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AZ/NE FQOM M 


THE a MAC 


® Greater Than Ever! 

The world’s standard of 
stage entertainment. Each 
unit . . a master piece of 
art and beauty. Vibrant 
with life . . they change 
weekly and are always 
new. Composed of supe- 
rior artists . . produced by 
master directors . . pre- 
sented in Fox Theatres 
from the Pacific to the 
Atlantic to delight the 
most discriminating aud- 
iences. 



Screen 

Mirror 


The Magazine from Hollywood 



Frank Whitbcck 

Editorial Director 

C. J. VcrHalen 

Editor 


Eddy Eckels 

Managing Editor 


Vol. 1 January, 1931 


No. 8 


page 


Cover Design Dorothy Croton 
Hobnobbing in Hollywood 

Shelly Ford 

A Stranger in Hollywood 

Don Byron 

Kay Versus Kay 

Eleanor Packer 

Love Burglar 

Beverly Blackford 
Ruth Ages Wesley Hale 

Sad Haines Eleanor Packer 
Charlie’s Girl Frances Deancr 
Not So Dumb TroyOrr 

Love Birds Hall Wood 

MaeTime Frances Deaner 
Talkie Plot Winner 
Editorial 

PHOTO GALLERY 

Clara Bow 

Bessie Love 

Fredric March 

Marguerite Churchill 

George Bancroft 

Nancy Carroll 

Marjorie White 

Ramon Novarro 

Will Rogers 

Eddie Quillan 

Mary Brian 

Lawrence Tibbett 

Janet Caynor 

Greta Garbo 

William Powell 

Norma Shearer 

Anita Page and June Walker 

Frank Albertson 


very truly yours 

O The Screen Mirror Publishing Com- 
pany, Film Exchange Bldg., Wash- 
ington at Vermont, Los Angeles, Cal- 
ifornia, copyrighted 1930 . . . Asso- 
ciate Editors: Troy Orr, Cus McCar- 
thy, William Hardwick. Art Director: 
F. K. Ferenz. Contributing Editors: 
Eleanor Packer, Shelly Ford, Cloria 
Joy, Harvey Byron, Muriel Phelps, 
Hall Wood, Wesley Hale, Rob. Jamey- 
son, Francis Fenton, Don Nixon, Lew 
Garvey, Joseph Reddy, Erie Hampton, 
Frances Deaner. Business Manager: 
Tom Wood. Circulation Manager: 
Dwight K. Mitchell . . . Advertising 
rates upon application. Ten cents the 
copy. No subscriptions solicited. No 
manuscripts solicited. 


MAJ/Cth 


■ M 

HOLLYWOOD 



© ONE OUT of a hundred visitors to Hol- 
lywood ever hears of the Assistance 
League. Not more than one out of five hun- 
dred ever visits the place. Thus four hun- 
dred and ninety-nine sight-seers and star- 
gazers miss a thrilling experience. 

The Assistance League is the soft spot in 
Hollywood’s reputedly hard heart. It is the 
film colony’s pet charity and to be active 
in its affairs is a mark of social distinction. 

The Assistance League, housed in three 
rather disreputable old residences facing the 
back wall of the Fox Studios, operates a 
dining room, a thrift shop, a woman's ex- 
change, a day nursery, and a parking lot. 

The whole affair is conducted by the 
wives of famous stars, directors and film 
executives. They cook, wait table, mend o'd 
clothes, and make a lot of money at it. The 
money all goes to help Hollywood’s unfor- 
tunate. The receipts, incidentally, are paid 
in by the stars, directors, and executives 
who patronize the place. The luncheon hour 
at the Assistance League resembles a Who’s 
Who convention of Hollywood. 

One of its worthiest works is the opera- 
tion of the day nursery. Film mothers who 
work in the studios as extras, seamstresses, 
etc., leave their youngsters there, assured 
that they will receive the finest care any 
child ever had. 

® JOHN MEDBURY, the well known col- 
umnist, officiated as master of ceremo- 
nies at the opening of “Morocco,” at the 
famous Chinese Theater in Hollywood — and 
the result was plenty of nifties. 

For instance — John noticed all the stars 
arriving in their big cars and remarked that 
there was an abundance of Rolls Royces. He 
said that he couldn’t afford such an ex- 
pensive automobile — but he had his Chev- 
rolet trained so that it back-fired with an 
English accent. 

® WILLIAM POWELL, now at work in 
“Ladies Man” after a long rest and a 
European trip, was visited on the set by an 
old school mate who is now pastor of a 
small midwestern church. The reverend 
friend was mildly complaining about his 
lack of attendance at the morning services, 
whereas on Sunday evening, when a motion 
picture was shown, the church was filled. 

“Your problem is easy,” Powell declared. 
“Advertise your morning services as 'All 
talking — All singing,’ and you’ll get a 
crowd.” 

© METRO - GOLDWYN - MAYER studios 
used the premier of “Min and Bill” at 


the Carthay Circle Theater to good purpose. 
Realizing the interest of such an event to 
the outside world — they made a sound pic- 
ture of the gala occasion. Frank Reicher, 
well known actor and director, supervised 
the filming, and the finished picture will be 
released as “Remote Control from Holly- 
wood.” 

© SPEAKING OF “Min and Bill,” the pre- 
mier was a grand night for Marie Dress- 
ier and Wallace Beery. Scores of world fa- 
mous celebrities attended the showing as 
a tribute to this popular pair. Each visiting 
personage autographed a sentiment to Marie 
and Wally in a beautiful tribute book that 
was placed in the forecourt of the theater. 

All in all it was a swell affair for a swell 
pair. 

® GET THIS! The Ohio censor board the 
other day barred a Mickey Mouse cartoon 
because it showed a cow reading a copy of 
Elinor Glyn’s “Three Weeks.” 

Imagine what they would do if the screen 
displayed a close-up of “The>Specialist.” 

© RADIO’S GREATEST need, according to 
Jack Oakie, is a trap-door in front of 
every microphone. Oakie said he heard an 
(Concluded on eight) 


® El Brendei — who has made an accent pay. 

With the coming of talkies, many of our 
accented stars had to pack-up and catch the 
first boat back home. But El, with his Swed- 
ish dialect — though he isn’t a Swede — is 
making his funny talk carry him to stardom. 



I 



• Obviously Miss Bow believes in the 
presents — what with all these 
packages — and Clara is some prize 
package herself, believe you us. The 
‘It’ girl’s next picture is titled “No 
Limit,” and, oddly enough, it has a 
gambling theme. We, along with 
Clara’s many other fans, hope that 
the ensuing year will be a banner one 
for the titian-haired beauty. May 
“No Limit” clean up for Clara and 
win her scores of new followers — 
personally we’re betting on her. No- 
body can hold a candle to Clara — ex- 
cept Miss Bow herself — as this photo 
illustrates. 


Photo by English 





© Cute Bessie Love’s new number is one nine three 
one — in case you want to know. Bessie is wish- 
ing each and every one of you, a happy and prosper- 
ous NewYear. If everyone had her winning smile, old 
man D. Pression would just naturally run for cover. 
We in turn hope the coming months will bring more 
fame and fortune to Bessie, whose cheery personality 
and peppy antics have long been a boon to pictures. 






4 


Sceen Mirror • For January 




A Stranger in 


Hollywood 



who has captured and conquered the heart 

of the motion picture industry and is 
destined to become a sensation of the cinema . . . 


• A STRANGER is the talk of Hollywood. 

A stranger who has given the thrill-lov- 
ing motion picture colony more to admire 
and more to envy than any personality since 
Rudolph Valentino crashed through to be- 
come a one-day sensation. 

She — for this stranger is a woman — is 
the exotic, glamorous, mysterious, talented, 
and surpassingly beautiful Marlene Dietrich. 

Such adjectives need explanation. Ordi- 
narily they might require an apology. But 
not when they are used to describe this girl 
of the Continental background and the Con- 
tinental up-bringing. 

Pick up any motion picture magazine as 
you have this one. The chance is nine to ten 
that Marlene Dietrich's lovely features will 
grace its cover. No actress who has come to 
Hollywood within the last five years has 
created such a stir among editors, critics, 
artists and the general initiate as she. 

It has taken Marlene Dietrich but one 
picture to reach her present commanding 
place. She was an actress on the Berlin 
stage when “discovered’' there by Josef von 
Sternberg, an American director who had 
gone there to direct Emil Jannings’ first 
all-talking picture, “The Blue Angel.” Von 
Sternberg, under contract to Paramount in 
Hollywood, urged that his company retain 
her when he returned. 

She came to Hollywood. Von Sternberg 
directed her in “Morocco" with Cary Coop- 
er, and she became an immediate sensation. 
So great, in fact, that “Morocco,” largely 
because of her beauty and inspired talents 
as an actress, has been chosen to play an 
unlimited run in the world’s most exacting 
motion picture theater: the famous Grau- 
man’s Chinese in Hollywood. Only those 
pictures that are really great are shown at 
this exclusive house. 

Marlene Dietrich is the daughter of a 
German army officer; a girl who has had 
every advantage of position and training. 
She learned English and French when she 
was a child. She is a talented musician, her 
works as an author have been printed, her 
ability as an artist is more than ordinarily 
good. 

By nature she is friendly. She also is 
amazingly frank. Outwardly calm, at the 
same time she gives the impression of a 
consuming energy held in check; an inward 
fire that manifests itself only in the sudden- 
ness of a gesture, a direct and rapid stride 
across a room. 

Her eyes reveal nothing. They are the 
most striking feature of her perfect face — - 


su i, all women in one 
• . . f“1 ustenou s . . . 
AH uring . . . | ns-cr>uta Ue 
. . . Darlene Dietrich 

i? a flaming M eteor 
on a starlit j— (ollqwooJ 

h 


loriTon . 


Jon hijron 


been Hollywood's beautiful mysterious 
stranger not because of any voluntary 
aloofness, but because Hollywood itself 
delights in casting an aura of romance 
about itself and those things which interest 
and concern it. It likes to pretend it does 
not understand. It likes to feel that there 
are hidden meanings in bold glances, that 
there are secrets to be discovered between 
spoken or written lines. 

Marlene Dietrich is a stranger because 
she fails to understand Hollywood. That she 
says, frankly and calmly. Hollywood twists 
this around to mean that Miss Dietrich 
knows all, sees all, and Hollywood fairly 
aches to know her real opinion. 

“Many of the women of Hollywood are 
aware of the fact that they are well- 
gowned,” she explains. “The town is dis- 
tinctly clothes-conscious. As- for jewels, I 
never saw so many in my life. Half the peo- 


Photo by 
Paramount 


wide set and unwavering. Her voice is 
magnetic; a warm, mellow note which 
she uses as a flutist uses his reed. 
Without seeing her, one could tell that 
hers is the voice of a beautiful woman. 

Sound recorders at the studio have 
remarked that this voice lends itself 
almost perfectly to their purpose. 

First of all Miss Dietrich has long 
been accustomed to the micro- 
phone; not in a motion picture 
studio, but in the phonograph 
laboratories. She has sung many 
songs for phonograph records and 
these discs have achieved tre- 
mendous popularity throughout 
Europe. 

It is understood that an 
American company already 
has made a flattering offer 
for her recording of songs in 
English. 

Marlene Dietrich has 


• Cary Cooper as the 
Legionaire and Mar- 
lene Dietrich as the 
dancer are the two 
principal characters in 
“Morocco,” a story of 
life and love in a 
country of flaring pas- 
sions and smoulder- 
ing hates. The pic- 
ture was directed by 
Josef Von Stern- 
berg, who is the 
discoverer of Miss 
Dietrich. 


Screen Mirror • For January 


5 



Photo by Paramount 


pie I meet, away from the studios, appear 
to be on display. It is not their fault. Rather 
it is the fault of the attitude held toward 
Hollywood. I have the feeling that the peo- 
ple of Hollywood themselves, within them- 
selves, resent the glass-house atmosphere of 
the place. Goldfish must despise their bowl.” 

Marlene Dietrich revealed herself to Hol- 
lywood when she went on location for film- 
ing of certain scenes in “Morocco,” her first 
American picture. The company went to 
Guadalupe, California — a bleak, wind-swept 
stretch of coastal desert where the constant 
chilly gale from the sea has piled up huge 
dunes of fine, white sand. 

It is a region dodged by settlers. Nothing 
will grow there. Even small animals and the 
ordinary desert reptiles avoid it. The days 
are cold, even in summer time, and the 
nights are colder. The wind is relentless. 

Yet Marlene Dietrich loved the place; 
loved the feeling of combat with nature that 
it inspired in her; was reluctant to leave it 
when the scenes were completed and she 
and Gary Cooper, with their company of 
workers and players, were forced to return. 

Hollywood cannot understand anyone 
who likes to go out on location. Generally 
such trips are looked upon as the last word 


• Mysterious Marlene Dietrich who makes 
her first American appearance in “Mor- 
occo,” josef Von Sternberg’s gripping pic- 
turization of a woman’s all consuming love 
for the man of her choice. Miss Dietrich is 
said to be the most interesting personality 
ever imported by the motion picture indus- 
try — and stardom seems inevitable. 


in hardship. But Marlene Dietrich, the 
stranger, was happier there than she is in 
her Beverly Hills home. 

Perhaps it was the novelty of the desert 
that intrigued her. As a reigning favorite 
of the European stage, with audiences ac- 
claiming her in Berlin, Vienna, Budapest, 
everywhere she appeared with the Rein- 
hardt company, she knew the cities only. 
Such holidays as she had were brief weeks 
snatched at some fashionable watering 
place, or days spent in some Alpine resort. 
She loved it, for she saw not desolation, not 
wastes of sand, not jagged expanses of vol- 
canic rock, but the beauty of nature un- 
adorned, primitive and cruel. 

Marlene Dietrich’s attitude toward Hol- 
lywood is far from being her attitude to- 
ward its work. She has a tremendous inter- 
est in all phases of motion picture making. 
This interest takes her beyond the artistic 


side and into the 
technical details. 


great complication of 


She has far more than a layman's knowl- 
edge of the camera, of studio lighting, of 
set design, and story construction. She is 
one of those extraordinary women who have 
almost a masculine bent for acquiring facts 
about all phases of the mechanics that enter 
into work in which she is concerned. 

Studio workmen recall one instance when 
von Sternberg was called from the set dur- 
ing filming of "Dishonored,” her second 
picture following "Morocco.” Von Stern- 
berg, as he left for the short time his busi- 
ness would take to transact, instructed Miss 
Dietrich to supervise rehearsal of the scene 
that was being prepared. When von Stern- 
berg returned the cameras, players, and 
lights were all ready for the action to be 
photographed and recorded. Each phase of 
the rehearsal had been carried out to per- 
fection under Miss Dietrich’s expert guid- 
ance. 

This remarkable woman is really remark- 
able only before the cameras. Away from 
them she is so quiet, so unassuming, so ex- 
quisitely dressed in modest good taste, that 
she would go unnoticed except for the very 
definite magnetism of her personality and 
her calm, alluring beauty. 

Her clothes-choice has made her the envy 
of every woman in Hollywood. She designs 
and superintends the making of every piece 
of her private wardrobe and her suggestions 
are respected in the design of her clothes 
for her pictures. Simplicity is their keynote. 
Dark colors are her passion, particularly 
black. 

Her humanness is strikingly revealed by 
her collection of good luck dolls — strange 
little cloth things with shoe-button eyes, 
dangling arms and legs, and golliwog an- 
cestry. 

She has had this collection of dollls ever 
since she started her professional career, and 
has added to it gradually. She wastes no af- 
fection on them. She just keeps them; some 
in her home, some in her dressing room at 
the studios, and occasionally some with her 
on the set, where they are in full view of 
the cameras. 

The favorite dolls have been photographed 
with Marlene Dietrich in some one or more 
scenes of every motion picture she has ever 
made. She will continue to have them ap- 
pear with her, she says. To forget them 
would be to invite all sorts of misfortunes. 
And she smiles that enigmatic smile; the 
smile that Hollywood fails to understand. 

Here is a woman who has caught Holly- 
wood’s fancy, piqued its curiosity, aroused 
its interest, stirred its imagination, filled to 
the brim its Pandora’s box of the strange 
and the new. The syllogism follows: that 
Hollywood, the world’s most difficult prov- 
ing ground for tests of this sort, proves by 
its unprecedented interest in this stranger 
in its midst that she will literally take the 
outer world by storm. 

If Hollywood turns its head as Marlene 
Dietrich passes by, the country at large will 
fairly stand agape in her fascinating pres- 
ence. 



morch-incj on 

• Keep your eye on this young fellow. He’s going right 
ahead and one of these days will find him at the top of 
the heap. Frederic March has given top notch performances 
in every picture in which he has appeared. His happy-go- 
lucky composer in “Laughter” was a superb piece of acting 
and “The Royal Family” will reveal him as the younger 
member of a famous acting trio. The latter picture is an 
adaptation of the famous stage play, and Ina Claire and 
Mary Brian appear in the cast. 



f 


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<4 fhe big frail” 


Photo 
by Autrey 


beauty of 


• Charming Marguerite Churchill is the type of girl 
whom we all know. She may be your sweetheart or 
she may be your sister. Her rise in pictures has been 
steady rather than phenomenal. Her sweet and sin- 
cere performance in “The Big Trail” has added new 
names to her growing list of fans. Raoul Walsh gave 
her the coveted role of the pioneer girl after he had 
searched the entire industry and given tests to hun- 
dreds of aspirants. But her performance rewarded 
his faith, and now Fox Pictures have nice plans for 
Marguerite, who is a nice girl and deserves them. 





unusual announcment come over 
the air a few nights ago. It seems 
that there was a man wandering 
around Hollywood with the mind of a 
child of five. The police were requested 
to apprehend him as the child’s parents 
wanted the mind back. 

• SHE IS beautiful . . . she is mysterious 
. . . her eyes tell you that she has lived 

. . . she is the talk of Hollywood . . . her 
first picture will be a sensation . . . she is 
all women in one ... at times she resembles 
at least ten different stars . . . she is not 
temperamental . . . she is an accomplished 
musician . . . she has written short stories 
. . . her name is Marlene Dietrich and her 
first American appearance will be in “Mo- 
rocco.” 

• CEORCE BANCROFT has turned report- 
er. As his next picture is “Scandal Sheet," 

a tale of newspaperdom, George decided he 
had better brush up on some newspaper 
work. 

So he hied himself down to the editorial 
rooms of the Los Angeles Examiner to ab- 
sorb some printers’ ink. He went on several 
news beats with the boys- — -and even at- 
tempted a news story. 

It was pretty bad — but the editor said he 
had seen worse. He didn’t say where. 

• ONE BATTERED old klieg light; a hiss- 
ing, sputtering veteran of many motion 

pictures, has become somewhat of a Holly- 
wood personality. At least it has an identity. 

It is light No. 1 59 at the Paramount stu- 
dios. All studio lights are numbered for pur- 
poses of inventory. Light No. 1 59 all but 
blinded Ruth Chatterton when she had her 
first screen test made; the test that gave 
her her part with Emil Jannings in “The Sins 
of the Fathers,” and ultimately her studio 
contract. 

Now, No. 159 is used on all Ruth Chat- 
terton sets — at her request. With it goes 
Frank Johnson, the electrician who has al- 
ways attended it. 

• HOLLYWOOD IMPRESSION: Light cor- 
duroy trousers ... a white sweat shirt . . . 

bedroom slippers and white woolen sox . . . 
hair plastered down and glistening wetly 
. . . who is it? Jack Oakie — of course. 

• WILL ROGERS observes that many men 
who think they are in the public eye — 

are really only cinders. Speaking of Will 
— the Fox Company is predicting that “A 
Connecticut Yankee,” which stars Will, will 
be one of the greatest comedies ever made. 

© EL BRENDEL tells the one about the 
vaudeville actor who became stranded in 


Chicago and finally decided to go to work 
for a gangster. 

His first assignment was to go out and 
bump off three members of the opposition 
gang. When he came back his chief inquired 
as to how he had fared. 

“Boy! I slayed ’em,” the hoofer replied. 

• NUPTIAL NOTES and Court Chatter: 
John McCormick, Colleen Moore’s ex- 

husband, is going to try double harness 
again. This time it’s with Mae Clark, that 
clever little actress who is under contract 
to Fox Films. It is rumored that the Vir- 
ginia Valli - Charlie Farrell romance has 
cooled off. Clara Bow told the district at- 
torney some things regarding her ex-secre- 
tary, Daisy Devoe. The result was a warrant 
and a possible felony charge. Thelma Todd 
and Ivan Lebedeff are rumored slightly 
ga-ga about each other. Polly Moran denies 
that she and Bill Haines are secretly en- 
gaged. John Whiting is keeping company 
with June McCloy. Gloria Swanson has been 
seen publicly several times with the same 
man — he’s a Detroit millionaire. Lloyd 
Hamilton has been working steady and con- 
sequently is up on his alimony. 

• ARTHUR (The Great) SHIRES, baseball 
player and embryo pugilist, has decided 

to drop “The Great” from his name while 
he is in the cinema capital. 

"Here in Hollywood it sounds very ordi- 
nary,” he said. 

• THIS IS positively the last time we will 
mention miniature golf courses. It seems 

that a picture man spent twenty thousand 
dollars on an elaborate course and opened 
with a big splash. 

Along came three days of unusually brisk 
California weather and not a soul came to 
his links. 

The fourth day he closed up and posted 
a sign in front, “Opened by Mistake.” 

• THE CARICATURE on this page doesn't 
resemble a dashing sky-rider — yet it is. 

For Wallace Beery is a licensed transport 
pilot. The holder of this type of license is 
required to have over 500 hours in the air 
— and Wally has many more than that 
amount. 

Wally has a Travelair cabin-job, Wasp 
powered. He is constantly making long 
trips, taking friends along with himself as 
pilot. He has never had a crack-up. His 
brother Noah made a special landing field 
for Wally at their famous mountain resort. 

• OFTIMES motion picture executives are 
the objects of much ridicule at the hands 

of newspaper columnists. The writer has the 
whip-hand as the producer cannot afford 


to fight back. Yet one of the larger studios 
is planning to get even in a novel way. 

They are going to make a picture in 
which a newspaper columnist is one of the 
chief characters — and in the last reel they 
have him murdered. 

Alas, poor Winchell, we knew him well. 

• THEY'RE TELLING the one about the 
actor who went to a preview of his first 

picture — and came out so puffed up that 
he couldn't get into his Austin. 

• SUCCESSFUL CAREERS have always pro- 
duced books and autobiographies regard- 
ing them. Many of our famous stars have 
had books depicting their early struggles 
and whatnot, written about them. 

With the coming of talkies and their at- 
tendant test of abilities, the situation has 
somewhat changed. Many of the old timers 
have been supplanted. At any time now we 
may expect to see the book market flooded 
with such tomes as “Ex-Director,” “Ex- 
Star,” and “Ex-Yes-Man.” 

O Here's old ‘Bill,’ himself, of “Min and 
Bill,” as portrayed by Wallace Beery. This 
jovial looking cuss is one of the prime rea- 
sons for all the frouble in that highly divert- 
ing picture. Maybe ‘Bill’ has ‘It.’ 



Screen Mirror • For January 


9 


• WHAT IS better and more fascinating 
than one Kay? 

Why, two Kays, of course. 

And when the two Kays are surnamed 
Johnson and Francis, the final note in best- 
ness and fascination has been sounded. 

Alone, they have triumphed in picture 
after picture. Together they are appearing 
in "The Passion Flower.’’ There is no guess- 
work about the result. 

The girls have know each other for years. 
They were friends in New York before 


Kay in Drab Gingham 

Versus an Alluring 
Velvet Gowned Kay 

Photo by 
M-G-M 





either dreamed of being in Hollywood. They 
played together in the same plays on Broad- 
way. 

But it was “The Passion Flower” which 
brought them together for the first time in 
Hollywood. One Kay, as the loyal wife, and 
the other Kay, as a home-wrecking siren, 
fought a battle royal over a mere man — if 
you can safely call Charles Bickford a mere 
man — and renewed a friendship. 

They are very much alike, these two girls, 
although one is a pale gold blonde and the 
other is a deep, dark brunette. Both are tall 
and slim and poised and very, very charming. 

“We leave our jealousies and enmities on 
the set,” Kay Johnson smiled as the two 
girls lunched together. “When we leave the 
stage, we forget that we’re fighting for the 
love of a red-headed man and just enjoy 
each other. It’s so much fun to be working 
together again after all these years.” 

“And we don’t try to steal each other’s 
scenes,” Kay Francis laughed. “That’s the 
real test of our friendship.” 

“I know better than to try to steal any 


• “Passion Flower” presents Kay Francis 
and Kay Johnson as the opposite influ- 
ences in the life of the latter’s husband, por- 
trayed by Charles Bickford. How would you 
like to have two such charming girls battling 
over you? Oh Kay, we say. 


scenes from that young lady,” Kay Johnson 
ate a hearty bite of fruit salad smothered in 
whipped cream. No matter how many cal- 
ories the slender Kay eats, she gains not one 
extra pound. “There is no use in attempting 
the impossible.” 

“Thanks for those kind words, lady,” 
Kay Francis waved a piece of buttered Melba 
toast in the other Kay’s direction. “Those 
are my sentiments, too.” 

“You’ll have to admit it’s pretty tough 
to work in competition with someone like 
Kay,” Kay Johnson said, looking from the 
plain gingham of her dainty, little house 
dress to the exotic luxury of Kay Francis’ 
black velvet evening gown. "The only ad- 
vantage which I have is that I wear the 
wedding ring.” 

They were speaking of their screen prob- 


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lems, of course, Kay Johnson’s husband, 
otherwise known as Charie Bickford, having 
left her and his little ranch home that morn- 
ing to adventure in Paris with Kay Francis 
that afternoon. 

“But the funny thing is that the ging- 
ham-and-wedding ring combination usually 
wins out in the end,” Kay Francis admitted, 
wise with the wisdom of many screen black 
velvets. “There is something lasting about 
gingham. It can be kept so fresh and dainty. 
While black velvet crumples and musses so 
terribly easy.” 

“A steady diet of either one would grow 
very monotonous,” Kay Johnson added. 
“The wise woman is the one who wears 
gingham and velvet with equal ease.” 

“Yes, but they’re so rare,” Kay Francis 
sighed, “and, after all, if you were forced 
to choose between three meals a day of 
ham and eggs and the same three meals 
each day of caviar and champagne, you'd 
pick the former.” 

But once in a while, when you were 
eating your steenth hundred meal of the 
ham and eggs, with strong, black coffee on 
the side, you’d find yourself wishing for 
just a taste of the caviar. That’s only hu- 
man.” As Kay Johnson spoke, you knew 
that, with her, the eggs would become an 
omelette with mushrooms and the ham 
would be baked in sherry. 

The two Kays finished their salads and 
looked at the commissary clock. They 
walked out together, school-girl-wise, 
black velvet and cool, green gingham. 

Of course, Charlie came back to the 
ranch and the gingham. But not until 
after he had had his fling with Paris 
and the velvet. 

While he ate the caviar, he 
probably remembered the dash 
of sherry in the brown crisp- 
ness of the ham. 

Most men do. 



• That virile man of the powerful laugh seems to be giving someone the 
well known horse-snicker. And well he might — for George Bancroft is 
powerful enough to back up his guffaws. He practically ruins a gross or 
more of men in every picture. George’s current picture is “Derelict,” a 
gripping tale of the sea, with George even combating the elements. In a 
one man battle with a typhoon we’d be inclined to place our money on 
Bancroft, who has had such excellent training in scores of encounters with 
gangsters and gatling guns. A slap from Ceorge’s mighty mitt would knock 
a tidal wave silly. 


Photo by 
Richee 


» derisive derelict 






I 


V' 



a pretty xmas 
Carroll 


• Nancy’s on top of the house — and the world too, 
for that matter. Because Miss Carroll is rapidly 
becoming one of our foremost screen stars — in 
drama, comedy, or musical comedy. They’re all the 
same to versatile Nancy — she fills a role as well as 
her shapely limbs fill a pair of silk stockings — and 
what we mean — that’s being well filled. The past year 
has disclosed Nancy as a foremost dramatic actress. 
“Devils Holiday” revealed in her a histrionic depth 
not previously sounded in her screen appearances. 
“Laughter” again brought forth a dynamic dramatic 
force that the casual observer would never dream 
that this beautiful possessed. All of which proves 
that Miss Carroll is beautiful — most assuredly not 
dumb. Her next production is “Stolen Heaven” and 
it’s a foregone conclusion that it will be a heavenly 
picture — with Nancy stealing the honors. Nancy, 
by the way, is a former chorus girl who has made 
good in a big way. As for that matter she can still 
step with them, as musical pictures have proven. 
But Nancy yearned to do dramatics — so she started 
pestering producers to give her a chance in legiti- 
mate roles. She finally succeeded and it was in the 
title role of “Chicago” that she attracted the atten- 
tion of motion picture executives. She started her 
upward climb in silent pictures. With the advent of 
sound Nancy went-a-zooming — right up to the top. 


Photo 

by 


12 


Screen Mirror • For January 



' J— or a Man" 

reveci I ? th e strange wc?Ljs 
of a woman in | ove 


Lever 1 1 ) Uackford 


Photo 
by Fox 


Lore Comes to an Opera 

Star and Imagine! 
It’s For a Burglar 


• WHAT IS personal magnetism? 

..In other words, what is “IT”? 

Just suppose you were a beautiful and 
brilliant opera singer. Suppose you had been 
courted by some of the world’s most eligible 
bachelors. Suppose you had put love out of 
your life, sacrificing anything and every- 
thing that might interfere with your career. 

And — then 

One night after you had triumphed in a 
Wagner opera, you went home at once to 
avoid the crowds teeming about the stage 
entrance and had retired — when 

A burglar comes in through your win- 
dows to steal your jewels — and 

You fall in love with him! 

Do you think your reaction would be due 
to his personal magnetism? 

The burglar, we will say, was rough and 
ready — egotistical. He was good looking, of 
athletic build, and had an idea he, too, could 
be an opera singer, if given the opportunity. 

The opera singer gives the burglar the 
opportunity he seeks but he does not 
“click.” He becomes disgusted and declares 
he is going back to the ancient trade of 
burglary. 

Right then and there, Jeanette MacDon- 
ald, — Eve — the opera singer, does a first- 
class job of tempting Adam — Reginald 
Denny, the burglar. 

“No, you can’t do this thing to me — you 
can't,” she says. 

“Why not?” asks the burglar. 

“Because I can't live without you,” says 
the prima donna. 

“What’re you driving at?” 

And here is where the eternal Eve says — 
“I love you and I want you. Don’t leave me, 
darling.” 

And Adam takes her in his arms, looks at 
her intently, and queries: “Well, kid, where 
do we go from here?” 

“I want you to marry me — I want to be 
yours — all yours — and I want you to be 
mine !” 


O The Burglar and the Beauty — in other 
words Reginald Denny and Jeanette Mc- 
Donald as they appear in “Oh For A Man,” a 
highly amusing and romantic tale of an opera 
star who falls in love with an outlaw — and 
vice versa. 


There is no accounting for tastes, espec- 
ially from the feminine angle and love is a 
strange thing. No one knows any more 
about it now, than they did in the time of 
Adam and Eve. 

“In the play the opera singer and the 
burglar are married,” said Jeanette Mac- 
donald. “She simply cannot resist him. She 
even gives up her career for him to spend a 
honeymoon in Italy. He is rude to her, he 
treats her rough, he humiliates her and yet 
she is simply wild about him. Isn’t that just 
like a woman? 

“I enjoyed playing Carlotta Manson — • 
that is the singer’s name — more than any 
other role I have done for the screen. She 
is so human — so very much the willful, 
temperamental artist and then she becomes 
so meek when she falls in love. The squab- 
bles, the mental tempests the two of them 
have in adjusting themselves to married 
life — all that sort of thing was intensely 
amusing to all of us on the set. 

“Mr. Denny, whose character name is 
Barney McCann, speaks with a brogue — 
he’s hard boiled — and when he called me 
‘kid’ and ‘baby’ in the scenes, we all had a 
hard time of it to keep from laughing. It is 
all so foreign to the real Reginald Denny. 
Incidentally, he gives a splendid perform- 
ance.” 

And Reginald Denny, who was standing 
nearby — it was at Fox Movietone Studio, 
and they had just looked at the last 
“rushes” — said, with deep conviction: 

“And, just wait until you see and hear 
Miss MacDonald. The role she plays gives 
her her greatest opportunity to date to re- 
veal and emphasize her beauty, her allure 
and her versatile talents. She sings two 
golden numbers. 

“I want to say, too, that we had a jolly 
time making the picture. Just fancy such a 
situation as a prima donna, who is an idol 
and an ideal, too, forcing her manager and 
the opera impressario to give an audition to 
a rough-neck burglar! It is satirical in its 
treatment and sophisticated — very much so. 
Hamilton MacFadden, our director, has done 
such a fine job that we are certain he has 
hung up a new record.” 

So — it looks as though “Oh for a Man” 
is destined to revive the perennial questions: 

“What type of man does the average 
woman like best?” 

“What is personal magnetism?” 

Who knows? 



* 


S" 


y 


V 




• THREE VOICES . . . three faces . . . three 

personalities — Ruth Chatterton in "The 
Right to Love.” 

For a most exacting task has been given 
this ‘‘first lady of the screen” in her latest 
picture. It is to portray a triple characteriza- 
tion, the first essayed by an actress since the 
arrival of talking pictures. 

Miss Chatterton has long been noted for 
the variety of her characterizations. Even in 
her legitimate theater days it was consid- 
ered an unusual jump from the cute heroine 
of "Come Out of the Kitchen,” to the dra- 
matic ‘Iris March’ of ‘‘The Creen Hat.” 

Her picture debut was in the silent pic- 
ture, ‘‘The Sins of the Fathers,” which 
starred Emil Jannings. Her role in this was 
a most difficult one — a bawdy woman of 
the streets, without character or soul. 

This type of character was a long jump 
from her interpretation of 'Kathryn Miles’ 
m "Charming Sinners,” one of her first 
talking pictures. In this production Miss 
Chatterton appeared as a loving wife, im- 
peccable in both appearance and character. 

In “Madame X” and “Sarah and Son” 
Miss Chatterton gave two widely different 
and superb delineations of mother love. For 
genuine appeal these two portrayals have 
not been surpassed. 

Again, in Anybody’s Woman,” she im- 
personated a woman of doubtful past — but 
who, nevertheless, possessed fine underly- 
ing qualities and emotions. Her portrayal of 
this woman’s regeneration was both beauti- 
ful and convincing. 

Now, in “The Right to Love,” she will 
offer not one new characterization — but 
three. Three separate and distinct person- 
alities with their individual hates and 
loves — with their different mannerisms and 
characteristics. 

If is a task that many actresses would 
not relish and some would not even at- 
tempt. But not so with Ruth Chatterton. 
She relishes the opportunity of doing some- 
thing new — of accomplishing something 
new in the realm of acting. 

Ruth Chatterton believes that “The Right 
to Love” is the severest test of her dramatic 
skill of all the pictures and plays in which 
she has appeared. It also offers her a re- 
markable opportunity to add to her laurels 
It seems to us that three Ruth Chattertons 
in one picture would be trebly entertaining. 

The early sequences bring Miss Chatter- 
ton to the screen as a young girl. The scene 
shifts to a period nineteen years later when 
the same character has reached middle age, 
and has an eighteen-year-old daughter. 

The dramatic climax of the picture, in 
which both mother and daughter appear, is 
managed single-handed by versatile Miss 
Chatterton. 

The mother and daughter of the story 
resemble one another in features only,” as- 
serts Miss Chatterton. “The mother’s voice 
and gait will convey the tragedy of a drab 
life. In this character my voice will be dull, 
pitched at a monotone, because this woman 
has lost the very incentive that keeps the 
high notes of enthusiasm in our words. In 
complete vocal contrast, the lines of the 
daughter will range high, at times, tremu- 
lous, because youth always has or should 
have a hint of laughter in its voice.” 

The details of movement and posture 
■are difficult problems, according to Miss 
Chatterton. She holds the movements of the 


Ruth Chatterton Describes 


The Way to Portray 


Three Different Ages 


b 4 

weclet) 


idle 


daughter to a rapid rhythm, played against 
the background of the mother’s dragging 
steps. 

The mother is permitted no mannerisms 
in Miss Chatterton’s interpretation. The 
daughter is endowed with a few gestures of 
coyness, for Miss Chatterton contends that 
coquetry is instinctive to feminine youth. 

Youth is also portrayed in the opening 
sequences, but Miss Chatterton draws a fine 
shade of tempo between youth in the year 
1 890, and youth of the modern day. 

“The first characterization, although one 
of youth, only slightly resembles that of the 
daughter,” declares Miss Chatterton. “This 
girl is slower to smile and laugh than her 
modern descendent. She is very sincere and 
serious, and I allow her to be quite senti- 


mental, a becoming trait in young people 
of that generation. Her gait is rather studied 
and lacking in freedom. She is coy, but not 
with the sophisticated success of the young 
person in the latter scenes of the produc- 
tion.” 


There is a triple background for the three 
characterizations of this picture. The first 
role is portrayed against the setting of the 
middle-western wheat belt, the second 
is enacted in the ranch-country of Colo- 
rado and the dramatic climax of the 
third character is reached in the sensu- 
ous color of a Chinese garden. 

Another unusual feature of “The 
Right to Love,” is the fact that Miss 
Chatterton uses three different lead- 
ing men. 


• In “The Right to Love” Ruth Chatterton 
portrays three separate and distinct char- 
acters, which should be good news to her 
many fans — just think! Three Chatterton’s 
tor the price of one. Paul Lukas is also seen 
in the picture. 


As the young belle of 1 890 she 
courted by David Manners, 
pleasant young chap who scored 
heavily in “Journey’s End.” 

Their’s is a beautiful love — set 
amid the romantic surroundings 
of that period. A baby daughter 
is born — and then tragedy en- 
ters to blight two happy lives. 
Tragedy — that denies them 
“The Right to Love.” 



all 


dolled up 


• And with some place to go — for 
little Marjorie White is headed for 
film fame and fortune. Marjorie is 
that little blonde vixen who romps 
through “Just Imagine” and other Fox 
Pictures. She can sing and dance — 
and what’s more — she can act. All of 
which means that Marjorie is going 
to get somewhere — and we don’t 


White flag with great gusto and 
movie fans are snapping to attention. 
And if you want a lot of fun — don’t 
fail to hear Marjorie warble that 
priceless ditty, “Never Swat a Fly.” 


mean perhaps. She is waving the 







lafin linguisl 

• Ramon Novarro is a star of silent days 
who has successfully bridged the gap of 
talking motion pictures. By concentrating on 
stories with Spanish themes, Ramon has 
proven his versatility by making both Eng- 
lish and Spanish versions of His pictures. Fur- 
thermore Ramon has complete charge of his 
foreign film translations; he adapts, directs, 
and stars in them — which is some job for a 
young foreigner who was an extra some 
years ago. It is rumored that the young Mex- 
ican’s ambition is to turn himself wholly to 
directing in the near future, but his tremen- 
dous following will hardly let this come to 
pass — that is for at least some years to come. 

Photo 

by Hurrell 




The suave / 
proves his skill 
adapting himsel 
ization which 
posite of his 


Cary Cooper, as the soldier of fortune for whom 
this heroine forsakes all, has one of the most 
fascinating roles of his entire career. The sophisti- 
cation of his Legionnaire Tom Brown, makes him 
an instant favorite. 


o 








1 




■■■■.; . , 


Marlene Dietrich brings an utterly new, different 
emotional genius to the screen in her characteriza- 


tion of the woman of mystery . . a strange, intriguing 
cosmopolite in a city peopled by “citizens of the 


world” in “Morocco” which introduces her to a 
waiting world. Hollywood is getting its first charm- 
ing revelation of her superb artistry at Grauman’s 
Chinese Theatre. 


There is an elusive feminine 
charm about Dietrich which 
immediately captivates all 
who have reveled in her ex- 
ceptional work in this, her 
first American production. 


NOW PLAYING . . GRAUMAN’S CHINESE THEA1 

MARLENE 

Is All Women... the Rest of/ 




PARAMOUNT SOUND NEWS 
HEARST METR 


FANCHON & MARCC 

"MOORISH MELO 

STAR 

"MARIETTA" . . Al 

AND CAST OF 150 ARTIS' 


CHINESE THEATRE SY 

GEORGIE ST( 


MOR< 


MARLENE DIETRICH . . GARY C 

DIRECTED BY JOSEF VON STERN 






m 







rRE . . HOLLYWOOD . . TWICE DAILY. . 2:30 . . 8:30 

DIETRICH 

\U... and Yet... Just Herself 

Vcco 


) . . FOX MOVIETONE NEWS 
>OTONE NEWS 


D'S STAGE PROLOGUE 

)DIC PANORAMA " 

RRING 

RMANDA CHIROT 

ITS AND SUNKIST BEAUTIES 

MPHONY ORCHESTRA 

OLL, Conducting 


That Paramount Pictures have a star of the first 
magnitude in Marlene Dietrich has been conceded by 
all those who have witnessed her initial American 
performance in “Morocco.” Here is another study 
which reveals the amazing range of personality with 
which this actress is gifted. Hollywood has acclaimed 
her as a new, charming, favorite of rare emotional 
genius! 


:OOPER . . ADOLPHE MENJOU 

IBERG . . A PARAMOUNT PICTURE 




DCCO 


Dietrich has already become 
known as the composite of 
the Great in feminine beauty 
and artistry. Every mood of 
her gorgeous personality re- 
flects a different beauty. 


The unfathomable workings of a woman’s heart may 
be set down as the theme of the story which 
reveals not only the artistry of Dietrich but also 
that of her director and discoverer, Josef von Stern- 
berg, who discovered her on the German stage. 


.. ^ 

* 

Adolphe Menjou 
II as an actor by 
:lf to a character- 
is the very op- 
past portrayals. 


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bard of beyerly 

• Humorist — Movie Star — Cowboy — and 
America’s Ambassador without portfolio — 
in other words, none other than our old friend, 

Will Rogers, intimate of royalty and idol of 
screen fans. Will’s latest is “Lightnin,” a 
talkie version of the famous stage play. It is 
a role that fits the genial Rogers personality 
like a glove. His next will be a picturization of 
Mark Twain’s immortal “A Connecticut Yan- 
kee,” another choice entertainment morsel 
that will be looked forward to eagerly by a 
world of Rogers fans. Between writing, acting, 
flying, playing polo, and making lecture tours, 

Will finds time to enjoy his beautiful Beverly 
Hills home and his marvelous family. 


Photo 

by Hartsook 


clever comedian 

• Eddie Quillan — Pathe’s pet punster — whose laugh provoking 
antics have disclosed him as one of the most popular of our 
younger screen comics. Eddie’s latest picture is called “Big 
Money,” and the cast includes two other excellent comedians, 
Robert Armstrong and James Gleason. Eddie’s long training in 
vaudeville — with other members of the large and talented 
Quillan family — has stood him in good stead since the arrival 
of talkies and Pathe plans great things for the able youngster. 
Eddie, by the way, hails from Philadelphia, though he calls 
Hollywood home now. 



what hoe ! 


O What a cute gardener Mary Brian would be — 
particularly in this charming outfit. Mary is 
cleaning up the yard — and in pictures as well. Her 
latest role is in “The Royal Family,” in which she 
troupes with two of the best, Ina Claire and Fred- 
ric March. Mary is one of Paramount’s Prettiest 
Peaches and is one of the chief reasons for a lot 
of bad grades in our colleges. The rah-rah boys 
have declared that Mary is their favorite and she 
is the unofficial mascot of thirty-six football 
teams. Imagine how the boys would fight for 
dear old Siwash — with Mary on the sidelines 


mary 


Photo 
by Bredell 




: •im.m 




Photo 
by Hurrell 


tlie man in 
flie new moon” 

• Lawrence Tibbett, who scored a sensational success in “The 
Rogue Song,” will next be seen in “The New Moon.” Grace 
M°° r e, another recruit from the operatic world, will be seen 
opposite mm in this swashbuckling romance of princes and 
peasants. Jack Conway directs the picturization of the famous 
^age hit. The production is declared to be of the same high 
caliber as ‘The Rogue Song, ’’and will further establish Tibbett 
as a talkie favorite. 



20 


Screen Mirror • For January 


• THE YOUNG man with 
a silk handkerchief 
draped about the collar of 
his dinner coat, sat down in 
a chair and looked gloomy. 

I It was one of Bill Haines’ seri- 

ious days. 

He was wearing the dinner coat for a 
scene in “Remote Control.” The handker- 
chief was to protect his collar from the 
greasepaint. 

The chair was one of those foldable, can- 
vas affairs which are always to be found on 
motion picture sets, unless some one hap- 
pens to be looking for one. It was in a dark- 
ish corner away from the center of activity 
around the cameras. 

“Gosh,” Bill muttered, “Gosh.” And not 
even the sight of Polly Moran showing the 
proper manner of taking deep breathing 
exercises could arouse him from his gloom. 

“What’s the matter, Bill? Sick?” Polly 
called. 

“Nope,” 

John Miljan wandered toward the chair 
in the corner. 

“Aren’t you feeling well, Bill?” he asked 
in those deep tones which have boded ill for 
countless screen heroines. 

“Sure. I’m all right.” 

Bill, the effervescent, the unquenchable, 
the volatile, was quiet and thoughtful. Ev- 
eryone was amazed and wondering. 

“Something wrong, Billy?” Mary Doran, 
the little, auburn-haired heroine of “Remote 
Control,” sauntered over away from the 
group around Polly’s deep-breathing exer- 
cises. 

“Not a thing, Mary, m'love,” Bill an- 
swered, but his voice was not so blithe as 
his words. 

After awhile they left him alone and went 
on about the business of whiling away the 
time between camera set-ups. But the spirit 
of the day was gone. The ringleader, the al- 
most-never-failing thinker-up of new gags 
and new stunts, was not with them. 

When the director called him to the set, 
Bill threw himself into the fun of the scenes 
in the office of the radio broadcasting sta- 
tion, only to return to his chair and his cor- 
ner after the scene was finished. 

In the middle of the afternoon, the gang 
could stand it no longer. They made a con- 
certed attack on the chair in the corner. 

“Break down, Bill, and tell us the truth,” 
they demanded. 

“I’ve been ruined by a fungus.” Bill broke 
his silence. 

“A fungus?” they all asked in the same 
breath. 

“That's it.” 

“But what's a fungus got to do with 
you?” 

“It’s eating my house away. You know 
the panelling in my living room? Well, last 
night I noticed something funny about the 
way it looked in the corner by the fireplace. 

I walked over and poked my finger through 
the wood. Some kind of fungus had grown, 
or whatever you call it, in the wood and the 
whole thing was ready to fall into pieces. 


Sad Story of the 


Fungus and William 


Haines 


t > 4 

eleanor 1 packer’ 

Now I’ve got to tear out my whole living 
room and build it all over again.” 

The gang was sympathetic. Everyone 
knew what that living room and that house 
meant to Bill. 

You see, there are really two Bill Haines, 
the gay, wise-cracking Bill of the studio 
and parties, and the quiet, home-loving Bill 
of the big, white house in Hollywood. 

The latter is the real Bill. The former 
was a personality, built for showmanship 
purposes and developed into pseudo-reality. 

A few months ago Bill moved out of the 
home he owned in a quiet Hollywood street 
and redecorated and rebuilt the house from 
top to bottom. He made it into a veritable 
treasure house for his collection of antiques 
and rare pieces of art. 

There, in this house, he entertains his 
friends with the hospitality of the old South 
which is born and bred within him. There 
he lays aside the wise-cracking Bill of the 
studio and becomes a young man with one 


all-consuming hobby, the collection of an- 
tiques to be placed in the spacious rooms 
of his home. 

Bill is no embryo collector, either. He is 
particularly an authority on Early Ameri- 
cana. His period furniture is the envy of 
many fanciers. Being from an old family of 
Virginians, Bill is an expert on the history 
and authenticity of Colonial furniture. 

Polly and Mary and John and the others 
left him there in his chair in his corner. Left 
him to speculate upon the weakness of all 
man-made things, such as rosewood panel- 
lings, when faced with devastating forces, 
such as fungi. 

So the young man with the handkerchief 
around his neck sat, quiet and undisturbed, 
until it was time to remove the linen square 
and become the glib-tongued young an- 
nouncer of “Remote Control.” 

But when you see him in the picture you 
will never think that Bill was worrying about 
a fungus. He’s still the same self-assured, 
wise-cracking Bill, presiding over a radio 
station. He won’t seem sad — but still 
there’s the fungus. 

He was probably making you laugh — 
with tears in his eyes. 



M-G-M 

• “Remote Control” presents our favorite 
cut-up — William Haines — as a laugh pro- 
voking radio announcer. Assisting in the fun- 
test of static and sweeties, are Polly Moran, 

Benny Rubin, Mary Doran, and Roscoe Ates. 

Boy! Don’t fail to tune in on that program 
— you’ll dial laughing. 






Charlie's Impression 

of the Right Kind and 


Wrong Kind of Girl 


« WHAT TYPE of girl do I admire?” 

echoed the popular Charles Farrell in re- 
sponse to the question. 

“Mostly one with a sense of humor. One 
who has an agreeable disposition. One 
who talks intelligently and is interesting. 
One who has that quality of character we 
call a pal,” he said, after giving the query 
some thought. 

“I like a girl who can play golf or tennis 
with a fellow, or go sailing with him, and 
be ready to read and talk over a current 
book or a play — one who understands and 
enters in to the spirit of recreation and also 
of social activities, but does not become 
sentimental. 

“If a man can find all these qualities 
rolled up in just one girl, he’s lucky. And 


-ranees' dea ner 




to him she will be beautiful, regardless of 
the fact that she may not rate such a score 
with the world, at large.” 

Charles Farrell’s new picture is based on 
a romance in a mythical Balkan state pivot- 
ing about a princess and a young American 
engineer, son of the president of the United 
States Heating Corporation. Maureen O'Sul- 
livan plays the princess. 

It was following Charlie’s outline of “The 
Princess and the Plumber” that the idea 
presented itself to ask him the above ques- 
tion. 

Charlie enjoys an enormous following in 
his screen work. Last week, for instance, he 


“But I’m not going to tell you how it 
happens that an American boy marries a 
foreign princess and lives happily ever after 
— even though her father thinks she is 
marrying another chap. Right before his 
very eyes, too. That’s romance, isn’t it?” 

Asked the type of girl he would care to 
marry in real life, Charlie said: 

"To be perfectly frank about it, I don’t 
know. My ideas have not assumed definite 
form . . . yet. 

“But — the type I would NOT care to 
marry is the girl who endeavors on any and 
all occasions to impress one with her supe- 
rior education and her advanced thought 
and culture. She is the type of girl with the 
superiority complex, who makes a fellow 
feel mighty uncomfortable with her smug- 
ness — no matter what his own education, 
training and culture might be. She is a new 
type of girl, I believe. 

“When love comes to me — and I trust it 
will some day — I will be better qualified to 
give my views on the subject. I am not and 
never have been a boy with a dream-girl 
complex. I know when I like a girl. It is 
always the personality that impresses me 
first. She may not even be good-looking, 
but if she is sweet — not sickly sweet — and 
wholesome and clean-thinking and clean 
living . . . then I know I like her . . . but I 
have not yet fallen in love.” 


received exactly 6041 letters from admir- 
ing fans. And that is just one week in the 
year. He has many such encores in the run 
of the calendar. 

His “best girl,” as nearly all of his friends 
know, is his mother, Mrs. David Farrell. She 
was the first to visit the home he built in 
Hollywood and she stands first with him in 
all his affairs. She arrived in Hollywood last 
year just before Christmas, with Mr. Far- 
rell, from their home in Onset, Mass., and 
she is still enjoying her son’s hospitality. He 
wanted her to remain with him and take 
charge of the home. 

“The girl in ‘The Princess and the Plumb- 
er,’ as played by Maureen O’Sullivan, is a 
charming type,” said Charlie. “She has 
spirit and a love of romantic adventure. 
When we first meet in the picture, I think 
she is a peasant girl and she thinks I am 
a duke. 

“When she finds out I am not a duke, she 
shows quite a bit of temperament, but that 
makes her all the more interesting, because 
she has already shown a marked fondness 
for the duke. We thoroughly enjoyed our 
work together in the picture, which has a 
number of clever situations.” 

Yachting is Charlie’s favorite pastime. 
He owns a forty-foot yawl which he named 
“Flying Cloud,” after the famous old Flying 
Cloud of Cape Cod history. He spends prac- 
tically every week-end on the boat cruising 
mostly around Catalina Island, and is gen- 
erally accompanied by Kenenth McKenna, 
also a New Englander, and quite as fond of 
ocean-sailing as Farrell. 

Conversation returned again to "The 
Princess and the Plumber.” 

“Oh, yes, we get married at the finale,” 
said Charlie in reply to the inevitable ques- 
tion — “Did you get the girl?” 


• “The Princess and the Plumber” features 
Charles Farrell and Maureen O’Sullivan as 
the two principal characters in an intriguing 
love story laid in a romantic Balkan King- 
dom. As you might guess, Charlie is the 
plumber, and Maureen is the beautiful prin- 
cess. Of course we are not allowed to tell 
you how everything comes out — but such a 
situation cannot help but be most interest- 
ing and amusing, you will agree. 


Photo by Fox 



■P 






the precious 
prodigal 


• It’s good news to the fans of the world 
that Janet Caynor and the Fox Company 
have patched up their differences and the 
little star will return to the fold of the com- 
pany that discovered and raised her to star- 
dom. Her first picture since her return will 
be “The Man Who Came Back,” in which she 
will be teamed with her former partner, 
Charles Farrell. The pair have the added good 
fortune to be under the direction of Raoul 
Walsh, creator of “The Big Trail” and nu- 
merous other successes. Little Janet looks 
pleased about the whole affair — and so are 
we. 

Photo 
by Autrey 


sweet 

Swedish smile 

• Yes! We agree — that this is a most unusual 
picture of glamorous Greta Garbo. The mys- 
terious Garbo seems very happy over something. 
Maybe it’s because she has scored so heavily in 
her first two talking pictures, “Anna Christie” 
and “Romance.” Or — maybe it’s because “Inspi- 
ration,” her next release, is an excellent produc- 
tion. Anyway — whatever it is it’s nice to see 
Greta smile. Personally, we think that she looks 
doubly charming. Clarence Brown directed her 
first two talkies and also wielded the megaphone 
on “Inspiration,” which insures the production 
the finest directorial efforts. 



Not the Handsome 
Hero Type— So Stuart 

Plays He’s Dumb 


erei n one j~i nas 
a\s DumLne?? 

. . . c\s Related bi_j one 

w L K now? 

tro L) ori° 


• The young chap below, who has 
lost his glasses, is Stuart Erwin, 
Paramount’s coming comedian. 
Stuart is constantly glorifying the 
American Dumbell — and finds 
it most profitable. His next laugh 
provoking antics will be wit- 
nessed in “Along Comes Youth,” 
in which he and Charles Rogers 
portray two young fellows who 
get stranded in Merrie Olde 
England and are forced to hire 
themselves out as Butler and 
Chef, respectively. It is an 
amusing situation. 

Photo 
Richee 


• CO TO college and learn to be dumb! 

That — believe it or sue us — is the prov- 
erb preached by Stuart Erwin, that puzzled 
looking young fellow that amuses you so 
much in Paramount Pictures. 

Imagine! Going to school to become 
backward. The idea was preposterous — and 
we hinted as much. 

Didn’t everyone go to college to become 
brilliant and all that? Or at least they went 
to join a fraternity and get a raccoon coat. 
But to go to college to learn to be dumb — 
it was ridiculous. 

Why, such theories would shake the very 
foundation of this nation’s scholastic struc- 
ture. It might cause the obliteration of uni- 
versities — and then where would Wall 
Street get its bond salesmen. 

It was downright mutiny and we told 
young Mr. Erwin so. 

Then Stuart began to enlighten us, and 
we sat there wearing a superior smile as he 
unfolded the following amazing tale: 

It seems that Stuart has not always been 
dumb! 

On the contrary, as a youngster he was 
considered most brilliant. In fact at the age 
of five he, single handed, pulled over a 
whole library case on himself. 

His parents immediately took this act as 
an indication of a latent literary ability, and 
for several years hence you would usually 
find a writing manual clutched in his chub- 
by little hand — as he sat through three 
shows at the movie. 

When he was ten Stuart and some of his 
cohorts practically wrecked a nearby build- 
ing that was in the course of construction. 
His folks — trusting souls that they were — 
saw in this an omen of their offspring be- 
coming a brilliant architect. Thereafter one 
would notice young Erwin diligently study- 
ing architecture — of backstage theater 
doors. 

By the time he had finished high school 
Stuart was an authority on everything — 
pertaining to stage and screen. Still his dot- 
ing parents were insistent on his becoming 
a successful professional man, and prepared 
to ship the pride of the family off to college. 

Stuart pleaded with them — but they 
were adamant. They knew their son was 
brilliant, hadn’t he displayed it at various 
times throughout his life. 

True, they didn’t know exactly what he 

was best fitted for — but he had showed 
a tendency towards so many different 
things that college was bound to 
bring his chief underlying ability to 
the surface. 

Stuart was desperate. He had his 
back to the wall. He decided to 
risk all. He confided to them 


that his one consuming ambition was to be- 
come an actor — and then things started-a- 
poppin'. 

His mother swooned and his father swore. 
And the result was that Stuart was soon on 
his way to college. 

It was then and there, Stuart said, that 
he decided to go to college and learn to be 
dumb. He knew that he wanted to be an 
actor — and he also knew that his chances 
of becoming one were slight if he showed 
progress in the higher halls of learning. Con- 
sequently — Stuart started playing dumb. 

And from then on, according to Stuart, 
the University of California never had a 
dumber student. He became a campus tra- 
dition — and there was some talk of match- 
ing him with the inept collegiates of other 
colleges. 

His grades resembled a poet’s bank bal- 
ance and with fiendish glee Stuart forward- 
ed them home to the folks. This lasted for a 
year, and when Stuart went home at vaca- 
tion time he meekly asked the folks if they 
would consent to his becoming an actor. 
With a resigned air they assented. 

Then Stuart went on the stage and es- 
sayed to portray dashing juveniles. But his 
collegiate training played him dirty tricks — 
and he was soon constantly cast in the dumb 
roles. 

But he was a wow in them and along 
came the talkies and grabbed him. Now 
Stuart practically steals every picture he is 
in, and his salary is twice that of a bank 
president. 

He may not be the dashing hero and in- 
variably win the girl — but he wins the 
laughs and the movies always hold a cher- 
ished place for anyone who can make the 
audiences chuckle. Just Stuart’s appearance 
on the screen is the cue for smiles of an- 
ticipation of the situations they know his 
dumbness will lead into. 

His next picture is "Along Came Youth,’’ 
in which he shares honors with Charles 
Rogers — and everything points to eventual 
stardom for Stuart. 

In "Along Came Youth’’ Stuart is not 
only dumb — he’s also nearsighted. It’s easy 
to imagine the hilarious happenings that 
take place when Stuart loses his glasses. 

He and Charles Rogers portray two young 
Americans who are stranded in England. 
They hire themselves out as chef and butler 
on a large estate. Of course, there would be 
two beautiful girls there — Frances Dee and 
Betty Boyd — and the resultant amusing 
mix-ups are fast and funny. 

Co to college and learn to be dumb! 

It sounds silly. 

But maybe we’re wrong. 

Anyway Stuart’s not so dumb! 



® A ROMANCE which /as born and 

bloomed and never died in the dirt and 
filth and welter of waterfronts and fishing 
boats. 

That’s the romance of Min and Bill. 

Min was fifty and more. Her uncombed 
hair straggled across her weather beaten 
face. A dingy black skirt and a checked 
flannel waist covered the broad girth of her 
figure. But she was Bill's woman. 

And Bill. He, too, was fifty and more. 
He reeked of fish and wharves. His sparse 
hair knew scratching fingers rather than 
combs. His trousers were forever threaten- 
ing to escape their restraining rope and to 
depart from the dingy grayness of his un- 
collared shirt. But he was Min's man. 

Their romance was real romance, lasting 
through thirty years until Min was led away 
beyond prison gates. 

Marie Dressier is Min. Wallace Beery is 
Bill. For many weeks they lived their ro- 
mance in the dinginess of the wharves and 
of Min’s sailors’ hotel. 

And like all true love, their romance did 
not run smoothly. Another woman came into 
Bill’s life. This woman was slimmer than 
Min. Her hair was curled and brightly gold- 
en. She wore cheap, bright silks and cheap, 
soft furs and long strands of cheap, glitter- 
ing beads. She caught Bill’s eye and Min’s 
wrath descended upon them. 

Marjorie Rambeau is this woman, Bella. 

The eternal triangle came to life on the 
waterfront. It was just as stark and real a 
triangle as if it had been lived in a perfumed 
boudoir instead of in a rat-infested, ship- 
ping-village hotel. And it ended with a 
smoking pistol in the shaking hand of a 
middle-aged woman, Min’s hand. 

"Well, you can say what you please,’’ 
Bill said one day in Wallace Beery’s best 
manner of emphasis, "I wouldn’t be a star 
for any amount of money. All the boys who 
were real stars in the old days have drifted 
into oblivion. While the lesser lights are 


Lore Comes to 

‘Min and Bill- 
Two Battling Love Birds 


wood in the clutter of cables and things on 
the sound stage floor. “We’re just Min and 
Bill acting in a picture. Besides, Marjorie, 
nobody else could be a star when you’re in 
the picture.” 

"Oh, this Bill is a gallant fellow. That’s 
why Min was so crazy about him.” Mar- 
jorie smiled. 

"Cut out the joshing.” She retired into 
the pages of her novel. 

"Well, what chance has any mere man 
got in a picture with two gals like you?” 
Bill continued, finding another scrap of 
wood. "They don’t make ’em any finer than 
you and Marie.” 

“What you doin’, Wally, fishing?” Marie 
finished one rapid row and started on an- 
other. "If we don’t watch out we’ll settle 
down into a regular admiration society and 
get soft. Remember, we’ve got a grand fight 
coming this afternoon, Bill. I don’t let any 
blondined hussy get her hands on my man.” 

Then the cameras were ready and the 
three laid down their knitting and their 
stick and their book and walked back onto 
the set to become the eternal triangle. 

Who says that romance can't come after 
fifty? 

• Marie Dressier and Wallace Beery as 
“Min and Bill,” in the delightful pic- 
turization of a romance that was age- 
less. The production was suggested by 
"Dark Star," the novel of the late 
Lorna Moon, and was directed by 
Ceorge Hill. 


heal I wood 

still carrying on and earning a darned sight 
more money than the stars, themselves, 
used to earn.” 

Both Min and Bella agreed with him, Min 
nodding her head wisely over a white sweat- 
er she was knitting, Bella agreeing over a 
book. 

"Being a star is too much responsibility,” 
Bill went on, whittling a stick of wood he 
picked up from the floor. 

"You’re just plain lazy, Wally,” Marie re- 
marked, remembering to count her stitches 
as she talked. "That’s all that’s the matter 
with you, laziness.” 

“Maybe you’re right, Marie.” Bill was in 
a very amiable mood, whittling and whis- 
tling under his breath. “I’ll play any kind of 
a part they give me, so long as it’s a decent 
part, but I’ll be darned if I ever want to 
carry the weight of a whole picture on my 
shoulders.” 

“Neither do I.” Marie was emphatic, too. 

“You two can talk all you please,” the 
other woman spoke, in Marjorie Rambeau’s 
deep, throaty voice, "but you’re stars in spite 
of yourselves. You’re stars in this picture, 
aren't you?” 

"Not on your life, we aren’t.” Bill threw 
away his stick, having whittled it to almost 
nothing, and looked for another piece of 



• The trials and tribulations of stardom seem 
to be weighing heavy on our good friend 
William Powell — or perhaps he is just philoso- 
phizing a bit. Anyway Bill is everybody’s fav- 
orite — and whether he is portraying outlaw 
or attorney they still cheer for him to win. 
So buck up Bill old boy — we’re still with you 
and when your new picture, “New Morals,” 
comes to town we’ll prove it by dashing 
madly to the theater to sit breathlessly 
through your suave performance. So take 
heart Bill, and when things look darkest re- 
member the sunshine — or a cop — is just 
around the corner. Ah! Me! What Price 
Fame? 


Photo 
by Richee 


aw — whats’a 
trouble bill ? 



Screen Mirror • For January 


29 



Talkie Plot Winner 

Is Married Woman and Helps 
Her Husband as His Secretary 


J-|iUa P 

P.Y 


mon 


ou mciL) 


creen 


Mi 


Philadelphia i? winner this - 
he the next to receive £lOO.OO 

9 Talkie Plot Content. 


rror 


8 THIS MONTH'S winner of Screen Mir- 
ror’s Talkie Plot Contest is Hilda Flem- 
ing of 3419 Disston St., Philadelphia, Pa. 
The judges, Clarence Brown, EdmuncTGoul- 
ding, and Frank Borzage, chose her story, 
"Week End,” as the best of hundreds re- 
ceived from all parts of the country. 

Mrs. Fleming writes us that she is twen- 
ty-nine years of age, married, and helps her 
husband as his secretary. She adds that she 
finished high school and worked as a book- 
keeper prior to her marriage. 

Screen Mirror’s Talkie Plot Contest is 
open to everyone. Merely write what you 
would consider a good plot for a talking 
picture — and keep your manuscript within 
800 words, typed if possible. Each month 
there is a $100.00 winner. 

Here is Mrs. Fleming’s story: 


Read Her Plot 

WEEK END by Hilda Fleming 

© HELEN ARNOLD, a cold, calculating 
woman, marries John Bennett, fifteen 
years her senior, for his money. Thrown on 
her own when quite young, Helen has risen 
to great heights, and at twenty-four she is 
secretary of the Union Power and Light 
company. Sick of working, tired of men, she 
marries for ease and luxury and to be loved 
decently by one man. 

Her former sweetheart, Lawrence Jowett, 
has thrown her over to marry Joan Scott, 
who is the daughter of Winslow Scott, pres- 
ident of the bank for which Howett is mere- 
ly a clerk. Through the influence of Joan’s 


father, he obtains the vice-presidency. Soon 
tiring of Joan and the marriage of conveni- 
ence, he sets about to see Helen once more. 

Helen and John Bennett have taken a 
house in the fashionable Chatham Park sec- 
tion, and, with great strategy, Lawrence 
persuades Joan to take one near them. By 
careful maneuvering, Jowett finally meets 
Helen one morning and gives her a lift into 
town. One meeting leads to another, and 
soon Helen realizes that her love for Law- 
rence is greater than before. She is torn be- 
tween adoration for him, and respect for 
her kindly husband. Knowing that Lawrence 
is a philanderer, and that his desire for her 
is only because she belongs to another, she 
determines not to see him again. For a time 
she manages to evade him, but, finally the 
longing to see him becomes too great, and 
she telephones him at his office. The next 
day John is called away on business and 
Helen goes into town to lunch with Law- 
rence. He tells her that he loves her, and 
always has, and begs her to give him just 
one week-end. He points out that she does 
not love her husband any more than he loves 
his wife, and with rare eloquence pleads for 
just a few hours from a lifetime. Helen 
finally agrees, and they arrange to meet on 
the following Saturday. 

On Saturday Helen leaves word with her 
maid for Bennett that she has gone to visit 
a friend over the week-end, with instruc- 
tions to tell this to her husband if he calls. 
Instead of calling, John returns home unex- 
pectedly. The maid informs him of his wife’s 
message and at the same time hands him a 
telegram. It is to inform him that some in- 
vestments he has made have gone disas- 
trously and his fortune is wiped out. He is 
pacing the floor with the telegram in his 
hand when the butler announces Mrs. Jow- 
ett. Mrs. Jowett immediately makes a scene 
and demands to see Mrs. Bennett. John, 
seeing that the woman is beside herself, 
asks her business. She tells him that Helen 
and her husband have gone away together. 
Bennett quickly grasps the situation and 
tells her that it is not so, the t his wife is in 
her room dressing. The maid hearing the 
commotion from the bedroom, and desiring 
to shield her mistress, pretending to be 
Helen calls through the door that she’ll be 
through in a few moments, can Mrs. Jowett 
wait. Joan never having seen or spoken with 
Helen, is instantly deceived, and, apologiz- 
ing profusely, runs from the room. John calls 
the maid and thanks her for her quick ac- 
tion, and adds that if Mrs. Bennett has left 
with Jowett it is his own fault, as one so dull 
and commonplace as he should never hope 
to hold a woman so young and beautiful as 
his wife. 

The next night Helen returns, but is 
stricken with remorse when she sees the 
change in her husband. She, thinking that 
he knows all, is on the verge of confessing 
when he hands her the telegram. When she 
reads it she is overwhelmed with pity. Feel- 
ing that it is a judgment against her she 
makes a silent vow never to see Lawrence 
again. John turns to leave the house, but 
Helen, caught in a great tide of emotion 
makes a clean breast of her affair with 
Lawrence, and her husband, out of his great 
love for her, grants his foregiveness. 

The next day Helen obtains her old posi- 
tion, and together she and John start out 
shoulder to shoulder to begin live anew. 





roses of 
no man’s land 


O “War Nurse” is Metro-Goldwyn-Mayer’s 
picturization of the women’s side of the 
war. The production was directed by Ed- 
win Selwyn, noted New York stage direc- 
tor, and features Anita Page, Robert Mont- 
gomery, June Walker, Marie Prevost, Rob- 
ert Ames, Zazu Pitts, and Helen Jerome 
Eddy. It is declared that the picture is 
the most authentic revelation of the he- 
roic actions of the war nurses ever re- 
corded. A beautiful love story is entwined 
throughout the stirring battlefield epi- 
sodes. The superb cast that the picture 
offers insures it of possessing the high- 
est entertainment value. 


frank is 
earnest 

• Young Mr. Albertson is forging 
right ahead in the profession 
of motion picture acting. His ster- 
ling work in “Just Imagine” has 
brought forth several future roles 
of great merit from the Fox Com- 
pany, to whom Frank is under 
contract. Frankie fairly grew up 
in the shadows of the studios. He 
attended Hollywood High School 
and in vacation times worked in 
the property department of the 
various film companies. After 
leaving school, Frankie decided to 
be an actor. His first contract was 
with the Fox Company, where he 
has been ever since. Keep your 
eye on Frankie — he’s going to be 
one of our most popular players. 


Photo 
by Autrey 


32 


Screen Mirror • For January 


SCREEN MIRROR 

The Magazine from Hollywood 


© Screen Mirror has been hearing 
a great deal of talk about bad 
times — about poverty — about un- 
employment — nice, pure, unadul- 
terated pessimism. Screen Mirror 
has taken a look around and has 
seen all degrees of long faces 
and drooping chins. With a huge 
lump in its literary throat, Screen 
Mirror even deigned to ask what 
all the shooting was for. There 
must be some reason for all the 
moans and tears. 

It is now several weeks since 
we first began taking an inter- 
est in this business of depres- 
sion. And we are frank to ad- 
mit that we have learned a lot. 

For a whole day we stood 
in front of the First National 
Bank. We looked carefully in- 
to the face of everyone that 
passed through its doors. 
When the saddest of all faces 
came up, we stepped out 
and asked it what the trou- 
ble was. 

“Bad times,” it said as it 
wiped a tear away. 

“Tsk — tsk — tsk,” we 
tsk-ed, “sad, sad — very sad 
indeed.” 

“You don’t know the 
half of it,” continued the 
face that in the very first 
moment had developed 
two new wrinkles. 

“Is there anything we 
can do?” we asked. 

“I don’t like to ask 
you,” replied the smitten 
face. 



Presenting . . . a Phort 
oft o j" 

Ptnort-siglrteJne?? . . . 

with a Mora I 


“Please don't hesitate," we in- 
sisted, “we’ll do anything to alle- 
viate hard times.” 

“Well then” — the face hesitat- 
ed, but a look from us encouraged 
it. “Well then — would you — 
would you mind seeing that no one 
scratches my new car, while I go in 
to make a deposit. These are very 
bad times, you know, and I need it 
for my business.” The face wrin- 
kled up a little and, shedding a few 
quick tears, hurried into the bank. 

We knew immediately that we 
had a clue. So we hit the trail for 
more information about these so- 
called hard times. If Screen Mirror 
was to know the situation, it had 
necessarily to get the dope from 
more than one angle. 

We went into the bank and the 
President, who is always glad to see 
a friend, asked us into his sanctum. 
We talked of ships and sealing-wax, 
cabbages and kings — of Thanksgiv- 
ing turkeys and Christmas cheer — 
and then we came around to the 
subject of hard times. 

The President of the First Na- 
tional Bank is not the type of man 
to exaggerate. You know as well as 
we do that he is among the most 
conservative men in town. Butwhat 
he told us made us open our eyes. 
It seems that there is more deposi- 
tors’ money in savings banks than 
ever before in financial history. 
People just bring their shekels in 
piles and store them away. 

“And what’s wrong with that?” 
we asked. “Is that what you call 
hard times?” 

The President paused a minute, 
and then said “yes, siree,” or some- 
thing like that. 

“But why?” 


“Because money in the bank is 
idle money. And idle money doesn’t 
do anybody any good. Take a dollar, 
put it into circulation, and see the 
results for yourself. You buy some 
underwear; the storekeeper in turn 
buys some groceries; the grocer 
then buys some nice, new electric 
lamps for his window; the electri- 
cal supply man takes the same dol- 
lar bill and gets himself a new neck- 
tie which makes him more present- 
able to his customers; the haber- 
dasher then gives — but why go on? 
You can see for yourself that one 
single dollar bill often gives em- 
ployment to hundreds of people.” 

“What kind of a future can it be 
when the present is being neglect- 
ed. A farmer who kept his seed in a 
safety deposit box instead of plant- 
ing it in the ground would be called 
crazy. Yet the man who banks his 
money instead of sending it out to 
do some work is called provident.” 

We walked out of the First Na- 
tional Bank with a few new ideas 
about this hard-times business, and 
the first one we saw was the long- 
faced gentleman — the very one you 
met at the beginning of this story. 
Since he had just made a deposit, 
he was undoubtedly in the proper 
frame of mind to listen to some 
good, stiff reasoning. We collared 
him, escorted him to the President's 
office, and with a “go on, President, 
do your stuff,” left them together. 
As we walked up the street, we 
went over the conversation that was 
probably then going on at the bank. 
We had visions of that long, long 
face breaking into a smile — perish 
the thought! We saw that man 
going out and buying his wife a fur 
coat, and himself some of those 
shirts he had been afraid to invest 
in. 

As we got to our office and sat 
down to write this story, we had a 
grand vision of wheels turning, ma- 
chinery going, and people working, 
just because one drooping jaw of 
pessimism had been given a merry 
sock! 



• REPRESENTING the finest craftsman- 
ship and artistry of Hollywood, “Min and 

Bill,” “Morocco,” and “Jenny Lind,” will be 
acclaimed by theatre-goers everywhere as 
three of the greatest pictures ever pro- 
duced. They are — indeed — the ultimate in 
entertainment value. 

• TENDER Love . . . Smouldering Hates 
Flaming Passions . . . Stark Drama . . 

Uproarious Comedy . . . Thrilling Action 
. . . are all contained in this triad of truly 
great productions, designed and created for 
a world of amusement lovers who long for 
the best in the cinema . . . Filmdom’s Big 
Three . . . endorsed and backed with the 
Fox West Coast Guarantee. 


MARIE 

A. DRESSLER 

and 

WALLACE BEERY 

▲iriniifinir 

An M-G-M Production 
• AMERICA’S New Sweethearts in a 
Comedy Drama of Hearts that will 
have you Laughing with Tears in your 
eyes. Two magnificent performers in 
a story that is both deeply 
emotional and highly amusing, 
created by George 
Hill, director of “The 
Big House.” 


Marlene 

DIETRICH 




ORfiTCCO 


GRACE MOORE 

W S 


JennyItnd 

An M-G-M Cosmopolitan Production 
• THE Love Life of the Renowned 
Swedish Nightingale ... the true 
story of a famous prima donna’s sac- 
rifice on the altar of love . . . en- 
acted by lovely Grace Moore . . 
declared to be the world’s most beau- 
tiful opera star . . . supported byj 
Reginald Denny . . . 
and splendidly di- 
rected by Sidney ^ 

Franklin. 


A Paramount Picture 

• PRESENTING a new and brilliant star to 
brighten the horizon of entertainment 
lovers who demand that which is new and 
exotic ... a woman who is the sensation of 
Hollywood and is destined to become an 
international film favorite ... in a story 
that dares to be different . . . the tale of a 
love that meant follow — to the ends of the 
earth . . . with a cast that includes hand- 
some Cary Cooper and suave 
Adolphe Menjou . . superbly di- 
rected by that genius of the 
screen . . |osef Von Sternberg. 


Soon Showinc^ 


At All 


Fox West Coast Treaties 




si 






4Jf 


LIKE 

DOLLARS 
IN THE 
DANK 


• A $2.50 book of Scrip 
costs but $2.25 and a 
$5.00 is priced $4.50, while 
s $10.00 book sells at $9.00. 
That is a saving of ten per- 
cent and gives you every 
tenth admission free. Scrip 
is negotiable in all Fox 
Theatres — the best show- 
houses in the land. 


15 THRIFT 


and the HI 

IDEAL GIFT 


# THIS year ... as never before . . . Yuletide 
presents will be selected with an eye to 
their value and usefulness . . . 

What happier choice could be made than a 
book of Fox Scrip . . . good in more than a 
thousand Fox Theatres . . . from the Atlantic 
to the Pacific . . . from Mexico to Canada . . . 

A book of Scrip will bring many hours of 
happiness to those you love . . . and insure 
them of the finest entertainment in the 
world . . . 

Learn to save when you spend 
— Take a tip and buy Scrip 





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