From childhood she
had been a friend of the late Dorothy Dell
and when Dorothy, a great hit at that time
in the "Ziegfeld Follies," came to Chicago
she persuaded Dorothy Lamour, who had
a natural voice, to sing at celebrity night
at the hotel. She did so, and Herb Kay, a
well known orchestra leader, heard her
and asked her to sign up with his orchestra,
which she di(J. He later asked her to marry
him, which she also did.

With her eye on a movie career she
came to Hollywood and it was only a mat-
ter of a short time before Paramount had
her all signed up on a contract. "I know
from nothing about acting," Dorothy will
tell you, "and as a matter of fact I know
from nothing about singing. I never had a
voice lesson in my life, there never was
enough money, until I came to Hollywood."
Although her salary has been doubled since
she first signed at Paramount it is inter-
esting to note that Dorothy lives in the
same apartment, drives the same car, and
runs her life as simply as she did before.
In fact, she took a five-year lease on her
very small apartment in a none too fash-
ionable district just so she wouldn't be
tempted to "go Hollywood" and buy a lit-
tle something extravagant in Bel-Air.

She was "frightened to death" when the
studio put her in "High, Wide, and Hand-
some" with Irene Dunne, both an accom-
plished actress and singer, and she doesn't
know how she managed to survive. Con-
cerning Dorothy Irene says, "In the com-
paratively short time Dorothy has been on
the screen she has proven herself in a wide
range of pictures to be an actress of un-
limited dramatic possibilities. She has a fine
voice which is an added asset to any star.
I enjoyed working with her in 'High, Wide
and Handsome' during which time I learned
she is as charming off the screen as on."

When the studio first signed her they
weren't terribly impressed, but she'd be
all right for "B" pictures, they decided.
So they stuck her in "Jungle Princess,"
one of those Tarzan Things that every
studio feels duty bound to make ever so
often. The picture wasn't so bad as jungle
pictures go, nor was it so good, but every-
thing stopped when Dorothy sang, Moon-
light and Shadozvs. It immediately became
a hit picture just because of 'the way
Dorothy put over the song. The studio also
demanded that Dorothy cut her hair when
she started her first picture and wear a
wig. This Dorothy refused to do. She has
very long hair and she likes it. Nothing
makes her more furious than to have some-
one accuse her of wearing a wig.

Her first "A" picture was "Swing High,
Swing Low" in which Carole Lombard
starred. Dorothy was so unimportant in
those days (it was just last year) that
she didn't even have a dressing room on
the set. And her part in the picture, a
heavy "heavy," was so nasty that it would
take her years to live it down. Dorothy
wasn't at all happy about that picture but
she decided that what with Carole Lom-
bard, Fred MacMurray, Jean Dixon and
Charlie Butterworth all being so very
important it wasn't up to the likes of her
to say anything. But Carole said plenty.
First of all she shared her dressing room
with Dorothy, and second she proceeded to
rewrite the script. Dorothy was still the
"heavy" but a nice "heavy." Little chil-
dren didn't have bad dreams because of
her. "I didn't have to try to hold my own
with the stars in that picture," says
Dorothy. _ "Carole saw to it that I kept
right in line with them. A beginner is cer-
tainly lucky to have the opportunity of
working with Carole Lombard."

After weeks of broadcasting with W. C.
Fields on the Chase and Sanborn Hour she

feels that she has absorbed a little comedy
technique and she welcomed the chance to
do a dizzy scene with him in "The Bio-
Broadcast of 1938." She is working now
in "Her Jungle Lover" which is the third
time she has had to cavort about in a native
costume which is plenty revealing. The
Lamour legs are very easy on the optics.
Her ambition is to be given a role some
day in which she can wear orchids and
swish around in something terribly chic
by Haltie Carnegie.

Benny The Good

Continued from page 51

in that what Mr. Goodman is good for.
is worked out before your eyes. The best
that you hear is improvised, spontanei
the inspiration of the moment. That is why
the crowd hangs on so. A clarinet is also
a clarinet but not when Benny Goodman,
enraptured, plays it outside of himself.

He'll act and talk in "Hollywood Hotel "
Just now he thinks they'll make a movie
hero out of him over his dead body, but
it's probably not in his hands. He talks
like a Texan, in a low infectious drawling
delivery. "That's because I'm from south
Chicago — near the stockyards," he explains
affably. But in his monosyllablic retorts
he thinks Hollywood swell because it does
things. This movie acting sort of shies him
up. "No, nothing romantic." He hopes it
isn't romantic. Well, he hopes he won't
be spied for that. Just pals around with
Dick Powell in the picture. "Ye-us, I did
feel shy acting at first, but hell, you get
too tired to notice anything. Broadcast
rehearsals, the studio at eight in the morn-
ing, playing every night until two. There
is a kind of glamor but you haven't time
to sit down to it."

The particular flavor of Benny Good-
man's soirees ought really to be described
just to get a line on the king of swing.
"That," says the crowd at the Palomar,
"is Benny Goodman." Where? "Oh, over
there at one of the tables on the floor.
You can go up to him. We never did, but
I guess it's all right." And they don't, but
when he rises from the table where he has
sat out an intermission, the tense, adoring
respect finds hands and arms with which
to signal and touch him.

Benny looks not a little like Patric
Knowles and he also has a feeling about
him of Randy Scott. He is not as tall as
Randy, and the screen may show him
shorter or taller than he is, but there is
something of Randy's clean shagginess. He
may be a very good actor because he has
magnetism and unselfconscious poise. If
the transfer is successful, it will also be
interesting to watch something else. With
the crowds over the land Benny has the
edge as a masculine idol. The escorts
storm the situation, not that the girls don't
do their best, but the boys set themselves
up as authorities. And Benny says their
feelings more for them perhaps.

Benny The Good was born in Chicago
twenty-eight years ago. His first clarinet
came from a mail-order house and was
paid for in installments. He played it in
a boys' band at Jane Adams' Hull House.
In the Goodman family there were eleven
little Goodmans with Benny eighth in the
procession. At ten he was a professional,
appearing on a local vaudeville stage. He
had to leave school at fourteen but the
Dead Ends of a city even up, eventually
they right themselves, and by having to
leave school he was on deck at the right
time to play with Bix Biederbecke and
Frank Trumbauer, the pioneers of the first
barrel-house style known as Chicago. That
was almost swing, but it got snowed under,

SCREENLAND

and jazz went sweet. The half-grown
Goodman toting his long clarinet to Bix
Biederbecke's band as an extra musician
was to bring it back.

Of his first New York days, the word-
charv Goodman says he was "in radio and
such." It wasn't all easy going. He played
with his band in the musical comedy "Free
For All" on Broadway and it folded. At
the Hotel Roosevelt Grill the orthodox
patrons thought his music too unorthodox.
In all he had a few years of what in the
play "Stage Door" is beneficently summed
up as preparation for a career. One of
the men who recognized him early was
Billy Rose, that small emperor of monu-
mental ideas who had him in Billy Rose'
Music Hall. But in the next few years he
showed them, at the Ritz Carlton Roof m
Boston, on the air, at the Urban Room
of the Congress in Chicago, at the Palomar
in Los Angeles, on the New York Para-
mount stage where his appearance created
riots. He appeared briefly in a scene of
"The Big Broadcast of 1937" but strictly
with the band. On the side last year he
turned out Stomping at the Savoy in col-
laboration with Edgar Sampson.

In his present band are Krupa, drums,
Reuss, guitar, and out of the quartet,
Teddy Wilson and Lionel Hampton, all
names alongside Goodman's own and whom
you will see on the screen. When the
quartet swings out, Goodman, Krupa,
Teddy Wilson and Lionel Hampton, that s
top in swing. They ad lib and shoot from
the cuff and the madder and hotter they
o-o the more they go extemporaneous.

What is swing? "Well, you explain
poker to me, and I'll explain swing." Why
is swing popular? "Well, because people
like it." Why do they like it? "They just
do, that's all." Mr. Goodman will of course
have to learn to regard news about himself
as exciting and meet the press in beautiful

The Ritz Brothers get a little pep talk fro
what to expect when the boys put on

dressing gowns, and have ultra hobbies,
and not consider his biography past history
unless it's present indicative and then about
the band, and not keep all his nice phrases
to say over the air where he can breathe
them almost silently into the microphone.

Over the radio for the Camel ciggies
Benny calls the roll call of the swingsters
in language that is as freshly minted as his
impromptu solos. He calls the roll low, sly,
and rumbling. "All right boys, let's take
Dinah over the railroad tracks." Or with
indigo irreverence, "Deal out the Carmen
Gene." Or with a cavalier ta-ta to the

m Vera Zorina, and you get an idea of
their high jinks in "Goldwyn Follies."

compromisers, "Swing it from the heart
boys, good and sweet — but warm."

He thought mastering one art is enough,
but you know how it is. A career these
days has a subpoena in every pocket.
Somebody thinks up a new way in which
you've got to be good. Besides he's been a
movie fan all his life. Barbara Stanwyck
steals in to hear him and the band, and
he's had Barbara as his favorite actress
for a pretty long time. And Spencer Tracy.
Benny smiles his particular triangular
smile kiddingly. He's got to go off now
and play Me, Myself, qua! I.

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Hurricane" Hall

Continued from page 34

but they know him as Charles Locher, his
real name.

Jon is reluctant to talk about his past.
I had to plead with him to tell me even
these bits from his life.

"My grand-dad, Captain Chapman, used
to take my mother with him when he went
trading to the other islands," Jon explaine d.
"Once when she was a tiny little kid they
were caught in a typhoon and three of the
four men were lost. Exhausted after being
lashed about by stormy seas for three days
mother and grand-dad were washed ashore
on a cannibal island where natives bound
him to a stake intending to sacrifice him
to their gods, but luckily their superstition
saved him.

"My mother, who was only seven years
old, had hidden in an empty apple barrel
mi the ship. After three hours she climbed
out and saw the cannibals doing a war
dance around her father. Terrified, she ran
to him. The natives, seeing her golden hair
and white skin as she sped across the sand,
believed she was a goddess. Grand-dad
told her in French (which the natives
couldn't understand) to make motions that
he was a good man, to fix his boat and
to give him men to return or else their
whole island would blow up. Afraid of
volcanoes and thinking she had the power
of destroying their island, they hurriedly
patched the boat sails and loaned grand-
dad five men to return home.

"Such stories as these made me long for
adventure too," said Jon. "Gouverneur
Morris and Zane Grey, the novelists, used
to tell me thrilling tales of the outside
world. I longed to see it for myself, so
my parents sent me to school in the United
States and then to Geneva, Switzerland,
where I studied for the diplomatic service.
Later I entered Badingham College to
specialize in law and Latin to prepare for
Oxford where I planned to continue my
studies in diplomac)'. In those days I never
dreamed of the stage.

"I only came to Hollywood to see mother
and dad, who had moved here while I was
away at school. I expected to return to
England after a short visit in California
but I met my old friend, Gouverneur
Morris. He also had left Tahiti. Morris
introduced me to E. E. Clive, who was
putting on a play called 'M'lord the Duke'
at the Hollywood Playhouse. Bob Taylor,
his juvenile lead, had just been signed by
M-G-M. Clive was a good sport — he let
me take Taylor's place, although I had
never been on the stage before.

"Clive put me in three of his plays before
I was given the juvenile role in 'Charlie
Chan in Shanghai,' my first picture. After
two other small parts on the screen I de-
cided to chuck it all and sail for the South
Seas or some other far-away place. Just
as I was packing to leave for San Fran-
cisco to look for a job on a steamship line,
John Ford, director of 'Hurricane,' had
returned from Samoa and learning of the
talent hunt for someone to play Terangi
suggested me, the boy next door. We
hardly knew each other. It was divine
providence, that's all !"

It isn't only Jon who is in the clouds
these days ; the producers of "Hurricane"
also found themselves alongside Jon on
heaven's highest shelf, when they discovered
him. Jon is the newest, most exciting
heart-beat in Hollywood today, but aside
from his romantic appeal, he is a hair-
raising dare-devil. He isn't afraid of any-
thing. The tougher and more hazardous
things they give him to do, the better he
likes it. In fact he thrives on danger. Jon

hooted at the mere mention of a double !

At Catalina, where they were making
retakes, some live sharks which had been
imported for this particular scene savagely
attacked the dead ones Jon bad to hold
up and struggle with in the water before
the camera. Jon was miles from shore but
kept on swimming. Sharp-shooters, real-
izing the sudden danger of the attacking
sharks, began firing bullets that whizzed
within three inches of him. It finally be-
came so dangerous orders were given to
stop shooting. Jon thought it was fun and
all in the day's work.

Jon isn't married, although four times
Hollywood reporters have published ru-
mors of his engagement and are still
linking his name with first one girl and
then another. He lives with his parents
and young sister in a long, low California
house tucked into a Hollywood hill. The
specious verandah with comfortable chairs,
little woven reed tables, ash trays of huge
flat pearl shells, and a garden full of fra-
grant blossoming bushes take you back-
to Tahiti.

In the drawing-room Jon has several
fine canvases, lush, green, tropical paint-
ings of Tahiti done by George Biddle.
There are always fresh flowers and inter-
esting books about. Small lacquer tables
and an ancient Chinese chest match the
soft vermilion slip covers on the sofa and
chairs. Here you feel closer to Jon's native-
Tahiti than to Hollywood ; the conversa-
tion even seems to drift across the seas.

Women already idolize Jon Hall. But
he has feet of clay like all the others. The
next twelve months will prove whether
Jon can _ stand success; whether he can
take it in his stride and not go balmy.
Clark Gable and Gary Cooper are two
great examples of fascinating he-men who
rode through on the crest of the wave,
growing more popular with each picture.

Right now Jon shrugs his expressive
shoulders and grins when love is men-
tioned. Probably he has been warned not
to talk about romance; it's usually a dan-
gerous subject.

He said, " 'Hurricane' may or may not
be the beginning of a career for me. Of
course I hope I'm on my way — acting is
the work I love best. I want to be a suc-
cess. Right now I should concentrate on
learning everything I can. Personally I
don't think careers and love mix partic-
ularly well. It's difficult to try them both
at once, at least not until you've both feet
on the ground. To be honest with you I
think love is — well, it's so absorbing that
if you let yourself fall in love nothing else
seems to matter!"

He blushed suddenly, obviously realizing
he had betrayed the fact that he already
knows plenty about romance, and why
shouldn't he?

This bit of information is going to give
the blondes a jolt — Jon prefers brunettes!
I got him to admit that, even though he-
did it reluctantly.

"It's true — I definitely like brunettes.
Perhaps I'm prejudiced: the brunettes I've
known have all been terribly interesting
girls. They seem to have more dignity,
more charm than any blonde I ever met.
I know perfectly well that blondes can be
darn charming but up to date I haven't
happened to meet one I could be wildly
enthusiastic about. Some day I want to
marry and take my bride to the South
Seas. My uncle has a treasure island that
we can explore to our heart's content."

There's quite a legend about this island —
hidden there supposedly in its depths are
millions and millions of dollars in gold.

"Right now, I feel as though Hollywood
has turned out to be my treasure island.
I want to keep on digging, for I don't trust
too much in the name my Tahitian friends
gave me," he said — and laughed again.

SCREENLAND

How to win against

SKIN TROUBL

IF YOU HAVE ANY OF THESE
COMPLAINTS, DON'T DELAY,
BUT START NOW TO FIGHT
THEM WITH A PENETRATING
FACE CREAM "

Here's a new angle on Frances
Langford, in "Hollywood Hotel."

The Confessions of a
Hollywood Secretary

Continued from page 33

on the floor in the center of the room, this
was done along with shooting schedules,
breakdowns, wardrobe plots, and Mr. John-
son's script.

Fortunately, there are few stars who
have the right to supervise scripts ; usually
it is the producer who attends to such
salient discrepancies as " 'red' rose in but-
tonhole" for " 'pink' rose in buttonhole."

Nunnally Johnson, who authored that
first day script, is a good example of what
a little rolling will do in Hollywood. Para-
mount would not raise his salary. He quit
and got a job at Twentieth Century at
twice what he had previously demanded.
He is now the white-haired boy of the
Twentieth Century-Fox lot and one of the
highest paid scenarists.

Hollywood is a confusion one inevitably
accepts with calm. My calmness came, as
in any foreign country, with a knowledge
of its language. All Hollywoodians are sup-
posed to know and apply in their ordinary
conversation such words as "Fade in,"
"credit titles," "dissolve," "closeup," "me-
dium shot," "trucking shot," "long shot "
"full shot," "Camera Zooms," "Montage,"
"sequence," "fade out" and words not ap-
proved by the censors, which of course in-
clude profanity. In a script, God is never
spoken of or to unless in prayer, darn is
the substitute for damn, and words in the
strain of pimp and flowsy should not even
appear in the first version.

Script form varies slightly in the differ-
ent studios but all follow a similar pattern.
A script should not be more than one hun-
dred and twenty pages long, if that. It is
divided into sequences, of which there can
be any number but are seldom less than
five or more than seven. The sequence is to
the scenario what the act is to the play.
Each begins with a "Fade in" and ends
with a "Fade out." Sometimes sequences
are named with the letters of the alphabet,
as A.B. C. or D:, and sometimes not.
Curiously the letter "I" is never used.
(Probably too much in demand as a pro-
noun. )

"Fade in" is nothing more than that —
Fade in. A cutter, the man or woman who
shortens scenes by cutting the film and
then arranges them in the desired order,
told me that starting at its apex, "Fade in"
is a V-shaped widening of light on the

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YES NO

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dark film until the entire square is covered.
"Fade out" reverses the process.

SAM SNODCRASS presents Wanda Gulch in
"Blossoms on a Cactus." Original story by John
Shakespeare and Peter Einstein. (Credit title)
Screenplay by Joe Doe, Tom Teenth, Eve Gay
and Malcolm Montgomery. (Credit title) Tech-
nical adviser, Dr. Ludwig Von Loon, Phd.

(Credit title) Gowns Gargo. (Gowns

are always more original if their creators use
only one name).

Let us imagine we are adapting a storv for the
screen in which Joan Crawford, Franchot Tone
and Douglas Fairbanks are to play the leads.
(It is a favorite trick of producers to feature
stars who have been in some phase of romantic
interest.)

The first scene is generally a STOCK SHOT.
(Films taken previously and kept in the perma-
nent files of the studio. Pictures of Times
Square, Piccadilly Circus, and newsreels of
forest fires, floods, and current events are stock
shots.)

Each movement of the camera is a scene and
numbered so our first shot will be A-l — "A"
for the sequence and "1" for the scene. If the
sequence is not named the first scene is simply
"1" and the number of the first scene in the
second sequence will follow that of the last scene
in the first sequence instead of being B-l

Our STOCK SHOT will be of the French
Riviera. A-2 will be a LONG SHOT— CHATEAU
ON RIVIERA (A long shot is just what it says,
a long shot so that a full view is obtained.)

A-3 INT. LIVING ROOM OF CHATEAU
— WIDE ANGLE (As much of the room as can
be is included in the "frame" or picture.)

Then in its place on the page reserved for
business:

A woman is standing in the center of the room,
apparently waiting for someone. CAMERA
MOVES CLOSER (each movement of the camera
is typed in capital letters) and we see that the
woman is JOAN. Her face lights up as she sees
something out of picture. We CUT TO: (A "cut
to" occurs when there is a change of scene in
running action.)

A-4 FRANCHOT ON STAIRS — FULL
SHOT (entire figure) He is descending the stairs.

A-5 FRANCHOT AND JOAN— MED. FULL
SHOT (upper half) He kisses her. Thev start
walking toward the patio, CAMERA TRUCK-
ING WITH THEM. (The camera is being
pushed.)

A-6 FRANCHOT AND JOAN— IN PATIO
—MED. CLOSE SHOT (shoulders and heads)
They are engaged in animated repartee.

10AN: It's a lovely day.

FRANCHOT: Yes, it is ... a lovely day.

JOAN: (suddenly, a horrified expression on
heT face") Look! She points to the sky.

A-7 PLANE IN SKY— LONG SHOT The
pilot has obviously lost control and the plane is
crazilv banking in circles.

A-8 JOAN AND FRANCHOT They watch,
helpless.

A-9 PLANE IN SKY— LONG SHOT It
starts to fall in a straight line to the ground
A-10 PILOT IN PLANE (TRANSPARENCY)
His face is distorted with fear. (Because of the
difficulties of photographing the interiors of
moving vehicles most scenes in planes, auto-
mobiles, buggies, and boats are transparency
effects. The stationary vehicle is placed before a
screen on which pictures of the background are
run. Wind machines help give the effect of speed;
the bouncing of the automobile or jogging of the
buggy is done (out of picture) by some of the
kind gentlemen on the set: and telephone poles
whizzing past are frequently pencil-size wooden
sticks which are flashed before the camera at
regular intervals by an equally agreeable gentle-
man.)

A-1 1-12-13-14 MONTAGE EFFECT (Name
of the man who invented it) showing the thoughts
which race through the aviator's mind as he
falls to almost certain death.

The background of our Montage will be the
head of the aviator. Dissolved into it we see a
child kissing his dying mother goodbye; the same
child, only older, seeing a dog killed: a youth
winning a race. The tense face of the youth,
which we do not clearly see. becomes the tense
face of the aviator, racing to death in a plane!

A-l 5 PLANE IN SKY— FRANCHOT AND
lOAN'S VIEWPOINT It crashes to the ground.
CAMERA ZOOMS UP CLOSE (rapid action on
the part of the pushers) as the plane bursts into
flame.

In its special place on the page:

SOUND EFFECT: The sound of plane crash-
ing and bursting into flame.

Franchot dashes into picture. (Heroes never
do anything so common as "run".)

After several shots of Franchot trying to
rescue the aviator he succeeds.

A-20 JOAN, AVIATOR AND FRANCHOT
—IN PATIO— MED. FULL SHOT The limp
figure of the aviator is lying on the ground.
Joan is again her animated self and is brushing
gay tears from her eyes. Tenderly, then, she
removes the aviator's helmet and goggles. She
starts back, amazed.

A-21 AVIATOR— CLOSE SHOT (Just the
head in picture) It is Douglas.

A-22 GROUP SHOT— MED. CLOSE Doug-
las comes to. (If a nice person call characters
by Christian name, if villain a terse Bligh or
Hyde is more menacing.) He gives a start of
recognition.

You can tell by her smile that
Helen Vallcis has a film contract.

DOUGLAS: I'm not dead?
Joan slowly and silently shakes her head.
DOUGLAS: Take me to a hospital, please.
A-23 FRANCHOT AND JOAN She looks at
Franchot with beseeching eyes.
JOAN: Please.

Franchot nods his head in assent.
A-24 GROUP SHOT

JOAN: (smiling animatedly) You're going to
stay here with us. Douglas, until you get well.
The CAMERA MOVES AWAY from the group
and STOPS on the dead leaves on the ground
and we DISSOLVE INTO:

(A dissolve denotes a lapse of time. It is not '
so long as a Fade out nor so short as a cut.
Before all of one scene has melted out the new
one is coming in. Hence the word "dissolve".)

A-25 THE BUDDING LEAVES OE A TREE
CLOSE SHOT (A standard way of showing that
time marches on)

A-26 INT. BEDROOM IN CHATEAU —
DOUGLAS IN BED— MED. CLOSE SHOT
He is smiling happily.

DOCTOR: (not in picture) I think you can
get up today, son.

CAMERA PULLS AWAY to give us a WIDER
ANGLE OF THE ROOM and we see Franchot
and Joan at either side of the bed. (The doctor
is standing near a door.)

DOCTOR: I've done all I can do. You two
will have to do the rest. He looks significantly
at loan and Franchot.

A-27 THREE SHOT— FRANCHOT, JOAN
AND DOUGLAS

lOAN AND FRANCHOT: (simultaneously)
We will.

The three exchange smiles of great under-
standing.

IOAN: We've decided to be pals.
A-28 DOCTOR He smiles, too. in under-
standing.

A-29 JOAN, FRANCHOT AND DOUGLAS
They are gazing at one another with even greater
understanding.

A-30 DOCTOR He turns, tiptoes out the
door and closes it softlv behind him.

A-31 CLOSE THREE SHOT Unaware of the
doctor's departure, Joan, Franchot and Douglas
smile at one another with the greatest of under-
standing as we FADE OUT.

The number of writers assigned to a
picture depends upon its producer's pocket-
book, for each writer's salary is charged
against the picture whether or not his script
is the one used — one why of the high cost
of production.

Generally, two writers collaborate. More
often than not, no sooner do they finish
their script when it is passed on to an-
other pair to be polished. The polishing
process may last until every writer on the
lot has had a crack at it and nothing of
the original story, novel, or play, for which
the producer may have paid as much as one
hundred thousand dollars, remains.

Who, then, receives the cherished screen-
play credit? According to the new film
code only two writers may do so. However,
if a team both members must be mentioned,
so a maximum of four names can follow
the "Screenplay by." The names will be
those of the persons who have contributed
the major part of the script which is filmed.

One of the most successful teams in
Hollywood today is that of Walter De
Leon and Francis Martin, who specialize
in comedies and musicals. Walter De Leon
(one of his best was "Ruggles of Red Gap"

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with Charles Laughton) ranked second in
the official 1936 screen year book for hav-
ing the greatest number of box office hits
for the preceding five years. (Robert Lord
of Warner Brothers received first honors.)

De Leon is a former juvenile and vaude-
ville actor and has had little formal educa-
tion. He is probably one of the sanest
people in Hollywood and leads a quiet,
happy domestic life.

Francis Martin was baker, gambler, song
and dance maker before he started writing
for Mack Sennett. Now he never eats
bakery stuff, still has a penchant for plaids,
and collects pipes. While De Leon, who
stutters slightly, dictates, Martin paces up
and down the small cubicle that is a writer's
room, chewing the stem of one of his
weirdly-shaped pipes. He interrupts occa-
sionally, saying :

"Walter, don't you think this is a good
spot for a revised version of the traveling-
salesman joke?" Or, "Walter, how about
pulling that old gag we used on the three-
a-day? It's always good for a belly laugh."

That hilarious pair of scenarists in Bella
and Sam Spewack's play, "Boy Meets
Girl," is said to be a composite of the
teams of Ben Hecht and Charles Mac-
Arthur, and William Slavens McNutt and
Grover Jones, who parted ways a year ago;
McNutt to go to M-G-M and Jones to a
producer's berth at Paramount.

"Lives of a Bengal Lancer," an Academy
award winner, is the product of McNutt

and Jones in collaboration with Waldemar
Young, called one of the Twelve Apostles
of Hollywood. (No one has bothered to
name the other eleven.)

Mr. Young, who has been writing for the
screen for eighteen years, is a kindly old
bear and the only person to score ninety in
the word game the writers play as another
source of inspiration. What this game has
cost the studios can only be imagined but
the average family could live its span
luxuriously on the interest.

Any number may play the game. _ Each
participant is required to have pencil and
paper. Make a large square. Divide that
into little squares, five across and five down
until there are twenty-five. (Grover Jones
had some printed and distributed them
among the writers to save time.) Someone
give a letter — anyone. Someone give an-
other, or it can be the same as the first.
As the letters are given the players are
supposed to put them in their little squares.

The winner is the person who, when all
are filled, has the most words; ten being-
high as each word must begin in one of the
first squares at the top and left side. The,
scoring is ten points for a five-letter word,
four points for a four-letter word, and
three points for a three-letter word. Proper
names and foreign words do not count.

Sometimes the writer does not get the
inspiration, but the producer does. Once,
when working for Philip MacDonald,
author of the Anthony Gethryn detective
stories, "Menace" and "The Lost Patrol,"
Arthur Hornblow, Jr., his producer and
husband of Myrna Loy, returned from a
trip abroad with an idea for a film for
George Raft.

While walking the boulevards of Paris
he had seen and heard a man playing a
concertina. CONCERTINA! A swell title
for a story! The fact that George Raft did
not play a concertina mattered not at all.
Also, Hornblow had paid two thousand
dollars for a hitherto unused detective story
in Hungarian in which the hero is a little
boy, the action takes place aboard ship,
and subsidiary characters are some detec-
tives en route to a convention in New York
City.

Arthur Hornblow, Jr.'s, instruction to
Philip MacDonald amounted to _ this :
"Write me an original story, the title of
which is to be 'Concertina ;' the hero,
George Raft; the place aboard ship; and
throw in five detectives just to get my two
thousand out of the Hungarian detective
story."

The outcome was a film with Fred Mac-
Murray and Carole Lombard playing the
leads, called "The Princess Comes Across."
George Raft would not play in the picture
because he said the cameraman gave Lom-
bard all the breaks, and Lombard's con-
tract stated she could have any cameraman
she wanted.

Unlike the late Edgar Wallace, who
could write a complete novel via the dicta-
phone in a few days' time, the majority of
writers do not dictate spontaneously. Most
frequently the material is first written in
long-hand and then dictated. Some use
notes or work from an outline, and the
mouthings of many come so slowly that
several girls have knitted dresses _ and
sweaters while waiting for their geniuses
to think of the next word.

Of all the writers from whom I have
taken dictation Thyra Samter Winslow (it
would be a woman) author of "My Own,
My Native Land" and "Picture Frames,"
could best and longest maintain an unin-
terrupted flow of words that made sense.

To see Dorothy Parker and Alan Camp-
bell around the studio (when they are) one
would never credit her with being the wit
she is supposed to be. She is very quiet
(Alan Campbell does all the dictating) and
greets one with a sweet and vague smile
from under her bangs. Besides "hello," the

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SCREENLAND

Three darling
daughters of
the studios
take the
pause that re-
freshes by
perching be-
tween hikes!
Jane Bryan,
Jane Wyman,
and Mary
Maguire are
the pretty
railbirds pre-
sented in the
vivacious view
on the left.

only thing I ever heard her say was in
the ladies' lavatory. (The one on the fourth
floor of the W riters' Building at Paramount
is very small.) I bumped into her when I
was going out. She said, "My, but it's
congested in here!" Ever since I have been
trying to decide whether or not it was in-
tended to be clever.

But the life of a celluloid secretary is
not always so disappointing. There are
story conferences.

After five weeks of work Mr. Hose
(Hater of story conferences) to_ whom I
was assigned, and his collaborating team,
Mr. Nih (New in Hollywood) and Miss
Atga (Anxious to get ahead) turned in
the first rough draft of a script.

Something was wrong with it, said the
producer, Mr. Mitta (More intelligent than
the average). He did not know Just what,
but definitely there was something- wrong.
Consequently the following Sunday a story
conference was to be held at his house. All
concerned were to be present. This included
the director, Mr. Abow (Abstaining be-
cause of wife) and Miss Enigmatic, the
producer's secretary, and myself. The two
secretaries were to be prepared to take
notes and possibly retype the entire script.
The conference was to start at ten o'clock.

I came at eleven. A Filipino butler took
my things and showed me into the living
room. It was a large room, a very large
room, with Persian rugs, heavy brocade
drapes and the furniture Italian Renais-
sance, ornately carved Spanish, and com-
fortable American. At the far end, before a
fireplace in which was burning a four-foot
log, sat the biggest Great Dane I have ever
seen and all the story conference par-
ticipants with the exception of Mr. Hose,
who had not yet arrived.

What actors and actresses would best
portray the characters in the film was the
subject of discussion.

"I'd like her in the picture," Mr. Mitta
was saying. "But she's so much trouble.
Have to keep a nurse on hand to sober
her up."

I spotted my typewriter and the supplies
on the grand piano and went over and got
a notebook and several already-sharpened
pencils. I sat a short distance from the

others near a low table piled high in
Roman carelessness with fruits, nuts, and
sweets.

Mr. Hose arrived. "Only chance I had
to talk to my lawyer about my divorce,"
he explained as he joined the group. (Al-
though he was not living with his wife and
had no intention of getting a divorce, this
was a beautiful alibi. It always worked
and everyone was always sympathetic. I
had heard him use the same excuse several
times.)

"Now we can get down to business,"
said Mr. Mitta, utterly delighted with the
assembled group. "Before we start, would
anyone like a Martini?"

"None for me," said Abow, the director,
an old-time Mack Sennett man.

Everyone else, including the two secre-
taries on the payroll at time and one-half —
for it was Sunday — accepted.

The Martinis were served and work be-
gan. The script was to be gone through,
page for page, and each point analyzed in
an effort to find the lost link of the story.
Mr. Mitta started reading.

The first fade-out was reached with the
third Martini and no criticism.

"We're progressing splendidly," said Mr.
Mitta, as he put down the script. "Now I
think we can have a spot of lunch. We'll
just have to take pot luck today because
Mrs. Mitta is down at Palm Springs and
I'm rather baching it."

Mr. Abow, who had been restlessly pac-
ing the floor during the reading of the
first sequence, was the first to reach the
wrought-iron fence, behind which were
drawn portieres and the dining room.

Mr. Mitta pulled a cord, the portieres fell
back, the wrought-iron fence swung open,
and we all went into lunch. It was a
simple little meal consisting of assorted
cold meats and chicken, cheeses, halved
avocados with French dressing, hamburgers
(yes, hamburgers), fruit salad, ale. Guin-
ness stout, and coffee.

At its conclusion Mr. Mitta suggested
that we have a romp in the patio with the
dog. ' -

We romped. We had to. All our salaries
were being charged against Mr. Mitta's
picture. The Great Dane turned out to be

an affectionate creature, quite fond of
.standing on his hind legs and caressing one
and all with his fore-paws.

After we had all romped to the Dane's
partial satisfaction we turned to the living
room, our respective places, and the sec-
ond sequence.

"How about a Scotch and soda to pick
us up a bit?" asked Mr. Mitta.

Everyone but Mr. Abow, who seemed
more restless than ever, welcomed the sug-
gestion. Mr. Hose was almost cheerful.
Miss Atga made endless mouths and eyes
at our host. And the bewildered look in
Mr. Nih's eyes was growing.

We peacefully digested the second se-
quence. But the third, with of course an-
other Scotch and soda, was really exciting.
Everyone talked at once and agreed with
nobody. It was becoming more and more
obvious that there was definitely some-
thing wrong with the story. Miss Enig-
matic, Mr. Mitta's secretary, and I even
made a few criticisms though we had yet
to put symbol to notebook.

During the fourth sequence Mr. Hose
began to be directly rude to Miss Atga and
Mr. Nih, whom he had grown to hate dur-
ing the past five weeks, and I noticed Mr.
Abow with a scotch and soda in his hand.
(His wife divorced him a month later.)
The Great Dane dozed fitfully.

"It certainly shows what can be done
when you settle down to serious work,"
said Mr. Mitta, glowing with pleasure as
he began the fifth sequence.

"Mitta," interrupted the no longer rest-
less Mr. Abow, "remember when we made
'Desert Cinderella,' the time we had get-
ting Alister Stair on a horse?"

Mr. Mitta chuckled. "It wasn't a bad
scene, though, when we got through with
it." Between them they told the story. And
many more stories. All I remember about
them was that they were screamingly
funny.

The Filipino butler brought in a tray of
hors d'oeavres. Mr. Mitta mixed up
another batch of Martinis. I looked at my
watch. It was seven. Miss Enigmatic and
I were now on double time.

Dinner was a symphony and jazz battle
of food, wines, and voices. At its crescendo,
Mr. Nih, in a loud voice which no one but
myself heard and I did not think necessary
to answer, asked: "Where am I!" Then,
apparently shocked by the sound of his
voice, he subsided into silence and spoke
not a word the rest of the evening. (When
the script was eventually finished Mr. Nih
demanded and got a leave of absence.)

Of the fifth sequence there is not much
to be said. At eleven o"clock Mr. Mitta
reached the final fade-out. He still felt —
although we had done a splendid day's work
— that there was something wrong with the
story. Yes, definitely wrong. We were dis-
missed.

Haggard and ravaged Mr. Hose came
into the office the next morning at the
unheard-of hour of nine-thirty.

"Get Mitta on the phone. Quick!" he
said. "If I have to give up my fifteen
hundred a week, yesterday's was my last
story conference," he continued vehement-
ly as he waited for the connection. "Had
nightmares all night long." Then into the
phone :

"Hello. Mitta. Hose. Say,_ I think I've
found out what's wrong with the story.
Yes. Came to me last night in bed. The
heroine should be the villain." Even more
positively: "I said the heroine should be
the villain!" Slight pause, and then in an
elated tone, "You agree !"

Mr. Hose winked triumphantly^ at me
while he listened. Abruptly his joy left
him. "All right," he said in a dead voice.
He put down the receiver and turned to me.
"Phone Atga and Nih. Tell them as soon
as they can to get down to Mitta's office.
We're having another conference."

STAR OF THE
20TH CENTURY- FOX PRODUCTION

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9 OUT OF 10 SCREEN STARS USE LUX TOILET SOAP

hey know the thrill of

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Patadena . . .

Mrs. KutiiH Paine Spalding III (beloiv)

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sloop, "Hurulu." Like so many distin-
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preference for Camels. "Their delicate
flavor suits me perfectly," she says.
"Camels are so mild!"

Philadelphia ... Mrs. Barclay Warburton, Jr.

Although of an old and conservative
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has many interests besides society. She
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excellent cook, and ranks high — both
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THE BEST ANSWER IS THIS:

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A few of the women
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who prefer Camels:

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LISTERINE M COLDS

JEAN HERSHOLT
ETHEL MERMAN
CESAR ROMERO

BILLY GILBERT
RAYMOND SCOTT QUINTET
WALLY VERNON ■ LEAH RAY

Directed by Roy Del Ruth

Associate Producer David Hempstead
Original Screen Play by Milton Sperling
and Boris Ingster

SONGS! SONGS! SONGS!

"Hot and Happy", "A Gypsy Told Me"
"You Are The Music To The Words In
My Heart", "Yonny And His Oompah"
by Sam Pokrass and Jack Yellen

It comes to you, of course, from DARRYL F. ZANUCK and his 20th Century-Fox hit creators!

SCREENLAND

up, and add to the batter. One batch of
waffles is served with the fruit, the next
with nuts.

Occasionally, a MacDonald specialty
called Apple Strudel appears on the break-
fast menu. Until you've tried this, you
haven't lived !

APPLE STRUDEL

2 cups flour, 4 teaspoons Royal Baking:
Powder, ]/2 teaspoon salt, *4 cup brown
sugar, -/i cup milk, 2 tablespoons sugar, 2
tablespoons butter, 6 tablespoons Crisco, 2]/>
cups chopped apples, Burnett's Cinnamon.

Sift flour, salt, sugar and baking powder
together. Cut in the Crisco. Add milk to
make a soft dough. Turn out on a floured
board and knead gently. Roll out in rec-
tangular sheet one-fourth inch thick. Spread
with butter, cinnamon, brown sugar and
apples. Roll jelly roll fashion. Curve into
semi-circle in pan and bake in hot oven
(400 degrees) thirty minutes. Cover with
white frosting made as follows :

2 tablespoons hot water, ll/> cups con-
fectioner's sugar, 1 teaspoon Burnett's
Vanilla.

Add water to the sugar and beat until
well blended.

Add vanilla and spread on warm strudel.

"After breakfast, it's every man for him-
self," said Jeanette. "Four of us usually
play I go, a fascinating Chinese game we
Drought back from Honolulu. We play it
on a barrel-shaped table in the game room.
Others play ping-pong upstairs in the ping-
pong room, and those musically inclined go
down to the studio. Everything is very in-
formal and home-folksy. The party breaks
up around four o'clock."

The MacDonald-Raymond house, of stone
and shingles, is set on a hill in Bel-Air,
with stables and dog kennels in a hollow-
back of it. The studio is a little white

Gladys George and Franchot
Tone in "Love is a Headache.

house reached by a picturesque rock walk
shaded by over-hanging trees. It's a one-
room studio, with a big fireplace and two
white pianos, one for Gene and one for
Jeanette. (Gene composes, you know.)
Along the mantel-piece march a collection
of jolly little dance bands — dogs and cats
and tiny men — a hobby of Jeanette's. The
pictures are framed in MacDonald plaid
and the love-seat is upholstered in the
same material, which also borders the
Venetian blinds.

From the entrance hall of the Tudor

"Hands

SHOMD BE
GLAMOROUS

/J Oat

says

(COLUMBIA PICTURES STAR)

"HANDS EXPRESS EMOTION and
beauty," says Luli Deste, "and should re-
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exquisite. This rule applies as much to-
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house, you go down a short flight of steps
to the living room. There's a burgundy
rug and burgundy-figured drapes : an organ
as well as a grand piano; and a high
balcony.

Next to the living room is a library
lined with books; adjoining it, too, is the
game room with its stone floor and fire-
place, bear rugs and connecting bar.

"The dining room was decorated to
match the Belgian blue glass in the cabinet,"
related jeanette, proudly. "The rug was
dyed to match the glass and the drapes are
blue and gray in the same tone. The Wedg-
wood china is the famous blue and white.

"I brought back this linen and glassware
from Hawaii — see the hibiscus pattern?"

A silver bowl centerpiece was filled with
nasturtiums. The bowl was initialed "J.A.R."
as is all her silver. Her initials used to
spell "J.A.M." "If they spell a word, it's
supposed to be luck}'," she smiled. She is
lucky !

"Talking about matching things" — we
weren't, but now we had moved on into the
breakfast room — "we did this room to
match the love-birds !"

There's a white rug on the floor, blue
chairs, yellow and blue drapes, yellow and
white china, and the two corner cabinets
are lined with Dutch blue as a background
for the china.

Except for formal dinner parties, when
the Raymonds have from twelve to sixteen
dinner guests, most of their entertainments
are casual, friendly gatherings.

Every other Sunday, the servants have
a whole day off, so the young Raymonds
go to dinner with their in-laws, like other
young married people the country over.
But in the evening they are likely to bring-
back with them some friends.

"Somebody sets the table," said Jeanette.
"somebody else mixes his idea of a salad,
(Please turn to page 91)

Luli Deste with John Boles in "SHE MAR-
RIED AN ARTIST"-* COLUMBIA PICTURE.

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e Stars
omes

Jeanette MacDonald's
menus make parties at the
Gene Raymonds very spe-
cial Hollywood occasions.
Learn her favorite recipes

Betty Boone

The first time Jeanette MacDonald saw
Gene Raymond was on the doorstep of
Roszika Dolly's house, when they arrived
simultaneously and both tried to ring the
doorbell at once.

The second meeting was on the doorstep
of the Lewis Schwartzes', where the same
thing occurred. They were invited to a
waffle breakfast this time and the repetition
of the doorstep contretemps brought about
an extra interest in one another.

"Perhaps that's why we like to give
waffle breakfasts ourselves," smiled Jeanette,
slim and vivid in her white hostess gown.
"We have them on Sundays, because most
of us work on other days, and as a rule
our guests are the Harold Lloyds, the
Schwartzes, the Allan Jones, the Johnny
Mack Browns, the Hargreaves (Helen
Ferguson), my sister and her husband."

Gene and Jeanette usually go riding to-
gether before the breakfasts ; the Bel- Air
bridle path runs through their grounds, so
all they have to do is mount their saddles
and off. The guests do as they please — go
to church, sleep, swim, or play tennis — and
all of them meet at the Raymonds' Tudor
house at noon for the breakfast.

"The menu isn't elaborate," explained my
hostess. "We serve tomato, orange, or

Waffle breakfasts at the Raymonds have
become a gala gustatory event in the
film colony. Above, Jeanette presides at
one of her Sunday morning gatherings.

prune juice first; then scrambled eggs with
bacon or sausage; waffles — of course; mar-
malade, maple syrup, and coffee.

"A variation of the scrambled egg dish
is often served. Instead of bacon or sau-
sage, take kippered herring, which comes
in small cans. Pull it apart and when the
eggs are about half cooked, sprinkle the
herring over them and stir into the eggs.
"This is a grand dish for after theatre
parties, too, when you want something hot."

Jeanette's cook has a special waffle recipe
which she offered to Screenland's readers :

WAFFLES
4 eggs beaten separately (whites very
stiff), 2 cups flour — well sifted, 4 teaspoons
Royal Baking powder, 1 teaspoon salt, 2
tablespoons sugar. Add milk to make a
thin batter. Then add 6 tablespoons melted
butter. Add egg whites last of all, folded
in very lightly.

Sometimes, as a variation, the Raymonds
put sour cherries or nuts into the waffle
batter. You drain the cherries, chop them

All set, but casually inviting, is the table,
above, all ready for guests of the Gene
Raymonds at their Bel-Air home.

SCREENLAND

Love
and

Hisses

20th
Century-
Fox

Walter Winchell and Ben Bcrnie carry
on their well-publicized "feud," and Simone
Simon makes her debut as a singer. Credit
all three with success in their efforts, and
if you find this below Winchell and Bernie's
previous show, "Wake Up and Live," credit
the former with great superiority, this with
no mediocrity. It's a thoroughly entertain-
ing film, with a wisp of a story but enough
"show value" to interest and satisfy you.

Lady
Behave

Republic

A pleasingly unpretentious and entirely
satisfying dramatic comedy that will keep
you entertained from opening to fade-out.
Sally Eilers plays with winsome effect in
the part of the young woman who tries
to extricate her irresponsible sister from
a scrape and in so doing finds love, and
marriage, with Neil Hamilton; also giving
a sound and telling characterization. Joseph
Schildkraut and others lend good support.

The
Girl
Was
Young

Gaumont-
British

Romance that builds up to a fever pitch
of repressed excitement, thus living up to
the standard of its director, Alfred Hitch-
cock, master of the suspense' technique/
Nova Pilbeam, a child star not long ago,
essays her first adult role and displays
consummate skill as the girl who falls in
love with a murder suspect and aids him
to escape and prove his innocence. A fine
cast makes every character realistic. Good.

Daughter
of

Shanghai

Paramount

Good routine melodrama whipped up to
a stirring pitch of continuous action by
capable acting and direction, this is a pic-
ture to appeal to all those who love the
out-and-out adventure fantasy about smug-
glers— this time of Chinese into the U. S. —
and the theme of vengeance which spices
such yarns. Anna May Wong is interesting.
It's good to have her back. Charles Bick-
ford, Larrv Crabbe and others are good.

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SCREENLAND 15

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TALKIES

Delight Evans' Reviews
on Pages 52-53

A major effort in gorgeousness, and a
lot better show than usually results when
magnificence is multiplied for the purpose
of knocking your eye out. Nelson Eddy is
not too happily cast as the West Pointer,
but his singing voice makes the songs_ a
musical treat. Eleanor Powell, as the prin-
cess of the mythical kingdom, who loves
America, and Nelson, dances and acts at
her best. Frank Morgan's comedy is swell.

Every
Day's a
Holiday

Paramount

West is West, and ever the quaint cos-
tumes of the gay nineties and dialogue that
goes double shall meet in her movies. _ Mae's
followers will not be disappointed in this
offering. She plays a gal who takes things,
especially other people's money, as she finds
them ; is followed by the cops, and makes
the most of that; falling in love with one
and getting him elected mayor. Edmund
Lowe heads an excellent supporting cast.

Checkers

I Met
My Love
Again

United
Artists

A "Vehicle," but a good one. Jane
Withers will more than please her army
of admirers in this homespun tale about
race track people and a horse that finally
comes through to win a bundle of happiness
for its backers. Jane has excellent support,
what with Stuart Erwin and Una Merkel
alongside her in this wholesome, amusing
and always appealing story. Stuart and Una
take care of romance as well as comedy.

Transcribing the novel "Summer Light-
ning," with Joan Bennett and Henry Fonda
imparting to basically unreal characters a
depth and sentimental appeal that captures
and holds your interest all through a series
of interesting but unconvincing episodes
concerning young lovers parted, and later
seeking to recapture their romance. In an
excellent cast Louise Piatt is outstanding.
Loads of charm for feminine film-goers.

Wise
Girl

RKO-
Rodio

It will hand you some big laughs, and
if you make the most of them "Wise Girl"
will sum up as a show you'll be glad you
saw. There are lapses where Miriam Hop-
kins and Ray Milland, for all their able
efforts, are banefully handicapped. This is
light comedy that goes slapstick whenever
it seems to the authors a laugh is in sight,
and shows Miriam and Ray as gayly absurd
people who fight until they fall in love.

You're a
Sweet-
heart

Universal

A bright and breezy musical revue. Alice
Faye and George Murphy make_ an ex-
hilarating and attractive team, in song,
dances and romance. They have a sparkling-
background in a fine production of a not
new, but thoroughly good story about the
vicissitudes of staging a show. Ken Mur-
ray, Charles Winninger, and lots of others
give grand support. Specialty acts, lively
tunes, and dance numbers also help.

Crashing i
Holly- j
wood

RKO-
Radio

Lee Tracy starring as a writer who
crashes Hollywood doing stories so real-
istically about actual crimes that a gang-
leader and detectives come in to supply
an "action finish" with hero slugging jt
out with villain. It is mechanical movie
fiction, with some inside film studio stuff,
comedy and romance tricking it up. Lee
Patrick, Paul Guilfoyle and Joan Wood-
bury playing principal roles. Program fare.

SCREENLAND

Comedy relief punctuates the arias in Gladys Swarthout's new starring film, in which
she has the able assistance of John Boles and John Barrymore.

signed her for pictures in this country.
Her current picture is "Dinner at the
Ritz." Annabella is now working in Holly-
wood for 20th Century-Fox, opposite Wil-
liam Powell.

Dottie Mac. Yes, Frieda Inescort has
played on the stage. She appeared in "The
Truth about Blayds," "The Merchant of
Venice," "Springtime for Henry," and
''When Ladies Meet." On the screen in
"The Dark Angel," "The Green Murder
Case." "Give Me Your Heart," "Call it
a Day" and "Portia on Trial."

Mary Elizabeth C. Thanks very much
for your letter. So you liked Spencer
Tracy in "Captains Courageous." Who
could blame you for that ! You'll be seeing
Freddie Bartholomew again very soon:
he and his producers have kissed and made
up. No, Ken and Kermit Maynard are
not twins — perhaps you meant Billy and
Bobby Mauch ! Cesar Romero was born
in New York City in 1907. He has black
hair and brown eyes. He was well known
on the stage before he appeared in pictures.

Toots G. I'm glad you finally got your
courage up to ask some questions. Why
not? Yes, Bonita Granville played in
"Maid of Salem," and Tyrone Power is
that young man's honest-to-goodness real
name : as a matter of fact, he is named
after his illustrious ancestors who made
stage history in the days before movies
came into existence.

Carol A. Carl Laemmle, Jr., wrote, cast,
supervised and edited the Universal Junior
Jewel Series "The Collegians," after which
he was appointed general manager, in com-
plete charge of all production, in 1929. He
produced "All Quiet on the Western
Front," which won the Gold Medal Award

of the Academy of Motion Picture Arts
and Sciences for the year 1930. He was
born in Chicago, April 28, 1908, was edu-
cated at boarding school near New York,
and Clark School. He resigned as vice-
president and general manager in charge
of production of Universal, April, 1936.
Now he is producing on his own.

Lucia Marie B. Lionel Stander is 6 feet
tall, weighs 160 pounds, has brown hair
and eyes, was born in New York City,
where his parents and a sister and a
brother reside. His theatrical career began

when he was 19 years old ; since then he
has appeared in various stage plays, and
on the radio. He made his screen debut
in 1932. His favorite screen role was that
of the wily publicist in Columbia's picture,
"Mr. Deeds Goes to Town."

Miss Sincere. Joseph Calleia was born
in Malta ; he toured Europe on the con-
cert stage and later appeared on the Eng-
lish stage in drama. He came to the United
States in 1918. A few of his more recent
pictures are "Riffraff," "Exclusive Story,"
and "Tough Guy," for M-G-M.

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Helen M. June Gale appeared in "One
in a Million" a 20th Century-Fox picture.
Joel McCrea is married to Frances Dee.
They have a ranch, a real one of 1000
acres, in San Fernando Valley and when
Joel is not making pictures for Samuel
Goldwyn, he rides the range among the
herds of steers, shouting orders to the
cowboys, as dusty and overalled as the
others. And you should see him as a real
plowman! "Private Worlds," "Splendor,"
"Barbary Coast," "These Three," "Internes
Can't Take Money," "Woman Chases Man"
and "Wells Fargo" are a few of his pictures.

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Patricia Ann. Your admiration being so
strong for Lionel Stander, naturally you
want to know more about him, and I'm
just the one to tell you. He was born in
New York City, January 10, some twenty-
odd years ago. He is 6 feet tall, weighs 160
pounds, has brown hair and brown eyes.
He made his debut as a featured actor in
"The Scoundrel," a Hecht-MacArthur pic-
ture. He has since appeared in "We're in
the Money," "Page Miss Glory," "The Gay
Deception," "The Milky Way," "If You
Could Only Cook," "Mr. Deeds Goes to
Town," and several other pictures. Yes, he
has a brother and a sister, both younger
than he.

Elinor Adams. She was a brat, all right,
in "These Three ;" but really, she is a
very talented, nice little girl, 13 years old,
by the name of Bonita Granville. Born in
Chicago, daughter of Bernard and Rosina
Granville, both of the stage. She appeared
first on the screen in "Cavalcade," later in
"The Life of Virgie Winters," "Cradle
Song," and "Oh, Wilderness." Her more
recent pictures are "The Plough and the
Stars," "Maid of Salem," and "Call It A
Day."

Eileen M. John Litel has played in stock
all over the United States ; as a matter of
fact, his stage career has been continuous
ever since he began at the age of 26. He
now has a film contract with Warner Bros.
He is married to a non-professional, is
quite domesticated, likes to cook and en-
joys fine foods and wines, is fond of all
sports, but playing bridge is his favorite
recreation, with the exception of the time
he spends with his Lion dog, "Simba," and
is he proud of that dog!

Edward F. "The Prince and the Pauper"
is a Warner Bros, picture. Their studio is
at Burbank, California. Errol _ Flynn?
First, you wish a list of his American pic-
tures, so here goes : "The Case of the
Curious Bride," "Don't Bet on Blondes,"
"Captain Blood," "The Charge of the
Light Brigade," "Green Light," "Another
Dawn," "The Prince and the Pauper," and
his latest, "The Perfect Specimen." He
was born in the north of Ireland, June 20,
1909. All I know about his father is that
he was a professor of biology at Queen's
University, Belfast, and also at Cambridge.
Sorry, I haven't an idea as to whether
Errol answers his fan mail. Why not try
addressing a letter to him in care of the
Warner Bros. Studio, Burbank, California?
\nd be sure to mark it "personal."

but has .lived most of her life in Holly-
wood, as her family moved there when
she was 7. Miriam Hopkins is a Southern
gal, born in Savannah, Georgia. It was
through her outstanding dramatic abdity
on the stage that she was offered a long-
term movie contract. Now with Samuel
Goldwyn Productions. She is a decided
blonde, with blue eyes, 5 feet, 3 inches tall
and weighs 103 pounds. In real life Miriam
is Mrs. Anatole Litvak— he's a director for
Warners.

GO. Harvey Stephens was born in Los
Angeles, California, is 5 feet 11^4 inches
tall and weighs 175 pounds, has brown hair
and eyes and is married to Beatrice
Nichols. He was well known on the stage
before he appeared in pictures. His forth-
coming picture for Paramount has not been
finally titled, and I'd forfeit my reputation
with you if I gave you a tentative title!

Lukle C. Sorry, you lose your bet! Kay
Francis is 5 feet, 5 inches tall. And as
for the size of shoes worn by certain film
stars, your guess is as good as mine.

Mildred W. Address Ray Milland, Para-
mount Studio, Hollywood, California.
. Clark Gable and Nelson Eddy at Metro-
Goldwyn-Mayer, Culver City, California.
Fernand Gravet, Warner Bros., Burbank,
California.

Anna L. Write to Universal Studios,
Universal City, California, for a picture
of Deanna Durbin; and to Metro-Mayer-
Goldwyn, Culver City, for a photograph
of Mickey Rooney. Two grand youngsters,
aren't they?

P. McD. You seem to be all "net" up
over this little French gal, Annabella, who
was born in Paris, July 14, Bastille Day.
She was educated in the schools of Paris,
and afterward enrolled in a girls' college
outside of the French capital. The one
ambition of her life was to become a movie
star. Opportunity and success came almost
simultaneously. She was a well-known
European film star when 20th Century-Fox

Name .

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Barbara D. "The Scoundrel," opposite
Noel Coward, was the picture in which
Julie Haydon scored. Previous to this per-
formance, she appeared in various stage
plays. She was born in Oak Park, Illinois,

Dolores Del Rio again co-stars
with George Saunders.

SCRE EN L AND

FLYNN FAVORITISM

Amidst all the fuss over who is the most
popular screen star, I find one young man
whom I consider by far the best suited to
hold the title of most popular actor. Errol
Flynn possesses a certain inescapable charm,
undoubted acting talent and skill, a fine
physique (generously displayed in "Per-
fect Specimen," incidentally), a profile even
Barrymore can't beat.

Irmgard Mittler,
Madison, Wise.

HUNTER-INESCORT TEAM

Hollywood is being terribly unfair to one
of its finest actors, Ian Hunter. After "Call
It A Day" he and the exquisite Frieda
Inescort should be teamed in other equally
charming pictures. Sequels are often dis-
appointing, but if a good script were pre-
pared by Dodie Smith herself, I should love
to see a sequel to "Call It A Day."

Margaret A. Council,
Des Moines, la.

URGES UN-TYPING OF STORIES

Films are many and varied, and many
are outstanding, even brilliant. Even so,
why not have fewer pictures of the light
type and a larger proportion of the more
intelligent, thoughtful kind, with some good
humor? Stars like Norma Shearer and
Fredric March ought to refresh the public
with a revised "Smilin' Through."

E. L. Dodson,
Epsom, England

CRITIC OF CRITICS

All the reviews I read of "Ebb Tide"
gave much credit to Oscar Homolka, Ray
Milland and Frances Farmer, and barely
mentioned Lloyd Nolan. I think he should
have received more notice for his fine work
in this picture, because from where I sat
Lloyd Nolan's characterization literally
"stole the show."

Nancy E. Reid,
Reno, Nevada

SALUTE TO KARLOFF

As one who enjoys fine acting, I suggest
that Boris Karloff be given a holiday from
those monster roles in which he has been
cast with such regularity. For Karloff is
truly an accomplished actor and should re-
ceive his merited opportunity to take his
Munis, Laughtons and

place among
Boyers.

the

Richard L. Treadwell,
Brooklyn, N. Y.

Allan Jones and Lynn Carver, a
new singing love team.

HERE'S ONE JOB THAT DIDN'T
LEAD TO LOVE . . .

No girl who offends

with underarm odor succeeds

in her job — or with men . . .

A new job— new friends— new chances
for romance! How Ann did want her
new boss to like her! Bachelors as nice as
Bill S were very hard to find!

Ann was pretty— Ann was smart!
"Someone I'd be proud of," Bill thought.
So he asked Ann out to his club.

The night was glamorous and the
music was good— but Bill's interest died
with the very first dance. Ann had
thought a bath alone could keep her
sweet— and one hint of underarm odor
was enough for Bill. Others in the office

noticed, too. Ann lost the job she wanted
—the job that might have led to love.

It's foolish for a girl in business— a girl
in love— ever to risk offending! It's so
easy to stay fresh with Mum! Remember,
a bath only takes care of odor that's past
—but Mum prevents odor to come!

MUM IS QUICK! In just half a minute,
Mum gives you all-day-loig protection.

MUM IS SAFE! Mum can't harm any kind
of fabric. And Mum won't irritate your
skin, even after underarm shaving.
MUM IS SURE! Mum does not stop health-
ful perspiration, but it does stop every
trace of odor. Remember, no girl who of-
fends with underarm odor can ever win
out with men. Always use Mum!

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SCREENLAND

TAKES THE ODOR OUT OF PERSPIRATION

Irene Dunne smiles in
the spotlight of letter
writers' favor, gra-
il^ ciously responding
to your plaudits.

Salutes and Snubs

BING HEADS THE PARADE

I have a long list of screen favorites, but
the one who tops them all happens to be
genial Bing Crosby. Yes, very definitely,
it is Bing, with his charming personality
and magic voice who thrills me most.

Mary Laurence,
Montreal, Canada

SOMEBODY SLIPPED

I think somebody, or somebody's secre-
tary, should read the studio fan mail more
carefully. I sent a letter to a certain star
(male) containing rather severe criticism,
and a few days later received a card thank-
ing me for my inquiry about his portrait,
and telling how I could obtain one. It
happens I am one of his fans, despite the
criticism. Nevertheless, the laugh's on him.
It's also on me, as it turned out, for I sent
for his portrait.

Miriam Galley,
Casper, Wyoming

DECLARES FOR DAVIS

I'd like to say what I think about Bette
Davis. I've seen most of her pictures, and
will continue seeing them. I liked her so
much in "Marked Woman" and "That Cer-
tain Woman," in which Bette gave grand
performances. So, if I may name my choice
among the Hollywood actresses, I'm say-
ing : I'm for Bette Davis.

Lucille Benner,
Toledo, O.

TAKE A BOW, DICK BALDWIN

In the Ritz Brothers picture, "Life Be-
gins in College," there was a football player
whose name is Dick Baldwin. He's a good
actor, and very good looking. So I'm hop-
ing we'll see more of Dick Baldwin, and
so too, I'll bet, will many others who may
get to see him in other parts on the screen.

Lois Martzahn,
Davenport, la.

SPLENDIDLY-DUNNE COMEDY

Irene Dunne was an ingratiating heroine
in "The Awful Truth," and this writer be-
lieves that her success lies in more assign-
ments with a comedy flavor. The excellent
"Awful Truth" proves that the also ex-
cellent "Theodora Goes Wild" was no ac-
cident, so let's hail Columbia for allowing
Irene Dunne to reveal her sparkling flair
for comedy.

Albert Manski,
Boston, Mass.

BETWEEN YOU AND THE STARS

This department is your own private secretary.
Just call on it to "take a letter," to your fa-
vorite film person, or a message to Hollywood
in which you wish either to Salute or Snub what
you like or don't about pictures or perform-
ances. Your ideas are welcome here and when
they have something that will interest Holly-
wood and your fellow filmgoers, they will ap-
pear— and be read. Please try to restrict each
comment to 50 words or less. Address: Letter
Dept., SCREENLAND, 45 West 45th St., New
York, N. Y.

5 C R E ENLAND

Make a FR&H start

and swing over to a FRESH cigarette

Virginia Bruce in a romantic scene
with Dennis O'Keefe.

RASHES from

FILM TOWN

CPENCER TRACY can dish it out, too.
«-} He's been working with Gable and at
the conclusion of each shot Spence cries,
"Bravo! Taylor couldn't have done better."
And since Clark and Myrna Loy won first
place in a recent newspaper popularity poll,
Spence insists upon addressing them as
King and Queen.

AS SOON as Constance Bennett starts
1 to work you hear tales of her sensible
co-operation. She has, one discovers, spent
the last three Sunday afternoons posing for
publicity pictures. Then when you are on
the verge of forgetting all the cracks about
her imperial ways you stumble upon a
story like this one. An interviewer was
taken on the set to do a story on Connie's
leading man. The Bennett spotted the two-
some immediately, demanded to know who
the visiting woman was. Upon being told
she was an interviewer, and was there to
see the Bennett foil, Connie is said to have
ordered, "Throw her out of here !"
Say it isn't true, Constance!

WONDER if Jean Dixon is getting that
"Just tell him (her) that you saw me
and when you saw me I was looking good"
line from both ends? She's Joan Craw-
ford's best woman friend in Hollywood;
now she's doing a picture with Douglas
Fairbanks, Jr. Doug the younger is too
concerned with effecting his impressive
come-back to be rushing any girl these
days.

RALPH BELLAMY is the latest to learn
that everything comes to him who waits.
Finally he's getting decent roles, but that
isn't all. That oil well he financed down in
Louisiana is a gusher, to the tune of $3,000
a month.

GAIL PATRICK thought she had this
poise stuff down pat. She has painstak-
ingly studied chic, the proper carriage, and
how to win admirers and influence folks.
Then at the Biltmore Hotel the other night
she was called upon to make a speech.
Four hundred diners were in a dither of
anticipation. Calmly, regally, Gail arose
and bowed graciously. She wanted to be
particularly nice to her old home-staters,
who were prominently present for an Ala-
bama reunion. She opened her mouth, and
to her horror said, "My old soaks from
Alabama. . . ."

Fresh Start made a Fresh Star

esgirl in a department store, Joy Hodges
de a fresh start. Landed in the movies!
rred in " Merry-Go-Round of 1938"!
ow charms Broadway in "I'd Rather Be
ght"! Joy's fresh start made a new star
who brought fresh joy to millions.

YOU'LL miss a lot in life if you
stay in the rut of old habits and
never risk a FRESH start. Take
your cigarette, for instance. If your
present brand is often dry or soggy,
don't stay "spliced" to that stale
number just because you're used to it.

Make a fresh start by swinging over to
FRESH, Double-Mellow Old Golds . . . the
cigarette that's tops in tobacco quality
. . . brought to you in the pink of smok-
ing condition by Old Gold's weather-
tight, double Cellophane package.

That extra jacket of Cellophane brings
you Old Gold's prize crop tobaccos with
all their rich, full flavor intact. Those
two gate crashers, dampness and dry-
ness, can never muscle in on that double-
sealed, climate-proof O.G. package.

It's never too late for better smoking!
Make a FRESH start with those always
FRESH Double-Mellow Old Golds.

TUNE IN on Old Gold's Hollywood Screenscoops, Tues.
and Thurs. nights, Columbia Network, Coast-to-Coast

Here's why the O.G. package keeps 'em fresh

Outer Cellophane Jacket
Opens from the Bottom,
sealing the Top

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at the Top,
sealing the Bottom

SCRE ENLAND

SCREENLAND'S

Crossword Puzzle

By Alma Talley

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Try Italian Balm yourself — as a protection
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ACROSS
He married Jeannette

Donald
Co-star of "Conquest"
A film try-out

Co-star of "A Star Is Born"
Constellation
Co-star in "Hitting

High"
A painful experience
The lady in "Fight For Your

Lady"

His new one is "Hawaiian

Buckaroo"
What you see a movie with
Embraces

She is Mrs. Al Jolson

Before (prefix)

Act

Victim

Compass point (abbrev.)
Postscript (abbrev.)
He's married to Ruby Keeler
Space, range

He played "The Great Gar-
rick' '
Continent (abbrev.)
Her new one is "Jezebel"
Arrived
Rowing

"Uncle Tom" heroine
To state
To rave

His new one is "Crashing
Hollywood"

The most famous child star

Team of workers

Famous radio and screen comic

The elder (abbrev. )
. His new one is
Chicago' '

Competent

Right (abbrev.)

Printers' measure
. Sun god
. Challenge
. Belonging to
. Title of nobility
. Wagers

. What everv extra longs to play
. Exclamation

. Star of "Blossoms On Broad-

91.

93.
94.

"In Old

way

84. Hawaiian wreath
86. He's featured in "Navy
and Gold"

88. Omit (as syllable)

89. Co-star of 'Nothing Sacred"
Star of "Ali Baba Goes to

Town"
92. Enough (poetic)
Consent
To rip

DOWN

1. He plays Marco Polo

2. Finished

3. Born

A. A city in Greenland

5. " West, Young Man," a

movie

6. To get up

7. To get free of

8. A male hog

9. " The Avenue," a movie

10. She plays "Sugar," in "The

Women Men Marry"

11. What you hear a talkie with

12. Jumps about

13. Row

14. He stars in "Wide

Open Faces"
17. Compass point (ab-
brev.)

19. She's Mrs. Johnny

Weissmuller.
21. Star of ' 'Beloved

Enemy' '
24. Her new one is "I'll

Take Romance"
26. To employ
29. A cereal grain
31. Sweet potato

33. By

34. Encourages

35. Bar used for lifting
37. Kingdom

39. At this place

40. From birth

41. To scorn

42. Actor's manager
44. Scotch cap
46. Roauish
48. Sick

Changed direction
Conscious of
Cooking vessel

58. "The Bride Wore —

with Crawford
60. The M-G-M lion
63. Pussy

65. He's featured in "Danger
Patrol"

67. You'll see him in "I'll Take

Romance"
70. She married Tony Martin

72. Co-star in "I Met My Love

Again"

73. Look

74. Not working

75. To concoct (as beer)

76. Refuse, from metal

78. What stars do to lose weight

80. One who inherits

81. One of the comedy team, in

"All Over Town"
83. Stir, fuss
85. To make a mistake .
8". Poem

89. Pa's wife

90. The boy friend

Answer to
Last Month's Puzzle

SCREENLAND

gallant with the ladies . . . beloved
by every belle in all of New Orleans
. . . feared by those rats of the Seven
Seas . . . his bold, bad buccaneers . . .
Jean Lafitte. . .the gayest lad who ever
sailed beneath the Skull and Cross-
bones lives again in the grandest
historical romance ever to swing
across the screen... Cecil B.
DeMille's flaming adven
ture - epic . . . "THE
BUCCANEER." In the
thrilling role of the
dashing gentleman
pirate, who took

time out from his pirateering and his
romancing to help Andrew Jackson
win the Battle of New Orleans and
save America from the British . . .
Fredric March reaches new heights
of screen adventure. As the little
Dutch girl whose love forced the
dashing pirate to strike his
flag . . . Franciska Gaal,
beautiful new Paramount
star discovery, makes
a fitting team-mate for
that gentleman pirate
Capt. Jean Lafitte.

Screen Play by Edwin Justus Mayer, Harold Lamb and C. Gardner Sullivan • Based on an Adaptation by Jeanie Macpherson of "Lafitte the Pirate" by Lyle Saxon

SCREENLAND

YOU know Walt Disney as the man
who gave us Mickey Mouse and the
Silly Symphonies — spiritual father
of Donald Duck and Pluto, Minnie
Mouse and the hysterical hen and all
that fabulous family. Now, with the
release of the new, seven-reel Tech-
nicolor animated cartoon feature of
"Snow White and the Seven Dwarfs,''
you must consider Disney in a new
light, as the most important producer
in Hollywood — or in the world. For
his marvelous movie, based on the be-
loved fairy-tale, is an achievement
marking a milestone in motion picture
history. Imagine, if you can, a heroine
whose charms, though she is only a
cartoon character, surpass those of a
flesh-and-blood actress; a group of
grotesque drawings whose collective
comedy is funnier than Fields' — excite-
ment, and suspense, and beauty, and
gaiety — here is glorious enchantment.

SCREENLAND Honor Page

To Walt Disney, Hollywood's one genuine genius, whose
first full-length film, "Snow White and the Seven Dwarfs,"
is the screen's first great fantasy

Walt Disney, in center of page, looks at his newest creations, the Seven
Dwarfs. Top left, Snow White in the forest; top right, her friends the
Dwarfs. Left above, the hilarious new Disney character, Dopey. Left below, #1
Snow White's delightful dance; and at right, the wicked witch.

-4 ILHA

©C1B 36815 1

The Smart Screen Magazine

Delight Evans, Editor

Elizabeth Wilson, Western Representative Tom Kennedy, Assistant Editor Frank J. Carroll, Art Director

Even Sna kes
Have Charm'

There's a title for you! And there's
a story for you, in the next issue of
Screenland, that you will not want to
miss.

Picture a movie actress, all fire and
flash and glamor — in other words,
dynamite! Picture another screen
star, a girl all serene loveliness and
soft charm. Put them in the arena
together, for they are, they must be
enemies — and watch the fireworks!
Of course, there's a man in the case.
But there is also their careers, so they
must fight, each with her own weap-
ons, to the end.

Sounds dramatic? Of course it is.
You have never read any story quite
like it. You may want to try to iden-
tify the girls as real movie celebrities.
Try it! You may wonder just which
part is fiction, and which fact. But
you will read it, and we believe you
will agree with us that if is the most
breathless and enthalling serial ever
written about that strange world of
Hollywood.

"Even Snakes Have Charm" be-
gins in the next, the April issue of
Screenland, on sale March 4th. Be
sure to ask for it so that you will not
miss a word of this really unique
romance.

March, 1938 Vol. XXXVI. No. $

EVERY STORY A FEATURE!

The Editor's Page Delight Evans 19

Big Plans for Shirley Temple's Future Elizabeth Wilson 20

Screenland Snoop! Liza 22

Siren of the Old South. Fictionization of "Jezebel"

Elizabeth B. Petersen 24

Have You a Trauma? Linn Lambert 26

Merry Man! Errol Flynn Ida Zeitlin 28

Bobby's Guiding Star. Bobby Breen Ben Maddox 31

Medals and Birds S. R. Mook 32

Confessions of a Come-Back. Douglas Fairbanks, Jr.

Dickson Morley 34

New Glamor for "Gamby." Maria Gambarelli Tom Kennedy 51

Reviews of the Best Pictures Delight Evans 52

Screenland Glamor School. Edited by Anna be la 54

Screen Style Slants. Hollywood Fashions 56

Aden Rides a New Hobby. Dick Arlen Ruth Tildesley 58

Star-Dust Baby. Fiction Margaret E. Songster 60

London Hettie Grimstead 62

Paris Stiles Dickenson 63

What Eleanor Powell Has Lost! Charles Darnton 64

SPECIAL ART SECTION:

Call Them "Laugh Teams" Now. Carole Lombard, Fernand Gravet.
Shall We Be Arty? Or Shall We Be Candid? Dorothy Lamour, Ray
Milland. Nice Work — And They've Got It! The 7 Wonders of the An-
cient World. The 7 Wonders of Modern Hollywood. Rushing the Season.
You, Too, Can Crash Hollywood, IF — ! Ilona Massey, Marjorie Weaver,
Gail Patrick, Priscilla Lane, Lynn Carver, Dolores Del Rio, Claire
Trevor, Myrna Loy, Anna May Wong. Sideshow Scenarios. W. C. Fields,
Edward G. Robinson, Jane Bryan, Bobby Jordan. Beatrice Lillie, Claude
Rains, Fay Wray. This Way Folks. Bing Crosby. The Most Beautiful
Still of the Month.

DEPARTMENTS:

Honor Page 6

Screenland s Crossword Puzzle Alma Talley 8

Flashes from Film Town 9

Salutes and Snubs. Letters from Readers 10

Ask Me! Miss Vee Dee 12

Tagging the Talkies. Short Reviews 14

Inside the Stars' Homes. Jeanette MacDonald Betty Boone 16

Here's Hollywood. Screen News Weston East 66

From the Neck Down. Beauty Article Courtenay Marvin 70

Yours For Loveliness 71

Cover Portrait of Alice Faye by Marland Stone

Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President, J. S.
MacDermott, Vice President; J. Superior, Secretary and Treasurer. Advertising Offices: 45 West 45th St., New York; 410 North Michigan Avenue, Chicago; 530
W. Sixth St., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful attention but Screenland
assumes no responsibility for their safety. Yearly subscription Si. 50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign $2.50.
Changes of address must reach us five weeks in advance of the next issue. Be sure, to give both the old and new address. Entered as second-class matter Novem-
ber 30, 1923, at the Post Office at New York, N. Y. under the act of March 3, 1P}0- Additional entry at Chicago, Illinois.

Two-fisted American
college student goes
to Oxford! Oh, boy,
here's a drama that
packs a wallop every
minute of the way!

A YANK AT OXFORD

with LIONEL BARRYMORE

Maureen O'Sullivan • Vivien Leigh

Edmund Gwenil • Griffith JoneS • From an Original Story by John Monk Saunders

Directed by JACK CONWAY • Produced by MICHAEL BALCON
A METRO GOLDWYN MAYER PICTURE

SCREENLAND

"I'd be a very Beautiful Woman
if I'd taken care of my teeth and gums"

Neglect, Wrong Care, Ignorance of the Ipana Technique
of Gum Massage -all can bring about

"Yes, dear lady, it's your
own fault. You know that
—now. You used to have
teeth that glistened, they
were so white. And your
gums were firm and strong.
"Then, if you remember,
there was a day when your tooth brush showed
that first tinge of 'pink'— a warning that
comes sometimes to nearly all of us.

"But you said: It's nothing. Why, I
imagine everyone notices the same thing
sooner or later.' And you let it go at that.

"Foolish you! That was a day important to
your teeth — important to your beauty. That
was the day you should have decided, 'I'm
going to see my dentist right now'!"

No Wise Woman
Ignores "Pink Tooth Brush"

IF you've noticed that warning tinge of
"pink" on your tooth brush— see your den-
tist at once. For only your dentist can tell you
when there's serious trouble ahead. Probably
he'll tell you that your gums are simply lazy
—that they need more work, more stimulation
to help keep them firm and strong.

Many a child in grade school could tell
you that often the food we eat is too soft, too
well-cooked to give gums the exercise they
need. Realize this— and you understand why
modern dentists so frequently advise- the
Ipana Technique of gum massage.

For Ipana is especially designed not only
to clean teeth but, with massage, to help the
health of your gums as well. Each time you
brush your teeth, massage a little Ipana into
the gums, with forefinger or brush. This
arouses circulation in the gums— they tend
to become stronger, firmer. Teeth are brighter
—your smile sparkles with a new loveliness!

* * *
DOUBLE DUTY— Perfected with the aid of over
1.000 dentists, Rubberset's Double Duty
Tooth Brush is especially designed to make
gum massage easy and more effective.

SCRE EN L AND

An Open Letter
to Nelson Eddy

MY DEAR MR. EDDY:
I realize when I address an Open
Letter to you that I am committing
lese majeste and malfeasance, not to mention
hara-kiri. The Nelson Eddy Fan Clubs will
probably be madder at me than they ever were
at Jeanette MacDonald, and will accuse me of
murder, mayhem, and just plain meanness. But
before I prepare to duck and run, I have got
to make my protest, let the snubs and clubs
fall where they may; and if I know your fans,
Mr. Eddy, they will, on my head.

First of all, may I remind you — and your
fans — that SCREENLAND was the first screen

mag-

azine ever to interview you, when you went into pic-
tures? Not only that, but an Honor Page was awarded
you, and every time you burst into song on the screen,
we burst into loud editorial applause. We liked you,
Mr. E. We still like you. This obvious fact didn't
stop your fans, however, from writing to berate us
for according equal honors to your screen-mate, Miss
MacDonald, or protesting because several issues of
SCREENLAND appeared without stories about you.
You have a slew of very sensitive fans, Mr. Eddy.
They have more chips on their shoulders than Charlie
McCarthy. But we fail to see why, having accorded
you all possible honors, we cannot also come out in the
open and criticize you just as we would another star.
So, without further apologies, permit me:

Don't step out of character, please! It may be the
influence of the Immortal Dummy, but it does seem
that you are on the verge of becoming too coy for com-
fort— certainly too coy for Nelson Eddy. Undoubtedly
with the excellent intention of offsetting any possible
accusation of stolidity, or stiffly sedate performances,
you are apparently trying to unbend, be more casual,
more carefree, go even a little gay for the photogra-
phers. But somehow the results don't seem too happy.

Eddy's new role, above, in "Girl of
the Golden West." Left, a portrait.
Left above, Nelson amusing his
fellow player, Priscilla Lawson.

The "folksy" line may be all
right for some stars, but de-
cidedly not for the maturely
handsome man with the mag-
nificent baritone and definite
dignity and prestige. It may
be funny to see some act-
ors making deliberate faces,
though I doubt that; but you
are not the type. Nelson Eddy
cutting capers, whether on
the radio or in publicity pic-
tures, is just about as effec-
tive, to me, as Snow White impersonating Mae West.
Of course we've had Grace Moore making her noble
effort to be one of the gang with Minnie the Moocher;
and Lily Pons putting on a Dietrich leg show. Let them.
But you be smart; leave the clowning to others. It's all
in fun, I know, but sometimes I think we may be having
a little two much "fun" at the movies these days, when
it comes to Myrna Loy and Bill Powell getting all messed
up in "Double Wedding," and Cary Grant running
around in a fluffy negligee in the new Hepburn num-
ber— we might welcome one upstanding star who had
the courage to take his art seriously. The high stand-
ards which made you and MacDonald mighty at the
box-office in "Maytime" and your other hits will crash
if you permit any cheapness to creep in. You, Nelson
Eddy, are an artist. Be true to your art.

Don't miss our exclusive in-
terview with Shirley's mother

Elizabeth Wilson

jig
Plans for

The greatest
box-office star in
the history of motion
pictures is growing up,
will be nine her next birthday.
What will the little star do next?

Shirley Temple's Future

T has happened again this year !

For the third consecutive year now Shirley Temple

of the golden curls, hazel brown eyes, and cute dimples
has been voted the most popular box-office attraction on
the screen by American theatre exhibitors. The votes for
1936 and 1937, the second and third years, were extended
to English theatres, and in that country, too, Shirley led
all other players, adults and children.

There are all kinds of popularity polls. Countless polls
are taken yearly by local newspapers, magazines, colleges
and clubs, but it is the exhibitor's testimony and his ac-
count books' evidence that are definitely the infallible
jury of public opinion. The exhibitor knows what player
drew the largest number of patrons to his theatre, and
the exhibitor alone. When his box-office speaks the de-
cision is final, irrevocable. And so, it is accepted without
a moment's quibbling that Shirley Temple, eight-year-
old Twentieth Century-Fox player, is the Biggest Money
Making Star in the entire movie industry. And has been
for three years. Shirley can take a bow. Unfortunately,

however, it's the Garbos, the Dietrichs, and the Hep-
burns who take the bows.

Shirley Temple stands in the most unique position a
child has ever attained in cinema history. Without
excessive ballyhoo or build-up, without aggressively
striving for fame or wealth, she has achieved both — and
it has been done without sacrificing the least iota of her
most precious possession, the happiness of childhood.
Shirley may be the most famous little girl in the world,
but she is completely unaware of her importance to the
world. She is like any other little girl in any American
city — healthy, happy, gay and energetic. But unlike other
little girls she has for her playground one of the most
fascinating places imaginable — a moving picture studio.

Mrs. Gertrude Temple, a tall, gracious woman, of ex-
ceeding patience and charm, is the buffer between Shirley
and the world. Since the hour of her baby's birth in a
Santa Monica hospital on April 23, 1929, Mrs. Temple
has never been separated from Shirley. It is thanks to
her wise mothering that Shirley is the same healthy un-

spoiled little girl today that she was in 1932 when she
first entered pictures. "Shirley gets more out of life than
any other child, and yet she loses nothing any other child
has,'" says Mrs. Temple. "If I saw the least sign that she
was changing from a normal little girl I would take her
out of pictures in a flash. But she hasn't changed, and I'm
glad of it. It has meant a great deal to her future. All that
she ever has earned is hers, and will be ready for her
when she grows up."

And Shirley is growing up ! She will be nine her next
birthday. She is in 5-A — Los Angeles Board of Educa-
tion rating — and attacking fractions.. (And I am pleased
to note that she is rather mystified by them.) Shirley is
no longer the precious baby who danced and sang and

her for it. Will this nation that made a star out of
Shirley Temple stand by her as she grows up?

If they will, and 1 think they will for the public really
isn't so fickle, it is my opinion that Shirley will continue
on the screen indefinitely. She has three more years on
her present contract with Twentieth Century-Fox. And
after that? Well, if the public remains loyal to its fav-
orite you can be sure there will be other contracts, plenty
of them. Of course no one can tell what the far distant
future will bring. -But the "immediate" future is some-
thing else again. Mrs. Temple, a thoughtful, judicious
mother, has made plans for the next few years for Holly-
wood's Number One Box-Office Star.

"Fate has been good to Shirley in her picture work,"

Shirley at play at Palm Springs,
below; and at her studies with her
teacher, right, in the schoolroom at
the studio.

Randy Scott is Shirley's new lead-
ing man in "Rebecca of Sunny-
brook Farm." Center below, our

girl grows up

smiled her way into your heart
in "Little Miss Marker,"
"Now and Forever," "Bright
Eyes," "Curly Top," and "The
Little Colonel." At the rate
children grow up these days
she soon won't be the darling
little girl of "Wee Willie
Winkie," "Rebecca of Sunny-
brook Farm" (in which pic-
ture her famous curls are
combed into pigtails for the
first time). Soon she'll be a
young girl in her teens. W nat
then? What about Shirley's
future ?

Shirley came in the middle
of a great depression, people
were sad and discouraged, and
the whole world looked pretty
black and dismal. Immediately
-he smiled her way right into
the hearts of a nation. When
people left the theatre after
seeing Shirley they felt more
cheerful and encouraged. Her
honest little charm, her sin-
cerity, her unpretentious ef-
forts made them believe in
themselves — and they loved

says Mrs. Temple. "If she
hadn't liked to dance and
sing and act in pictures, she
never would have done it. I
have never made any formal
plans for a career for Shir-
ley. My only plans* for her
have been to give her a thor-
ough education. I think that
travel is a part of education,
and I want her to have it.
Mr. Temple and I are plan-
ning to take Shirley on a
tour of several eastern States
this spring, with visits in the
South and Xew England if
we have time. And next
year, when Shirley is older,
we hope to go to England
and the Continent. But that,
of course, will depend upon
Mr. Zanuck, as we are un-
der contract, as you know,
for three more years.

"The plans at present are
to leave on our vacation
about the same time in March
or April that Mr. Zanuck
le.aves on his vacation. We
will (Please turn to page 74 )

SCR££NLAND SNOOP!

T WILL take a heavy load off your mind,
I have no doubt, to learn that romance
goes on in Hollywood much as usual.
There is a rumor going about that this
year's crop of Dream Princesses have defi-
nite Narcissus complexes and are so much
in love with themselves that they can't pos-
sibly become interested in a mere mortal
like a man. There is also a rumor
about that a producer once told an extra
girl that he would make a star out of her
if she would go out with him some night.
But you just mustn't believe such things
about poor maligned Hollywood.

Anyway, I thought I would close my book
(and just when the seventh body had been
found too!) and gad about one night re-
cently and see for myself what romantic
whimsies the gay young people are going in for now.
So I swirled my veil around me — you simply aren't chic
in Hollywood these nights without a veil or a doodab
in your hair — and did a giddy-up to the Trocadero which
is neo-Greek now and very pretty too if you don't like
Louis Quinze. It was a night. And I got an earful and
an eyeful. And so, here I go, telling all I know. '

The newest romance in Hollywood is that of Loretta
Young and Stanley Kahn. Stanley Kahn, it seems, is
"private people" and so the romance hasn't been pub-
licized as much as if Stanley Kahn had been Robert
Taylor. Loretta met Stanley while she was vacationing
in New York, and he has scads of money, and when
Loretta left New York to return to Hollywood Stanley
followed her, just as they do in the movies. When last
seen Loretta and Stanley were breakfasting on dough-
nuts and coffee at the Crossroads of the World (oh,
Hollywood's modest about everything) on account
Loretta had an early appointment at the House of West-
more directly across Sunset Boulevard. When a rich
young man gets up early to breakfast with a girl before
she has her shampoo it must be love. Anyway it will do
for love until something better comes along.

And what of Joe Mankiewicz, with whom Loretta
had been romancing these past months? Why, their

Gay goings-on in
Hollywood, caught by
The Snoop. Top left,
David Niven squires
Norma Shearer.
Above, Marlene
Dietrich and the Earl
of Warwick. Right,
Jack Warner, David
Niven, Norma, and
Nigel Bruce at the
Basil Rathbones' party.

friends, not to mention the columnists, practically had
them right at the altar. Well, Producer Mankiewicz, 1
am told, has gone to New York to try to arrange a. rec-
onciliation with his wife, the former Elizabeth Young,
but no relation of Loretta's. Some say that Joe had that
in mind when he broke off with Loretta. Others say that
it only came to his mind when Loretta returned from
New York with Stanley in hot pursuit. I say: I don't
know.

Another new Hollywood romance that's causing a lot
of comment is that of Kay Francis and Baron Barnoco.
After all these years of going steadily (it must be three
years at least) 'with Delmar Daves, Kay suddenly ap-
pears at the Troc, at the Countess di Frasso's Black and

By The Snoop

{Otherwise Liza)

Beware the Snoop! Bane of Holly-
wood stars' lives, but your benefac-
tor— for Snoop sees all, knows all,
and tells practically everything. Be-
gin to follow this new monthly fea-
ture revealing the real low-down on
the romantics of the movie colony

T.cn Weissman Photo

What's Cesar
Romero whispering
in Loretta Young's
ear, above? Upper
right, that Niven
lad does get around
— see him dancing
with Simone Simon.
Left below, new pub-
licity romance of
Priscilla Lane and
Wayne Morris.
Right below, Binnie
Barnes, Jean Ne-
gulesco, and Nancy
Gross at the gala
Rathbone party.

White Ball, and numerous other places, with the very
distinguished looking Baron Barnoco. The Baron is a
German, I understand, his title is quite bona fide, and he
has lived in America for fifteen years. He isn't a fortune
hunter. In fact, he isn't even head man in Kay's life. He's
merely standing-in for "Del" who is out of town for
several weeks on a much needed vacation. Kay's friends
say that the Lady of Golpher Gulch is still very fond of
big blond Mr. Daves who writes excellent dialogue for
the screen. But anyway, the Baron is taking his standing-
in very seriously.

Ah ha, my little pitchers, a Real Snoop for you ! The
Priscilla Lane-Wayne Morris romance isn't on the up
and up at all — it's just a little something done for pub-
licity. Studios always try to get (Please turn to page 82)

fth

Please Turn to page 7C
Complete Cast awl Or

She lived and
loved recklessly,
until there came
the day of reck-
oning. Read this
vivid fictioniza-
tion of Bette
Davis' latest and
biggest picture,
"Jezebel"

fiction/zed by

Elizabeth B.
Petersen i

T was different this time, being engaged to Preston,
Tulie thought. Different from -the last time she had
been engaged to him and the time before that and the
irst time of all when she hadn't really known the full-
ness of her feeling for him at all.

For every time they were parted it had been harder
until they got together again even though she knew all
the time she had only to flick that imperious little finger
of hers to send him running back to her.

Yet the last time they had quarrelled she had been
frightened for it had been months before he had sought
her again and she had known without his telling her,
that he had fought her charm and her disdain and her
wilfullness as if' it were a scourge. And because she was
perverse it pleased her, even while it maddened her that
she couldn't completely control him.

She was smiling now as she sat in the Victoria beside
her aunt Belle who was all the family she had. twirling
her absurd little parasol as she looked up at the Dillard
Bank and waited for Preston to come rushing at her
summons.

But her smile faded just a little when Ti Bat, the
small black groom, came back to the carriage alone.

"Did you tell him to hurry. Ti Bat?" she asked, and
in spite of herself she felt the angry color rising to her
cheeks.

"Yas'm, Miss Julie, I tell him," Ti Bat hopped nerv-
ously from one foot to another and the whites of his

eyes were like marbles rolling frenziedly in the small
black face, for all the Marsden slaves could tell the
signs leading to one of their young mistress' tantrums.
"But he ain' come, that is. not jes' precisely. He say
you please to go along, cause he can't see you till later."

The twirling parasol became rigid in Julie's small
hand, and her ruffled crinoline swayed about her as she
jumped out of the carriage. She heard her aunt call
her name in quick appeal but nothing could stop her
now. It was always like that when she was crossed in
even the smallest thing. Almost as if there was something
untamed in her, compelling her to tear into shreds the
things she valued most.

"Pres, are you coming, or aren't you ?" Her words
came bitten and hard as she faced him in the small re-
ception hall outside the directors' room.

"Now Tulie," Preston Dillard held himself in check
with a visible effort, "please try to understand. This is
important !"

"I only understand that you promised," her voice was
choked. "I suppose it isn't important that I've spent a
month having my dress made for tomorrow night ! And
that you promised to come and see it fitted. In fact, I
don't' suppose it's important what I wear to the Proteus
Ball!"

His smile came tenderly as it would to a child. He
mustn't let her quarrel with him now, he told himself.
For a week he had been fighting singlehanded against

the president of the bank and the other directors trying
to force them to see that things were changing and that
they needed another railroad in New Orleans. They
clung so stubbornly to things of the past, they wouldn't
see that river traffic had been declining in the last years
and that if they didn't step up with the future their city
and its prosperity and power would be doomed.

They had fought with him and jibed at him but he had
held his ground. But it was even harder holding it with
this fragile little wisp of a girl who for all the yellow of
her hair and wide blue eyes, who for all her ruffled
crinoline and absurb little parasol and tiny beribboned
waist had a will stronger than all of them.

"Honey," the old endearment came almost beseech-
ingly and for a moment his smile swept away the tired
lines of his face, "right now I'm having the fight of my
life in there, a grand fight! I've got to get back, but
later, tonight."

"Don't trouble !" She edged away from his hand seek-
ing hers. "I'm sure you'll be too exhausted from your
terrific struggle. Good day, Mr. Dillard. I'm so sorry to
have troubled you !"

Strange how underneath the surge of her temper she
knew she was doing wrong. But the seeds of destruction
were in her heart and Julie had never learned the need
for self-discipline. Her eyes were almost black with fury
as she stood before the pier glass in Madame Poulard's
dressmaking establishment and even the new dress with
its ruffles and ribbons and tiny festoons of rosebuds
couldn't soothe her.

"Mais oui! Ravissante !" Madame smiled complacently
for this was the loveliest of all the gowns she had made
for the Mardi Gras ball. It was white, as was traditional
for a young New Orleans girl yet unmarried, and there
wasn't a girl in the city who could wear white as Julie
could.

"I don't like the neckline," Julie's eyes clouded. "And
the sleeves aren't right." She stopped as a midinette went
by carrying a ball gown on a hanger, a gown of scarlet
satin as strident and bold as the white one Julie was
wearing was ethereal, and young.

"Why, it's the most becoming thing you've ever had,
Julie," her aunt said soothingly. "If Pres isn't simply
bowled over by it, I won't (Please turn to page 76)

The dashing, glamorous days of the Old South are re-
created on the screen in "Jezebel," with Bette Davis as
the alluring heroine, Henry Fonda as her lover — seen with
her on opposite page. Below, high drama when Fonda
brings his Northern bride (Margaret Lindsay) to "Jezebel's"
plantation home. George Brent, at lower right, is one of
the siren's conquests. Reading up: Richard Cromwell, Henry
Fonda, George Brent in a tense scene; Brent with Bette
Davis; and at top, the big scene of the picture in which
"Jezebel" tries to win back the love she has lost.

Most amazing of Hollywoodians' secret fears is pos-
sessed by Edgar Bergen, and it concerns Charlie
McCarthy, too; talcing his ease with Boss Bergen at left.
Glenda Farrell, upper left, loves cats but hates — well,
read and you'll learn in the story. Above, Cary Grant
seems to be recovering from just such an encounter with
his Trauma as occurred in the episode our story reveals.

HAVE you any old acrophobias, nichtophobias, or
zoophobias that you're not using? Don't be afraid
to admit that you have a secret fear all tucked
away somewhere. The stars aren't. After all, being afraid
of great heights, afraid of the dark, or afraid of animals,
isn't as bad as it sounds in those technical terms, is it?
Why not compare yours with the Trauma Alphabet of
Hollywood ?

Don Ameche is afraid because he isn't afraid of- any-
thing! Tall talk, but you've got to admit he has just
about everything it takes. Looks, personality, a charming
singing and talking voice, perfect diction, social talent,
and besides all that, he's a perfect husband and father.
But he's alwavs afraid it's too good to be true !

Joan Bennett is in a constant dither that someone
might up and call her "Dearie." It infuriates her. Reminds
one of the story about Ethel Barrymore. When a com-
parative stranger called her Ethel, she quipped: "Don't
be so formal. ]ust call me Toots."

Edgar Bergen fears what the probing profs would
call "demoniac possession." He's afraid that his dimin-
utive friend will end by possessing him. Charlie has
taken on such a vivid personality and has been such a
motivating factor in Bergen's life, that the line of de-
marcation between Bergen's and Charlie's personalities
is naturally becoming somewhat blurred in
Edgar's mind. For Charlie has been through
as many cycles as any human being. In Chi-
cago, when Edgar first put the breath of life
into Charlie's little wooden frame, he be-
came food-and-drink, bread-and-butter to his
creator ; and now he has become
champagne-and-caviar. Little
wonder that Edgar has invested
Charlie with all of the better
human qualities.

Charlie helped him earn his
way through North-
western University.
That was way back
in Charlie's unso-
phisticated days,
when he was just a
fresh little mug with
a heart of gold and
a tongue of brass.
Then they took
the bumps together,
literally and figura-
tively, playing one-

Simone Simon puts on an
amused expression when
she tells about the dream
that resulted in a Trauma
she can't shalce off.
Nevertheless the Petite
Parisian would be terrified
if her odd aversion ever
caught up with her.

ave iou

By Linn Lambert

aum

Chances are, you have — but will you be as frank
in admitting it as the stars are in revealing theirs?

night stands
and the four-
a-day. But
when vaude-
ville died,
did Charlie
just fold up
and give
himself up
for old kin-
dling? No.
In his su-
perlatively
iconoclastic
fashion,
he went
smoothly so-
phisticated, ,
donned white tie and tails, monocle and
custom-made boots; a miniature Prince
Charming with royal sap in every limb, a
master of the Retort Discourteous, embryonic
butt of W. C. Fields' pathological persiflage.

He has taken such complete possession that
no one can tell who is the master and who
the automaton, for it is utterly impossible to
think of them as two separate entities. Charlie
has his own stationery, with his silhouette on
it a secretary to answer the fan-mail, his own
make-up expert, and can be depended upon
to steal the show from man, woman, child or
beast Bergen's will is a mute testimonial of
his feelings towards his profitable pal. He has
bequeathed $10,000 to the Actors' Fund of
America to keep Charlie in good
condition, and perpetuate the art
of ventriloquism. But without
Edgar, Charlie would just cease
to exist, and vice versa. Oh, let's
not go on, I'm breaking my own
heart.

Grace Bradley fears people will
stop smoking pipes. She owns a
pipe factory, you see. Just to keep
business going, she smokes one
herself occasionally. That gal
could smoke an underslung meer-
schaum and still look dreamily
dainty.

It probably was Glenda Farrell
who originated that one about
"Easter and Not an Egg in
the House !" She can't stand the
sight, sound, nor smell of an
egg ; as she says : "I have a
vague (Please turn to page 73)

Don Ameche, calm at left above,
and emphatic in describing his
secret fear, above; Shirley Tem-
ple, above, Joan Bennett, left —
what do they dislike? Ben Blue,
below: Trauma demonstration.

^ M£RRY

He's Robin -Hood!

He's mOl RYNN!

By Ida

ONG and lithe and laughing, Errol Flynn strode out for his
first scene in "Robin Hood." A shout went up from com-

pany and crew, part derisive because that's the tradition.

part acclamatory because they couldn't help themselves. "Yay!
Hero!" With a sweep of his feathered cap to his heart, Flynn
made them a low mocking bow.

Basil Rathbone's eyes sparkled. To his English heart, the
legend of the outlawed Saxon noble is near and dear. His tone
was fervent. "If there'd never been a Robin Hood, they'd have
had to invent him so Flynn could play him."

Most men, even actors, feel a lack of ease on their first ap-
pearance on the set in costume. Flynn wore his jerkin and tights
as if he'd been born to them. Indeed, watching him, you felt
that he ought never wear anything else. They set off his ease
and grace of movement. But it wasn't that alone, or even
primarily. There seemed something curiously
akin in spirit between clothes and wearer — a
lilt, a dash, a devil-may-care impudence that
laughed in the face of life and that death
couldn't touch.

He created a similar atmosphere in "Captain
Blood." With all its spectacle, that picture
would have been a meaningless clutter without
Flynn's charm, Flynn's zest, Flynn's spirit,
symbolizing the spirit of his environment, to
fuse and weld it into a significant whole. With-

Flynn is the fiery Robin
Hood to the life. On this
page, with trusty cross-bow,
and with the other merry
men; at upper right, with
Alan Hale as Little John
and with Olivia de Ha\
land as Maid Marian; and
above center, with script
girl and Herbert Mundin.

MAN!

He's Peter Pan
at -Heart

Zeitli

out Flynn, Warners would probably never have made
the picture. For there isn't another actor now in Holly-
wood, who carries his head with such an air or his heart
so high.

It's probably because the boy who lives in most men
lives more freely, more joyously, with fewer inhibitions,
in Flynn. If you called him an embodiment of Peter
Pan. he wouldn't thank you. Yet, with the difference that
he hasn't found the secret of staying small — and wouldn't
know what to do with it if he had — the comparison has
point. In the sense that growing up means a fettering of
the feet to earth, Flynn hasn't grown up. Act first, think
second, is the law of his nature. He'd rather get into a
tight spot and take a chance on fighting his way out, than
spend the whole of his life on an easy one. As far as he can. he
lives in a never-never-land — that is, in a land of whatever ad-
venture may lie along his twentieth-century path.

It may be the adventure of running away from school, as he
did at fourteen, to exchange stodgy discipline for the lure of the
South Seas. It may be the adventure of a trip to revolution-torn
Spain. Or of feeling wind and spray on his face as he pilots his
yawl through difficult waters. It may be the more homely ad-
venture that any boy worth his salt can manufacture for himself
in the course of a long, full day.

It was first the color and excitement of the movies, and second
the money, that drew Flynn into them. That's a statement always

At right, fenc-
ing for dear
life. Top right,
a close-up. Top
left, on the
sidelines with
Olivia; and
then with Lili
Damita (Mrs.
Flynn) after
a strenuous day
on location.

Here's "Robin Hood" Flynn getting his whiskers trimmed by
master makeup man Perc Westmore, right. Below, strong-
arming Pat Knowles to the microphone — see story for par-
ticulars. At right below, Pat and Errol with their pets.

open to suspicion. In the case of Flynn, it's a
fact. Offered twice as much in a bank, or three
times as much to sit at an accountant's desk,
he'd have grinned his crooked grin, thumbed
his nose pleasantly and walked out. An adult is
under the regrettable necessity of earning a
living. The movies offer the means of satisfy-
ing it, together with a passport into the world
of storybook romance. You can be a pirate to-
day, a soldier of the king tomorrow, a rebel
against the tyrant next week. You can work,
make money, have fun, all at the same time.
What small boy could ask more?

To Flynn, swordplay is fun. Shooting with
the bow anud arrow is fun. He gets paid for
perfecting himself in these and similar arts. To
be sure, he gives his employers their money's
worth. Meantime, he uses the skill he's acquired
in pastimes of his own.

In a deep forest of magnificent oaks and
beeches, crossed by clear-running streams, he
lived for six weeks. He fished salmon with the
bow. He rode, he swam, he hunted boar. One
day an excited boy ran into camp with news of
a wildcat in a paddock nearby.

"Let's get him," said Flynn to Howard Hill, the
archery expert, who can all but split hairs with his bow
and arrow.

As they started off, they were halted by a voice behind
them. '"I'm coming too."

"And there was Damita," he chuckles, "armed with a
big stick, running after us for all the world like a kid
tagging the grownups."

"What do you think you're going to do with the stick?"
he demanded.

"Defend myself to the end," she announced calmly.

Arno, Flynn's gray Schnauzer, reached the paddock-

first and stood leaping and yelping like a maniac at the
foot of the tree to which he'd driven the enemy.

Flynn drew a bead on him and shot. Hill stood by with
his arrow, lest the cat should jump. Lili just stood. When
the animal came down, he was dead. Once the men had
satisfied themselves of that detail, Lili marched over
and gave him a poke in the nose, "so Flynn shall not say
I brought my stick for nossing."

Damita, incidentally, makes no effort to inter fere_ with
any of her husband's singular exploits. "I shut up," she
says, "because it will do me no good to not shut up. In-
stead, I go with him if possible. {Please turn to page 72)

BOBBY'

uid

Here is the story behind Bobby
Breen's rise to fame

Ben AAaddox

AN angry fifteen-year-
/-\ old completely defied

/ \ her family, and so

now a new star is born in

Hollywood !

"We're leaving !" she cried

then finally. "You can't do

anything for him. But I can.

And believe me I will !"
There was the impact of

sudden silence in the shabby

living-room. Her mother and

father and older sister and

brother gaped at her and at

the curly head in her arms.
"Don't worry," added the

girl, large brown eyes soften-
ing as she took in at a glance

their bewilderment, their fear

of life. "I'll see that he gets

his chance and I'll send

money home to you. But

we're going — tomorrow."

"How ?" Her mother was querulous.

"I've saved our busfare to Chicago and seventy dollars

besides. That'll keep up going until he gets his break !" .

The boy in this extraordinary situation was a four-
year-old, then just one more poor kid slated for a con-
tinual battle against poverty. Sally Breen, approaching
her mid-teens and late of Toronto's Silver Slipper night
club, had given the surprising speech. It wasn't mere
talk, though, but a firm declaration of determination. It
led, amazingly, directly to fame.

When Bobby Breen's name went up in the bright lights
one person alone was really responsible. Not Eddie
Cantor, as you may have supposed. Not shrewd pro-
fessional promoters, either. Of course they've played
helping roles and it's Bobby's own rare ability which is
drawing the applause. But actually the credit belongs to
a comparative nobody who schemed and fought for

When Bobby Breen's name went up in
lights one person alone was responsible for
the final recognition accorded his talents —
his sister Sally, with Bobby in the picture
at top left. Above, Bobby, his mother
and father. Left, the boy star at play.

Bobby. Against all odds Sally Breen
literally transformed the child's fate.
How she made her younger brother a
star is one of those almost incredible
tales of today.

Imagine setting forth on your own
from Canada at fifteen to sell this
modern world on another wonder
child. Tackling this busy world that
can't be troubled with nobodies ! It
proves once more that miracles can
still happen if you swear to make
them happen.

At nine Bobby is the new rave of
the movies and radio. He has, authorities proclaim, the
voice of an angel. He has, obviously, exceptional per-
sonality appeal to match.

Yet no one gave Bobby a boost until Sally insisted.
Together the two practically ran away from home with
nothing on their side but the boy's talent and charm, and
her resolution. They were crazy, their family contended.
A hopeless adventure, attempting to escape their birth-
right ! And none of the dragons and none of the severest
slaps downed them. Not until you hear of this love story
behind Bobby's rise can you fully appreciate the depth
of one sister's devotion.

"The Breen family was getting nowhere fast," de-
clares Sally now. "Someone had to do something or we'd
have all starved." The mother and father couldn't cope
with the illness and unemployment that swamped them.
So at thirteen Sally, burning (Please turn to page 94 )

rr\on<3 Rosalind Russell rates,
fcddVSe°^ed. and gets, the best.

e P

res

AST year "Medals and Birds" celebrated its wooden
wedding (did I hear someone mutter "wooden
_ head"?) and I thought — maybe I even hoped a
ittle — that that was the end. When you're young it's
sort of fun to be sophomoric and go around screaming
your opinions from the housetops. But five years pass

and you aren't young any more
and five years can change you
a lot. And here it is six years
since I started all this and I
am looking at a sheet of paper
the Editor of Screenland has
sent me. At the top of the page,
"Medals and Birds" stares at
me accusingly. Me, who hasn't
had a good hate on in a year !

But shall a Mook let you
down ? Never ! I'll work up a
few hates and enthusiasms if I
have to kill the whole bottle of
Scotch I
was saving
for the
poker game
Wayne
Morris in-
vited to my
house for
dinner,
drinks and

CMS

S. R. Mook

Bird

Bette Davis: favorite
person, fine actress.

Alice Faye seems
a little disappointed.

Kay Francis has good
reason to be happy.

B r
on

1 n g

vour

Anne Shirley prepares
to take a nice bow.

Jack Benny, as usual,
is modest about it.

Ginger Rogers — i
special award fo

flowers, your chest of medals and VI YE LE BIRD.

The first flowers of the season — the American Beauty
roses- — go jointly to Carole Lombard and Myrna Loy
because they are my two favorite actresses and because,
as far as I'm concerned, they have the glamor market
completely sewed up. And when a dame who used to
specialize in pithy conversation as Carole did, can make
a guy who "knew her when" believe she's glamorous —
baby, that's not only glamor, it's ACADEMY AWARD
acting.

The first medal of the year goes to Richard Arlen
because he's had the first medal ever since this depart-
ment started ; because this year he practically started his
cinematic career over again without becoming embittered,
and because after playing in golf tournaments for years
with no results, he finally won one !

To Irene Dunne go the petunias because she is one of
the figures to whom the industry can point with pride. No
breath of sea idal ever touches her and because with not
a cent's worth of glamor to bless herself with, she con-
trives to get into the most successful pictures of the year.

W. C. Fields gets a medal because he is my
favorite comedian, because he's good copy and
because when you interview him he really "gives"
even though occasionally he may ask you not to
print what he "gives."

Claudette Colbert gets the bed of calla lilies,
with my compliments, not only because she is
more beautiful off-screen than on. but because she
has developed from a fine dramatic actress into
one of the best comediennes in the business.

Fernand Gravet rates a medal because I like him
personally, because he isn't swell-headed or tem-
peramental as most foreign stars are, and because

t's a
her

I think he's going to be the next screen sensation.

Una Merkel makes be-
lieve she's surprised.

Tyrone Power smiles
as he takes his bow.

?''Wo de M •»
desert h„ ,'"<"><*

>0 M

Annual frolic of a Hollywood Boswell dis-
tributing love and hisses according to his
likes. You're free to cheer or jeer his awards
as the stars march by

I'm handing over the bed of nasturtia to Joan Craw-
ford because they're as vivid as her personality and be-
cause she gives as much thought and worry to her parts
now as she did when she was fighting her way to the
top. There's one girl who will never be content to rest
on her laurels.

Oh, shush! If anyone is reading this it's only to find
out who gets birds. So we might as well start handing
them out.

Just as Arlen always gets the first medal, so Hepburn
always gets the first bird. You were swell in "Stage
Door," Katie, but aren't you ever going to get next to
yourself and stop putting on that shrinking violet act?
You're about as timid as a battleship.

And a bird for Nelson Eddy because I'm sick of read-
ing about the "woman trouble" he has on every concert
tour and because there ought to be a law against anyone
who sings as beautifully as he does, being such a rotten
actor.

And yet another bird for Jean Arthur because, with
everything in the world to be thankful for, she's devel-
oped a persecution complex and all she does is
sulk.

There! We'll proceed with the awards. The
peonies go to Bette Davis because she is one of
my favorite people, because she is the least tem-
peramental star I know, and because when you'
query actors on who is the best actress in pic-
tures those who don't say "Barbara Stanwyck"
invariable say "Bette Davis."

Fred MacMurray rates a medal because he's
such a swell guy and is still as tractable as when
he first began getting the breaks. But, gee, Fred,
can't you do anything about your acting?

The sweet Williams are for Ginger Rogers

"Or

« °f>o/

because Ginger is also always so sweet. She's going to
say something good about people if it kills her and — more
important— she's the most graceful dancing girl on the
screen.

An improved 1938 fourteen carat gold medal for
Spencer Tracy because he is still the finest actor on the
screen.

Virginia Bruce and Loretta
Young can split the bed of
camellias between them because
that is the only flower I know
comparable to their delicate
beauty. Girls as lovely as these
two need very little else to make
life one grand sweet song for
any man — or themselves, either.

A medal this year (of all
things ! ) to W arren William —
not because my opinion of his
ability has changed but because
he is mak-
ing fewer
and fewer
pictures. I
wish you
all the
luck in the
world,
Warren,
and hope
{Please
turn to
page 84)

Claire Trevor — it's
orchids tor you, Claire.

Irene Dunne, naturally,
is picked tor honors.

Helen Broderick wears
the smile that wins.

Florence Rice: charm
claims its just reward.

Ronald Colman con-
tinues to get prizes.

Martha Raye smiles,
but does she mean it?

WHAT lies untold behind Douglas Fairbanks,
Jr.'s return to Hollywood importance?
An inside tale worth telling! It has an un-
suspected twist, too — this absorbing, well-hidden drama
of the "lucky" crown prince of the movies. Amazingly,
he has never been lucky at all !

Suddenly he lost out. He had so much, apparently.
The sweeping devotion of Joan. Crawford. A valuable,
long-term starring contract. The prestige of being the
sole heir of filmland's first family.

With appalling swiftness, with little warning, every-
thing that mattered most to him seemed to crash down
upon his head. He was finished with his exciting mar-
riage, with Joan who had meant all there was of love to
him. But emotional bewilderment was only part of what
lie had to face. Before that year was over, that bitter
year, his star deal ended, also. A final, ironic slap of
fate was the break-up of Pickfair.

Douglas dropped out of the bright spotlight. He went
to England to begin anew, making but infrequent ap-
pearances here. Yet today, after a lapse of four myste-
rious years, he is once more a significant figure on the
Hollywood scene.- He's teaming to applause with the
foremost feminine stars, is in great demand on the
radio.

I found him on a busy set, looking and feeling better
than he ever has. The hundred men and women RKO
had lighting and photographing and accentuating him
in "The Joy of Loving" mulled' about us and Douglas
wasn't distracted in the least. Irene Dunne had with-

onressions

of a

Come-Back

What's behind "Young
Doug's" dramatic return
to Hollywood impor-
tance? Here's his own
vital, unvarnished story

By Dickson Morley

That smile belongs to a young man who has been a
part of Hollywood history ever since he was born.
Today, after four experimental years, he returns to
big movie jobs with zest, playing opposite Ginger
Rogers, Irene Dunne. Left above, with his father,
Fairbanks the first. Right above, when he was Joan
Crawford's "Dodo."

drawn to her swanky dressing-room while the director
went into an involved conference with an ace scenarist.

I said, "Wouldn't it be easier for us to talk if we re-
tired to your handy dressing-room?" He laughed. "Per-
haps," he admitted, "if I had one!" I remembered, at
this reply, how he"d been when first a star. Then his set
retreat had been conspicuous. He had the finest portable
star lounge in Hollywood history. Joan gave' it to him
— the best was none too good for Dodo.

Dodo? This intelligent, capable actor called that often
in public places? Yes. in his past. When he was raptur-
ously in love Joan called him {Continued on page 89)

She started it all!
"My Man God-
frey," "Nothing
Sacred," and "True
Confession" €S-
tablished Carole as
the leading femme
zany of the screen.
Now she's teasing
the popular French-
man, Fernand Gra-
vet. Although the
stars had never met
until the director
introduced them on
the set for the first
day's shooting of
"Food for Scandal,"
they began laughing
and they haven't
stopped since.

Left, the first scene
'shot" for the Lom-
bard-Gravet co-star-
ring sparkler.
Above, -three close-
ups of Hollywood's
loveliest clown. At
left, below, pro-
ducer-director Mer-
vyn LeRoy explains
the next scene in
one of the few seri-
ous moments on
this carefree set. At
right below, Carole
and Fernand go in-
to their giggle. The
gay American girl
and the debonair
Frenchman share a
flair for comedy.

Call Tli

Laugh T

earns

The old Hollywood "love team" is dated. Today, a star
like Lombard demands humor in her screen mates, and
Fernand Gravet supplies the satirical note in heroes

8 V 1 *;

»5V .

C. Kenneth Lohden

As carefully posed,
expensively photo-
graphed, meticu-
lously retouched art
studies go, these of
Dorothy Lamour
and Ray Milland in
"Her Jungle Love"
are skilfull and eye-
filling — especially
Dot, at left, and at
right below. With
Ray, the Lamour
loveliness poses ex-
otically for the
amorous episodes,
at right and below.
Now, is this your
idea of satisfying
Hollywood "art"?

SU! We Be Arty?

Here are typical //Hollywoodl art studies" of
a beautiful girl, a Handsome man, and nature
being lush. How'd you like it?

It's up to you! Readers, and
lookers, of Screenland may
make your choice. If you
select the beautiful, but
obviously posed type of art
as exemplified on the oppo-
site page, we'll give you
most of that, not so much of
this! Personally, we think
the candids on this page are
more fun. We know Dorothy
Lamour is a real beauty, and
admire her the more for sub-
mitting to candid camera
inquisition when she's all
bedraggled between strenu-
ous scenes. Below, Dot and
Ray rest while repairing
ravages of swimming scene.
Center, a candid close-up.
At left below, the weary but
game stars wait while a
member of the technical
staff tests for the cameraman.

Or SLII W«
Be Candid?

Now, Here's the other extreme
in Hollywood art, the frankly
imposed, actually //candid//
stuff. Which do you prefer?

Busby Berkeley, director of "Hollywood Hotel,"
had the pleasant task of telling Dick Powell just
how to make love to Rosemary Lane. Below, and
ight, Mr. Berkeley is illustrating. As Mr. Astaire
would say, "Nice work if you can get it."

You might think the director of a
$2,000,000 film for Sam Goldwyn
would have his troubles. And
you'd be right. But he also has his
moments, as George Marshall,
megaphoning "The Goldwyn Fol-
lies," proves in our pictures, be-
ginning at left center and conclud-
ing directly at left. Mr. Marshall
first gives ballerina Vera Zorina a
little lecture on love-making, then
warms to his work and proceeds to
a soul-searing demonstration. We
hate to report that it's all for a
comedy love scene with one of the
Ritz Brothers. Bam — another beeg

lih,s'on eong:

Director Lubitsch of the world-
famous "touches" enjoys his
work, and no wonder: roses
from his star Claudette Col-
bert, cigars from co-star Gary
Cooper. Left, a laugh be-
tween scenes of "Bluebeard's
Eighth Wife" — yes, Gary at
left. Then Lubitsch pacing
for inspiration; and, at far
left, the game of "Brushing
the Dime" off David Niven's
hand. Try it: put dime in
palm of your hand and let
someone try to brush it off
with a whisk broom. Well,
try it and see how easy!

I TK

ey vc

Directing Myrna Loy and Clark Gable may be hard work to
Victor Fleming, but it looks good to us — upper right center.
Bob Leonard directs Jeanette MacDonald in western scene
below; Priscilla Lawson (Mrs. Alan Curtis), center below;
and Miss MacDonald and Walter Pidgeon, at right below-
all for "Girl of the Golden West." Yippee!

THE HANGING GARDENS
OF BABYLON

THE MAUSOLEUM AT HALICARNASSUS

He 7

ers
oi the

THE PHAROS OF
ALEXANDRIA

Ancient V^orU

THE STATUE OF ZEUS AT OLYMP1A

SAMUEL GOLDWYN'S
PRODUCING GENIUS

Colossus of
cinema mag-
nificence and
daring enter-
prise — and
m i s p r o -
nounced words
— but never a
dull picture

FRED ASTAIRE'S
DANCING FEET

Speak of hanging
gardens, but give
us Fred's suspended
poetry in motion

GRETA GARBO'S EYES

That old Pharos of Alexan-
dria boasted a beacon, but
none so glowing as Garbo's
eyes, and art

PAUL MUNI'S DISGUISES

The Pyramids remain a mys-
tery— but could those Egyp-
tians ever have penetrated a
Muni disguise?

tf'

The ancients thought they had
something there; hut to hear
Hollywood tell it, they never
had anything!

— (

111 ;3

THE GREAT PYRAMID

THE TEMPLE OF DIANA AT EPHESUS

THE COLOSSUS OF RHODES

ers

AAodern
Hollywood

Hi m

SHIRLEY TEMPLE'S
CHARM

That Temple of Di-
ana was exquisite,
but Shirley is a
miniature temple of
ageless art

ROBERT TAYLOR'S
SEX MENACE

Mightier than an-
cient wonders — con-
sult any 'teen-age
girl fan

MARLENE
DIETRICH'S
LEGS

It was about the
statue of Zeus that
it was written, "The
sight of the figure
would make a man
forget his troubles."
The same goes for
matchless Marlene

I 'i

On this good earth there's nothing more exciting than
the thrill of sailing, says Dick Powell, who, as you
see above, has become a right good seaman. He's
handling his own boat, the Galatea — a 64-foot yawl.
Gene Raymond and Jeanette MacDonald like to ex-
plore the countryside on horseback, left, and they
are busy getting their favorite saddle horses into good
trim for a Spring of activity on the bridle paths.

Carole Lombard, left, and Ginger
Rogers, below, don briefly smart togs
and go very near the water — Carole
to the seashore and Ginger to a
mountain lake for some canoeing.

Hollywood, as usual,
takes the lead and hurries
ahead into the sunshine
to speed up Spring and
hring on playtime

Wayne Morris couldn't wait for Spring to get into a
real tennis stride. Here Wayne is, below, out on the
practice courts receiving and returning all the hard
! shots his instructor can think up and shoot over the
'net. Right, Ann Sheridan and her husband, Eddie
Norris, are enthusiastic about fishing off the surf, and
it looks like they know how to hook and pull in those
finny fellows that swim about Pacific shores.

Eleanor Powell does some bicycling
on her holiday from the studios, as
shown below. Right, a brand new
note in beach and play wear is
struck by Frances Drake.

SIDESHOW

The candid camera turni
on between^scenes byplay
and you see some fun thr
screen missed

Cause and effect takes a funny tu ,
naturally, with W. C. Fields. What it
doctor ordered tasted bad, smelled wot
but Bill downed the dose, far left, a
then decided he was entitled to go p >
with his toys. It's the logical folk
through, says Bill: when they order y
around like a boy, for the good of yc
health, be a boy and maybe some go
will come of it. A borrowed motor hi
can be fun, at that.

Above: Edward G. Robinson receives a visit from his son, Manny
on the "A Slight Case of Murder" set, and leading lady Jane Bryan
joins the group; next a close-up as the star gives some good advice
to Bobby Jordon, whom you saw in "Dead End." Next, time out
for lunch; and finally, Eddie entertains his youthful cast-mates
with a stirring yarn.

SCENARIOS

trice Lillie, of stage,
io, and sometimes the
» vies, didn't need a script
t show her how to be
|f ny on the set. In "Dr.
\l /thm" she discovered
'/ dy Devine, a fellow player
i: Bing Crosby's new pic-
I :, and tried the broad-
,t ing facilities of an oxy-
m tank, and then went on
ft n there to a mammy song
H by easy stages to some-
y thing really angelic.

■ /

Stories in action! Left, opposite page, Claude Raines gets a 12th
century head of hair from a hairdresser on the staff of Perc West-
more, for his part in "Robin Hood." Below from left to right, Fay
Wray works her play up to a. winning shot in a ping-pong match
that gave her the laugh over her opponent in the sport at which

Fay excels.

Ling and the boys grow younger; below, Rufe Davis,
Sterling Halloway, Andy Devine and Crosby recall
their (movie) school days. Bing, Andy and Big Ann
the elephant swing it, top right, and win the affection
of the chimp, center. Bing and Andy talked about it
so much at home their boys, Bing's son, far right,
and Andy's, lower right, came to see the show.
Above, Andy undergoes repairs. Right, Bing, need-
ing some rest from the circus on the set, relaxes.

It's a carnival of fun wKen the thr«
ring circus comes to Bing Crosb
set, with a side show between eve
camera take for /7Dr. RHythm''

THE KID COMES BACK

The laughing,
larruping hero of

"Kid Galahad"!

Speeding to stardom faster than any other screen
hero in years! Here's the daring, dashing new
thrill in boy friends, with the devil in his eyes, a
wallop in his mitt and heaven in his arms! Winning
millions of hearts in every role he plays! See him
now — more exciting than ever— in the tingling
romance of a fightin' fool who knew how to love!

WAYNE

Shooting another love punch straight
to your heart in "The Kid Comes Back"!

A WARNER BROS.
PICTURE

amor
or

amby

Tom Kennedy

0 ELY WOOD
wouldn't believe
her, so the little
ballet dancer whose
name had blazed along-
side that of the Garbos,
Shearers, and Craw-
fords in electrics head-
lining" attractions at one
of New York's most
famous picture theatres,
went sailing away to
Europe to play a
dramatic part in a pic-
t u r e — j ust to show
Hollywood she could.
You know the little ballet dancer by a nickname that
became famous over the radio, as well as her full name
of Maria Gambarelli — the same "Gamby" who thrilled
audiences at the Capitol theatre during the Roxy regime
of pictures, symphony orchestras and elaborate ballet
presentations.

Gamby came sailing back to these home shores not so

Maria Gambarelli,
christened "Gamby"
by the late beloved
"Roxy," was the baby
of the famous
"Gang." Now she
becomes an interna-
tional screen figure
and heroine of the
glamorous "Com-
mand Performance"
related in this ex-
clusive story. The
two close-up por-
traits show her as
the star of the
European picture,
"Dr. Antonio."

How a brilliant ballet star
decided to "show Holly-
wood" by turning to
drama, became the pet
of royalty, and embarked
on a new career. Maria
Gambarelli's more-fasci-
nating-than-fiction story

long ago and, this being a story not about defeat but
one of a thrilling triumph, she was not disillusioned, de-
spite the fact that snuggled close to her as the most
prized token of her trip to Rome was not a sample reel
of the film she made there, but a portrait enclosed in a
silver frame with a royal crest set in gold on its upper
border. The portrait is that of Italy's queen, bearing
Her Majesty's signature "Elena" across its lower right
corner. A queenly reminder of that most thrilling of
triumphs that come to the artist receiving the distinction
of selection for a "command performance at court."

Many a storybook, play and picture has enraptured
the public with its dramatic theme resting solely upon
the stirring climax wherein the heroine achieves the
ultimate success of appearing before the king and queen
in their palace and winning the applause of royal as-
semblages. We found the little Gambarelli's recital of her
Command Performance in court at the Eternal City as
exciting as it was illuminating of the thoughts and emo-
tional reactions that fill the mind and palpitate the heart
of an artist on such a supreme occasion of her career.

The stories of "Alice in Wonderland" and "Cin-
derella" oddly merged to make a fictional parallel we un-
consciously sought for this story the petite blue-eyed
dancer unfolded as she told us what happens when a
star gives a Command Performance.

Wide-eyed, in vivid recollection of the bewilderment
that comes with the realization of nearly every per-
former's ambition to make a Command Appearance,

(Please turn to page 86)

IN OLD CHICAGO— 20th Century-Fox

BEST screen show you can find anywhere— don't miss
it! Movie spectacle in the gaudily grand manner, it is also
.curiously convincing. Mr. Darryl Zanuck's Chicago Fire
is a four-alarm epic, but it is not the whole show of his
big picture. What we might call the prelude is good, too. "In Old
Chicago" is solidly built on a foundation of strong, believable
human drama— its O'Leary family become the most believable
flesh and blood people of the screen season ; caring what happens
to the tribe is the real reason for your excitement at the Fire—
which lasts a good half hour, singes your soul and almost your
eyelashes, and sends you out wanting to decorate today's brave
and efficient fire laddies on both cheeks. It's a magnificently
awesome sight, Mr. Zanuck's fire. But his robust, romantic melo-
drama of old Chicago before the big blaze, recorded with so much
gusto and bluff good humor, also is something to see. Tyrone
Power plays a handsome rogue, pride and despair of Mrs.
O'Leary's heart, in dashing, daredevil fashion — his best per-
formance to date. Alice Brady is a grand Ma O'Leary— her best
job, too. Alice Faye as the notorious but nice Belle Fawcett sings
and acts vibrantly — how you'll like those Rabelaisian love scenes !

hi SEAL' 0F| £

Reviews

of the best

Pictures

MANNEQUIN— M-G-M

gggk SEEING Spencer Tracy as a Cinderella Man has almost
(j&Sffil unnerved me, so I can only advise, as to "Mannequin,"
^§8jigL that all Joan Crawford's fans must not miss it. and all
doubters must look twice before they leap to the ticket
window. You see, it is the super-Cinderella picture. Not only is
Joan Cinderella again, which is all right if you can take it: but
Spencer Tracy becomes the Cinderella Man, his first altogether
unbelievable acting job, and not his fault, either. He's a self-made
tycoon with a heart of gold— all right so far. He falls in love
with Joan, very much all right, too. But when he takes to seeing
her ghost on the terrace, and mooning around generally— then
not even the Terrific Tracy can make me believe it. Manufactured
to formula as all Crawford pictures seem to be these days,
"Mannequin" may appeal, with its gimcrack glamor, to some
eager addicts. It has a lavish fashion show, Joan in many guises,
and the false appeal of the rags-to-riches plot. There are some
scenes at the start in which the star shows considerable emo-
tional power and poignancy, with Alan Curtis, the newcomer,
playing her caddish lover in acceptable style. In fact, Mr. Curtis
didn't seem a cad. He's the film's most honest contribution.

SNOW WHITE AND THE SEVEN DWARFS— Disney-RKO

/gmjs. MOST daring picture on current screens! "What, you say,
(Sam a Walt Disnev picture, and daring? And I repeat— yes,
definitely daring. Producer Disney has taken the boldest
step of his brilliant career in making a full-length fairy-
tale with cartoon characters. He succeeds in this as he has in
everything he has ever undertaken— for Disney is a real pioneer
in a new art medium ; a great artist with the biggest canvas ever
stretched. Here is the good, old familiar fairy-tale by the Grimm
Brothers, told in terms of animated drawings, all in color— with
more suspense than any other screenplay of the season— well,
perhaps we can except "In Old Chicago," if you insist— and more
true humor, and charm, and liveliness, and imagination, and
beauty. You will, I swear, be captivated by the little heroine,
enthralled by her adventures in the wood, her encounter with
the Seven Dwarfs, her bewitchment by the wicked queen : you'll
rejoice at her rescue by Prince Charming— in a word, you'll be
young again. New and delightful Disney animals — rabbits, deer,
other woodland creatures — to charm you; Snow White herself
is a miracle of girlish grace; the Dwarfs— well, you'll be hum-
ming their jolly Hi-Ho song and counting 'em in your sleep.

SUPER-SHOWS:

"In Old Chicago"
"The Buccaneer"

RARE TREAT:

"Snow White and the Seven Dwarfs"

BEST MUSICAL:

"Hollywood Hotel"

SMASHES:

Tyrone Power in "In Old Chicago"
Alice Brady, Alice Faye in "In Old
Chicago"

Fredric March in "The Buccaneer"

DISCOVERIES:

Francislca Goal in "The Buccaneer"
Snow White

THE BUCCANEER — Paramount

DIRECTOR Cecil B. DeMille's annual spectacle does not
disappoint. It's another super-show from the veteran
.showman, produced with speed and spirit, acted with
admirable gallantry by a splendid cast. Mr. DeMille,
bless his heart, soul, and puttees, is still making true movies.
Of course, they are more sumptuous than of old; they boast
sound effects — in fact, the finest, noisiest sound effects anyone
could ask; they employ bigger and better actors, enlisting in this
case not only Swashbuckler Number One of the Cinema, Mr.
Fredric March, but a graduate of the Moscow Art Theatres,
a new Continental charmer, a British beauty, and Ian Keith and
Montagu Love — an histrionic circus if there ever was one : but
in spite of all these impressive modern improvements, DeMille
pictures never forget to keep moving. There may be too much
carnage in "The Buccaneer" for your special taste, as for mine ;
but since it's a picture about the pirate, Jean LaFittc, swash-
buckling is quite in order, and DeMille makes the most of it.
It's really a grand show. Mr. March is immeasurably better than
in "Anthony Adverse." New charmer, Mile. Gaal, stresses
her charm. Akim Tamiroff and Margot Grahame are excellent.

HOLLYWOOD HOTEL— Warner Bros.

THIS is double-barreled entertainment — fun for film
fans, fun for radio fanatics. For the first time, Hollywood
.turns the table on radio and puts an air program upon
the screen. Louella Parsons' popular "Hollywood Hotel"
hour is lifted bodily from the broadcast lanes into the jumping
gelatines, with all the attractions intact, including Louella — who
becomes the first lady chatterer to take the leap from etherizing
to movie emoting, and with apparent ease and assurance. The
radio program is only part of the entertainment which this pic-
ture has to offer, however. It's a breezy burlesque of both the
radio and movie industries, with those "inside" glimpses of Holly-
wood ; with Dick Powell at his ingratiating best, and the Lane
Sisters, Rosemary and the more familiar Lola, providing potent
girl appeal. Lola plays the temperamental movie star to end all
such caricatures, and plays it to the hilt. Sister Rosemary is the
actual heroine who impersonates the star — how this girl can put
over a song. Speaking of songs, there's a slew of singables here.
The high spot for me was Benny Goodman's number ; for others,
it may be Raymond Paige's specialty — both standout. You'll
giggle at Hugh Herbert, enjoy Johnny Davis and Glenda Farrell.

MAN-PROOF— M-C-M

THE Society for the Rescue of Myrna Loy from Silly
Pictures will welcome "Man-Proof." It gives our Myrna
.a chance to stop giggling for a moment and, in the
absence of Thin Man Powell, to pull herself together
and give a sensible performance. Oh. I don't mean too sensible.
But she does NOT get herself smeared up as she did in "Double
Wedding," and she DOES manage to sustain a genuine char-
acterization, something I always suspected she could do if the
scenario would give her a chance. She plays a thoroughly modern
young woman who fancies herself cured of an infatuation for
Mr. Pidgeon, particularly after he marries her rival. Rosalind
Russell ; but no sooner does she congratulate herself upon her
emancipation than the endearing Loy wackiness crops up and she
discovers she really loves Mr. Pidgeon, after all. From then on
"Man-Proof" becomes fairly brisk entertainment, involving Mr.
Tone's hopeful constancy, Mr. Pidgeon's lovable caddishness,
Rosalind Russell's good sportsmanship, and always the Loy
charm, which proves it is not dependent upon Bill Powell but can
e'and on its own. For women, "Man-Proof" should be fun: for
men, too, if they like Myrna Loy, and if they don't, they're mice.

Simone Simon adores dashing prinls. At
far left, white butterflies chase themselves
on her wine-colored silk frock. At i e Ft. her
royal blue silk dress dotted with tiny
white stars. Below, Ann Sothern chose
black and orange Persian brocade for her
high pleated turban banded with black
velvet ribbon, and her pouch handbag.

ay or

ran

The British beauty, Vivien Leigh, below,
who appears in the siren's role in Bob
Taylor's English film, "A Yank at Oxford,"
wears a coat of cream serge stitched
with nigger-brown silk and fastened with
brown grained wood buckles. Wendy
Barrie, at the bottom of the page, is gay
in her natural menclo cloth slack suit.

Very grand end formal
in the authentic Chinese
fashion is Anna May
Wong, at left, in her
personally designed
tunic of white satin
brocade with a gold
butterfly pattern. Pip-
ings of gold braid are
fastened with tiny gold
butterflies and a gold
ame cape matches
pleated trousers of the
same fabric. Miss
Wong, internationally
distinguished for her
exotic beauty and gor-
geously simple clothes,
as well as for her fine
acting, poses below in
another creation from
her personal wardrobe
— this time a dress of
black satin piped in
antique embroidered
braid, ond a black
gauze cape which Is
striped in blue, red, and
green silk thread.

r en

Rid

es a

obby

TAKING pictures as a hobby was all but forced on
Dick Arlen!
"Actors get so fed up with still pictures that it's a
wonder the sight of a lens doesn't give us hydrophobia,"
he commented, as he emptied an envelope of negatives
onto the couch between us. "Every time you think you
have a free hour, along comes a man with a little black
box, crying: 'Hold it!' or 'Would you mind just putting
on this hat? or standing on the running board of this
car? or downing a mouthful of this breakfast food and
li ii iking pleased ?'

"When I first broke into films, I thought anyone who
owned a kodak he didn't have to use because it was his
job, must be crazy.

"I remember one year I went to New York' to do a pic-
ture and the gang at the studios there presented me with
a camera, a make called 'Pressman,' sort of Graflex type
with a big box that you look clown into to find your sub-

ject. T thanked them, and was glad they liked me well
enough to spend their money on me, but privately I won-
dered why anyone wanted such a tiling. It seemed to me
that a fellow who spent half his life in front of a lens
ought to avoid spending the other half behind one.

"Then I got married. Join' had a box camera she liked
to use sometimes, and I thought she was cute with it,
but a little screwy.

"But cameras wouldn't let me alone. People gave them
to me — I found a Leica on my Christmas tree, and an
Ansco among my birthday gifts. Of course I said :
'Thanks. Just what I wanted !' and put them safely away
for what I thought was keeps.

"Then came the candid camera fad. I suppose it had
been here all along, but it didn't bother me until I found
that wherever I went my friends were all bringing out
their little machines and going 'click,' and exhibiting their
results and boasting about the shots they got at the

races and why yellow fil-

red

Snapped by Richard Arlen: Virginia
Bruce, her daughter, Susan Ann Gilbert,
and Dick's son, Ricky. Bottom right, the
Bing Crosby twins. Below, Lake Louise.
Center left, hunting scene. Bottom,
Charles Farrell and Jack Oakie.

ters are better than
ones, or the other way
around. It began to sound
interesting, and I got out
my cameras again.

"It's just one of my hob-
bies, though, even now. I
like golf and boats, too.
The trouble with my pic-
tures is that after I've
taken them and looked at
them once, they sort of dis-
appear. People pick them
up, if they happen to be in
them, or I lose them.

"Up to now, I haven't
had any amazing success
with the Leica. I can't tell
much from the tiny nega-
tives and by the time
they're blown up I've
forgotten what stop I
used, so I don't know
how to regulate the
next one in reference
to that. I expect to
master it shortly.

would have
try his luck
with pictures when he

Dick baffled the candid fever
long and bravely, buf now —
nexf to golf and sailing — he
gefs his biggest kick sharp-
shooting with a camera

By Ruth Tildesley

was "in England, but he didn't have any
of his cameras with him.

"There's so much fuss at the customs
if you have a camera," he explained.
"You must have a permit to take it into a _country,_ and
then they want to see your pictures, and if you didn't
happen to take any they want to know why. Joby said
she wouldn't go through with it ; she was sure we'd land
behind bars ; so we played safe.

"However, I did take a camera with me into Canada
when I was on location and got what I call my prize shot
one day when we didn't have to work. We had gone
duck shooting. The dog was sitting up in the boat and
the ducks we'd bagged were tied to the sides ; it looked
like an interesting shot and I got it. I remember liking
the look of the hills in the background. But after all, it
wasn't the hills that made it a swell shot, it was the water
and the reeds — gives it a sort of etching quality.

"Maybe most amateur photographers
get their best stuff by luck. I often think
mine comes when I'm not expecting a
lot, when I just point the lens at some-
thing and go 'click.' I know that when I
fuss over shots, changing filters and
measuring the light and so on, the re-
sults don't justify the excitement.

"Here's an example of a lucky shot —
taken through a plate glass window at
Lake Louise, with the silhouette of the
window, the terrace, the lake, the moun-
tains, and the snowy slopes beyond. I
happened to have a light red filter on the
Ansco and I used that.

"I had the same filter on it for this
shot taken the other way — from across
the lake, showing the hotel in the dis-
tance. See the cloud effects? You must
have a filter to get them.

"But I got this sbot of Joby by the
lake after the sun had gone down. We
were walking, and I thought the snow
banks across the water looked interest-
ing, so I said : 'Stand still a second,' and
it was all over (Please turn to page 92)

"When I got married," says Dick, "Joby
had a little camera. I thought she was cute
w;th ft — but screwy, because I couldn't see
how people who were acting for cameras
could have fun working one." But now it's
different. Above: Joby, taken by Dick; and
Dick and Babe Didrickson, famous girl
athlete, on the golf course, taken by Joby.

Fate fashions an amaz-
ing climax for the dar-
ing adventure of a
Hollywood glamor gir

Margaret E. Sangster

CHAPTER IV

KATRINE lay on the drawing room floor and cried
until she was very nearly exhausted. She never did
things by halves — she had a simply dandy case of
hysterics. When she was reduced to a pulp — and her
frock was ruined — she became as still as a tomb, and
started to pull threads out of the design in the oriental
rug. They pulled hard — it was a very good rug. After
she had demolished a couple of inches that it had taken
a man nearly a year to weave, she began to think.

Thinking, at that moment, wasn't easy. Katrine had a
lot of actions and reactions to justify. She started back-
wards, as usual, and asked herself why she had taken a
sock at Bertrand — the French Count whom she had half-
heartedly planned to marry. After all, Bertrand had only
been a parrot — repeating what she herself had already

said,
what

that stark white look to
Peter's small, drawn face.
She'd needed no prompt-
ing.

No, Bertrand had been
slapped — but through no
fault of his own. Going
back to her slum childhood
— where the fittest had sur-
vived by sheer muscular
supremacy, but a person

who kicked another person in the tummy was out —
Katrine realized that some innate sense of fairness and

decency had made her strike blindly at the little Count's
smirking face. She had hit him because he was phony.
And because — deep in her consciousness — she hated
phony things.

Of course Bertrand's title was genuine — she'd had that
searched the moment the guy came buzzing around. It
was an old name and a fine one, dating back to the Cru-
sades and Joan of Arc and all sort of grand opera motifs.
It was the fawning grin that he gave her that was phony,
and the way his hand clung damply to her wrist, and the
way he kissed her fingers.

Bill Naughton never did any finger kissing — but then
Bill was real. And Naughton was a good name, at that.
No title went with it, but it was a good name . . .

Katrine yanked viciously at a bit of yarn
— are oriental rugs made of yarn ? — that
wouldn't give. Bill Naughton led to Peter
by a straight, undeviating line. Peter — well, n|ustrated By
the kid wasn't phony, either. And he had v/elton Swain
no name, at all — except the name that,
through fate and by benefit of a court of
law, she herself might one
day give him . . .

Katrine, lying on the floor,
began to kick her feet up and
down — which was a sure sign
she was feeling
better. She start-
ed to have a little
emotional orsrv

about Peter — -who would one day bear her name. Not
Mollineaux — which didn't belong to her legally — but
Malloy. Malloy was a name like Naughton — sturdy and
standing for this survival business . . .

Peter ! He hadn't asked to be adopted, at that. By the
merest chance he had chosen her likeness from a fan
magazine- — chosen it to worship — and the coincidence was
too much for Bill, on a baby shopping binge. Naturally
she had been disappointed when Peter appeared instead
of a tiny blonde girl, but nobody could blame her for that.
She was only human. In fact, (Continued on page 97)

jihE^BII

"jf %

It was Katrine who reached Peter first. She jumped from the
Please Turn to Page 97 car while it was still moving and knelt at the side of the

for Synopsis of Preceding Chapters boy before Bill could bring the machine to a full stop.

There's glamor in British film studios,
even as in Hollywood. Meet some
film favorites in a different setting
in this sparkling story

By Hettie Grimstead

ONE of the nicest things about our stellar visitors
from Hollywood is the way they remember us
when they are hack home in California again.
Dolores Del Rio writes regularly for the lovely woolly
things hand-knitted by a London stylist — she's just
ordered a peach-pink jacket of exquisite wool lace to
wear for spectator sports. Douglas Fairbanks, Jr., gets
all his suits by mail from England, and that ardent antique
glass collector Xeil Hamilton often cables a famous
W est End shop enquiring for details of their rare pieces.

Before Marlene Dietrich sailed for Xew York she
visited her local boot-maker and had the famous feet
measured for some pairs in the latest London models. He
has just despatched her very high-cut town shoes in black
matt kid with a row of six little black and white buttons
down each side. Accompanying instructions say that
Marlene's million-dollar legs should be encased in bright
ginger-brown stockings when she wears them.

Otto Kruger, who divides his time between fishing
and films, habitually sends for rods and tackle to a tiny
old-fashioned shop in St. James's where King George
and the King of Norway and Franklin Roosevelt, Jr.,
are also on the list of customers. At the moment Otto is
able to choose his tackle in person, being here to make
another film at Elstree Studios. It's a gay comedy of
school life called "The Housemaster" and you will see
Otto careering
around in college
gown and spectacles
with never a sugges-
tion of his customary
screen self-sacrific-
ing. "Am I tired of
being a noble
martyr !" he remarks
feelingly. This time
be actually gets the
girl and beats all his
rivals to it. Phillips
Holmes and demure
little Rene Ray are
in the picture too.

Otto unfortunate-
lv crashed his car
driving to the studio
'in a London fog the
other morning" so he
Please turn to p. 92

Starting at top, Otto Kruger;
then Neil Hamilton, collector of
old glass; above, Rex Harrison,
new bet, and Vivien Leigh. Left,
Genevieve Tobin; right, Maureen
O'Sullivan. Left, below, Roland
Young, Jessie Matthews, Jack
Whiting, and whoopee; below,
Noel Madison, Mr. Young, and
Mr. Whiting, and ah, me!

Lionel Barrymore, left,
was a beloved visitor
to la belle Paris. Paul
Muni, left below, inter-
ested the intelligent-
sia. The new girl in
town, below, is Charles
Boyer's latest leading
ady, Michele Mor-
gan. At left below,
popular Madeleine
Carroll. At bottom of
page, find director
Anatol Litvak — Mi-
riam Hopkins' husband
— and Mr. and Mrs.
Paul Muni at Paris
party in Muni's honor.

There's gaiety in Parisian picture cir-
cles, what with native players and
visiting Americans. You'll enjoy this
French slant on cinematics

By Stiles Dickenson

ONLY the radiant presence of Madeleine Carrol
saves this department from being labelled
"Gentlemen Only" this month, what with writ-
ing of Robert Taylor, Paul Muni, Lionel Barrymore and
Lewis Milestone.

Robert Taylor must have taken off his make-up on the
plane coming over, so quickly did he appear in Paris
after finishing the last scene of the picture he made in the
London Studios. Evidently Paris has great charms for
him—so much so that he cancelled his original sailing
date on the "Normadie" so as to stay over here a bit
longer. Paris fell in line with the rest of the world and
Bob's every move was followed by adoring crowds and
written up in the newspapers. At the same time he was
here, "Camille" (called "The Romance of Marguerite
Gautier" in France) was being shown in the theatres
and all the tear-stained audiences have fallen for the
Taylor beauty. Must say that he bore up very weU with
all the adoration and still seemed a cheerful, unaffected
youngster. He was intensely eager to see and do every-
thing he possibly could in Europe in a
short space of time — and he succeeded
very well in spite of the curious crowds
his now-famous face assembles. Usually
Paris just gives a smiling nod to visit-
ing celebrities and lets them alone to
enjoy themselves — but not so with the
Taylor. Even the blase habitues at the
Bagatelle, the smart night club of the
moment in Paris, got excited when he
appeared there and poor Bob had to
autograph dozens of menus and scraps
of paper. He then set off in a plane
for a hurried bird's-eye view of this
Europe. The Scandinavians went wild
at his approach and the illustrated
papers showed him being presented with
huge keys made of flowers. That's say-
ing "Welcome to Our City" very
romantically, I should say.

Lionel Barrymore came from Holly-
wood to play (Please turn to page 75)

WHAT
El
P

eanor

owe

Lost!

And what she has found! Here's a
heart-warming story of the currently
popular dancing personality with
self-told facts never before revealed

By Charles Darnton

Our new pictures of Eleanor happen also to be exciting
ccivonce fashion news! The Powell smile is surrounded,
cbove, by the very newest sun hat of blue and white plaid
strew, with a big red apple beneath the brim. At right,
Eleanor proves her love of children by helping Robert
Spindola, "Donkey Boy" of "The Firefly," fly his new kite.

GOIXG to see Eleanor Powell in her Bev-
erly Hills home just before she was
leaving for a month's New York vacation
was like going to a family party. What with her-
self, her mother, her grandmother, and her dog
in the living room it was quite a cosy little gath-
ering. But at first, with nobody in sight but the
glacial butler — he had on an ice cream suit — it
looked as though the occasion might prove a bit
stiff and formal.

Nonsense ! Things warmed up the moment Mrs.
Powell, glowing as a red apple and nearly as
round, bustled in and wanted to know if I minded
her calling me by my first name. Mind ! I loved
it. She made it very homey, sitting on the arm
of my chair and singing the praise of her gifted
daughter who herself was singing for the first
time in her new picture, '"Rosalie."

Swish ! In breezed Eleanor, spick and span in
blue silk pajamas and talking a blue streak.
Smack !

"How do you like it?-' She meant the house,

not the kiss. "Think of me having this," and she waved
spaciously, "after all I've lost!"

What, in particular, I wondered ?

"Four toenails ! One in each of my pictures, 'Broad-
way Melody,' 'Born to Dance,' 'Broadway Melody of
1938," and now 'Rosalie.' My 'Rosalie' one is just be-
ginning to grow in again, see — "

She whisked off a sandal, and all of a sudden the
arm-rest of my chair became a foot-rest. What price
dancing was revealed by a dainty bare loot, one of the
two most wonderful of their kind in all the world.

"And maybe you think that doesn't hurt !" She shod
it tenderly, then bounced into a chair. "I said to the
doctor, 'How many toenails does God allow you?'"

Higher statistics not forthcoming, we left the ques-
tion in the more or less heavenly air.

"Now I'll tell you something," she volunteered, hav-
ing indeed shown me something. "I've always been kind
of different. Maybe it's because I was a premature baby."

Here, then, was an Eleanor Powell story starting right
at the beginning and promising to go through with more
personal details than are dreamt of in the philosophy
of "Who's Who."

"Just a seven-months' baby, that's all I was, so I had

That Spindola young-
ster made such a hit
with Eleanor that she
bought him the boats
you see in the picture,
below. New fashion
notes: Eleanor's Aztec
print frock of red,
yellow, green, and
blue; and her white
straw hat with bright
bandanna.

tined to become a rich part of it. This was most wel-
come, since her bland presence and pat comment gave
it authoritative background.

"But with everything I lost, the pleasures of girlhood
because of working all the time,"' Eleanor was saying,
"I've just found something new — my singing voice. It's
now in pictures for the first time. People thought it was
me they heard singing in my other pictures, but it wasn't.
All I did was 'sync,' match my lips with the words of
a song, you know. Eddie Sutherland, the director, once
said I was the best 'sync' in the business."
"Must be quite a trick," considered Grandma.
"It was always easy for me," said Eleanor. "But I
was never satisfied with it. I wanted really to sing. Mar-
jorie Lane had always sung my songs for me. She was
waiting to do it in 'Rosalie' when she married Brian
Donlevy. Then he had to go to London to make a pic-
ture, and Marjorie wanted to go with him, so she asked
me if I'd try to have the studio let her do a recording
of my one number, 'Strange New Rhythm in My Heart.'

This was done, and away went Marjorie to England.
But when we got to that point in the picture, Van Dyke,
the director, shook his head. He said the song wouldn't
do as it was, that he wanted something different — you
know how blunt Van is — wanted a swing to it
like this, zip !"

She swung her lissom body into swaying
undulations, breath panting, eyes flashing, fingers
snapping.

"You see, Marjorie is a ballad singer, and she
sang the number standing still, just as she'd
been used to doing at the Troc and over the
night spots where she'd made a big hit. The
recording was beautiful, but Van said, 'Some-
body else will have to sing it. What's the matter
your doing it?' he (Continued on page 88)

to be brought up in an incubator.
I had no toenails, no fingernails, and
no eyelashes. They didn't begin grow-
ing till three weeks later. I certainly
must have been a funny looking thing
without any trimmings. When they —
oh, here's grandma !"

It was an unexpected pleasure to
meet Mrs. Susie Torrey, a dear, gen-
tle, white-haired old lady whose eyes
twinkled merrily through her steel-
rimmed glasses.

"I was just telling Charlie," ex-
plained Eleanor, "that when I was
born I didn't have any toenails or
anything."

"That's right," confirmed Grand-
ma, comfortably settling herself. Evi-
dently the good old soul enjoyed that
form of Hollywood torture merci-
fully called an interview, serenely
unaware that she herself was des-

The Gory Coopers, proud parents by
reason of the recent arrival of a baby
dcughter, and one of Hollywood's most
popular couples, step out to the preview
of an important new picture.

Into a woman's world of teacup conver-
sation, steps a man servant, and Billie
Burke stops listening to Constance Ben-
nett to gaze back at Alan Mowbray;
scene from "Merrily We Live."

eres

woo

WHEN Joan Crawford was in the fierc-
est pangs of new love she used to hook
rugs with astounding zest. Janet Gaynor,
due to the Tyrone in her life, is making
her own hats. She produces the sauciest
little numbers. When Tyrone's slaving be-
fore the cameras and reading scripts be-
comes tiresome Janet hies out to Warner
Brothers to visit Margaret Lindsa}- on
Maggie's set there.

IIMMY STEWART hadn't had a date
-J for three months. Then suddenly he
realized that Rosalind Russell existed. Ever
since came-the-dawn the two have been
considerably intrigued. Like all the more
vivid colony romancers, these two are held
together by sophisticated wit. Roz is a
Dorotlry Parker, minus Dot's cynicism — a
volatile, talkative, gay person. Jimmy's
slow, his humor dry. But both of them
have just settled in new houses, so how
could they get married?

CAROLE LOMBARD will have an in-
come as well as high old memories
after stardom. A girl working in a shampoo
parlor reports it's really no gag about
Carole minding her companion-manager
Fieldsie when it comes to spending. The
amateur sleuth happened to be idling at a
magazine stand at Hollywood and Vine
when Carole was bent on buying a new
magazine there. "But you already have that
one at home," stated Fieldsie firmly. "I
haven't!" shrieked the Lombard. "I'll take
it," she added to the clerk. "Oh no, she
won't," muttered the stellar watch-dog,
giving the star a push onwards.

Trio! In song, three's not a crowd, so
Fanny Brice, Allan Jones and Judy Gar-
land get along famously in swing; with
Fanny hitting a few solo notes.

Going places and seeing
people who put romance in
the news from Movie Town

By Weston East

OF COURSE the Wayne MorrL-Pri-
cilla Lane romance is booming, but
don't take their devotion too seriously. Re-
member that last month the lady of his
dreams was Eleanor Powell. And before
Eleanor there were half-a-dozen other
cinema beauties. The lad's a demon for
variety. Priscilla, incidentally, met him
socially in a different way. Someone -in-
gested to Wayne that it would be a snappy
idea if he asked her out. He sat down and
wrote her a letter. Evidently this gallantry,
in these days of fast telephones, was over-
whelming. Or maybe Priscilla knows a
swell date when she sees one. Anyway, she
responded post haste.

WHILE Claudctte Colbert is honey-
mooning at last in the South of France,
her pals pass on their favorite tale about
Claudette. It seems a fan wrote for a
photograph and Claudette was all sympathy

JPHP W&tk

Alice Faye and Tony Martin, who chose
the tropical setting of a popular Holly-
wood cafe to dine and talk things over,
had just the right lighting when this
twosome shot was snapped.

Dancing at a Hollywood party, right:
Anita Louise and Darryl Zanuck. The
young star and the famous producer
were among the many celebrities seen at
the Basil Rathbones' recently.

when she came to the paragraph about his
being a cripple. She hurried off the best
likeness she had. By return mail she re-
ceived thanks and the comment: "Your
picture now hangs in my room with fifteen
photographs of my wolf-hound who died
under tragic circumstances."

HOW high do movie wages bounce?
Consider this -inside figure in the case
of the Ritz Brothers. Night club entertain-
ers not much more than eighteen months
ago, they have just received a contract
calling for three pictures within a year's
time at $80,000 per film. By next month
every blonde in town will realize^ she sim-
ply must have a Ritz in her private life.

CO ROBERT MONTGOMERY swore
^ he'd never build a home in Southern
California. Not Bobbie, Mrs. Montgomery's
smart son. He was going to make his pile
and get out. He bought a Connecticut farm

with a Colonial farmhouse, and there he's
been retiring for three months of each year.
So what? So now he's just fallen for
California harder than anyone else. He's
had a huge home designed — there are six
gorgeous bedroom suites, for instance — and
therein he's settled permanently. He talks
about how keen it'll be for his children
Bob and Betty. He points out the antiques
Mrs. Montgomery found. He's consulting
an expensive landscape gardener this week!

WHAT'S in those notes that Myrna Loy
and Bill Powell keep sending to one
another? Myrna's working at Metro, the
old homestead, while Bill is making "The
Baroness and the Butler" over at 20th Cen-
tury-Fox with Annabella. At least four
times a day notes are exchanged between
them, and the minute the recipient reads
one it's obvious that something most amus-
ing is contained therein. The most likely
explanation, Hollywood, is that Myrna is

helping to keep Bill cheerful. He was still
none too recovered from Jean Harlow's
death when he returned from the vacation
that was supposed to make him forget. If
a few scribbled lines can put him in stitches
he won't harp so on what might have been.

WHILE Kay Francis and Humphrey
Bogart do hot scenes for the cameras,
their most recent mates have found one
another in New York City! Kenneth
McKenna, K. F. husband No. 3, and Mary
Phillips, H. B. wife No. 2, returned to the
stage when the movies weren't too kind —
and now they've learned to care. Mean-
while, to keep you straight, Humphrey has
bought a house and gives indications of
turning family man at last. Mayo Methot
is his reason. And now, to further mix
you up, he's back to work after a fight with
Warners, too. They suspended him when
he objected to playing a supporting role in
a Wayne Morris film.

NEXT year you can hear Jeanette Mac-
Donald sing in person. She's_ decided
to make a formal concert tour, just like
Nelson Eddy. Only it's going to be much
more of a task for her, because she'll have
to worry about her looks — take a hair-
dresser and maid and a wardrobe along.
And she has a love to leave behind. Still,
it's a step up, professionally speaking, and
Gene Raymond understands ambition.

CO YOU think Joan Crawford is slipping?
^' She got on a train the other day and
they held the streamliner three minutes
while her baggage was loaded on, too.
What does that prove? Well, what?

THERE is nothing casual about Dick
I Powell's return to radio. He remained
muted until the proper set-up loomed, and
now he is relying on his "best friend and
severest critic." Joan Blondell loyally for-
gets her own stardom, even about dashing

Triangle! Warren William seems menac-
ingly confident, though Virginia Bruce
gives him the cold shoulder for Melvyn
Douglas, in "Arsene Lupin Returns."

Severest critic! Hugh Herbert's wife
tweeks his ear, and the comedian knows
the joke he tried out during lunch at
the studio isn't funny enough.

home to the baby, every Wednesday at 6
p.m. She hurries to the broadcasting station
to park in the front row center. Dick wants
to be able to glance down at her often, to
be sure he's doing exactly as they've
planned.

PvOROTHY LAMOUR celebrated her
L' first day off in two months by grabbing
her best suit out of her closet and going
to Santa Anita for the afternoon. She
always has to work Sundays, on her radio
program, you know, so she's not even had
the ordinary let-up. Her husband Herbie
Kay didn't land a Grove engagement with
his orchestra ; he's making music in
Chicago.

A ROLE LOMBARD'S learned to ride
Western every Sunday and to roast
a nifty duck; she jounces happily in a sta-
tion wagon when she might be languish-
ing in a limousine. All for Clark Gable's
company! Now she's resuming her interest
in flying. In "Test Pilot" Clark's had to
fly so much for the director that he has
enough hours in the air to get his pilot's
license. Carole took lessons out at the
municipal airport a year or so ago, and

she's on the verge of starting over. She'll
never let it be said that she isn't a swell
sport. She isn't going to be a fool about
the top salary she's commanding, either.
The other day, on the set, she inquired
how much the owner wanted for a sheep
dog acting in her picture. He replied, "Five
hundred dollars." A prop man popped an
inquiry, and the answer was "A hundred
and fifty." Carole didn't buy Snoopy, and
Snoopy's papa is no doubt sorry he under-
estimated this star.

UNCENSORED data on the younger
set: for those who are bored reading
about the too-sweetness of youthful won-
ders— Mickey Rooney dropped in to the
publicity department at Metro recently for
an interview. "Where have you been, Mic-
key?" asked the press agent brightly.
"Smoking my pipe," replied Mickey tersely.
"Why, how long have you been smoking?"
demanded the amazed p.a. "For three
years," retorted the honest Mr. Rooney.
(He's seventeen now.) Item Two: it's a
fad to drop into the Troc and sing a song

Dilemma! Below, Frank Morgan in a
dither that has delightful aspects — the
one on the left, Mary Astor, for example,
as well as the one on the right, Florence
Rice. Below, right: Newlyweds: Alan
Curtis and Priscilla Lawson, both in films,
study homekeeping.

Comedy relief! Edward G. Robinson
turns from drama to humor, very suc-
cessfully, judging by Rosemary Lane's
smile — at Warners' recent party.

for your fellow guests, if you're a celebrity
and able to croon. Who's fashionable now
but Bobby Breen! When he went Troccin'
he stood up and gave all he had.

NEXT best thing to Charlie McCarthy,
in the estimation of the more discern-
ing women about Hollywood, is Eddie Ber-
gen. His wit, his flair — ah, superb ! Con-
sequently, he's shrewdly invited to the best
parties. For more exact details about his
fascinating ways, check with Andrea Leeds.
The ace Samuel Goldwyn girl is most
favored with his attention.

CINCE the Mae West radio faux pas, the
stars are being doubly cautious about
their air acts. The exception is Bob Burns.
He alone doesn't prepare his comedying
in advance. At the final rehearsal, a couple
of hours before it's time to go on with
Bing Crosby, Bob is still ad Jibbing. He
trusts to his own instincts when he rallies
with the cues flung at him.

BETTE DAVIS was so pleased when she
heard how well she could sing in
"Jezebel" that she had records made from
the playback and has been distributing

The bicycle not built for, but used by
two, above, fits in with Olivia de Havil-
land's costume and George Brent's hair-
cut; frolicking between scenes. Table talk
by George O'Brien, right above, amuses
Joan Blondell, Dick Powell, and Pat's
wife, at a studio party.

same to her intimates. "Mali goodness," she
whispers in Southern accent at the begin-
ning of the record, "who'd ever have
thought little me would be a song bird?"
She concludes with, "Ah hopes you stood
it, honey lamb."

DOBERT YOUNG patriotically claims it
1^ could only happen at his studio : Metro
has been quizzing expectant mothers to
cast the dauphin of France in Norma
Shearer's new epic. The son of Marie
Antoinette has to be of tender age at a
certain stage of the film and the shooting
schedule having been worked out it's up to
someone to line up a baby of exactly the
proper days. Well, Bob, it's a good story,
anyway !

ALLAN JONES rates our award for
1 being the ideal husband of the month.
When his new child was born it wasn't in
any great hospital, but right at home in
the fully-equipped room Allan had designed
for his wife Irene. He insisted she be at
home where he could constantly watch over
her himself.

DASIL RATHBONE'S son, just come of
D age and to Hollywood to change Eng-
lish life for American, is dying to get into
pictures. Papa Basil therefore lets him
visit him whenever the cameras are grind-
ing. But Rodion doesn't want to be an
actor, even though he has the looks. He
majored in electrical engineering in college
and so hopes to wangle into a technical de-
partment. The fashionable Rathbones threw
a formal dinner to introduce Rodion socially,
rustling up Anita Louise, no less, as his
partner.

GRACE MOORE can't be stopped.
Hollywood had practically decided that
Grace was going to be the victim of poor
vehicles, that she was washed up again.
Then came news of the fine Georgian home
she was building in Brentwood. A whole
hill-top. Gracie always does things with a
splash, and this was quite a splash for one
who was nearly licked. Next she was heard
starring in a radio drama, not simply sing-
ing but acting most competently. Now she's
being starred at the Metropolitan, and —
Miss Jeanette MacDonald — here's some-
thing you can try for when you can find
time to get around to it ! Gracie's returning
for more pictures, and the plots aren't
going to be that same old one, either.

DRIAN AHERNE has only to fall in
D love to complete his metamorphosis.
He's become so jolly, so anxious to please.
Once disdainful of curiosity about himself,
he now beams at the press. Once scorn-
ful of Hollywood — Irving Thalberg was
soundly rebuffed when he dangled a keen
long-term contract before Brian — he has
now agreed to work steadily for Hal
Roach. He's become an aviation enthusiast
now he's flying around Mexico on
between-pictures jaunt.

Clara Bow confides some "IT" secrets,
which Martha Raye seems to find new
or startling, or, more likely, both.

ERY spryly, and successfully, Jackie
Cooper has made the jump from child
to youthful roles. While growing up, Jack e
has kept his place in the limelight, and his
first young man role netted him citation by
the National Board of Review for one qf
the year's outstanding performances — i
Chuck in Monogram's "Boy of the Streets _
In proud recognition of Jackie's feat, hip
company gave a party in his honor at
swank New York hotel recently.

WONDER-what's-become-of-Sally dept. :
Corinne Griffith is moving into the
beautiful home she and her business-man
husband have built in Washington, D. C.
Buster Keaton is directing Francis X.
Bushman, the first Taylor of the screen,
in a two-reel comedy at M-G-M, where
Buster was once a star himself. Alice
Terry has redecorated a small house in
Hollywood and is living quietly there until
husband Rex Ingram returns from his
archaeological expedition into Mexico. Rex,
who discovered Valentino and Novarro,
has done so well in his study of antiquities
that the museum in Cairo, Egypt, has
turned over a room to him. Evelyn V en-
able, now mother of two children, has
returned to acting — she's making "In Old
Kentucky" for Monogram. And if you
watch current films closely you'll see many
old favorites in bit roles ; like Bryant Wash-
burn as chauffeur in "Crashing Hollywood."

Singing in the woodland — birds please
copy — are Kenny Baker and Lana Turner,
located on a location stroll, above.

SOON, we shall put aside the Persian lambs, the
caraculs and the furred coats that have seen us
through the winter. Then we may have a few figure
surprises. In spite of their luxury, chic and warmth,
winter coats do something to us from the neck down.
They seem to pull clown the figure, to slacken our posture
generally, so that the trim little suit into which we emerge
is rather a disappointment. The truth is, we don't look
trim in it.

The tailored suit, like the bathing suit, demands a
good, buoyant figure, and so I sought out Gladys Swarth-
out for a word of counsel. Miss Swarthout is a screen,
opera, and suit star ! She adores suits and knows how to
wear them. Here are her words : "After winter, I think
we all need a general pick-up, physically and mentally,
before our figures and faces have the right fashion points
that give individual style and vitality."

This general pick-up, this springtime feeling, is not a
matter of routine exercises or diet, unless you are over-
weight. It is merely a matter of taking hold of yourself
and putting some spirit and verve into the way you

[

Gladys Swarth-
out, suit star
of Hollywood,
illustrates the
soignee effect
of tailored
chic. The suit
demands good
posture and a
spirit of vital-
ity. In circle,
Miss Swarth-
out's favorite
day coiffure,
because the
smooth back
hair is espe-
cially good with
a flat forward
or beret type
of hat. Today,
back hair is
just as impor-
tant as the
front, so please
look backward
in your hand
mirror!

rom

Neck Down

You can take off inches here, put them
on there — build a new figure by posture

By Courtenay Marvin

stand, walk, and sit and express yourself in action.

Now curves make the feminine figure, but where you
have them makes it good or poor. Often we go too far
in at the back in a swayed curve, which in turn makes
another curve, a front one in the form of too much
abdomen. This happens when the back pushes the front
forward. And shoulders that should be a nice, straight
line curve or droop in a depressed manner. We might
well begin at the chinline and mentally check up on our-
selves in the following order.

After winter, the fairest of necks have a dull look, and
the skin often seems coarser than the face. The constant
caress of fur collars, cold wind, and weather do this. A
week of nightly treatments will lighten and refine this
skin until it is^ a lovely background for spring pastels.
First, bathe the neck with warm water and soap. Miss
Swarthout, by the way, is a soap and water fan. She likes
that fresh, cleanly scrubbed look. Use a complexion brush
or rough cloth with plenty of suds and rub until the skin
is pink and glowing. Rinse, dry, and then apply plenty
of cream. If your neck is aging, lined or crepey, use a
special neck cream. These creams are especially rich and
really do good work. If your neck is in fairly good condi-
tion, then your regular face cream will do. With creamed
palms smooth down from the jawbone to the collarbone,
then up. Work from the sides as well as at the back, and

give about ten firm strokes to each. Avoid
pressure over the very front. The cartilage
and bone there are sensitive. Sleep with the
cream on. Remove in the morning and
dash on very cold water. This is a real neck
beauty cocktail! If your neck is very dis-
colored—if you have been South, for ex-
ample— use a good bleach cream after the
general treatment outlined. First remove
the lubricating cream, then apply the bleach
and sleep with it on. There are chin straps,
very helpful for the wandering chinline, too.

Recently, I attended a lecture by an out-
standing figure authority. "As we grow
,,lder," she said, "the head has a tendency
to push forward, as if looking for some-
thing, instead of remaining in a straight,
upright position." You should have seen
the heads that immediately adjusted them-
selves to a good lift— all a little self-
consciously! A good lift is necessary to
style and appeal. Not that arrogant, very-
very-grand-lady manner, but a natural,
eager vital lift. These are the heads that
wear 'hats with spirit and style. You'd be
surprised, too, how this lift smooths out
contours and unbecoming shadows. It makes
you look good— radiant and full of the joy
of living. - ' .

Here are fashion points of the suited
fio-ure to remember: straight, fairly wide
but relaxed shoulders. A firm, lifted chest.
Relaxed arms. Straight back and smooth
abdomen line.

Before you start straightening up your
fio-ure I'd suggest two helpful props— a
brassiere that really meets your special
needs and a light but firm supporting girdle.
They will not only give you a better figure
but good support that encourages correct
posture. And they help prevent you from
slumping.

To put forth your best suit figure, stand.
Let weight rest on the balls or broad part
of the feet. To be sure you have this, lift
heels from the floor. If you can maintain
balance, then you have. Now try to imagine
that a strong band is pulling you down and
under from the back waist downward and
coming up over the abdomen, lifting you
here, not pushing in. When you feel this
muscular control working, relax your
shoulders, then move your arms slightly
so that palms are just a little back of the
hipbones. That, readers, is good posture!
The effect is amazing, as you'll see if you
watch yourself in a mirror. Back has a
good straight line. Shoulders straight, but
not rigid, abdomen smoother, chest high.
You have an alert, interesting look. There
is nothing hard or tight about this figure.

If Hollywood had just picked you up on
a nice little contract, this, in part, is some
of the posture training you'd go through
for hours. And it's worth it for what it
does for you. Whether you're tall or short,
large or petite, it is posture that gains ad-
miring glances in business office, school-
room, or grand ballroom. There is just
something about it that gets attention— and
the right kind.

If you will keep some body consciousness
in mind when you sit and sit well back on
your chair, you will never have that dis-
couraged, all-in look that comes when you
sit on the edge and collapse at the waist-
line. This sitting is a great aid in keeping
a slim waistline and neat hips, and since so
many sit poorly, those who sit well again
command attention. A figure authority has
taught me to sit for hours at a desk without
tiring. Sit well back on the chair and bend
forward from the spine base in a direct
slant, no shoulder droop. When at your desk,
sewing, or driving a car, remember this. It
works.

Miss Swarthout has a good figure, small,
well-rounded, and alert. She believes clothes
should have a feeling of action. Her skirts,
(Please turn to page 83)

ours

PorL

ove iness

Looking Toward Spring

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this department. It has everything— style
and beauty, big powder well and two fine
puffs, plus a packet of powder in rachel-
nacre tone. The case, in burnished gold
effect, looks like a fine watchmaker's art.
The center disc comes in red, blue, green,
ivory, black, or plain metal for initials. The
vanity is palm-size, so you'll always have
plenty of powder at hand — and it won t
spill. Surprisingly modest is the price for
this personal prize.

If you've always felt that the home
shampoo must be followed by a vinegar
or lemon rinse to free the hair of any
residue and add a sheen, here's a time-
saver and a beautifying-conditionmg sham-
poo treatment— Admiracion ! Admiracion
Olive Oil Shampoo, that cleanses perfectly
without lather, is the secret of many lovely
heads. But— if you like a headful of billow-
ing lather, if that makes you feel more
shampooed, then try Admiracion Foamy
Oil Shampoo. Both do a fine cleansing job,
are easy to use and need
no final rinse. They leave
hair soft, manageable,
shimmering with life and
color. For scalps below par,
try the two-purpose Ad-
miracion Hair Tonic before
and after shampoos. It's a
scalp tonic and hair dress-
ing combined. Our lady
below is having a go with
the Foamy type.

Fifth Avenue Modes has
a bright idea that helps you
stretch your dress budget
and that is a blessing to
the hard-to-fit figure. It's
known as the Finish-at-
Home Plan. This means
you choose your favorite
fashions from a catalogue

Winx Mascara gives eyes a
soft, new beauty touch

and order to individual
measurements. The gar-
ment made, except for hem
and fitting seams, comes
to you complete with in-
structions, thread and all
finishings. If you can sew
a seam, you're practically
safe. Perfect fit and good
savings are thereby as-
sured. The fashions are
well chosen, too !
Good news for the Elizabeth Arden fol-
lowers ! Velva Cream Mask now comes in
a less expensive size. This quick treatment,
so easy to use, so effective in results, is
the secret of many fine, youthful skins.
For helping to erase lines, refining texture,
giving the contours a general "lift" — all
the benefits you'd expect from a lengthy
facial — this preparation deserves much ap-
plause. It's truly a helpful idea for that new
Springtime face. After a hard day, it's
your salvation for big occasions.

That new hat deserves attractive eyes.
In fact, the eyes will make the hat. For
the most telling touch, there's nothing like
the subtle use of mascara. Among the good
brands is Winx, a great favorite. It is easy
to apply, tear-proof, non-smarting. If you
aren't a Winx-er, here's a sensible thought.

Try the n
Foamy Oi
haii

Merry Man!

Shuffleboard became the popular pastime of principals in the "Robin Hood" cast
during a location trip. Here, Basil Rathbone and Olivia de Havilland have a game.

Continued from page 30

Much better than to sit home and worry."

The shooting schedule called for his ap-
pearance in virtually every scene. He worked
SO hard that nine o'clock generally found
him in bed. Hard work had no effect on his
healthy good humor. He laughed all day,
; t anything, at nothing — because Gene Pal-
lette made a noise like a sheep — because
Herbert Mundin slipped on a wet leaf and
went sprawling — because Olivia de Havil-
land, catching sight of Pat Knowles in the
blond wig of Will Scarlett, promptly dubbed
him Scarlet Sister Mary — because Basil
Pathbone, playing Sir Guy of Gisbourne,
answered cheerfully to the name of "Nicky
(.e Ginsboig."

lie is not of the poor-spirited breed, how-
ever, who wait for fun to come to them. He
a so goes out to make his own. In this,
1'atric Knowles is his sidekick and chief
? bettor, "I don't understand why he thinks
I'm crazy." Flynn will tell you with knitted
l.rows. "Because he's the one who's really
crazy." To the bystander, there's little to
choose between them.

One evening the two men took Lili to the
only night-spot in town— a little restaurant
where the floor show consisted of a single
('.ancer, and tone was added by having the
lights turned so low that you couldn't see
her.

Flynn turned to Knowles. "Did we pay
money to see this show?"

"You ought to know."

"Then we're going to see it."

Exit Flynn, to return ten minutes later
with three flashlights. The girl was dancing
again, "though the only way I knew it was
by this pall of gloom, supposed to be mys-
terious, but just damned annoying." He
pressed flashlights into the hands of his
companions. "When I say apple," he whis-
pered, "turn them on."

As the music reached a moment o'f rev-
erent hush, "Apple," said Flynn in a loud
voice, and three lights were shot full upon
the performer.

She stood blinking in bewilderment for
a moment. Then Flynn rose. "You're very
pretty." he said courteously. "This is merely
a protest against your being kept in the
dark."

Her jaw dropped. "It's Errol Flynn!"

"The biter bit," murmured Knowles. as
the customers surged round them.

But Errol had swept Lili up with one arm
and escaped into the night.

With the aid of Herbert. Mundin and
some others, he also framed Max Adelbert
Baer. On Flynn's British tongue, the Ger-
man Adelbert becomes A-eW/-buht. It was
by this elegant title that he would invariably
address Maxie, who would cock a suspicious
eye and growl : "Where the hell does he
get that A-<W/-but stuff?"

"It's your name, isn't it?"

"Adelboit," said Max firmly, "an' I don't
talk about it."

Maxie was refereeing some wrestling
matches in a nearby town and, at his re-
quest, the company attended in full force.
"Now if I ask some o' you guys to take a
bow. don't be bashful, will ya ?" he en-
couraged them in advance.

Flynn gathered a few choice spirits and
set forth his plan. On the appointed night
the beaming Maxie called them up, keeping
Flynn for a climax. The latter mounted the
steps like a bashful schoolboy, acknowledged
the applause with a deprecating air and then,
as if overwhelmed, dipped coyly behind the
referee. This was Mundin's cue. He hauled
off and smote Maxie square above the belt —
a blow which took that worthy so completely
off guard that he sat down abruptly and
was straightway buried under the flailing
arms and legs of Flynn and his muscle men.
A few moments of pandemonium, from
which Flynn and his victim emerged, still
on the floor, Flynn's right arm clasping the
other's shoulder, his left hand holding
Maxie's high, his voice shouting: "A-dell-
buht ! The winnah !" The effect was colossal.
And if you don't think it's funny, ask any
of the boys in your family from six to sixty
and listen to their howls of glee.

After dinner Flynn would generally de-
vote an hour or two to the development of
Arno's character. Perfectly willing to dash
after a wildcat, he was less eager to tackle
his own kind. He may have been too proud
to fight. He may have gone soft, having
spent some weeks with family friends who
babied him. In any case, whenever a certain
sheepdog hove into sight and offered hostili-
ties, Arno would whisk a disdainful tail and
seek shelter with his master.

His master didn't relish the spectacle of
a he-man he loved deteriorating into a sissy.
With no desire to urge aggression upon his
clog, he did feel that he should be prepared
to defend himself. So he made it a practice
to wait with Arno for the arrival of Blackie.
If Blackie showed himself peaceable, well
and good. If, as more often happened, he
seemed bent on taking a chunk out of Arno's
throat. Flynn would bar his own dog's

escape, give him a talking to and stand by
to see fair play.

At first Arno put his tail between his legs,
threw Flynn heartrending glances which the
latter ignored, and let the other dog maul
him. There was nothing gradual about the
cure. The idea seemed to hit him between
the eyes one day, he lit into Blackie, wiped
up the floor with him, all but dusted his
paws, and walked off serenely beside his
master. Which of the two was the prouder,
it would have been hard to say.

It's possible, though not easy, to divert
Flynn into serious channels. One thing he'll
talk about with a degree of sanity is the pic-
ture. It's his most important since "Captain
Blood." Warners have begrudged neither
time nor money to the making of it. Aware
of how well beloved are the story and char-
acters, they have cast it with special care,
so that each player seems the inevitable
choice for his part. Only the casting of
"Gone with the Wind" has stirred greater
interest. Olivia de Havilland is Maid
Marian, Una O'Connor is her serving-
woman, Claude Rains is Prince John, Basil
Rathbone is Sir Guy Gisbourne, Ian Hunter
is King Richard. Patric Knowles is Will
Scarlett, Alan Hale is Little John, Eugene
Pallette is Friar Tuck, Herbert Mundin is
Much, Melville Cooper is the Sheriff of Not-
tingham.

"Of what our story will be like." says
Flynn. "I'm the worst judge in the world.
I think it has charm. Whether it's serious
enough or good enough or too good or too
serious, I shan't presume to say. For one
thing, I never look at rushes. I went the
first day to see if my tights buckled at the
knee. Once satisfied of that, I quit. I don't
enjoy myself on the screen. That's no af-
fectation of any sort, I promise you. I keep
looking at myself and saying (an untrans-
ferable sound between grunt and snort). I
stay away, if only to avoid my ears. This
time, thank God. they're covered with hair.
I was appalled by my first glimpse of my
ears. They've got marcel waves in them."
(Ed. — He's being either facetious or hyper-
sensitive. His ears are nice.)

"One thing I can tell you. They're de-
liberately avoiding any similarity to the
Fairbanks version. No flying or leaping.
Nothing fantastic. Realism's the word — to
create the illusion that these guys lived and
breathed at a time when the tailors made
clothes like that.

"Another thing I'm sure of is that the
action won't lag. In color, you can't slow
up. Walk slowly past a beautiful crimson

Spencer Tracy and Clark Gable,
cast-mates in "Test Pilot."

vine, and no one's going to look at you.
They'll be craning their necks and mutter-
ing, 'Out of the way, lug.' When I go past
that vine, I go like this — " his hands whisked.

The action begins with Robin still on the
legal side, and ends with the return of
Richard Coeur de Lion. "In one way," says
Flynn gravely, "it's a bitter disappointment.
They won't let me die. I love to die in pic-
tures. There's something so sweetly final
about it. The more movie heroes put out of
the way, the better pleased I am. In fact,
I'm in favor of starting a pogrom among
movie heroes." ■

He and Pat Knowles started something
closely resembling a pogrom against them-
selves. Work on location was finished. The
company would be heading south next morn-
ing. Damita had departed a day or two
earlier.

Flynn took Pat aside. "If we fly back,
we'll gain a day."

"That's a useful thing to gain," agreed
Pat.

"If they say, why didn't you tell us, we
can always say, you didn't ask us."

The various manoeuvres necessary to
bring off this coup delayed their start. Mean-
time, they'd discovered that the only plane
they could charter bore no lights. They took
it anyway. "Live in the day," said Flynn.
"In the past a little, in the future not at all.
That way you can squeeze each moment of
its own particular juice, and life doesn't rush
past you."

They lost sight of the fact that the days
had grown perceptibly shorter. They also
lost their way. It grew darker and darker.
Realizing by this time that they couldn't
make Los Angeles, they headed for what
they hoped was Sacramento1. It grew still
darker.

"We may have to light our way down
with matches," said Flynn. "Got any?"
"No."

"That's funny. Neither have I."

"Well, there's one comfort. We're bound
to squeeze the juice out of this moment.' How
does it taste ?"

"Slightly acrid."

Flynn insists that it wasn't as reckless
as it sounds. Maybe not. They must be good
pilots, since what they hoped was Sacra-
mento zvas Sacramento.

For some reason they missed the light-
flooded airport, but caught sight of some
lesser lights in a field beyond. They landed
safely. Next morning they took off and flew
to Los Angeles.

They gained no time, but they lost nothing
either.

The gods look after their own !

Have You A Trauma?

Continued from page 27

recollection somewhere in my subsconscious
of being frightened by an egg at one time."

And would you think Cary Grant would
throw fits 'at the sight of catnip? All his
life he's had to keep away from catnip and
similar w^eeds because he is allergic to
them. And Then Life Caught Up With
Him. While working on the "Awful Truth"
at Columbia, Grant was garbed in a ridic-
ulously long nightshirt and was down on all
fours toying with a cat as an excuse for
following the feline into Irene Dunne's
bedroom. Cary was frisky enough, but the
cat was a bit on the bored side. After they
had tried calf's liver, fresh cream, and
funny stories to no avail, they sent for a
lot of catnip. They tossed it into every nook
and corner. Result : Very giddy cat and
much giddier Grant. A studio nurse applied
smelling salts. To Grant, I mean ; and last
seen, both cat and Cary were doing well.

Bill Robinson is afraid of almost drown-
ing. "Almost is worse," says Bill. "And
don't let anyone tell you that you do down
but three times. No, sir ! My dunking ex-
perience occurred at a seaside resort years
ago, but I've never forgotten it. And rhy-
thm saved my life. Sounds like a title, but I
mean it. You see, after I recovered from
the first frozen panic, and just when I
thought I was going down for what must
be the last time, I heard the faint strains
of faraway music. I thought sure I was
done for then. But soon the thought regis-
tered that it was the tinny, mechanical
rhythm of a merry-go-round. Not being
able to swim, I had already despaired of
being saved, as there was no one else in
the water, and there was too much noise
on the beach for my cries to be heard.

"But when my feet heard that music,
they just naturally started tapping out the
rhythm. In this way, I stayed afloat long
enough to attract attention." But these
drowning sequences with music are hard
to find, so no wonder Bill has this secret
fear.

Simone Simon — bugs. Of course I mean
she's afraid of bugs. She won't permit a
letter sealed with wax to be opened. She
had a hideous dream one night that some
enemy sent her a deadly spider under a
wax seal, so vivid she never got over it.
And snakes! We hope she never goes on
a location set under the direction of that
inveterate practical joker, Woody Van
Dyke. One of his favorite gags is to have
someone slowly draw a rope over his
supine victim, while he yells "Snake !"

Ben Blue is afraid Ben Blue is lost for-
ever and only exists as a composite char-
acter. It's like this : Several years ago, Hal
Roach was searching for a new comedian,
but the best. Ben was being tested, along
with W. C. Fields, Ed Wynn, and many
others of like calibre. The producers sat
back and said, "Now be funny." After
agonizingly watching these funny-men work
hard all day, Ben went home with the
admonition ringing in his ears "to come
back tomorrow and be funny."

Walking the floor that night, he hit upon
a characterization — a composite of the lot
of them. So the next day he used Hardy's
double-takem, Chaplin's walk, Ed Wynn's
swish-buckling hip gesture, and so on. He
was signed. A year later, the gateman on
the Roach lot wouldn't let him in, saying
Laurel & Hardy were the only comedians
on that lot. Ben is now doing all right at
Paramount, but he must bring out the mat-
ing instinct in producers, for they're still
putting him in pictures with other big-
comedians like Jack Benny and W. C.
Fields.

When Ben had- his own night club on the
continent, the then Prince of Wales was a
steady customer. One night Ben got a call
from the Prince, asking him to come out
and tell him and his guests a couple of stor-
ies which the Prince couldn't tell correctly.
Naturally Ben went. Listening to the
Prince laugh, Ben unwittingly mimicked it
— that's how the Blue laugh was born. It
amuses the Duke as much as it does every-
one else.

Norma Shearer is afraid she'll become a
Venus de Milo. The exquisite Shearer chews
and chews her little fingernails when in a
thoughtful mood. Remembering the post-
card that Alexander Woollcott sent a friend,
showing the Venus de Milo, with a little
note by Alex The Raconteur to the effect
that "this is what happens to people who
bite their fingernails," no wonder Norma
is afraid of becoming a Venus de Milo.

With Shirley Temple it's elephants. She
sincerely believes that elephants never for-
get, and to add to the horror, she has re-
cently read about a circus elephant who
was tormented by a child, and years later,
as he was being paraded through the
streets, he caught sight of the child and
went berserk, charging through store win-
dows as though they were so much paper,
in search of his prey. Now Shirley realizes
that there are many little Temples around
the country, or children who resemble her
as closely as possible, and she figures that
somewhere, sometimes, one of these proto-
types might have incurred the wrath of one
of these beasts, so she goes on having
elephant-trouble, in spite of the comfort-
ing words of her pal, Bill Robinson.

And all directors in Hollywood are afraid
of crickets and similar insects. Recently, on
the "Marco Polo" set, Director Archie
Mayo had to stop shooting because of a
cricket. They were unable to find the
annoying insect, and finally Mayo cried ex-
citedly: "Somebody keep that insect quiet.
Do you realize this is costing a thousand
dollars a minute?"

"Cheap," chirped the cricket.

"O.K. O.K.," said Mayo. "Two thousand,
but not a cent more."

Another good one they tell about this
very plump director, is the one connecting
him with the blimi that drifts its advertis-
ing way over Hollywood. At a party one
night, he received a wire, sent by a friend,
which read : "Why don't you stop floating
over Hollywood with the word Goodyear
painted on your belly?"

Hillbilly harmony with a flute is
essayed by Buddy Ebsen.

Life of a Hollywood leading man! Dick Baldwin, comparative newcomer, busy, and
glad of it. His work is romance, as with June Lang, left, and Simone Simon, right.

Big Plans for Shirley
Temple's Future

Continued from page 21

be gone about two months. Shirley is very
eager to visit Washington, so I imagine
that will be one of our first stops. When
Mr. Hoover (Mr. J. Edgar Hoover of
the G-Men) was in Hollywood he prom-
ised Shirley that he would show her his
machine guns and that she could ride in
an armored car when she came to Wash-
ington— and Shirley was so excited over
the invitation that she can hardly wait.
She has also expressed a desire to visit
the mint and see money being made. In
New York she wants to go to the Zoo
first thing as she has a great love for all
animals. Then she wants to see the Statue
of Liberty and the tremendously high
buildings that she has heard so much
about. Boston seems to be a bit confused
in her mind with the Boston Tea Party
which she has been reading about in her
American history.

"At some point or other during the trip
we will go to Canada to visit the Dionne
Quintuplets. Shirley knows each little
Quint by name and I am sure that the
visit to Callender, Ontario, will be the
high spot of the trip for her. I'll probably
never get her away."

That Shirley is so fond of the Dionnes
makes Mr. Zanuck very happy. There is
a rumor going about the studio that "the
big boss" plans to put Shirley in the next
Quintuplet picture. And wouldn't that be
fun?

But back to Mrs. Temple : "I would like
to return home by way of Bermuda,
Havana, and the Panama Canal, as I have
a feeling that the trip will be ra'her
strenuous and I'll need a rest. I do wish

that the cities would treat us like normal,
curious sight-seers and let us go around
the stores and have a good time all by
ourselves.

"Shirley has never been on a train, and
of course like all children she is extremely
thrilled over the prospects of riding on
one. She has never traveled at all, except
by boat to Honolulu.

"Now please don't think that this will
be a personal appearance tour, because jt
won't. It will just be an educational trip
for Shirley as well as pleasure. However,
it has long been one of my ambitions to
take a leisurely trip across the United
States and let Shirley greet people at the
railroad stations. Everyone could see her
and it would not be necessary for anyone
to pay admission to see her. I can assure
you that during the entire trip there will
be no personal appearances made on any
stage, and that Shirley will do nothing
for which there will be a paid admission.

"I have a horror of personal appear-
ances and radio work for Shirley. During
the next few years I can promise you
that she will not appear on any stage or
over any broadcast. I am very proud, of
course, of Shirley's accomplishments —
what mother wouldn't be proud of her
little daughter? — but I am more proud
that Shirley is refreshingly unchanged as
a little girl. Shirley is happy with film
work. It does not interfere with her edu-
cation in the least, and it gives plenty of
time to play both at the studio and at
home. She is happy. And I intend to keep
her that way. The minute she starts per-
sonal appearances and radio it would be
work of another sort. She is too young for
such hard work now. When she is old
enough to choose for herself, then it is she
who will determine whether she wants to
be an actress or do radio work or sing
or write or teach school — or be a house-
wife."

Mrs. Temple has turned down well over

a million dollars for Shirley in bids for
personal appearances and radio work. A
London impresario wanted Shirley to play
six weeks in London during the Corona-
tion of King George VI. and he told
the Temples to name their own price.
Shirley was offered $12,000. for a single
day's appearance at a New Jersey Fair.
She was offered $10,000. a week at the
Texas Centennial celebration. There have
been many more offers, equally sensa-
tional. The name of Temple is such magic
that Mrs. Temple was offered $15,000,
for the use of her name for a syndicated
newspaper column on "Advice to
Mothers"! And naturally every broad-
casting company in the country would
drain its coffers to get Shirley to speak
just a few words over the "mike." Not a
single day passes that an attempt is not
made to obtain Shirley for one form of
commercial exploitation or another. Dur-
ing the last two years more than 15,000
different projects have been suggested by
promoters ! Fortunate indeed is Shirley
Temple to have a sensible woman like
Mrs. Gertrude Temple for a mother.

"During the next few years I plan to
have Shirley continue her music lessons,
her dancing and her swimming lessons,"
resumed Mrs. Temple. "I want Shirley
to develop like a normal child and I have
alwavs tried not to give her too much to
do. She has been eager to take piano les-
sons for some time, but not until this last
year did I permit her to undertake this
"additional study. Now she takes three
lessons a week. She is also taking French
lessons and preparing for that trip to
France we expect to take one of these
days. She only makes three pictures a year
now. which gives us six weeks or more
between pictures, so she has ample time
for lessons. Her school work takes three
hours a day and when she is making a
picture she does her school work on the
set in her new trailer dressing-room. The
State law permits children of Shirley's
age to be on the set not more than eight
hours a day, three hours of which must
be given to schooling. Shirley's contract
with the studio calls for her presence on
the set only seven hours a day, and re-
quires ample rest periods. Her teacher,
Miss Frances Klamt, is assigned to Shir-
ley by the Los Angeles Board of Educa-
tion. "Shirley and Miss Klamt have great
times together.

"I believe the studio is planning to put
Shirley in several modern comedies during
the year. 'Little Miss Broadway.' a mod-
ern comedy about a back-stage child, has
been announced for her next picture. Mr.
Zanuck chooses her pictures. I have
nothing to do with that. I would very
much like to see her do a fantasy in color,
something like 'Snow White and the Seven
Dwarfs.' Which picture, of course, I took
Shirley to see during the Christmas holi-
days "and she enjoyed immensely. She
was most impressed by the wart on the
old witch's nose !"

Mrs. Temple plans to have plenty of
play time in Shirley's life as she continues
to grow older. The Temples have bought
the'lot next door to them on Rockingham
Drive in Brentwood and Mrs. Temple has
told friends that when Shirley becomes
a young lady she expects to build a danc-
ing pavillion" on the lot so that Shirley may
enjoy her dancing parties to the utmost.
The "next door neighbor" of the Temples
is ZaSu Pitts (Mrs. Edward Woodall).
and strangely enough it was ZaSu who
first predicted Shirley's future fame. Shir-
lev had a "bit" in one of ZaSu's comedies.
"Out All Night." several years ago and at
the end of the picture ZaSu told Mrs.
Temple that she had never worked with
such a remarkable child. "She is going
to be really great," said ZaSu.

Shirley is quite a "party girl" already
and is always having her young friends
in for an afternoon of fun. She plays
easily with children and never attempts to
dominate them. But having been brought
up with two older brothers, and roughed
about by them, Shirley naturally becomes
quite tomboyish at times. She liked the
slingshots she received for Christmas —
she received three of them — better than
any of her other presents, which all goes
to prove that little Miss Temple is no
sissy. Sidney Chaplin, son of the famous
Charles, comes over to play "cops and
robbers" with her quite often. Sidney, they
say, orders her around something awful,
but she likes it.

Her favorite play-mate is little Mary
Lou Islieb, who acts as Shirley's stand-in.
Mary Lou is the daughter of one of the
Temples' old friends and has known Shir-
ley all her life. When the kids are making
a picture they play together and work
together on the set. Never has anyone
heard either of them speak of moving
pictures to the other.

"I have no maid or nurse for Shirley,"
continues Mrs. Temple. "I want her to
continue living the same home life she
has always lived. No one can tell, of
course, what the future will bring. Shirley
may continue on in pictures through the
awkward' age — it depends largely on
whether or not the public wants to see
her — and then again she may not. Whether
she does or not, I am certain that picture
work has not spoiled her in any way, and
that she will not miss it if it ever is
denied her. I am trying to give her the
same background as other children — for
instance, she has household duties. She
has to keep her playroom straightened,
she has to feed her pets, and at night she
helps set the table for dinner. I . have
taught her to sew and already she is much
better than I ever was with a needle.

"I hope she will grow up to be a well-
loved woman. I don't think she will ever
be egotistical. I do not think that her
picture work is harming her. If it were, I
would take her out of it instantly. I feel
rather that it is broadening her. If she
looks back and thanks me for being a
sensible mother, that will be reward
enough for me !"

And what are Shirley's own plans for
her future? "When I grow up," says
Shirley, "I think I will have a pie factory.
I can make biscuits now, and soon I will
make pies."

Paris

Continued from page 63

in the Taylor film in London and of course
couldn't return without looking in on Paris.
It was grand to see him wandering about
the old haunts. Before the war he was an
art student here. Whether the art was not
so good or the hereditary lure of the stage
was too great, I don't know ; but he re-
turned to the footlights and became one
of the pioneers on the screen. So with all
this fund of experience, enhanced by the
famous Barrymore wit, you can see what
a joy it is to be with him. At one moment
he was comparing the stage with the screen.
"Billiards and tennis are both played with
balls but, my God, you can't compare them !
It's the same with the stage and the
screen," he grumbled. He is most pictur-
esque when he grumbles. Added to that he
uses his cane most effectively for emphasiz-
ing his peppery remarks. Some months ago
he broke his hip and since then he has had
to use a cane. To me he uses it as much in
talking as in walking. He thumped and
hobbled to his favorite old restaurants and
cafes, to say nothing of the Exposition and
Museums. And very spicy were his remarks
about some of the pictures and objects on
exhibition. A grand old man and we were
all sorry he didn't stay longer with us.

Now for a bit of the feminine touch, and
a very lovely touch it is, too, in the person
of Madeleine Carroll. After cruising about
the canals and rivers of France in a little
yacht she settled down in Paris to thor-
oughly enjoy herself before returning to
Hollywood and work. I hate to think of
the Hotel George V dining room without
her decorative presence. She was quite an
attraction there. "The Prisoner of Zenda"
was being shown in a theatre around the
corner and people would rush from seeing
the film to the George V to compare the
Carroll of the screen with the Carroll in
real life. All decided that she was even
lovelier off than on the screen — a rare
thing, I must say, with most of our Holly-
wood glamor ladies ! The Exposition was
practically at Madeleine's front door and
she "did" the big show many times, in spite
of the stairs of which there seemed miles.
A bit of a task for a dainty lady who made
her first big film fame with "Thirty-nine
Steps." Remember that picture she made
with Robert Donat? Her first picture on

her return to Hollywood will be "Personal
History," under the direction of Henry
Hathaway who made "Lives of A Bengal
Lancer" and "Souls at Sea." Like all good
little Hollywood ladies La Carroll lived
at the George V and crossed the ocean on
the "Normandie." (No, my dears, I don't
get a rake-off for mentioning this.)

Paul Muni slipped into town — oh yes,
after crossing on the "Normandie" — but
not stopping at the George V. He and the
little woman chose a small hotel off the
beaten path so they could come and go
undisturbed. He has long been an idol in
Paris and of course with the French all
interested in the release of his "Life of
Emil Zola" his first visit is quite oppor-
tune. The Warner Brothers gave a grand
luncheon for him at Maxim's, which I
hope Muni enjoyed as much as the rest
of us. He plans on going to Russia on this
trip to get atmosphere for his next picture.
I thought they had about used up the film
possibilities of Russia, but evidently they
will always keep making them. Of course
with Muni in the principal part a great
characterization will be built up inde-
pendent of any country. But before there
are any more pictures for the talented Paul
Muni, he and his wife are to combine re-
laxation with sightseeing on a well-planned
tour over on this side of the broad Atlantic.

Lewis Milestone, whose "All Quiet on
the Western Front" was so much talked
about, lingered in town for a while with
his beautiful wife. We celebrated by going
to the circus, which the Milestones en-
joyed hugely. The French circus is in a
permanent building built around one ring.
In that way one can sit comfortably and
watch one act at a time which is such a
relief from the three-ring affairs which
they feel they must give to the bewildered
public in America. After the circus the
Milestones left by train for Roumania to
visit with some of the missus' family. Then
a quick turnabout for Hollywood.

It seems as though being Charles Boyer's
leading lady is the sure stepping stone to
Hollywood. Now that Danielle Darrieux
is nicely settled in California, another of
Charles' partners is preparing to go there.
She is Michele Morgan, an attractive little
creature who was leading lady in "Le
Venin" with Charles at the Joinville
Studios, near Paris. Will have more to
say of Mademoiselle in my next, for, as
I said at the start, this is practically a
"gentlemen only" month, so must not get
side-tracked.

Drama on the fairways! Bing Crosby, with pretty Mary Carlisle for his caddy, plays a round with Bob Hope — and the score brings no
hope to B'ng. But unlucky in golf, lucky in — well you get the idea, Mary is still cheering you, Bing.

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Siren of the Old South

Continued from page 25

"JEZEBEL"

A Warner E

ros. Picture

CAST

Bette 1 )avis

Buck Cantrell

George Brent

Margaret Lindsaj

Aunt Belle

Ted

Richard Cromwell

Henry O'Neill

Dr. Livingstone . . . .

Donald Crisp

Dick Allen

.... Gordon Oliver

John Litel

Mrs. Kendrick

. Spring Byington

Play by Owen Davis, Sr. Screen Play

by Clements Ripley and Ahem Finkel.

Directed by William

Wyler.

know what to think ! He's always loved
vou in white."

"Pres — that's so." Julie's head lifted and
her eyes blazed as they followed the girl
carrying the dress designed for the most
brazen woman in the city. "Wait a min-
ute," she was laughing now, that curious
laugh that wasn't happy at all. "Bring that
over here. If it fits me I'm going to have
it !" And before anyone could stop her she
had torn off the filmy white gown and
slipped the bold red one over her shoulders.

"Take that off, this instant !" Aunt Belle's
voice shook in her fear. "Child, you're out
of your mind ! You know you can't wear
red at a Proteus Ball."

"Can't I?" Julie laughed. "I'm going to!
This is 1850, dumpling, not the dark ages.
Girls don't have to simper around in white
just because they're not married."

"In New Orleans they do!" Aunt Belle
held out her hands imploringly.. "Julie,
you'd insult every woman on the floor.
Think of Pres !"

"That's just what I am thinking of!"
Julie's face was alive with malice now.

If only she could stop her, Aunt Belle
thought desperately, but after twenty years
of spoiling her she knew there wasn't much
she could do. Even General Bogardus. who
was Julie's guardian, had little control over
her for all his bluster and his threats.

"The girl's as dangerous as a water
moccasin !" he thundered as Aunt Belle
poured the after-dinner coffee that evening
and the old eyes glared at Julie's empty
chair. "It's a kind of atmosphere she
creates. Let her come into the street, the
young men are at it like game chickens."

He stopped as Preston came into the
room and Aunt Belle sat down her cup
with shaking fingers.

"Oh, Pres, I am so glad you've come!"
she laughed nervously. "I thought that is,
Julie said you'd quarrelled again and — "

"It's time we all stopped hanging on
every word Julie says." There was a new
firmness in his voice. "Most times she only
half means them, anyway. I can handle
this."

Without another word he was striding
toward the broad mahogany staircase and
he scarcely realized what he was doing
when he picked up his malacca stick from
the table where it was lying. He heard her
singing as he knocked on her door, her
voice rising mockingly at the increased
fury of his blows.

"Look here, Julie, you and I have got
to straighten things out," he called.
"There's no sense to all this. I'm here be-
cause I love you and because I know you
love me. I couldn't leave the bank today.
I was just as disappointed as you were.
Now please, Julie — "

It seemed an interminable time before the
door opened and she stood there, a tantaliz-
ing smile playing about her lips as she saw
the stick gripped in his hand.

"Pres, in a lady's bedroom!" Julie
laughed as she burlesqued a shocked ges-
ture. "Now you'll have to marry me !"

"Zt !" He was grinning now too. his
heart beating madly at the sight of her
smiling again. "There must be some way
out."

But for all the lightness in his voice his
arms gripped her as they never had be-
fore when he held her and kissed her.

"Look at me," his smile came ruefully.
"When I came in I was going to beat
you."

Something strange flickered in her eyes
then, something that was half ecstasy and
half fear, and with a delicious shock she
realized she would have liked it. For a
moment she waited expectantly, and when
she spoke her voice was Hat with her dis-
appointment.

"Wouldn't you like to see my dear
dress?" she asked and then at the sight of
the anger mounting in white fury to his
cheeks as he looked at the red dress she
laughed. "Are you afraid I'll be taken for
one of those girls from Gallatin Street!'''

"Julie !" The protest was torn from him.

"I'm sorry !" Her words came sharp and
bitter. "I forget I'm just supposed to simper
around in white, that I'm not supposed to
know about things like Gallatin Street. It
might be bad for the bank, is that it"' Will
you please let them hold another director'-
meeting and let them decide what I can
wear ?"

"So that's it! You're just nursing your
spite." He gripped her arm and turned her
toward him. "For once you're going to do
as I say. I'm calling for you tomorrow
night at ten and you're going to be properly
dressed for the Ball."

But it was the red dress Julie put on the
next evening. She had laughed when she
thought of Buck Cantrell and had sent the
note summoning him to her and she was
laughing now as she went stealthily down
the back stairs to meet him near the car-
riage entrance.

He was there as she had known he would
be, for Buck had loved her for years ; but
he shook his head stubbornly when she
asked him to take her to the ball.

It was the first time he had ever refused
her anything. Once he had fought a duel
because her name had been bandied about
a saloon. But he couldn't go against his
friendship with Preston's younger brother
Ted and do this smaller thing for her.

"Not this time, Julie," he said slowly.

Jane Withers shows skill with a
skillet in her role as a gypsy.

SCREENLAND

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'Oac/en

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(above) Mrs. Goelct at
an informal musicale.

(lower xeft) In the
Museum of Modern Art,
looking at the famous
"Bird in Flight:'

Mrs. Goelefs home is in
New York, where her ap-
preciation of music and art
is well known to her friends.

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SCREENLAND

Feverish? Grippy?

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L— ™ i — . „, , ' ■■ J

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''Pres isn't going to like it and I think too
much of you to help you do something
you're going to regret."

So it was with Preston she went to the
ball. But it wasn't the way she had thought
it would be. For he hadn't stormed at her
at all. and after that first request that she
change her dress had accepted her refusal
so casually that for the first time in her
life she was thoroughly frightened.

There was no triumph in her going now,
only the dull shame that mounted in her as
she saw the incredulous glances flung at
her as she entered the ballroom. She pulled
her cloak tighter around her but Preston
took it from her with a quiet force that be-
wildered her.

"Pres, please take me out of here!" She
was almost crying now in her embarrass-
ment as she saw the young men who had
always clustered around her avoiding her
as if" she were a plague of the dread yellow
fever itself.

"But my dear, we haven't danced yet,"
Preston said in that cold, lifeless voice that
didn't sound like his at all and when she
protested he forced her out on the dance
floor and her eyes closed in agony as she
saw the other dancers leave.

The rage was spent now, and she felt
lost and frightened. If Preston would only
let her she would make it up to him. She
would be so gentle, so understanding, and
she would hold that wildness in her heart
in leash and never say the bitter words to
hurt him again.

But it was over and done with and noth-
ing she could say could reach him now..
There was his voice saying goodbye and
the tears that seemed to come from some-
where deep in her heart and the fierce
pride that would not allow her to run after
him and beg for forgiveness.

At first she thought he would come back
to her and she tried to smile as she planned
how she would laugh at him and flout him
and how afterwards she would forgive him
and things would be the same again as they
alwavs had been after each quarrel.

But when he left for the North without
seeing her she changed almost over night
and became quiet and withdrawn. She
shunned her friends and instead of the
gaiety she had always craved sought only
the stillness of her own dreams.

Even when the Yellow Death took its
hold on the city and some of her friends
were among those who died it meant noth-
ing to her, and when her aunt begged that
they return to the planatation where they
would be safe from the scourge, she only
shook her head.

Then one day her aunt told her Preston
was coming back and suddenly she began
to live again.

"I knew he would come! I knew it all
along !" Her eyes darkened and the color
struggled back into her cheeks again._ "I'm
Toing to beg his forgiveness. I was vicious
and mean and selfish, and I'm going to tell
him I hated myself for being like I was,
even then. I'll humble myself before him.
All that ever stood between us will be gone
when he takes me in his arms !"

She wanted to go to the plantation now
that Preston was coming. Living became
important again now that she would see
him, now that she would feel his arms
holding her and his lips close on hers. And
the hours that she had not counted for so
long moved slowly toward that day when
he would come.

Then it came at last and she put on the
white party dress that she had never worn
and she picked mint from the garden and
smiled as she remembered how Preston had
alwavs loved her mint juleps. And then
suddenlv she was halfway between laugh-
ing and weeping for there was Preston and
her heart almost stopping at that first sight
of him.

"Pres!" she cried. "Oh, Pres, what fools
we were !"

"Please!" His smile was twisting as he
looked at her. "That's over, Julie."

"Yes, of course," she cried happily. "I
can't believe it's you, here. I've dreamed it
so long. A lifetime — no, longer than that."

"But Julie, I—"

"No ! Don't say it yet !" She swept his
words away with her laugh. "I put on this
dress for you to help me tell you how
humbly I ask you to forgive me. See, Pres,
I'm kneeling to you !"

"Julie, don't." He lifted her to her feet
and then her eyes followed his to the door
and she saw the strange girl she had never
seen before walking toward them. She was
small, this girl, and quiet and dark, and
even before Preston introduced Amy as his
wife, Julie knew.

It was as if a demon took possession of
Julie then. She was gay and laughing, and
she was flirting with Buck Cantrell as she
had never flirted with anyone before, but
in her heart was that destructive rage that
was all the more destructive now that she
kept it hidden. For even when she looked
at the girl from the North who had mar-
ried Preston she was able to hold the fury
against her deep in her heart for no one
to see.

She felt that she had mastered that
black rage of hers now, that she had found
a way to make it serve her just as she was
making Buck serve her, too, when she
egged him into the quarrel with Preston.
Oh, she did it so cleverly that night at
dinner when the talk turned to abolition
and the North, and she made Preston seem
almost an enemy when he tried to defend
his wife's birthplace.

It was almost as if she hated Preston
then, but later in the garden when she
found him alone she knew that she could
never hate him. That all the hatred in her
heart was for the quiet girl who was his
wife.

"Why did you do it, Pres?" she de-
manded "Why? Why?" And then as he
looked at her, unable to answer, her voice
broke. "Shall I cry for you? Nobody but
you ever made me cry and that was only
twice and both times you gave me what I
wanted. Do you remember?"

"Yes," he said.

"How much do you remember?" she per-
sisted.

"Everything you ever said or did," he
said slowdy. "And it's past now, Julie.
Done, finished."

"Look Pres, listen," her outflung arms

Tamara Desni, English star, in a
revealingly lovely pose.

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seemed to hold all the softness of the
southern night. "Can you hear them, the
night noises ? Do you see the moon among
the cypresses ? Can you taste the night on
your tongue ? You can't get away from
these things, Pres ; they're in your blood.
You don't know what it is, Pres, but
they're part of you. It's the mocking bird
in the magnolias, it's the blue haze on a
spring morning when the air's so soft it
presses on you like a kiss. It's a red flower
over a gray wall. It's the river rolling
down and down. Oh, it isn't tame and easy
like the north. It's quick and dangerous,
but you can trust it. Because it's part of
you, Pres, just as I'm part of you. And
we'll never let you go !"

Suddi nl\ -lir iikm ed tow ard him and he
felt her young body pressed against him,
her lips clinging to his. His arm reached
out to hold her — then suddenly the brief
ecstatic moment was gout- and he had only
contempt for her and the trick she had
stooped to, and instead his hand caught her
full on the face.

"Pres," she whispered, and he tried to
look away from the triumph in her eyes.
"Pres, you're afraid of me ! You're afraid
of yourself. You're afraid because it's pull-
ing you. You're part of it and you can't
get away from it. This is your country,
Pres. Amy doesn't understand. She thinks
there'd be snakes 1"

"Yes! And she'd be right!" Preston
breathed deeply as he stepped back, and he
wondered if Julie had guessed how close he
had come to taking her in his arms again.
"Amy has put her life and her happiness
into my hands and they're going to be safe
there. I'm going in now."

He had left when she went back into
the house again for a message had come
that the President of the bank had been
stricken and needed him. But Amy was still
there, -for he had refused to take her with
him to the plague-ridden city.

It was the girl's very quietness that drove
Julie to that new frenzy, and there was
nothing that the others could really under-
stand, only that before any of them realized
it Ted was defending his sister-in-law and
Buck was taking up the cudgels for Julie.

"Don't you see what Julie's doing?" Ted
turned furiously on Buck. "Don't you see
how she's using you? She's been egging
vou on, first against Pres and now his
Wife."

Once Buck had fought a duel over Julie
for less than this. But that had been a
stranger. It was harder to fight this boy
who had been his friend.

Julie could have stopped it if she had
wanted to. But Julie didn't want to stop
anything now, and she only laughed when
the others begged her to. And afterward

Gloria Youngblood is one of the
most promising screen recruits.

it was too late. Afterward, when she saw
Ted's drawn young face as he flung his
pistol contemptuously down on the table be- i
fore her. She didn't need anyone to tell i
her Buck was dead, then.

But she wouldn't let the others see that
scaring remorse that came to her even as
they left her house, with their horror of
her plain on their faces.

"I'll arrange to turn my guardianship
over to the bank," General Bogardus said
with averted head. "My respects, Ma'am."

Even when she saw her aunt leaving with
the others she stood there with her proud
head held high and her eyes looked coldly ;
into the old ones staring at her as if they
were seeing her for the first time.

"I am thinking of a woman called Jezebel
who did evil in the sight of God," the older
woman said slowly.

The suddenly emptied house seemed like
a tomb and an intolerable loneliness drove
Julie to the window. Then her laugh came
again, slowly and triumphantly, for she saw
the sheriff and his men who were draw ing
the fever line between them and the city
driving them back into the house again.

For a week she went through the mockery
of catering to her unwilling guests, of pre-
tending that their silence and averted lool
did not concern her. And then suddenly it
didn't matter any longer. Nothing mattered.
— for Preston's man servant came to them
one night bedraggled and mud-smeared
with the news that Preston had been
stricken.

"They tek him to yo' house, Miss Julie."
the colored boy's eyes bulged with terror.
"And the doctor say for you all to get there
right away quick afore they hustle him off
to dat leper place."

"Leper place?" Amy said with a little
moan. "What does he mean?"

"Lazarette Island, the leper colony where
they send the fever victims to die !" Some-
one blurted out.

"They can't!" Amy's eyes were wild
with horror. "I've got to get to him."

Julie looked on impassively as they began
to get read}' for the ride to New Orleans
with the old general in command. Maybe
he would get them through the fever lines
with his authority and bluster, but Julie
wasn't going to take a chance on it. She
had to get to Preston !

The boy who had come with the news
had broken through cane brake to get there,
he had fought his waj' among thickets and
through the treacherous waters of the
Bayou. Well, Julie could do that too. Julie
who loved him.

But when she stood beside Preston's bed
at last he turned his head away.

"Keep away ! Don't touch me !" He
shrank from her outstretched, beseeching
hands. "You . . . with Buck's blood on
you!"

She hadn't known that gossip could break
even through fever lines. But another kind
of courage came to her then, a courage
greater than the one that had sent her
stumbling and falling through danger to
be with him, a courage that could make
her stay knowing he didn't want her.

All that night she stayed beside him and
held the ice compresses to his head. And
sometimes he was quiet and she remem-
bered other days when his face had held
that same peace being near her. And some-
times he raved and the words twisted in
her heart.

"Underneath the river you trust it's part
of you rolling down forever to remember
because it's in the blood Buck's blood and
made you. cry twice and struck you because
we're a part of it and struck after she cried
twice remember twice white white never
wore zvhite and trust you."

Strange, jumbled words running together
in his delirium but the meaning of them
there to lift her heart even as they struck

SCREENLAND

at it. For it was never of Amy he spoke.

She was quiet, quieter than she had ever
been in all her headlong, tumultuous life
when the others came and when she saw
Amy's face haggard from the suspense of
waiting to get through the fever lines she
knew she couldn't hate even Preston's wife
any more. And somehow it wasn't hard
then, even to stand aside and give Amy
her place beside him.

But when the northern girl insisted she
was going to the island with him, Julie
couldn't be still any longer.

"Of course it's your right to go. You're
his wife." She said slowly. "But are you
fit to go? Loving him isn't enough. If you
gave him all your strength would it be
enough?"

"I'll make him live or die with him."
Amy protested.

"Amy," the name came gently to Julie's
lips, "Do you know the Creole word for
fever powder? For food and water? How
to talk to a sullen, over-worked black boy
and make him fear you and help you? Pres'
life and yours will hang on words you can't
say and you will both surely die. Amy, it's
no longer you or I . . ."

"What do you mean?" The girl asked
tensely.

"I will make him live. I will." Julie
cried passionately. "Whatever you do I
will do more because I know how to fight
better than you. It's not a hospital, Amy,
it's a desolate island haunted by death. You
must be there with him day and night, you
must bathe him, give him drugs, you will
have to fieht for his food and water and
keep the living away from him and the
dead."

"I'm not afraid." Amy said quietly.

"No, you're not afraid." Julie put her
hand on the girl's arm. "You're the bravest
woman I ever saw. I believe you even have
the courage to save him by giving me the
right to go in your place. You are not

Fred Allen comes on over from radio to make another appearance in films. The
scene above shows the comedian and Louise Hovick in "Sally, Irene and Mary.

afraid to die. I boldly ask a greater sacrifice
in Pres' name. His life."

"And for yourself?" Amy asked quietly
her grave eyes searching Julie's face.

"I ask you bravely for the chance to give
proof that I can be brave and strong and
unselfish. Let me make myself clean again
like you are clean."

"Julie, tell me something, only you can
tell me. Does Pres still love you?"

Once Julie would have laughed at that.
"I've done too much against him and you
are gentle and brave as I never knew how
to be. Had there been any love in his heart
for me I'd taken him from you. I tried
and failed becau;e he loves only you."

It would be good to remember she had
said that, afterwards on that island with
the dying around them and the dead and
the long hours for remembering. And it
was good to remember it now, walking so
slowly beside the fever wagon that was
carrying Pres to the docks.

Somehow remembering it and how Amy
had looked at her, proud and grateful and
humble all at once, Julie felt that she could
face anything that was still to come to her.
Hours or days or weeks or years, the death
that might come to either of them or to
both of them and the life that might come
too. Now it was enough to walk beside him
with that new, selfless love in her heart.

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SCREENLAND

ON OATH TELLS
HER SECRET OF
GAINING WEIGHT

A-nne Johnston swears before Notary Public

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Listen to what Miss Anne Johnston, who is
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"Under the strain of working in several pictures ill
Hollywood, I became terribly rundown. I lost weight, my
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Anne Johnston, Jackson Heights, N. Y.
Sworn to before me

Donald M. McCrcady, Notary Public

Why they build up so quick

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Edward G. Robinson, Wendy Barrie, Rodion Rathbone (son of Basil Rathbone, host
of the party), and Jesse Lasky, are the table companions shown above.

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Screenland Snoop!

Continued from page 23

their dream boys and girls interested in
each other because a good team romance
covers up a lot of sins in a picture, and
for some reason or other the Great Ameri-
can Public is supposed to dash out pell mell
to see two young people who love each
other make love to each other on the
screen. It's probably good psychology on
the part of the studios, only, personally, I'd
much rather see two people who hate each
other make love to each other on the
screen. But I'm the perverse type. Priscilla
Lane and Rosemary Lane (younger sisters
of Lola Lane — and wasn't she fun in
"Hollywood Hotel"?) were brought out to
Hollywood with the Waring Orchestra for
"Varsity Show." Both kids were so good
they were signed by Warner Brothers and
Priscilla was soon afterwards teamed with
Wavne Morris in "Everybody Was Very
Nice." That was followed by "Men Are
Such Fools." Both Priscilla and Wayne are
ambitious young players who are eager to
get to the top, so if the studio said
"romance" to them, why, the kids would
"romance." Which is what they've been
doing in all the night clubs in town while
the news cameras clicked and the column-
ists ogled. Nan Grey of "Three Smart
Girls" fame is the only real love in young
Mr. Morris' life, I am reliably informed.
He sees her where there aren't any news
cameras and columnists around.

And that Rosalind Russell-Jimmy Stew-
art romance sounds to me like__something
that good old Metro cooked up in its pub-
licity department. (They didn't do so well
with that Eleanor Powell-Nelson Eddy
romance, did they? It froze before the re-
lease of "Rosalie.") I expect any day to
hear that Roz and Jimmy have been teamed
in a picture. But folks who claim to know
tell me that I have lived too long and
grown too cynical — the Russell- Stewart
romance is the real thing. Rosalind says
that she and Jimmy have known each other
for a long time, but anyway it wasn't until
they co-starred on a series of broadcasts
for the Silver Town Theatre of the air
that they started romancing. Prior to that
Jimmy was sort of here, there, and every-
where, with particular emphasis on Ginger
Rogers. But since Rosalind came into his
life it appears that Jimmy has given up his
Casanova days. She visited him frequently
while he was on location at Lake Arrow-
head with the "Benefits Forgot" company.
Rosalind has been out of town visiting her

folks in Connecticut ever since Christmas
and, believe it or not, Jimmy hasn't been
running around with any other girls in her
absence. He did escort Sonja Henie to sev-
eral publicity parties — but Sonja was on
the verge of departing for her skating tour
so that didn't count.

David Niven, they tell me, will marry an
English girl in London next year. Not
Merle Oberon. She's a nonprofessional, very
pretty, and very Old Family. In the mean-
time, David is doing all right here in Holly-
wood. He's the most man-about-town that
Hollywood has ever had. One night he takes
Norma Shearer to the Basil Rathbone
party, the next night he takes Simone
Simon dancing at the Trocadero, the next
it's Olivia de Havilland for a quiet dinner
at the Cock and Bull in the English man-
ner, and so on down the list of the prettiest
girls in Hollywood. And on those nights
when Douglas Fairbanks, Jr., has to work
and the Earl of Warwick has to sleep or
something, it is David who escorts Mar-
lene Dietrich to the Trocadoro to dance
the Big Apple. (Marlene's simply mad
about the Big Apple.) Of all the young
men in town who would give their eye
teeth to be chosen it is David who most
often escorts Norma Shearer. Well, all I've
got to say is that that little English girl
needn't be too sure she'll be a bride next
year. I wouldn't bet on it.

The Ginger Rogers-Lee Bowman ro-
mance that was blooming so nicely when
the kids were up at Big Bear on location
together with the "Having Wonderful
Time" company seems to have hit the
frigidaire now that they are back in town.
The rumor still persists that Ginger and
Lew Ayres will take up where they left
off.

Jon Hall of the Body Beautiful is second
only to David Niven in being Hollywood's
most sought after man-about-town. The
Countess di Frasso sort of confiscated him
at first but now it seems he is on the
loose, with Gertrude Niesen having a slight
edge on the other girls.

And they do say that Janet Gaynor is
spending a few wakeful nights now that
Tyrone Power is playing the lead opposite
Norma Shearer in "Marie Antoinette."
Norma's awfully attractive and Tyrone is
awfully young and romantic and in love
with love. Norvell, who reads the stars for
the stars, has predicted that during 1938
Tyrone Power will marry (won't the
studio be mad!) but Mr. Norvell fails to
say to whom.

Some say that Janet Gaynor wouldn't
marry Tyrone Power. Others say she
would if he asked her. I say nothing.

Screenland

From The Neck Down

Continued from page 71

for example, are all cut on the same line-
gently fitted well down at the back and
sides and a slight flare a little above the
hemline. This gives a rhythmic effect when
walking and legs and ankles always seem
more graceful when protruding from some-
slight fullness rather than a hard, straight
line. And that reminds me that there is a
tempo in walking, somewhere' between the
too-short, mincing step and the long stride,
that is good walking. Tall escorts find
mincing partners rather trying, and the
man who walks in leisurely fashion gets
lost in the crowd when his partner steps
out too definitely. It's quite an art, adjust-
ing your walking speed so that the man
at your side is conscious of little else ex-
cept his lovely partner.

That area from hemline to toes is very
important with short skirts. Hosiery is
more conspicuous than ever and it should
be the right tone and quality. And it must
fit. The stocking makers have done much in
this respect, as you know, with length, calf
and foot sizes for all. When you buy stock-
ings, buy them like your brassiere and
girdle, to fit your special needs. In case
your ankles have had too much winter, use
a cream or hand lotion there for a week or
so when vou go to bed. This will soften
that skin that gets scaly, red, or taut and
shining — and is never attractive through
your four threads. If you have the slightest
need for a depilatory, don't try to get by
without one. Other than smooth, fine skin
through a sheer stocking is very disillu-
sioning, and the use of depilatory creams,
powders, liquids and electric shaving de-
vices are so quick and easy. This detail of
good grooming should go on your beauty
calendar along with shampoos, wave sets
and manicures.

Miss Swarthout has another suit idea
that upsets conventional perfume rules.
With woolen suits she likes a heavy per-
fume. It goes with wool and outdoors, she
thinks ; but indoors with silks and sheer
fabrics, she likes light odeurs. Her favorites
for outdoors are two French blends, while
indoors she likes jasmine and white lilac.

This star, as you might suspect, has a
beautiful speaking voice and every word
carries meaning. One should, after all, not
waste a voice like that!

Nan Grey of films and radio, is
a model of millinery art here.

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SCREENLAND 83

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Medals and Birds

Continued from page 33

the time will soon come when you will
have the money to retire.

Sonja Henie certainly deserves a reward
and, as they say she is still crying over her
broken idyll with Tyrone Power, we'll
give her the bleeding-hearts. Sonja, honey,
if you're going to live in this country you
must learn that every time the moon is "full
and a fellow tells you lie loves you he
doesn't necessarily mean it. The award is
because when you skate you're poetry in
motion and because I've never known you
to spare yourself when you saw an oppor-
tunity to do someone a favor. If it's any
consolation to you, w hile you may not have
the sophistication your successor in Tyrone's
affections has, I'll bet in the long run he'll
w ish he'd stuck to you.

A medal to Warner Baxter because I
think he has been at the top longer than
any actor in pictures.

The orchids go unhesitatingly to Kay
Francis because she is not only lovely to
look at and intelligent to talk to, but be-
cause of all the stars in pictures I think she
is the most loyal to her friends.

A medal to Ronald Colman because he
is in a class by himself and because like
Baxter, goes on and on with never a les-
sening of his popularity, which is well
deserved.

Shucks ! I like praising my friends in
public but it really isn't much fun. It's the
birds I get the kick out of.

Just to keep her record in this depart-
ment clean, a great fat bird for Marlene
Dietrich. As far as I know-, only one of her
pictures (her first one) has ever made big
money but 'from the airs she gives herself
you'd think she was the No. 1 box-office
draw of all time. And some of her cracks
should go down to posterity as, for instance,
when she told her press-agent, "Please
warn the interviewer who is coming to see
me how beautiful I am so he won't stare."
And that other story (to borrow from
Walter Winchell) of how she informed an
interviewer she only shows her legs in pic-
tures— and Mr. Winchell's priceless crack
that if she could ever get Paramount to
think as much of her legs as she does they'd
probably forbid her to walk around on them
for fear something might happen to them.

A bird to Wallace Beery because, like
Dietrich, he has an exaggerated idea of his
importance in the industry and because
since he played in "The Big House" I have
never seen a performance of his that varied
an iota from all his others.

A bird to Alice Faye because, like Jean
Arthur, with everything in the world to be
grateful for, she is the least co-operative
person I know so far as publicity is con-
cerned.

But enough of that for now. The daisies
go to Joan Blondell because only daisies
are as fresh as Joan, because she not only
flips wisecracks as few others can, but be-
cause she is a much finer dramatic actress
than she is credited with being and because
she is the most devoted mother in the
movie colony.

Franchot Tone rates a medal because I
think he is the most versatile of the younger
actors, playing tough guys or playboys
equally convincingly.

A medal to Tyrone Power because he is
the fastest rising male star in the business
and one of the best of the younger actors.
Tyrone, it's really none of my business,
except as a fan (forgive me) : I don't
mind your being fickle or a philanderer
but, please, not Goody-Two-Shoes Gaynor!

The gardenias are for Claire Trevor,
Florence Rice, and Maureen O'Sullivan —

because ail three are not only beautiful and
charming but because all three are far, far
better actresses than the parts and pictures
they are cast in ever afford them an op-
portunity of proving.

One of the best medals for Clark Gable
because I did the first interview on him
when he came into pictures and because
he hasn't changed a jot from the likeable
chap he was that day I met him almost
seven years ago.

The Mumm's chrysanthemums are for
Jeanette Mac Donald because she is not only
the most beautiful but the most accom-
plished actress of all the singers.

And another of my best medals to Gary-
Cooper because he is one of the finest men
I have ever met and because he has de-
veloped from merely an interesting person-
ality into one of the really fine actors of
the screen.

The tiger lilies are for Barbara Stan-
wyck because they remind me of her, be-
cause she is one of my special favorites
and because she is such a grand actress.

And a medal to Robert Taylor because
he is one of the nicest fellows I know, be-
cause he has been the victim of a lot of bum
publicity and has never tried to alibi out
of things that weren't his fault and, lastly,
because he has the good judgment to stick
to Barbara Stanwyck.

The forget-me-nots are for Una Merkel
because she is not only an ace comedienne
but because she never dishes dirt and she
never slams anyone and still contrives to
be regular without being marshmallowy
sweet.

A brace of medals for Joel McCrea and
Ralph Bellamy because they are two of
the best-liked men in the business by the
people in the business and an extra citation
to go with Joel's medal because he has
never laid any claims to being a great
actor.

The violets are for Luise Rainer because
of all the foreign imports she seems to me
to be the only one worth bothering with.
But she's enough to make up for all the
others. Careful, though, Luise, let's not
have any more performances like you
turned in in "Big City."

I almost forgot. A double-decker medal
for Cary Grant because last year he said I
must have gone out of my way to avoid
mentioning him here and anyone who wades
through this deserves a medal. Not only
that but you have been so sensationally suc-
cessful this year, Air. Grant, that one
would,_ indeed, have to go out of one's way
to avoid mentioning you — AND in a most
complimentarv fashion — among the Screen's
Who's Whose.

The dahlias are for Rosalind Russell be-
cause any dame who can turn in three such
performances as she delivered in "Craig's
Wife," "Night Must Fall," and "Live, Love,
and Learn" deserves the best.

Medals, medals, medals. Well, another
medal for James Stewart because he is the
nearest approach to Spencer Tracy the
screen has to offer.

To Anne Shirley, with all my love and
best wishes, go the sweet peas because she
is not only a dignified little wife but be-
cause she is still my favorite ingenue and
because she was SO swell in "Stella
Dallas."

Olivia de Havilland gets the moonflowers
because only they are as sweet as Olivia
and because she can grace a costume pic-
ture as few other girls on the screen can
and because she is one of the up-and-
coming actresses.

Helen Broderick gets the tulips because
she is not only such a grand actress but
she is as down-to-earth as they come and
because she takes such pride in her son's
success.

Dick Powell certainly deserves a medal,
not only for his unfailing good disposition

SCREENLAND

but because he is one of the best masters
of ceremonies I have ever heard.

The honeysuckle is for Ann Sothern be-
cause only honeysuckle is as sweet as Ann
and because she makes it SO easy for the
people who work with her.

Time is getting short and so is space, so
I'll just toss a bunch of medals into the air
and hope that Wayne Morris catches one
because he was so marvelous in "Kid Gala-
had" and because he is getting such a kick
out of life and girls; that Paul Mum
catches another because there is no one
who can change his appearance and bring
historical characters to life as he can; that
Pat O'Brien gets his mitts on one because
Pat is the perfect and indefatigable host (or
was the last time I was asked out there
three years ago) ; that Jack Benny catches
another because he has a radio show that
is soul-satisfying and because someday he's
going to click in pictures as he has on the
stage and the air; that George Raft nabs
another because there is nobody in this
business or any other who remembers his
friends of yesteryear as does George; that
another falls on John Trent because he was
one of THE finds of 1937 and the fact
that he didn't click in a big way is more
Mr. Schulberg's fault than his; one for
Ray Milland because with the few oppor-
tunities he has had he is proving in a big
way that Screenland and I, when we pre-
dicted years ago he would go to the top,
weren't so far wrong ; one for Henry
Fonda because he seems to feel discretion
is the better part of valor and hasn't spoken
to me since the first three times we were
introduced; and the last one for Johnny
Arledge because he is such a swell actor
and because studios put him under contract
every time he gets a decent part and then
do nothing with him.

Gee! I almost forgot a few birds. One

Rink-side idyll! Don Ameche and Sonja Henie pictured as they "sit-out" a skater's
waltz during the filming of their latest picture, "Happy Landing.

for Simone Simon for more reasons than
I can tell but principally because when she
was in France and could gracefully have
remained there she insisted on returning to
this country; one for. Frances Farmer be-
cause she is so difficult to deal with; and
the last one for my erstwhile friend Martha

Raye because when everyone was eager to
give her a helping hand she insisted upon
getting herself a lot of unflattering public-
ity and because whereas when she first
started at Paramount everyone wanted to
give her a helping hand some folks over
there nowadays want to forget about her.

IF HANDS COUtD TALK, THEY'D SAY:

HOW MANY
TIMES EACH
DAY WE NEED
THE HELP
OF HINDS'

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Quick... smooth on Hinds! Extra-
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Continued from page 51

Gambarelli's recital of her experiences made
it plain that the worst is believed even
when the best happens.

"At the conclusion of my first number,"
she says, "I heard this very enthusiastic ap-
plause, and the first thing crossing my mind
was that I might be accused of having a
claque, just as though 1 might at the mo-
ment have been in a theatre and fearful
that someone might say, or write in a
newspaper criticism, that applause for my
work was started by an interested cheer-
leader. The truth was that it was the King
who was first to offer his generous re-
sponse to my work. I felt better then, you
may be sure, but in a little while I was
again at my wit's end.

"After finishing my dances, I raced,
dripping perspiration, to the dressing room
down the corridor. I hurriedly slipped out
of my costume, and had thrown a huge
bath towel around me and was about to
walk toward the shower, when the door
opened and Princess Mafalda, followed by
a group of her friends, men as well as
women, came in. Of course, I had been in-
structed in the proper way to address mem-
bers of the court, but confusion became
worse confused as I tried to curtesy, won-
dering 'should I, or shouldn't I curtesy as
I stand here wrapped in towelling with only
my trunks on underneath?' But again fears
were unfounded, as these distinguished
visitors told me how much they enjoyed
my dancing.

"Then," Gamby continued, "I was invited
to be a guest at dinner. From the King and
Queen right on through the group of
seventy guests everybody was very charm-
ing. But still I couldn't seem to realize
which of it was real and which something
happening in a dream. I had many times
danced in stage settings that might have
been something like this, with all the foot-
men and butlers and servants garbed in
satins and wearing wigs, but not once did
I feel sure I was using the right fork. Far
more than the pomp, such as there was of
it, I was confused by the extreme modesty
of my royal hosts and their distinguished
guests."

All doubt that the little Gambarelli's
court appearance was a personal as well as
a professional success is put at rest by the
fact that the queen has arranged for her
to return in the near future and dance at a
festival she is arranging for the young
prince, son of Humbert, Prince of Pied-
mont and heir to the Italian thrown.

Gamby did seven dances in the program
she gave at the Villa di Savoia the home
of Italy's king and queen, who prefer this
villa of the family of Savoy to the official
residence of the Italian Monarchy, the
Quirinal Palace, with its more imposing
but less home-like halls and apartments.

Gambarelli, product of ballet training
and experience gained entirely in this coun-
try, had appeared in Europe, but this was
her first visit as a dancer to Italy, where
she was born but whence her parents
brought her to America when Maria was
a child.

"I had no plans to dance on the stage
when I went over, because my trip was for
the purpose of acting in the picture, 'Dr.
Antonio,' the first of several I had con-
tracted, to do at a studio in Rome," she
assured us. "The part I play in the film is
not that of a dancer. It is a straight acting-
part, the character being that of an Eng-
lish girl of high social standing.

"But I was asked by Ambassador Phillips
of the United States, and Sir Eric Drum-

mond, British Ambassador to Rome, to
dance at a charity event in which they were
interested. Then I decided to give a concert
at the Teatro Valle, the opera house in
Rome. As a solo artist I thought one per-
formance would be most certainly all for
w hich there would be a demand, but I had
to repeat the concert and gave three per-
formances, which I believe is a record for
a ballet artist at this theatre in Rome.

"The Princess Mafalda took a great in-
terest in my dancing, and brought the
Queen to see me. That was how I received
the invitation for the appearance at court.

"The Queen permitted me to select the
salon in which I was to dance. She sug-
gested four of the halls of the Villa di
Savoia as being suitable, but thought I
should make the choice. I chose a salon in
which many of the portraits of the Royal
Family are hung. It has a marble floor,
and I asked that a rug be spread for me to
dance on. When I arrived and saw what
a beautiful setting had been arranged for
me, I was almost overcome with joy. Down
toward the far end of the salon a dais, or
raised platform had been placed and on it
were the chairs for the King, the Queen
and the Queen Mother. Ranged back of
them were rows of seats for the members
and guests of the Royal Family.

"As a background for my dances there
were flowers from the Queen's own hot-
house, a profusion of delicate colors form-
ing a lovely setting and further enhanced
by floodlighting from behind.

"Later, when I met the Queen I found
that she is tremendously interested in grow-
ing flowers. I was to await her in a room
in her apartment and was, of course, re-
hearsing my recently acquired court eti-
quette. It left me entirely when the door
opened and instead of seeing a lady in
waiting or some member of her court pre-
cede her into the room, the Queen ad-
mitted herself, leading instead of being
preceded by a retinue.

"She took me to show me her terrace, a
beautifully landscaped area just outside
her own reception room. It was covered
with a blue flower that grows close to the
ground and seemed more like the delicate
pattern of a lovely rug than real floral
growth.

"Then she told me the plans she was
making for me to dance at the party she
is arranging for the young Prince. There is
a beautiful reflecting pool, and this Her
Majesty told me would be covered with a
sheet of heavy glass, so I can do my
'Swan' dance on a surface that will give
it the illusion of being danced on water."

No wonder this little dancer says she
still can't make out what of all this was
a dream and what actually took place!
Through all the evening of her perform-
ance at the Italian Court she says she kept
feeling that the midnight hour would strike
and she'd wake up to find she had been
playing Cinderella instead of living an
actual experience.

Dressed in a very simple, tailored sort
of frock, the little Gamby looked very
happy and as eagerly alert and sparkling
as ever she did when we used to see her,
a premiere danseuse at the ripe old age of
fourteen years, dancing in those well re-
membered stage presentations at the Cap-
itol theatre, with Erno Rapee on the
conductor's podium leading the Capitol
Theatre Symphony Orchestra in Lizst,
Delibes, Debussy, Saint Saens, Tschaikow-
sky, and other composers whose music
Gamby and her supporting company inter-
preted in terms of the ballet.

You probably recall that the personal
romantic interest note now so popular in
Hollywood's coupling of boys and girls
who are supposed to be romantically in-
clined each toward the other in picture
acting combinations, was started in the
Roxy "Gang" radio broadcasts, with

SCREENLAND

Gamby and Douglas Stanbury, Roxy's star
baritone, as the young couple about whom
Roxy made so many references during the
bvplav of the regular programs.
"We didn't want to ask Gamby about
that, but there it was, and here in active
form as a piece of Hollywood showman-
ship, here it is today.

Very candidly, very sincerely she told
us that : "We begged Roxy not to do that.
It was a fine friendship that was being
talked of in a way that made many mis-
understand."

Though Gambarelli was far more occu-
pied, conversationally, with her dancing at
the palace of the king and queen, than her
motion picture ambitions, we did find out
that she has the greatest wish of realizing
success in pictures. She appeared as dancer
in two features in Hollywood, "Here's to
Romance." and "Hooray for Love." But —
"But, when I looked at myself in those
pictures I said to myself: 'Maria, dancing-
is not enough, even a finely written story
for a ballet dancer cannot be supported
by the dancing alone,' so I decided I must
prove that I can act a dramatic part as
well as be a dancer in films. So when I
got this opportunity to play a part in the
picture made in Rome, I took it with the
highest hopes."

She has the determination to do what
she sets out to do. At six, studying piano
as an accomplishment in conformity with
her parents' European program for cul-
ture, summed up in the phrase: "Master
the art and put it away ;" Maria was play-
ing Chopin and Brahms pieces in a short
time. She felt "that this music needed in-
terpretation, so I used to stop playing and
dance as I felt the music directed me to."

Discovering this interest, wholly natural,
in dancing, her mother entered Maria in
the Metropolitan Opera ballet school. Be-
fore long she had decided she would be
a premiere ballerina at thirteen. "So, while
I was doing solo dancing and understudy-
ing Rosina Galli at the Metropolitan, I
quit there when I was thirteen."

Later she appeared with Pavlova's com-
pany, and later still was chosen by Roxy
for "his premiere ballerina at the Capitol.
Thus she reached the goal set and missed
only by a few months making it at the age
of "thirteen, just as she had decided.^

One of her most talked-of dances is her
own interpretation of Gershwin's "Rhap-
sody in Blue." This dance proved a startling-
thing when she did it in Paris.

"I decided to go to Europe and learn
what I could there. We in this country are
always hearing of the ballet masters of
Europe. I had learned, I felt, all I could
here. So I organized my own company
and went there — to learn more.

"But instead of learning, all the ballet
masters I met asked me how the dance
had developed like this in America. They
couldn't understand, and wanted me to
teach them how syncopations were intro-
duced in this manner.

"There is a good reason why the ballet
dancer in this country progresses more
than those in Europe. The audiences here
know good technique, and they demand it.
But unlike European audiences who are
willing to accept the technique and applaud
it and be satisfied with that alone, the
American audiences want also fresh ideas,
originality, and above all personality to
color and enhance the art."

She tried three entirely different ap-
proaches to the creation of that dance as
she performs it now. The first two attempts,
made after long planning to dance to the
"Rhapsody in Blue" were discouragingly
disappointing, and for the third time Gam-
barelli started from a fresh viewpoint, and
found success.

That's the kind of perseverance that
makes determination mean something —
even in the march on Hollywood.

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What Eleanor Powell
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Continued from page 65

asked, turning to me. 'You've been sing-
ing it around here at rehearsals, so why
not sing it into the mike?' 1 choked at the
idea, scared stiff. 'There's nothing to be
afraid of,' Van told me. 'Go to it!' So I
did."

"Quick work," nodded Grandma.

"Mr. Mayer said my voice made a new-
girl of me," reported Eleanor. "When they
ran the picture in the projection room and
it got to that number another important
executive said, 'How does it feel, Eleanor,
having a picture in which just one set cost
a hundred thousand dollars, the biggest
ever, even bigger than anything in 'Hen
Hur,' and knowing it was all made for
you?' 'I don't feel any different,' I told
him, 'than when I was working for seven
dollars a night in a small night club.' "

"What a thing to say !" marvelled
Grandma.

"In those days," recalled Eleanor, "it
wasn't because I wanted to make money,
but because I loved dancing and having
something of my own that I was willing
to give up everything else. It isn't that
I've made any sacrifices. But sometimes
when I was starting off to work at seven
in the evening and saw children of my
age — I was twelve then — playing in the
street, I wanted awfully to join them. It
was just that wrork came before everything
else."

"But we had a good time at home on
Sundays," Grandma was happy to say.
"Eleanor would get up at noon and have
her breakfast. After that we'd turn on the
radio and hear a continued play about a
little boy who ran away with the circus.
At four o'clock we'd have dinner. Then
Eleanor would read a story by O. O. Mc-
Intyre — she'd cut it out of a magazine —
about falling leaves that always made her
cry. In the evening we'd sing old songs
like 'Down By the Old Cherry Orchard'
and 'Kiss Me Again.'

"And Grandma," added Eleanor, "always
had a solo, the same one."

What, I wondered, could it have been?

" 'Isle d' Amour,' " replied Grandma, let-
ting her eyes rest upon the folded hands
in her lap.

Simple words told the story of Eleanor
Powell better than any highfalutin' lan-
guage could have told it. Then, as today,
she was unspoiled.

"I never thought then," she said, "that
singing would ever mean so much to me as
it does now. It means more than my danc-
ing because it is a new field for me.
Dancing was always second nature to me.
My father was an expert ballroom dancer,
and my grandfather danced till he was
eighty-two."

"And once," related Grandma, "after
Thanksgiving dinner in Northampton, if
the old fellow didn't get up and do his
stuff!"

Proud of her father, that's what she
was, a man after Henry Ford's own heart.
Mrs. Torrey, like her famous grand-
daughter, had come a long way since her
early Massachusetts day, first to Spring-
field, then New York, and now at last to
Hollywood.

"Up to now it has been move, move,
move." said Eleanor. "That's why I'm so
grateful for having this home. I first real-
ized what I'd lost when I started knocking
around the country. I missed going to high
school, and I'd never gone on sleigh rides
or to parties. But that's what has kept
me so young, for now everything's new
to me and I get a tremendous kick out of
it. Not that I ever do much of anything

SCREENLAND

but work here. I've never been to a Holly-
wood party. If I did go I wouldn't know-
how to act. I have a terrible inferiority
complex. I'm shy, and wouldn't know how
to enter into the spirit of the thing. I
couldn't sit on the floor and play games
because I've never learned any. And I
don't drink or smoke. There are so many
things I've never done that I hardly know
where to start. For example, I've never
been on a boat. But I'm going to take one
just for the fun of it when I go to New-
York in January. That will be my first
vacation in ten years. I've never seen a
football game or been up in an airplane.
I'm just terribly old-fashioned. But I sup-
pose when people see me dancing on the
screen in black tights they say, 'She's prob-
ably the hottest girl in Hollywood.' "

"Bless mv soul !" murmured Grandma,
shocked to the depths of it.

"Do you know what I get most out of in
all the world ?" asked Eleanor. "Children.
That started in a strange way. At thirteen
I was in Baltimore with a vaudeville unit,
doing ten shows a day. As if that weren't
enough, the press agent said it would be
a grand idea for me to give free dancing
lessons to children, beginning at seven in
the morning. I didn't think there would be
any around at that hour. But, to my sur-
prise, the theater was packed. That pepped
me up, and I gave those kids lessons till
nine o'clock. In Washington, Cincinnati,
Kansas City, all over the country. I did
the same thing. Clubs were formed, and
today there are seventy-five Eleanor Pow-
ell clubs. I've sent photographs and writ-
ten greetings to all of them. It makes me
feel like the president of a huge class, and
it also makes me very happy. I don't ever
want to do anything to disillusion them.
There's no thrill in the world like having
children look up to you. I thought of this
the other day on the 'Rosalie' set. When
we were ready for the wedding scene I
said to my twelve little flower girls. 'Now
if you do this "good" we'll all have some
ice cream afterward.' We danced and told
stories the whole afternoon."

It crossed my mind that Eleanor might
be celebrating her own wedding one of
these days.

"Maybe," she admitted. "But, anyway,
not for two years. Then I'd like to give
up pictures, be happily married and have
children. But I'd want to marry a man
who was in this business, so that we would
be able to talk pictures and I could keep
up my interest in them."

"He's got to be pretty darned quiet,"
emphasized Grandma.

"That's the trouble," agreed Eleanor.
"I'm very romantic, but I couldn't marry
anyone who wanted to be on the go all
the time. I had a birthday last Sunday,
my twenty-fifth — and that's pretty old not
to have met anybody who could be taken
seriously. I've really never been in love.
I've had lots of boy friends and men on
the 'phone saying, 'You're just for me.'
But I'm not. They always want me to go
tearing around with them, while I'm per-
fectly satisfied to stay home and read.
Wayne Morris is a darling boy. But he in-
sists he won't go out without me. I tell him
to be like Bob Taylor, who goes out with
other girls besides Barbara Stanwyck and
enjoys himself. But Wayne says no, it's
me or nobody. When my birthday came
along he went out and bought a beautiful
engagement ring, but I had to refuse it.
That made me feel terribly, Wayne's such
a dear, but I couldn't help it. It's just an-
other of the things I've lost. For two
years, anyway, I'll have to leave things as
they are."

The doorbell rang. Leaving, I spoke of
how pleasant it had been seeing them all.

"I've had a real good time," said
Grandma.

Confessions of
a Come-Back

Continued from page 34

chat, affectionately. Even their home was
impetuously named "El Jodo." Once, when
they were sure of one another, I inter-
viewed her about him. Joan never under-
estimated his potentialities. She let go of
his hand— the three of us were lunching
on the porch of the old Metro cafe — to
scrawl on a menu I still have: "He is
smarter than ten college boys rolled into
one !"

It was at college I first knew him, in-
cidentally. Practically at college, anyway.
I remember so well how he and Joan came
to San Francisco, ecstatically engaged, for
a house party. I was attending Stanford
and wrote them up for the university daily.
When I tried to recapture their momen-
tous words I was defeated; my chief
memory was of Joan's concern over his
weight. She had demanded six squares of
butter, four lumps of sugar for him.

He was a front-page bridegroom when,
vacationing in Hollywood, I heard his
secret sorrow — he'd never been able to go
to college ! At seventeen he'd had to
acquire a mustache instead, to enact a
leading role. He wired me, when he read
the magazine article I proceeded to do :
"I'm still weeping over your disclosure of
my lost youth and are my parents mad!"
He was making his triumphant stage debut
when I located in Hollywood; promptly I
went backstage and there was Joan, faith-
fully waiting in the wings. We used to bet
on "football games a lot, Douglas and I.

And so time passed, and I talked to
Douglas's actor father and non-professional
mother about him, for pertinent stories.

Stunning, not statuesque, is the
word for Virginia Field, above

Douglas and Phillips Holmes, once a popu-
lar favorite, were pals and they discussed
each other for me in the pages of Screen-
land. The photograph Douglas and Joan
autographed to me — "Doug Crawford and
Joan Fairbanks" — was his period of young
love caught at its glorious moment.

And then the death of his spectacular
romance had to be duly reported. I really
never knew exactly what split them, didn't
want to ; that belonged to them. They at-
tempted to hold onto their passion and
they separated with dignity. Whatever hap-
pened. Douglas will always respect Joan.

When the magnificent emotional adven-
ture climaxed he obviously paid more
attention to his career problem. "Oh, yes,"
he smiled reminiscently, "I told you then
how I was going to stand or fall on that
contract. I did have the okay on my direc-
tors and casts. But I wasn't as fortunate
as I imagined I'd be — when it came to the
scripts. I presumably picked them ; actually
they'd hand me three plots and tell me to
choose from their three."

Leaving Hollywood as he did, he might
have been thoroughly disillusioned. He'd
been defeated in his avid search for love,
balked in the fight for due recognition he'd
been plugging at since he'd begun acting
at thirteen. He could so easily have turned
aimless playboy— if he hadn't been Doug-
las. He went away refusing to be dis-
couraged. He will never confess to being-
licked. "Detoured," he exclaims firmly.

He wasn't downed by the piling up of
adverse situations because he'd never relied
on "luck." His marriage and stardom came
far too soon to be given that classification ;
he wasn't ready for either. And as for his
name bringing him breaks — it had proved
more of a handicap than a help. He'd had
to explain persistently that he wanted a
chance on his own merits alone, that he
was distinctly different type of actor from
his father. He received little aid from his
father and still he had to wonder con-
stantly whether people liked him for him-
self or because they were maneuvering for
invitations to Pickfair.

But then he has had to tackle opposition
always. When he determined to be an

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(From a letter by Mrs. H. E. B.. Pasadena, Calif.)

a'TERRO*'

WHEN I HAD A COLD, WITH MY
NOSE SO SORE AND RED. "SINCE
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HERE AGAIN !

(From a letter by Mrs. W. T., New York, N. Y.)

O Adopt the habit of using Kleenex in
the Serv-a-Tissue box that ends waste
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(From a letter by
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BUY KLEENEX

in me

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i it Saves as it Serves-one double tissue at a time—

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SCREENLAND

NO TENDER GUMS OR PULL
TEETH IN MY FAMILY! IYE ALL
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FORHAN'S HAS A SPECIAL
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m ^ THE GUMS IN IT.

This family has regular
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massage with Forhan's
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Brushing teeth, massaging gums with
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brilliance, helps make gums firm, healthy.
For generous sample send lOfi to For-
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Forhan's ills

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actor his father had been annoyed; SO
Douglas made his own contacts and took
unpublicized bumps in the process. When
he'd married his parents had been none
too glad; he plunged into romancing on
his own. His father has a fortune, but he
has literally been on his own financially
all the way.

So the clean sweep wasn't too bad a pill.
Especially since he'd formulated a pro-
tective philosophy, fashioned a shield for
his heart. Before he left for London he
said to me, "I don't let anything touch me.
I stand off and watcli myself going through
dilemmas and because I'm amused they
don't hurt me. I can't be hurt — for I can't
be shocked or surprised. Inside I'm not
touched by my experiences !"

"That was a pretty adolescent platform
I had, wasn't it? Refusing to be touched
by things or people, so dogmatically !" He
lit his pipe, borrowing a light from a pass-
ing prop boy. "Now I realize that things
and people used to over-impress me. Rules
had me buffaloed, too. I was naive. In-
stead of trusting my own instincts I de-
ferred to others. Automatically they knew
better ; how could I be wiser, my hunches
about myself more correct?" He's learned
while he's been growing up that it's not
wrong to pause when in doubt.

"But my career had always been in the
hands of everyone else. The front office
directed it. And me, unconsciously, in the
bargain ! I wasn't mature enough, on the
other hand, to carry stardom."

He leaned back in his canvas chair and
mused on. "Well," he said. "I believe that
no matter what happens to me now I'll
be ready for it. Before, I wasn't. I fumbled
because I thought I was thinking clearly
enough — and I wasn't at all. It was hard
not to accept the pronouncements of very
positive people. Sometimes one has to be
whammed on the head, severely, to under-
stand what a mistake it is not to gamble
on yourself. It would have been fade-out
for me, I'll bet, if I hadn't taken a chance
on myself !

He vows he regained his self-respect in
London. There they were enthusiastic for
his services and he saw an opportunity to
produce as well as to act. However, he is
honest about the results. "After two years
spent in organizing a film company I still
couldn't make the kind of pictures I wished.
I had the minority block of stock. So the
pictures I've been making abroad weren't
the tremendous strides I wanted." The
pioneering zeal isn't dead by any means,
though ; merely "detoured" temporarily.

"It wasn't like going to a new land. I'd
gone to school in England. But being a
man with business interests taught me a
lot." Immediately he found out that it
wasn't compulsory to be a freak. As Holly-
wood's crown prince his every move had
been extravagantly commented upon. He'd
been made a goldfish. He would have
avoided that deluge of excessive publicity,
only he wanted to be a thorough success
and so he'd slavishly followed Hollywood's
rules. "I suppose I am not the party fellow
I ought to be — when I saw it wasn't a
rule in London that you had to entertain
a lot I quickly stopped trying to be super-
social. In four years there I gave but one
party !

"While the pictures were being lined
up I went on the stage." He did two plays,
touring the provinces and afterwards click-
ing before London's critical audiences. "I
could, I learned to my delight, earn a
decent living behind footlights. But 1
found I didn't want that, that I didn't
enjoy acting in a theatre as much as I did
working in pictures. Probably the lengthy
rehearsals, the nightly repetition reminded
me of school routine ! The screen has so
much more scope, means a continuous
flow of new, unlimited efforts. It's so much

more creative. A hundred departments
strive for a single effect. No, I've no
Broadway bent."

1 interrupted purposely. "You're skill-
fully steering away from all mention of
a new love. In case you hadn't heard, you
are quite eligible !"

He seemed exceptionally glad to wave
at Irene Dunne, returning for their next
sequence, at that remark.

"Can't you simply say all I know myself
is what I read? Truthfully, I've been out
a few times since I've returned. There is
no one, speaking of love. I'm working so
hard I don't mind. And," he added reso-
lutely, "I've become true to myself alon •
that line, too. I have always hated the
exposure of innermost feelings, mine or
anyone else's. Blatant self-revelations are
like stumbles into private rooms at the
w rong hour.

"I'm not worrying about a home and
children now. Maybe that will come for
me. I don't know. Being unmarried gives
me an independence I relish."

I was adamant. "And once," I stated,
"you told me you had to have someone to
share your joys — or there'd be no joys
for you !"

"But you can liave sincere companion-
ship without love," he retorted. "The reac-
tion of a good friend gives you a kick.
And you know it !"

He had something there, even if it wasn't
a romantic confession. "Your most satisfy-
ing experience while you've been away,
then," I proposed. "You were forever
swearing that you were cut out to peer
at distant green fields."

"I am still curious," he answered. "I
don't think one changes radically. One de-
velops, I hope, but I think we all remain
essentially the same. I'm like my father
in having a phobia for the whole world;
I've never wished to settle down in one
spot. I've traveled all over Europe so far,
and that's been great. I want to see Africa
next, the Orient when it's calmer. I feel,
consequently, as though I've planted many
roots. There are familiar landmarks here
and abroad now. The most satisfactory-
times I've had have been the days when
I got out my little thirty-five foot cruiser
and headed up the Thames. I usually take
some friend along and we go about a
hundred and fifty miles, stopping at little
pubs for a beer and dinner and conver-
sation with the country people."

He isn't buying the trimmings he once
considered necessary. "The grand scale
never intrigued me. So now I've not even
taken a house; I'm utilizing my father's
beach place at Santa Monica for the mo-
ment, and drive in. I've a very useful and
fast Ford — which is all I need for trans-
portation!" Picture Marlene Dietrich hop-
ping gaily from her limousine to his Ford
— that's a local sight. I was anxious to see
Norma Shearer swoop up to the Carthay
Circle with him in such comparative
rhodesty, but he and Norma were with a
couple of bloated aristocrats when they
premiered.

"I've ambitions, all right," he was saying
as they called him back to the cameras.
"Big ones. I hope I always will have. When
the time comes when I'm satisfied I'll be
through. But I don't want to advertise my
plans. I'll express myself through my
actions. If I don't succeed on this try. at
least I won't have made a fool of myself !"

More considerate, matured, Douglas has
become a man with genuine background.
He'll carve his permanent niche now, be-
cause he's accustomed to contending for
every conquest and he's listening to his
own intuition at last. Someday I can writ'1
his lasting love ■ story. With dramatic
abruptness another dynamic, strong-willed
woman will enter his life. He is just
twenty-eight !

S r R f HNLAND

Inside the Stars' Homes

Continued from page 17

and the rest concoct various dishes. My
specialty is always scrambled eggs and
baked beans. Perhaps we'd better call them
Baked Beans Goulash a la MacDonald. I
never make them the same way twice."

The MacDonald clan have always been
fond of eggplant, so if you go to Jeanette's
you have an even chance of eating this
vegetable. The first time Gene dined at
Jeanette's, eggplant — dipped in batter and
fried — was served. Gene hated it, but he
wanted to make a good impression, so he
ate it. The next time he dined there, egg-
plant scalloped with tomatoes was on the
menu. He didn't recognize it this time and
helped himself generously, and again he
ate it, nobly. The third time, eggplant cut
in pieces and fried in deep fat with onion
and parsley added, was served. By this
time, the two were engaged, and Gene felt
braver. He confessed that he heartily dis-
liked eggplant and "Don't you ever have a
meal without it ?" he asked. Jeanette and
her mother were convulsed.

"But it was too good a joke to over-
look," recalled my hostess, "so from that
time on, I used to go out of my way to
ask for eggplant whenever we dined to-
gether, or to serve it when Gene was com-
ing to my house. The funny part of it is
that Gene caught onto the joke, swore he
could stick with it if I could, and now he's
learned to like it!"

EGGPLANT

Peel and slice the vegetable, soak in salt
water as usual and drain well. Grease a
baking dish, and put in a layer of the egg-
plant, cut into pieces about the size of a
dollar. Alternate layers of eggplant with a
few slices of onion, bread crumbs and pieces
of butter. Cover the whole with a can of
tomato sauce (Heinz) and bake.

When the Raymonds dine alone, they
dine simply. There is steak, roast, or fowl,
four vegetables, and a salad. No dessert.

"Steak and mushrooms is one of Gene's
favorite dishes," said the young Mrs. Ray-
mond. "I suppose all men,, if allowed to
choose, would subsist on thick steaks and
roasts, and never go near a chicken or a
chop !"

Steaks at their house are broiled medium
rare, put on a sizzling hot platter and
spread generously with butter. Previously,
fresh mushrooms have been washed, cut
into fair-sized pieces, and put in a pan with
a good supply of butter and about two

Harry K. Barnes and Margaretta
Scott enact a scene from "The
Scarlet Pimpernel Returns."

\i IS PART OF LOVELINESS

The charm of attractive womanhood is made up of many things.
Above all, a quality not to be measured merely by birthdays . . .
a quality of fresh, sweetly fragrant daintiness, which proper care
can assure at any age. With more accuracy than romance, let us
call it frankly . . ."cleanliness". It means even more than bath-
and-laundry cleanliness. It means that unsullied personal im-
maculacy which is the most compelling charm of a lovely young
girl, and of truly happy wives. For no husband fails to notice,
and resent, any neglect of intimate feminine cleanliness. Yet
too many women never realize that the freshness, which is so
natural in youth, requires constant care as maturity advances. A
cleansing douche with "Lysol" disinfectant, in proper solution
of water, is the frequent and regular feminine hygiene habit of
fastidious modern women. They know that "Lysol" in solution
cleanses thoroughly, deodorizes — dependably. Many hospitals
use "Lysol"; many doctors recommend it for feminine hygiene.
Complete directions are on every bottle ... at any druggist's.

You must surely read these six reasons
why "Lysol" is recommended for your
intimate hygiene — to give you assur-
ance of intimate cleanliness.

1 — Non-Caustic . . . "Lysol", in the proper
dilution, is gentle. It contains no harm-
ful free caustic alkali.

2 — Effectiveness . . "Lysol" is a powerful
germicide, active under practical condi-
tions, effective in the presence of organic
matter (such as dirt, mucus, serum, etc.).

3 — Spreading . . . "Lysol" solutions
spread because of low surface tension,
and thus virtually search out germs.

4 — Economy . . . "Lysol", because it is
concentrated, costs only about one cent
an application in the proper dilution for
feminine hygiene.

5 — Odor . . . The cleanly odor of "Lysol"
disappears after use.

6 — Stability . . . "Lysol" keeps its full
strength no matter how long it is kept,
no matter how often it is uncorked.

For your
cleansing douche

What Every Woman Should Know

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SCREENLAND

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WAKE UP YOUR
LIVER BILE...

Without Calomel— And You'll Jump
Out of Bed in the Morning Rarin' to Go

The liver should pour out two pounds of liquid
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tablespoons of water, covered and allowed
to cook until tender. If you are using hot-
house mushrooms, give them about half an
hour as they are less tender than the home-
grown variety.

"Another thing Gene likes very much —
as what man doesn't? — is onion soup,"
remembered Jeanette. "I believe my cook
makes this especially well."

Jeanette never plans anything for her
guests to do at her parties, because she al-
ways tries to invite people who will be
congenial. Everyone has so much to say,
and they all try to say it at once, so that
the result is quite hilarious.

[f they want to do anything, there's cer-
tainly plenty to do; if they want to do
nothing, there are a good many restful
places to relax in. The atmosphere is in-
formal. The hospitality truly "recreates."

Lond

Arlen's New Hobby

Continued from page 59

in no time. It was a straight shot, no
filter."

Dick shoots scenery when it suddenly
strikes him as beautiful, but he never goes
out looking for it.

"I like to take pictures of people, kids
especially. I like kids and they usually make
cute shots, if you can catch them quick
enough. I believe I'll get a Rolleflex — they
say it's the swiftest lens on the market.

"Maybe when I get the Leica under con-
trol, it will do the kid-snatching pictures,
but I'm no expert yet. This shot of the
Crosby twins was shot when they were
creeping toward me. I called out 'Dennis —
look here!' and snapped my fingers. They
both looked up and I clicked, but the for-
ward one kept on coming, so he's the least
bit out of focus, but it's so like them, it's
funny.

"I used the Pressman on this shot of
Helen Twelvetrees and Arline Judge with
their babies. The kids were quite small then
and Joby was having a party for Ricky.
This was more luck than judgment. It was
made before I got the camera bug.

"If you want a 'how not to do it' ex-
ample, here's one : Joby took this shot of
me in the baby cage. The background is a
hedge, but it's too dark. She should have
shot up so as to show the top of the hedge
or to give an idea of what it is. The towel
is too white. A filter might have helped.

"They tell you always to use a filter at
sea, but I made this shot of Jack Oakie
without one, and it's clear enough. And this
one of Gary Cooper, Jack Oakie, and me
(all but my head) was made by Max
Miller with my camera and without a filter.

"I believe I had a yellow filter on this
one of Gary with the towel, taken over near
Catalina.

"Talking of water shots, Joby got this
one of me, overboard from the deck, one
day. That's an example of a lucky shot,
because the boat moved a little all the
time.

"Joby also got this shot of me with Babe
Didrickson of the golf course. You can see
her shadow in the foreground. She couldn't
have used a filter or there'd be more detail
in the sky and background, but it's re-
markably clear.

"I never fool around with dark rooms,
or try to tell the people at the camera shops
how to print up my stuff. I suppose if I
were farther along with it, I'd be on their
necks all the time bellowing about the
way a shot's printed, or why wasn't it
printed for contrast, or all the usual
squawks.

"But to my mind, printing isn't going
to remedy the mistakes of the man with the
lens. You have to get it right in the first
place." .

Continued from page 62

was feeling too bruised and shaken to
come to Maureen O' Sullivan's cocktail
party. Characteristically Maureen sent out
invitations from "Mrs. John Farrow" with
her acting name just printed underneath in
the smallest possible letters. She was all in
her favorite blue, with the most amusing
spotted veil over her hat, and had her
young sister Sheila as assistant hostess.

Maureen enjoyed her brief ice-skating
scenes with Robert Taylor in "A Yank at
Oxford" so much she decided to learn the
art thoroughly. So she went off to Streat-
ham Rink and had tuition from veteran
Benny Lee, who was Sonja Heme's instruc-
tor. Her progress seemed rather slow and
it was a great surprise when Benny pre-
sented her with a silver cup after her last
lesson as souvenir of her accomplishments
on skates. Proudly Maureen bore her trophy
home and then she read the inscription :
"To the girl who of all my pupils is the
least like Sonja Henie." (Of course, Mau-
reen is back with you in Hollywood now —
and how we miss her!)

Noel Madison was at the party and I
learnt that my favorite film gangster is ex-
ceedingly superstitious. He is convinced
that his lucky charm on the screen is his
battered four-year-old hat so he has donned
it, doffed it, and been shot at in it in his
last thirty-nine films. (For the fortieth he
could only get it into the picture by having
the prop man hang it on the hat peg in
another character's lobby!) Now hcrefuses
to appear without it. It has duly adorned
his head as the press agent in Jessie Mat-
thews' latest musical, "Sailing Along," and
now it is helping him to perform successful
villainy in "Kate Plus Ten."

This is the British thriller of the year,
based on an Edgar Wallace story. Gene-
vieve Tobin has travelled across the Atlan-
tic to play the crooked Kate who gets away
with a million in bullion from the gold
train she has wrecked. Noel is her gangster
lieutenant and tall Jack Hulbert plays
Detective Mike Pembcrton who eventually
nabs them.

I met Genevieve dining out in a small
party the other night, gracious in a draped
black velvet gown with a single diamond
bracelet. She doesn't care for the night-
spots very much but prefers a quiet home
evening with a few chosen friends.

Talking of parties, there was a jolly lit-
tle one at Denham the other afternoon to
congratulate handsome dark-haired Griffith
Jones who has just been signed up for a
long term by M-G-M and leaves for Hol-
lywood soon. You may remember him with
Elisabeth Bergner in "Escape Me Never."
but if not you can meet him again as Bob
Taylor's undergraduate friend in "A Yank
' at Oxford" and you will agree he still
looks good beside those romance-compelling
Taylor features, too! Griff, as we call him,
was originally intended for a doctor but
preferred the films instead. He was born
in London though his parents were Welsh,
collects tiny model animals of which he
possesses hundreds, and has a pretty non-
acting wife, a passion for chocolate layer
cake, and the most unusual keen eyes of any
actor I know.

Somebody at the party described Griff as
"the only good-looking man in the studio
who isn't making love to Merle Oberon
this week." Explanation being that Merle
plays a wealthy heiress in her latest Korda
picture, "Over the Moon," and no less
than eight leading men are acting with her.
which must be something of a record for
high-speed screen romance.

Rex Harrison is the young country doc-

SCREENLAND

The way of a butler with a maid is more professional than romantic — "more's the
pity," sighs Lynn Bari, above, with William Powell in "Baroness and the Butler."

tor who triumphs over all his rivals and
gets Merle in the fade-out, probably be-
cause that whimsically charming humor of
his proved irresistible. His rise to fame has
been phenomenal. It is only three years
since he took to acting, appearing with
Evelyn Laye in "Sweet Aloes" on the New
York stage. His first film was Korda's
satirical "Storm in a Teacup" in which he
played with Vivien Leigh last summer and
it has been so successful that now he's a
full-fledged star and will make his debut
as such in his next picture. It is to be one
of two stories Korda bought for Robert
Donat, who's ill with asthma again.

Down at Denham there is one grey-
painted door in the executive offices past
which the staff creep respectfully, lowering
their voices and hardly daring to breathe
lest the sound disturbs the conference
within. "Complete silence" has been de-
manded by the two occupants, both named
Howard, one being Leslie the actor and the
other William K. the director. They are
polishing up the scenario and arranging
the details of the most ambitious produc-
tion even the ubiquitous Alexander Korda
has ever sponsored, the film version of
"Lawrence of Arabia." Leslie is co-producer
as well as star, in complete control of the
unit which will go to Arabia to shoot most
of the scenes in the authentic locale of the
deserts. He's boyishly enthusiastic about
his new job, yet terribly earnest and ser-
ious, too, for he has a great dramatic task
before him, creating on the screen a world-
famous soldier, explorer, and ascetic who
changed the course of history in the East
and wrote that amazing volume, "Seven
Pillars of Wisdom."

Determined every tiny detail of his char-
acterization shall be correct, Leslie has had
numerous long talks with many experts. He
has consulted Winston Churchill, the Brit-

ish statesman who was in close touch with
Lawrence when he was banding the wild
Arab tribes together.

True to the real life story of Lawrence,
there will be no feminine interest in the
film nor will any women journey to Arabia
with the band of desert travellers. Mrs.
Howard and their son and daughter will
stay behind in London — daughter Leslie is
growing up into a most attractive girl and
I hear she is likely to begin her own acting
career quite soon with a tiny part in a
West End stage show.

Mrs. Howard and I had tea together the

other afternoon at the Mayfair Hotel, the
occasion being a charity fete at which
many celebrated film folk assisted. Conrad
Veidt and Anton Walbrook poured out
laager beer, Merle Oberon sold flowers, and
Anna Neagle sold autographed portraits of
herself as Queen Victoria, and June Knight,
Raymond Massey, and Edmund Gwenn as-
sisted at the candy stand. Elsa Lanchester
came along, dressed in her favorite purple,
and Jean Muir looked in for half an hour.
She's playing on the London stage just
now but she has signed a contract to make
a British film before returning home.

JVow t/usnew Cream with

"SHN-VnMIN"

doe? more Jor your s£in
fAan everfiefore

The "skin-vitamin" is now in a beauty cream!

Four years ago doctors barely suspected that
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They applied this vitamin to wounds and burns.
And found it actually healed them quicker!

This is the amazing "skin-vitamin" which is
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Pond's Vanishing Cream was always great for
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The regular use of this cream will make your skin
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Same jars, same labels, same price
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Bobby's Guiding Star

Continued from page 31

with ambition, found a job dancing in a
night club. She assumed the support of her
parents, older sister and brother, and of
Bobby, the baby.

Whenever she looked at Bobby her heart
missed a beat. Instinctively she knew that
he deserved a better break than any of the
rest of them had had. She took special
charge of him to forget the family's mis-
fortunes. She was the first to recognize
his astonishing voice. No one else at home
thought anything of it.

Shortly a fierce passion was consuming
her. She could have been equally outstand-
ing as he is as a singer if anyone had
bothered sufficiently with her. "But no one
did," she says, "and so I made up my mind
that Bobby wouldn't be ignored."

Somehow Sally maneuvered to pay for
lessons for him, proudly escorting him to
the best teacher she could locate. When he
was four she argued the owner of the Silver
Slipper into letting the child try a song
there. This was the first of a climaxing
series of arguments she had to win. The
people clapped enthusiastically and she was
in a delirious glow after that. She was re-
assured that all Bobby needed was oppor-
tunity.

If there simply isn't any opportunity,
what do you do? At home there was per-
petual pinching of pennies and a prevailing
air of despair. Sally sensed that the only
answer is to make your chances. And at
last she made the step few girls her age
would have the brains and the courage to
make. They told her her dreams for Bobby
were ridiculous. She thought it all out and
in the end they let her go away with him
because, after all, she was the breadwinner.

Carefully she bundled Bobby onto the
Chicago bus one memorable wintery eve-
ning. She selected Chicago because it was
the nearest spot where show business was
alive. Bobby slept in her arms for awhile
and then his curiousity got the better of
him. He had to converse with the driver,
quietly so no one would be awakened. By
the time they rolled down Michigan Ave-
nue the driver was friendly enough to
recommend a clean boarding house'.

"A hotel," remembers Sally, "was far
too expensive for us. I only had that seventy
dollars to stretch out until Bobby was dis-
covered. As soon as we'd washed I got
Bobby's sailor suit out of our suitcase, un-

packed my iron, covered the bureau with
bathtowels, and pressed it. I looked in the
telephone book for actors' agencies. Then
I recalled that Balaban and Katz ran the
leading theatres in Chicago, so I trotted
Bobby downtown to call on Louis Lip-
stone, the B. & K. director.

"Mr. Lipstone was very obstinate about
receiving us," she sighs. "I informed his
secretary that we couldn't be sidetracked.
So when the afternoon was almost over
we got into his office. T don't want to
waste my time !' Mr. Lipstone shouted at
us. 'Whatever he does, I can't use him !'
I said, 'I don't want you to use him. Just
listen to him sing once!'"

With a groan the veteran revue producer
gave in. There were always unavoidable
pests like these two. But before Bobby had
finished his song Lipstone was excitingly
telephoning Milton Berle, then starring at
the Orphcum. "I've a find — tome right over
and hear him!" When Sally left the office
she was clutching a contract guaranteeing
Hobby two weeks on the stage at the
Oriental Theatre.

The powerful lyric tenor, so strange in
such a child, brought down the house.
Gloria Swanson was making a personal
appearance at the Chicago Theatre and
Bobby was hired to assist in her act. Gloria
herself praised him to the skies.

Bookings at other B. & K. theatres fol-
lowed. The Breens accustomed themselves
to four and five shows a day, their lives
shrinking to the narrow confines of a the-
atre and the boarding house. Sally sent
practically all the earnings home for the
family to live on. They couldn't force her
to abandon her scheme so long as she
mailed checks.

After six months in Chicago there were
no more engagements for Bobby. The field
there was exhausted. For a spell Sally was
desperate. "My one desire was to get Bobby
to Hollywood. But when we'd finished all
the possible dates in Chicago it looked for
a bit as though we'd have to return to
Toronto licked." She contemplated that
catastrophe with such profound distaste
that the alternative eventually presented it-
self. New York ! There was where talent
was hailed. That was where Bobby had to
go. She examined her capital, bought a
single bus seat to New York, and arrived
at three a.m. with exactly thirty-five dol-
lars and a tired lap.

"I held Bobby all the way. We couldn't
afford but one seat. The folks on the bus
were awfully pleasant to us. They bought
us meals and Bobby sang a lot and it wasn't
a bad trip at all.

"The bus driver liked Bobby, too, for
after he'd dropped all the passengers he
drove us to a boarding house he assured
us was good. I'll never forget climbing up
those steps. The city was so vast and it was
still awake. The room we rented was on
the third floor back, a two-by-four with
a single cot. I put Bobby to bed and as-
sembled our laundry and attended to it. I
had to get his sailor suit — the one decent
suit he wore when singing and for inter-
views— ready."

She didn't try to sleep. At seven Bobby
was grinning at her and she dressed him
and away they went to conquer the Para-
mount Theatre. Sally had a letter of intro-
duction from Louis Lipstone. But the sub-
way directions confused her and they went
clear across Manhattan the wrong way be-
fore she realized it.

However, by nine she and Bobby were in
the outer office of Borros Morros. The
secretary said he was too bus\r to see them.
So they waited until six and the office
closed. Next morning they were there again.
No luck. Sally knew Mr. Morros was short,
bald-headed, and had a Russian accent, but
no one answering that description came in
or out that way. At noon she parked Bobby

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and ran out for sandwiches. By five the
second afternoon the receptionist was fur-
ious.

"But I didn't care!"' exclaims Sally. "I
sat there with my letter in my hand, wait-
ing to pounce on Mr. Morros when he did
appear from somewhere." When, at five, he
emerged hastily Sally shouted, "Mr. Louis
Lipstone sent you this!" Stunned at the
charge, Morros read the note and shook
his head. "I don't care what your little girl
can do, I can't use her. The Gerry Society
would drag her offstage. It's the law that
no one under sixteen can appear in vaude-
ville.

With that Mr. Morros headed for the
door. It was Bobby, enraged, who sprang
into action then. "I'm not a little girl!" he
hollered lustily. "I'm a boy!" Sally had
been afraid to cut his blond curly hair.

"I don't bother with you, anyway," vowed
the irate director of the Paramount's stage
presentations. "The law won't permit it —
even if you are any good."

Sally admits she'd been warned about
New York's stringent ruling against child
performers, but she's an up-to-the-minute
demonstration that where there's a will
there's some way. She wasn't daunted by
future bridges. Getting Borros Morros to
listen to Bobby was her immediate problem.
She combined subtlety with her determina-
tion. "I don't want you to hire him," she
stated. "Just listen to him sing a song!"

Wrathfully Morros led them into his in-
ner sanctum, the wild-eyed secretary fol-
lowing in their wake. Bobby sang. Morros
sat up with a start. The secretary wept
with excitement. The chief pushed every
buzzer on his desk. In fifteen minutes
there was a crowd and Bobby was singing
as he'd never sung before. "My lawyers!"
demanded Morros.

Next morning Bobby, Sally, Morros and
his lawyers were at the City Hall to
maneuver a special license for the child.
"No, no, no!" cried the old gentleman be-
hind the massive desk. "No permits !"

Bobby saw the tears gathering in Sally's
eyes. He knew it was time to be a man, to
rescue her from this impasse.

"Please sir," he said very respectfully,
"won't you let me sing on the stage just
so I can have a chance to be discovered
and go to Hollywood? That's all my sister
and I can do, you see, your honor."

The boy's dignity touched the ruffled
magistrate. "Can you read? Is she bringing
you up well ?" Sally had taught him to read
when he was only three-and-a-half, so he
modestly proved he was being correctly
trained. "Well, then," announced the judge,
one more captive to the Breen charm, "I
can't give you a permit, but we won't stop
you if you only sing for your chance to be
discovered by the movies !"

Stepping blithely into the spotlight,
Bobby was a sensation at" each show. The
Paramount held him over for a second
week. But all along Sally was to learn that
she had to fight for each boost for her
brother. Everyone confessed he was ter-
rific, but no picture scouts materialized.
He couldn't go on singing, because they'd
promised the judge to quit if the big chance
didn't mean a Hollywood offer.

Sally couldn't see her next step then, but
she refused to be defeated. She'd remained
at the boarding house and saved his salary
so she could dole it out for their expenses
and to send home. Suddenly the brief suc-
cess was through and they were alone
among six million rushing people who
didn't give a darn about them.

She found that children could work in
regular stage plays. By inquiring she
learned that play producers secured their
child actors from the Professional School
for Children. She enrolled Bobby there for
eleven dollars a month. Meanwhile, she se-
cured a job as a cigarette girl. Someone

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mentioned a new dinner room at the Edison
Hotel and Sally had a hunch they'd be
wanting an extra cigarette girl.

Every day she took Bobby to school and
went after him. And, sure enough, event-
ually there was a call for a boy for a play.
Sally wasn't re ached until all the other kids
and their mothers were already at the the-
atre. But she raced Bobby over. "There
were seventy boys and mamas there \ I
whispered to Bobby to memorize the script
they handed him. Bob Hope was audition-
ing; it was for a Harry Richman show.
When Bobby interpreted the trial scene
without a glance at the script the part was
instantly his."

For six months Bobby was a successful
actor. Sally took him to school daytimes
and quit her hotel job to escort him to the
theatre. They moved from the boarding
house to an apartment which was shared
by four paying guests, each having a bed-
room and the privileges of the living-room
and the bath. Bobby was singing whenever
he was in the bath, so the line-up outside
the door never minded waiting for him.
The kindly Irish woman who had the
apartment charged seventy-five cents a
meal. The Breens had to send money home,
and whenever they couldn't afford the tariff
they were secretly treated by their fond
landlady.

The play ultimately closed and again
Sally was up against it. She heard Eddie
Cantor's radio program frequently. He
spoke of wanting a son. Why wouldn't
Bobby be perfect for Eddie's son on the
air? Since Bobby catapulted to nation-
wide, popularity on the Cantor program
you may have fancied that Cantor dis-
covered the child. He did, but it wasn't
any simple procedure. Sally had to convince
Cantor, and on her first try she failed
utterly.

"They were holding auditions for new
talent. I took Bobby over. We didn't get to
first base. I was going to shout 'But you've
got to listen to him' at Eddie Cantor, but
we were tangled up in the crowd and the
assistants shoved us out the door. Later, in
Hollywood, Eddie moaned, 'How did I
ever pass Bobby up like that !'

"Our money was practically gone and I
was wondering if we'd have to crawl home.
Bobby had announced that we'd never quit
until we got to Hollywood and I'd kissed
him and put him to bed and was sitting
with my bedroom door open. I was hoping
someone would talk to me. Mrs. Bloomen-
thal, one of the roomers I'd thought high-
hat, stepped in. 'Why don't you put your
talented son on the stage?' she asked. A lot
of people believed Bobby was my son, al-
though there's only ten years difference
between us. When she heard my story she
said, 'I've some rich friends who might be
able to help you. I'm going to dinner at
their house tomorrow night and I'll see if
I can bring you and Bobby.'

"The next night we went with her to the
Arthur Levys. They had a gorgeous home
and Bobby and I were so impressed. We
remembered our finest manners ! After din-
ner they invited Bobby to sing."

When Bobby sings not many remain im-
mobile. The Levys hastily telephoned Wil-
liam Shapiro, an actors' agent who had just
returned from London. They told him he
had to come over and listen to this prodigy.
He did, and before the Breens went back
to their one room he'd signed a contract
with Sally. Shapiro eagerly promised to
grubstake the two on a Hollywood venture.
He'd give Bobby precisely three months to
capture a picture contract. Sally, enrap-
tured at this marvellous, long-delayed break,
insisted that he first go to Toronto so her
parents could be certain he was an _ all-
right backer. They approved and within
two weeks the three — Sally, Bobby, and
Shapiro — were on the train West.

The young Breens were established in a
swanky apartment at the Ravenswood, the
building where both Mae West and George
Raft live. It was a breathtaking switch.
From mediocrity to luxury! But there was
no time to enjoy illusions of grandeur.
Bobby had to get that break.

"I didn't realize how long it's liable to
take to get recognition in Hollywood,"'
Sally admits. "1 imagined that with a swell
front like that and fine agent it'd be a snap.
Well, it wasn't. Bobby was offered singing
spots and I'd have been satisfied with them;
I felt he'd be noticed as soon as he got
on the screen, even if in a bit. However,
Mr. Shapiro rejected all such compromise;
he demanded stardom. As our trial period
drew to an end I protested that he was
expecting too much in too short a time."
Sally sighed. "I was afraid, at last, afraid
that after all our battle I'd have to take
Bobby home a fizzle. Who'd star a child
with so little experience?"

If Bobby's rise sounds like a fairy tale,
so dors the denouement which brought him
fame. "Believe it or not, but he didn't get
his chance until the very final day of our
three months! Then Mr. Shapiro took us
out onto a Sol Lesser set. He knew Mr.
Lesser and he asked him to listen to Bobby
sing. T can't be bothered,' retorted the
executive. I winked at Bobby. The minute
the players stopped acting Bobby burst into
'La Donna e Mobile.' Air. Lesser must have
liked him, for he sent for a contract for
us to sign."

The astute Lesser, furthermore, actually
starred Bobby right away. Under his guid-
ance Jackie Coogan and Baby Peggy had
skyrocketed and Lesser had confidence in
the new wonder. While his first film was in
production he had Bobby sing at a benefit
at the Uplifters Club. Eddie Cantor was in
the audience. Cantor was spellbound. Now
Sally didn't have to argue. Bobby went on
Cantor's program before the first film was
released.

Sally sent for the family and today Bobby
has a keen home. Sally persuaded the
studio to pay her a reasonable salary as
his guardian and music advisor, so her
wage supports the family and his star
salary is being saved for him. Bobby has
only one current problem — learning how to
spare Sally in the evenings. She argued him
into okaying romance for her. In Holly-
wood she met a well-to-do mining man who
owns a Los Angeles department store to
boot, and it was love at first sight.

"Bobby was a little jealous at first. But
he's discovered I wouldn't w alk out on him
after what we've been through together !"
No man, I'm sure, could steal Sally away
from her kid brother.

Patricia Ellis and Jack Hulbert
co-star in a new British film.

SCREENLAND

Star-Dust Baby

Continued from page 61

THE STORY UP TO NOW

It all started as a publicity stunt —
and now! Now Katrine Mollincaux finds
herself a mother, by adoption, Katrine,
imperious, self-centered, first siren of
the screen, faces an emotional crisis
such as many times site had acted for
the cameras, but never really experi-
enced. For Peter, waif brought from an
orphanage by Katrine's publicity man,
Bill Naughton, in response to the star's
command to find a child for her to adopt
for headline purposes, has complicated
her life. Naughton, Katrine's friend
from years back as well as her agent
now, is steadily drawing aivay from her
because of her pretended indifference to
the devoted boy. Fighting her ozvn in-
stincts to give the lad the affection he
craves, Katrine tries to send Peter back
to the orphanage, but when a young
French count, catering to Katrine, ap-
plauds her action, the star turns on him,
upbraiding him for his hostility to Peter.
Now go on with the story.

what could anybody blame her for in con-
nection with Peter ? She'd magicked him
from an orphan asylum to a palace — she'd
clothed him and fed him and . . .

Katrine found herself stopping short.
She'd fed him and clothed him — and deviled
him. And the kid had taken it, wincing
under her scorn, but eternally game. Never
coming back with a dirty crack, never let-
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faltering in his blind faith . . .

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Bill Naughton had said on that first
memorable day — "The kid took a licking
for you before ever he saw you in person.
It isn't the only licking he'll take, either !"
Katrine, struggling to her feet, realized that
Bill had said a mouthful. Peter had taken a
licking of some sort nearly every hour.
Not with a leather strap — with a stinging
verbal lash!

With slow steps Katrine walked across
the room and looked through the window.
She couldn't see the outside world, it was
so dark. Why — she glanced at a diamond
studded watch — it was eight o'clock. When
had the Count come — and gone? Around
cocktail time, and now it was dark. . . .
Where the dickens was everybody?

Standing at the window, looking out.
Katrine thought of extravagant gifts she
had given chance acquaintances — but she
hadn't let Peter keep a stray kitten. She
thought of offerings that she had accepted
graciously — and later given to her maid,
with raucous laughter. But she hadn't ac-
cepted Peter's flowers, or his love . . . She
thought of kisses that she had bestowed
lightly on passers-by whose names — for the
most part — she had forgotten. But Peter
had never, not in the whole month of his
sojourn in Beverly Hills, received a caress
— although his every gesture mutely begged
for affection.

"By God," said Katrine to herself, "I am
a louse!"

At that exact moment her soul was
born.

# * *

With hurried step, Katrine went to the
door of the drawing room and flung it
open. She was in too much of a rush to
pull the bell cord — she wanted immediate
action.

"I'm going to apologize to the kid !" she
said in her mind, before she let out a shout
that was a direct throwback to her Delancey
Street origin.

"Kito!" she called. "Come here! Step on
it . . ."

Kito, the Japanese servant, came run-
ning. He was followed by three other little
brown men. Katrine met their advance with
ready anger.

"Where's everybody been?" she wanted
to know. "There aren't any lights in the
drawing room, and what about supper ?"

Kito answered. "You have dining out,"
he told her. "You said not eating home.
And no one could go into the drawing
room — "

Katrine laughed. Of course no one could
enter the drawing room when she was lying
on the floor, having hysterics. Her servants
had that much sense, at least. She said —

"Well, I've changed my mind about going
out — I've forgotten where I was putting on
the feed bag, anyway. I'll have a snack
here, and the kid can sit to the table with
me."

The Japanese named Kito drew in his
breath with a little hiss. He knew the in-
tricacies of the situation involving Peter.
He waved a hand and the three followers
disappeared. Then he spoke :

"Little boy gone upstairs," he said, "he no
wanting his supper."

Katrine said : "You mean it's eight
o'clock and the kid hasn't had any food?
What's the big idea?"

Kito shook his head sadly. "I ask," he
said, "but Mr. Peter say no. I theenk he
ees sick."

Katrine looked at the little servant with
level eyes. "I know darn well what you
think," she said. "Go fetch the kid, and I'll
see if I can give him an appetite." She
hesitated — "By the way, did Mr. Naughton
phone ?"

"Nobody phone a-tall," the Japanese told
her, and pattered away.

Katrine sighed. "I suppose I'll have to
apologize to Bill, too, and maybe raise his

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wages," she ruminated. "The woman always
pays in my case, all right !" She started for
a phone booth that was shaped like a sedan
chair, and was just stepping into it when
she was arrested by the sound of small feet
running. She turned, half expecting to face
Peter, but it was her servant, instead.

"Little boy gone," said Kito, breathlessly,
"but all his clothes — even those he wear
today — are in room."

Katrine said, "I don't get you?"

The Japanese was having trouble with
his speech.

"I look in closet and under beds," said
Kito. "Only no Mr. Peter."

Katrine laughed. "Are you being funny?
Kids don't run out naked into the night."

Kito answered — "The blue pants he came
in — he kept 'em. They ore gone with little
boy!"

Katrine heard herself saying, as if in a
daze — "I thought I told you to throw away
those darned orphan asylum overalls." She
added, "Get Mr. Naughton on the phone,
and tell him to come here as fast as he can
make it. I need him . . ."

* * *

Bill Naughton would have found Katrine
in tears — if there'd been any tears left. As
it was, she met him dry-eyed and curiously
calm.

"It's Peter," she told him. "It's fierce!"

"What's the kid done, now?" asked Bill.
"And what am I supposed to do?"

Katrine said, "He's run away."

Bill said, before the impact of the thing
hit him — "He certainly showed good sense."
Then suddenly his voice changed. "Where
in hell did he go ?" snarled Bill. "He's only
a little tyke. Where could he run to?"
Katrine said, and her voice was weary —
"You've got to find out. You've got to bring
him back. He didn't even take the clothes
I bought him."

"Why should he take your filthy clothes ?"
rasped Bill. "And if I find him, why should
I bring him back to you? To be tortured
some more, I suppose ! I hope, for his own
sake, that the kid's been run over or some-
thing."

Katrine had thought she was cried out.
But with ghastly clarity she saw a vision
of Peter — very small and thin, in faded blue
denim — lying in a dusty road, with blood
on his chin. Blood on his chin as it had
been that first day, when he bit his lower

lip to keep from sobbing . . . Before that
vision she dissolved into grief. Her flood
of tears were more, real, even, than the ones
she had shed in the throes . of her previous
hysteria.

"Don't bawl me out," she wept, "the Lord
knows I feel bad enough."

Bill's voice softened. "But not as bad as
you deserve to feel," he told her.

Katrine admitted it. "I know," she said.
"I've treated Peter — and you, too, for that
matter- — like dirt, and this is the pay-off.
But get the kid back, and as God is my
witness, I'll be a good mother to him."

Bill looked at her oddly. And then all at
once he said something under his breath
and took Katrine forcibly into his arms.

"Stop bawling, Katie," he said, "we'll
find the kid. And you're darn tooting you'll
be a good mother to him. You'll be a good
mother if I have to marry you and beat
sense and decency into your dumb head.
Kiss me, honey, and then I'll bring the car
around and we'll start !"

* * *

They hunted valiantly — two people at first
filled with bravado. "A kid that size couldn't
walk very far," they told each other hope-
fully. They asked people all over Holly-
wood — men in newsstands, policemen,
loungers on corners — "Seen a kid with red
hair and freckles and blue overalls?" But
whereas such a child in any other place
might stick out like a sore thumb, in Holly-
wood— accustomed to its variety of make-
up— Peter had been just a small tramp
schooner that passed in the night. Nobody
had seen him or — if they had seen him —
they hadn't noticed or didn't remember.

Katrine and Bill Naughton started to
search at about eight-thirty. Two hours
later Katrine looked ten years older, and
Bill's face was lean and gray.

At eleven-thirty they went to the police
station. But a reporter, leaning on the Ser-
geant's desk, whispered : "That's Katrine
Mollineaux and her publicity man. Another
gag !" And so, though the Sergeant was
sympathetic, the matter was shelved in
favor -of a pickpocket who had been caught
red handed, with somebody's wallet!

Eleven-thirty was only a jump from mid-
night, and midnight became the wee small
hours. And Bill and Katrine, deserting Hol-
lywood, were in the outlying districts.
The bravado was gone now, and fear had

taken its place, and Katrine was remem-
bering a certain child murderer who was
still at large, and Bill was talking about
kidnappers.

"Anyway," Bill said, "Peter isn't in a
hospital. We've taken care of every hospital
on the map." And Katrine said: "I wish to
heaven he was in a hospital. Then I'd be
able to see him — and touch him . . ."

They had called the Home of the Good
Shepherds first off. They called it again, as
the night progressed, but the matron was
a little bored with it all.

"Adopted children sometimes run away
when they're unhappy," she said, "but they
seldom run to us . . ."

Bill hung up the receiver — at that — and
curbed for five minutes without stopping.

And then — as they said in some of
Katrine's own sub-titles — came dawn. And
when she and Bill had given up hope, and
were cruising down an isolated lane, they
saw a heap of something that might have
bsen old rags lying under a hedge, and —
by some miracle — it was Peter. Unharmed,
and fast asleep on the cold ground, with one
hand tucked under a grimy, tear-stained
cheek.

* * *

It was Katrine who reached him first.
She jumped out of the car while it was
still moving and had Peter in her arms
before Bill could jam down his brakes.
She realized how the child's ribs stuck out
a full minute before she realized that this
was the only time she had ever touched
him — except for publicity purposes.

And then Peter woke with a little cry,
and wrenched himself out of her grasp.

"No," he sobbed, "no, no, no . . ."

Katrine's face was as streaked and grimy
as the little boy's, and for the same reason.

"But, Peter," she sobbed in turn, "we've
been hunting for you all night."

The child was clear awake, now. "Why
did you hunt for me ?" he asked. "You don't
like me, an' you don't want me." He waited
a second and gulped. "I didn't take any of
the new clothes, not even the shoes . .
I wore what I came in. I was going
back . . ."

Katrine said, "You were a little sap."
Her voice shook. "I never mean the half
of what I say . . ." She hesitated — "You
heard how your Uncle Bill told me off
once, didn't you? Everybody knowrs I'm a
great joker ..."

The child stared from Katrine to Bill.
Bill moved close, and put out a hand.

"Yeah, feller," he said unsteadily, "Katie
will have her fun. She didn't expect you to
take her seriously, and beat it."

The little boy was on his feet. Katrine
saw, with a shock, that he was indeed
shoeless — that his toes were scratched and
blue with the chill of the weather. All at
once, and without meaning to, she started
to scold. It was a case of tortured nerves
searching for release.

"You ought to be spanked, Peter," she
said. "You'll get your death of cold — and
like as not give it to me, and then they'll
have to hold up production on my film."

Bill breathed, "For crying out loud!" but
Peter — with dawn making glorious the sky
behind him — moved suddenly close to
Katrine. He laid a hand involuntarily on
her arm.

"But how could I give you a cold?" he
asked, sniffling. "I never get that near to

you !"

Katrine was still on her knees. It made
her face on a level with Peter's.

"Well, you will from now on," she raged.
"Honest "to gosh, you make me furious !"
Her arms went around him again, and held
him tight. "I could kill you, Peter," she
wept. "Kiss me, you little nitwit!"

Bill Naughton, with an inarticulate sound,
put his arms around them both . . .
The End

THE CUNEO PRESS, INC., U.S.A.

ustw to be a sej&ty

_said pretty little Barbara B. HERE'S WHAT MADGE EVANS REPLIED

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remove cosmetics

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EVERY GIRL SHOULD
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Screen Stars Use Lux Toilet Soap

The Smart

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Is Sex Slippir
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ith Garbo
t Hon.,

DARLING OF DIXIE! "Meanest when she's loviir most!"

WARNER BROS.

PRESENT

Half angel, half siren
all woman! The screen's
greatest actress comes
to you in the hit picture
of her career ... as the
most exciting heroine
who ever lived and
loved in Dixie!

BETTE DAVIS

THE GREATEST ROMANCE
OF THE SOUTH

HENRY FONDA • GEORGE BRENT • Margaret Lindsay • Donald Crisp • Fay Bainter

RICHARD CROMWELL • HENRY O'NEILL • SPRING BYINGTON

A WILLIAM WYLER PRODUCTION

Screen Play by Clements Ripley,
Abem Finltel and John Huston

• JOHN LITEL

From the Play by Owen Davis, Sr.
Music by Max Steiner

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SCREENLAND

^BOLGER PIDGEON
^CARRILLO £«£4EBSEN

Directed by ROBERT Z. LEONARD • A ROBERT Z. LEONARD Production
Produced by WILLIAM ANTHONY McGUIRE • An M-G-M Picture

Based on the play by David Belasco

ger s °P

SCREENLAND

©C1B 3.688 72

MAR -4 1938

The Smart Screen

azine

Delight Evans, Editor

Elizabeth Wilson, Western Representative

Tom Kennedy, Assistant Editor

Frank J. Carroll, Art Director

Cruelty to
Movie Stars

Cruelty to cinema kings and queens!
Seems incredible, doesn't it? But we
have unearthed facts to prove that
some of the highest-paid, most pam-
pered celebrities of the screen have
to submit to treatment which extras
would resent! Fantastic? Perhaps —
but it's true! And paradoxically it is
those who have made their fabulous
success possible who are to blame for
this treatment of the movie greats!

i Yes, some of the stars themselves
( have complained to us. That's what
; makes our story in the next issue so
important. Quoting one big star: "It's
an outrage, and I refuse to submit to
it any longer!" You'll want to read
this feature to find out just what con-
stitutes cruelty to these much-envied,
high-incomed film darlings. So don't
miss Screenland for May, on sale
April 6th.

April, 1938 Vol. XXXVI. No. 6

EVERY STORY A FEATURE!

The Editor's Page Delight Evans

Even Snakes Have Charm. Fiction Frederick Stowers

Screenland Snoop Liza

English Broken Here! Linn Lambert

The Rise of Regan. Phil Regan Whitney Williams

Is Sex Slipping in Pictures? Benjamin DeCasseres

With Garbo at Home Hettie Grimstead

Joan, Dick & Co. Joan Blondell and Dick Powell. ...Elizabeth Wilson

Secrets of Hollywood's Ace Directors Eileen Creelman

Bashful Baker, Kenny Baker Sidney Valentine

Beauty With the Blues. Dorothy Lamour Mabel Hunt

Reviews of the Best Pictures Delight Evans

What Should Claire Trevor Do? Malcolm H. Oettinger

Screenland Glamor School. Edited by Kay Francis.. 56

Hollywood Fashions 58

Stooge to a Wooden Wit. Edgar Bergen-Charlie McCarthy

Gene Schrott

"Collaborate With a Camera." Dolores Del Rio Ruth Tildesley

17
18
20
22
25
26
28
30
32
34
51
52
54

60
62

SPECIAL ART SECTION:

Fifteen — and Famous! Deanna Durbin. A Home of His Own. Tyrone
Power. The Lane Sisters' Success Story Told in Pictures. The Women in
His (Movie) Life! Gary Cooper — Claudette Colbert, Sigrid Gurie. So
Hollywood Men are the World's Worst Dressers? Candid or Candied?
Clark Gable. Starlets in Paradise. Jane Bryan and Mary Maguire.
Quick, the Candid Camera! The Most Beautiful Still of the Month.

DEPARTMENTS:

Honor Page 6

Tagging the Talkies. Short Reviews 8

Screenland's Crossword Puzzle Alma Talley 10

Inside the Stars' Homes. Constance Bennett Betty Boone 12

Salutes and Snubs. Letters from Readers 14

Here's Hollywood. Screen News Weston East 64

Eyes on the Stars. Beauty Article .....Courtenay Marvin 68

Yours for Loveliness 69

Cover Portrait of Irene Dunne by Marland Stone.

Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President, J. S.
MacD'ermott, Vice President; J. Superior, Secretary and Treasurer. Advertising Offices: 45 West 45th St., New York; 410 North Michigan Avenue, Chicago; 530
W. Sixth St., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful attention but Screenland
assumes no responsibility for their safety. Yearly subscription $1.50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign $2.50.
Changes of address must reach us five weeks in advance of the next issue. Be sure^to give both the old and new address. Entered as second-class matter Novem-
ber 30, 1923, at the Post Office at New York, N. Y. under the act of March 3, UJ79. Additional entry at Chicago, Illinois.

Sonja is sweeping the
country in person as her
third picture, "Happy
Landing," plays the na-
tion's screens. Salute the
Number One Box-Office
Girl with us!

SCREENLAND
Honor Page

AS THE second Scandinavian to
make screen history, Sonja
/ \ Henie with only three motion
pictures to her credit is already more
popular than Garbo ever was. Sonja
appeals alike to the sophisticates and
the sentimentalists. Piquant poetry in
motion, she seems to love to skate as
no actress has ever seemed to enjoy
acting. Sonja personifies youth, gaiety,
health, good humor. She can play her
movie parts with charm and capability
so that the intervals between her ice
ballets do not seem too long. But when
she starts to skate, she captures for the
screen the miracle of effortless grace,
as Garbo captures tragic beauty ; and
so in chalking up the great names_ of
the cinema we must say: "Including
the Scandinavian — and how."

America skates right after Sonja Henie!
She is credited with reviving the passion-
ate interest in ice exercise which has swept
America. On this page, pictures of Sonja
in action; and, at left above, with Don
Ameche in "Happy Landing."

He thought he knew how to tame a Frau,
But Gary's in the Doghouse now... i
YOU BET..." (^OuMl

RICA'S l^NG
,OVE 1EAW IN ™E
COMEDY HIT OF 19381

Adolph Zukor presents

CLAUDETTE COLBERT- GARY COOPER
"BLUEBEARD'S EIGHTH WIFE"

EDWARD EVERETT HORTON • DAVID NIVEN • Elizabeth Patterson • Herman b.ng
Screen Play by Charles Bracket! and Billy Wilder • A Paramount Picture

Based on the Play by Alfred Savoir • English Play Adaptation by Charlton Andrews

Produced and Directed by ERNST LUBITSCH

SCREENLAND

Delightfully contrived English comedy
with Merle Oberon, almost too distractingly
glamorous in her Technicolor glory as the
flirtatious sir! who impersonates a noto-
rious woman to lead on a handsome bar-
rister, Laurence Olivier. The play, lor all
its saucy flavor and individual scenes of
bubbling' humor, is too long. But Merle's
charm and infectious gaiety, and a comedy
part bv Ralph Richardson are a delight.

The Hall- Johnson Choir sings some well-
loved Stephen Foster compositions, and
there the connection with the title ends.
The play is a homey sort of drama, very
much on the sentimental side. Grant
Richards is the Kentucky boy who deserts
a girl from home, Evelyn Venable, for a
city siren, only to learn by a bitter expe-
rience that true happiness for him is with
Evelyn. Well-acted standard' program fare.

A good show, this story-book adventure
in Hong Kong, with a clever — oh, very-
Chinese war lord matching wits and lethal
lore with an English agent. It has color,
mystery laid on thickly as befits an out-
and-out melodrama of the sort. It also pre-
sents two swell actors: Inkijinoff, Russian
character star, as the clever Chinese ; and
Griffith Jones, young juvenile you'll hear
from again, as "the hero. It's a good show.

Not much action, but splendid character
portrayals and an adroitly plotted climax
that gives a final impression of satisfactory
entertainment. Clive Brook is an army of-
ficer falsely accused of cheating at cards.
Slander drives him to the brink of disaster.
Then a clever job of cross-questioning in
court saves him — also it saves the play.
Brook, Ann Todd. Margaretta Scott and
a judiciously selected cast enact the story.

| AGGING

the

TALKIES

Delight Evans' Reviews
on Pages 52-53

Exciting action in war-torn China, with
George Sanders and Dolores Del Rio con-
tinuing the attractive team-work they began
in "Lancer Spy." News shots adroitly
matched into the plot action make for a
vivid and realistic melodrama of adventur-
ers, American and European, as well as
Oriental, with a love romance filling out
the pattern. June Lang and Dick Baldwin
provide a supplementary romance. Suspense.

The accent is on comedy, with a sen-
sational melodramatic device — kidnapping
— motivating a swift pace of sequences in
which an actress gets back into the lime-
light, following a series of poor plays, by
a publicity stunt. Gladys George again
registers, though neither she nor Franchot
Tone have especially good material here.
Frank Morgan, Ted Healy, Mickey Rooney,
and especially Virginia Weidler, stand out.

Here's fun. It .gives you Bob Burns as
a yokel who composes songs in his sleep,
and Jack Oakie, Tin Pan Alley has-been,
getting rich, swiping the tunes Bob never
knows he creates. Swell racket for Jack —
until Bob gets insomnia. Oakie and Bob
are aces ; with Helen Broderick, Milton
Berle, Kenny Baker, Ann Miller and others
excellent. Slap-happy farce, and a laugh
buy that's a bargain even without Bingo.

Wayne Morris back in the fight game.
This is a more modest effort, from pro-
duction and story standpoint, than young
Mr. Morris' two previous pictures, but ii
is a pleasant romance, with Wayne winning
much needed money by becoming a priz.
fighter. He refuses, at first, to fight Bar-
ton McLane, who befriended him, and
whose sister, June Travis, he loves. But,
forced to, he loses the fight but wins June

A giddy concoction of "mistaken identity*'
farce that will keep you giggling for tin-
run of the film. Frank Morgan, rich wid-
ower; Robert Young, impoverished writer:
Florence Rice, Morgan's daughter; Mary
Astor, adventuress who almost captures
the rich Mr. Morgan ; Edna May Oliver,
housekeeper who keeps Morgan out of
trouble, and Reginald Owen, valet to Mor-
gan, make it thoroughly amusing nonsense.

Mystery in Paris. The old stage favorite
becomes effective melodrama as played
here by Anton Walbrook and Ruth Chat-
terton. It is stagey but telling romance of a
thief who tries to sacrifice himself when a
girl entrusted to him is charged with mur-
der. A rich coquette, in love with him, then
takes the stand and "tells all" about his
rendezvous with her, saving him against his
will. Walbrook and Chatterton excellent.

Claire Trevor's versatile acting ability
on display in a film most people will
thoroughly enjoy. It is a study of the
lives of a group of chorus girls, who all
within one year, meet their several Fates
in the form of romance, tragedy, and
career opportunity. Phyllis Brooks. Leah
Ray, Dixie Dunbar, Lynn Bari, Michael
Whalen, Thomas Beck and many others
make up an attractive cast. Entertaining.

LISTERINE treatment shows amazing success

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Do not think for a moment that
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SCREENLAND

WIVES TELL HUSBANDS -

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but the contents are better than evert Try it I

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NAME •

^ADDRESS Shade—- j

SCREENLAND'S

Crossword Puzzle

By Alma Talley

ACROSS
1. He stars in "Damsel in

Distress"
5. Co-star of "A Star Is Born"
10. He plays Marco Polo

14. Co-star in "Mannequin"

15. Signs foretelling the future

16. Medleys
18. Preferably
20. To entreat

22. Bumpkin

23. To

24. Is indebted to

26. She's Mrs. Al Jolson

28. Continent (abbrev.)

29. To piece out

30. Star of "The Divorce of Lady

32. To act

33. A breakfast dish

34. A cupola

36. Enough (poetic)
38. Peruvian plant
40. Part of to be

42. "Three Smart — ."withDeanna

Durbin
44. Flap or tag
46. On the ocean
49. Co-star in "Second

Honeymoon"
51. Star's secretary in "Hollywood

Hotel"

53. Needy

54. An insect

56. Pompous way of walking

57. Myself

58. To inquire

60. Numbered cubes for gambling
62. Pyre

64. To offer, as at an auction

66. Public notice (abbrev.)

68. Colbert's ex, now married to

Sally Blane
70. Cereal

73. "I Met Him — Paris," with

Colbert

74. He's married to Bebe Daniels
''(i. Falsifier

77, Agent for mellowing whiskey

78. Roman emperor

80. She returns to the screen as

"Marie Antoinette"
82. To state

84. Co-star of "Conquest"
86. Doubles

88. Weird

89. A tryout for movie roles

90. Intelligence

91. Thomas Hardy heroine —

famous Pickford role

DOWN

1. He's featured in "Rosalie"

2. Deserted, as a political party

3. Repetition of sound

4. Hollywood blondes use this on

their hair

5. Hepburn's r61e in "Little

Women

6. Units of electrical current

7. Singing star of "Rosalie"

8. Compass point (abbrev.)

9. Former Russian

ruler

10. " — West, Young

Man," a movie

11. Partner

12. River, in Spanisn

13. He's featured in

"Josette"

14. " — Confession."

with Carole

Lombard
17. Male deer
19. The first Rogers-

Astaire co-starring

film

21. Bomb that fails to

explode
25. You and I
27. Cat-call, hoot of

derision

30. To leave out

31. Negative
33. Facility

35. Mythical monsters
37. Sail lightly through
the air

39. Menu

40. High mountain

41. What a cow would
say in a talkie

43. To go ashore

45. She played "Stella Dallas"

47. A shade tree

48. Malt liquor
50. Street

52. Downfall

55. A metal

56. "Continued next week" films
59. Star of "First Lady"

61. Co-star of "Prisoner of Zcnda"

63. Scar in "Having Wonderful

Time"

64. His new one is "Dr. Rhythm"

65. Sluggish, limp

67. The good brother in "In Old

Chicago"
69. Pa's wife

71. Shield, protection

72. A woody plant

74. Parcels of land

75. Inclines the head
77. On the sheltered side
79. Female sandpiper
81. To regret

83. To allow

85. "A Day — The Races"
87. Compass point (abbrev.)

Answer to
Last Month's Puzzle

GAR BOlTE ST

oirjjd'nBo A K I e

D A|OB R I E;N
R U B Vj|P R E

A HER N E

SCREENLAND

DAVID COPPER FIELD

NOTHING SACRED

m
U

(-'■ '

The Best Of
David O. Selznick's
10 Best Pictures

Selznick International presents
MARK TWAIN'S BELOVED CLASSIC

* THE

c/lDVENTURES

TbM Sawyer

IN TECHNICOLOR

DIRECTED BY NORMAN TAUROG RELEASED THRU UNITED ARTISTS

-t

■0

in
O

N
m

m
r-

m
>
C

DANCING LADY * DINNER AT EIGHT

SCREENLAND

nside the
Stars'
Homes

How the screen's smart so-
phisticate, Constance Ben-
nett, entertains — told ex-
clusively to us by the star
Hollywood hostess herself

OUT in Holmby Hills, in a French-
Normandy house half hidden from
the winding boulevard by a tall cedar-
wood hedge, lives Constance Bennett. The
star supervised the decoration of the house
and selected the furniture herself, which
may be the reason it is a perfect back-
ground for the Bennett beauty.

There are crystal chandeliers, dazzling
white walls, immaculate off-white carpets
and gold-colored draperies. There is a
powder room in black and white that is
nearly all mirrors, so that you can stand
before the daintily equipped dressing-table
and see yourself right-side-up and upside-
down, sidewise, back, and front! You have
to be a Constance Bennett to fully ap-
preciate this strain of your personal appear-
ance.

The largest of the specially woven off-
white rugs is in the long gallery that opens
through French windows onto the bricked
terrace beyond which is the green lawn
and the blue tiled swimming pool. In case
you have been bewildered by the powder
room mirrors, you may receive a settling
shoek by glancing into one of the twin
metal-backed mirrors in the gallery, so old
that the reflection is engagingly distorted.

"I picked them up in England," observed
my hostess. "They look as if they should
have a history, but unfortunately I don't

know what it is. You see, it took me three
months to find the things I wanted for the
house, and sometimes I looked for weeks
for a single piece. Again, Fd pick up a
lovely thing in five minutes, if I happened
on exactly what I liked."

We moved on to the living room, an
oblong carpeted in the same special weave,
and dominated by a life-size portrait of
Constance and her adopted son Peter,
painted by Tino Costa. My hostess seated

Posed especially for Screenland is the
intimate glimpse of Constance, at top
of page, pouring tea for her guests.
Above, the hostess entertains.

with

ROLAND YOUNG
JACK WHITING
BARRY MACKAY

Directed by SONNIE HALE • Music & Lyrics by
ARTHUR JOHNSTON and MAURICE SIGLER

^Troduction

Screenland

herself on one of the dainty French sofas
facing each other across the hearth opposite
the portrait, and the amazing likeness of
the unidealized painting was apparent. The
girl inthe portrait is a definite sort of per-
son, with head held high.

"I don't like monotones," she observed,
"so I didn't do any two rooms alike. I
selected the fabrics myself and gave them
to the upholsterers with careful instruc-
tions. In this room I used apricot velvet
for those two chairs, powder blue for those,
and that soft green there. The piano is an
old one, picked up at an auction, but A.
Vic Durando decorated it. He did the val-
ance above the window, too, in the same
delicate Chinese figures."

The screen is decorated with pale rose
and blue flowers, glittering butterflies, birds
and springlike twigs. The murals, five of
them, are done in pastels, and make an
effective background for the dark shining-

Above, the playroom in Constance
Bennett's home, done in knotty pine,
with tables for games, sporting
prints on the wall. At left, exterior
view of the Bennett home, a French-
Normandy house in Holmby Hills.

dining-room furniture, and the elaborate
display of 17th Century silverware.

"I like to give dinners. It's my favorite
mode of entertaining," commented Con-
stance. "I plan the sort of menu that is
perfectly balanced, so that no one feels un-
comfortable afterwards because he has eaten
too many starches, or has a sensation of
hunger because the dishes aren't satisfying.

"I think men prefer foods that are not
too dainty and not too difficult to eat.
Women are easily pleased, for, in Holly-
(Plcase turn to page 71)

nlir movie

o" says t*^ , pictures
r0flianCf Grand ^^Jh the cold
T ds aS important; Tbo« , Ueep
"ba? roughea a g«* s *j scenes.

•OFT MOO* HA**

BOOTS MALLO.RY with ERIC LINDEN in "Here's Flash Casey"-a Grand National sue

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1-1

HER MAJESTY, GARBO

Here it is ! A Salute to the greatest
actress the screen has ever known. Long
after today's favorites have faded into ob-
livion, her name will live on — a symbol of
screen art. My homage to the queen of
them all — Garbo.

Kathryn K. Mastros,

Omaha, Nebr.

HE-MEN AND A HONEY

When you cut the "society stuff" and
get into common everyday English, like
Spencer Tracy and Pat O'Brien, then you
get something. And when you talk of cut-
ting a pretty picture, you're mentioning
Sonja "Skates" Henie. Sonja may look
cool on that ice, but she's hot stuff as a
theatre attraction. p&t Purv;Sj

Spokane, Wash.

COMPOSITE GLAMOR

For a composite that would capture the
beauty of Hollywood beauties, I'd choose:

For Figures : Dorothy Lamour, Joan
Crawford, Rosemary Lane, Bette Davis.
For Hair-dress : Joan Crawford, Claudette
Colbert, Alice Faye ("In Old Chicago"),
Anita Louise. For Eyes : Virginia Bruce,
Dorothy Lamour, Rosalind Russell, Loretta
Young. For Charm : Myrna Loy, Joan
Crawford, Virginia Bruce, Kay Francis.
For Style : Myrna Loy, Joan Crawford,
Bette Davis, Deanna Durbin, Joan Bennett,
Rosemary Lane, Kay Francis.

Bertha Berry,
Detroit, Mich.

"THE LITTLE GUY" IS GREAT

Here's a Salute to Tom Brown, "the
little guy" in "Navy Blue and Gold." Tom

SCREENLAND

Tom Brown, young (he's 25) old-
timer, lights up as he looks ahead to
the bigger opportunities letter writers
are asking Hollywood to give him.

can act — and also play mighty good screen
football. I have seen him play football in
many pictures, and do a good job of it
always. How's about a vote to elect Tom
for better parts in finer films, Hollywood?

Margaret Sterritt,
Staunton, Va.

AMERICA'S SWEETHEART, JR.

Here's wishing Deanna Durbin the best
o'luck in her newest picture. A swell star,
and a girl who is going places. I have seen
Deanna in all her pictures and she is, for
sure, another America's Sweetheart.

Ernest Ray,
Middleboro, Mass.

HANS AND HENIE

What I wonder is : Why doesn't Holly-
wood produce "Hans Brinker, or The
Silver Skates," with Gene Raymond as
Hans and Sonja Henie — of course — as the
feminine lead It would be a beautiful pic-
ture, especially if it were done in color ;

YOU'RE TELLING HOLLYWOOD!

Your ideas about pictures or picture stars
really mean something when you put them on
paper and send them to this department — the
real voice of the people Hollywood must
please, or else. So make up your mind to say
what you think, and become a guest star-re-
porter by sending your thoughts to us in a
letter to the Solutes and Snubs columns. All
your letters are welcome. Address them to:
Letter Dept., SCREEN LAND, 45 West 45th St.,
New York, N. Y.

IMPORTED
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FIELD'S DIAMOND CO. — Dept. SU-510
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and both Sonja and Gene would be per-
fectly cast.

Ruth King,
Cranford, N. J.

CALLING GEORGE RAFT

Many pictures and many stars, but in
my opinion none can equal George Raft.
So what? So more pictures. It would be
like the good old times if George Raft
films were more frequent. And I'm hoping
that happens.

Stella Silko,
Chicago, 111.

OOP! AN ARGUMENT

I want to give three loud rousing cheers
for the most refreshing bit of fun these
optics have witnessed in a twelvemonth.
Its name is "It's Love I'm After." So
bouquets, and don't spare the orchids, to
Leslie Howard, Bette Davis, Eric Blore,
Olivia de Havilland, and Bonita Granville.

N. Maisel,
Brooklyn, N. Y.

When I saw "It's Love I'm After" I
was very much disappointed. It's a shame
to sacrifice two of drama's close friends,
Leslie Howard and Bette Davis, to such
farce. What could Warner Brothers have
been thinking of when they made that

picture? .

Laurence Wiggin,

Tilton, N. H.

GLAD YOU LIKED IT

Screenland deserves a vote of thanks
for the article on the MacDonald-Eddy
"Feud." Personally I couldn't believe that
two such grand people as these stars would
stoop to anvthing so picayune.

Katharine Smith,

Reading, Pa.

FRANKIE DARRO CHAMPION

Frankie Darro's performances in such
pictures as "The Mayor of Hell," "Wild
Boys of the Road" and "Three Kids and
a Queen" will linger long in my memory.
What an actor, that boy! Yet in "Thor-
oughbreds Don't Cry" Frankie's talents
were shunted into the background, and the
spotlight was on Mickey Rooney. Mickey
is good, but that's no reason to subordinate
Frankie Darro.

Elsie Robetson,
Hartford, Conn.

'RAY FOR THE McCREAS

Mr. and Mrs. Joel McCrea happen to be
my favorite actor and actress. Joel is
natural in every part he plays; an actor
who can put over a character and not make
a great fuss about it. His beautiful wife,
Frances Dee, is one of the screen's most
charming actresses.

Evelyn M. Shinn,
Huntington Park, Calif.

HOW MANY WILL AGREE?

I think many girls will agree with me
that Edward Everett Horton is* no longer
the type to play the lover, especially oppo-
site a young girl as in "Oh, Doctor." He
is a good actor, but leave out the Romeo
part, unless the Juliet is an older woman.

Betty Nelson,
White Plains, N. Y.

LA ANNABELLA

Here's a toast to one of the best actresses
on the screen — Annabella. This charming
girl has something entirely different and
refreshing about her ; personality, life,
beauty and the ability to act — all of which
I have seen delightfully demonstrated in her
pictures from England and France.

Pamela McDougall.
Ottawa. Canada

ARE YOU THE TYPE THAT'S

Let one of these lO new face pow-
der colors bring out the dancing
light in your eyes — breathe new
life, new radiance into your skin !

How often have you admired the girl who can
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In every group there seems to be one whose
luck is unlimited ... I know, because I've seen
it happen.... Why not be that lucky type your-
self ? Why not win new confidence, new poise
and a more radiant personality?

But to do all this, and more, you must find
your one and only lucky color. That's why I
want you to try all ten of my glorifying new
face powder shades, .so you will find the one
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For one certain color can breathe new life,
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color that looks almost the same in the box,

MIO-NIHTE SUM

DARK 8SUNETT6

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find your one and only coforJ

I want you to see with your own eyes how
your lucky color can bring out your best
points — help bring you your full measure of
success. That's why I offer to send you all
ten of Lady Esther's flattering face powder
shades free and postpaid. They are my gift
to you.

When they arrive, be sure to try all ten
colors. The very one you might think least
flattering may be the only color that can un-
veil the dancing light in your hair and eyes
. . . the one shade that can make your heart
sing with happiness. That's why I hope you
will send me the coupon now.

(41) |

(You can paste this on a penny postcard)
Lady Esther, 7162 West 65th Street, Chicago, Illinois

I want to find my "lucky" shade of face powder. Please send me your 10 new shades
free and postpaid, also a tube of your Four Purpose Face Cream.

Name

Address _

City-

State .

(If you live in Canada, write Lady Esther, Toronto, Ont. )

Screenland

Tie's so perfectly proper . . ,
She's so properly furious . . .

YOU'LL BE SO DELIGHTED . .
PERFECTLY DELIGHTFUL TOGETHER!

What do you think happens?...
when a butler with un- butler- like
ambitions serves a lady who thinks
he isn't entitled to. . .ambitions!

Bill at his debonair best . . .
and the girl whose breath-
taking beauty and dramatic
fire you merely glimpsed in
"Wings of the Morning". . .
now, in her first American-
made picture, the most glam-
orously exciting personality
ever to grace the screen!

ANNABELLA

<7L Baroness
a^iiiv Sutler

A 20tb Century -lox Picture with
HELEN WESTLEY • HENRY STEPHENSON
JOSEPH SCHILDKRAUT • NIGEL BRUCE
J. EDWARD BROMBERG • LYNN BARI

The year's gayest and brightest romantic-comedy sensation!

Directed by Walter Lang

Associate Producer Raymond Griffith • Screen Play
by Sam Hellman, Lamar Trotti and Kathryn Scola
Based on a play by Ladislaus Bus-Fekete

Darryl F. Zanuck In Charge of Production .

SCREENLAND

An O pen Letter

Louise -Fazenda

T*VEAR LOUISE:
U Here's a cheer for the best sport in pictures.

Now don't look all around Hollywood to see
who I mean. Just glance into your mirror — for once.
(You don't do that very often, thereby proving your-
self the most unique actress in movies.) You'll find
yourself face to face with the best sport, one of the
finest troupers, and the queen of common sense in
cinema circles. And of course you won't believe it.

After years of watching movie stars rising, falling,
skipping and skidding and losing balance generally, I
have come to the conclusion that you are the one and
only Hollywood player to have kept, through those
years, your equilibrium, your sense of humor, and
your job — all at once. Mary Pickford has maintained
the first two, but not the last. Gorgeous Gloria
Swanson — let's skip it. Others, who started with you
when the screen was young, are too sad stories even
to think about. You, though, have kept your chin up
in the face of custard pies, talking pictures, and glamor
cycles; since the old Mack Sennett days you've been
the Patsy of pictures, the butt of slapsticks, the target
for tomatoes, the recipient of rude raspberries — and
you've never lost a laugh or a friend. What other
screen personage can match that record?

And today — you're thrilled at playing the part of a
lady blacksmith in "Swing Your Lady." Now the role
of a lady blacksmith is not every woman's idea of fun.
But it seems to be yours. How you wanted that part!
All through the casting of the picture you listened
wistfully to the plans for it — for you happen to be

Louise Fazenda is news again, since her
hit in "Swing Your Lady" — that's Louise
wrestling with Nat Pendleton in scene at
far left. Top, the real Fazenda. Left,
remember Louise as the Patsy of the old
Mack Sennett comedies?

married to an important executive
at the studio which produced it. But
ask for it? Oh, no. Hope for it? That
was different. And when you got it
you were happier than a new ingenue
from Broadway at being cast as
Cleopatra complete with a new set
of over-size eyelashes and everything.
What started as one of those "Class B" pictures
sneaked up into the hit class and you found yourself
newly famous and sought-after and on a personal ap-
pearance tour. The fact that your naturally attractive
personality was submerged in the brawn and boister-
ousness of that hefty part didn't bother you at all. You
learned to take comedy falls in the old days and you've
never forgotten. Now on these personal appearances
you are facing many picture-goers who don't remem-
ber farther back than the first talkie; but they know
what they like and it's still Fazenda. Perhaps it's be-
cause after years of success in the world's most lux-
urious artistic city you are still down-to-earth. Instead
of a mansion you live on a ranch. You're married to a
producer — but you still take tests for a part. Your
great admiration is still for troupers like Allen Jenkins
and Frank McHugh. In a city of illusion, you're still
real. And when you're asked by big-city reporters,
"To what do you attribute your years of continuous
success on the screen?" you reply humbly, "I'm just
lucky." Long may you wrestle.

Unpredictable Hollywood meets its
match in a girl whose untamed spirit
flames into a halo of glamor. Begin-
ning a new serial that captures the
feverish excitement and violent con-
trasts of life behind studio walls

By Frederick Stowers

PART I

THE small, black haired,
dark skinned electrician
was seated in the Barrett
chair, eating his lunch. An un-
emotional, matter-of-fact fel-
low, he barely glanced up as
Marcia Court entered the
stage. This was little less than
human.

Even in a business where a beautiful woman is no
novelty Marcia rated considerably more than a casual
look. She was a brassy blonde with an excellent figure.
But instead of having womanly grace and the charm of
culture, her movements were feline, like the aggressive
tread of a bold, predatory animal. She somehow conveyed
the same menace and defiance with her body that she
did with her features.

Marcia wasn't exactly beautiful along conventional
lines, perhaps, but she was as subtly alluring as a V ene-
tian blind, and there was a strange fascination in watch-
ing her -long lidded, ice blue eyes, incredibly cold, her
sullen mouth with its drooping corners, and the defiant
set of her well shaped head as she let her faintly con-
temptuous glance wander over the set.

This motion picture set consisted of a grand staircase
which rose majestically from the center of the stage in
a long sweep of stairs to a landing fifteen feet above. On
either side of the landing was an angled archway, these
archways presumably leading to an upper floor.

At the landing, on the backing wall, there was a huge
mirror, on either side of which were marble pedestals
with matched vases filled with roses. At the upper land-
ing the stairs were ten feet in width. As they descended
they broadened out, following the ever widening fan of
the double balustrades, ending at stage level with two

"Please, Walter,"
Anne said. "She
didn't mean to
be rude." Mar-
cia's eyes blazed.
"Oh, yes, I did!"
she said harshly.
''And don't
trouble yourself
to intercede for

large newels, each newel surmounted with a bronze
statuette. The newels were spaced twenty feet apart.

This staircase set was the kind for which the motion
picture studios were famous, and down which all stars
fondly made an entrance in at least one picture at some
time or another. The set was dressed and ready to shoot,
in that it had been swept clean and the staircase and
stage were free from any obstruction. A sound camera
was set up and sun arcs and broads were already focused
on the stairway, but were not now lighted. The stage was
dark with the exception of a single utility lamp — a two
hundred watt globe mounted atop an eight foot upright
pipe, which was imbedded in (Please turn to page 94)

SCREENLAND

When million dollar movie stars act like
babies, it means they've gone game-mad.
Come along to topflight parties with our
Snoop and see what goes on

By The Snoop

(Otherwise Liza)

Sn oop Says:

Hollywood is
in its Second
Childhood !

Stars even play The Game between scenes at
the studios. Here's Douglas Fairbanks, Jr., left,
acting out "What light through yonder window
breaks?" while Irene Dunne, director Tay Gar-
nett, and playwright Allan Scott try to guess, on
the set of "Joy of Loving." Below, Joan Blondell
is acting "Give me liberty or give me death"
while Ruth Puresley, Joan's pal, sister Gloria
Blondell, and Marelc Windheim look on.

BEING a collector of sorts — and I have collected quite
a few things in my life besides dust — I once went
in for collecting old phonograph records from
second-hand stores. Among my graphophonia was a little
number called "When Grown Up Ladies Act Like
Babies" which I picked up in the Bronx and which had
a gay lilting tune with such sly innuendo that I am certain
it must have been considered very naughty in its day. I
used to play it by the hour for anyone who would drop
in for a snort of bath-tub gin with an orange juice chaser.

Now I hadn't thought of my little pet, which was
eventually crushed by a guest who sat down too quickly,
for years, until one night last winter I walked into the
rather formal Bel-Air home of Edith and Bill Goetz —
he's a top-flight production executive — and saw very
nicely dressed and seemingly intelligent people screaming
and making faces at other people who were assuming
the most amazing postures. To my utter bafflement I saw
Claudette Colbert sucking her thumb greedily as she
swayed from side to side, Kay Francis growling from
under the piano, Marlene Dietrich all unmindful of her
lame and her emeralds crawling on her stomach, and

dignified Norma Shearer galloping about on an imag-
inary horse and grinning like a prize idiot.

"Have they gone nuts?" I asked. "Yes — and no," said
Gary Cooper. "They're playing 'The Game.' " (I later
discovered that Claudette was doing "On the good ship
Lollypop," Kay Francis was acting out "Androcles and
the Lion," and Marlene Dietrich was giving her all to
"The early bird catches the worm," while Norma Shearer
acted with fervor "Buck Benny rides again.")

Well, when I saw these adult movie stars cutting up
capers like kiddies from the kindergarten I immediately
grabbed "When Grown Up Ladies Act Like Babies" off
one of the many vacant shelves of what I optimistically
call my mind and presented
it as the theme song of
Game-Mad Hollywood. I'm
sure Mr. Cole Porter
couldn't do better.

Hollywood hasn't been so
cute and childish since
Mary Pickford tossed her
pretty curls right in Amer-
ica's face. And that was a
long time ago. Since then
Hollywood has grown up
and pottered about in such
adult things as societies
for pro-this and anti-that,
guilds and strikes, Gaugin
and Schiaparelli and Ballet
Russe. But the softening,
it seems, has set in, and

Edward Arnold and John McCormack, noted
singer, perform "The birdies that sing in the
spring, tra-la" at a Hollywood party, left.
That's Ernst Lubitsch, above, cutting capers
at the Frank Chapmans' (Gladys Swarth-
out) cocktail party. From left to right: John
Boles, Robert Montgomery, Lubitsch, Gladys
and her husband, Frank Chapman.

Hollywood today is definitely in the
throes of its second childhood. And
what a Baby Snooks it is !

"The Game" is the cause of it all.
Out of the East it came shagging
last winter, close on the heels of
"The Big Apple," and since then
there has been no rest for the weary,
and nothing but sheer torture for the
shy. Now you'd think, wouldn't you,
that movie stars who have to act
from nine to six every day at the
studio in front of a camera would
be pretty fed up with acting by the time the clay's work
is over, and would be perfectly content to swallow a
spoonful of puree of spinach and fall into bed. That used
to be the case, but no longer. Now they can hardly wait
to get home, take their make-up off, and start acting all
over again for that cursed "Game." In fact directors are
complaining bitterly that their stars take far more interest
in their acting in the Countess di Frasso's drawing-room
than they do on Stage 9.

Time was when I rather looked forward to a dinner
in a star's home, a leisurely, lovely dinner with nothing
more upsetting than the usual clash over whether Miriam
Hopkins or Katharine Hepburn should play Scarlclt
'O'Hara, followed by a gentle game of bridge or ping
pong, or if worst comes to worst, conversation. And
home in bed by twelve. But, alas, that was ante-"Game"
days. Apostles of "The Game" think nothing of staying
up until five in the morning. And rare indeed is the eve-
ning, or rather morning, that I leave on speaking terms
with anyone in the part}- — and certainly not with the
star who has branded my unique type of acting as
"lousy." Well then, how would you do "The Rise and
Fall of Susan Lennox" ?

If you are planning a trip to Hollywood any time soon
I advise you to get a general idea of "The Game," else
you'll be the Alice Adams of Beverly Hills. In case you
have lived a sheltered life and never had the Spanish
Inquisition' thrust down your throat, "The Game" goes
something like this, though of course the rules change
with the various groups of players. Two or more teams
are chosen, which may be composed of from three to ten
people each, and each team has a captain whose chief
duty it is to give out the {Please turn to page 77)

Accents come with the imported glamor every
Hollywood studio now boasts. We give you gra
glimpses of stars who add exotic color to film
cosmopolitan complexion

roKen

ere!

By Linn Lambert

BEING a quaint Bostonian, with what was
fondly believed to be a fairly adequate
vocabulary, doesn't qualify one to be a
magazine writer in Hollywood any more. One
must now speak all languages, including the
Scandinavian and double-talk,
to cope with the influx of
foreign talent, which is keep-
ing Hollywood in that w.k.
state of flux. Not being too
bright to begin with, and hav-
ing lost what little perspec-
tive I had, from living too
close to Hollywood Boule-
vard, the Situation had to
creep up on me and come
right into my parlor, before
I discovered that the Cinema
had gone Continental.

When I found myself fran-
tically dialling for a friend
who spoke Czech, in order to
make an impromptu cocktail
party more comfortable for
my guests, came the Realiza-
tion that perhaps there was
some significance to some-
thing. Then, when I began to
hear people at cozy neighbor-
hood snack bars pondering
why all gin-slings over the
third were not on the house
as they were at Raffles', I be-
came curious as to the reason
behind this immigration de-
luxe. After much cogitation,
I herewith submit my find-
ings:

European plan : We have
Lull Deste, commonly called
"Dynamite Deste," because
she likes to use her days off
to dynamite trees and stuff
on her ranch. A Viennese
Venus who "Married An

Danielle Darrieux, from France,
above; a bit self-conscious about
her English in casual conversation,
but letter-perfect before the cam-
eras. Left, from Vienna comes Rose
Stradner, whose Hollywood debut
was with Edward G. Robinson in
"The Last Gangster."

Artist" — John Boles, cinema-
tically speaking, of course.
Look her over yourself — Cohn
of Columbia brought her in.

Paramount gives us Isa
Miranda and Franciska Gaal.
Eesa came into pictures the
hard way, via Italy. Modelling,
stenography, extra work, and
so on. But she arrived in Hol-
lywood with an entourage and
many trunks, plus an enorm-
ous automobile. A brown-eyed
blonde, and a very tasty mor-
sel, indeed.

Franciska is another bit of
Hungary. You'll be able to
judge her for yourself when
you see her in "The Buc-
caneer." A fat assignment for
her first Hollywood role, but
she deserves it, as you'll agree.
Resembling Hayes, Pickford,
and Bergner, she's individual
enough withal to remain just

that Gaal girl, and about as individualistic as they come.

By now, you must know that Universale mite for the
movies melange is Danielle Darrieux. If you don't, you've
been living on one of those Outer Islands. For her pic-
tures are everywhere, and in each one she looks different.
She has the most mobile and photogenic face these prying
eyes have ever seen. Small mouth and usual eyes one
moment. Large, gamine mouth and wide-open doll's eyes
the next. She believes her eyes are not attractive, and
insists upon making them up herself, but I don't think
you'll agreee with her. Beauty, brains, love and success
in her chosen field, has our Danielle. V ery much in love
with her writer-husband, Monsieur Decoin, she is utterly
content with her simple California routine. Plunge in the
pool, breakfast, walk in the hills with her husband;
luncheon, English lesson, and perhaps to the studio for
tests. She appreciates all she has, wherein she's very
smart. Takes her work seriously but without fuss. Is
very business-like at the studio. While a bit self-conscious

about her English in casual conversation, when she's
before the camera she's letter perfect, with no effort.
When she's through, -she shrugs her shoulders, implying
"That's That," and goes on home. Lovely legs. Wears
boy's bicycling suits around the house. Knickers and
fitted jacket, with brightly colored jerseys underneath.
For comfort only. And there's no pretense about it, for
she wears plain brown 98^: sneakers and no sox.

Fernand Gravet is the Warner Wow. Boyish, sophis-
ticated, thoroughly charming. Working in "Fool's For
Scandal" with Lombard, and I mean working, he con-
stantly studied his script when not actually in a scene.
Joined Carole in her pranks occasionally, but his heart
wasn't in it. You'll read it many times, but it is none the
less true that his role in "The King and the Chorus
Girl" is very typical of the real Gravet.

M. G. M. has so many imports that they fill a hotel.

Fernand Gravel,
above, whose
boyish yet sophis-
ticated charm
won him instant
popularity with
American audi-
ences. Far right,
Annabella, also
from Paris, makes
her Hollywood
star debut with
William Powell.
Right, llona Mas-
sey, blonde sing-
ing star from
Vienna.

It was especially discouraging when the manager, after
hearing her sing once, cautioned her to keep quiet there-
after if she wished to keep her fine joh in the chorus.
But she was a good little girl and kept up her lessons, and
finally Fate Stepped In, aided hy a little gumption on
Ilona's part. She up and went to Vienna, and was event-
ually given unimportant roles in one of the smaller the-
atres there, and doubled as the understudy to the leading
lady. Came the fateful night when the poor leading lady
just couldn't make it, and of course the manager of the
Vienna State Opera House was in the audience. From
there on, it was a cinch. Even the night Ilona made her
debut as an opera-singer couldn't have been staged better
with the aid of pumpkins, for Benjamin Thau of M. G. M.
was in the audience. Signed, sealed, and delivered to
J lollywood, and by now you've probably seen her fragile
blonde beauty in "Rosalie" with Kelson Fddy.

The other M. G. M. comer, had a bit of a start on
Ilona, geographically speaking, in that she got to Vienna
the easy way — she was born there. But it evens up, on
account of Rose didn't assert herself until she was nine-
teen. Then she went directly to the Head Alan, A Tax
Reinhardt, and asked for an audition. Then came a Five-
Year Plan of plain, unadulterated hard work, during
which time her great versatility was displayed, appear-
ing as she did in a variety of important stage plays. Those
busy motion picture talent scouts finally caught up with
her, and M. G. M. signed
her immediately, after see-
ing her portraits. Her first
role in Hollywood must
have taken a bit of hasty
readjustment, as right away
she had to play cops 'n rob-
(Please turn to page 72)

But literally. They keep them
in a hotel in Culver City (and
a hotel that many of you
readers would disdain) , where
they live anything but glamor-
ously. First off, they are given
a six-weeks layoff, just for
nothing. Then when they
start working, they are given
about a hundred a week.

So far, only two have
emerged — Rose Stradner and
Ilona Massey. Hedy LeMarr
(Keisler), has joined this
group, but no one knows just what will happen to this
really attractive girl. She has very odd eyes ; the smudgy
kind. Goes about quietly, trying not to be noticed. One
feels sorry for her. The exotic Tilly Losch also calls
M. G. M. her home.

Ilona Massey is another variation on the Cinderella
theme. Born in Budapest of Hungarian parents, her only
equipment for life, beside her beauty, was her ability to
"sew a fine seam," and any man in the street will tell
you that never got a girl very far. As she bowed her
blonde head over her work, however, she dreamed the
age-old dream, and saw herself as a glittering opera-
singer, acclaimed by the world. For a while the obstacles
to this shining goal seemed insurmountable, but she
finally succeeded in gaining a toe-hold in the chorus.
However, supporting her parents on the meager twelve
dollars a month did not leave much time nor energy for
those roseate dreams.

Italy's gift to the film
colony's foreign legion
is Isa Miranda, top of
page. Brown-eyed,
blonde, Isa arrived in
Hollywood with an en-
tourage and many
trunks, plus an enormous
automobile. Above,
Francis ka Gaal, De-
Mille's new star, another
Viennese beauty. Right,
Hedy LeMarr (Keisler),
star of "Ecstasy," the
foreign film that had
such ce n so r t r o u b I e s
here, is another star
Hollywood import.

se o

REGAN

He let Hollywood guess wrong about him!
Now he's a success, and still a happy
husband and a proud father

fE'RE teaching our children, my wife and I,
that it's only through luck that we're even in
California — and that their father is on the
screen, at all."

No, it's no sage philosopher speaking. Phil Regan was
telling how he felt about the success he's scored recently,
in such films as "The Hit Parade" and "Manhattan
"Merry-Go-Round." And how he and his wife are taking
it.

"We don't live in Hollywood, so a good many of our
neighbors don't even know I'm in pictures. We're trying
to impress on the kids they're no different from any
others, whose fathers might be bookkeepers or insurance
salesmen. If we can stress that fact sufficiently, so. that
they'll grow up with no enlarged opinion of their own
importance — all the kids at school, of course, know
they're the sons and daughters of a movie actor — we
figure we've done our part and accomplished a victory."

While Regan smiled
and sang his way to
screen success, his
happy family life
went on undisturbed.
See him, at far left,
first with his two
sons, then with his
two daughters. Left,
with Dorothy Mc-
Nulty in a scene
from a new Republic
picture.

In certain respects, Phil Regan is the most un-Holly-
wood person ever to arrive in the film capital. There are
other actors — plenty of 'em — whom you'd never take to
be world-famous celebrities when you meet them, but this
young singing star, father of four by the time he was
twenty-four, is in a class by himself. His viewpoint is
somewhat unique in the world's most glamorous city.

If you remember your news, you'll recall that it wasn't
so long ago that Hollywood learned Phil Regan was
married — far less the father of two sons and as many
daughters. His name had been linked romantically with
this cinema-lovely and that, he had been regarded one
of Hollywood's most eligible young bachelors — and it
was a jarring shock when the story finally broke that
this good-looking singer, whose voice carried an appeal
most women found irresistible, had been happily wed for
nearly fourteen years !

It was through no machination or design of Phil's,
though, that the world failed to know he was a loving hus-
band and parent. Phil is partic- (Please turn to page 74)

ppmg

EX ! It's all goulash !"

"Right! Sex never made a picture!"
"No sex, no picture! — get me?"
"Sex is a wash-out! — it isn't even hereditary any
longer."

"It's big box-office, always, I tell you !"
And so the storm raged over the long table in the
dining-room of the Park avenue penthouse of our hostess,

Daring deductions on burning ques-
tion, by noted author! Do you agree?

By Benjamin DeCasseres

a scenario writer. She was entertaining a group of direc-
tors, picture actors, actresses and critics.

They had all come East simultaneously, as it were,
to go on location on 52d Street between Fifth and Sixth
avenues. The critics were, as usual, listening and drink-
ing. Champagne was being served. Cocktails and a still
white wine had preceded. So the question had now set-
tled itself down to: "Is the sex-stuff losing its grip in
pictures, or isn't it? — and why not?"

"It's all over-estimated, I tell you," howled a director
whose shirt was about to part with a gold shirt-button.
"The greatest box-office pullers have not depended on
the sex angle to get over."

"Show us," demanded a handsome new female star.
"In the old days," said the director, lifting his glass
for the fourth filling, "there were 'The Four Horsemen
of the Apocalypse' and 'Humoresque,' for instance."

"And Charlie Chaplin, and Doug and Mary— they
didn't play to sex at all," broke in an art director, who
had just returned from a little interior decorating in
Leon and Eddie's.

Does Olivia de Hav-
illand always remind
you of Sunday ?
What of Claudette
Colbert, below, with
those Mediterranean
eyes, and storms and
smiles always brew-
er lips?

Pict

ures .'

"Well, today," continued the director, while the hostess
gave orders for more iced fire-buckets, "we have, off-
hand, such pictures as 'Captains Courageous,' 'The Life
of Emile Zola,' 'The Informer,' 'Dr. Pasteur,' 'The House
of Rothschild,' 'The Good Earth'— where sex appeal is
almost nil."

"Why do you say nil when you mean nertsf" asked
a "gentleman friend" of the hostess, whom I put down
as a Santa Barbara saloonkeeper.

This somehow set all tongues wagging at once. Gen-
eral bombardment, out of which I picked up on my
high-powered mental antennae the following:

"You tell me that Wallace Beery has male It! — you
sap !"

"How do you explain that two of the biggest, Janet
Gaynor and Bette Davis, do not succeed on sex-appeal?
Ha!"

"Yeah? But what of Claudette Colbert — those Mediter-
ranean eyes! Storms and smiles always brewing on her
lips ! Lure, promise, moonlight and pretzels !"

"Purple mush!"

"Take the war pictures — sex doesn't put them over."

"Pat O'Brien draws the women? — oh, megod !"

"Dietrich! Dietrich! — you tell me she isn't the whole
show? I say she is. She's It deluxe. Forehead of Minerva
(yep, fill it up again), chiseled by Rodin, somno-somno-
lently beautiful — get me? Reticent, Garden of Eden
stuff—"

"Then there's D.S.M."

"Whaz that?"

"Destructive sex magnetism. Dangerous but big box

office. It killed Barbara La Mar, Wally Reid and Rudy
Valentino. They awakened terrific sex vibrations that
returned to them multiplied a million-fold. They were
literally consumed by their men and women adorers."

"Bah! you're getting goofy. But who's got any of that
D. S. M., as you call it, today ?"

"I wouldn't dare say. But there are some."

"You don't mean Edna May Oliver?"

"Edna is one of the finest and most wholesome
actresses on the screen. I won't hear her joked about."

"Pardon me. Well, where do you place Edward
Everett Horton — any D. S. M. there?"

"Miriam Hopkins — beautiful blonde orchid — ."

"There's no sex appeal in Mickey Mouse and the
Silly Symphonies — look how they get over!"

"Critics? their organ of criticism is in their stomachs.
The great motion picture critic does not yet live."

"What d'ye mean by sex appeal, anyhow?"

"Juliet, Isolde, Cleopatra, Carmen, Thais and Wally
Beery, you cluck."

Our hostess: "Bring some more iced fire-buckets,
James."

"Fred Astaire had so little sex appeal that one com-
pany turned him down. Well, (Please turn to page 70)

O YOU know what I miss the
wood ? Smorgasbord and snow !"

Garbo gave her low deep laugh and looked
round at the icy Swedish landscape, her golden head
bare in the bitter wind, her sea-blue eyes sparkling with
happiness. Slender as one of the frosted birches she stood
there like a triumphant Northern princess in her black
cloth coat, severely tailored without any touch of fur,
;i white silk scarf swathed carelessly round her throat.
In tier arms she held the great sheaf of flowers presented
to her by the Captain of the "Gripsholm" before she left
his ship to tread on her native soil again.

When Garbo goes home she is always treated
as the truly great lady she is and she responds
with gracious charm. She travelled as "Mr.
Jonas Emersen" but a message of welcome and
polite entreaty to the stateroom brought her out
to smilingly acknowledge her identity and talk
to reporters and pose for photographers with-
out hesitation. Gaily and courteously she an-
swered the hail of questions — this lovely star
whom Hollywood finds so shy and secretive!

"No, of course there is no Mr. Emersen.
Please do not credit me with still another ro-
mance. I assure you I am not going to marry
anybody at present. Do I think that marriage
and film work can be successfully combined?
I have never considered it but I imagine it
would depend entirely on the person one mar-
ried. No, I am not going to make a film in
Europe. I have come for a holiday and to see
my family, nothing else. Yes, I would probably

mOSt III Holly- Arriving at Gothenburg, below,

Garbo gaily answered reporters
questions, posed for photographers.
Contrary to published stories pic-
turing her as depressed and pessi-
mistic, Screenland gives you the
Gorbo her family and friends in
Sweden know.

Acme

act in a Swedish film
if I ceased working in
America but that will not
be yet a while. Yes, I
have seen man)' of the English films and I think
the historical ones are by far the best. 'Rem-
brandt' and 'Fire Over England' were excellent.
Flora Robson was magnificent as old Queen
Elisabeth. I would have been very proud to give
such a performance myself. No, I am not going
to play Joan of Arc. Has that silly story got to
Europe too? It is so idiotic!

"I am tired of period pictures and I want to
do something modern now. My next film is to
be a comedy, as I expect you know. Will I be
allowed to keep my lover in it ? Certainly I am
hoping so! Don't you think it is high time they
let me end a picture happily with a kiss ? I do.
I seem to have lost so many attractive men in
the final scenes !"

It was nearly an hour later when Garbo took
smiling farewell and entered the train at Gothen-
burg docks for the last stage of her long journey
to her country home at Haarby near Stockholm.
This is the first time Garbo has seen it though
she sent the money from California so that her
mother and brother could buy the little Swedish
manor-house set in its farmlands and groves of
larches, birches, firs, and summer poplars. It is
typical of the land, a low cream-walled house
with its wooden shutters and pointed roof gables
picked out with touches of glowing color, green
and scarlet and turquoise blue. When Garbo
. came home the snow-covered drive from the road
to the arching door was illuminated by dozens
of torches and the curtains of every window
were drawn back so that the lamps could shine
brightly out.

First exclusive glimpse of Greta as she loafs
and plays on vacation in her native land

By Hettie Crimstead

The Garbo that Hollywood knows is not the Garbo who
chatters and laughs on vacation in her homeland. At
right above, view of the comfortable, unpretentious
house which Greta calls home in her beloved Sweden.

Mrs. Gustafsson ar-
ranged that traditional
Swedish welcome for her
daughter. She is very like
Greta herself, tall and
straight and strong, habitually serious yet with an under
vein of bubbling humor, and tremendously hard-working.
Both are characteristic of their stately country where
winter lasts from November till May and so slows down
the tempo of daily life to a quiet pace incredible to those
who have never experienced it.

Born to this almost Arctic weather, Garbo finds it
natural. Early in the morning she goes out with her
farmer brother in thick leather blouse over two of the
patterned woollen sweaters her mother has knitted for
her, with heavy trousers and the stout nailed boots so
necessary to tread the frozen ground. She visits the cows
deep in their heated shippons and looks at the pigs in
their tiled quarters and tramps across the wood where
the servant girl is gathering fallen branches for the
stove. The sun shines strongly and the air is like iced
champagne.

For the midday meal Mrs. Gustafsson prepares the
smorgasbord her daughter misses in California, dishes
containing every kind of delicious hors d'oeuvre with the
largest one of smoked herrings, for Greta adores those.
Often the main course is the broiled ham she also likes
and then there is rye bread and cheese made from goats
milk. They all drink laager beer, always leaving a little
in the tall glasses to insure continued prosperity for the
household.

Garbo's home is simply furnished in the national man-
ner with light birchwood chairs and tables, striped linens
and vivid pottery and elaborately patterned woollen rugs.
The big kitchen is the family room where meals are eaten
and sewing done — Garbo herself can embroider ex-
quisitely. The parlor has a couple of rocking chairs and
some high-backed couches and a sideboard from which
afternoon coffee is served when visitors call.

Garbo's own room is plain and bare, her narrow bed
of painted wood with a chest to match and long cup-
boards for her clothes. She has a shelf of favorite books
and a growing plant in a bowl (Please turn to page 80)

oan

Dick

IT WAS last September, and a Thursday night, and

Dick Powell and his little bride of a year were
| tearing into a frugal meal on the kitchen table in
the Powell Beverly Hills mansion. Cook's night out
and every star in town was at the Trocadero guzzling
filet mignons and dancing the Big Apple — but not
the Powells, they were in the midst of a "recession."
Once a month the Powells are struck by an economy
wave, which no one takes seriously except them-
selves, and which invariably winds up in a mag-
nificent splurge. The last recession came to an abrupt
end when Dick bought a sixty-five foot yacht, and
the time before that it was a new silver fox cape for
Joan with so many foxes that it had to be thinned
out before you could find Joan.

"It costs me eleven hundred dollars a week just to
run this house," said Dick, devouring a
fried egg and several slivers of bacon ex-
quisitely scorched by the beautifully niani-
cured hands of his winsome wile. "That's
outrageous, Joanie. We'll end up on the
poor farm. Now if we could only sell this
place and get a small apartment — "

"I'll look for apartments to-
morrow," said Joan, crunching on
bacon and eyeing Dick's fast dis-
appearing egg very wistfully. "We
could manage with two rooms and
a kitchenette. But what would we
do with all this furniture? Why
don't you sell the boat instead of
the house? It makes me seasick
anyway."

"But my darling little bride,
I've just bought the Galatea," said
Dick, "it wouldn't be practical to
sell it so soon. But that's an idea
— we'll sell the house and live
on the boat ! That will save us a
thousand dollars a week ! Wouldn't
you like that?"

"No," said Joan, "I think it
would be better to change the
laundryman. I'm sure he's over-
charging us for sheets. Dick, dear,
did you enjoy the egg?"

"Uh-huh, it was delicious.
Why?"

"It was the only egg we had,"
<aid Joan rising to the drama of
the occasion. "And I wanted it
awfully. But I gave it to you. Oh,
don't mind about me ! I can starve.
Xo one will care if I pass away

"Mama Joan" may not look the domestic
type, above, but she's one of Hollywood's
most devoted mothers. Look at Normie, left,
who wants to know whether his new baby
sister or brother is coming in an auto or a
truck. Either a sister or a brother will suit
Normie. "Anysing that's real," he says.

from hunger ! It's a man's world —
it's—"

"Oh, my wonderful little wife ! You
did all that for me! Honey, you go
right upstairs and put on your best
clothes and we'll go to the Trocadero
and simply stuff ourselves with squab."

The "recession" was over once
more and the Powells were just about
to step out for a gay evening when the
telephone started ringing. First it was
Walter W inchell who wanted to know
if it was true that they were going to
have a baby. "No," said Joan. Then
Louella Pa'rsons called. "No," said
Joan. Then came calls in quick suc-
cession from every columnist and air
commentator in town. "No," said
Joan. "But what's it all about?" said
Dick frankly amazed.

They didn't have to wonder long
for in "the midst of all the excitement

Proud Papa Powell says: "When I be-
come a family man, I believe in having
a family." Dick has legally adopted
Joan's little son — shown in a new picture
at right when Normie visited his mother
on the set at Columbia Studios.

— Mrs. Powell had forgotten both
the egg and the squab — the door-
bell rang and there on the thres-
hold was Miss So-and-So, Joan's
three-year-old son's teacher from
his private school.

"Oh, Mrs. Powell," the dear
lady beamed and blushed, "I was
driving by and I just couldn't re-
sist dropping in to tell you how

happy I am for you. Normie told us at the school today.
Isn't it just wonderful !"

"Normie told you what?" said Joan, a light beginning
to break.

"He said he was going to have a little baby sister very
soon now !"

"But it isn't true," said Joan. "Why should he say
anything like that? Oh, I know, I know now. Dick,
remember the baby shower that I had for Lorena Danker
last week? Well, Normie came in to see the presents and
Lorena asked him if he wanted a little baby sister! I
won't ever need a press agent, it seems, my own son will
look after my publicity !"

First and only exclusive family inter-
view with Papa Dick and Mama Joan
Powell, who "tell all" in their own gay
way. (With asides by son Normie.)

By Elizabeth Wilson

"But Joanie," said Dick several hours later when
peace and quiet had returned to Beverly Hills, "we
ought not to let Normie down. If he says it's so, it
ought to be so, don't you think?" And Joan didn't
say, "No." After all, you can't make a fibber out of
your own son.

So comes June Dick Powell will become a real
bona fide Papa. Legally, he is already a father for in
January he adopted the irrepressible Normie. "When
I do things," said Dick with a grin, "I believe in
doing them well. When I become a family man, I
believe in having a family." If the Powell offspring-
is a girl it will be named Patricia Powell because
Joan likes the name Patricia, and if it is a boy it
will be named David Blondell Powell, after the fam-
ous minstrel who in the time of Richard the Lion-
Hearted started the Blondells on their song-and-
dance career.

The sporting Powells claim that they don't really
care whether it's a boy or a girl. "Either — or both —
will make me the happiest man in the world," said

Dick. "Will you be disap-
pointed if it's a girl ?" someone
asked Joan. "Not at all," said
Joan, "I'll just have to read
another chapter in WVhat
Every Parent Should Know.' "
Normie, however, expressed it
the sweetest. When Joan asked
him if he'd rather the new baby
be a little sister or a little
brother he quickly said, "Any-
sing that's real."

For a month or six weeks
after that Normie said no more
about the expected addition to
the family and his parents de-
cided that in his busy life of
going to school, delivering ice,
dissecting the Streamline Lim-
ited and calling on Sandra
Burns he had completely for-
gotten about the baby. So
imagine Joan's surprise one
morning when he walked into
her dressing-room where she
was putting on make-up for
her role of an imperfect wife in
Columbia's "There's Always A Woman" and without
any preliminaries demanded, rather breathlessly, "Where
are you going to get the baby ? Who's going to make it ?
Is my baby sister or baby brother coming in an auto-
mobile or a truck?"

"I couldn't think of a thing to say," confessed Joan.
"So I just pretended that I had gotten mascara into my
eye and rushed into the bathroom where I keep all seven
volumes of 'What Every Parent Should Know.' But I
couldn't find the answer to Normie's question any place.
I'll just hide out for a while, I thought, and he'll go back
to his room to play."

But not Mr. Norman Powell. (Continued on page 88)

Where would Hol-
lywood be without
the creative genius
of these Napoleons
of the movie set?
Lubitsch gets what
he wants, even if
it's a humorous
scene in which
Gary Cooper
spanks glamorous
Colbert, as shown
in center above.
And, above, Mer-
vyn LeRoy, telling
Carole Lombard
how he wants a
scene played. Left,
George Cukor, who
told Robert Taylor,
no less, how to
make love to
Garbo. Below —
Cecil B. DeMille
tliey call him the
Star Maker) and
Franciska Goal.

GEORGE CUKOR won't mind it now. Perhaps he
w ouldn't have minded then, even before his name
was associated with some of the screen's biggest
hits. He was speaking for publication then, speaking out
of experience gleaned in years of directing for stage as
well as screen. It's no use getting people into trouble
needlessly, so I didn't print what he had to say about
some of his stars.

He was talking of temperament, and of the reasons

SECRETS

of Hollywood s
Ace Di rectors

why he was usually handed assignments avoided by other
directors. He got along with temperamental stars, with
the ones no one else wanted to direct, he declared, and
the reason was simple. He expected them to be dis-
agreeable. He was prepared for explosions and tantrums.
He would have been surprised if there had been none.
Therefore neither he nor his actors were at all dismayed.

Cukor is one of those directors who prove all over
again what every newspaperman knows, that few stars
are glamorous in real life, that the directors are the ones
who make good copy. And it was Cukor whose remarks
explain some of this. A well brought up person, espe-
cially a young girl carefully educated, seldom becomes
anything of an actress, he insisted. She is taught to con-
trol her nerves. She disciplines her emotions. She suffers
rather than cause a scene.

This director prefers them out of the gutter ! Frankly
and cheerfully he'll admit this. The guttersnipe, to para-
phrase his much more forceful and quite unprintable
term, does not hesitate to scream and stamp her foot.

Strictly personal opinions of the men behind
the megaphones. They make the films; stars
do their bidding. They know, and can
explain the glamor game

By Eileen Creelman

Angered, she will throw a lamp or scratch a rival's face.
She doesn't hesitate too long about an embrace. This
makes for emotion and pliability in acting, according to
one director anyway, as well for nervous tension in
real life.

All this is a little tough on their interviewer. The nicer
the actor, the more difficult to write about him. Irene
Dunne, intelligent and friendly, hates to talk about her-
self. She gets slightly embarrassed, tries to be non-
commital about everything. She is cautious about saying
anything that might be thought a criticism of anyone else.
George Cukor, if he ever directed Irene Dunne, might
change his opinion about actresses.

The directors are easier. They don't have to pose like
movie heroes, trying to keep up the glamor their press
agents have told them about. They don't, like Marlene
Dietrich, float along through an interview with no re-
sponse except a languid yes or no. They don't, like Joan
Crawford, watch fearfully to see if the next question
mav be embarrassing or burst into tears of gratitude
because the interviewer has avoided topics too personal
for comfort.

But there is plenty of temperament among the direc-

The directors as a
class go out of
their way to avoid
being "glamorous."
But they do have
temperament. Wil-
liam Wyler — whom
you see above di-
recting Bette Davis
and George Brent
in "Jezebel" — is
gentle as a lamb,
until he gets to
work. Then he'll
fight as hard as
Cagney himself for
an idea. Frank
Capra — hits are his
h a bit — is seen,
right, with Gary
Cooper. Gregory
LaCava, below,
with Katharine
Hepburn and
Adolphe Menjou,
believes in keeping
his cast happy.

tors. There's little Willy Wyler, who made "These
Three" and "Dead End" for Sam Goldwyn, and says
he gets along with that amazing producer because he
can yell just as loud as Goldwyn. He seems like a gentle
fellow until he gets to work. Then he'll fight as hard as
Cagney himself for an idea.

Wyler is called William now, officially at least,
although Willy was his real name when he came over
from Alsace-Lorraine. He was (Please turn to page 84)

MENTION fishing or golf to Kenny Baker and
immediately he is your pal — that is, if you know
anything about these sports. Evince a genuine
interest in them and he's just as likely to miss a broad-
cast as not. It's like a phobia, only more fun. You know,
only mildly dangerous.

"Now, you take this one for instance," says Kenny,
holding up a brilliant bit of feathers and silk thread.
"That's a Roval Coachman."
"Oh."

"Yeh. And this one here is a Brown Hackle. I had
marvelous luck with him last season. Caught the limit
darned near every time I went out."

"With that — Brown Heckler?" I didn't have nerve
enough to confess that my Ike Walton proclivities had
been confined to dangling an angle worm in the water
on a bent pin. Young Mr. Baker gave me a look in which
reproach and pity were nicely mingled. "Hackle," he
corrected me. "Sure, you never can tell what a trout will
bite on. One day it will be a Royal Coachman and the
next morning they'll turn up their noses at anything but,
say, a Dusty Miller."

"Well, I finally gathered that Kenny was expounding
his theories on trout flys, but, as I didn't know the dif-
ference between a Dusty Coachman and a
Royal Hackle, I felt a little nonplused.
But I learned. That's the way these in-
terviews go. You start out by trying to
piece together {Please turn to page 82)

hf
k

The true story of how Kenny
Baker, christened by Jack
Benny the Timid Tenor,
blushed and flustered his
way to the top

By Sidney Valentine

Kenny Baker still blushes when aslced to te
about his rapid rise, even though he is now
featured in "The Goldwyn Follies" with Andrea
Leeds, above center, and with Helen Jepson,
above. Right, a Rudy Vallee-esque pose.

Fift

cen — an

JF.

amous ;

Little girl with golden
voice grows up — graces
fully! Deanna Durbin
celebrates by making her
most ambitious picture

Just fifteen, and with Herbert
Marshall for her leading man!
In "Mad about Music" De-
anna Durbin has even wider
scope for her singing and act-
ing talents than in "100 Men
and A Girl." Above, a scene
with Mr. Marshall. Below,
with her young fellow-player,
Jackie Moran in a close-up.
At lower right, Deanna with
Gail Patrick, who plays her
mother, and Herbert Marshall
in her new Universal film.

Not so long ago a struggling
actor among many on Broad-
way— today, prosperous mo-
tion picture star with a fine
home in Beverly Hills! This is
Tyrone Power's success story,
one of Hollywood's most
heart-warming sagas. Left, the
lad and his house. Below,
"Ty" with "Pickle," his pet.

When he has time, he likes
to answer an occasional
fan letter, at his own desk.
Far right, Tyrone in his
living-room, looking at his
favorite water color of an
old sailing ship. Below,
your pictorial host at his
own front door. Typical of
Tyrone to prefer a com-
fortable, conservative
white house of New Eng-
land ancestry to a Spanish
palace complete with
swimming-pool!

Photographs by Gene Kornman
■BOth Century-Fox

Tyrone Power's screen success makes Kim
proud host in this Beverly Hills home,
of which we show you the first, exclusive
pictures made of the star in his manor

s Hollywood's new Num-
tr One Bachelor, Tyrone
!tild swank a bit. But he
II likes small, informal
nners, and he still en-
ys lighting his own tapers
id playing practical host,
c left, we don't know how
ten he makes his own
•flee, but we do know his
to devoted servants got a
eat kick out of being
iotographed with him!
t extreme left, on oppo-
te page, the grandfather's
ock which Tyrone in-
cited from his famed
actor-father.

To begin almost at the very beginning: di-
rectly above, Lola, eldest of the Lane sisters,
when she was five months old. Top left,
Priscilla, the baby, at the age of nine months.
At far right, Mrs. Cora Lane with Rosemary
ar the tender age of six months. Above right,
Rosemary today.

The Lane Sisters

Lola, Rosemary,
and Priscilla — and
now they grew up
to be Hollywood
stars

Success Story
Told in Pictures

Above, the Lane family
group. Mother comes to
visit her girls on the set at
the Warner studio. Their
real name is Mullican.
That's Lola at left, then
Mrs. Lane, "Rosemary, and
Priscilla, the youngest. At
left, a close-up of Priscilla
— otherwise "Patsy" — to-
day. She's the dancer and i
romancer. Rosemary is the
sweet singer. Lola is the
dynamic dramatic actress.

As the Lane sisters grew up, Lola, shown close-up above center,
went to Hollywood. Rosemary and Priscilla, top left, joined
Fred Waring's Pennsylvanians in the summer of 1933. They
played the New York Palace with Fred — see them with him, top
above. And directly above, Rosemary and Priscilla, on their
way to success, pose prettily in their second year as soloists
with the Waring band.

What's this? Real or studio
romance? Anyway, Pris-
cilla Lane, at right, plays
opposite Wayne Morris in
"Love, Honor, and Be-
have." At far right, the
amazing doubles, Lola and
Rosemary, in "Hollywood
Hotel." Lola was the first

I of the Lane sisters in pic-
tures. At right center above,
Priscilla and Rosemary
watch as their movie con-

[j tract is signed by HalWallis.

TI,eW<

omen

In His (Movie) Life!

t Watting, Paramount

women! Cooper can't get away
from 'em — in pictures. Claudette Colbert is
his latest movie love, and despite the fact that
the whole world knows that Gary is a devoted
husband and father in real life, the ladies of
the land will besiege the box-offices to watch
the Cooper-Colbert team sissle on the screen

He's a tall, rangy, reserved chap, who has the healthy male
American disdain for fancy romance. Yet Gary Cooper, para-
doxically enough, is feminine America's supreme selection as
screen lover! He shares with Shirley Temple the highest movie
theatre box-office rating in the land. You'll see him soon opposite
Claudette Colbert in Emst Lubitsch's gay, sophisticated comedy
romance, "Bluebeard's Eighth Wife" — there's a typical scene
above, and a lovely new portrait of Claudette at top left. And
oh, yes — the other lady in Gary's current cinematic career is the
newcomer, Sigrid Gurie, left, with him in "Marco Polo."

Quick, tlie Candid Camera!

cateet V *T? V ^

ti*e

ves

top

Fanny Cuts»Up!

Those

"Baby Snooks"
capers suit Fanny Brice right down
to the ground, and she has as much fun clown-
ing as her audiences, radio and screen, have — when the
Brice boisterousness lets loose with brattish gusto. Here's "Snooks" ram-
paging through her nursery, from building blocks to hobby horses, and
all the toys for herself. Judy Garland wants to play, too. But it looks like
the only "punch" Judy will get is of the spectator sports variety.

THe best informal pictures are taken before
tne subjects have time to pose

sef. and feeV terf«g a£ thr°ugh h •

9k ft » ^ ^^ts*

If seeing is

believing, these candid
shots are right, and Freddie Bartholomew
would rather motor than act in movies. His home-made scooter is streamlined and
speedy looking, and a right good job of building — provided Freddie didn't depend on
the prop department to turn it out. The boy who made stardom in one try also has the
real thing; at right above. Freddie and his aunt Cissy lunch at a drive-in restaurant.

CANDID or

How'll you have your Gable?
\v^e give you Clark himself,
on this page, as he prefers to
be photographed

The profile shows Gable without retouching!
He has a slight stubble, no makeup whatever.
Below, his favorite part — that of an intrepid air
man in "Test Pilot." Clark likes it because he
can get good and greasy messing around ma-
chinery. At lower left, a candid location shot
with Myrna Loy.

CANDIED?

And here is Star Gable,
posing for portraits
because he's a good
sport — but Re doesn't
like it!

Of course, it's a grand
posed portrait of Clark
Gable, at right. He's the
ultimate in Hollywood
male stars. Contrast this
studio portrait with the un-
studied profile on the
opposite page. Which phase
of Gable do you like
better? Below, a good
studio close-up. He's oblig-
ing the photographer! At
lower right, a posed scene
still for "Test Pilot" with
Spencer Tracy, Clark's
co-star, and Myrna Loy-

tarlcts

Rivals for screen roles at the studio, Jane Bryan and Mary
Maguire are really chums, as you saw them on the screen in
the Kay Francis film, "Confession." Both still in their teens,
the girls work, and play, together. Jane, typical American
youngster, scored in "Kid Galahad" and is slated for stardom.
Mary, from Australia, is one of Hollywood's most-dated girls,
but so far her acting has not kept pace with friend Jane's. Here
you see the girls at Jane's home: in smart new play clothes,
sunning on the lawn, posing by the pool, playing with Jane'o
pets, and, at left, serving a hearty snack. Save us a sandwich!

Photographs by Scotty Welbourne

"Now don't say 'What the well-dressed gangster will wear!'" warns
Edward G. Robinson, above. Young Jack Dunn, above center, has a
youth's enthusiasm for gay effects. Alan Curtis, far right, in the
"Hollywood sports uniform."

They resent that! Movie men can be
clothes^conscious when the sartorial urge
strikes 'em, as you can see here

The crooner is all dressed
up — for him! Bing Crosby,
left, looks smartly sporty.
Above, Adolphe Menjou,
long designated Holly-
wood's Best-Dressed Man.
At right, Frank Morgan
happy about the
whole thing.

Mark Twain's beloved classic comes
to the screen with Tommy Kelly as
Tom Sawyer and Ann Gillis as Becky
Thatcher. Our Still of the Month
shows the children as they begin
their exciting exploration of the
great limestone cavern of the Missis-
sippi bluffs described by Twain.
Norman Taurog, famed director of
children on the screen, guides the
cinematic "Adventures" in David
Selznick's elaborate all-technicolor
production.

Tke Most Beautiful Still of tKe M

From "The Adventures of Tom Sawyer"

Mabel Hunt

Beauty wi
the Diues

Dorothy not only sings the blues, she has
em, too. Read why, in this lament for
lovely Lamour

place over a chicken salad at the El
Mirador Hotel in Palm Springs
where Dorothy stayed while on lo-
cation for "Her Jungle Lover." And
while Dorothy munched on a piece
of celery and I toyed with the idea of
going on an exclusive carrot diet to
see if I couldn't achieve the same
cream-on-satin complexion for my
own skin, she told me just why it
was that a film contract had seemed
so much anathema to her. So I man-
aged to pry my eyes away from that
unbelievable complexion and became
all ears.

"Well, you see, I was a model in
Marshall Field's department store in
Chicago," Dorothy began, "but I
didn't like it."

Now that in itself is something,
for as )'ou know, a good model com-
mands a not-to-be-sneered-at salary
and only about one out of every
thousand girls can ever hope to qual-
ify for those coveted jobs.

"How come?" I asked. "You cer-
tainly have the figure and the face to
be the absolute tops as a model?"

"Oh, that." Dorothy dismissed the
fact of her obvious ornamentality
with a ges- {Please turn to page 88)

WHEN a person wins a movie contract through
a lucky break, or a series of breaks, it scarcely
ripples the public's interest any more. It's hap-
pened so many times in Hollywood that it almost goes
without notice. Likewise, when a young hopeful manages
at last to crash those sacred studio gates through dint
of perseverance, outstanding acting ability, the sweat of
his brow, or even through mere dazzling beauty, it causes
no undue excitement among the populace. Such things
are accepted as the natural order of things, to be expected
if one is to scale the heights. Plainly speaking, it's hardly
news.

But, when a lovely young girl with a figure like one
of Petty's illustrations and a face like something Rolf
Armstrong dreamed up has to be brow-beaten, bullied,
threatened, and cajoled into a long-term contract at a
very stylish salary, then, by gosh, that's news! And in
most cases when you stumble across a piece of news in
such a virulent form there must be something highly
interesting back of it all.

According to this reporter, in laboriously searching
through dusty old archives and annals of the film great,
Miss Dorothy Lamour has been the only one brought
to light who has outraged Hollywood's established prece-
dents by openly scoffing at the chance of a picture career.
She not only jeered at such an absurd idea, she all but
refused pointblank even to consider a screen test.

When I first heard of Dorothy's shocking conduct
when contracts were waved under her nose I thought
to myself, "Well, here's a gal who is either putting on
an act to impress somebody, or else she is just plain
daffy." I was wrong in both cases. So, the only thing
left in the face of such a situation was to do a little crafty
delving into the why and the wherefor. Said delving took

THE GOLDWYN FOLLIES — Samuel Goldwyn-United Artists

A BIG, big picture! Over two hours of terrific enter-
tainment—some of it thrillingly beautiful, some of it
gorgeously funny, some of it merely boring. Mr. Gold-
wyn's "$2,000,000" revue is an all-Technicolor mixture of
satire, supplied by a Ben Hecht legend whimsically worked out by
Andrea Leeds and the incomparable Adolphe Menjou; mad bur-
lesque, supplied by the Ritz Brothers; elaborate ballet, with the
debut of the much-touted Vera Zorina; grand opera, with Helen
lepson from the "Met."; swing music and dancing, the Baker
boys, Kenny and Phil, and Edgar Bergen and Charlie McCarthy
— to mention just a few names. It's an enormous, expensive, amaz-
ing, and confusing show. The basic idea, that of a big movie
producer hiring a fresh, dewy girl to be his "Miss Humanity"
to keep him in touch with the cash customers, is a good one,
but it is soon lost in the merry maze of special numbers, big
ballets, and Ritz Brothers. These boys, by the way, are badly
overworked in these fabulous "Follies." Phil Baker is the real
comedy sensation of the costly cinema. There is quiet charm by
exquisite Miss Leeds; stunning effects in the "Water Ballet;"
superb moments by Menjou; and of course that McCarthy!

aplenty.

GOLD IS WHERE YOU FIND IT— Warner Bros.

HERE IS the other "big" all-color picture of the month,
very big and, I imagine, very expensive. It's a drama,
with many extras milling around instead of ballets as in
Mr. Goldwyn's "Follies." And it has impressive moments
But it is, also like Mr. Goldwyn's "Follies," a self-con-
scious picture. What is it about Technicolor that makes otherwise
wary producers throw caution to the winds and grow reckless
and headstrong? There's too much of everything in both pictures.
"Gold Is Where You Find It" is lush with magnificent California
scenery, showing wheat fields, mining camps, and orchards in
picturesque profusion ; there is also too much plot. Of course
there is interest in the conflict between the wheat ranchers of the
Sacramento Valley and the miners, and there is poignancy in the
ranchers' struggles to preserve their land, and gentle romance
when the head rancher's daughter gives her heart to the mining
engineer. Olivia de Havilland, a dream in Technicolor, is delight-
ful as the girl — but it is primarily a rugged picture, with he-men
rampant, fights between the two factions, and a grand finale in
which George Brent saves the dav by blowing up his own dam.
Whee !

SEAL- OF) ^

Reviews

of the best

Pictures

HAPPY LANDING— 20th Century-Fox

SONJA HENIE'S third motion picture is better than
her first two — thereby hanging up another record, for the
.skating marvel. With this picture she positively takes
her permanent place among the great stars of Hollywood,
for Sonja is not only the ice queen but an increasingly good
actress of surprising conviction. She may never skate Camille,
but she can play poignant parts with genuine sympathy and under-
standing. The cherubic Henie close-ups attain actual pathos upon
occasion when the scrip commands "mit feeling," and as always,
her bubbling gaiety and good humor are irresistible. Sonja's
role here is that of a naive little Norwegian seriously smitten by
the slick charms of Cesar Romero, as a second-rate Stokowski
of swing. She carries the torch to New York only to be dis-
illusioned— and, thanks to Don Ameche, that gallant soul, to
become the world's greatest torch skater, immune to Romero
wiles but susceptible to Ameche charm, smart girl. Adding to the
pleasurable comedy confusion is Ethel Merman, swinging high,
and Wally Vernon, very funny. If any of you have so far re-
sisted the call of the gleaming blades this will get you. Mow-
bray, my skates.

"SUPER-STUPENDOUS":
"The Goldwyn Follies"

"COLOSSAL":

"Gold Is Where You Find It"

"EPIC":

"Bad Man of Brimstone"

JUST SWELL ENTERTAINMENT:
"Swing Your Lady"
"A Yank at Oxford"
"Happy Landing"

BEST PERFORMANCES:

Andrea Leeds, Adolphe Menjou, Phil
Baker, Charlie McCarthy in "The
Goldwyn Follies"

Louise Fazenda in "Swing Your Lady"

Robert Taylor and his perfect cast in
"A Yank at Oxford"

Sonja Henie, Don Ameche, and Cesar
Romero in "Happy Landing"

A YANK AT OXFORD— M-G-M

.^piv ROBERT TAYLOR'S best picture! A field day for his
pGfaj fans, but also an invitation to Taylor-baiters to forget
their grievances and give the boy a chance. "A Yank at
^ Oxford" is the shrewdest stellar showmanship in years,
because it brings Bob out of Camille's boudoir into the open,
where he wins track meets and bump races and everything else
in sight, with the conquest of the fair heroine rather a secondary
matter. There isn't a real love scene in the picture, but the
Taylor addicts will not be disappointed on that score, for his
role in the British-made film makes him far more attractive than
he ever was in his deliberately romantic parts. Because it was
made mostly in England, "A Yank at Oxford" is in every way
more convincing than the formula love affairs which have been
Bob's Hollywood lot. Not that there's no sex menace in the
piece — it runs rampant at times, with Vivien Leigh as a devas-
tating hussy luring Oxford undergraduates to — of all places — her
husband's bookshop, and Maureen O'Sullivan as the wholesome
love interest. Bob plays a brash young American tamed, as you
might suspect, by Oxford's dreaming spires and spirit. He gets
grand support from Lionel Barrymore, Griffith Jones, all of 'em.

SWING YOUR LADY— Warners

WELL, I NEVER would have believed it ! Perhaps there
have been too many of those backstage-and-radio-station
pictures, or too many specialty acts ; anyway, I haven't howled
so lustily in months as at this outlandish comedy of hill-
billy calisthenics. Seems Humphrey Bogart, a wrestling promoter,
and Nat Pendleton, a slap-happy grunt artist, are stranded in
the Missouri mountains and looking for a match. Becoming-
desperate, the promoter picks a lady blacksmith — yes, Louise
Eazenda, who else? — to go to the mat with his champ. But love
sets in between wrestler and lady, then a bearded hermit appears
with his musket, claiming the love of the lady — so the rivals are
matched, the winnah to get the femme horse-shoer. It's all that
ridiculous — but unapologetically so, and the wrestling match
between Pendleton and one Daniel Boone Savage will have you in
stitches whether you like it or not. Tossed into the general hilarity
are Frank McHugh, Allen Jenkins, a Big Apple led by Sammy
Lee and Penny Singleton, and those hill-billy musicians, The
Weaver Brothers and Elvira. Well, I swan — another specialty !
But you'll like this one. Louise Fazenda is so swell as the lady
blacksmith she almost tempts me to ask for a series about her.

BAD MAN OF BRIMSTONE— M-G-M

SUPER-WESTERN, old-fashioned melodrama dreamed
up in fancy sombrero and chaps, is Wallace Beery 's best
film in too long. Not since "Viva Villa" has Wally had
such a chance to bring to brawling, lusty life a colorful
character, this time Trigger Bill, the Bad Man with the soft
spot in his heart. Some carpers may consider that Bill has a soft
spot in his head as well, when he goes on about his son "petitionin'
him for a funeral" — Bill loves to shoot up the place, and is not too
particular who gets in his way. But somehow Beer}^ makes you
believe in his Bill as he convinced you of the reality of his Villa
and his Old Soak; and so this outlandish story of a gay old
desperado manages to turn out lively entertainment — IF you still
like gunplay mixed with horseplay, and plenty of it. The best
of Beery emerges in this half-rascal, half-clown characterization.
Interestingly conspicuous in the cast is a newcomer, Dennis
O'Keefe, who makes Trigger Bill's tenderfoot son a rather real
fellow. Beautiful Virginia Bruce makes a valiant attempt to fit
her fragile charm into the rugged events, but as may be imagined,
fine trouper Lewis Stone and clever Joseph Calleia are more suc-
cessful at maintaining the mood, what with fights and hold-ups.

What

aire

revor

Malcolm H.
Oettinger

yOU wouldn't think anyone so young, so de-
lectable, so freshly lovely as Claire Trevor
could have a problem. Knowing her career in
pictures — leads from the start — you wouldn't think
she had a kick coming. Yet when I saw her she
was kicking both shapely legs and objecting to
Life's whimsies, in a nice way, but strenuously.

Claire's a dewy twenty-five, independent, brittle,
and knowing. Despite her youth she has been in
show business more than six years, and nothing
contributes more dynamically to a young woman's
education. Six years of greasepaint are equivalent
to twelve years at Smith or V assar. Maybe more !
Six years in show business teach one the facts of
life, doubled and redoubled. Yet Claire is not hard.
Rather she looks like a debutante, but enthusiastic.

We were supposed to meet at her hotel for cock-
tails, but in due time word filtered through that
she was being held captive at a Columbia Broad-
casting matinee at the Plaza — expansive goings on
in honor of Miss Trevor and her radio vis a vis
Edward G. Robinson. Tuesday nights they air from
Hollywood episodes in a hair-raising newspaper

Decorative Trevor, in her studio portraits, looks as if she hasn t a
care in the world. But Claire the actress, shown with director Norman
Foster and Dixie Dunbar, worries about her professional future.

Perhaps you can help this blonde beauty decide the
professional as well as private-life problems she ponders

serial called "Big Town." The occasion of their being in
New York together was being celebrated with pomp and
ceremony, - flanked by a bar and innumerable hors
d'oeuvres. Waiters were weaving about, bearing aloft
trays laden with potential headaches the next morning.
A stringed quartet made gentle music behind a clump
of property palms.

Mr. Robinson was talking to a reporter off in one
corner, and in the centre of the room a milling crowd of
men eddied and swayed. Instinct said that Claire Trevor
was the magnet, and as usual, instinct was right.

Her blonde hair was accentuated by a demure black
hat with a coquettish veil that- fell across the eyeline. The
Trevor figure was properly high-lighted by a cloth of
gold dress that was quick in the most appropriate places
and demonstrated how personal appearances should be
made.

Under one pretext or another we managed to slip
away.

Beautiful? Of course! But Trevor is intelligent as
well, and so she likes to play meaty parts, rather
than routine heroines. Right, with baby
Carol in "Walking Down Broadway."

Joan

"Radio is worse than pictures, and pictures are worse
than poison. I wish I could get a good play," sighed
Claire.

What was the matter with radio, I wanted to know
(not that I ever listened to it).

"Well, like pictures, it has its points," admitted Claire.
"It bought me my new car. It pays well. But, again like
pictures, there is no artistic satisfaction to be derived
from a radio program in the making. You play before an
audience, in some cases, but you haven't the time to build
anything. A scene lasts three or four minutes then there's
a commercial or station announcement. You can't even
get warmed up before the thing is over. It's like a pitcher
going in for two innings."

The Trevor voice has a husky, appealing quality. Her
face is heart-shaped, her hair a warm honey blonde, in
the currently imperative page-boy bob. Her figure, as
indicated herein before, is little short of sensational, and
one discovers with a start of surprise that here is a

Glamor Girl whose glamor
has never been properly
capitalized. Claire is a baby
Lombard. She winced at
the suggestion, however.

"I want to do comedy,"
she admitted, "but not too
screw}', please. I think you
can overdo mugging and
showing the audience that
you don't care how you
look, just for a laugh. The
public resents seeing you
take falls, pies in the face,
and lefts to the jaw. It's a
phase, but it's rapidly pass-
ing."

Claire is honest in ad-
mitting that she went into
pictures to earn a living,
not for glory alone. The '29 debacle and the ensuing-
depression caused the family fortune to melt away and
impelled Claire to seek economic security in the theatre.
From stock in Northampton she went into a Broadway
hit, in the second most important role, opposite the pint-
sized Ernest Truex in "Whistling in the Dark." Pic-
tures spotted her, and rewarded her well from the very
beginning. As a result, she has her nest egg or whatever
it is one saves for a rainy day. At least she has her own
house in Beverly Hills and an annuity that provides for
an income later on. And although Claire prefers stage to
screen she has stuck to the latter thus far because of the
vastly greater financial benefits it affords.

"If I could get a good part in a colossal picture I'd be
so happy I don't know what I'd do," said Claire wist-
fully. "But as things are I'd walk out of pictures to-
morrow if I could. Maybe it's because I want to get
married and have a lot of children. Maybe it's because
I'm sick of program pictures that make me do the same
silly things over and over, and say the same silly lines
day in, day out."

She has appeared in a picture every other month for
four years. Then there have been weekly radio stints
during the past year. "I think I've worked pretty hard,"
said Claire. "I also admit I've earned far more than a girl
couid earn in any other field. But I'm ready to marry or
freelance or explode to get out of quickies !"

Despite her youth, Claire Trevor is an efficient, capable
business woman. She employs no manager, requires no
restraining hand to keep her {Please turn to page 92)

Kay Francis wears a travel coat, above left, of imported gray wool with an
unusual yellow yarn treatment— see bulky top, wide scarf of self fabric.
Her hat gloves, shoes, and bag are creamy yellow. Above right, Kays
jacket suit of sheer wool combines gray and green plaid with monotone
gray blouse. Her accessories are of dark gray antelope. At left, smart
daytime frock of gray sheer wool with smooth lines, worn with twin silver
fox scarf, black hat, gloves, and shoes. These costumes were designed by
Orry Kelly for Miss Francis' new film, "Women are Like That.

SCREENLAND

Gl amor Schoo

Edited
by

Glamor School pftotopraplis

for SOIiEENLAJJD Of MtSS

Kay Francis In Scotty
Weloourne, Warner Bros.

Striking color combination — mustard gold and almond green — contribute
to Kay's gown at left above. The tunic with its lowered waistline is of
mustard gold crepe roma, the pencil-slim skirt is of almond green. She
wears a pair of antique gold bracelets. At right above, Kay goes in for
color: her cocktail gown of heavy jersey has a long-waisted bodice of navy
blue, while the full skirt is of Roman-striped jersey in red, white, blue, and
yellow. A Roman-striped kerchief ties at the throat. At right, her hostess
gown with new-length fitted coat of blue and silver brocade.

First fashion lady of movieland salutes Spring
with a new clothes collection at once patrician
and dramatic. Emphasis upon line enlivened by
an attention to gay color novel to Miss Francis
are of outstanding interest

Gai
Patrick
Presents:

Current fashions! Holly-
wood's willowy brunette
beauty believes in
leather, as in her all-
antelope costume, below,
of soft gray dress, cape,
hat, gloves, bag, and
shoes; and right, her
suede sports vest of
gold color with calot to
match. Lower left, Gail's
new white cashmere
house coat. At left
above, formal black day-
time outfit with novel
shoulder-cape of satin-
backed crepe, with ends
trimmed in silver fox to
form pockets.

Ill

Starring
June
Lang

Loveliest of the screen's ingenues,
June models her own Spring style
show for you. At top left, rhap-
sody in blue to match June's eyes:
horizon-blue wool frock with wide
belt of white suede laced in blue,
which June tops with white felt
hat. Right above, smart light green
tweed with accessories of London
tan. At left, more blue: plaid
jacket in two shades of June's
favorite color, over lighter blue
dress. Accessories are white. At
far left, dream dinner dress of
pale pink lace, with bonnet of the
lace and violets for the flat crown.

Stooge to a Wooden Wit

s SN E year America goes wild about a blonde, curly-

( ) topped darling who sings and dances her way
Vy into the heart of tbe nation; another, five
bouncing baby girls are brought to life in a forgotten
Canadian village and the spotlight of the world centers
on them until a lady from Baltimore quietly steps out
and annexes the coveted heart of a British Monarch and
makes an incredible fairy-tale come true. But when a

block of pine wood, dressed up
steals the focus of attention
from all these and becomes
No. 1 man of the country, it
is nothing short of a miracle.

a topper and tails,

Edgar Bergen built a dummy, took it to col-
lege, and now finds himself playing dumb
while Charlie McCarthy wisecracks

By Gene Schrott

■ i

In this saga of the
amazing McCarthy, you
learn thot Charlie, be-
lieve it or not, started
life os a newsboy. Nov/
look! He's a movie star,
a radio sensation, a
national idol. Right
cbove, relaxing between
scenes in a Hollywood
studio.

A little over seventeen years ago, Charlie McCarthy
was just another tree trunk in the forests of Wisconsin
and Eddie Bergen a young lad sitting in the kitchen of
his mother's home in Chicago watching her perform the
magic of producing tempting brown apple pies from a
batter of dough and some green, uneatable apples. But
today, the world knows this duo as the most amazing
team of personalities in the field of entertainment.

Returning from abroad to discover that vaudeville had
heard its. death knell and hearing rumors that the legiti-
mate theater was going "to pot," Edgar Bergen looked
fondly at his animated creation and was just going to
pack him in camphor and moth-balls, when he received
a hurried call to rush over to Elsa Maxwell's party and
substitute for a performer who failed to show up.

If you've heard about Elsa Maxwell's parties (as who
hasn't) you know they are not just ordinary parties, but
parties deluxe. Everyone who is anyone was there. Noel
Coward rushed over to attend. Rudy Vallee forfeited a
night's salary to be present. It was the customarv ermine
and orchid crowd that made the place blaze with dia-
monds and emeralds and sparkle with shimmering satin
and white skin. It was one of those white-tie affairs that

earned for Elsa the reputation of supreme party-giver
of the world. If anyone knows how to make a party
successful, it is this lady.

When Edgar Bergen arrived in this glittering assem-
blage carrying a battered suitcase and a look of fear in
his bewildered blue eyes, Elsa threw her arms around
him and greeted him like a long-lost brother. From
Barbara Hutton and Lady Furness, who had been at the
Grosvenor House in London that memorable night when
Bergen and McCarthy had to do their entire repertoire
at a single performance before the enthusiastic audience
would let them leave the stage, she had heard of the
ingenuity with which Eddie and his wooden wit won the
hearts of the Britishers.

While Elsa Maxwell was busily hunting for him, Eddie

had been en-
tertaining roy-
alty the world
over. In his
native
Sweden, he
and Charlie
gave a com-
mand per-

formance before the Crown Prince. From there they
travelled to Russia and Iceland and finally concluded
their tour by performing before the lepers of a Venezuela
colony, an experience so strange they will never be able
to forget it. No wonder Elsa couldn't find them. But now
that she had accidentally come upon them, she prepared
her guests for one of the biggest thrills in entertainment.

Even Elsa had to admit that Charlie McCarthy was
responsible for the tremendous success of that party and
for a lady who has made a career of party-giving this is
an unusual admission. Rudy Vallee lost no time in invit-
ing Bergen to appear on his radio program. Noel Coward
was lavish in his enthusiastic praise and asked Bergen to
tell him who wrote the brilliant dialogue. When Bergen
modestly admitted that he himself does all the writing.
Coward, who is regarded as the most skilful writer of
witty conversation, heaped compliment upon compliment
upon the surprised Bergen.

Today, the name of Charlie McCarthy is known the
length and breadth of the American continent. People
everywhere are talking of the wooden whiz who flings
his verbal bullets at the high and mighty. Hollywood has
succumbed to the enigmatic personality of the animated
block of wood. From Burbank to Beverly Hills, the entire

population of the movie world has offered him, not only
the keys to the respective communities, but a pass-key
to every home. The mischievous dummy who delights in
humbling the mighty dignitaries has risen to the most
popular peak in the nation. Hollywood beauties are bat-
tling for his attention. Leading men eye him with a
jealous gleam in their burning eyes and feminine hearts
can't stop fluttering when he is near. Even Mae West
asked him to come up and see her sometime.

Through all this, Charlie McCarthy continues to wear
his bland, disarming smile and the mischievous twinkle
in his eyes remain the same as he blithely continues to
wisecrack his way deeper and deeper into the heart of
the American public. He loves the ladies — especially Dor-
othy Lamour whose name has been closely linked to his
lately — but that's because he saw her in one of those
revealing storm sequences during the filming of "Hurri-
cane." Even a dummy knows charm when he sees it.

The man who has become Svengali to the world's most
famous wooden wit is entirely different from his animated
creation. Edgar Bergen is a shy, quiet-spoken young man
in his early thirties. He has blond hair and blue-grey eyes
that generally accompany a {Please turn to page 90)

"IT'S such fun!" said Dolores Del
Rio, smart in rose and brown,
as she clicked the shutter of her
camera. "I've been in pictures so
long that I suppose it was merely
a matter of moments before I'd
begin to take some, but oh, I had
no idea it would be so entertaining !

"Probably more than half my
enjoyment is because Cedric — my
husband — is interested in doing it,
too. It is wonderful for two people
who care about each other to have
the same hobby, and I can't tell you
what fun it is to work together on
a thing that shows such promising
results !

"I'm very much of an amateur, but Cedric
is an artist anyway, so taking pictures is
merely an extension of his field. We're
building a dark room onto the house, so we
can develop and print our own stuff. You
know, often the effectiveness of a picture
lies in the printing, and the one who takes
it should have his own ideas of what he
hoped to get, so he knows whether to print
it a bit lighter or darker, or how dense the
shadow should be.

"We had the best time one Sunday! 'We
spent the day in the M-G-M darkroom
printing up some portraits we had made
together. Cedric had managed to get hold
of a hundred sheets of some special Belgian
paper made for portraits and we used that
and got truly lovely things. You can't

Collaborate

ith

amera!

Says Dolores Del Rio, whose husband
is her camera pal. Good advice for
married couples, and helpful hints
for amateur photograph fans

By Ruth Tildesley

Dolores, top left,
proves she can take
it — and will, if it's a.
picture worth adding
to the collection she
and her husband are
making. Examples of
the Del Rio camera
skill are shown here.
Right, reading up: a
church in Mexico;
Dolores' mother hold-
ing her pet Persian,
and a good portrait
study, also by Do-
lores. Above, corner
of the Maximilian
Villa, Mexico, and the
first picture Dolores
ever took.

imagine the excitement when the figure begins to appear
and you see exactly what you've done!

"At the moment our special interest is taking portraits.
Cedric has a portrait lens on his Contax camera. He can
screw lights into the camera for some shots, which I
can't do with my Rolleiflex, but we've just bought some
splendid lights to set up indoors, and what a field that
opens to us ! Cedric is the camera artist for portraits and
I am head electrician. He worries about the focus and I
am responsible for the lights."

She flashed up from the couch where she had been
examining a sheaf of finished prints, her fine profile
silhouetted against a Venetian shade.

"I like a high master light — so!" She illustrated in
pantomime above my head. "And then lower lights to
take care of unflattering shadows or bad lines, or to
throw a highlight for a special effect. A light back of
the head will sometimes show up lovely hair, you know.
I've watched cameramen and electricians work with lights
in the studios for so long it would be too bad if I hadn't
learned something by this time. So naturally I know that
shadows that droop will age a subject, but at the same
time a master light from above is most flattering to any-

one over fifteen or so. There are no hard and fast rules
applying to everyone, which makes doing portraits tre-
mendously interesting.

"Cedric has made some gorgeous portraits of me. I
prefer them to any made by the best camera artists in
Hollywood, but his success may be because he knows me
so well, or because he is able to bring out the best in me.

"We make my mother sit for us while we experiment.
She is a most satisfactory subject, because she will sit
anywhere, serene and patient and relaxed, while we
argue about lighting or explain to each other what we'd
like to get.

"What makes our collaboration especially interesting
is that we are two people with definite but different ideas.
Cedric, as an artist, is inclined to favor odd effects; he
likes an unusual arrangement of shadows, something
that will be dramatic and original.

"He'd like, for example, a picture of mood— say, a
woman in black against a dark background, with the face
high-lighted. Or strange, weird shadows thrown against
a plain background, and the figure expressing some
emotion.

"But what I'm looking for is pictures of my friends

The swimming pool at the Del Rio-Gibbons
home in California; and adjoining, at right,
another example of Dolores' camera work, a
close-up of her husband Cedric Gibbons,
M-G-M art director, and a camera fan himself.

Dolores and her two
white bulldogs, Mi-
chael and Bonnie,
taken by Mr. Gib-
bons. At left, two
pictorial subjects of
which Dolores is
proud, and justly so.
Lower, view of the
patio in her family
home in Mexico;
above, exterior of
her California house.

just as they are.
I like people ; I
love my friends,
and I am so happy
I could sing when
I manage to catch
a group of them
in some natural
pose.

"I like best my
pictures of friends
sitting around my
swimming pool,
lying on the sands,
resting in deep

chairs, or perhaps starting out for a ride or playing a
game of tennis. Things that I see them do all the time,
so that they are at ease and natural in the pictures."

Dolores has no idea that she will ever become a spe-
cialist at shooting animal pictures.

"I have some fine dogs, and I'm very fond of them,
but I've had very little luck with their pictures in return
for the time spent. Dogs are so restless ; when you get
the head just as you want it, the paw begins to tap, or the
back rears up suddenly. (Please turn to page 79)

ere s

o ywood

Crash the studios, take in the
sights of Cinema Town with
our star reporter

By Weston East

GARBO no longer is under contract to
M-G-M, where she's been queen for
a decade ! In fact, she hasn't been under
contract for all of three months now. But
those articles about her falling box-office
draw have not only overlooked this vital
point ; they've not explained her situation
as it really is. Here's what's what : the
studio still wants her ; it was the shrewd
lady herself, and not Louis B. Mayer, who
wouldn't sign again on the dotted line.
Garbo wants to go on acting, but insists
she must have a comedy to re-intrigue the
Americans. Mayer had nothing definite
read)' and she wouldn't take a chance. She
doesn't want to become as loony as the
screen Lombard, but she contends she can
be as light-hearted as Loy. According to
her letters, Sweden is the ideal winter
resort ; and she'll return whenever her
former boss sends her a satisfactory script.

MEANWHILE, other former top-
notchers have been fascinating Holly-
wood by their present doings. Marlene
Oietrich, for instance, is busily demon-
strating she isn't so dumb, either. The
gorgeous dead-pan line bored us natives?
So Marlene is proving that she was mis-

cast all along. Which is no lie. On the
continent she's always been her own very
gay self, the toast of the night clubs. As
human as she's vivid. Now, in Hollywood,
Marlene's tossed over the recluse gag,
adopted for our consumption, and is the
most terrific blossom seen at the Troc. She
sweeps in almost nightly, with several of
the most attractive escorts in town. In-
stead of posing languidly, she gustily leads
the Big Apple. She's taken her furniture
out of storage and settled in a small Bev-
erly Hills cottage. It's not likely that she'll
ever go back to Germany.

N STRIKING contrast, Ramon Novarro
is making no attempt to right-about to
regain box-office popularity. He is be-

Putting ling into
a typical chorus
routine are these
three sisters of
swing: Alice
Faye, Joan Davis,
and Marjorie
Weaver, in the
name roles of
"Sally, Irene and
Mary."

having in extraordinary fashion, but then
he was never run-of-the-mill. He is acting
again, but only when he's pleased with a
plot. He wants to be applauded solely on
current merit. He won't appear in any
rehashes of his yesteryears. He isn't at-
tempting to hang onto any past glory. He
has saved none of the thousands of clip-
pings concerning his charm, hasn't a single
photograph of himself in his smart, mod-
ernistic home. He never visits the Troc,
but when he invited friends to a cocktail
party the other day Janet Gaynor decided
she'd rather come to it than listen to
Tyrone Power's broadcast at the same
hour. The Novarro appeal is still potent!

Bing ("Dr. Rhythm") Crosby, meets a
fellow "air" star; Jacques Swaab, an
ace aviator in the World War.

No more manicuring for tition-haired, emerald-eyed Arleen Whelan, above. Arleen
was discovered working in a beauty shop, was signed for films, and is to make her
debut in the leading feminine role opposite Warner Baxter in "Kidnapped."

yOU have to hand it to Joan Crawford.
She's not going to be an also-ran at
anything! Horses have been her secret
fear ; whenever she's had to ride for film
scenes she's climbed on against her better
judgment. So what's she done, having
acquired a perfect figure, fame, and the
husband she wants, but learned to ride.
She rides English, with no pommel to
clutch, and not on alternate Thursdays.
She's bought a horse, named him Secret,
and — get this! — she is playing polo.

YOU know that Gary Cooper is Holly-
wood's highest-salaried star. Last year
he made $370,214. Here are the precise
salary figures of some of the other "most
highly paid;' stars : during 1937 Madeleine
Carroll made $287,913; Warner Baxter
made $284,384 ; Ronald Colman made $262,-
500; Ruth Chatterton made $249,500;
Charles Boyer made $249,145; Fredric
March made $245,000; Sylvia Sidney made
$226,81*2; Katharine Hepburn made $206,-
666; Marlene Dietrich made $200,000. It's
startling to observe how poorly balanced
salaries are with actual box-office value.
Madeleine Carroll, Chatterton, Boyer, Sid-
ney, Hepburn, and Dietrich, for instance,

The "Big Apple" hits Hollywood hard.
Harold Lloyd and his fellow players:
Mary Lou Lender, Rowan Rexford,
Phyllis Welch, and director Elliott Nu-
gent, taking time out from "Professor
Beware" to swing it. Right, Marian
Martin, recently signed up by Universal.

are definitely not among the top stars so
far as drawing power is concerned. Shirley
Temple, the number one star, earned but
$121,422 during the year. (Although her
mother collected $68,666 for supervising
Shirley.) To give you an idea of the great
difference in salaries, here are some more
exact figures : Claire Trevor earned $27,-
655 and Loretta Young garnered $118,998.
Peter Lorre earned $15,625 and Alice Faye
$45,500. Don Ameche earned $34,499 and
Warren William $65,000. Rochelle Hud-
son's salary for this past year was $26,875.
Gene Raymond can support his bride in the
manner of the president, for he earned
$75,625.

WILLIAM POWELL sails this month
for a tour of South America. He finds
travel is the best antidote for too many

memories. He isn't a recluse on his touring,
though. He intends to be, but no sooner
does he arrive in a new city than he's
plunged into a hectic round of gaiety. He
wants ' to be alone, but not quite enough
to stave off the pretty girls who want to
console him with blithe chatter. What lies
ahead for him in romantic Rio?

The Misses Maguire — four, count 'em — are all acting in pictures. On the right train, but somebody's got the wrong stateroom. In-

Mary, best known of the happy quartette, is wearing the fur volved in the mix-up above are Ginger Rogers, James Stewart,

coat. The others are Carmel, Joan and Lupe. Maude Eburne and Spencer Charters, in "Vivacious Lady."

TWO years ago Andrea Leeds was fresh
out of college. The other morning Sam
Goldwyn was reputedly offered $100,000
for her contract. That's what's called rising
in the world, and how.. Of course, Andrea
isn't piling dough • away yet. She's still
rating but a very modest wage. But she
lias the opportunity to eventually cash in.
She attends her boss's premieres with
whomever he designates — Edgar Bergen
and Charlie McCarthy took her to the last
one in an Austin — but she handles her
romancing herself. She prefers Jack Dunn.
He's the good-looking champion ice skater
who came to town as Sonja Henie's part-
ner. First he was put under contract by
Universal, and never got a role. Now he's
been on the Paramount list for some time

Adventure! Freddie Bartholomew and
Warner Baxter in "Kidnapped," upper
left. Award! Carole Lombard, upper
right, voted Best Comedienne of 1937
by Los Angeles students, receives a gold
cup from Romaine Fielding, Jr. Drama!
James Stewart and Walter Huston in
two powerful action scenes from "Of
Human Hearts," at right.

and is still waiting for his acting break.
In person he's certainly got the break-of-
the-year, in Andrea ! They favor the Clover
Club and its swing band.

THERE have been a flock of rumors about
Luise Rainer since she has been off the
screen so long. Her last picture was pretty
much of a disappointment. They said Metro
was easing her out, as a consequence. Then
Luise herself blew off ; she hated Holly-
wood and wanted to leave it. She was cast
in Wallace Beery's current film and then
Maureen O'Sullivan replaced her "because
of illness." Here is the truth : she was too
ill to work, but is all right now. The studio
still considers her quite a draw. She has
signed a new contract and will co-star with
Fernand Gravet in Mervyn LeRoy's first
picture at Metro. Then she will co-star
with Nelson Eddy. So she definitely isn't
being given the skids. She was • agitating
for these better parts, however, and for
time off for a Broadway play. She'll be
permitted to do the play her husband,
Clifford Odets, has written.

GLORIA SWANSON has given up her
picture life ! She has sold the quarter-
million-dollar house across the street from
the Beverly Hills Hotel, the showplace
where she used to entertain so royally. She
has settled in a New York hotel and will
try to start in again on the stage. As a
farewell gesture Gloria gave a cocktail
party. Mary Pickford, Dolores Del Rio,
and Veree Teasdale were the actresses in-
vited. A lot of prominent film people were
there. Why couldn't Gloria, who looks as
beautiful as in her more fortunate years,
get another break in pictures ?

CLAUDETTE COLBERT is scribbling
frantic notes from Budapest these days.
She's so glad Ernst Lubitsch persuaded her
to include it on her European itinerary.
She took some French books over on the
boat with her, to practice up on her French
talk. After so long in Hollywood she was
afraid she'd wax ungrammatical ! Claudette
left the first part of January and won't be

Camerawise! The St. Bernard, aware com-
petition is keen, looks his prettiest as he
poses with Jane Hamilton.

back until Easter. It's her first good vaca-
tion in half-a-dozen years and how she's
enjoying running away with her doctor
husband !

ANNE SHIRLEY and John Payne have
> had to wait six months for their
honeymoon, but they're making up for the
delay with a Honolulu trip that has all the
trimmings. They read so many island cir-
culars that their friends almost went crazy
in anticipation themselves. And if the beach
at Waikiki is no better than the sands of
Santa Monica what a blow it'll be to Anne !
That she's picked a nice husband was a
certainty when she was ill recently. Johnny
was playing a lead at Paramount. He not
only rushed home ever)' noon, but whenever
he could wangle an hour off from the set
he hurried to her bedside. The Paynes
haven't become elegant ; they rent a small
furnished apartment only ten minutes away
from both their studios.

THEY often quit Hollywood with a loud
blow-off, but they generally come back.
George Arliss is the latest to return. He
hasn't signed a new contract yet, but —
like Barkus — he's probably willin'. /

WHENEVER you ask George Raft to
dinner you don't have to provide any
meat or vegetables ! His man Mack will
arrive with both. It seems George is mad
over New York-cut steaks, and only that
meat market on the corner of 3rd and
Larchmont, in Los Angeles, can furnish
the cut he prefers. Nightly Mack arranges
for a steak to be sent to wherever George

is dining, and even if he's dropping into
the Brown Derby he'll eat_his-avra-steak^

As for the vegetables, George hates 'em.
So thoroughly he's done something about
'em. He takes vegetable shots in his arms
instead! When the kiddies read this the
spinach-haters may desert Pop-Eye and
demand easy shots a la George Raft. So
shoo 'em away.

MRS. ERROL FLYNN has not aban-
doned her career, even though she has
been unlucky with it since becoming a wife.
Lili Damita — and don't say you've for-
gotten her since being overpowered with
Errol ! — considered doing a play as a come-
back stimulus, but the plan fell through.
She has Harry Edington, an ace agent, on
the look-out for all opportunities. Mean-
while, Errol is wondering when he can get
away to fly East long enough to sail a
newly acquired yacht back through the
Panama Canal.

THE Gary Coopers and Dolores Del Rio
and Cedric Gibbons have been sailing up
the Nile, no less. They're expected home
soon. Both stars went incognito, Gary
registering everywhere as "William Grin-
nell." Grinnell's the name of his college.
Dolores has been just Mrs. Gibbons. She
took along twelve trunks, and it's a rush
jaunt! In Europe Dolores wore all black.
In Egypt and Africa she stuck to all white.
Even "incog" she's a style-setter. And of
course neither Gary nor Dolores have been
able to submerge their vivid personalities
— why, they're the spitting image of their
screen selves, only better looking, and who

Youth! Betty Douglas, Judith Ford and
Marjorie Deane, "Goldwyn Follies" girls
who have made good in Hollywood,
don't have to worry about camera an-
gles— they're lovely anyway you look at
'em; left above. Experience! Charles
Winninger and Alice Brady, right above,
make the most of a comedy situation in
"Goodbye Broadway."

would fail to recognize them? "The Sphinx,"
writes Gary, still determined he's a no-
body, "didn't give a hoot about us. It just
gazed Garboishly!" The five-months-old
Cooper daughter is being cared for by the
woman who was Mrs. Cooper's childhood

WC. FIELDS has gained twenty-five
• pounds, plays golf daily, and is fit
as a fiddle once more. W. C. bought a
wonderful town car to celebrate his revival.
It rained the other evening and the car
was somehow shorted ; he had to borrow
$2 from the Paramount gateman to taxi
home.

rRED MacMURRAY tells this one, and
T admits he's puzzled. He'd been on a
lengthy hunting trip to Mexico. He hadn't
shaved for weeks and his hair was on the
flowing side. Fred walked into a barber
shop near Paramount, commented on the
lull in business there. "All the hams in
Hollywood are waiting for DeMille to
make another Buccaneer," explained one of
the barbers in tones of utter disgust.

THE month's most magnificent
• party for grown-ups was tossed
by Joseph Schenck, for the Darryl
Zanucks. It honored the producer's
fourteenth wedding anniversary.
Mr. Schenck ordered each of his
reception rooms blanketed with dif-
ferent kinds of flowers. One room
was gardenia-walled, for example.
Another was a vision in pink
camelias. To be piquant, one room
ran away from the motif and was
adorned in fresh grapes. One wall,
to punch the point of the party, was
all white carnations, with a big let-
ter "Z" plumb in the middle in blue
carnations. Everyone had a mar-
velous time in such semi-Versailles
surrounding's. Norma Shearer was
the only lady to wear a hat with
her evening gown ; she thus drew
special attention to her beauty.

Streamlined! Life begins to get more
interesting for the girls who are se-
lected for the Goldwyn chorus. The
honeys at right make that plain.

WAYNE MORRIS was striding down
the Boulevard when a gentleman ran
out of a clothing store. "Oh, Mr. Morris,
I've a coat for you !" Wayne smiled,
obligingly stepped in. It was a perfect fit.
"Why, thank you very much," he said.
And started to walk out, aglow with the
thrill of being a star and thus extravagantly
catered to. "But it's $135," pronounced the
proprietor. Wayne was so embarrassed he
bought it. "Although," he mutters, "nat-
urally I liked it a lot !"

yes on

Three steps to beautiful eyes
— care, make-up, expression

YRNA LOY and
Miriam Hopkins laugh
jwith their eyes. Joan
Crawford and Bette Davis look
frankly, courageously, straight
at you. It would be hard to
fib and get away with it before
those eyes. The slumbrous eyes

of Greta Garbo wrap you in a

maze of romantic dreams,
while Margaret Sullavan, Lo-
retta Young, and Sylvia Sid-
ney gaze with trusting candor.
And so it goes with stars and
all people, for that matter.
Screen personalities are ex-
pressed first, in eyes ; second,
in mouth ; and, third, perhaps,
in voice.

Among the notable Holly-
wood eyes there is great di-
versity in color, size and shape.
There is no definite pattern for
lovely eyes. Your eyes are you,
a personality different from all
others. Not long ago, the
Twentieth Century-Fox lot

boasted more green eyes than any other color. When I
was small, green eyes were unthinkable as a mark of
beauty, and I shed plenty of tears over my own. Claudette
Colbert has very large eyes, and beautiful ones, while
Norma Shearer's are not large, and still beautiful. And
yours, too, can be individually lovely, not like any other's
perhaps, but just in your own way.

First, comes care, but many of us forget this until we
are faced with the prospect of glasses permanently or
suffer physical discomfort. There are some simple rules
to follow to keep your eyes strong, young looking, and
sparkling. Avoid strong glare from the sun or electric

Zorina,
lashes
nightly
Prisci

at top, accents
with black mascara
applies a lubricant.

long
and
Right,

Lawson finds a brush very
adaptable for shadow blending. It
gives a smooth and satiny effect.
Above, Doris Weston rests her eyes
with dark lens goggles, rimmed to
match her costume.

lights. The glare of

sun on snow, water, or sand is
particularly straining. That is why so many of your
stars in beach or outdoor pictures wear sun goggles.
Some new goggles have just come to my desk that
deserve a very good word. They are favorites with Holly-
wood for good reason. The lens are in soft, muted shades
that do not distort natural colors, and they eliminate
much of the infra-red or burning sun rays. Very smart
are the colored or white rims to match a costume note.
A pair of these glasses will serve manifold purposes — ■
for motor trips, cruises, beach and general rest purposes.
It is wise to include a yearly check-up of eyes by an eye

specialist along with your semi-yearly in-
spection by your dentist. Thus any sight
difficulty is detected in early stages and
sometimes the wearing of corrective glasses
for even a short time overcomes the trouble
so that we may go much longer without
them permanently.

Light by day or night is so important.
Never try to sit with light in your face.
Be sure that all electric bulbs are con-
cealed under shades and that light is well
diffused throughout a room, so that the eye
need not look from bright spots to dim
ones. This contrast in light is hard on eyes.
The average reading lamp requires one
100 watt bulb or two 50 watt bulbs.

"When you go to bed, remember to relax
your face. When tired or worried, faces be-
come tight and set, mouth clenched, eyes
squeezed tight. This is a fine way to get
premature wrinkles. Think of something
funny or happy and your face will relax.
Circling the eyes with a special eye cream
or even a good face cream keeps that tissue-
thin skin softer, less prone to lines and
wrinkles. A daily or twice daily eye bath
keeps eyes clear, clean and sparkling. Use
in eye cup or with dropper, and when the
liquid is in the eyes, throw back your head
and roll the eyes to bathe them thoroughly.
There are a number of helpful lotions
that keep eyes healthy and bright.

Sylvia Sidney taught me a splendid
method of temporarily resting the eyes. Cup
the palms over your eyes until all light is
obliterated, close the eyes lightly and keep
them this way five or ten minutes. Eye
pads, herbal or medicated, are wonderful
for quick revivifying. Squeeze from warm
water, apply to eyes that have first been
circled with cream, lie down and rest
about twenty minutes. Black eye shades are
wonderful for morning sleepers. They come
especially for this.

Now comes the glamor touch — make-up.
Mascara is a boon to lightly-lashed woman-
kind. Today, the well-advertised brands
have reached a high degree of excellence,
beautifying, non-smarting, non-running, and
they will not harm lashes or eyes. You
must, however, remove mascara gently, as
carelessness or roughness will break any
lashes. Remove with cream or soap and
water, but wipe the upper lashes upward,

ours ror Love mess

New Beauty Notes Well Worth Copying

Modern Eyes, a new idea
for more eye beauty

A MODERN mascara,
indeed, is Modern
Eyes, in black, brown
or blue. Besides giving a
soft, silky frame to your
eyes and being unusually
cryproof, there are other
important points in its
favor. That spiral brush,
that coats all sides of your
lashes, so that even a
meager growth appears
luxuriant, and that neat
cylinder case resembling
a generous lipstick. The
tube is circled with the
mascara. Simply dampen
brush, nass around nn thp

A good travelling com-
panion this La Cross kit

Matchabelli's grand
Shower Oil for moderns

For a dewy complexion,
Hudnut's DuBarry twins

ment stores offer a very
"special" for this Hudnut's
DuBarry "Dew-ette" com-
bination.

Shower bath addicts,
who have felt neglected in
the way of bath luxuries,
cheer up ! Matchabelli has
made you a magnificent
Shower Oil. Smooth it
over your skin. It disap-
pears, softening, sweeten-
ing, whitening. Then step
under the shower. Water
pressure releases a divine
fragrance — ■ that of natu-
rally healthy, immaculate
skin. This odeur heightens

Is Sex Slipping
in Pictures?

Continued from page 27

how'd you like to make his dough?"

"Ah, but Fred has charm — "

"That's it — charm ! Not sex-appeal, like
Sam Goldwyn's got."

Pop! Pop! corks, corks, corks, corks.

And the table uncorked again :

"S'long as a picture entertains, chucks
out laughs and thrills and holds the interest
of the audience, the sex appeal can be nil,
or almost nil."

"Don't you mean ncrts?" boomed again
the hostess' mysterious lantern-jawed friend,
who now had a flask on the table.

"Well, who has the greatest sex appeal
on the screen, anyhow ?"

"D'pends on how the male is set up.
And whether he likes blondes or brunettes.
Now, as for me, it depends on the day."

"What's that got to do with it?"

"I don't know exactly, but I always asso-
ciate Olivia de Havilland with Sunday and
Joan Blondcll with Wednesday, for in-
stance."

"Ah, sweet, hugable li'l Minnie Mouse !"

"Would you say Donald Duck has any
of that destructive sex magnetism?"

"Genevieve Tobin ! — she's classic. Lilting,
aristocratic head. More polished than the
floor she walks on. What Celestial Potter
moulded that chin, what Swan-God curved
that neck—"

"Cut!"

"Why, I'll bet I could make a picture
without a single woman in it and, if the
story was good, it would go over."

"Sex is mightier than the sword — or
pen !"

"I keep my brain light, cool, and airy by
reading Irvin Cobb."

"W. C. Fields, for instance. There's de-
structive sex magnetism for you — what
goofy stuff !"

"Yes, destructive and constructive sex-
magnetism, that's what we arc talking
about."

"No, we were to discuss Is sex passing
out of the screen or isn't it, and if not,
will it?"

"Listen, you tosspot, every motion pic-
ture actor or actress projects his or her
aura on the screen — "

"Sex-halation, eh?"

"If it's an It woman, yes. If it's a man,
yes, also, if he has that indefinable some-
thing."

"Can't understand that Taylor yen. The
handsomest man on the screen is Joel Mc-
Crca."

"Trouble with Joel is he's the solid, Jack
Holt type. He has constructive sex mag-
netism."

"Don't you think the public's getting fed
up on those kiss-clinches?"

"Are you? A kiss is as new and as
smacky as the rising generation. Where do
you think you'd be without those clinchy
close-ups? You're a smoothie in your love
scenes."

Now up stood a fellow who had not said
a word until then. I had noticed that he
drank nothing but brandy instead of cham-
pagne. He looked like a Continental Don
Juan. He immediately commanded the at-
tention of us all — all except the Santa Bar-
bara philosopher, who was now playing
solitaire. He thundered :

"Sex is fury! Sex is creation! Sex is
divine ! Sex is hell ! It will never pass away
from the screen ! Men and women are in-
curable romantics ! Nature is the great sex-
dynamo. Ev^ry picture has sex somewhere
secreted in it. Even Ed Ciannelli and
George Raft must do their black deeds for
a moll ! There is no such thing as D. S. M.
There is only the Eternal Girl. Hollywood
without girls would be like a bouquet with-
out flowers."

"Is he meshuggah? Who's going to take
the girls out of Hollywood anyway !"

"Basil Rathbone sure is the greatest and
most cold-blooded villain on the screen.
The blood of the fans turn to ice when he
comes on. Would you say he's got sex-
pull?"

"Yes, they tell me widows are crazy
about him, as his fan-mail shows."

cafe at Monte Carlo, and ideas took on a
new lease of life.

"The most famous stories in the world
are not sex-stories — 'Uncle Tom's Cabin,'
'Robinson Crusoe,' 'Les Miserables,'
Cooper's Indian stories, 'Hamlet,' 'Alice in
Wonderland'—"

"The Declaration of Independence, the
1 '.mancipation Proclamation — "

"You sex-addicts can't take it, eh?
You've got to kid me."

"Love's one thing. Sex is another. Why
don't we get a good real love story on the
films ?"

"You mean the 'Romeo and Juliet' thing?
They don't click, I tell you. They want up-
to-date hot-cha."

At this point in the bubbling over of this
word-stew, I thought I'd have my say. Why
not? I was inside the movies for years,
when a vamp was a vampire, a languorous
lily of soulless love and a blood-red rose of
sin — yowzir !

"What's-his-namc over there," said I,
pointing my finger generally in the direc-
tion of the bar without spilling a drop,
"is right. Neither the picture public nor the
stage public pays big for just sex-stuff.
They do not care so much for an emotional
wallop as they do to be thrilled or enter-
tained.

"If you produce a picture with a beauti-
ful and Itty woman walking through eight
reels and there is no story, you will have a
dead duck on your hands. On the other
hand, you can put a couple of Itless men
and women in a rip-snorting, quick-action
picture and it'll go like free dimes at the
Mint.

"The fans will, of course, like the rest
of the human race, never tire of beauty in
women and the handsome, manly guy, but
it is a fact that even the younger, the post-
war generation — "

"The post-war degeneration, you mean,"
put in a frosty-faced dialogue-writer.

"Have it your own way. What I was go-
ing to say when that sophisticootie inter-
rupted me was that even the younger, the
rising, generation is so blase, as it were,
today that the cheap sex claptrap and kiss-
ing ga-ga make them yawn. It doesn't
register any more because it's the same
technique over and over again."

"Well, they're no new words for sex
situations and God has not invented any
new way of kissing or any new thing to do
with the hands— so what the hell are we
going to do?" asked a director who looked
like Wheelerandwoolsey.

"You mean," said the Rising Female Star
from What Cheer, Iowa, "that we're going-
back to the old static love-stuff where a
fellow does a quadrille and a minuet around
his girl, kneels to kiss her hand and then
pulls a bunch of violets from under his
coat?"

Then up spoke "Nerts" :

"You've said it. What the films need is
a good dose of old-fashioned love, and we
don't want it in the striped pants, the
handle-bar mustache and the bustles of the
80's and 70's either. Right up to date.

"Personally, I say sex is overworked, it's
on the out, and the better pictures are play-
ing it way down because the producers'
sense the fact that we are moving into a
hard-boiled, quick-action, realistic world.

"Unless we return to the romance-making
of our grandmother's day, sex is sunk. It'll
be a branch of war and politics, and a minor
branch at that."

"Who is this fellow who speaks Eng-
lish?" I whispered to a critic on my left.

"Gad! Don't say you don't know him!
Why, that's — " and he whispered in my ear
the name of one of the most celebrated
novelists and playwrights in the world.

"So," said my hostess, levelling at me a
sarcastic Mona Lisa-Bill Powell smile, "you
don't think men and women will go on
making passionate love to one another in
pictures, eh?"

"Only incidentally", I replied, "just as
happens in real life. "Did you ever stop to
think of how little time, month in and
month out, is actually given by all of us to
love-making? Well, that's about the pro-
portion it ought to get in pictures.

"You know, lovemaking has only a kick
w'hen done personally. The love-letters of
the other fellow are always ridiculous.

"The great pictures of the future will
deal with heroic lives and comic situations."

And then we all went on location back to
Fifty-second street.

Inside the Stars' Homes

Continued from page 13

wood at least, if a dish seems to them likely
to add to the poundage they simply skip it.

"Here is the menu for one of my latest
dinners :

Consomme
Broiled Trout, Butter Sauce
Cucumber Rolls
Crown Roast of Lamb
Minted Carrots
Saute Potato Balls
Green Salad Bowl
Chocolate Souffle
Demi Tasse

"My cook will give you such recipes as
you would like to have. I know very little
about cooking, but I always make out the
menu.

"In this case, we served an additional
sauce with the trout which is delicious. It
is fresh horse-radish chopped -up and added
to whipped cream.

"The cucumber rolls are made from very
fresh white bread, sliced thin and rolled
around thin slices of cucumber. These must,
of course, he served as soon as they are
made."

Minted Carrots, I discovered from the
Bennett cook, are often served when lamb
is on the menu at the Holmby Hills house.
You boil the carrots until tender, cut them
into shapes, glace them in brown sugar and
butter, and sprinkle with chopped mint.

CHOCOLATE SOUFFLE
Mix 3 level teaspoons cornstarch with
y2 cup milk and when it is smooth add lA
cup of powdered sugar and 4 level table-
spoons butter ; place the mixture in a sauce-
pan and stir over the fire until it boils ;
remove and stir until cold and then add the
yolks of 2 eggs and 3 level tablespoons
grated chocolate (Bakers) ; beat until
smooth, add the stiffly beaten whites of 2
eggs and pour into a buttered souffle dish
and bake in a moderate oven forty minutes.
Serve in the same dish.

"I suppose the most unusual dish we
serve here is a dessert called creamed cones.

from any extra mouthful of food,_ but La
Bennett is exempt from these worries. Slim
in blue wool with a brilliant clip at the
throat, she shrugged them away.

Although it has been said that she never
wears the same gown to any important
Hollywood affair, she denies that she goes
in for an extensive wardrobe. She buys
clothes for the three months of each season
— not too many of them, but enough to
cover her needs — and then gets the new
models as they appear. With styles chang-
ing as rapidly as they do, she sees no
special point, in loading up with a six
months' wardrobe.

"You must see the playroom," she sug-
gested, presently, after we had admired the
collection of silver gathered in England,
the linens selected in France, and the china
from France and England. "We usually
follow a dinner with games in here. Back-
gammon has been popular, but now we seem
to be going in for Guggenheim and
bezique."

The playroom is a spacious one, done in
knotty pine, with a sage green rug and a
fully equipped bar ornamented with cop-
per. There are sporting prints on the walls,
tables for games, a fireplace, and equipment
for an infinite variety of entertainment.
There is even a screen and projection space
for showing films. Twin lamps, pottery
roosters in yellow carrying rakish shades,
stand at either end of the bar.

Occasionally, a preview party returns to
the playroom after the theatre showing and
varied delicious sandwiches are served.

Sometimes there are open-faced sand-
wiches, of sliced egg with anchovy, Hormel
ham with the powered yolks of hardboiled
eggs, herring with onion rings, or cream
cheese (Philadelphia) dotted with chopped
dates and nuts.

And sometimes the sandwiches are heart-
ier, including :

HOT HAM AND CHEESE

On rye toast spread a thin layer of pic-
calilli ; then a slice of cold ham. Mix a
paste of Kraft American cheese, mustard
(Gulden's), Worcestershire sauce and
cream, and spread on ham. Heat in the
oven and place under broiler to brown
slightly.

AVOCADO SANDWICH

English Broken Here

Continued from page 24

bers with Eddie Robinson in "The Last
Gangster."

Annabclla represents Fox Foreign Fem-
ininity. Unassuming, sincere. Wide brown
eyes, sunburnt blonde hair, and an air of
boyish directness. When this girl says: "I
love the smell of earth after rain, the smell
of freshly baked bread, and small babies
after their baths," she is not pulling the
wide-eyed womanly-woman stuff. She means
it. And how do I know? I'll tell you. Be-
cause she admits she doesn't know where
acting leaves off and Annabclla begins.
Anyone who can be that frank about her-
self has too much appreciation of her lis-
teners' intelligence to try such worn-out
banalities, unless it were first completely
refurbished and dished up in a different
form. That is one reason I believe this re-
mark of Annabella's. Also, the fact that it
occurred when and where it did in the con-
versation: Over broiled lobster and g;een
salad in the Cafe de La Paix on the Fox
lot, we were discussing planetary laws. Al-
though keenly interested in the subject,
Annabclla had never happened to delve
deeply into the significance of such laws,
and was sincerely amazed when she found
that many children of her planet found sur-
cease and strength in the earth.

Her involuntary reaction to the newly-
found knowledge was such intense pleasure
that tears came to her large brown eyes.
"It is thrilling to know that others feel this
way. I never told anyone about it, as I
thought it might sound so silly, but it is
true. If I bury my nose in the earth, it fixes
everything. If I must live in an apartment,
I die."

The mere fact that she thought herself
singular in this idiosyncrasy further proves
the sincerity of her apparent aphorism.
She's like that all the way through, too.

"I like best to talk to children, about
eight or nine." A mark of the true sop-
histicate. She has completed the cycle of
confused so-called adult mentalities and
finds sanity and sound reasoning in childish
directness. Lack of pretense in everything
is an outstanding characteristic. Her clothes,
for instance: A casual yellow and bk"J*

of the avid and searching student of life.

"Is it true also that people of my birth-
month, if they act, will never, never stop?
Me, I shall work in a wheelchair at eighty,
if I can, but I shall never stop. Nothing can
stop me. The work, I mean. The parts I
love."

Tenacity towards creative work cannot
fail. It has taken her a long, long way,
already. From Fox to Europe to Fox,
which is a long, long way in this instance.
Just three short years ago, a little girl
resembling the radiant poised creature sit-
ting here, a star amongst stars, made her
quiet mouse-like way about the Fox lot.
A shadow of the Annabclla that was to be
— the nucleus, the embryo. It is even fitting
that the lot to which Fate brought her
.should be Fox. Physically, I mean, for on
this sunny winter day, in whatever direc-
tion one looked, there were gently sloping
hills of rich, copper-colored earth. And a
calm, gentle peace prevaded the scene, mak-
ing it difficult to believe that an industry
was going pulsatingly forward, amidst such
serenity.

That Annabclla of three years ago was
doing a foreign version. Just about as im-
portant as a field-mouse and just about as
colorful. Living in loneliness at the Beverly
Hills Hotel, homesick, but even then de-
termined to come back some day and show
them. She has. The new Annabella is this
year's latest imported model, darling of
the lot, a splashy red star on her dressing-
room door, and William Powell's vis-a-vis,
no less ! She rode back to Hollywood on
"Wings of the Morning," in resplendent
colors, and she's here to stay !

Her name was chosen with customary
thoughtfulness. As both her father and hus-
band are writers, she did not wish to trade
on their names, so chose Annabella. Of
course, inspired, by the dolorous Poe's poem,
Annabelle Lee. But today she is more like
Baudelaire's poetry. As you know, he is
often called the French Poe. However, the
story behind Poe's writing of that poem has
the same underlying quality of sadness as
one sees in Annabella's eyes. As you recall,
Poe came home to his cottage by the sea
in wild state of drunkeness and asked his
girl-bride to sing for him. She demurred,
telling him of a very sore throat. At the
insistence of the man she loved, she sang.
And sang and sang and sang — all night.

A— J t. • •' '

Danielle Darrieux as she appears
in her first American film.

poet who made words sing like the sound
of a thousand violins in a dim, other-world
symphony. He was perhaps the first to
write poetry in prose. But like Poe, every-
thing was dolor. Don't get me wrong, the
only dolor about Annabella is her tremen-
dous dramatic ability, but she has all the
hauntingness that these two unhappy bards
sang about. Wait till you see for yourstli
in "The Baroness and the Butler."

What have these people that our local
talent lacks? Is it je ne sais quo'i? An extra
soupcon of polish, a dash of daring, a fillip
of folly, or just plain novelty? The latter,
I think, is one of the important answers
to this controversial question.

Unless you wish to delve into such far-
flung theories as are being expounded by
the sitting-room-seers, such as "MY per-
sonal belief is that the producers are very

far siorht^H V~.. 1 — t»1<»iMc,"r>n is inst

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NEW kind of cream is bringing
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Within recent years doctors have learned
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Granddaughter of the late C. OLIVER ISELIN

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can have the benefits of the 'skin-vitamin' in Pond's Cold Cream,
I wonder how women were ever satisfied to use cleansing creams
that did not also nourish!"

all, that the use of this cream gives a live-
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Use Pond's new "skin-vitamin" Cold
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Now every jar of Pond's Cold Cream you buy
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TEST IT IN
9 TREATMENTS

(above) Entertaining in the white draw-
ing room of her New York apartment.
(center) Mrs. Richardson greeting
friends after the opera.

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Tune in on "THOSE WE LOVE," Pond's Program, Tuesdays, 8:00 P. M„ E.S.T., N.B.C. Blue Network

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seasons' old, no matter how exquisite the
material originally, and then bring new
zest to her work when handed a length of
lustrous new satin or luxurious velvet ; so
a director, too, enthuses over a new med-
ium with which to express his art.

The least common denominator of all of
these foreigners is their grim earnestness
and gratitude. That is the really important
answer. A Russian emigre friend of mine
said recently : "Over here you are all
Croesus' I"

Suppose you came from a country where
hardship and heartbreak were the daily dole,
and suddenly, through hard work and lucky
breaks, were plumped down into a heavenly
country where roses were blooming riot-
ously in mid-winter, where tons of food
were heaped in the market places, and gold
was poured into your hands with which to
buy everything you had always longed for?
Your reaction would be the same as that
of all these people. They've known con-
trast, and thereby learned appreciation.
Nothing can deviate them from their path.
They will not take the slightest chance
with this precious opportunity. And right
there they have its licked! We, who have
learned to accept — central heating, air and
sunlight, free medical attention, free educa-
tion, free culture, free parks, free every-
thing. And from long acceptance, we have
fallen into the habit of criticism and dis-
content. Each one of these new Hollywood
citizens leads a rigorous life of self-dis-
cipline : Work, work, work. No time for
play. Study, study, study. And always and
everlastingly grateful.

Add to that the fact that they are adults,
and not suffering from the common psy-
chosis of adult infantilism, necessitating
symbols of success such as swimming pools
and star sapphires, to bolster their egos,
and you have a hard combination to beat.

Perhaps the Foreign Colony will act as
an incentive to our American Colony, and
inject some healthy competition into our
own brilliant ranks, who may have let
down just a bit. Whatever the result, the
public will benefit ; for real talent, whether
foreign or home-grown, will flourish on
competition, and greater portrayals than
ever before will be brought to the screen.
If Hollywood has come to be an Inter-
national Track Meet, let's be sporting
enough to really wish that -the best man
wins !

Danielle Darrieux' own menage offers an
interesting example which we might segre-
gate. Danielle was furnished by the studio
with a secretary-interpreter, Mary Lee
Martin. Mary Lee is tall, blonde, lissome
and debonair. As a child actress on the
Universal lot, she became a Victim of The
Thing — and will never be content again
unless she's before the camera, giving a
take for posterity. She attended U.C.L.A.,
achieving the coveted Phi Beta Kappa Key.
She was also honored by the French Gov-
ernment for her linquistic abilities. Then
on to Washington, and the State Depart-
ment, where she was doing more than all
right. But she longed for her first love,
and came back home to Universal ; this
time as a stenographer. So when Danielle
arrived, to do the "Rage of Paris," what
more natural than to send Mary Lee to
her home? Mary Lee now takes M'sieur
Decoin's dictation in French, translating
mentally, and makes her notes in English,
while attending to the various other duties
of the household. This charming southern
girl with generations of breeding behind
her, has nothing but praise and admiration
for Danielle and her husband, but it must
be darned hard to help another along the
path of one's own Heart's Desire. A Salute
to aGallant Lady !

Oh. yes, I nearly forgot. Add common
denominators : All these girls seem to have
done a picture with Fernand Gravet at
some time, somewhere! How that man
gets around !

Barbara Read is a most suitable
subject for camera art.

The Rise of Regan

Continued from page 25

ularly proud of his wife and children and
home ties are deeply imbedded in him, but
for more than three years he kept those he
loved best in this life in the background,
away from Hollywood eyes and knowledge.
His wife, Josephine Dwyer, saw to that.

"Look, dear," she said, when Phil brought
his family to California in 1934, "there's no
real point to your telling anybody about us.
It would be dynamite to your career, just
as it's starting so well, if it were known
you had four children, even though you are
only twenty-seven now. We'll stay out of
sight, away from Hollywood entirely, and
here in Pasadena no one will associate us
with Phil Regan, the actor. No one here
need know you have anything to do with
motion pictures."

So, even though the idea didn't appeal to
him a nickel's worth, Phil Regan, to Holly-
wood, was the gay, romantic, unmarried
swain. "This is my sweetheart," he some-
times would introduce Josephine Dwyer,
on their rare appearances together in Hol-
lywood— and everybody took it for granted
that the girl with him was his latest
"flame." Nobody, during all the time this
masquerade was practiced, once asked Phil
directly if he were married.

"There was one occasion," Phil chuckles,
in recollection, "when a prominent news-
paper columnist approached me at a pro
view. 'Phil,' he said, T just heard from the
east that you're married and have five
children.'

'"Not five,' I told him. 'four.' Both of
us laughed, and that was the last I ever
heard of it. He thought I was kidding him.
Actually, of course, I had never been more
truthful" in my life.

"And I meant it, too, when I introduced
Josephine as my 'sweetheart.' I've never
liked the sound of the word, wife, and have
always used sweetheart, instead. Although
no one knew it, I was really presenting the
wife nobody suspected I possessed. Nor was
I lying when I told friends that it would
be the proudest day of my life when I could
introduce Miss Dwyer as my wife."

Phil was seventeen when he married
Josephine Dwyer. That was when he was
driving a truck, back in Brooklyn.^ They
were pronounced man and wife in St.
Francis' Cathedral, but there was no money
with which to take a honeymoon. Instead,
Phil led his bride from the cathedral door

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to his truck, drove her to the one-room
apartment lie had rented — and returned to

work.

Born the son of Irish immigrant parents
in a poor section of Brooklyn, Phil was
working at odd jobs before he was ten
years old. His father managed to keep him
in school through the grammar grades, but
high school was impossible. He got a job
driving a wagon on the docks.

"One of my earliest and fondest memories
was riding on my father's brewery route,"
Phil says, "so it wasn't so surprising that
I should take a job driving a truck, too. I
remember how proud 1 was, as I drove my
team past a group of former playmates."

I rom teamster, Phil progressed to auto
truck driver, and it was during this period
that he married the girl with whom he had
been keeping company for more than a
year. Private cbauffeuring developed as a
desire to better himself, and finally he
joined the police force.

"Thirty-five dollars a week — all my
troubles were at an end," Phil smiles now.
"The work was steady, and there was al-
ways that pension of thirty dollars a week
at the end of twenty years. My life seemed
complete, and Josephine and I were entirely
happy. Two sons, Joseph and Phillip, Jr.,
had been born to us."

The screen was farthest from his thoughts
during this period. So, too, was singing
over the radio. How Phil came to abandon
his chosen profession for radio work was
purely accidental.

He had been detailed, in his capacity of
plain-clothesman on the force, to watch
over a sumptuous party. His partner
chanced to tell the host of his talent for
singing, and the host insisted that he oblige.
He was little less than a sensation.

Ralph Wonders, then a top executive of
the Columbia Broadcasting System, heard
him and asked him to take an audition the
following day. Phil didn't show up for this
audition until later, but immediately it was
over, Guy Lombardo, the orchestra leader,
proposed he join him on the Burns and
Allen radio hour.

"Before I accepted, though, Josephine and
I discussed the proposition at great length,"
Phil declares. "As a cop, I was sure of a
job; while, if I went on the radio, I was
assured only thirteen weeks. Of course, the
future might offer something interesting,
but I would be relinquishing my chances of
that thirty dollars a week pension."

While such a prospect may mean little to
many people, consider Phil's position. He
had "been born of poor parents — steady work
was at a premium — a regular salary for
twenty years, with occasional raises and

The airy grace of Joyce Mathews
is accented by a novel hair-do.

SCREENLAND

possible promotions, and a retirement pen-
sion of thirty dollars weekly, was an op-
portunity not to be ignored. Lombardo's
offer, however, promised a great deal, and
Phil finally accepted.

He became known in radio as The Sing-
ing Cop, and continued on the radio after
the termination of his Burns and Allen
engagement. In December 193.3, he de-
termined to take a chance on Hollywood,
and on blind speculation arrived in the
movie capital. An interesting sidelight was
that Josephine Dwyer, unlike most wives,
insisted Phil bargain with fate and go west,
where the chances were several thousand
to one against him. She and the four chil-
dren remained in New York.

One of those rare breaks you often read
about touched Phil with its magic wand.
The first night he was in Hollywood he
went to the Cocoanut Grove, where Guy
Lombardo was opening that evening. Clar-
ence Brown saw him, and told him to re-
port the following day at the studio for a
screen test.

The test was for Joan Crawford's lead-
ing man in "Sadie McKee." While another.
Gene Raymond, won this role, the test
proved to an agent that Phil possessed an
extraordinary voice, and straightway he
sold him to Warner Brothers, who placed
him under contract. The family reached the
film capital shortly afterwards, and the
move which was to make Phil the roman-
tic bachelor decided upon.

"It wasn't easy, posing as the gay blade
with matrimony farthest away from my
mind," the actor tells you. "Many and many
a time I was on the verge of chucking
everything and presenting my family for all
the world to see. but Josephine talked me
out of it each time.

"I remained with Warners for two years,
but there were so many other singing actors
on the lot that I decided I could do better
elsewhere and asked for my release. I went
over to Republic, and played in 'Laughing
Irish Eyes.' "

This is the picture which really focused
Hollywood's attention upon him. After a
second film for this same company. Repub-
lic decided to produce a big musical ex-
travaganza, "The Hit Parade," with such
names as Frances Langford, Cab Calloway,
and Eddie Duchin. It cast Phil Regan in
what amounted virtually to the starring
role. More recently, he appeared in "Man-
hattan Merry-Go-Round," and established
himself definitely as one of the screen's
most gifted singing personalities. He'll next
be seen in the starring role of "Mavour-
neen."

"I haven't any visions of becoming a great
star," he explains, surprisingly. "I've set a
very modest goal, not at all in line with
what is expected of a picture star. I want
to live in comfort with my wife, and pro-
vide for my children. I want a nice home,
and a moderate income. So far as the luxu-
ries of great wealth are concerned, how-
ever, those are not for us. We're simple
folks — we don't want them. That is why we
want our children to understand that they're
no better or no different from their friends,
those whose parents are not in motion pic-
tures or particularly wealthy. It's only
through a streak of luck, anyway, that I'm
in pictures and that we're as well off as we
are.

An amazing young chap, this Phil Regan.
A star now. he still thinks of himself as
fortunate indeed even to be in Hollywood.
His honest brown eyes give no indication
that he is aught but amazed that events
have taken the turn they have in directing
his fate. It's not so wondrous, though, to
those who know him — talent such as his
cannot long remain hidden. His voice alone
would ensure his popular reception. 1 re-
peat, he is one of the most un-Hollywood
persons ever to arrive in the film capital.
Phil Regan will always keep his feet on
the ground.

Screenland Snoop

Continued from page 21

subjects to be acted and enforce discipline
and quiet and refinement — if possible. The
subjects may include the title of a movie, a
play, a book, a poem, a song, or a famous
painting ; the name of a well known person
or place; a familiar quotation, a slang
phrase, or an advertising slogan ; historical,
Biblical, mythological episode, or practically
anything.

There must be a time-keeper with a stop-
watch who can be trusted. Sometimes one
minute is allotted a player, sometimes two
or three. Ready, get set, go! The captain
gives the slip of paper with the subject to
be acted on it to a player on his team and
that unfortunate wretch must act out what
he finds written on the paper so his own
team will guess it as quickly as possible.
From the moment he touches the paper the
player cannot speak or make any sound.
He must get his subject across solely by
acting. Generally his team tries first to
establish whether it is a "book," a "quota-
tion," etc. This done, the player goes into
his pantomine while his team screeches and
yells at him. He usually tries to act out the
key word, but when the key words are
abstract he has to resort to phonetics and
will act out separate syllables in a word —
a method to be avoided if possible. Natur-
ally there are signals he can give his team
when they are getting warm, and when they
finally guess it. The team that takes the
least time to guess the other team's list is
of course the winning team, and at the end
of the party feels just about as peppy as a
piece of soggy bread. You look_ utterly
moronic not only when you're acting, but
also when you're guessing.

Just to prove that all Hollywood romance doesn't necessarily have a night club
setting-, here's a pastoral version by Simone Simon and Don Ameche in Josette.

The best of "The Game" players in Hol-
lywood is Loretta Young, who can take
practically any subject that is handed her
and act it out before most of us have un-
folded our slip of paper. Loretta recently
finished a strenuous picture schedule and
wanted to "get away from it all." You
know, relax, and all that. So she went to
New York, started playing "The Game"
and with only a few hours out for sleep
played it all the way back to the Coast.
She's the fastest both as an actor and a
guesser — she ought to be, she knows them

all by now. Fortunately Bill Powell and Al
Kaufman and several other Hollywoodians
were on the train too so Loretta didn't have
to call in the engineer and conductor to
make a team. Fans along the route who
crowded around the Chief at the_ stations
report the queerest goings-on in Miss
Young's compartment. But it really wasn't
Mr. Powell getting fresh— he was merely
acting out "Variety is the spice of life^
and having a hell of a time with "spice."
The William Powell fan club of Kansas
City had a special treat. They arrived just

WHAT'S -BECOME OT
THAT NICE MAN ?

NO TUFFIE--JUST THE DENTIST'S
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in time to see their idol acting out "The
sins of the fathers."

Bill, however, isn't one of the best
"Game" players. He insists upon taking
his time and he always stops to giggle and
that slows up the action. Personally, I wish
I felt like giggling when in the agonies of
pantomiming "Taxation without representa-
tion is tyranny." 1 feel more like murder-
ing. I've known Bill for years and he has
never been able to take any game seriously.
In fact there was once a rumor that his
unguarded Kings and unfinessed Queens led
to the Lombard-Powell divorce.

Loretta admits that she has only been
completely stumped once and that was at
the Darryl Zanuck party when some So-
and-So handed her "Twas ever thus." She
lies awake nights trying to figure out how
she could have done that. Loretta hates to
try to guess Shakespearean quotations, as
she has never spent much time with Shakes-
peare, but any kind of a Biblical quotation
or episode is a cinch for her and her sister
Sallv Blane. Her favorite is "Rebecca at
the "Well."

Next to Loretta I suppose Barbara Stan-
wyck is our most avid player. Barbara
hasn't made a picture since last August and
has been suspended by RKO since October
so says Barbara, " 'The Game' is my salva-
tion. It's the only chance I have to act now.
Thanks to 'The Game' I can keep in prac-
tice." Comes Sunday night and the mem-
bers of the Mar-Wyck Ranch Game Club
gather about Barbara's big fireplace to
watch Barbara act — and get in a little act-
ing of their own. There you'll find Robert
Taylor who had rather act than guess,
Carole Lombard who had rather guess than
act, Clark Gable who likes to do both,
Marian and Zeppo Marx and the Ray
Millands.

Barbara acts with great dash and en-
thusiasm, indeed her enthusiasm one night
practically ended in tragedy. Bob Taylor
was expected to arrive from England, via
New York, the next morning and Barbara
wanted to look fresh and lovely. "I'd been
practicing glamor for days," she said, "and
thought at last I looked like a cross be-
tween Joan Crawford and Carole Lombard.
Til act out only one more quotation,' I
told the gang, 'and then I go to bed. Give
me a hard one.' " They gave her, "To err
is human, to forgive divine" and Barbara
became so involved in erring that in the
excitement she hit her nose with her long
glamorous fingernails that she had been
growing for Bob and practically ripped it
open. "The Game" was called off while
everyone offered suggestions for healing
Barbara's nose which was bleeding all over
the place. "When I saw Bob the next day,"
said Barbara, "I looked like somebody who
had just gotten the worst of it in Madison
Square Garden. I certainly didn't look like
a cross between Joan Crawford and Carole
Lombard."

The hardest one she ever tried to do,
Barbara says, was "Don't spit. Remember
the Johnstown Flood." She suspects Mr.
Gable. Her portrayal of the Flood was so
excellent that Carole guessed "Rhythm on
the Range," Marian guessed "The Last of
the Mohicans" and Ray Milland was posi-
tive that it was "Nothing Sacred."

I arrived at Claudette Colbert's one night
to find Director Ernst Lubitsch writhing
on the floor. Acute appendix, I thought at
once, and was ready to call an ambulance.
But it seems that the Herr Director was
only doing "The Birth of a Nation." Claud-
ette, who becomes quite indignant if the
studio wants her to work after six o'clock,
will sit up all night playing "The Game."
She loves it. "A little knowledge is a dan-
gerous thing," almost baffled her. but she
came through with flying colors on "Paths
of glory lead but to "the grave." Claudette
neatly laid off a path, and after guesses

of "road" and "walk" Gary Cooper, who
loathes the "Game," guessed "path." Then
Claudette began to take bows right and
left. Her team was completely dumb-
founded. What could bows have to do with
a 'path." And then for once I showed a
grain of intelligence. Perhaps it's because I
know movie stars so well. "That," I said,
"is 'glory.' " And then of course with two
key words we all shouted the quotation at
the same lime. You and I, rank amateurs
that we are, would probably have waved
an imaginary flag for glory — but an actress
takes bows.

Of course there was unmerciful kidding
at the Darryl Zanuck parly w hen Marlene
was handed "She walks in beauty" and
"Aphrodite" both on the same night, and
didn't have to do a thing but point to her-
self. Myrna Loy, who is called Minnie by
her close friends, is about the worst of the
women players. Although an actress, Myrna
is much too shy to get the most out of
"The Game." "And," says Myrna, "they
always give me such awful tilings to do.
Now how can I do, 'Remember the
Maine?'"

And you'd be surprised to know who the
worst of the male actors is ! None otl :r
than the greatest pantomimist of them all,
Charlie Chaplin. Charlie just doesn't get
the hang of "The Game" for some reason
or other. When given "Deep as the ocean"
the other night he complained bitterly that
it was much too difficult and couldn't be
done. Immediately ten people offered to do
it for him. The best of the male actors are
Doug Fairbanks, Jr., Ronald Colman, and
David Niven. Doug, Jr., is so nuts about
"The Game" that he even plays it between
"takes" at the studio and whereas Irene
Dunne used to knit horrible things that
were meant for sweaters but turned out to
be mufflers between set-ups, she is now
right out there with Doug, Jr. trying to
figure out with Director Tay Garnett what
her leading man is trying to convey. He
seems to be walking over imaginary moun-
tains. "Hannibal crossing the Alps," shrieks
Irene, as pleased as punch with herself. And
of course the cast and crew of "The Joy of
Loving," not to mention Designer Eddie
Stevenson, will never forget the day Miss
Dunne did "Like a fish out of water" right
in the middle of dusty Stage 4.

The English, it seems, are excellent at
"The Game." Ronald Colman, Benita Hume
and David Niven are calm, precise, and
right to the point without wasting a second.
Ronnie Colman was so marvelous one night
that he actually forced a team of dim-wits
to guess, "Able was I ere I saw Elba." The
French are either fluttery or quite bad.
Fernand Gravet will act but has a hard
time guessing. Of all the foreigners in the
colony Marlene Dietrich is the best when
it comes to both acting and guessing. Noth-
ing is too difficult for Marlene to attempt.
Her best is "Simple Simon met a pieman."

At one of Joan Blondell and Dick
Powell's parties I recently found a new
interpretation of "The Game." George
Burns. Jack Benny, and Harry Ruby de-
cided that the three of them would act out
all their subjects together. In fact they de-
cided they would even select their own
subjects and that we could guess them.
First the three of them walked to the cen-
ter of the room, started pointing at each
other and shaking their heads. For a mo-
ment there they had us, and _ then Mary
Livingstone guessed, "The Irish in Us."
Later came "The Wandering Jew" and
"The Perfect Specimen." Joan and Gloria
Blondell rank right up with the top-notch
plavers ; indeed Gloria has worked it down
to such a system that she can usually guess
it as soon as she knows the category it
fits into. Though there is one she never did
guess. That was the night that sister Joan
did "The Oedipus Complex."

SCREENLAND

"Collaborate With
a Camera"

Continued from page 63

Yes, I've tried making little humming
sounds to get them to perk up their ears,
but even then they wriggle !"

Another hobby of Dolores' is the home
movie camera.

"I have a small Cine-Kodak in which I
use color film," she explained, her eyes full
of little gold lights, as if her enthusiasm had
lighted lamps in their dark depths. "I wish
the day would come when motion pictures
could get some glorious color on the screen !
I have lovelier shots of Norma Shearer,
Gary Cooper, Errol Flynn, and Fay Wray
than anything you've seen in their films.

"On the 'Lancer Spy' set, I made gorgeous
color shots of our scenes that far surpass
those they made with the black-and-white
cameras. I used to tell them every day how
much better mine were ! I made some in-
triguing shots of our director, Gregory
Ratoff — what a nice person he is! — when
he was terribly excited. Such fun ! I show
them to him and he pretends to be furious !

"I've experimented with color film in my
still camera, but without great success.

"There is a film, called JDufay film, that
you can buy ; you get six negatives for
$7.50, and you are permitted to send them
to New York for developing and printing.
The negatives are tiny things, but the re-
turned prints are blown up to a fair size
and beautifully mounted.

"I am not expert enough yet to make this
worth while to me. Perhaps only an ex-
cellent artist could afford to do it at this
stage, for each print should be more than
a mere amateur shot at that price.

"However, it's difficult to judge for other
people. Camera work gets finer every day.
The beautiful pictures made by such men as
Steichen are worth collecting. People buy
and hang them as they used to buy valuable
paintings, and I think they fit into a mod-
ern house better."

One of the thrills of doing portraits with
Mr. Gibbons, Dolores' husband, according
to the star, is that he has original ideas of
composition and focus, and likes to ex-
periment.

"We will often take half a dozen por-
traits of the sitter in the same pose," she

Benchwarmer — but not for long.
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confided, "and number each sbot so that
we will know exactly what was done, if the
negatives get mixed up. Our notes on the
numbered shot tell the focus, the lighting,
the change in background, etc., and then we
add the printing time. When we have a
larger collection, we should be able to tell
exactly how a given arrangement will
result."

Dolores is far enough along with her
hobby now so that she can mentally change
the colors in a scene to be shot by her still
camera into the varied blacks, grays, and
whites that will be shown in the finished
print.

"At first, I would forget that the green
branch behind a girl in black would most
likely appear as an extension of the black
costume," she explained, "but now I seem
to know automatically which shades of red
will go dark and which ones will go light.
This is partly my motion picture training,
of course.

"I've always had a feeling for beauty, but,
do you know, since I began to make pic-
tures I seem to have a greater apprecia-
tion of it, a greater awareness. I see beauty
in line and interesting composition where I
didn't especially notice it before.

"I was down at Palm Springs last week,
and how I wished for my Rolleiflex! I had
the little movie camera with me and I am
so proud of the shots I made. Sand shots
make gorgeous pictures, just as snow shots
do, but so far I have had no opportunity to
shoot anything in the snow. This time I
made pictures of typical desert scenes, of
cactus, even some close shots of cactus in
flower, with one tiny rosy bloom filling the
screen.

"If you have sunlight on your sand,, or
snow, you can have your figures face away
from the bright light, using the sand as
reflector. The odd thing about this hobby
is that it seems not to have a limit — one
thing leads to another. Reflectors, for in-
stance : we have none yet, so we use white
walls or sand. When we are farther along
with our portraits, and can bear to let our
attention stray, we shall probably get one
or two real reflectors and experiment with
them."

One of Dolores' hints to amateur camera-
men is this : "Watch your background,
especially in an outdoor shot. Telephone
wires a block away have a maddening
habit of showing up in a finished print.
You don't see them when you look into the
finder, but there they are ! If you take_ a
water shot with a beach line in the dis-
tance, look over the scenery for ugly bill-
boards or hideous little shacks that might
ruin the shot. You think : 'It's so far away,
it won't be seen,' but it always seems to
stick out and spoil things. So for pictures
that please, Dolores reminds us, one must
carefully observe the background.

"If you take pictures in a room, or on a
terrace, or anywhere with a close-up back-
ground, look at the scene in detail before
you click the shutter. A vase of flowers
may look artistic on a table behind the
girl on the couch, but in the finished print
it may seem to be growing out of her head.
A shift to one side would avoid this freak.

"It's just as well not to let your subject
wear a hat. Everyone looks better without
one, and hats of today are likely to make
their wearers faintly ridiculous tomorrow.
Most of us are appalled at our millinery of
five years ago, so unless the girl is in cos-
tume—which will be ageless — take off her
trick hat.

"A hobby like this one doesn't depend on
expensive equipment. Anyone with a cheap
box camera and home-made filters and
screens can get enjoyment from it. It de-
velops ingenuity, because you find yourself
getting new ideas and have to figure out
ways to make them come true.

"If you can get a collaborator, it wnl
double your fun !"

Gloria Stuart offers you a very
smart idea in resort wear.

With Carbo at Home

Continued from page 29

before the window and adjoining a white
and blue bathroom that is surely the small-
est ever owned by a famous film star. It
has no provision for cosmetics. Garbo dis-
likes to use make-up off the screen and
even the exquisite pale spun-gold_ of her
hair is entirely due to its morning and
evening's brushing.

Reverting to Greta's statement that she
was not going to "marry anybody at
present," that word present may have been
used in a very literal sense. Benefit of the
doubt might well be accorded her, for it
was a fact that Leopold Stokowski at
that time was in America. Only later did
the famous conductor sail the seas on the
Same path Garbo had travelled weeks
previously.

Before she left Hollywood Garbo denied
the rumored romance and impending mar-
riage— at the time she made the denials
Stokowski was still married. Later his
wife divorced him and contracted another
marriage, thus giving added vigor to the
persistent Garbo- Stokowski rumors eman-
ating from Hollywood.

Sometimes Garbo goes to Stockholm, to
renew her acquaintance w-ith the friends of
her early days when she was struggling to
earn a few kronen in the city herself as
salesgirl, photographic model, and occa-
sional film extra. On these days she leaves
Haarby alone in a modest car whose chained
wheels lumber slowly along the snow-
stacked country roads and stays at the
apartment of a woman painter she has
known for many years.

Together they go to watch the winter
sports, the ice-yachting and skate-sailing on
the frozen waters of the great Archipelago,
the hockey-matches at the Stadium and the
ski-ing out on the hill at Fiskartorpet. Like
most Swedish women, Garbo is an accom-
plished skater and she follows the profes-
sional performers with the critical eyes of
an expert. She has taken the keenest inter-
est in Sonja Henie's work in Hollywood.

SCREENLAND

One night Garbo went to her own cinema
in Stockholm. She is the only star in the
world who has a motion picture theatre
named after her and formally dedicated to
her art as well. It is called "The Garbio,'
bioscope meaning cinema in Scandinavia,
and stands in what Greta often describes
unaffectedly as "my part of the city"— the
densely populated working-class district
where she lived when she worked in the
hat department of Stockholm's leading-
store.

Daytime Garbo's street dress is invariably
in the same classic style. Her severely
tailored suit is of dark wool and covered
with a long loose coat or cloak to match.
A colored scarf perhaps and peasant-type
pigskin gauntlet gloves, heavy flat shoes and
dark silk stockings, maybe a soft felt pull-
on hat if the snow is falling, but often her
hair falls uncovered to her shoulders. At
home she wears it uncurled with her fore-
head fringe quite straight too.

In the evening she goes glamorous with-
out departing from this original fashion she
affects. She was centre of a gay informal
dinner party at the Grand Hotel one night,
sitting in the winter garden restaurant j
where she laughed and chatted with her ,
artist friends. She wore an ankle-length j
gown of midnight blue velvet, fitting her j
slim figure tightly, with long wide sleeves
and an antique gold filigree brooch at the
shoulder. Over it went a sweeping blue
velvet cloak which pulled the fur-lined col-
lar across her head exactly like a becom-
ing monk's hood.

As always when she comes home, Garbo
has been shopping in Stockholm, buying
things to take back to Hollywood so that
she shall still be reminded of her native
land. * ••' • -

That is where Garbo differs from most
foreign stars who go to Hollywood. They
become enthusiastically Americanized, en-
chanted bv the novelty of their new en-
vironment, but Garbo's nature is too deeply
rooted fundamentally ever to change her
habits or ideas. She will learn, improve,
and polish herself; but she will never alter
in essentials. Today the world-famous star
is still the sister of every other tall blonde
Swedish woman in the streets of Stock-
holm, thinking and feeling and acting m
just the same way. She lives across the
ocean now, but her heart remains at home.

Only the fact that she. loves her work
to the exclusion of everything else keeps
Garbo in Hollywood— she makes no secret
of it to her friends. She counts the screen
the most important thing in her world and
she abnegates herself and her own desires
to the demands of her art just as did Duse
and Bernhardt and the famous actresses be-
fore them. The reason she goes so little to
the bright night-spots of Hollywood is that
she prefers to use her leisure resting to
keep fit and fresh for her work and study-
ing to better understand it.

Even at home in Sweden her thoughts
and conversation continue to centre round
the screen. She buys all the American and
European film magazines and takes them
back to Haarby to peruse as she lounges
beside the stove. She reads new novels and
sees new plays with a view to their scenario
values. She talks to the Swedish actors and
actresses ever anxious to gain wider tech-
nical perspective and stimulating dramatic

ideas. . ,

Garbo will never "go home in the popu-
lar catch-sense. She may shed tears when
she sails for America again as she has
always done, but she will stay on the ship
just the same. Stronger than calls of home-
land, deeper than all ties of family and
friends, is this passionate love for her art.
It is this complete absorbtion that has made
her the supreme star she is and it will keep
her proudly serving the silver screen as
long as the cameras will turn for her.

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Bashful Baker

Continued from page 34

the highlights of s'brhebody's career and all
of a sudden you find that you're talking
about truck farming or whether or not it is
ever advisable to use a brassie to get out
of a sand-trap. And on this particular af-
ternoon we covered the subject of trout
fishing in all its finny aspects from the
Lake Arrowhead region to the northern
Siskiyous and back. From angling we
skipped lightly over, golf, on which subject
1 was, luckily, a little better versed, and
verbally reviewed some fifty or sixty holes
whereon we could have given Lawson Little
a run for his money.

Funny thing, though. T noticed every time
I tried to get him to talk about Kenneth
Lawrence Laker he'd shie away from the
subject and steer the conversation hack to
mashie-niblicks and forty-foot putts. Very
queer, I thought. Something is very, very
funny here. You don't usually have any
trouble at all getting screen stars to tell
you all about their miraculous rise to fame
and fortune. So once again I was nonplused.
Most disconcerting.

At long last, after sinking putts from
impossible distances and making recovery
shots from unbelievable spots, I had to take
the bull by the horns, as it were, and make
a stand. "Now, look here, Mr. Kenny
Baker," I said (it was getting close to five
o'clock), "after all, I've got a job to do and
you're the only one who can help me. Now,
how's about it? Come on, be a good egg
and be interviewed like a gentleman."

A look of genuine pain came over Kenny's
good-looking face.

"Aw, gosh," he said plaintively, "can't
we just sorta talk about golf and fishing
instead ?"

"No more golf until I find out all about
Mr. Baker's young son, Kenneth," I said.
"Anyway, we've covered the subject of golf
from Brentwood to Lakeside and back al-
ready."

"How do you like Lakeside?" Kenny
asked desperately. "Isn't that thirteenth
hole a pip ?"

I agreed that the thirteenth hole was just
that, and then it struck me suddenly that
all the rumors I'd been hearing weren't
rumors at all but the gospel truth. But the
truth, in this case, sounded suspiciously like
a publicity man's build-up — only it wasn't.
For, as long as I was content to talk about
golf or fishing, Kenny Baker would chatter
on far into the cold gray dawn and it was
only when I insisted upon finding out the
why and the wherefore of Kenny himself
that he became all fussed and got that
pained look on his face.

Senors and senoritas, the horrible, soul-
searing, hideous truth about Mr. Kenneth
Lawrence Baker of Monrovia, California,
is that he is BASHFUL ! Painfully, ago- .
nizingly bashful ! And isn't that some-
thing? It is, because it's not a gag and
Kenny would, personally, give a great
many twenty-dollar bills if he could over-
come it.

I hated to be cruel but I had to find out
so I asked, "Is it true that it took nearly a
whole day to shoot a scene of you kissing
Jane Wyman in your first big picture, 'Mr.
Dodd Takes the Air?' Just a lot of public-
ity chatter, wasn't it?"

Air. Baker was, at this point, nervously
running his fingers through his hair and
gradually acquiring the hue of a brick.
"N-nope, it's the truth, all right. But, gosh,
I couldn't help it. I was so darned em-
barrassed and scared that every time — every
time I went to kiss her — I got a kind of a
funny look on my face. The director said I
looked like I was getting ready to make a
parachute jump. Oh, man, that was an

awful day! I'd rather not talk about it."

Well, there you have it. And it was near-
ing seven P. M. when Kenny had un-
blushed enough to lei me in on his Open
Sesame secret of success.

It wasn't so many years ago (Kenny is
just 23) that the Navy lost a potential
admiral. At an early age Kenny announced
to his family in no uncertain terms that he
was going to follow the sea and make
Perry and John Paul Jones look like a
couple of sissies. But instead his Dad bought
him a violin and young Kenneth decided
that maybe Hcifctz or Kreisler were the
ones to show up. What's more, he learned
to play it, and with no little skill, too. for
upon entering Robert Louis Stevenson
Junior High School in Los Angeles, he was
made assistant leader and concert master
of the exceptionally good school orchestra.

Then, upon entering Long Beach High
School, it suddenly dawned upon him that
he was wasting his time fooling around
with the violin. He discovered, quite by
accident, that his voice possessed a most
unusual quality and range. Where other
and well known tenors would strain for a
high note and grow purple in the face,
Kenny found that he could sing up to their
highest pitch and then keep right on going
up the scale for several more tones. Aha,
he thought — it's clear now that Richard
Crooks is the man to go gunning for.

So Kenny Baker packed his violin and
laid it on the top shelf of the closet and
commenced to study voice. But he couldn't
seem to find a teacher that suited him. In
fact, he tried out more than a dozen in the
course of three months and the only helpful
thing they taught him was the correct way
to breathe. "You breathe from the stomach,"
Kenny said, "and if you don't think it's a
tricky feat just try it sometime."

Well, 1930 rolled around and Kenny
studied and practiced and learned to breathe
with his stomach and when summer vaca-
tion came by he gave up in digust and took
a job as a farm-hand dow n in New Mexico.

"Down there," Kenny explained, "people
don't seem to mind so much if you breathe
with your lungs."

But when he came back he got a few days
work with a choral group doing back-
ground singing in one of Ramon Novarro's
pictures, and this so enthused him that he
straightway entered the national Atwater-
Kent Radio Contest. Edward Novis, brother
of Donald Novis, former national winner,
was his vocal teacher now, and at last he
felt that here was the teacher who could
do the most for him. And he was right,
for Kenny finished second in the Long
Beach district try-outs and was now thor-
oughly convinced that his future lay in his
throat.

But all this time his old bugaboo con-
tinued to haunt him. Every time he faced
an audience at a social function or a church
entertainment his knees would commence
to tremble, his hands would shake and, all
in all, he would be just about the most
miserable young man in the state of Cali-
fornia. And if there is one thing in the
world a singer must have it is poise and
confidence.

"In fact," said Kenny, "when I stood up
to sing the people in the first three rows
always thought it was going to be a Spanish
number. My knees sounded like an intro-
duction with castanets. Honest."

But, bashful or not, Kenny Baker kept
right on singing ever3r time he was asked,
which was pretty often when the Lions and
Rotarians found that he was glad to sing
for nothing. And that's real nerve too, when
you go right ahead and do something that
you know perfectly well is going to scare
you silly !

In 1933 when Kenny was nineteen he
married his high-school sweetheart, Geral-
dine Churchill. This necessitated the old
American custom of buying-bread-for-the-

SCREENLAND

bride so he got an engagement at the First
Church of Christ Scientist at Santa Anita
and every week be brought Geraldine his
nineteen dollars and told her to go ahead
and squander as much as she liked but to
save out enough for singing lessons.

And then, lo and behold, after doing a
little radio work with a quartette, he was
engaged as intermission soloist at the newly
opened Biltmore Bowl in Los Angeles. Now
he was getting some place ! From the pres-
tige gained at this exclusive hotelhe began
to get more picture work. True, it was all
"background" work : supplying the singing
to Walt Disney's cartoons, Silly Sym-
phonies and the like, but it paid well and,
with his regular salary, Kenny wasn't do-
ing badly at all. And Geraldine was very
happy about the whole thing and told
Kenny that he'd be crazy if he didn't enter
Eddie Duchin's Texaco Radio Contest._ So
he sent in his application and qualifications
and promptly forgot about the whole matter
until one day several weeks later, while
working on Lawrence Tibbett's picture,
"Metropolitan," he was informed that his
audition would be the following morning
and to please be on time.

Kenny was on time, all right, and when
he had finished his song they told him to
come back the next morning to compete in
the semi-finals. He won that and then,
tired and more nervous than ever because
he was holding up a whole movie company,
he advanced to the finals and won that too,
hands down. And were they scorched out
on the Fox lot when Kenny came sprinting
in more than two hours late !

Winning this contest gave Kenny the op-
portunity of being heard for the first time
over a coast-to-coast broadcast and also
gave him a week's engagement at the fa-
mous Cocoanut Grove at $100 bucks per.

But once at the Grove he so completely
wowed the diners and dancers that he was

Katharine Hepburn, in the mood
to be modish, wears a reefer.

kept on not only through the duration of
Eddie Duchin's contract but also through
those of Ozzie Nelson and Al Lyons.

And then Mervyn LeRoy happened in
one evening and was so impressed by the
Baker voice that he immediately placed him
under contract and cast him in the picture.

"The King of Burlesque." Kenny blushed
his way through that picture but his voice
didn't fail him and Mr. LeRoy was so
pleased that he spent half of the time con-
gratulating himself and the other, half go-
ing around smirking at less intelligent
talent pickers.

Then — this was in 1935— Jack Benny
heard him and gave him a trial broadcast
on his famous radio show. Kenny had no
sooner stepped away from the microphone,
so to speak, than jack shoved a contract
for seven more weeks at him and then fol-
lowed through with a contract for thirteen
more.

"WOW! !" Kenny said, momentarily for-
getting he was being interviewed. "By that
time I was so scared and thrilled I could
hardly keep inside my own skin!"

Jack Benny straightway christened him
the Timid Tenor. He says that Kenny ap-
proached the microphone like it was a
coiled cobra and even now he has to assure
him before each broadcast that the poor
"mike" isn't at all venomous and is, in fact,
actually docile if you look it fearlessly in
the eye. ... >

In October of 1936 Kenny jomed> Jack
Benny again with a thirty-nine weeks' con-
tract and then Mervyn LeRoy signed him
to do "The King and the Chorus Girl,"
with Fernand Gravet and Joan Blondell.
Then in rapid fire came "Mr. Dodd Takes
the Air," soon to be followed by "Fifty-
Second Street" and "Goldwyn Follies."

And that, as hard as it was to pry loose,
is the story of how Kenny Baker blushed
and flustered his way to the top of the heap.
And, incidentally, of how I happen to be
on speaking terms with a Dusty Heckler —
pardon me — a Brown Coachman, or is it a
Royal Miller I'm • thinking ofP Anj'way I
know more about fishing since I interviewed
the lad who would rather talk about trout
and golf than himself.

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Secrets of Hollywood's
Ace Directors

Continued from page 33

nineteen then, carrying a violin under one
arm, a pair of skiis under the other. Out
at Universal he was known as just another
relative, one more of the Laemmle kin.
Willy didn't like that at all. One of his
hardest fights was to make the company
forget that he had been signed up simply
h i ausc he was a Laemmle cousin. He suc-
ceeded so well that when he first put on
a bit of temperament and demanded a re-
lease— this was after "The Good Fairy" —
the company said "All right." Willy was
terribly unhappy. Me had had no intention
of leaving Universal. Pride wouldn't let
him stay after that. He went into free-
lancing and made a name that is quite his
own. He was married, for a year or two,
to Margaret Sullavan and says they fell
in love during the making of "The Good
Fairy" because they enjoyed fighting with
each other.

W. S. Van Dyke is one who's gone in
for adventure. Like all the big directors,
he's a likeable fellow, talks well and gets
along with people. He has his own way of
directing, as individual as it is effective.
He's apt to switch scenes suddenly, throw-
ing his star into complete confusion. He
did it once to Robert Taylor, pretending
the scene was a rehearsal and filming only
one take. The handsome Robert, newer
at acting than he is now, was in despair
until he saw the rushes. Then, somewhat
abashed, he had to admit these were the
best scenes in the picture.

Woody tried this on one of Hollywood's
prides and joy, who was intensely flattered
by what he considered the director's trust
in his ability. Woody snorted when he
learned this, and spoke his mind freely :

"Certainly he never needed more than
one take for each scene. That!s the way
we work with animals too. You figure out
what the animal is able to do — or likely
to do. Then you set up the cameras and
photograph whatever he does. It's no use
photographing it a second time. The animal
won't be any better. He'll just be more
tired. And that's the only way to handle
some actors."

He's one director who's been all over
the world, even had a taste of real ex-
ploring. He made "Trader Horn" in the
wilds of Africa, and says that was just
grief all the time. He filmed "Eskimo" in
Alaska, "The Pagan" and "White Shadows
in the South Seas" on location. He turned
down "The Good Earth" because he
thought it should have been made in China.

For sheer fun, there's probably no one
in Hollywood to compare with Ernst
Lubitsch when he's feeling gay. Always, on
the set or off, he is puffing one of those
dollar cigars that look bigger than ever
compared to his small figure. His eyes are
bright and always laughing. I've never
heard him make a malicious remark, or
heard one made about him. The only time
I've ever seen him really mad was when
he discussed censorship. The censors, by the
way, didn't cut even a line in "Angel," so
carefully had the witty Lubitsch handled a
dangerous situation.

He was an actor back in Berlin days, and
transferred to directing about the time that
Pola Negri became a European star. One
of her German films, "Passion," brought
him a Hollywood' contract. Little Lubitsch
has been here ever since. Story conferences
prove that an actor never quite forgets his
art. Eyes dancing, cigar waving, Ernst
Lubitsch goes through each scene. He will

add a bit of business there, a line of dia-
logue there, a gesture now.

When the script is finished, so practically
is the film. Lubitsch knows what he wants.
He has it there, down on paper, in detail,
and complete in his head. He has only then
to persuade the actors to get the idea, and
this he does with a contagious merriment.
He does not weep with the sad scenes nor
grow hysterical with emotion, in the pre-
talkie style of direction. He chuckles and
suggests, or, despairing, does a bit of acting
himself. It's fun to watch. Evidently, from
what his actors say, it's fun to do.

Mervyn LeRoy is no longer known as
the boy director, which is all right with
him. He got pretty tired of that when he
reached his mid-thirties, although his slight
figure and round face still made him ap-
pear in his teens. His boyish appearance
occasionally complicated his life, especially
in New York. Once the treasurer of a
Broadway theatre refused to hand over
the tickets reserved in LeRoy's name. This,
said the box office man, was just an office
boy trying a very poor impersonation. The
director had to hunt up witnesses to estab-
lish his identity.

He is ambitious and direct, this former
newsboy who got into the picture business
as an extra. He never used his relationship
with the producer, Jesse L. Lasky, to help
himself along. In fact, he usually kept
that fact a secret.

He is a quick-witted little fellow, with
an ability to whip up an electric atmosphere
on his sets that is reflected in his pictures.
For a while he was a gagman, a job he
glorified by calling it comedy constructor.
His first films were comedies, but grad-
ually he's shifted over to drama, to "They
Won't Forget" and "I Am a Fugitive,"
with only an occasional "The King and
the Chorus Girl" and "Fools for Scandal"
in between.

Mervyn talks eagerly, waving about that
tremendous black cigar which he uses like
a baton when directing. Those black cigars,
fragrant, and tremendous, are distinguish-
ing marks also of Alexander Korda, the
Hungarian who flopped in Hollywood and
made so conspicuously good in London.

LeRoy is still determined not to rely
upon family connections. Married to the
daughter of the eldest Warner brother, he
is pulling up stakes at the Warners' studio
and becoming producer-director at Metro-
Goldwyn-Mayer.

Then there's Cecil B. DeMille who can

The girl James Dunn waited for!
Frances Gifford, Jimmy's bride.

SCREENLAND

stage as nerve-wracking a scene as any
of his actors when sufficiently bored by
what he calls mental stupidity. His actors
are terrified of him, and intensely admire
him. He's absorbed in show business. His
greatest boast is that, after fifty-two active
years, he now finds himself a veteran of
stage, screen and radio. Although it takes
up what spare time he might possibly find,
C.B. won't give up his weekly broad-
casts. He enjoys too much the feeling of
going into people's homes, sitting in front
of their fireplaces, and chatting with them
informally. Of the three mediums he seems
to find radio the most fun.

This does not keep him from going on
with the lavish spectacles he films each
year. However his Dutch ancestors might
feel about it, C.B. likes to splurge. He's
a quiet man off the set, well read, friendly,
quick to remember even the most casual
acquaintance. His father was a playwright,
and his mother, after the father's death,
a play agent. C.B., like so man}' directors,
almost had his war training too. He tried
to enlist for the Spanish-American war,
but was too young. Instead he went on the
stage, slowly turning from acting to man-
aging and writing. It was almost as a joke
that he joined up with a glove salesman,
one Samuel Goldfish (now Goldwyn), and
a vaudeville performer and producer, Jesse
L. Lasky, to gamble on films.

He has been making films since they
first went on the market, and isn't bored
with them yet. He has just, within the past
two years, rediscovered American history,
and can't get enough of that either. With
"The Plainsman" and "The Buccaneer,"
he uses American history as background
for his spectacles. That's the sort of thing
he enjoys, standing on a high platform in
the midst of several thousand extras and
directing through a public address system.

There may be those who'd rather chat
amiably with Clark Gable about his Broad-
way days or discuss her return to the
screen with Norma Shearer. But I'd rather
hear Gregory LaCava admit, a little re-
luctantly, that he built up that crazy
atmosphere on purpose for "My Man God-
frey." Mr. LaCava, once a newspaper car-
toonist, has his own ideas about getting
spontaneity into a picture. He doesn't use
the surprise technique, like Van Dyke. He
just lets his cast have a good time. For
"Stage Door" he tried to get everyone into
a merry mood. "My Man Godfrey" was to
have a slightly lunatic quality. Gregg La-
Cava kept up the clowning even when
cameras were not turning. He joined in all
the practical jokes — Carole Lombard can't
get enough of them. He laughed at all his
cast's quips and stunts. The set was like a
handsome insane asylum.

LaCava will tell you that comedies, espe-
cially the mad farces he does so well, are
work, hard work. He'd much rather make
dramas because they're easier. Neither he
nor his actors have to play at top speed all
the time. LaCava's parents were Italian. He
^ looks Italian too, with black laughing eyes
and an insistence upon getting all the fun
he can out of life.

Frank Capra is another Italian, this time
one actually born in Italy. He's not like
LaCava, exuberant and party-loving. Capra
is quiet, so quiet that even a producer
doesn't try to talk him down. It would be
no use. Capra's quiet is one of his strengths.

He's a little fellow, like so many di-
rectors, some five feet four inches tall.
He's worked at practically everything from
singing in cafes for his supper to pruning
trees at twenty cents an hour. His picture
career, starting as a gagman, was all ups
and downs, with some of the downs pretty
heartbreaking, until Columbia gave him a
chance.

He has a definite taste in stories, and
thinks "Lady for a Day" his favorite film,

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because H was so like a fairy tale. He likes
to experiment but is more cautious about
suggesting it since "The Bitter Tea of
( leneral Yen," which he really liked, proved
a Hop. He takes a long time making his
films, working often for a year ahead on
the script, as he did with "Lost Horizon"
and as he's doing now with "You Can't
Take It With You." He and his scenario-
writer, Robert Riskin, went around asking
everyone they met how they'd like to live in
Shangri-La and why, before they made
"Lost Horizon." Out of all the answers
they concocted their idea of a place they'd
like to stay forever. And, to a prejudiced
observer, it looked just like Hollywood!

There are lots of Italians among the
better directors. Capra is the dreamer type,
his mind seldom off his work, concen-
trated, and ambitious. Frank Borzage takes
his work in his stride, having a lot of fun
along with it. He doesn't mind staying up
until two in the morning, talking of every-
thing but his picture, and turning up on the
set at eight o'clock in fine mettle. His films,
even back in "Seventh Heaven" days, have
usually been tender love stories. His back-
ground is a Utah mind, where he worked
as he saved up money for a correspondence
course. It was acting that he learned at
long distance, but the course didn't help
him get a job. He got into the theater as a
property boy, back in the days when he
was sixteen.

Borzage would rather talk about polo
than pictures, and about anything but him-
self. But he'll tell you grand stories about
his actors, always with the affection he
seems to have for anyone in his cast.

It is from their directors that you can
learn the truth about the stars, about Carole
Lombard's generosity from Wesley Ruggles
who directed her in "True Confession" and
gives that high-spirited young lady all
credit for the picture. Wesley is the brother
of Charlie Ruggles, but much more serious
about his comedy. He got scared in the
middle of "True Confession" because every-
thing was going so well. Carole always
arrived early in the morning. She had sent
flowers to Una Merkel, whom she had
never met, on the day that Metro actress
first reported on the Paramount lot. She
had kept the whole cast good-tempered.
Ruggles couldn't believe his luck. He was
still scared, till the picture opened and be-
gan building up box office receipts.

Ruggles will tell you of that month at
Sun Yallev, Idaho, when everyone had a

vacation but himself. He didn't dare ski like
Claudette Colbert, or skate like Melvyn
Douglas. Someone had to avoid a broken
leg, and probably that person had better
be the director.

There's only one woman director now in
Hollywood. She is the tailored, hard-
working Dorothy Arzner. She is a much
more colorful character than most of the
stars, with a Hollywood background that
began in her childhood. Her father ran the
old Hoffman cafe where William S. Hart
Erich von Stroheim, D. W. Griffith, Charlie
Chaplin, Wallace and Noah Beery, Ray-
mond Griffith, Frank Lloyd and the rest of
the pioneers used to eat whenever they
could afford it. They used to talk about
directing. Dorothy, sitting on James Cruze's
knee, knew all about studios long before
she had ever been inside one. Years later
she got her first movie job as a typist in
the script department. She began to hunt
other jobs, to work as a script girl, to
assist the cutters, to write scenarios on
her own time. She has not made many
pictures. Hollywood still is wary of women
directors. Last year she directed "Craig's
Wife," and this year "The Bride Wore
Red." She is a crisp young woman, who
thinks there is a decidedly large place in
motion pictures for women. Miss Arzner
does not go in for glamor. She is too busy.

But for glamor, real glamor, there is
always Walt Disney. Even in Hollywood,
where Greta Garbo hides out so publicly,
there is curiosity about Walter Edward
Disney. Mr. Disney makes no attempt to
hide out. He's always there, in his studio
playing with Mickey Mouse or the Seven
Dwarfs, or at home playing with his own
small daughters.

Kay Francis can talk about the clothes
she will wear in her next film, and Spencer
Tracy about how bad he was in his last
film. He is always sure he was bad in his
last film. But Walt Disney knows why he
made "Snow White and the Seven Dwarfs"
and whether or not Dopey is likely to be-
come as big a star as Donald Duck. He
knows that there are certain vital rules
about animated cartoons, one that forbids
real harm coming to any animal, even a
villain, which has been individualized. He
will say too that anything can be made
likeable, even a spider. There's rather a
cute spider in "Snow White." He's sure
that, if he wanted to try, he could turn a
snake into a hero. .
There's usually both simplicity and vital-

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Living up to the title of their co-starring film, we have, above, Ginger Roge.s
and Douglas Fairbanks, Jr., in a close-up from "Having a Wonderful Time.

SCRE ENLAND

ity in these directors, from that ex-engineer.
Clarence Brown, flying all about the coun-
try in his own plane when he's not direct-
ing such Greta Garbo pictures as "Anna
Christie," "Romance," and "Conquest," to
Frank Lloyd, who runs a small ranch in
between such films as "Maid of Salem" and
"Wells Fargo." Frank Lloyd, born in Scot-
land of English parents, is now fascinated
with American history.

Over in Europe the directors are even
more colorful. There's Alfred Hitchcock,
that rotund gourmet whose hobby is time-
tables. He can ask questions quicker than
any interviewer. He wants to know about
everything, the tiniest detail of American
life. His avid curiosity has taken him all
over Europe, to the most unexpected corners
of the Balkans, but it has never gotten him
over here. He has not yet had enough time
away from such thrillers as "39 Steps" and
"The Man Who Knew Too Much," to col-
lect all the American timetables and recipes
he wants.

Rene Clair, French, dapper, and possessed
of an English vocabulary that revolves
around the word "scram," is also curious
about America, curious enough to come to
New York but not to stay in Hollywood.
He made "The Ghost Goes West" in Eng-
land, and he's making another there now.

If you talk to Norman Taurog, that
genial roly-poly, you'll talk about children,
his own and those he has discovered or
directed, from his wife's nephew, Jackie
Cooper, to small Tom Kelly of the Bronx,
the latest Tom Sawyer. If you wander out
on Archie Mayo's set, you'll spend an hour
laughing.

, William K. Howard, working now in
London because he tired of Hollywood
studio politics, is an expert at melodrama,
and describes it as a situation where some-
body wants something and someone else
doesn't want him to get it. Anatole Litvak,
of "Tovarich," is solemn about his direct-
ing, he doesn't like jokes on his set, even
when making a comedy ; he insists upon
silence. Recently married to the gay and
bubbling Miriam Hopkins, he remains one
of the most serious men in Hollywood.

It was Cecil B. DeMille who said he
begged his actors not to try picking out
stories for themselves. A star could always
see a part, he. said, but never a play. Per-
haps that's why it is the directors, a color-
ful lot in themselves, are the ones who give
the best picture Hollywood. There's Henry
Hathaway, who was a child actor at six
and a second assistant director at the age
of twelve. There's Raoul Walsh, who used
to be a matinee idol, and Robert Z. Leon-
ard, whose second cousin was Lillian Rus-
sell. Rouben Mamoulian, born in Tiflis,
had years of directing opera before he ever
saw Hollywood. Edward H. Griffith was a
newspaperman.

They're conscious of no glamor, these
hard-working men, not about themselves
anyway. They leave that to the stars, letting
them weigh each word or worry lest a care-
less word prejudice their public. The di-
rectors, quick-witted Lubitsch, Henry King
who looks more like a bank president and
talks like a college professor, the stormy
petrel, Fritz Lang of "Fury," these are the
ones who see the play as well as the part.
It's Leo McCarey who can tell you that
Ralph Bellamy didn't want to play comedy
until he danced in "The Awful Truth" and
that he now doesn't want to do anything
else. It's Frank Lloyd who can tell you the.
excitement of making "Mutiny on the
Bounty" and Sidney Franklin, quiet and
scholarly, who knows all about the com-
plications of "The Good Earth."

They may not have glamor, that unreal
atmosphere with which the stars con-
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But they're grand company — and they are
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The other day I had this letter from her..

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Joan, Dick & Co.

Continued from page 31

He was waiting patiently for his mother's
return. "Oh, yes, the baby," said Joan
guiltily. "Why, I just wrote God a little
note and said please send us a little boy or
a little girl."

"Huh," said Normie. "That's the way
you talk to Santa Claus." And realizing
the value of a good exit line, lie made it.

Fortunately for Joan she didn't have so
much trouble explaining the facts of life to
Mr. Powell Senior. But don't think it was
done in one of those beautiful and tender
love scenes which you have seen Miss
Blondell and Mr. Powell do so many times
on the screen. He didn't come upon her
one day knitting little booties, and she
didn't whisper whimsically in his ear. It
came about thus. Dick was in a late after-
noon rage. Everything had gone wrong at
the studio that day, and the broadcast re-
hearsal had been lousy, and not only was
he on a diet but it was about time for an-
other "recession" to set in, and Mr. Powell
was just about ready to eat nails. He was
grouching about this and that over the
phone to his agent while Joan serenely
looked on. When he had hung up the re-
ceiver with a bang Mrs. Powell merely
gave him a prop smile and icily remarked,
"It is indeed a pity that there has to be
another one like you around the house."
And that, dear fans, is how the Powells
do it without benefit of camera.

Of course right now what fatherhood
means to Dick Powell is a new house, and
planning a new house always makes Dick-
happy. There doesn't seem to be a room
they can use for the nursery in the home
they have now. Dick wants to sell the house
and build a "small" place in the hills — that
is, he wants to do that on Mondays. "Dear,"
says Joan, "if you are going to build you
must start soon or our baby will be born
in a tent." But on Tuesdays, he has decided
on a ranch, with a few horses and cattle,
out in the Valley near the Stanwycks and
the Taylors. "It's a beautiful knoll," says
Dick dreamily, "and only twenty minutes
from the studio." "It's a bump on the
earth," says Joan who doesn't care for this
back-to-the-earth movement, "and it's an
hour from the studio." By Wednesdays
Dick has decided to build an extra wing
for the nursery on the house that they have
now, and then while the workmen are there
to have them knock down all the walls
downstairs as he has always had a theory
that one big room would be most effective.
"But darling," says Joan, "you must get me
a house with a wall around it and a gate
or I won't have any fans left soon. I lost
seven more of them today. I was late for
the studio and was running like a mad
woman to my car in the driveway when I
tripped over a whole family from Iowa,
parked right there on our lawn. I smiled,
but they wanted to take pictures of me,
and I was an hour late and had on old
slacks so I said, 'Please don't,' and I think
they got awfully furious. I can't afford to
lose many more fans. You must get me a
house with some privacy." So on Thursday
Dick looked at beach houses.

On Friday, the "recession" set in again
so the Powells didn't look at anything.
Joan checked over the laundry bill, and
Dick got a pencil and paper and figured
out how much it cost for them to live a
week. "We'll be in the poor house before
we're forty," said Dick wearily. "Our poor
children: We must begin to save so that
they can have a college education. I think
I'll cancel my order for my new shirts. Of
course the ones that I am wearing now will
soon be frayed around the edges. But I

must, I am obliged, think of my children."

"The price of meat has gone up," said
Joan sadly. "I just talked to the butcher. I
ordered hamburger for tonight."

"Ah, my little bride," said Dick. "You
should not have to worry with the sordid
details of living. You should read books,
you should look at pretty pictures, and you
should listen to lovely music. I read sonic
place—"

"Yes," said Joan, "I read that chapter
too."

The next day when Joan came home
from the studio Dick threw his arms about
her and led her lovingly into the living
room. On the wall was hanging the most
beautiful landscape painting she had ever
seen. "It's a Corot," said Dick proudly.
"Isn't it beautiful?"

"Oh, Dick, it is," said Joan, "but Corots
are terribly expensive. You must have paid
fifteen or twenty thousand dollars for it."

"Yes," said Dick, "but I want you to look
at pretty pictures.'"

Beauty with the Blues

Continued from page 51

ture, as something purely accidental and
not worth mentioning. "Sure, I guess I was
a good enough model, but I've always
wanted to be a singer, with a good dance
band. That's what's really fun."

Aha, 1 thought, so dawn is beginning to
break. And break it did ! During the re-
mainder of the afternoon I listened to a
story which, after taking my notes home
and analyzing them, turned out to be so
old — so very, very old that it's brand new !
Especially for Hollywood. I'll pass it along
to you and then you will understand why
Dorothy Lamour almost had to be hog-
tied and threatened with mayhem before
she consented to a film career.

Along about 1933 Dorothy, as she has
already mentioned, was a model in a large
Chicago department store. All her friends
and her boss and everybody said that she'd
go far as a model. But she was unhappy,
even as you and I. She yenned to be a
singer.

And that was another thing. When
Dorothy sang for her friends at private
parties and the like everybody readily
agreed that she had a remarkably beautiful
voice, but then, you know — why quit a
good job — why take a chance and that
sort of chatter was about all the encourage-
ment she ever got. At least, until one night
when she and a party of friends went
dancing at the Morrison Hotel. Now, at
the Morrison they have a Feature Xight —
that is, if you're present and happen to
have any talent at all you're almost sure
to be called upon to do a number — any kind
of a number, whatever you do best. Well,
what happened was that somebody in
Dorothy's party tipped off Herbie Kay, the
orchestra leader, that there was a girl
present who had a "simply terrific voice."
Naturally, with Dot practically busting to
sing, the band leader didn't have to plead
very hard to get her to sing a number with
the orchestra.

And, my breathless public, that night
history was made ! Herbie Kay, without
even laying down his baton, promptly hired
her as "featured soloist with his great dance
aggregation and the next day Dorothy
calmly walked into Marshall Field's and
quit.

Now, right about at this point is where
the plot thickens, noticeably. For a whole
year Dorothy sang with the band in and
around Chicago — rehearsed and worked
and rehearsed some more and in general
was having the most fun she'd had in all

SCREENLAND

her nineteen years. It didn't seem possible
that things could get any better, or that
life could be any sweeter. But little did
she know !

She fell in love with her boss.

"It was the darndest thing I" Dorothy
explained, her eyes beginning to glow with
a not-of-this-earth fire. "Herbie was driv-
ing me home one night after work and we
stopped at one of those drive-in stands.
Well, we were just sort of sitting there
waiting while they fried the hamburgers —
you know, kind of dreaming and watching
the moon over Lake Michigan and then
by gosh 1 you know what happened ?"

Dorothy's mounting excitement was get-
ting in its dirty work and she had me
sitting on the edge of my chair — it was
downright dramatic the way she was telling
an otherwise commonplace happening.

"Go on," I begged. "What happened
then?" At this point Dorothy's excitement
gave way to an — well, an ethereal look is
the only word for it.

"Well, all of a sudden we happened to
look at each other and — and that's all there
was to it. We were in love, just like that!
Isn't that crazy? After working together
and being in constant association for over
a year we had to go to a hamburger stand
to discover we were in love."

"And then did you — ?" I began.

"Of course," Dorothy said. "There
wasn't any point in stalling around about
it so we were married — right away." And
Dorothy still had that look in her eyes
when I left, an hoar later.

So she married her boss and went walk-
ing around the streets of Chicago about
three feet above the pavement and mentally
pitied all the rest of the poor people be-
cause they couldn't possibly feel the way
she did. And Herbie was just as bad,
maybe even worse.

And then, with a dull "crunch!", the

Rochelle Hudson and Jane Withers in "Gypsy," Jane's new starring film.

blow fell. Besides singing with her hus-
band's orchestra in the evenings she was
also working on the NBC Shell Show,
and making quite a large impression, too.
Then, with an utter disregard for Dorothy's
heart, the radio show moved out to Holly-
wood.

"That's perfectly okay with me," said
Dot to Herbie. "I'd rather stay in Chicago
with you. I'll quit."

"Oh, no, you won't," said friend spouse.
"You're going out to Hollywood where the
big money is."

And Dorothy said, "Why, the very ideal
And leave you here by yourself just when
we've been married and evervthing? Don't
be silly!"

But Herbie Kay knew a "break" when
he saw one and so, despite Dorothy's tear-
ful pleading to be allowed to remain at

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home, he packed her off to Hollywood
to see if his hunch wouldn't work out.

There followed long anguished months
of separation with daily letters, telegrams,
and phone calls from both sides of the
continent, antl finally Herbie gave in and
said okay, we're going on tour and you
can meet me in Denver.

But when Dorothy arrived in Denver
and was having a swell time alternately
laughing and crying with joy at seeing her
husband again, Ilcrbic said, "Mere's a tele-
gram for you — came just before you got
here." And when Dorothy read it and then
tried to laugh it off as something of no
importance Mr. Kay was, naturally, quite
interested. Maybe even a little jealous.

"Oh, it's nothing," his wife assured him.
"Nothing at all." But when Herbie com-
menced to look stern and husbandly
Dorothy had to tell him. "Well, you sec,"
she began, with foreboding in her heart,
"just before I caught the train I had to
take a screen test. I didn't want to —
honest, I didn't. But Paramount insisted
and insisted and finally I gave in to get
rid of them. And they took so long they
almost made me miss the train."

Herbie, of course, was thrilled to death
and demanded to hear more of the details
of the test, but Dorothy was vague about
the whole thing and said she hadn't waited
to find out how it had turned out. Can
you tie that? And when Herbie finally had
to take the telegram away from her by
sheer masculine force Dorothy broke right
down and cried because she knew darned
well what was going to happen.

Yes, the telegram was from Paramount
studios demanding she return to Holly-
wood immediately to begin work on a pic-
ture. Herbie yipped with joy and Dorothy
wailed with sorrow while Mr. Kay put
Mrs. Kay right back on the next train
to California. Without even giving her time
to get acquainted with her husband again
or to sing just one song with the band.

And that's the way "Jungle Princess"
happened to be made. By pleading and
coaxing and regular reprimands from
Herbie Kay, who feared that his wife
might ruin her splendid chances at any
moment, if he didn't make regular visits
tp Hollywood between engagements, by
walking out and catching the first plane
headed east.

Cooperating, the studio saw to it that
there wa-s little time between pictures for
Dorothy to get lonesome, by giving her
a full schedule that included such pictures
as "Swing High, Swing Low," "The Last
Train From Madrid," "High, Wide, and
Handsome," and her starring role in "The
Hurricane." That not being enough for one
year, you will be seeing Dorothy in Para-
mount's "Big Broadcast of 1938," "College
Swing," and "Her Jungle Lover," which is
a follow up on her first picture.

At this writing Dorothy has just re-
turned from her first visit to Chicago since
she left there two years ago, where Herbie
and his orchestra are appearing. And as
if that weren't enough Dorothy has again
shocked studio officials by serving them
with the notice that in another eleven
months, she is retiring from the screen for
one year to raise a family.

"I w-ant to enjoy my children while I am
young," is Dorothy's only explanation, of
what the studio considers very strange
antics from a star.

But Dorothy has proved to Paramount
she is in dread earnest for they have gone
ahead and planned as many pictures as
possible in that length of time, starting
with "Tropic Holiday." But if husband
Herbie Kay doesn't keep up those regular
visits to this immediate vicinity, she's likely
to walk out ahead of time. After all
Dorothy Lamour is still very much in love
with her boss.

Frances Mercer, RKO starlet,
recruited from stage and radio.

Stooge to a Wooden Wit

Continued from page 61

fair complexion. He is five feet ten inches
tall and has the sort of charming person-
ality that attracts the ladies. But, somehow,
he has always been too busy raising his
wooden offspring, preparing his routines
and writing his scripts to have much time-
left for romantic adventures.

Little did Edgar Bergen realize when he
hewed Charlie McCarthy from a chunk of
wood that he was relegating himself to
the position of stooge to a wooden wise-
cracker who would soon become the reign-
ing sensation of the entertainment world.

Dummy though he is, Charlie gets as
much loving care as the Dionne Quintup-
lets. Father, valet, masseur and make-up
artist_ is Edgar Bergen, famed ventriloquist
who is solely responsible for Charlie's ex-
istence. No one else is permitted to handle
him and even the wardrobe department has
to measure him under Bergen's ever watch-
ful eye. But there is a reason for this.
Charlie cannot be duplicated. So many of
the best woodcarvers the world over have
tried to catch the exact expression that is
responsible for Charlie McCarthy's appeal.
All have failed. And every time Bergen
commissions another artist to try his hand,
the same result is effected and Charlie
is guarded with even greater care.

Should Charlie ever be kidnapped by
gangsters, they could easily demand the
largest ransom in the world — and probably
collect, too. But even then they would be
subject to prosecution by the United
States Government for Charlie is protected
by Uncle Sam more rigidly than many
ordinary citizens. Until now there has been
no great need for a special bodyguard be-
cause Bergen carries Charlie with him
wherever he goes in a torn, battered suit-
case that would easily deceive the average
person as to the precious contents. But even
if Charlie were kidnapped, he would serve
the thief no better purpose than keeping a
fire going for an hour or two. Just as
Trilby was useless without Si'cngali, so
Charlie is speechless without Bergen.

So important is Charlie McCarthy that
his birth records are kept in the Govern-
ment files in Washington. The "birth rec-
ords" of the hunk of pine to which Edgar
Bergen has given such startling animation
are the documents that patent, register.

SCREENLAND

"FERRETS OF FRESHNESS"... Para mount's talent scours, Boris Kaplan and Edward BlaN

Whenever Charlie opens his mouth to
flirt with Andrea Leeds, Myrna Loy or
Carole Lombard, the movement is protected
against imitation. Even Charlie's name can-
not be used in vain without incurring the
wrath of Uncle Sam.

Since his recent advent in films, he has
gone a long way from those days seventeen
years ago when he was a ragged, arrogant
urchin with a single shabby suit to his
name. Today, he is considered one of the
best-dressed men in Hollywood and owns
as many changes of clothes as any of the
leading men. For his sartorial grandeur, he
is indebted to Samuel Goldwyn. When
Goldwyn learned that Charlie possessed but
the single dress suit he constantly wore,
orders were given to equip him with the
best wardrobe available. Conferences and
consultations resulted in the creation of one
of the most enviable wardrobes in the en-
tire film colony.

Charlie's clothes are always custom tail-
ored and he prides himself that no one
else can wear them as well as he. "Even
Bergen can't wear my hats," he says,
"which proves that our success didn't make
any difference to me."

In addition to his white tie and tails,
Charlie now boasts several business suits,
sport outfits, a dinner jacket and the one
bit of apparel he has wanted for many
years — a genuine camel hair polo coat with
a belt that ties in front. "Now," he cracks,
"no one can mistake me for anything but an
actor."

Before he faces the battery of cameras,
Charlie goes through an elaborate process
of make-up and as much time and effort is
spent on the improvement of his appearance
as on any flesh and blood actor. His hair
is briskly shampooed and the red, tousled
locks are carefully combed and slicked
down. His fingers are manicured with a
wooden file and every few weeks he gets
a complete new coat of lacquer that makes
him glisten with radiant newness. No sissy
is Charlie, but for art's sake he endures a
touch of eye shadow and a bit of lip rouge
and admits it works wonders when the final
photographic effects are produced. The last
touch — a little polish on his shoes — and he
is ready to face the discriminating cameras
with the ease of a well-groomed man. But
— oh-oh, Charlie's been talking out of turn
again, so Edgar has to put an out-of- joint
jaw back where it belongs with a pair of
pliers.

Although all the girls cry for him and
the boys think him a regular guy, Charlie
has basked in the spotlight of fame without
a single threat of an imitator.

"This is very rare," explains Bergen,
"but there's a very good reason. Charlie's
enigmatic personality cannot be reproduced
by any woodcarver. Every attempt has been
made to duplicate him but none has been
successful. Because of this, Charlie now has
a stand-in like all other stars and this pre-
vents him from suffering the glaring lights
that take the starch out of most actors
while the preliminary preparations are be-
ing made to "shoot" the scenes. In addition,
Charlie is heavily insured and should any-
thing happen to him his beneficiary will be
well reimbursed for the loss.

Some people may call Charlie McCarthy
a dummy, but he isn't so dumb. On oc-
casions his sharp tongue even outwits
Edgar Bergen, who, as Charlie will tell
you, is really a clever chap. Of course, he
couldn't say otherwise because it was Ber-
gen who took Charlie when he was nothing
but an idea and made him what he is today.

Together, the two have gone a long way
from traveling all over the world in second
rate vaudeville to big-time circuits — from
vaudeville to swanky night clubs, to radio

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SCREENLAND

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and finally to the top of all entertainment
levels— the motion pictures. Featured in
"The Goldwyn Follies," they're practically
■itting on top of the world now, and
Charlie says there's no place like it provid-
ing he's resting on Edgar Bergen's knee.

Charlie often confesses that he was con-
nived in the kitchen of the Bergen home
when Edgar was just sticking around
watching his ma make her famous pies.
Just for a joke, Eddie made one of the pic-,
murmur "Hello! Hello!" as it was being
removed from the oven. Mrs. Bergen looked
at the pies suspiciously, not being a super-
stitious woman, she was a little annoyed
rather than frightened. The only other per-
son in the room was Edgar and she knew
his voice too well to make any mistake
about it.

"I did it!" Eddie finally burst out. "I
made that noise, mother. Isn't it wonder-
ful?"

"Oh. you did, eh? Well, don't let me
catch you playing those tricks again." And
Eddie didn't — not in his mother's kitchen—
tor he soon discovered that instead of being-
reprimanded for his ventriloquism, people
were actually willing to pay money to
hear it.

It was shortly after discovering his abil-
ity that Bergen got the idea for creating
Charlie McCarthy, a real dummy who
would be the attraction of his art. The
inspiration was a little street-urchin news-
boy with an impish face and bright red
hair from whom the Bergen family often
purchased their newspapers. With his
wooden associate, Eddie started out to earn
money even while he was still attending
Lakeview High School. On Saturday after-
noons, he entertained the children in the
old Victoria Theatre in Chicago between
serials. During the summer vacations, he
worked in Chautauqua and his success as
an entertainer stimulated his desire for a
theatrical career. But there was one thing
that bothered him. He wanted to go to
college and it almost seemed as if he would
have to postpone his career until he got
his degree.

But good old Charlie McCarthy came to
his master's rescue. Bergen found that his
dummy was a sensation on the campus and
the students always invited him to all the
college functions providing he bring Charlie.
Soon Charlie not only became the most
popular personality on the Northwestern
campus but was greatly in demand at all
sorts of theatricals and entertainments and
was chiefly responsible for earning enough
money to see Bergen through college.
Charlie himself will tell you if it were not
for him, Bergen would never have been able
to graduate. And Charlie, incidentally, is
the only dummy in the whole world who
can boast of having gone to college for
Eddie often took him to classes when he
had to play an engagement.

After the pair left Northwestern, they
travelled widely on a circuit that took them
through every state in the Union and later
to London and the Continent. But on their
return to the United States, they were con-
fronted with the disheartening news that
vaudeville, because of the sudden popular-
ity of talking pictures, was breathing its
last. For a while they led a hand-to-mouth
existence. Engagements were few and far
between and it looked like the future for
ventriloquists was doomed. Then came that
climactic night of Elsa Maxwell's party
which was followed by radio engagements
and night club appearances. When an offer
came to open at the swanky Rainbow Room
in Radio City, Bergen had a terrific case of
jitters wondering how the cream of society
would take him. Engaged for a single week
he remained to break all existing records of
the famous rendezvous. His next stop was
Hollywood— all the picture companies were
clamoring for him— and he signed so many

contracts that the work will keep him busy
for many months to come.

Right now Charlie McCarthy is a bit
dizzy after making his first feature film.
His wooden head is reeling with the haunt-
ing images of lovely faces, intoxicating
bodies and slender, dancing legs. But Char-
lie thinks the effects of love are too fleet-
ing to have any lasting impression on his
wooden heart. Instead, he is concentrating
on the public's reaction to his singing in the
picture.

Bergen admits that Charlie is one of the
very few people who can actually brag of a
bona fide family tree and will even tell you
where the tree grew. But on most occa-
sions, he is too shy and retiring to talk
very much himself. He lets Charlie assume
the role of spokesman for the pair, confess-
ing that the wooden whiz does a much
better job of it.

He will tell you he envies Charlie for his
frank, outspoken manner and his brilliant
repartee, but there is no doubt that Charlie
is merely the other half of the real Bergen,
the half that says the many things the soft
spoken Eddie would never have the nerve
to utter. The quiet, young Swede from
Chicago has merely created a personality
of wood that receives fan mail by the truck-
load. He has developed his brain child into
a being whose name is familiar to every
man, woman and child in the country and
there is even some rumor of putting Charlie
up for President at the next election.

The impish, freckle-faced dummy can do
and say anything and get away with it. He
isn't afraid of anyone or anything. He
makes the sages of Hollywood go speech-
less with his dazzling comebacks and witty
remarks. He parries them with withering
wisecracks that would ordinarily demand a
"smile-when-you-say-that" expression.

What Should
Claire Trevor Do?

Continued from page 55

from foolish expenditures. When she told
me she lived simply I was a trifle skeptical.
But when she inventoried one servant, one
car, one dog, and no tennis courl or swim-
ming pool, I began to believe her.

She likes small parties of six or eight,
dancing under the stars, Fred Allen's com-
edy, and champagne cocktails. She admires
Ronald Colman, Schiaparelli, Katharine
Cornell and Mickey Mouse. The swing to
Donald Duck and the Seven Dwarfs, she
thinks, just indicates the fickleness of man.

In common with many another stellar
body (Kay Francis and Brian Aherne, for
example) Claire dislikes the lack of private
life that accompanies a career in pictures.
She hates to be stared at. phoned to by
strangers, elbowed for autographs, and
harassed by reporters. She understands that
she has let herself in for all this, but still
she doesn't accept it.

Recently a fellow player. W alter \\ in-
chell, broadcast of a Sabbath ^ evening that
she was on her way east "to marry a
wealthy New Yorker." As a result the
press camped on her doorstep, followed her
on all excursions, no matter how personal,
and pestered her for a Statement whenever
she so much as put her foot outside the
door. "I'm not getting married," said Claire.
"I wish they'd believe it and let me alone.

"Of course, when you're working in a
picture you can't call your soul your own.
Sunday's a holiday, sure. But suppose some-
one invites you on a yachting party. Con-
o-enial crowd, lovely weather, change of

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SCREENLAND

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scene — can you go? I should say not. Not
when you have to be on the set, made up,
at nine o'clock Monday morning. Yachting
parties don't break up at ten p.m., you
know And the camera will make no allow-
ances. It catches every little bitty satchel
under your eyes. It high lights every frown
line picked up from squinting at the sun.
It even ferrets out that morning-after
slightly tired look in your eyes. So what?
you ask. So you don't go anywhere while
you're making an epic. And in my case,"
added Claire, "it's all the more annoying
because they're never even baby epics."

Twice in her brief but crowded career she
thought she was escaping from routine
pictures, graduating into grade A super-
doopers. First in "To Mary with Love,"
with Loy, Baxter, and Hunter, Claire more
than held up her end of the quadrangle.
But the Front Office didn't hear tell of it.
A year or two later there was the chance
to do Francey in "Dead End." Again the
Trevor talents came into play, but after
the cheers of the preview audience had died
away, she was promptly scheduled to do
"Big Town Girl." In this picture, incident-
ally, Claire showed her versatility _ by
switching from the usual ingenue to a zingy
French chanteuse. But it was still a B,
from any angle.

The problem confronting her is whether
to tear up her contract and freelance, or
whether to go on grinding out program
pictures. There's the possibility of marriage,
too. Claire said she would marry the right
man tomorrow. But she hardly thinks he
will be connected with pictures.

If fact and diplomacy fail, Claire might
go temperamental. "Maybe if I start throw-
ing my makeup box into the arcs or trip-
ping supervisors or barring the press from
my set, I'll be recognized as ze arteeste,"
she grinned. "I'll play any part, go through
and privation, to get into a good picture,
carefully made — the kind that makes you
give all you've gx>t."

When you analyze it all, you decide that
Claire wants to get married to somebody
with economic security and a sense of
humor, not in pictures. She will be a good
housewife, she says, and playing before the
camera will never again divert her atten-
tion—unless an awfully socky part comes
along just begging for that Trevor per-
sonalitv. So there you have it. Effervescent,
lovely blonde star wants to forsake career
•for matrimony. Gentlemen, the line forms
on the left !

Edgar Kennedy's "Stand-in," _ a
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Even Snakes Have
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Continued from page 19

a heavy iron conical shaped disk.

On the stage were two chairs of the
director type. On one chair was painted
the name Miss Barrett and on the other
Mr. Swing.

Marcia hesitated as she saw the elec-
trician seated in the Barrett chair. She
watched him with a strange tenseness as
he bit into a sandwich and drank from a
bottle of milk. She may as well have been
elsewhere so far as he was concerned.

"Is this the Swing set?" she asked.

"Right." He went on eating as he calmly
and dispassionately looked her over.

"It's the picture in which Miss Barrett is
working?"

"Right."

"Where is everybody?"
"Lunch."

"Lunch," she echoed, with a little catch
in her voice, "Oh yes, of course— lunch."

"Right." He chewed on, surveying her
shrewdly.

"What's that you're eating?" she asked
casually.

"Sandwich."

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"Really !"

"Fried ham and egg filling," he amended,
not wishing to seem too unsociable.
"Mmrtj. It looks good."
"Not bad."

"Let me taste it," she said with a
di sperate attempt at lightness.

He looked at her with opened mouth,
bits of unmasticated food plainly visible.
"Huh!"

"Don't be stingy," she urged, still trying
to affect a gay, careless note.

"Well, 1 be damn." He handed her the
sandwich.

She took a generous bite and returned the
sandwich. Chewing vigorously she looked
at the bottle of milk. "It's a bit dry," she
said.

He gave her the bottle of milk. She took
a deep drink and returned the bottle.

"Listen, sister," he said with a new in-
terest, "are you being democratic, or are
you just plain hungry?"

"Just plain and fancy hungry."

"Well, I be damn!" He reached into his
pocket and brought out some change.
"Here, take this fifteen cents and grab off
a cup of coffee and a sandwich."

Marcia gave him a bitter smile. "Thanks,
but I refuse to be kept."

"Kept!" he exclaimed with grim humor,
"Say what sort of a louse do you think I
am? I give my kept women a quarter."

"You're generous that way."

"Sure. Better take the fifteen cents."

"Oh no, thank you, I'll be all right. I get
a five dollar check for today's work and
then I'll eat — oh God how I'll eat ! I may
even swallow the whole five at one sitting."

"Here, finish this sandwich and the milk."

"Really!"

"Right."

She took the sandwich and started wolf-
ing it down. "You don't seem at all sur-
prised, seeing a hungry woman in the
studio."

"Ale surprised! My God, I ain't had a
surprise since my wife borned a blonde

baby."

•Marcia smiled. "Is your wife's hair black

too?"

"Yeah, jet."

"Well, that is something of a coinci-
dence."

"I wish I knew," he said grimly as he

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AIDS IN THE WORLD

SCREENLAND

Phylis Welch, Harold Lloyd's leading lady.

rose. "Got to go out and hunt up a cable
before the crew gets back."

"I'm awfully obliged to you."

"It's okay, sister, I'll be seeing you on
the set."

"And you won't tell anyone I'm hungry?"
"Forget it. I been hungry myself."
Marcia smiled at him gratefully. "So
long."

She began moving about slowly, sandwich
in one hand, milk bottle in the other, as she
swept the set with disapproving eyes.

Downing the last of the milk she placed
the bottle on the floor at the base of a
sun arc, then hastily swallowed the last bit
of sandwich as she heard someone coming
on the stage. Her body stiffened as she
recognized Anne Barrett.

Anne came in slowly — she was just
strolling about. A gracious English gentle-
woman, she moved with a regal ease. She
was tall, black haired, queenly — a person
with rare poise. She gave a little start as
she saw someone else on the set, then
smiled with casual friendliness. "Hello."

"It's so .kind of you to speak to me,"
Marcia replied, amusedly bitter.

"Kind?" Then Anne gave a glad start.
"Why, it's Marcia Court!"

Marcia smiled mockingly. "The great
English actress, Anne Barrett, patroniz-
ingly greets the lowly American extra girl."

"Patronizingly?"

"There's no other word for the manner
in which the star addresses the extra !"

"Are you sure it isn't only in the mind
of the extra?" Anne asked.

"No! It's sticking out all over you. It's
the sporting thing to do. It wouldn't be
cricket to snub the poor little extra girl."

Anne gave a sad little smile. "You
haven't changed much, Marcia."

"No, / am still an extra."

"I mean you are still filled with bitter-
ness and resentment," Anne explained, not
unkindly.

"Not to mention disgust and contempt,"
Marcia snapped.

"Why do you resent my success?"

"I don't — I resent the way you got it."

"Are you perhaps suggesting scandal?"
Anne asked in gentle amusement.

"Not sexual scandal. You English are
too cold for that. I'm speaking of the
scandal of patriotism — or rather its lack."

"I don't understand."

"You got where you are today because
you are a foreigner," Marcia said cruelly,

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"because you are of the snobbishly superior
English, with your broad a and regal man-
ner that Hollywood is so mad about."

"I hoped that ability might have had
something to do with it," Anne said gently.

"You know it didn't! You can't act. I
have more ability in my little finger than
you have in your entire makeup."

"Perhaps that's true," Anne agreed
quietly. "But I'm afraid you'll never have
a chance to put that ability to the test until
you learn to be more gracious."

"Ah ! A lesson in deportment from the
grand English lady. But mark you this,
Anne Barrett, I'll be a great star when
you're back in the extra ranks where you
belong."

"Well!" Anne gasped, then becoming
more composed, . continued generously, "At
any rate I hope you do become a great
star."

Marcia laughed harshly. "Oh, do you!"

"Yes, of course. And if it will make you
any happier to know it, I'm going home.
This will be my last picture in America
for some time."

"You really are returning to England?"
Marcia asked with grudging wistfulness.

"To London. I'm to make a picture for
Lawrence Stewart."

"He's the English ace director, isn't he?"

"Yes." Anne smiled softly. "It should be
fun. We're old friends — grew up. together."

"Kid sweethearts," Marcia ventured.

Annie smiled faintly. "Something like
that."

"Well, I suppose that now when you have
a start and plenty of money, you're glad
to get away from bourgeois Hollywood and
its crude Americans."

"No. I like Hollywood tremendously, and
I love Americans. I'd even like you if you'd
let me."

"That's just a pose," Marcia said scorn-
fully.

"No, it's quite honest. And I'd be glad
to speak a word to Swing about giving you
extra work."

"Extra work indeed ! Thanks for the
crumbs, but I'll not be having any. And I
can assure you I shouldn't have appeared
on your set at all if it hadn't been most
urgent."

"I'm so sorry," Anne said sadly. "I wish
you'd let me help you."

"No doubt you do," Marcia flung at her
bitterly. "I suppose this is your extreme
triumph, that having once worked extra
with me, you find it amusing and gratifying
to your vanity to play Lady Bountiful."

"I wasn't conscious of any feeling of
superiority," Anne said, gently forgiving.

"You aren't enough of an actress to hide
your feelings, Anne Barrett ! Besides, you
English take little or no trouble to conceal
your contempt for the Americans. You
come over here with your tongues in your
cheeks and go home laughing, but taking
our good money with you — money that
should have gone to American artists."

"You seem to forget," Anne said pa-
tiently, "that a great many American artists
have been making pictures in London, for
which they have been paid in good English
pounds." Marcia had no answer for this
except a stubborn silence. "So don't you
think the friendly attitude would be to
simply regard it as a fair exchange of
talents and, if you must, money?"

Before Marcia could answer, Walter
Swing, the director, came in with his assist-
ant director, property boy, script girl and
electricians. In his late thirties, Swing was
big, dark and handsome in a slightly brutish
manner.

"Ah, there you are, Miss Barrett. All
ready for the take?"

"No, Mr. Swing, I'm sorry. I just came
by to see the set. But I'll run over to my
dressing room and hurry back. It won't
take long."

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"No hurry," Swing said with gruff af-
fability, "There arc only two shots and then
we'll be through for the day."

"That's fine," Anne said, starting out.
"Good bye, Marcia."

Marcia onlv glared after Anne without
response as she started slowly across the
stage. The assistant director having seen
Anne greet Marcia, became ingratiating.

"You're a friend of Miss Barrett?"

"No," Marcia said coldly.

The young fellow immediately became
officious, in the manner of his ilk. "Then
what are you doing on this set?"

"I was engaged as an extra," Marcia in-
formed him in a tone that made him shiver.

"Oh! Name?"

"Marcia Court."

He consulted a slip. "Okay, now please
get off the set and stay off until you re

called. . „ ■ ..

Marcia left slowly, in sullen fury as Phil
Bums was coming in. Phil was in his late
thirties, good looking, a smart dresser after
a careless fashion; keen, studio-hard and
wise. He had a glib tongue, a tremendous
amount of nervous energy and great per-
sonal magnetism. Phil had been around and
knew all the answers.

"Hi, Walter, how's the old megger?

"Hello, Phil," Walter said, scarcely look-

nlphu' sat himself comfortably in Barrett's
chair, glanced at the set with a sardonic
grin, then smirked at Swing.

"Ha l The good old reliable staircase set-
up. I suppose Barrett, in velvet gown, will
make the grand entrance?"

"You guessed it, smart guy, Walter re-
plied wearily.

"She better concern herself with mak-
ing a graceful exit— from pictures."

"Oh, Anne's a good scout," Swing said
Ccirclcssly.

"Sure she is. But she isn't a good actress,
and the dear public is fed up with paying
good money to see good scouts with notn-
ing to recommend them but snooty English
mannerisms and broad a diction. They want
something more vitally American.

"Yeah, I know what you mean— some-
thing with whoopee— Indian pictures."

"You louse," Phil said good naturedly.

"Personally, I can stand a good deal of
English restraint."

"The trouble is it seems to be such a
bore at the box office."

"Perhaps we need a few good publicity
men to sell it to the public." Walter was
casually insulting.

But Phil was unruffled. "The best public-
ity man in the world couldn't make box
office draw out of Anne Barrett."

"And how would you know?

"Because I'm the second best. •

"Sweety modestv! And who might the

first be?" , „T . „ ,

"Oh hell," Phil grinned, "I was just be-
ing magnanimous— you know, giving the
fraternity a break. But things have changed
in this publicity racket. In the old days a
smart publicity man could do a lot to make
a star. But today the public selects its own
stars. And all the ballyhoo in the world
can't sell anyone for more than two pictures
unless the actor can deliver."

"Say, what the hell started all this?
Swing demanded irritably.

"How the hell should I know:?
"Ready any time, Mr. Swing," the black
haired electrician called.

"All right Sam, call your extras on the
set "

"Okay." Sam went out right as Anne
Barrett came in left. (j .

"We're readv, Miss Barrett, Swing
said, "if vou will please go to the top of
the steps and make your entrance from the
left archway. Now, all there is to this shot
is vour descending the stairs, rather ultra,
ultra, you know. We'll have a small group

SCREENLAND

of extras at the bottom of the steps, watch-
ing and awaiting your arrival. There are
no lines and the scene cuts just before you
reach the bottom step. But remember, this
is to be the stairway entrance to end all
stairway entrances."

Anne smiled faintly. "I understand." She
gathered her train in hand and started up
the stairs. The assistant director returned
with seven extras, four men and three
women, Marcia among them.

"Place three at one newel post, Sam,
and four on the other side. They are chat-
ting casually as Miss Barrett enters and
starts down the steps. At her approach they
cease talking and watch her."

"Okay, Mr. Swing. All right, gang, snap
into it."

Sam grouped his extras, giving them ad
lib instructions, as Anne mounted the
stairs to the landing and disappeared into
the left archway.

"All ready for the shot," Swing said,
"Come on, Miss Barrett; turn 'em over,
boys."

Anne entered from the archway and
started slowly down the steps. The extras
at the foot of the stairs glanced up, ceased
talking and watched her approach in the
brightly dumb manner of extras watching a
star. All but Marcia. She looked at Anne
with that glacial stare. Wiien Anne was
half way down the stairs she tripped on
her gown and fell in a heap, rolling on the
steps. Above the confusion that followed
there was a high shriek of hysterical laugh-
ter from Marcia. The assistant director and
the extra men bounded up the steps to
Anne's assistance. Swing jumped from his
chair and started for the stairs. Anne was
now on her feet, being assisted down the
steps. Swing met her at the foot of the
staircase.

"Are you hurt, Miss Barrett?"

"No, I don't think so; just ba-lly shaken.
But I'm afraid the gown is ruined."

"Oh, damn the gown if you're all right.
I'll see you to your dressing room." He
turned to the group. "The company is dis-
missed for the day. We'll shoot the scene
in the morning. Everyone will please be on
the set at nine." He paused and then said
coldly and distinctly, "Everyone with the
exception of the young lady who laughed."
He stared at them sharply, "And who was
that?"

"It was I," Marcia said with eager de-
fiance.

"That was the most unforgivable breach
of studio etiquette, to say nothing of an
exhibition of bad manners, that I've ever
encountered. Miss Barrett might have been
badly injured. The assistant director will

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give you your check and I'll see to it that
you never enter this studio again."

"Please, Walter," Anne said, "it was just
hysteria. She didn't mean to be rude."

"Oh yes, I did!" Marcia said harshly.
"And don't trouble yourself to intercede
for me. I assure you I have no interest in
ever coming to this or any other studio
again." She turned slowly, deliberately,
coolly unmoved as she dismissed her stunned
audience from her mind, as if having com-
mitted lese-majeste and motion picture sui-
cide all in one breath, were of no concern
to her whatever.

Phil Burns stared after her with a new
interest as she disappeared in the wings,
then he hurried out. The company quickly
dispersed, the electricians doused the lights
with the exception of the utility lamp, and
within a few moments the set was cleared
and was much the same as when Marcia
first entered.

When the stage was quite deserted
Marcia entered, furtively, yet defiantly.
When she was sure she was alone she
crossed to the stairs and started up as
Phil came in and paused in the protection
of a flat where he could watch her without
being seen.

Reaching the landing above Marcia dis-
appeared into the archway for a moment,
then made her entrance. She was very
much in earnest as she essayed the grand
lady descending the staircase, slowly, de-
liberately, even defiantly, as if daring her
unseen audience to say that she was not to
the manner born. Arriving at the bottom
of the stairs she paused, relaxed and slipped
into a chair and, for the first time, her de-
fensive armor of bitter defiance left her
and she was just a pathetic, defeated young
girl with a tremendous urge to become a
great actress.

Phil Burns drew in a deep breath. Phil
was touched. And to touch Phil Burns ! He
stepped from behind the flat. Marcia was
startled as she heard him coming. Then she
looked at him with cold indifference, with-
out any faintest show of interest. He paused
beside her chair and stood looking down
at her.

"You should have had an audience for
that entrance."

"Apparently I did — an uninvited, detest-
able sneak!"

"Check," Phil calmly agreed, then with
a wise smile, "Showing Barrett up?"

"Is that any of your business?"

"It might be," he said easily, "Why did
you laugh when she fell?"

"Because I was amused."

"Oh ! It is funny — another's misfortune."

"She's a cow !"

"And you are a gazelle?"

"If your pleasant remarks are leading to
a dinner date, I don't date."

"Don't flatter yourself, young lady. If
you think I'd insult good food by sitting
across a table from that sour puss of yours,
you're meaner than you look, and that's an
order even you can't fill. However, I never
allow discourtesty, bad manners, or even
halitosis to interfere with business."

"Business?"

"Business. And from now on until death
do us part don't for an instant imagine I
have any remotest interest in you other
than business. Is that plain?"

"All right," Marcia said wearily, "make
your proposition; if I like it I'll take it on."

"Just like that!" Phil snapped.

"Just like that."

"I haven't a proposition; just an idea
And remember this, you aren't yet a star
God knows you'll be tough enough to
handle if you ever arrive. All I want for
the moment is your name and phone nura
her, and if you have any pictures you can
spare, leave them in my office, No. 26 Ad
ministration Building. And if you don't care
to do that you can go to hell!"

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ORIGINAL
POEMS, SONGS

. . Send Poems to
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SCREENLAND

Ann Miller ond Kenny Baker, true to their
"sit out" a dance this way

prototypes at every party, real or reel,
in "Radio City Revels."

"Just like tliat!"
"Just like that."

Phil started away and then, for the first
time, Marcia smiled— beautifully, apolo-
getically. Phil stopped dead, staring at her
as long as the smile held. It was sheer
hypnotism where he was concerned. Then
the smile whisked away and her face was
again a mask, colder than before— in con-
trast to that smile. Phil shivered. "Did you
smile?"

"No !"

He brushed his hand across his eyes. "I
didn't think it could have been possible.
What's your name?"

"I'm Hepburn."

"Listen, Hardpan. I asked you a simple
question. What is your name?"

"Do you happen to be Mr. Baumberg?'

"No. But I do happen to be important
enough to make it worth while for you to
answer a civil question."

Marcia considered this for a moment.
"Marcia Court."

"Were you born that?"

"I don't remember," she answered with
crafty resentment. . .

"Oh, you don't remember. Miss Gilli-
cudahylWell, do you remember how old
you are?"

"Twenty."

"How much do you weigh?"

"A hundred and fifteen pounds," Marcia
snapped and rushed on in sarcastic sing-
song. "And I ride, play polo, golf, tennis;
I'm an expert swimmer, I dance divinely,
plav the piano, harpsichord, sing, and I
have a complete wardrobe suitable for any
occasion."

"You forgot to add that you're a con-
summate damned liar. Stand up."
"Why?"
"Stand up!"
"Don't be absurd!"

"All this time I've been thinking it was
vour acid pan holding you back," Phil said
with nasty sympathy, "It must have been
your legs."

"My legs are all right!"

"Knocked or bowed?"

"Neither !"

"Nuts!"

Marcia jumped to her feet, raising her
skirt above her knees and revolved slowly.
Phil drew in a deep breath.

"Well?" she demanded.

"Not bad," he said carelessly.

Marcia glared at him. "Have you ever
seen better?"

"Oh, I've seen a few."

"Legs — or better?"

"Both."

"Nuts !"

"How's your health?" he asked conver-
sationally.

"How does it look?"

"I'll ask the questions— you give the
answers. What I'm trying to find out is
whether you're a good risk. Do you have
any secret diseases beneath your healthy
exterior?"

"I have never had any diseases!"
"I'm not trying to insult you, lady." he
said, annoyingly gentle, "merely seeking
information for business reasons. Let's see
vour teeth."

Marcia curled her lips back, clear to the
gums, like the snarl of a she wolf.

"Hmmm. Rather too perfect. They aren t
plates ?"

"What do you think?"
"About the rest of the anatomy— do you
have to wear a girdle or build the bust.-'^
"I seem to be cramping your style."
Marcia said contemptuously as she calmly
removed her dress, then a gossamer slip,
standing there in knitted shorts and bra —
a gorgeous figure — rotating slowly.

"My God! You're the most amazing-
woman I've ever known." ■ ,
She gave him a pitying smile. "If I hadn't
been sure of the figure I shouldn't have
risked that." n

"I wasn't speaking of the figure, Phil
said absently.

"Oh I Then vou do think I have charm:
"Charm? Well, I suppose you might call
it that. Even snakes are said to have
charm."

"Listen, you!

Shut up !" Phil started away. "Don't for-
get the pictures. Office 26, Administration
Building, Phil Burns, publicity. I may see
vou later in the day."

Marcia turned on him with sudden
venom. "Have you been giving me the run
around?"

"You wouldn't know."

"Say, just what have you got on your
mind?"

"Not what you think, so don t be throw-
ing yourself any social bouquets."

"You fresh so-and-so!"

"And please don't cast any expurgated
aspersions on my impeccable progenitors.
It isn't ladylike."

Before she could properly respond to that
one Sol Baumberg entered. Sol was a well
dressed Jew, in his fifties, shrewd and
kindly.

Marcia gave Sol a brief glance, calmly
picked up her dress and went out. Sol
glared after her a moment before he gave
his attention to Phil. "So! What is this—

a casting office, a love nest, or stage four
of my studio? So sure as I'm Sol Baum-
berg, so sure 1 fire you I"

"But Sol, you don't understand — !"

"Am I so dumb I can't understand a
naked woman and a — publicity man ! '

But Phil was mastered by a great en-
thusiasm. "Sol, I've got something!"

"Sure, you got immorals !"

"Will you please listen to me before you
draw any foul conclusions?"

"All right, all right, ain't I listening?
Start the conversation, but consider your-
self fired."

"Sol, I've never bothered you with a lot
of wild discoveries, have I?"

Sol bristled with antagonism. "So, what
have you found this time?"

"Something new." Phil was jubilant.

"New things I don't like — they cost
money. And I wouldn't take the word of a
publicity man for nothing whatever.
They're all louses."

"Lice is the plural."

"Same breed of vermin, whatver you call
'em."

"What are you so sour about today :
"What makes any producer sour?"
"Sick box office."

"You said it! If you was that smart with
your publicity the box office shouldn't he
so sick and I shouldn't be so sour."

"Listen, Sol," Phil said, eagerly warm-
ing to his subject, "what we need in the
picture business right now is something
new in leading women."

"Sure! You're telling me what a thou-
sand times I've told you already. But there
ain't no such thing."

"There is, only you haven't seen it on the
screen. All the stars use the same clipped
speech, the same affected broad a. the same-
sophisticated smiles and stock gestures. '1 he
public is fed up. They know everything any
star is going to say or do before it
happens."

Sol leered at Phil. "But you got some-
thing new?"

"I think I have."

"So what is it— before I faint from
anxiety, waiting to hear?"
"An alley cat."

Sol roared like a hurt animal. "So! Now
you are suggesting I should star an alley

cat '"

"That's just what I am suggesting. An
alley cat — a human alley cat. A woman
who is so hard that it turns you cold to
look at her, yet so beautiful that you can t
help looking.' A woman who seldom smiles,
but when she does smile, even though that
-mile is a malicious jeer at someone, it's
like a refreshing drink. And after the smile
is gone her face is so hard once more you
feet you'd give your right eye to bring that
smile back again."

"I wouldn't even give a left eye eyelash.
You're wasting my time. I got plenty lead-
ins' women and stars right now which I
don't want. Already I'm burning up with
expenses and you ask it I should heap coals
on the fires at Newcastle!"

"All I ask of you, Sol, is that you let me
o-ive her a thousand foot test and then
promise you'll look at the film."

"A thousand foot test!" Sol screamed.
"Ml right, all right," Phil said rashly,
"if you don't like it I'll pay for it myself."
. "I'll take your money right now. sucker.
"But you'will look at the test'"
"If there ain't nothing better I got to do
at the time," Sol grudgingly agreed.

Phil smothered a triumphant grin. 1 11
have it ready for you tomorrow afternoon,
following the rushes. You're in for a treat

"If I ain't you're in for a vacation — with-
out pay." . «

Sol stalked out while Phil went in the
opposite direction in search of that strange
eirl, Marcia Court.

(To Be Continued)

THE CUNEO PRESS, INC.. U.S.A.

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Helen Anderson and Le Brun Rhinelander
(center) chat about smoking

"I never give much thought to which cigarette I smoke,"
says Miss Anderson to Miss Rhinelander. "But you never
smoke anything but Camels! Are they soTdifferen't?"

"Yes!" says Miss Rhinelander. "Camels are different."

"What do you mean — 'different'?"

"Well, I think about smoking in many ways. For instance,
with Camels, even after steady smoking, I have no jangled
nerves. Also, Camels are gentle to my throat — so grand and
mild. In other words, Camels agree with me!"

Among distinguished ivomen ivho find
Camels delightfully different:

Mrs. Nicholas Biddle, Philadelphia • Mrs. Powell Cabot,
Boston • Mrs. Thomas M. Carnegie, Jr., Neiv York • Mrs.
J. Gardner Coolidge 2nd, Boston • Mrs. Anthony J. Drexel 3rd,
Philadelphia • Mrs. Chiswell Dabney Langhorne, Virginia
.Mrs. Nicholas G. Penniman III, Baltimore • Mrs. John W.
Rockefeller, Jr., New York • Mrs. Rufus Paine Spalding III,
Pasadena • Mrs. Louis Swift, Jr., Chicago • Mrs. Barclay
Warburton, Jr., Philadelphia ■ Mrs. Howard F.W'hitney.iVe"- York

I ...

Sin' has visited fourteen coun-
tries. Yet she is American to
her iuigertips! She prefers Bar
Harbor for sailing. Aiken for
hunts, Lake Placid for skiing.

"Skiing is great sport!" she
says. "It takes healthy nerves,
though. to make speedy descents
and 'Christy' to a stop without
a spill. So, I do my nerves a
favor by smoking Camels.
Camels never jangle my nerves!"

Miss Rhinelander (left),
before joining a dinner
party at The Colony. Ever
since her debut, Le Brun
has taken an active part in
society. She always carries
darnels (or sees that her
escort does) !

"At all the parties," she
says,"I see Camels— Camels
— Camels. Grand for me
because I smoke nothing
but Camels. W hen I'm
tired, Camels give my
energy a 'lift.'"

Turn to Camels and dis-
cover what this young de-
butante means when she
says, "Camels agree with

me — in every way

PEOPLE DO APPRECIATE THE

COSTLIER TOBACCOS

IN CAMELS
THEY ARE THE

LARGEST- SELLING

CIGARETTE IN AMERICA

Camels are a matchless blend
of finer, MORE
EXPENSIVE TOBACCOS
— Turkish and Domestic

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Full text of "Screenland (Nov 1937-Apr 1938)"

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