Scanned from the collections of
The Library of Congress
Packard Campus
for Audio Visual Conservation
www.loc.gov/avconservation
Motion Picture and Television Reading Room
www.loG.gov/rr/mopic
Recorded Sound Reference Center
www.loc.gov/rr/record
IRE trilY STAR
OLD MEDAl Wl
"How about a week from Thursday?
99
Her phone was always ringing . . . would
she like to see this? . . . would she like
to go there? . . . could she plan for the
weekend ? She was easily the most popu-
lar girl in town. And the funny part of
it is that less than a year before she
would have been hard put to it to get a
man to take her anywhere. More fortu-
nate than many girls who go blindly on
wondering why they are seldom invited
out, she had found the source of her
trouble and quickly corrected it with
the surest means at her command.
It's the Whispers That Hurt
Let it be whispered about a girl that she has
halitosis (bad breath) and, socially speaking,
her goose is cooked. And people, being what they
are, do whisper.
You yourself never know when your breath
is bad — and bad it occasionally must be because
of modern methods of eating and drinking. Con-
sequently, you must ever be on guard against
offending.
Be Sure — Be Safe
There has always been one product especially
fitted to correct halitosis promptly and safely.
Its name is Listerine, and it is the pleasantest
tasting, most delightful mouth wash you can
use. IVIany imitations of it have failed either
because they could not do what Listerine does;
because they failed to meet the standard re-
quirements of an antiseptic; or because they
were too strong, too harsh, too bitter to be
tolerated. Of the imitations that remain, a very
large number lack Listerine's speedy action and
efficiency.
For more than 50 years, Listerine has been
used in hospital work because of its marked de-
odorant and antiseptic properties. When you
rinse your mouth with Listerine, here is what
happens —
Listerine's Four Benefits
(1) . Fermentation of tiny food particles (the
major cause of breathy odoKs) is instantly halted.
(2) . Decaying matter is swept from large areas
on mouth, gum, and tooth surfaces.
(3) . Millions of bacteria capable of
causing odors are destroyed outright.
(4) . The breath itself — indeed, the en-
tire mouth — is freshened and sweetened.
Don't Offend Others
When you want such freshening and
deodorizing effect without danger, use
Listerine. Use it every morning and
every night, and between times before
business and social engagements, so
that you do not offend.
Lambert Pharmacal Co.
St. Louis, Mo.
If...
you
are
yoi.
Oo
the
as
SAYS
MODERkI
MATRON
A MODERN MATRON
AND a DENTIST
BATTLE OVER A CARROT
■9^
t9
SAYS
YOUR
DENTIST
{But the civilized way to build firm gums is IPANA and MASSAGE)
tender, rundown gums— we d hear a whole
lot less about 'pink tooth brush,' too."
"Pink Tooth Brush" is serious
When you see "pink tooth brush"— see
your dentist. It can mean serious trouble.
But usually it simply means that modern
soft foods haven't given your gums
enough work— that they need the health-
ful stimulation of Ipana Tooth Paste and
massage.
Ipana plus massage is a part of mod-
ern dental practice because Ipana is espe-
cially designed to benefit the gums as well
IDICULOUS," said a prominent
JNL matron. "No girl with a spark of
intelligence or breeding would behave so
badly. She'd be outlawed — every door
closed to her!" That's the social side of the
debate. But just for a moment listen to a
modern dentist . . .
"Ridiculous?- not a bit of it. That's a
very sensible picture. I'd be delighted to
post it in my office as an object lesson for
my patients. If more people chewed as
vigorously, if modern teeth and gums
were on better terms with coarse, rough,
natural foods we'd hear a lot less about
as clean the teeth. Get a tube of Ipana
today and begin this modern health rou-
tine. Massage your gums every time you
brush your teeth. Circulation quickens.
Your gums feel healthier. And your teeth
grow whiter, show more sparkle.
Help your dentist to keep you from
being a "dental cripple." Don't let your
tooth brush show "pink." Don't let your-
self in for the really serious gum troubles.
Firm gums and shining white teeth are
vitally important to you. Switch to Ipana
Tooth Paste and massage — and sxcitch
today!
\S
care
_ the home
of yoor tee
Silver Screen for November 1936
A METRO-GOLDWYN-MAYER ProducAioni
This page looks like a "Who's Who" of Holl5nvood ! Imagine seeing four of your favorite
screen stars in one grand picture! The story was so good that M-G-M decided to make a real
film holiday of it by giving it this ALL-STAR cast. The result is a gay, sparkling, romantic,
de luxe production in the best M-G-M manner— and that means the tops in entertainment.
Silver Screen
OCT -1 i^^t)
OCT 22 1936
REFLECTING ^^e MAGIC o/HOEEyWOOD
NOVEMBER 1936 ©CI B 315 471
Volume Seven
Number One
ELIOT
KEEN
Editor
Elizabeth Wilson
Western Editor
Frank J. Carroll
Art Director
CONTENTS
STORIES AND ARTICLES Page
STARS OR STOOGES Helen Louise Walker 22
Is It The Experts That Do The Trick?
THE TENNIS CROWD Ben Maddox 24
The Stars Have Taken Up Tennis
ONE OF THE GREAT SCREEN SUCCESSES Wick Evans 26
frank Morgan Clicks In Every Picture
TWO BLONDE MENACES ... Maude Cheatham 27
]oan Biondell and Glenda Farrell
LET'S BEAT THE DRUMS Ed Sullivan 29
The Screen Has Reached A More Cultured Point
PROJECTIONS Elizabeth Wilson 30
Irene Dunne ^
TEA LEAVES TELL Mark Dowling 32
The Stars Read The Future
HE'S JUST THE BOY NEXT DOOR Virginia Wood 35
How Fred MacMurray Reached The Top
NOT FOR PUBLICITY Liza 53
The Players Do Many A Kind Act Thai The World Nei er Hears Of
"BEING HANDSOME IS NOT ENOUGH! " Jerry Asher 55
The Screen Demands He-Men
A STORY OF ARTISTS IN LOVE Jack Bechdolt 58
Fictionizaiion of 'Accused'
MONTHLY FEATURES
.The Oi'Ening Chorus 5
Tips On Pictures 6
Beauty Of Form H.vs Allure Mary Lee 8
Care To Keep Legs Shapely Is Essential
Robert Taylor Wins The Silver Screen Gold Medal 10
"You're Telling Me?" 12
Studio News '. S. R. Mook 14
The Pictures In The Making
"Let's Talk Turkey!" Ruth Corbin 18
Menus For Thanksgiving Day
Topics For Gossips 21
Reviews of Pictures 56
A Movie Fan's Crossword Puzzle Charlotte Herbert 86
The Final Fling ■ ■. 86
ART SECTION
March Of The Movies 37
Fred March Scores Many Successes
Keep Moving 38-39
Pantomime Is The Art Of Giving Meaning To Motion
Kiss And Klinch! 40-41
Love In The Studios
Ready For Your Screen 42-43
Pictures To Come
Out Where The Styles Begin 44-45
What The Well-Dressed Stars Are Wearing
l^VERYBODY LlKES UNUSUAL PHOTOGRAPHS 4^-47
' ... • "Never Be Commonplace" — Hollywood' s Motto
Every Little Brooklet Runs To The Sea.. 48-49
' . Some Beginners Who Will See Their Names In Electric Lights
Some Call It Work! 50
■ Screen Success Looks So Easy
Blossoms FOR B-^^^'es. . .^^^^^ 52
, Flowers 2 hat Bring Messages , ;!('*.,?«•'' ••. •< ■'' •' • -
COVER PORTRAIT OF IRENE DUNNE nY MARLAND STONE
SILVEJR SCREEN. Published monthLv b.v Srrcenlancl MaRazine, Inc.. at K West 4,'ilh Strort. New Ynrk, N. T.
V. G. Heimbucher. President; J. S. MarDermott. Vice Presitlcnt; J. Superior. Secretary atul Treasurer. Adver-
tising Offices: 45 West 45tll St., New Torli; 400 North Michiuan Ave., Chicapc); Ml S. Alexandria Ave.. I.os
Angeles, Calif.; Walton Bldg.. Atlanta, Ga. Yearly sub.scriptions $1.00 in the United States, its dependencies,
Cuba and Mexico; JL.'iO in Canada; foreign $1.60. 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, September 23. 19.30,
at the Post OfHce, New York, N. Y., under the Act of March 3, 1879. Additional entry at Chicago, Illinois.
Copyright 193S. Printed in the V. S. A.
MEMBEK AUDIT BUREAU OF CERCULATIONS ,
Tfie O
p e n 1 n 3
Ck
orus
The Courteous Lily Pons
A Letter From Liza
DEAR BOSS:
You'll probably fall right over in ,
your wastepaper basket when you see
what the subject of our little discourse
is today. It's "People Who Have Pleased
Me This Month," and the surprise, of
course, is that an old grouch like me should
be pleased by anyone or anything. But it
just goes to show that my bark's worse than
my bite.
I'm awfully pleased over the way Lily
Pons and Gladys Swarthout behaved at
each other's concerts here in the Hollywood
Bowl this month. The night Lily Pons sang
Miss Swarthout reserved a ^vhole flock of
boxes for her friends, was practically the
first one there, and applauded long and
sincerely. And a couple of -weeks later, w hen
Miss Swarthout sang "Carmen" at the
Bowl, little Miss Pons brought all her
friends and gave her professional rixa.] a
most cordial ovation. If rival politicians
could only be as sporting as ri\al prima
donnas I'm sure I wouldn't get sick at my
stomach every time I pick up a newspaper
these days.
And I'm awfully pleased with Bill
Powell for having the good sense to sell
that ostentatious mansion of his and reluin
to the normal life of a few rooms and vwv
servant. Bill has had his fling at l)eing a
movie star and now he's most content to
live like a human being.
And Beulah Bondi pleased me no end
with her superb portrayal of Racliacl Jaik-
son in "The Gorgeous Hussy." Foi ihc lust
lime in my life I became deeply iiuciesicd
in the wife of the sc\enth president of the
United Stales.
And Connie Bennett pleased me most of
all when she lold a press agenl ihat she
had far rather have a "nasty" sior\' wriiicn
;ibout her, and well xvrittcn, lhan all the
gooey hcaris-and-nowers siiilf ihai is usu;illy
dished up l)\ Ian w riters. Iin;iginc a mo\ ic
star not wanting to be llaiicicd!
j or November 1936
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What To See
TKat's Worth
Seeing.
ANTHONY ADVERSE— Fine. As
a novel Anthony Adverse thrilled mil-
lions, and now, as a glamorous film with
all the fascinating color and adventure
of the original retained, it will reach out
and thrill people all over the world.
Fredric iSIarch heads a fine cast, includ-
ing Claude Rains, Anita Louise, Olivia
de Havilland, Louis Hayward, etc.
BACK TO NATURE— Good. An-
other episode in the simple, domestic
existence of the Jones family. Jed
Prouty is still head of the family and
Spring Byington his spouse. Everybody
who likes good wholesome comedy of
middle-class life will enjoy this opus.
Of the youngsters in the cast George
Ernest comes off with many honors,
with Shirley Deane a close second.
CHINA CLIPPER— Good. Pat O'Brien is in
his element in a story of commercial flying that
possesses a number of exciting incidents, the most
important of which is his hop across the Pacific.
Beverly Roberts plays his wife, but the love interest
is secondary to the flying angles.
DON'T TURN 'EM LOOSE— Good. A harsh
and dramatic plea against an easy parole system.
Bruce Cabot, a born criminal, gets paroled through
the pleadings of a fake wife and, once ottt of jail,
causes several tragedies. It's a pretty sordid tale,
bvit extremely well told. In cast Louise Latimer
and John Arledge.
FOLLOW YOUR HEART— Fine. A lavishly
produced musical with a real live plot concerning
the extremely mad adventures of a theatrical family
that takes over the troubles of a stranded show
troupe.. In the cast, and singing often and melo-
diously, are Marion Talley (of Metropolitan fame),
and Michael Bartlett. (John Eldredge-Louis Al-
berni).
GIRLS' DORMITORY— Fine. This serves to
introduce a new and much publicized personality —
Simone Simon, a little French girl who more than
lives up to all the ballyhoo sent out about her.
The plot concerns the adolescent but highly emo-
tional love of a school girl for her teacher, and the
setting is a boarding school on the Continent. Her-
bert Marshall and Ruth Chatterton are cast with
the new screen find.
LAST OF THE MOHICANS— E.xcellent. The
J. Fenimore Cooper historical novel which served
as the basis for this picture has fascinated thovi-
sands of American youngsters, and now. trans-
formed to the screen with some of your favorite
actors in the well-remembered roles, it will com-
mand the attention of adventure-lovers of every age.
(Randolph Scott, Henry Wilcoxon, Binnie Barnes,
Heather Angel, PhiUip Reed.)
MUMMY'S BOYS— Fair. There's a title for you
— especially when you learn that Wheeler and
Woolsey are the lads in question. .\nd, speaking
of Wheeler and Woolsey, if you like the comic
absurdities of these two funnies, why this is your
meat — otherw^ise its just plain applesauce, no mat-
ter how you look at it.
RACING BLOOD — Fair. A melodrama of the
race tracks that will interest all of you with a
gambling instinct in spite of its hokum. Frankie
Darro plays a jockey who is a descendant of a long
line of famous jockies and therefore has the tradi-
tions of the track behind him. The love interest is
taken care of by Kane Richmond and Gladys Blake.
ROMEO AND JULIET— Splendid. An ex-
qtiisite production of Shakespeare's immortal love
tragedy, ^'on will want to see il on many counts —
the authenticity of its magnihceut settings, the
lyric (luality of its dialogue, and the excellence of
Bill Powell and Jean Harlow in
"Libeled Lady." Please pass thi
salt and pepper.
its individual character interpretations. Norma
Shearer surpasses herself as Juliet ; Leslie Howard
plays Romeo, John Barrymore is Mercutio, Basil
Rathbone, Tybalt.
SEVEN SINNERS— Fair. A detective yarn
made in England, starring our own Edmund Lowe
and Constance Cummings. While some of the sitti-
ations are pretty wild to take, the direction is ex-
cellent and the acting more than makes up for plot
discrepancies.
SING, BABY, SING— Excellent. The most
amusing farce of the month, with Adolphe Men-
jou giving a superb performance as the ntiddle-aged
actor whose star is on the wane. Adding to the
breathlessly funny situations that crowd tip one
after another are ."Mice Faye, Michael Whalen,
Patsy Kelly, Ted Healy and Gregory Ratoff.
STAR FOR A NIGHT— Good. A picture that
will please audiences who like a good dish of
honest sentiment. Plot concerns a blind mother in
Europe who decides to pay a surprise visit to her
children in America who have always convinced her
that they are on top of the heap. Their problem
to make good their bluff will command your sj'm.-
pathies and interest throughout. (Jane Darwell-
Claire Trevor- Arline Judge).
TENTH MAN, THE — Fine. A British picture
taken from one of Somerset Maugham's highly dra-
matic yarns. John Lodge, one of En.gland's finest
actors, has the title role and acquits himself splen-
didly. The supporting cast is everything that j'ou
might expect from a first-rate feature picture of
this kind.
TWO IN A CROWD — Interesting. An enter-
taining comedv-romance co-starring Joan Bennett
and Joel McCrea. The plot brings these two to-
gether after they each come into possession of a
half of a thousand dollar bill. Thev pool the money,
buy a horse and groom it for a big race in spite of
being handicapped by gangsters. (Nat Pendleton).
WALKING ON AIR— Very amusing. This is
all about a beautiful but stubborn heiress whose
father refuses to let her marry the man oi her
choice — and rightly, too. Enter; — Gene Raymond,
a college crooner temporarily in need of money
with which to buy food. The heiress hires him to
pose as a phony count, but ends up by falling in
love with him. Cast includes Ann Sothern, Henry
Stephenson, Jessie Ralph.
WOMEN ARE TROUBLE — Fair. Stuart Er-
win. Paul Kelly and Florence Rice in a swift-
moving action iilm having to do with variou.s
rackets. It has a number of exciting and a number
of anuisiitg moments.
Silver Screen
ear
reatest Romantic Adventure!
for November 1936
7
Beauty
• Feel dizzy, headachy? Skin sallow and
inclined to break out ? These may be signs
that the system needs clearing out. Mil-
lions now enjoy freedom from the mis-
ery of constipation. For an ideal laxative
has been found — a dainty white mint-fla-
vored tablet. Its nam.e is FEEN-A-MINT.
MINUTE WAY!
Three minutes
of chewing
make the
difference
• Just chew FEEN-
A-MINT, the laxa-
tive that comes in "^^^^^^
delicious chewing gum. Chew it for 3 min-
utes— longer if you like. The chewing
makes the difference! FEEN-A-MINT
brings blessed r-e-l-i-e-f. Used by
15,000,000 people of all ages. N on -habit-
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• Again able to enjoy life! All accom-
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turbance of sleep. No upset stomach due
to faulty elimination. No splitting consti-
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try FEEN-A-MINT yourself — the cool,
mint-flavored chewing-gum laxative that
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Family-
sized boxes,
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15c & 25c
SUylitiy hijjhur in Cunudu
Care To Keep
LesS/ A.nkles
y\ n d Feet
SKapely Is Es=
scntial To
Beauty
OF hORM
HAS
ALLURE
By •
Mary
Marlene Diet-
rich adopts the
new short skirt
of revealing
length.
THEY'RE going up
—and we hope
you're glad to wel-
' come short skirts back
again, after the relapse
into demure length
and ankle-swathing that lasted just about
as long as the depression. The standard 13
inches from the floor of the new daytime
skirts will be a "lucky 13" for you, provided
you keep your legs and feet trim enough
to show them off with pride. It's certainly
a "lucky 13" for Marlene Dietrich, who is
known as the owner of one of the loveliest
pairs of legs in Hollywood!
Now that ankles and a fair amount of
calf are coming into Beauty's spotlight, we
feel it our boimden duty to give )ou some
advice on keeping them as attractive as
possible. Don't envy Marlene Dietrich her
famous legs— and stop there! You can do so
much to improve your own.
One of the greatest drawbacks to shapely
legs and good posture is the habit so many
girls have, especially if they're tall, of keep-
ing their knees slightly bent when they're
walking, standing or dancing. This makes
the tendons under your knees tighten up, so
you look knock-kneed when you really
shouldn't.
Here's an excellent exercise to straighten
out tensed knees: I.ie flat on your back with
your arms stretched straight out at the sides.
Then bring your right leg over so the toe
comes as close to touching the left hand as
possible, but don't bend your knees or raise
your shoulders. Do this ten times, then ten
times with the left foot reaching for the
right hand. Stretch hard to reach that hand.
It'll hurt at first, but keep it up.
For fat cahes and thighs, we recommend
the epsom salts "haU-bath." Put a pound
of epsom salts in the tub, then dra\v enough
water, as hot as you can stand, to cover your
legs and thighs when you're in a sitting
position. Stay in 15 to 20 minutes. We don't
advise inuncrsing the enliic body as it is
too weakening. Massage and piiuliin;; under
water helps, too. and continue tlic pinihiug
lluough \our Turkish tenvel alter you
emerge.
Aciualh. br;iui\ ol ankle and leg slans
willi llu- l()\vl\ Kxi, \\l\ith are so apt to lie
nc'^ledcil sini|)l\ because lhe\'re covered up
wilh shnts anil stockings most of ihc lime
llic) ap()ear ui |)ublic. It's utterh impos-
sible to be graceful with painful feet. Still
it isn't necessary to proclaim your foot
weakness to the world by ivearing heavy,
ugly shoes in the hope that they will cure
ills that may need entirely different treat-
ment.
Most foot ailments are caused by throw-
ing your weight unevenly on your feet, by
badly-fitting shoes or stockings that are too
short (a chief offender in starting ingrow-
ing toenails). You can avoid trouble by
getting both your shoes and stockings long
enough and having heels the height that
is right for you.
It's just as important to beauty as it is
to comfort to have foot troubles corrected.
For instance, if your arch changes from its
normal position, your Tvhole body is thro^\n
out of balance and vou can't ^valk grace-
fully. Or a painful toe may cause you to
throw too much ^veight on one side of vour
foot, running down the heels and other-
wise getting even your prettiest shoes oiu
of shape.
No two pairs of feet are exactlv alike
(actually, footprints are almost as charac-
teristic as fingerprints), so its the better
part of ^^■isdom to ha\e your feet examined
and the remedy individually prescribed as
soon as you feel the first pain. Foot ailments
don't correct themselves. ^Ve're enthusiastic
about the Dr. Scholl Foot Comfort Service
which is a\'ailable in almost any leading
shoe store or shoe section of a department
store
■^ou'll find an expert trained in the Dr.
Scholl methods w lio will giv e aou a thor-
ough foot examination, without charge, and
lit you \vith vvhate\cr remctlial device vou
need— whether it's a lightweight arch sup-
port to slip into \our own modisli shoes, a
Zhio-pail to correct corn or callus, or a
"W'alk-Suate " to keep \ou irom ruiuiing
down yoiu' heels. So much can be done to
make legs look straight, ankles trim and
carriage graceful simpl\ b\ luning the right
"buiUI-u|) " ui vour shoes 10 enualizc tlic
burden of your body's weiglu!
There's reallv a Dr. SclioU lemedv for
e\er\ fool ailment we e\er heartl of.
8
S I L V i; R Screen
(Academy Award Winner)
.YKTOR McUGLE
vAe MACflllFIClinpUT
"A fighting fiend and a fool for blondes*'
with BINNIE BARNES, JEAN DIXON,
WILLIAM HALL,
HENRY ARMETTA EDWARD NORRIS
for November 1936
HE SAID:
"You've got the loveliest
hair of any girl here."
SHE THOUGHT:
"Then I'm the first one to
discover Admiracion."
^ ^&u/t HAIR
SN ONE TREATMENT
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treatment brings out all the glorious
natural color, sheen, and softness of your
hair — the very first time you use it!
Admiracion completely eliminates the
soap film which even repeated rinsings
never removed and which has been mask-
ing the real loveliness of your hair. Ad-
miracion makes no messy lather. It washes
away with just one rinse — so easy!
Admiracion is more than a shampoo
because it contains Davolene — the most
effective scalp tonic known to science to-
day. It helps eliminate the causes of exces-
sive oiliness or dryness, falling hair, or
dandruff.
You will revel in the simplicity of your
first Admiracion treatment. Marvelous
for children's hair. Buy a bottle today; or
send coupon for a 2-Treatment bottle.
Admiracion DeLuxe Treatments
If you have your hair done professionally,
ask for an Admiracion DeLuxe Treatment
next time at your favorite beauty salon.
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^HHHB^2
Dull hair brought to life
SEND 10c FOR GENEROUS SAMPLE
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Olive Oil for dry hair ( ) Pine Tar for oily hair { ) Bolh 20c
Name „
Street ,.,
1 City
7%"- ) (PLEASE PRINT PLAINLY)
In the studios Rob-
bert Taylor is ap-
preciated just as
sincerely as he is
by the public. He
is working on "Ca-
mille," with Garbo,
He received 3 5 %
of all the votes cast.
Nelson Eddy
Ginger Rogers Jeanette MacDonald Clark Gable
Robert Taylor Wins
TKe Silver Screen Gold Medal
TKis Medal Is Awarded Each Year By
The Votes Of Our Readers To The .
Most Popular Player On The Screen.
Thousands of the readers of this mag-
^ azine responded to the invitation to vote
for the most popular player on the screen.
The voting was of course entirely volun-
tary, and the polls were open only one
month. Below are the names of the leaders
in the voting and first of all is Robert
Taylor. He has, in a short time, won
1. Robert Taylor
2. Nelson Eddy
3. Clark Gable
4. Jeanette MacDonald
5. Ginger Rogers
The voters have paid Robert Taylor a
great honor and from now on no part can
be too difficult for him. Last year Shirley
Temple \vas at the peak of her popularity
and the Gold Medal was voted to her. In
1934 Clark Gable received the most votes.
friends in every town and city and many
o£ these individuals sent in their votes to
help win for their favorite the gold medal,
at once a proof that his good ;vork is ap-
preciated and also to encourage him in his
efforts to make the characters he plays con-
vincingly real. The following list gives the
ranking of the leaders.
6. Shirley Temple
7. Frank MacMurray
8. Franchot Tone
9. Dick Powell
10. Henry Fonda
and before that Joan Crawford carried oft
the honor. Robert Taylor's medal is now
being designed and e.vecuted and in a tew
weeks it v<\\\ reach the young man, bringing
to him the respect and best wishes of Silver
Screen and thousands of its readers.
Fred MacMurray Dick Powell Shirley Temple
Henry Fonda Franchot Tone
Silver Screen
Yolks, Meet
OIWIN
'Oiwin' is Brooklymse for the good \
old Anglo - Saxon name of Erwin j
To the bride and neighbors he was a polite
and milk-toasty Erwin, but to the mob he was
'O/w/n' — the horse- picking demon who gave
bookmakers financial D. T.s! A gentle Jekyll in
Jersey . . . but a Hyde-de-ho in the betting ring. .
NOW it can be told ! Nearly every star comedian in Hollywood
wanted to play 'Oiwin'. "I'll buy the play," said one . . ."I
don't want any salary. Just give me the chance and a percentage,"
said another world-famous funnyman . . . But Warner Bros, de-
cided to give this coveted acting plum to Frank McHugh— not
because he was the best-known actor to do 'Oiwin'— but because
in their opinion he was by far the best suited. How glad you'll
be they made this choice when you meet 'Oiwin' on the screen!
A candid camera study of 'Oiwin' . . . tix
the marvel of the ages picks a long shot
find almost wrecks the betting industry.
"I just love a bettin ' man,
Oiwin . . . especially if he
beeps winning all the time.'
Every time ' Oiwin' looked at
a racing sheet the book-
makers took more aspirin.
"Oiwin, you made us million-
aires . . . we want to do
some little thing for you."
COMING SOON!
THREE MEN ON A HORSE
Conceded to be the greatest
comedy hit in ten years, now
in its second capacity year on
Broadway and being played
in four countries, by ten
companies to thousands of
hilarious crowds everywhere !
A MERVYN LEROV
Production with
FRANK McHUGH
JOAN BLONDELL
GUY KIBBEE • CAROl,
HUGHES • ALLEN JENKINS
SAM LEVINE • TEDDY HART
for November 1936
11
1
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Write A Good
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A Framed And
Inscribed PKoto=
K.
Srap
"T HAVE written many
I a letter for the photo-
graphs of quite a few
actors, but never Suc-
ceeded in obtaining one.
I guess it was because I
never sincerely felt what
I wrote," writes Martiecita
Smith of Ne\\' Brighton,
X. Y. "However when I
say that I think John
Howard is simply won-
derful, swell, colossal, and
a great actor, I mean it
from the bottom of my
heart."
John seems to click with
you, Martiecita.
'GIRLS CAN have
Gable and his romantic
ways, but I'll take 'the
one and only, Nelson
Eddy,' even though his
magnificent voice just
takes the heart out of me.
My only plea is, 'Give me
back my heart with one
of his pictures,' " writes
Sena Rotman of S. Keeler,
Chicago, 111.
Good theme for a song
MEf
Larry Lane is
a chorus girl,
that's the way i
are made.
for Eddy.
"NEW STARS may come and new stars
may go but my lovely favorite, Joan Craw-
ford, goes on forever. For years I have ad-
mired her and everything she represents,
beauty, intelligence, graciousness and a
natural ability to act," writes Margaret
Morris of No. Mentor Ave., Pasadena Calif.
"She is what every fine American girl
dreams of becoming some day. May your
star keep shining in our movie heavens for
years to come, Joan. Here's to your success
and happiness."
Mrs. Tone will be pleased.
"SOME PEOPLE prefer Clark Gable,
some Fred MacMurray, some Fred Astaire.
etc., but my top on the actors' list is hand-
some, talented Bob Taylor," writes Loretta
Comiskey of Michigan Ave., Pueblo, Colo.
"He'd make any girl's heart pit-a-pat faster
at first glance. I like him so well I'm
afraid I'm destined to be an old maid
unless I find someone similar to
him."
A Taylor bachelor girl.
"THREE CHEERS for Michael
Whalen, my favorite!" writes Laura
V. Wallack of Eutaw St., Lawrence,
Mass. "After seeing him in pictures,
I've longed for a picture of him. He
strikes me as the Prince Charming a
girl dreams about. Tall, dark and
handsome, he has that kind of a face
and eyes which make an impression
upon me. When those lips are in
action your heart stops a beat or U\o.
Oh! what a personality."
So they named his next picture:—
"The Man I Married."
"I THINK Nelson Eddy is easily
the first star on the screen today,"
just writes Ella B. Dauch of Hacketts-
but to^vn, N. J. "He is so handsome, and
tars his personal charm of manner would
make any girl's heart flutter. Above
all, I admire his marvelous baritone
voice: such warmth and beauty of
tone, such clear cut enunciation."
Brain power gives quality to a voice, and
Eddy was once a newspaper man. That ex-
plains it!
"I COULD write a long and beautiful
tribute to Joan Crawford's greatness and
beauty but in a few words I can hardly
con\ince you how much I adore her,"
writes Helen LTranschek of Sidney St., St.
Louis, Mo. "Joan is beautiful but she has
an inner loveliness that surpasses dimples
and blonde, curly hair. I ivant to sincerelv
thank Sil\er Screen for this opportimity to
win (I hope) Joan's picture."
We'll ask her, Helen.
"FOR A long time we've been hearing
lots and lots about Clark Gable, Robert
Taylor, Franchot Tone and others, and one
This coupon must accompany your letter. Not good after Nov. 6, 1936
Editor,
"YOU'RE TELLING ME?"
SILVER SCREEN, 45 W. 45th St., New York, N. Y.
In the event that my letter is selected for a prize, I should be pleased
to have a framed and inscribed photograph of
My name is.
Address
City State
The fifty win-
ners of the
signed, framed
photographs
offered in July
have been noti-
fied by mail.
12
Silver Screen
Clark Gable's
photo, won
by Constance
Sakalos.
can t deny that ihey are more than good.
But I'll cheer for John Howard any day of
the year," writes Rosemary Pitzer of Wayne
St., Erie, Pa. "I don't know what it is— his
looks, personality, acting, or all— but he has
that 'certain something' that makes one like
him. I hope he'll make lots more pictures."
You'll see him in "Valiant Is The Word
for Carrie."
"I'D LIKE to heap a few laurels on
Michael Whalen for his fine performance
in 'White Fang' and 'Poor Little Rich
Girl,' " writes Marguerite Sinclair of W.
Adams St., Los Angeles, Calif. "He deserves
better parts for his wonderful acting, hand-
some profile and winning smile. Here is
hoping he goes into larger parts and that I
win a picture of him."
For the love of Mike!
Franchot Tone's
photo, won by
Eleanor Raney.
Title Chanses
The Names For
COMING PICTURES
"The Case of the Caretaker's Cat"
(Ricardo Cortez) has been
changed to .
"The Case of the Black Cat"
"Heroes of the Air" (Jean Muir) has
been changed to
"Fugitive in the Sky"
"Sing Me A Love Song" (James
Melton) has been changed to .
"Come Up Smiling"
"Outlaws of Palouse" (Jack Holt) has
been changed to
"End of The Trail"
"Way For a Lady" (Doris Nolan) has
been changed to
"The Man I Marry"
"Mistress of Fashion" (Kay Francis)
has been changed to
"Stolen Holiday"
""Where's Elmer?" (Stu Erwin) has
been changed to
"All-American Champ"
"Turn of the Century" (Franchot
Tone) has been changed to
"Living Dangerously"
"The Bowery Princess" (Shirley Temple)
has been changed to "Dimples"
Do sudden swerves
Upset your nerves?
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Do stomach ills
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for November 1936
13
Showers
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This is the most famous, best-loved
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Supremely fine — yet the cost is
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^VKere The
Pictures A.re In
TKe AAaking/
TKere WeFindi
TKe Stars.
"The Plough and the
Stars" takes you to
Dublin. Barbara Stan-
wyck and Preston
Foster play the im-
portant parts.
By
S. R. Moot
On the R-K-O Lot
THIS month R-K-O are cracking out
with another of their specials and when
R-K-O makes a special it is A special.
This time it's a picturization of "The
riough and the Stars" by Sean (pronounced
\shawn") O'Casey. One of the most grip-
pmg plays in the repertoire of the Abbey
Players, it concerns itself with the ill-fated
revolution during the ^vcrld \\'ar, in which
li eland sought to break away from Eng-
land and establish her independence.
What a set they've put up for this pic-
ture. It's an entire square in Dublin and
the whole thing is on the inside of one of
the big sound stages. It takes as long to
walk around it as it does any small city
block. The street is cobble stone— real cob-
ble stones, and all the houses are complete
-not just fronts. There are gas street
amps. The time is igi6 and everything
s so authentic— well, as we used to say in
my kindergarten days, "When words fail,
send Dolly Varden chocolates."
By special dispensation of the Irish Tree
State, five of the Abbey Players have been
brought over for this number. Imagine!
Six thousand miles over and six thousand
back— and all for one picture— for you.
They are trying to make this so au-
thentic that all the extras (the young ones)
have been recruited from Loyola College.
The others (the older ones) I guess have
been recruited from the congregations of
practically every Irish Church in the vicin-
ity. At any rate, I never saw so many
dyed-in-the-wool Irishers at one time in
my life. And don't get the idea that some
of them are not real Irish beauties.
Not a soul in this pictine— not even the
star— the one and only Barbara Stanwyck-
uses any make-up.
This scene we see is when the Irish
troops, who have joined the British army
during the world war, are marching by,
en route to the train. F. J. McCormick
(who plays a lieutenant) and Preston
Foster (who plays the male lead) are
watching them- rather furtively. I thought,
and yet there is a sort of look on Preston's
face that— that
Over and over and over and over and
then at least a dozen times more the troops
march by. If I didn't know from my own
experience, I can at least learn from this
how troops smell on a long day's march.
The s^^"eat is pouring off them.
As they take their places once more for
another take, one of the extras dryly re-
marks, "The show must go on." And on
it goes.
Finally, they get a shot that suits the
director, John Ford, and he yells cut. Per-
sonally, I can't see one iota of difference
bet^veen the take he likes and all the others
he didn't like— but I'm not a director.
I've been watching Preston closely and
when it's all over I say, "What happens to
you in this scene— are you being fired -ivith
enthusiasm?"
"Hell, no!" he snaps. "I'm supposed to
be scared to death. I guess I didn't act it
very well if you thought I ^vas getting
enthusiastic."
"Well," I explain hastily, "I really
couldn't see yoiu' face very well. AV'here's
Barbara?"
"Ford's got her locked up in her dress-
ing room," he says.
I breeze over to her dressing room and
knock on the door.
"Who's there?" she calls.
"It's I— Dick, " I smile confidently.
"Gee," she says, "I'd like to see you but
I can't get out. Mr. Ford's got me locked
up in here."
"What goes on?" I inquire.
"I'm up to my neck in Irish," she says.
"■^eah, I know." I agree, "but why has
he got you locked up? "
"Oh," Bobbie explains, "my next scene is
a very dramatic one and he doesn't want
me annoyed with visitors for fear it'll get
me out of the mood."
I've often boasted that no one has to
drop a ton of bricks on my head for me
to take a hint so I bid Barbara a \ery
pleasant good day and beat it.
The only other picture shooting on this
lot is "The Portrait of a Rebel " with
Katharine Hepburn and Herbert Marshall
As usual, the set is closed to visitors so
14
Silver Screen
we'll just skip it— without comment. Any-
how, by this time you should know the
words even if you don't know the music
of the song I dedicated to her.
Next, \ve'll tackle
Columbia
TF there was only one picture I had to
i cover at R-K-O they more than make
up for it here. I really have my work cut
out for me.
First, there's "Pennies from Heaven" with
Bing Crosby, Madge Evans, Donald Meek
and Edith Fellowes. That's the entire cast.
I believe Bing has a 50 per cent interest in
this picture, which is being produced by
Emanuel Cohen.
At the opening, Bing is in jail. Of course
it goes without saying he's innocent (I be-
lieve the charge was vagrancy). He meets a
man who's to be electrocuted and the con-
demned one wants Bing to find a family
(named Jones, probably, or Smith) in a
certain town and give them the deed to a
house he has. When Bing gets out he starts
searching for the family and finally locates
them. That's Meek and Edith.
Their belongings are all piled on the
sidewalk in front of their home. They've
been dispossessed because they can't pay
the rent. Meek has been telling the land-
lord for months he expects to come into
some money. The gag won't ^vork any
longer, however. After they've been put out
it develops the money he expected to come
into was Sao a month on county relief.
Bing finds them, as I say, and they've
got to have some money immediately. Bing
takes an old guitar and they start going
around singing. The money thrown them
is "Pennies from Heaven." The Street
Singer, you know. Something happens
under a certain window and they go up-
stairs to see what's what.
When they arrive, the door is opened
and Madge confronts Edith. "Well, young
lady," she demands sternly.
Edith takes one look at her and flies.
"Patsy!" Madge calls. But Edith has not
stood on the order of her going.
"Hey, Sarge!" Bing yells, looking over
the railing.
Madge starts after her. "Come back
here!"
"What's all this about?" Bing wants to
know.
"That's just what I want to find out, "
Madge informs him. "Come in."
And that is the meeting between Madge
and Bing and the beginning of love's
yoimg dream.
"I suppose," Bing begins to me when the
scene is finished, "as soon as the Mayor
(Richard Arlen) gets back, you'll be busy
for a year writing up his memoirs of this
trip."
"There may be something in what you
say," I concede. "After all, you must agree
that there are few people who can get as
much material out of a trip as Dick— or
who can tell it as well."
He looks at me and laughs. Bing must
"Two Minute Alibi" a Columbia
picture, with William Gargan and
Marguerite Churchill running a
temperature.
See If You and Your
Girl Friends Use the Right
Shade of Face Powder
You're sure about the shade efface powder you use,
aren't you? You're convinced it's the right shade for
you, or you wouldn't use it.
Your girl friends feel the same way about the
shades they use. Each is certain she uses the right
shade.
All right— I'll tell you what I'll do: I'll let you hold
a "face powder party" at my expense. What's that?
Well, it's a party at which you can have a lot of fun
and , at the same time, learn something of great value.
You can hold this party at home or you can hold
it at the office during lunch hour.
The Test That Tells!
Here's whatyou do: First, send for all five shades of
my Lady Esther Face Powder, which I offer you
free. Then call in several of your girl friends. Try
to get girls of different coloring — blondes, brunettes
and redheads.
Let each girl select what she thinks is her best
shade of face powder. Have her try that shade on.
Then, have her "try on" all the other four shades.
Let the rest of you act as judges while each girl tries
on the five shades.
Then, see how right or wrong each girl
has been! Note that in most cases, if not in
all, the shade of face powder that proves
the most becoming is not the one the girl
selected. On the contrary, you'll probably
find that the shade that proves most flatter-
ing to a girl is one she would never think of
using at all.
You can instantly tell which shade is most
becoming to a girl. It immediately makes
her stand out — makes her look her youngest
and freshest. The other shades, you will observe,
have just the opposite effect. They make her look
drab and years older than she really is.
Why Look Older
Than You Really Are?
It's amazing the women that use the wrong shade
of face powder. I see evidences of it on every side.
Artists and make-up experts also bemoan the fact.
There is one and only one sound way of telling
your most becoming shade of face powder and that
is by trying on all five shades as I have described
above. Trying to select a shade of face powder ac-
cording to "type" is all wrong because you are not
a "type," but an individual. Anyone knows that a
blonde may have any one of a number of different
colorings of skin while a brunette may have the
same. So, trying to match a "type" is fundamen-
tally unsound if not impossible, and may lead to
some weird effects.
Prove My Principle!
Be sound, be practical, in the selection of your
shade of face powder. Use the test method as I have
described here. Clip the coupon now for all five
shades of my Lady Esther Face Powder. I will also
send you a 7-days' supply of my Face Cream.
FREE
( You can paste this on a penny postcard. ) (27)
Lady Esther. 2062 RiHpe Ave. Evanston. 111.
Please send me by return mail a liberal supply of nil five
shades of Lady Esther Face Powder; also a 7-duy9* supply of
your Lady Elsther Four-Purpoae Face Cream.
Name^
City.
ilf you two m Canattu. writt! Ladu t^nt/irr, Ltd., Toronto, Ont.)
for November 1936
15
HINTS fo
r the
EYES OF WIVES!
by ^oum. Vedth
9 Unless you have one of the rare hus-
bands who is amused to watch mysterious
beauty rites, it's up to you to join the secret
association o£ KuRLASH enthusiasts. These
wise ladies keep a Httle private cache of
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minutes' beauty conference with them daily.
Husbands are entranced with the results —
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You can whisk your lashes into KuRLASH
($1 at good stores) in a split second. When
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nothing to arouse husbandly suspicions. Do
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• Laihtinl Compact,
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• Kurlene, Dresses the lashes,
keeps them soft and silky,
darkens them, tends to make
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— and, either alone or mixed
with a little Shadette (not illus-
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• Twhsors, The little miracle
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fVrtte Jane Heath Jur advice abuut eye beauty. Gtve
your coloring Jor personal beauty plan. Address Dept.
SS-JJ, The Kurlash Company^ Rochester, N. Y, The
Kurlash Compff" y oj Canadat at Toronto, 3,
have lost about fifteen or twenty pounds
since his last picture. He says he did it
dieting and for a guy who likes his gro-
ceries as much as Bing that must really
have been torture.
Next we have "Two Minute Alibi," with
William Gargan. Bill is playing a radio
columnist— the same character Lew Ayres
played in "Panic on the Air." It's going
to be a series, God help us. Of course
there's a murder and as I see Dwight Frye
skulking around I ask if he turns out to
be the murderer.
"No," says Bill, "and don't ask for the
tip-off."
"If he isn't," I protest, "you're upsetting
every Hollywood tradition. He always has
been."
"He's changing his type," Gargan ex-
plains smoothly.
But Dwight still acts like a murderer.
Bill just got back from a jaunt to Canada
u'here he went to make a picture called
"Timber Wolves." He had to be back on
a certain day to start this epic so they
held up a mail plane until he and his \vife
could get aboard. They (he and Mary") sat
on sacks of mail all the way to Puget
Sound.
They've a -whole gang of people in this
scene: Gargan, Frye, Marguerite Churchill,
Drue Leighton, Egon Brecher and Romaine
Callander. Drue's husband, a Mr. Foster,
has been murdered a short time before, and
Bill is attempting to solve the mystery.
"I know," he begins apologetically, "it's
rather indelicate of me to intrude at a
time like this but I've asked you all to be
here "
"On the theory," Brecher interrupts,
"that the criminal always returns to the
scene of the crime. Is that it?"
"No," says Gargan promptly, "but the
sleuth does. So you think it was a crime.
Sir Conrad?"
"■^'ou said so over the wireless last night,"
Brecher retorts. -
"And what do you think it was?" Bill
goes on smoothly.
"I don't think," Brecher purrs. "I accept
the result."
"What do you think, Mrs. Foster?" Bill
turns to Drue.
"I— I really don't know what to think,"
she whispers.
There is an uncomfortable pause and
then Gargan turns to Romaine Callander.
"Mr. Easton, what would you call it? "
"Frankly," replies Callander portentously,
"I should call it suicide— a perfect suicide."
"That's what bothers me," says Gargan.
"It was too perfect— too well thought out—
too perfectly executed. Somebody wanted it
to look like suicide."
A most unpleasant atmosphere pervades
this stage. I mention something of this to
my guide.
"Come on," she orders brusquely. "I
knew I'd have trouble with you before
the morning ^vas over so I've been saving
one of the best for the last. It's 'Craig's
Wife." "
"Craig's Wife!" Now there is something.
That was one of the finest plays I've ever
seen, and it ivas written by one of the
finest playwrights the country has produced
—George Kelly.
The heroine is one of the most despica-
ble women who ever crossed a stage. Crystal
Herne played her in the theatre and played
her just that way. She made the biggest hit
of her career. Rosalind Russell is plaving
her in the movies but I'm afraid Aliss
Russell (who didn't ^\'ant to play Ihc part)
is going to try to get sympathy. If she docs
she'll ruin it. If she doesn't, she'll be silling
on top of the \vorld— critically speaking.
It's about a woman, intolerant, unre-
lenting, immoxablc. who tries to mould
everyone and cxtiMliing to (it the pattern
of life as she sees it. Her home is her very
Billie Burke introduces her grand-
son, Tokkie Trigg, to Alma
Kruger, thus working up the
excitement in "Craig's Wife" — a
Rosalind Russell-John Boles picture
life. She rules it with stern discipline, keep-
ing it in irritating fastidiousness. Never is
tobacco smoke within its walls, never a mi-
nute detail of furnishing out of place. Never,
for that matter, is anyone at ease within it.
John Boles plays her harassed husband
and Alma Kruger (who was so swell as
the grandmother in "These Three") his
aunt— who somehow manages to bring a
small measure of happiness into his life.
And Billie Burke— ah, me! My day is com-
plete and there is a God— plays the friendly
neighbor.
It is at least igo outside but Billie in
a gay, pleated chiffon, looks as cool and
fresh as the proverbial daisy. I guess the
set is attractive but Avhen Billie is around I
never notice anything else.
Except for Billie, this scene isn't terribly
important.
She is seated in a chair in the hall carry-
ing a- basket of roses. A little tot of abotit
two, Tokkie Trigg, is plaving beside her.
Miss Kruger descends the stairs and greets
Billie.
"How do yoti do, Miss Austen," Billie
smiles. "I thought you might like a few
of my roses."
"Well, isn't that sweet of you," Miss
Kruger exclaims, taking the basket. "Don't
tell me this is that grandson I've heard so
much about?"
"Yes," Billie (who looks about twenty)
admits. "This is Tim. Give Miss Austen
you hand, Tim."
Miss Kruger calls the maid (Jane Dar-
\vell) to take the roses and put them in
water. Then she remembers Rosalind and
is afraid she may come home and find
Billie and Tokkie there. "Do come up to
my room," she suggests uneasily. "Come
along, Tim. Maybe I can find something
nice for you up there. "
Robert Allen and Dorothy ^V'ilson are
the young lovers for ^vhom Rosalind makes
it tough.
"Oh, I forgot to tell you," Fania says
sweetly, "^ve just finished 'Lost Horizon'
after ninety-eight da\s of shooting. Before
that, oiu' longest pictiue was 'The Captain
Hates the Sea' which took sixty-seven davs
of shooting."
"I'm certainly up on Columbia statistics,"
I sneer.
"One other thing," m\ guide goes on
imperturbabh . " "The Man ^Vho Lived
Twice' with Ralph Bellam\ . Isabel Jewell
and Marian Marsh is on location. Be sine
to mention it so people will be looking
for it."
'"^ou should ha\e kept quiet about that
one. " I suggest. "Now, people \\ ill be able
to a\oid it. If you hadn't said anything
they might just have stiunbled on it— un-
a:varcs."
I'm afraid," she coimters acidly, "you've
oiiistayctl your \vclcoinc. I'm sorry you can't
remain lor lunch and "
"I could," I beam. "T could."
"And," she finishes fiiinh. "I'll see you
16
Silver Screen
«
next month when Irene Dunne will be
shooting in 'Theodora Goes \Vild.' "
And that, my friends, is ivhat I d call a
perfect squelch— neat, but not gaudy. "Pray,
goody, please," as Kane O'Hara used to
say, "to moderate the rancour of your
tongue."
Smarting under the sting, I cast about
for new studios to conquer. I finally hit
on
Warner Bros.
WHEN I get a look at their call sheet
my head starts swimming. The good
Lord certainly never intended me to loaf
this day.
First there's "Stolen Holiday" starring
Kay Francis. It used to be called "Mistress
of Fashion," and fittingly.
The picture opens about 1907 in a room
off the salon of some big couturier. They're
having a fashion show and all the manne-
quins are dressing and undressing. Kay
comes on the set with an ice pack strapped
to her head in a futile effort to keep cool.
"Hello, darling," she murmurs, slumping
into a chair beside me. "Isn't this awful?"
KOOLS NEVER MISS! Do better by yourself this winter
— smoke KQDLS. When overheated rooms dry out your throat or
sniiBes spoil you for hot smokes— smoke KCDLS. Freezing
weather, sudden thaws, late nights, early parties — you'd better
smoke KQDLS. Their touch of mild menthol soothes and refreshes.
Their better tobaccos have won millions of friends. And
each pack carries a B & W coupon good for fine premiums.
(Offer good in U. S. A. only.) Brown & Wilhamson Tobacco
Corp., P. 0. Box 599, Louisville, Ky.
Kay Francis and Alison Skipworth
in "Stolen Holiday."
The assistant director comes up. "You
ready. Miss Frances?"
"Yes," she agrees and turns to me once
more. ."Darling, this doesn't mean you"
and then she addresses the assistant: "I
want the set closed to all visitors today. I'm
not going to have a lot of strangers gaping
and gawking at me when I'm in my undies
changing clothes."
Presently the scene starts. My dear Alison
Skipworth is sitting at a table with a tape
measure around her neck, telling fortunes
with the cards. Rita LaRoy (remember
when she was a coming star at R-K-O?) is
looking over her shoulder. Kay is on the
opposite side of the table getting out of
one costume and into a coat suit.
"Don't pay any attention to those cards,"
Rita laughs. "I had my fortune read once
and it was good. Within the ^veek I fell
down and broke my leg." She passes on,
pulling her pink velvet negligee trimmed
in white maribou about her. The girls
laugh but Skippy continues to look mood-
ily at the cards.
"What's the matter, darling?" Kay
queries. "\'ou look worried."
"I would read such cards!" Skippy
snorts, brushing them into a heap.
"That's not fair," Kay protests.
"Some other time," Skippy promises.
"There's something wrong with the vibra-
tions."
"Vibrations!" Kay echoes scornfully. "Per-
vciscness, more likely. I want to know the
luune. What am I going to do? I've got
to do something."
^'What?" Skippy asks practically.
"Something I can do better than anyone
else in the world," Kay replies, putting her
scarf and coat on. "But what? My mother,
God rest her dainty French soul, was a
[Cojitinucd 011 page 79]
for November 1936
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17
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//
And becauseTangee FacePow-
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Begin tonight to be lovelier in your
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• BEWARE OF SUBSTITUTES! There is only one
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THE success of the Thanksgiving Day
meals are not determined by the number
of tempting dishes on the dining table,
but by the comfort later of all ^vho partake
of the food. The traditional dishes of tur-
key, roast duck or suckling pig, cranberry
sauce, homemade pies and cakes are things
every woman revels in at this season, but
the ideal to seek is a well-balanced meal,
carefully cooked and beautifully served.
The supper which follows these rich spreads
must be composed of only light and de-
licious dishes to tempt sated appetites.
To avoid trouble and expense, most of
your dishes are prepared the day before
Thanksgiving. Here are suggestive menus
for both Thanksgiving dinner and supper
which may be readied by the homemaker
without overwork or outside assistance.
DINNER MENU
Citrus fruit cocktail Saltines
Consomme \vith celery seed
Roast turkey or chicken Giblet gravy
Macaroni stuffing
Mashed sweet potatoes on pineapple rings
Brussels sprouts
Olives, celery, mixed pickle, cranberry sauce
Pumpkin pie or pumpkin custard with
whipped cream and honey
Co [fee
SUPPER
Turkey or chicken au gratin sand^^■iches
Molded cranberry and cottage cheese salad
Pig pudding with whipped cream
Cocoa Tea
Candied apples Grapes
The turkey should be prepared the dav
before and the giblets lor the gravy cooked
at that time. Iii selecting the bird remcm-
Now TKat SKe's BrouQ Kt
Home The Bacon^ SKir=
ley Temple s
Mother Gives
gl Her A Nice
Juicy Bird To
Play WitK On
Thank.sgiving.
By
Ruth
Oortin
ber that smooth legs and feet are signs of
a young turkey. Cook in a covered or un-
covered roasting pan in a moderate oven
of 350" F., allowing 20 minutes to each
pound. To obtain a dull finish the breast
of the turkey is covered with, a layer of
butter and flour thoroughly rolled together.
If a shiny surface is desired it is basted
only \vith water and butter.
Macaroni stuffing is made by cooking 1
package of macaroni in salted ^^■ater until
tender. The water is then drained ofE and
to the macaroni 1 beaten egg, 14 cup melted
butter, 1 tbs. paprika, 2 tsp. salt, 2 tsp.
poultry seasoning, V4 cup cream and 1 cup
chopped celery are added. Minced onion
may be used if desired. This makes ap-
proximately 1 quart of dressing. Recipe
will need to be doubled for a large bird.
Do not, and this is important, season turkey
until it is seared. Seasoning draws out the
natural juices.
Most fruit cocktails may be kept in the
refrigerator for hours without harm. Canned
grapefruit in orange juice is both appetiz-
ing and easily prepared. If you want a
diiferent cocktail chill sections of canned
grapefruit in gingerale and garnish \vith
orange sections. Don't forget to put celerv
seed in your consomme, and this also may
be served from cans . . . there are manv
grand brands on the market today . . . for
celery adds an unusually nice fla\or.
The sweet potatoes may be steamed the
day before and mashed while hot. They
mav be heaped on the pineapple rings at
the last minute, topped with a marshmal-
low and browned under a hot bla/e.
Brussels sprouts, cooked in a kettle of
rapidly boiling water no longer than 10
or 12 niinutes, are delicious served \\'\x.\\ a
bread and butter sauce— stale bread crumbs
18
Silver Screen
stirred into melted butter and browned.
And here is a piunpkin pie that will
delight both young and old. Measure 114
cups cooked and strained pumpkin, add i/^
cup sugar, 2 tbs. butter, 2 tbs. molasses, 1
tsp. ginger, 1 tsp. cinnamon and I/2 tsp. salt.
Add 2 egg yolks slightly beaten, then add
114 cups scalded milk. Mix thoroughly.
Fold in 2 egg whites beaten until stiff.
Bake in one crust. The garnish I like best
is nests of unsweetened whipped cream
filled with strained honey around the edge
of the pie.
For the supper toast bread and butter
sandwiches containing thin slices of turkey
and place them in a large shallow pan.
Over the sandwiches pour a ivhite or cream
sauce which has been prepared and put in
the refrigerator until needed. This is heated
while the sandwiches are being made.
Sprinkle with grated cheese and place in
a moderate oven just long enough to heat
thoroughly and melt cheese.
MOLDED CRANBERRY AND COTTAGE
CHEESE SALAD
Bring 1 cup of water and ii4 cups of
sugar to a boil. Add 1 lb. cranberries and
cook gently until they burst. Remove from
heat and add 11/2 tbs. gelatine which has
been soaked in 2 tbs. cold water for 5 min-
utes. Turn into a rinsed mold. Chill until
almost firm then fill mold with 2 to 3 cups
of seasoned cottage cheese. Chill. Serve on
a lettuce leaf.
The fig pudding can be served from a
can and it is truly a tasty dish.
One way for the busy or inexperienced
housekeeper to play the competent hostess
is to consider a Thanksgiving buffet supper.
Attractively set out on a dining table, the
work of a few minutes looks positively im-
posing. Guests may help themselves from
a platter of bread, cut in odd shapes, and
bowls of canape pastes, each guest spread-
ing his own. Pear butter made from avo-
cado and lemon juice is a tasty spread. So
is cream cheese and onion juice mixture.
Dishes of olives, celery stuffed with roque-
fort cheese, and sliced tomatoes are easily
taken from the refrigerator.
The hostess may find that a hot dish is
more desirable than canapes. Canned con-
somme or cream of oyster soup may be
quickly heated and ladled from a tureen.
One dish is all she needs for a piece de
resistance when it is Deviled eggs in Aspic,
prepared with the help of Royal Aspic
Gelatine handily kept on the pantry shelf.
This dish supplements slices of cold turkey
or ham left over from dinner, which are
arranged on the same plate. The macaroni
stuffing, or any other that she may have
used, is just right spooned out cold with
the salad and served with hot Bisquick
biscuits.
DEVILED EGGS IN ASPIC
1 package Ro) al 1 cup boiling water
Aspic belatine 3 hard cooked eggs
1 cup cold water Seasonings
Mayonnaise
Dissolve gelatine in boiling water; add
cold water. Chill until thick but not set.
Cut eggs in half crosswise, remove yolks,
mash and season with salt, pepper, mayon-
naise, mustard or other desired seasonings.
Fill cavities in eggs and place, outside
down, in shallow pan or individual molds.
Pour on thickenecl gelatine to cover. Chill
until firm. Serve with cold sliced meat or
as salad. Serves 6.
Desserts for the Thanksgiving supper call
for novel variations. A jellied fruit pudding
in individual moulds is temptingly different
from the piunpkin pie or plum pudding
served at dinner. And a snow pudding,
which requires one large tart apple froni
the Thanksgiving bowl to give it the right
flavor, is light, fluffy and satisfying.
\Co7itimied on page 75]
for November 1936
LOOK OUT FOR
THE "COMMON
COLD'!
The '^Common Cold'' Is the Common
Forerunner of Pneumonia and
Other Serious Diseases!
The Sensible Thing
in Treatment
How often have you seen it — a cold today
and something worse tomorrow.
Almost every case of bronchitis, bronchial
pneumonia and influenza has its start in the
"common cold."
According to recently published figures,
there is a death every four
minutes from pneumonia
traceable to the "common
cold."
A menace to life and
health, the "common cold"
is also a severe tax on the
public pocketbook. Statis-
tics prove that the average
person loses ten days' work
a year on account of colds.
Something to Watch
If there's anything you
want to watch, it's the"com-
mon cold." Health author-
ities on every side urge it.
Don't take any cold light-
ly. Don't try to laugh it off.
The cold that may be only
a sneeze or a sniffle today
may be a bed case tomor-
row. Regard a cold seri-
ously. Treat it for what it is
— an internal infection.
As an internal infection, it is patent that a
cold requires internal treatment. Mere surface
measures — mere local treatments — may tem-
porarily alleviate the symptoms, but to get
at the real trouble, you must get at a cold
from within.
An excellent thing to take for a cold is
Grove's Laxative Bromo Quinine.
Fourfold Effect
First of all. Grove's Laxative Bromo
Quinine is expressly a cold tablet and not a
preparation good for a number of other
things as well. It has only one purpose, the
treatment of colds.
Secondly, it is internal in effect and does
four definite things of vital importance in
the relief of a cold:
(1) It opens the bowels, an admittedly ad-
visable step in the treatment of a cold.
(2) It checks the fever in the system.
(3) It relieves the head-
ache and fever.
(4) It tones the system and
helps fortify against further
attack.
A fourfold treatment, in
other words. Grove's Laxa-
tive Bromo Quinine accom-
plishes definite and speedy
results.
Grove's Laxative Bromo
Quinine imposes no penalty
for its use. It contains noth-
ing harmful and is perfectly
safe to take.
Grove's Bromo Quinine
tablets now come sugar-
coated as well as plain. The
sugar-coated are exactly the
same as the regular, except
that the tablets are coated
with sugar for palatability.
Don't Procrastinate
When you feel a cold com-
ing on, do something about it right away.
Don't dally, don't compromise. Go right to
your druggist and get a package of Grove's
Laxative Bromo Quinine.
Start taking the tablets immediately, two
at a time. Usually, if taken promptly. Grove's
Bromo Quinine will check a cold in 24 hours
— and that's the anion you want for safety!
All drug stores sell Grove's Laxative
Bromo Quinine. When you ask for it, insist
upon getting what you ask for. The few
pennies' cost may save you a lot of anxiety.
RADIO NOTE: Uslen to Qahricl Hcatter rcviav the news. Mutual Broadcasting
System, every Monday, Tuesday, Wednesday and Thursday evening. 7:45 to 8:00 EST
on some stations. 9:00 to 9:15 EST on others. Consult your )ie«<s/>a{)cr for time listing.
19
IF THEIR SMILES FALL DOWN, THEIR JOBS FOLD UP _
WILLIAM CRABB'S main interest
outside the studios is golf. He plays
an excellent game and keeps fit for
studio work that way. He wants a
career in Wall Street.
'^For a thorough and safer cleansing,
Listerine Tooth Paste every timer'
That's straight from the shoulder
advice from the hardest boiled
critics of tooth paste — the men
who every day must face the merci-
less eye of the camera in New York
commercial studios. Men like
Glen Gallagher, William Crabb,
Harry Conover, whose very liveli-
hood depends largely on the per-
fection of their teeth, cannot
afford to take chances with ordi-
nary tooth paste.
Why not for you?
Why don't you discard the tooth
paste you are now using and switch
to Listerine Tooth Paste for a
while? You may be amazed at the
improvement in the looks of your
teeth.
There are no coarse, hard abra-
sives in Listerine Tooth Paste.
Instead there is an
exclusive combina-
tion of cleansers
chosen for their extreme gentle-
ness. While they remove every
vestige of debris on the teeth,
they cannot harm the priceless
enamel itself. Examined under the
microscope, teeth brushed twice
a day for the equivalent of a life-
time, showed no harm to the
enamel.
Gentle polishing, too
The ingredient in Listerine Tooth
Paste that gives teeth such bril-
liance and lustre is so delicate,
so fine, that only three places in
the world can produce a product
that will meet our specifications.
When you brush your teeth
with Listerine Tooth Paste you
know that you are getting the
utmost in cleansing with the
greatest degree of safety. There
are two sizes: Regular and the
great big tube at 40?^, which con-
tains 162 brushings.
LAMBERT PHARMACAL COMPANY
St. Louis, Missouri
DOUBLE SIZE TUBE
BRUSHINGS FOR
GLEN GALLAGHER is well known on the
Coast as a polo and tennis player. In
summer stock, he gains acting experience
to fit him for moving picture work.
REGULAR SIZE 25
HARRY CONOVER is
interested in radio
as a profession and
has worked as an-
nouncer and actor
over New York and
Detroit stations.
20
Silver Screen
Silver
TOPICS FOR GOSSIPS
CLAUDETTE COLBERT, who is all done up in
quaint little Puritan caps and woolen dresses these
days for "Maid of Salem," loves to tell how little
four-year-old Mickey Nelson completely put her in her
place on the set the other day. In her little Puritan
costume Mickey looks too sweet to be true— but evi-
dently her angelic blue eyes aren't missing out on any-
thing. Claudette had to do a crying scene and didn't
feel "like crying so they gave her a copious draught of
glycerin to help her become properly lachrymose. When
the scene was over Claudette was introduced to little
Mickey whom she greeted as "You beautiful baby."
But even at the age of four Mickey knows professional
jealousy, "I can cry real tears," she announced im-
portantly.
—'<^' — °
CPENCER TRACY'S fan mail has upped from 200
letters a month to 3000 since "Fury" and "San
Francisco," which all goes to show what a couple of
hit pictures can do for you. But it's still handsome Bob
Taylor who gets the biggest fan mail on the Metro lot.
„ — — „
llMMY STEWART nearly fell over backwards when
he arrived home from the studio the other night
and his butler quite matter-of-factly informed him that
he had had a caller during the afternoon. "Who?"
asked Jimmy without much interest. "Miss Garbo,"
said the butler without much interest. "What? Who?
Garbo? Why?" shouted Jimmy with great interest. But
the butler was quite unperturbed. (Probably not a
Garbo fan.) "She asked to see the house," he said. "I
showed her the house. She said, 'I think I took the
wrong house,' and left." Not a very satisfactory Garbo
visit we'd say.
And since her visit she hasn't been the least bit
neighborly. She rented the house next door to Jimmy's
(formerly occupied by Jeanette MacDonald) and imme-
diately built a high white fence around it.
"—
AND speaking of houses, there's a regular epidemic
of house-selling going on now. Bill Powell sold
his 'Versailles for a profit and a smaller house thrown
in— and he now lives in the smaller house. Claudette Colbert's
house, which was so long in the building and the furnishing, is
now up for sale. Freddie March would like to get a buyer for his
mansion, and ditto Dick Powell.
'—<%>—'
WALLACE BEERY has bought a trailer to attach to his trans-
continental bus, for that trip to Idaho. And now Errol Flynn,
who has finished charging in the "Light Brigade," is trailer shop-
ping. He is planning a vacation with his wife, the exotic Lili
Damita, which will lead them far into the Sierra Mountains, miles
away from hotels, so he wants a trailer with an especially nice
kitchen as Lili will have to cook most of the meals. Now Lili has
never cooked anything in her life and has no desire to learn how
to cook— but Errol thinks it wU\ be fun to have Lili cook. Be sure
and take a can opener, Errol.
"
IEANETTE MacDONALD has had the extreme pleasure in her
short life of making three prom-
inent men "eat their words." When
she was trying to get her career as a
singer started on Broadway, Jeanette
had an audition with the famous
Ned Wayburn who has started many
a young actress on the road to glory.
As Ginger Rogers dances, the swirl of her
dress adds charm to her grace and beauty.
"What can you do? " AVayburn asked Jeanette. "I can sing and
dance," Jeanette announced, and proceeded to sing a popidar song.
She had hardly completed the first verse when Wayburn snapped,
"You'd better go into your dance, child. You aren't going far as
a singer."
And again when Jeanette was struggling to get a foothold on
Broadwa) Arnold Dal)' advised her to change her name to some-
thing shorter. "Jeanette MacDonald can never make a marquee,"
he said. No?
And for years and years, at least five, A\'alter 'Winchell had
insisted in his column that Jeanette and Bob Ritchie were married.
Jeanette denied it time and again but Winchell never seemed to
belie\e her. But now her engagement to Gene Raymond sort of
settles that.
T
HERE'S a bis fend on between Mae West and Alice Bradv on
the "Go West ^Ouni;
ANNGLNCl.MKX 1
n Page 10 Ihc iciuucr nf Ihr Sihicr Scrrcti
Gold Medal for jxipiil/irilv is (iiimiiiiirid.
The readers made Ihe aieard and llie iiicd(d is
fjojc bchiii desii/iird.
o
Man " set, and it stands a pretty good
(h.iiuc of being one of the best
Unds of the year. It all started
w lu ll La ^Vest announced that
no one in the picitne could
wv.iv false cvelaslies except her-
scll.
[Coiilimied on l>a;j,e y6]
for November 1936
21
Stars Or Stooges
Success Does Not Come To TKe Players Until
TKe Experts Of Tke Studios Have Ironed Out
All TKe Kinlcs. .
By Helen IL
ouise
YEARS ago, when Jack Gilbert was at the height of hi
success, he said to me, very earnestly, "Sooner or later
the public is going to find me out! When it does-
I shan't be a star any more— and then I shall try to
do some of the real work in pictures!
"You see," he went on, "I am only the star
of these pictures. I don't really cor"'
Someone else has ivritten the story
experts have worked on the scrip
Someone has designed the sets,
designed my costumes, con-
cocted my make-up. I
am the last one to
come into this pic-
ture. When I make
my entrance, the di-
rector, working from
his script, tells me ex
actly when to enter
scene, when to speak, ^vht n
to turn my head, when tj
smile. Make-up men, camcia
men and electricians see to
that only the best parts of my
face are photographed— see to it
that the public doesn't find out
that my nose is too large and mv
neck too long.
"I want to do some work on a pic-
ture. Help to ^\'rite it, help to direct it.
Now— if one of my pictures is a success—
I take the bows and the applause for the
work other people have done
Poor Jack! When his starring days were
ended, his efforts to do "some of the real work
in pictures" met with scant success. But, at least,
he had had the intelligence to know that his
success was the product of other people's brains.
He had been too modest to realize that his own
glamour and fire gave those other brains material with
which to Av'ork.
But what he said \\as true. When a picture is in its first
stages of p'anning, there are weeks of painstaking work b\
author, producer, adapter, script writer and director. The set
designer goes to work to "plant" the period, the atmospheie,
the mood of the story. The picture is cast. Then costume design-
ers, make-up men, electricians, camera-men confer. How to dress
the star? Wow to make her up? How to light her, photograph her,
so that she may express the character she is to portray, enhancing
her own personality the ^\'hile?
At long last the star is called to the studio. There are fitting
tests. There are more conferences. She may object, she may fret
and fume. But, in the end, the consensus of the opinions of these
experts is final. She has nothing to say about anything.
I remember encountering Joan Crawford in a Hollywood beauty
shop. She ^vas sobbing her heart out. She had been' cast for a role
in which she must have long hair, and therefore a wig was re-
quired. She had spent days trying on various types of wigs and
making tests ^vith them. When I met her she was wearing the one
which had been approved for the role. She haled it, and I didn't
blame her. I thought it was dreadful and I sympathized with
Joan's dismay.
But the eye of the camera is an entirely different eye from
yours and mine— and from Joan's. When the picture was released
the critics and the puiilic proclaimed loudly that Joan had never
been so beautiful, so really Wiling before. It pays the young star
let, gencrall), to do as she is told
I called upon C'.laudette Colbert one day to find her in gales
of mirth over a review of one of her pictures, in which she ^vas
described as "radiantly beautiful."
"After the iroiiblc I, and everyone else, have had with this
face! " she burbled. "I didn't know it until after I took a flyer in
•pictures— but everything is the matter with it. The eyes are too
far apart, the mouth is too wide, the chin is too short. After
I saw myself in iriy first motion picture (in which I made my
face up, myself) I simply hid under something and cried,
'""'^ll, that will be the end of that!'
11 took weeks— months— of study by cameramen, elec-
tricians, make-up men, hairdressers, directors, to make me
look like anything at all upon the screen. I had to be
taught how to hold my head, how to turn it, how to
smile, to get the right cainera angles. They are won-
derful those people!"
J, Now, this is the curious thing. Claudette, off the
screeir, is quite as beautiful as she is on. The charr.i
and sparkle of her amazing personality show when
you meet her. But "dat ol' davil," the camera,
will pick up defects of which you never dream
■when you look at a lovely face across a lunch-
eon table. Claudette had the intelligence to
sense these defects and to submit gracefully,
even eagerly, to the correction of them for
the screen.
You see, the majority of stars— and this
means men as well as women— are
really tailored to fit their roles.
Many of them have clauses in
Reading from left to right: Bette
Davis is one of the few who
made her own success. Joan
Crawford did as she was
told and to her surprise
made a hit. Garbo was
not great until
Adrian designed
her costumes.
Norma Shea-
rer, a real
.« * ' V*^^ star.
their
con-
tracts
which pro-
vide that thev
must stay under
or over a ceriani
weight or the contract
will be voided. In Ann
Dvorak's recent squabble
with the Jirotliers Waiiier.
the allegation was iiurodmet
in court, that Ann had been ill ami
had grown too thin to tuHill piciiue
requirements. Whereii])on Aim bounded
into the courtroom to announce that she felt
fine and to ask the jiiilgc and jurv \vhethcr they
ditln't think that she looked pretty nice?
On the other hand, Dick Powell recently sulTered
a bout of laryngitis which put his valuable ^•ocal cords tem-
[jorarily out of connnission. He was packed off to the desert to
22
Silver Screen
Dick Powell was told
where to go and i\ h 1 1
to eat and he ain n s
obeyed. Kay FraiKis
insists the studio de-
serves the credit. Pjill
Powell listened to ih^
experts and has gone
on from one fine role to
another. The men who
know are shaping Luise
Rainer into a great
star.
rest and recuperate, and when he retmned, with the vocal cords
in fine shape, his studio surveyed him with dismay and then
ordered him to go on a cottage cheese and fruit juice diet until
he took off the pounds that the rest and relaxation had added
onto him. It is difficult, sometimes, when the boss says, "Keep
the health and energy up and the poundage down!"
Marion Talley was extremely surprised at what motion pictures
required of her. After all, she had done pretty ^vell for herself in
grand opera. ^Vhen she arrived in Hollywood and was analyzed
for the purposes of motion pictures she learned that she must (i)
take off a lot of pounds. (2) Change the color of her hair. (3)
r h iM.i liir tempo, her entire style of singing and of delivering
luK- ^he had to learn to walk differently and to restrain the
sotui ivhat grandiloquent s^veep of her gestures. When the
n' ike-up men went to work on her, they changed the
shape of her eyebroivs and the contour of her mouth.
^^'hen you meet Marion Talley upon the screen
she will be an almost entirely different ivoman
from the one who held audiences spellbound
at the Metropolitan Opera House.
When you hear of a player being
"groomed for stardom" it means,
literally, that dozens of ex-
perts study him off the
screen and on— that
they confer
about his
Lovely Claudette Col-
bert is a remarkable
star because she has
always followed the
suggestions of the cam-
eramen and the di-
rector.
for November 1936
potentialities and how they may be
developed. They look upon him as so
much raw, plastic material to be
moulded and exploited. Sometimes, of
course, these experts err and then
there is heartbreak and disappoint-
ment. Perhaps a promising young artist
is lost to the screen for all time, unless
he has the stuff in him which makes
him try again and again, until some-
one sees what he really has.
Why, goodness me! I remember
when Garbo was considered "cold, but
decorative." They had, by then,
changed her eyebro-\vs, her mouth and
her hair. They hung her with glass
beads and brass bangles and made of
her a lovely, but meaningless "prop."
When Adrian (pretty new in the pic-
ture business, himself, then) was called
in to design her costumes for "Flesh
and the Devil," he saw in her some-
thing entirely different.
"She was like a tree," he told me.
"Her soul was rooted deep in the earth
and I knew that she must not wear
anything that \^as ornate or artificial.
I have ne\er gi\en her a false jewel or
a bit of nrachinc embroidery. Some of
the hand wrought costumes we have
made for her are now museimi pieces,
so fine is the handiwork. \ou can'i al-
ways delect the painstaking care spent
on these costinncs when you see the
picture. But the tiotible and the ex-
pense have been worth while. The i^sy-
cliological effect upon Garbo has been
so important."
The most successful of them have
learned to put themsehes. trustingly,
in the hands of the exjierts. Harold
I lo\cI, who chooses his own stories,
produces and |)ays lor his own pictures,
[(:r))iliiiued on 85]
23
The Tennis
By
Ben A/laJJox]
Ann Sothern is
a good sport as
well as a good
tennis player, for
Ann bets on her-
self and laughs
as she pays.
OW that there's no mis-
take about Fall having
checked in, there isn't
the slightest doubt, either, as
to what the leaders among our
movie stars are up to. There ^
are no horse races to bet on, -
and the sun definitely isn't
uhat it used to be. So being
a sport and living for one's Anita Louise
irresistible tan is passe. 'Walk- brings to any
ing miles after a danged golf tennis court
ball that just won't go into the gift of
its hole has become boresome. beauty.
A bit stuffy, too, are smoky
night clubs, for with these first
hints of nippy tomorrows the urge is to
SO forth and leap around gaily. And the
s\\eetest spot to do your leaping, accord-
ing to the wise celebs, is on a tennis court.
(If )ou sit home you might begin to ^von-
der what life is all about and, heavens-
start a diary!)
I follow the Hollyu'ood hobbies with my
eagle eye and this month it's a snap to dis-
cover -(vho's yenning for whom. My secret
system is to hie myself around to the par-
ticularly popular tennis courts. There the
males of the moment, who generally play
slashing games, are apt to suddenly forsake
their strenuous partners for slow and pa-
tient volleying with certain extra-adorable
damsels. That indicates love in the embryo.
Of course, by the degrees of
solicitude and coyness you can
earn lots that's none of your
business. "Upsy-daisy, Claudette.
The ball is supposed
to come over the
net!" When I hear
the doctor, who's
head man at the Col-
bert mansion, address
milady that way I'll knou* the
honeymoon is over.
Errol Flynn and Garbo are
Hollywood's number one players.
The dashing Irisher is so darned
proficient that the U.S.C. team
trains on him. He hasn't a court
up at his Lookout Motmtain
home, so daily he repairs to a
club or to the Warner studio
^vhere there are several courts for
their stars. Usually he doesn't
have actor opponents, for there
are few who can keep up with
him. His back-hand is terrific.
Garbo, as you might expect, isn't
clubby with the other girls. She won't de-
fend her title, preferring to tackle Dolores
Del Rio's husband, Cedric Gibbons, on
Dolores' court. Being anxious to hang onto
Greta's friendship, the Gibbonses refuse to
utter a word about their most noted guest.
But she isn't as languid as she's been
advertised.
I ll rank the other topnotchers for you.
So far as the men go, the ladder (reading
from Flynn down) is— Gilbert Roland in
second place, then Johnny Mack Brown,
Paul Lukas, Charlie Chaplin, Ralph Bell-
amy, and Ronald Colman. And for the
ladies— after Garbo it's Carole Lombard,
Elizabeth Allan, 'Virginia Bruce, Merle
Oberon, Frances Farmer, and Sally Filers.
,„lll«""""%,
'Warner Baxter's private court is one of
the finest and he is an enthusiastic player.
(Right) George Brent, a brilliant racketman,
does honor to the 'Warner Brothers studio.
24
Silver Screen
Crowd
The Stars Have Taken
Up Tennis For Fun y\ncl
For F^calth — If's TKe
Cra^e Of TKe Y ear.
The most promising recruits are Michael
Bartlett and Ann Sothern. (Mike's black
eye is due to his forgetting the racket does
the receiving.)
Tennis, many a favorite of yours is find-
ing, isn't quite the snap it appears. You
may buy a racket and some balls and be
ready to go to town. "But you aren't!" ex-
claims authority Errol Flynn. "Constant
practice is the simple key to excellence and
you shouldn't attempt to actually play until
you've all the vital details down pat. By
this I mean that there's a right sort of
stroke, an ideal kind of footwork. Move-
ments must be automatically right so you
can concentrate on playing the ball itself."
It's similar to golf in this respect; you must
acquire a helpful
set of habits if
you're going to
amount to any-
thing. What seems
natural probably
isn't. Since faulty
habits will pre-
vent you from be-
coming good, you
must avoid them
as though they
were the ancient
plague. In one
sentence: the wise
take lessons.
The current craze had its big
impetus only a fortnight ago
when the Pacific Southwest
Tournaments finally wound up
at the Los Angeles "Tennis Club.
At first everyone had attended
mainly because it was the smart
thing to do; the bluebloods took
it seriously. So every afternoon
the Bennetts were in their boxes,
Ginger Rogers and Jimmy Stew-
art vied with Barbara Stanivyck l:
and Bob Taylor in hand-hold-
ing, and I could reach over and
touch the Gary Coopers and
[ean Harlow as easy as pie.
Norma Shearer got "tennis neck"
from her violent ogling of the
bail and Kay Francis flashed the
most stunning spectator's en-
semble. That is, I thought so
imtil I bumped into Joan Cra^v-
ford. By the concluding day
every star had become a clied-in-
the-wool tennis addict. And the
Arlene Judge adds lustre
to any court. She uses
the game to keep the love-
ly contours of her figure.
slogan was "Out of the gallery and into
action!"
So the conversation on the sets and at
the Troc concerns the talker's and the
listener s difficulty in mastering the precise
[Continued on page 63]
'VX'alter Huston took up tennis
on his return to Hollywood and
now has qualified as a "runner-
up" in tournaments. Errol Flynn
is considered the best player
among them all. (Right) Carole
Lombard, who plays tennis beau-
tifully and also well.
for November 1936
25
ONE OF THE
Great Screen
Successes
Frank AAor3an Olicks In
Every Picture WitK His
OomeJy Troubles.
By Wick E vans
STOKING coal on a tramp steamer somewhere be-
tween New Orleans and New York. . . . Selling
tooth brushes and real estate. . . . Washing dishes
in a restaurant because he didn't have the where-
withal to pay for his meal. . . . Eating his grub from
a ranch-house mantle because he was too sore to sit
down. ... All of those things are but a few of the
so-called "minor" events in the colorful life of that
stuttering, stammering, decidedly nonplussed gentle-
man of the stage and screen— introducing Mr. Frank
Morgan.
To look at him today— as you do practically every
time Metro-Goldwyn-Mayer makes a picture— you
would not think that his life had ever been any-
thing but that of the perfect gentleman he portrays
so well. But if all the odd things that have happened
to him during his career were laid end to end they
would, well, make a book or something. By no means have these
incidents had to do with picking up milady's handkerchief from
the ball-room floor, or escorting madame to her carriage. Not by
a lot.
But to start at the beginning. Frank Morgan was born in Ne^v
\ork City in the month of brides. His family name, believe it or
not, is Wupperman. That family, in case you have forgotten, is
the one which makes all those Angostura bitters and things. To
see Frank now, would you ever believe that he w-as once a boy
soprano? A boy soprano and reputedly one of the best in Ne^v
York. He was just that, although his remark about that phase
of his life is: "I'll never be able to live it down."
After the usual grammar and high school education he attended
Cornell University but, in his words, "studying made me nervous."
Therefore he began his "business career."
His so-called "business career," while brief, was, to say the least,
colorful. First he sold tooth brushes from door to door. But, like
his college venture he "couldn't get his heart into it," so he turned
to the newspaper game.
His experience as advertising space salesman for the Boston
Traveler wasn't much more lucrative than selling tooth brushes,
so he tried selling real estate. This, for some reason or other, ^vas
even worse, financially. "Ma)be," he says, "there is a faint possi-
bility that people weren't buying real estate at that time. There
is also an even fainter chance, too, that I wasn't cut out to be
a salesman." At any rate it was a dismal flop.
Either because of the fact that business men wouldn't take him
seriously or he wouldn't take business men seriously, he decided
to give up real estate. Mr. Greeley's advice: "Go West, Young
Man," seemed a good idea, so he tried it.
His experiences in the Golden West as a cowpuncher (of :dl
things) told in the typical Morgan manner are gems of descrip-
tion.
"Those cowpunchers knew a lot more about the \vell-known
Bronx cheer than did the dcni/ens of the Bronx themschcs," he
says. "It nnist ha\e l)ccn my F.aslern ;iccent, my store clothes, or
the name Wupperman. It might c\en 1ki\c been me. At any rale
they made my life pretty miserable for awhile. "
The sure way to be a successful comic is to be brought up in the
business of making bitters.
On the ranch, ho'i\'ever, he found a friend and an ally in the
person of a red-headed puncher who answered to the sobriquet
of "Spike." "It was this gentleman," Morgan relates, "who not
only consoled me when undergoing that peculiar torture that
comes from hours in the saddle, who explained that the ho\\iing
coyotes weren't wolves and wouldn't bite, who backed me against
the other cow hands, but who taught me to use my fists as becoirre
a man. In short he helped me make a man of myself."
It is typical of Morgan that he gives another all the credit. It
is a deep-rooted con\iction of this writer that Morgan was pretty
much of a man anyway.
In retiun for "Spike's" kindness, Morgan, -who was still known
as Wupperman, imbued something of his o-\vn spirit of wander-
lust into his pal, so they boarded a "side-door" Pullman for any
place adjacent to their present locality.
New Orleans e\entually proved to be their goal, or rather the
goal of the freight train ^vhose itinerary they didn't know or care,
and they finally arri\ed in that city with but a few dollars be-
t\vcen them. Characteristically those last few bucks were spent
for baths and clean linen. Thus, when thev entered the restaurant,
it ^vas \vith the knowledge that they couldn't possibly pay for the
meal. They explained their dilemma to the head-waiter— about
the time ihe dessert arrived— and as a result washed dishes luitil
seven the next morning. Followed other adventures in New Or-
leans, but, as ahs'ays. the Big City called and Morgan, after bid-
ding "Spike" the proper aclieu. foimd himself aboard a tramp
steamer as a stoker. "That." he sa\s. "was quite a chore. But at
night I was too lired to sleep, so I had a lot of time on mv hands
to cogitale on mv career. Il w.is ilifn that I decided to follow in
my brolher Ralph's loiUslcps and liccome an actor."
Raljih. incidenialh . had adopicd the name Morgan from a
w ell-known actor of tli.U liinc lor \\ hom he had a great admira-
tion. It might be well to mention here the fact that the two
brothers have always been so confused in the minds of new
ac(iuaintances that ihey decidetl on the novel idea of \vearing
lings of the familv crest. Ral|)h's is fashioned of [)laliiuim, while
Frank's is of gold. But to gel hack to Frank.
"Since 1 h;td decided to follow my [Conliuued on page 70]
26
Silver Screen
By A/lauJe OKeatKam
Joan BlonJcIl A.nd
Olcnda Farrell Are
Always Good For A
IT WAS an exciting day— what with Glenda Farrell marrying
Victor Moore, giving her scheming boy friend, Osgood Perkins,
the slip, and Dick Powell and Joan Blondell demonstrating the
latest technicjue in romance! All this, mind you, in the interest
of art on the set of "Gold Diggers of 1937," at Warner Brothers
studio in Hollywood.
Being sweethearts before the camera didn't embarrass Dick or
Joan in the least, nor make them self-conscious. They dutifully
followed Director Lloyd Bacon's .suggestions, then slyly added a bit
of their own glamorous realism to the love scenes. I can just hear
the chorus of ohs and ahs that \vill sweep through audiences when
this picture reaches the screen, for, despite all the boasts, the mod-
ern world still loves a lover. And what adorable lovers these two
arv. !
'1 here being a lull, Joan, Glenda and I found chairs on the
side lines and I discovered that two laughs are better than one,
because, with the conversation wandering in all directions, their
irrepressible and utterly spontaneous gaiety -ivas running high.
"As usual," explained Glenda, "in this film we are just a couple
of wise-cracking, fast-talking girls trying to get along. Such is our
screen life! And here I am yearning to play Cainillc, why, I've
practiced her cough for years and have it down pat. Tragedy,
what a thrill it would be!"
"It's poor Eliza, for me," said Joan. "\Vith her child clas])e(l
to her bosom and battling the icy river as she escapes from the
ho\vling bloodhounds. Or a la Lillian Gish, leaning pensively
against the window pane while hot tears run down my fair cheek.
Emotional drama, that's my dream! Yet," she added merrily, "my
one serious pictine, 'He Was Her Man,' wa.s a beautiful flop; it
was so very sad."
Said Glenda, "In 'I'm a Fugitive From the Chain Gang,' I didn't
have a wise-crack nor even a smile. But how I loved the suffering! "
After a dozen or more pictures together— they made four of
them in a straight ro\v— Joan and Glenda decided they didn't want
to become too definitely typed as a comedy team, they preferred
to stand on their individual talents. They can't escape it entirely
for the names of these blithe, blonde menaces linked in Neon
lights over a theatre means fun and laughter. I he fans adore the
combination and object to a long separation. This remiion in
"Gold Diggers of 1937 ' is, however, their first for some time and
they are both enjoying it immensely.
"We're always pals in oiu" pictures but Joan usually reforms
first," began Glenda, with Joan interrupting to say. "But when
Glenda starts turning over a new leaf she docs a grand job of ii."
Joan went on, "VV'e really get a terrific kick out of oin' reputa-
tion of being the 'wise-cracking ginniie cuties.' the 'slang-slinging
team-mates,' the 'giddy gold diggers,' "
"And llie laughingly lo\eable romps," supplied Dick, hoxering
over Joan to gi\e her a lighted cigaret.
"The real truth," she went on. Hashing Dick a smile, "is that we
arc regidar nine o'clock home girls. We make one big dash lo
gel home from the sludio to fuss over oin- sons, superintend the
dinner, check u|) on the garden's progress and all ihe oilier homey
duties, for we arc honestly domestic.
"My .son Norman." Joan was beaming with pride, "is now nearly
two years old and he's talking all over the jjlace, repeating every-
f or November 1936
27
thing he hears, so Mamma is watching her
conversation. He's blond and is a pretty cute
little guy. He was named for Norman Foster
and now Norm and Sally Blane have an
adorable baby daughter, so we've fixed up a
match between them and they're the cun-
ningest pair you can imagine."
"That reminds me! ' exclaimed Glenda. "I'm having some
New York friends to dinner tonight and must decide upon the
menu. I might have a steak (she was thinking out loud, wholly
oblivious of us), that's ahvays good. Still, for some reason or an-
other, my Hungarian cook is better at frying chicken. Guess it'll
be chicken," she repeated, starting for the phone.
"She would speak of food to make us hungry, " moaned Joan.
"Funny thing, but the mniute Glenda and I start a picture to-
gether we forget all our diet resolutions and eat all the time. In
the middle of the morning, one of us will recall the merits of a
juicy hamburger, with onions, and right away we begin scheming
how to slip out to get them. The afternoons are punctuated with
ice cream cones.
"My earliest memories center on ice cream sodas in tall green
glasses at the corner drug store. I'd save my nickels and then
grandly buy three or four chocolate sodas all at once. To me that
was the high peak in a perfect celebration."
After eating, these stars confess that the next best thing they
like to do is to go shopping. Whpnc\er they can inxeigle the di-
rector to give them a couple of hours off. they dash for their
favorite shops and the studio can always locate them by paging
either Bullock's Wilshire or Magnin's.
"They call us the 'Magnin Kiddies,' " said Glenda. "We both
adore l)iiying clothes and then never have a chance to wear them.
After dressing up all day before ihc cameras we don't want to
l)egin doing it again when we gel home. We like to slip into
slacks and sandals and il lakes sonielhiiig very special lo get us
out of them."
".S7k«;, don't sa\ ansihiiig. ' glcelulh « hispcred Joan, "but we're
working fast today hoping (o gel away early enough to attend a
swanky fashion sliow late this afternoon. We're always so o])-
limistic. We gaze enraptiucd at the tall, slim models wearing ador-
able creations and rush to huv the clothes risiht off their backs,
foolini^ (Uirsehcs ilial we will look jiisl as small in them."
Glenda Farrell, whose cradle was
the open drawer of a theatrical
trunk, began her career at seven.
Joan went on the stage when two
years old. They met in Holly
wood and now
they
pals.
"■\Ve concentrate on evening frocks, slacks
and negligees, ' volunteered Glenda. "We re
neither one athletic enough to go in for
sports togs."
Joan still refuses to admit that she and
Dick have any plans for a marriage in the
autumn but I'm willing to wager that before
you read these lines they'll be Mr. and Mrs. And a beamingly
happy pair they will be.
Following another romantic scene before the camera with Dick.
Joan offered this sincere tribute. "It's fim to work with him be-
cause he is so understanding and just having him here gives me
confidence. We were co-workers, then pals, and later, sweethearts,
and he proved true blue in each role. Reallv. there is no one like
him. He could easily have been spoiled with all the admiration
showered upon him but he has ne\er let it influence him. He has
a quiet dignity of his own, and a very deep sense of refinement
that never lea^■es him for an instant. In many wavs he's just a
big kid: loving life, loving his work and loving to play. Yet he
never loses his perspective and is deliberatelv building up to a
substantial futine both on the screen and with the radio! "
^Vhile these giggle-getters, Joan and Glenda. ne^er met imtil
they landed in Holly\vood for pictures, their lives are oddly paral-
lel. Both were born into the profession. Glenda's cradle was the
open drawer of a theatrical trunk, and she made her acting debut
at seveir as Little Evn. Joan's crib was a \audc\ille property trunk
and, at two, she joined the familv's \aude\ille act and toured
the world.
Reaching Holhwood and weary of tra\eling. each spent her
first movie monev to buv herself a home. The\ re neighbors and
pals, and ha\c a genuine admiration for each other. They are
alwavs the apprecialixe audiences, both on and off the screen,
they respond coiitpkieU lo the other's nonsense, possess the same
comedv tempo and the same gorgeous comedv urge.
With gay, sinuiy dispositions they keep cheerful and come up
smiling no matter how Irving the day mav be. Both are sincere
and honest, crisp and flippant, and rather proud of their abilitx
to jxntrav their wise-cracking characters so con\ incinglv.
"Of course, there are kick-backs." said Glenda. "Because we
play gold diggers and free and eas\ chorus girls, some peotile be-
lic\e we learned these tricks through \C.oiitiiiiir(l on j>n:j;r 85]
28
Silver Screen
The S creen Has ReacKeJ /\
A/lore Cultured Point In Its
Development/ AnJ N ow
Every V/orker In HollyvvooJ
Is ProuJ Of The Orandeur
And Beauty Of The WelU
Eoved A4ovtes.
The biography of
the Master Painter,
Rembrandt, will be
told on the screen
with Charles Laugh-
ton in the role of
the great artist.
LET'S Beat
THE
Drums
THE amusement page of the New York News is spread before
me, and the advertisements, 1 think, are something for the
movies to cheer. At the Strand Theatre is advertised "Anthony
Adverse"; at the Astor Theatre "Romeo and Juliet" is playing;
at the RKO-Palace is "Mary of Scotland" and at the Plaza Theatre
is "Green Pastures." In those four advertisements is proof positive
that Hollywood has thrown olf its s^vaddling clothes and become
adult in taste and culture. It is a long cry from the custard and
slapstick of early Hollywood to this— a long cry from Mack Sennett
bathing girls, and William S. Hart and Pearl White and Thcda
Bara, to William Shakespeare and Hervey Allen and Marc Con-
nelly and Irving Thalberg.
So let's beat the drums for Hollywood, sound the alarums and
flourishes and let there be public dancing in the streets, for the
silver screen, \vhich has made several tentative stabs at culture,
now definitely takes its place as one of our most cultured mediums
of expression. The movies at last have come into their inheritance,
and the im]Dortance of the stage is still further diminished, because
in the handling of these four important pictures, Holl)^vood has
demonstrated that even the pundits of the Theatre Guild can't
compete with the scope of the lens.
In moving into the higher brackets of taste and expression, ho^v-
ever, the movies arc demanding more and more from the screen
patrons. When "David Copperfield" and "Midsummer Nii;lit's
Dream" came to the screen, book stores and libraries througliout
the country reported that the demand for these books was tre-
mendous. Movie fans, before going to the theatre, wished to
acquaint themselves with the stories if they had never rend them,
or refresh their memories if they'd read them years and yea is ;ii;o.
The movies novv are an insistent spin- to literary cultiuc. diictily
responsible for this twentieth centiuy freshening of interest in
Shakespeare, Dickens and even the Bible.
The result of all this is rather astonishing, of course. Inasmuch
as Norma Shearer. Katharine Hepljitrn, Fredric March and Fred-
die Bartholomew ha\e become, through repetition, common de-
nominators—the pages of Shakespeare and Dickens from now on
will forever be peopled with these modern images. School children,
reciting "Romeo and Juliet," will have in mind Norma Shearer
as Juliet and Leslie Howard as Romeo. Whenever ihev read of
Mary, Queens of Scots, she will emerge in their imagination as
Katharine Hepburn. And Charles Dickens foreverniore will be the
man who wrote the story about little Freddie Bartholomew. Lit-
erary and historic values have been brought up to date, and mod-
ern faces substituted for the characters that streamed out of
Strat ford-on- A von.
Now this, in every wav, is a great boon to literature. True
enough, the great writings of great masters need no modernizing
influences, but in putting fiesh and bones on the ch.ii;Kicrs in
their books, and wiiiiii.; them for sound, the movies haxe liccn of
incaU iilable \aluc. 1 lie a|)|)reciation of "Romeo and |ulii t " was
enhanced for me when 1 saw Katharine Cornell on the stage.
Watching her dark beauty, listening to the ap|)ealing Cornell
voice, I could understand the ]:)urcl) plnsital reasons a Romeo
would clamber up a ladder to woo her. Mov ie fans, seeing Norma
Shearer in the role of Juliet will expciiencc the same reaction,
just as ^irls, sicino Leslie Floward in the role of Romeo, will get
a dearer and deeper explanation of Shakespeare's immortal love
story. The same reasoning holds true in the modcrni/ation of
Dickens. Although he relied less on Shakespeare's fantasy in
creating his characters, and lluv < ime out as moic solid portraits,
the sympathy for David Co])|n i Ik hi becomes more acute when
you picture him as Freddie B;n t holoniew. And vour inteiesi in the
great masters of |iainling will be stimulated when voti see Charles
LauglUon's porlraval of "Rembrandt." [Conliniifd on fxinc 68]
for November 1936
29
IRE
WHEN Irene Dunne was a kid in pig-tails, they called them
"braids" at the Loretta Academy in St. Louis, and was
being subjected to the subjunctives of the Latin poet Virgil
she invented a game, a very clever game, which her class-mates
heartily endorsed. It was called "Stalling Teacher." The idea being
that if she and the other victims of Latin IV could think of
enough beguiling questions (Is it true -(vhat they say about
Priam?) to ask teacher, who the year before had made the Grand
Tour and was a perfect pushover for the glory that was Rome,
the hour would pass without a single one of them being called
upon to translate the day's lesson.
"Is there much of the Roman Forum left standing?" Irene
would ask in wide-eyed innocence— not that she cared a row of
beans about the Roman Forum but she knew it was good for
fifteen minutes— and if Gladys and Sue would only get their cues
right it might even be good for the entire hour. Well, the years
passed, as years have a habit of doing, but Irene Dunne still
plays "Stalling Teacher"— except that with no teachers to stall
noAV she takes it out on interviewers.
Interviewing Irene Dimne is an achievement worthy of an Acad-
emy Award or something. Oh, she'll see you all right— none of
that silly Garbo mys-
tery business — and
she'll not keep you
waiting a moment,
and she'll greet you
cordially with the
most musical voice
you've ever heard, and
she'll captivate you,
but completely, with
her beautiful blue-grey
eyes, and she'll take
you by the hand and
lead you all over the
new home she has just
built in Holmby Hills,
and with flattering in-
terest she'll listen
to your opinions on
drapes and things, and
she'll pour tea for you
out on the patio, and
it'll be so gay and
clubby and such fun-
but after you've gone
you'll realize to your horror that you don't know a thing about
Irene Dunne. In the fan writer's diary Irene is listed as "Terrible
copy— but awfully charming." No matter how you look at it Irene
just doesn't like to talk about herself (there are people like that,
I'm told, but I never expected to meet one in Hollywood) and
she can think up hundreds of cute little tricks to stall off an inter-
view. They usually work. But me now— I'm the horrid type. "Miss
Dunne, please translate the next five lines. The Roman Forum?
To heck with the Roman Forum! GIVE!"
But even after, through sheer determination, mingled with a
bit of brutal slave-driving, you've started Irene talking about her-
self—"giving" as we say in the "trade"— the way of the interviewer
is still not easy. Suddenly in the midst of the most exciting story
about the time she got lost in Paris and a taxi driver took her to
the Latin Quarter instead of the Ritz and there he ivas leering
at her— leering at her— there is a complete silence. Like a preview
night, when the sound track breaks down. The audience is there,
and the actors are moving about on the screen, but it's all kind
of eerie because there isn't any sound. Miss Dunne, dear fans, is
c'ay dreaming. And on my time, too. Now I suppose the ilk of
Emily Post would call this rather rude, and doubtless the ilk
would be right, but I call it a jolly idiosyncrasy for it's such fun
to see Irene struggling to recall what she was talking about before
she wandered away, and to hear her laugh like a guilty child
when I say, "Remember me?"
This day dreaming of Irene's is one of her worst faults, she
admits, but it has been a part of her so long there's nothing she
can do about it. Her best friends in Holly^vood know that if
Irene is expected for dinner and seven o'clock comes, and seven-
thirty and eight, and no Irene, that it is a mere matter of Irene's
being lost again. She loses so easily. Irene gets in her
adore3 driving herself) and with the best of intentions s
for her friend's home for dinner, but somewhere along
she starts day dreaming, and when she
comes to she invariably finds herself hope-
lessly lost in the Hollywood Hills, San
Francisco, or mayhap well on her way into
the Arizona desert. She has no sense of
direction, and that, combined with a bit
of fancy day dreaming, makes dining out
for La Dunne a complete gamble. Well,
what is she thinking about that she can
forget time and place and people? Oh, any-
thing. Is the kitchen stove too near the
pantry door? Should she pay all that money
for a Queen Anne secretaire? Did her fans
really like In i ui blul Im Did llii\ (cm
sider it di;^i mlulK umli inlml I li
When sill \\ i-. i ilnld iiio^l ol Ik i d iv
dreams wen dioiil ilii. Iimk -\u wouM bi
a famous |)Uiu i dnnii i miIi i kiilui I ii
Robert Taylor did well in "Magnificent Obsession," but it was the
appealing role of Irene Dunne that was outstanding. (At top)
Irene made "Show Boat" a never-to-be-forgotten hit. (At right)
"Theodora Goes Wild" is the picture that she is making now.
30
Silver Screhn
DUNNE
and have the adoring public swooning at her
feet, or else about gay adventures with her
six tall handsome brothers arriving just in
the nick of time to save her. Now Irene
never had six brothers. She has one brother,
younger than herself, to whom she is de-
voted, but she never had six brothers. But
she imagined them so much as a child that
for a while there she actually found herself
telling strangers, particularly strangers who
frightened her, that she had six brothers
who would arrive any minute. Now Dr.
Freud, the old pet, ^\'0uld probably find a
very adequate explanation (perhaps more
than adequate if I know Dr. Freud) of
Irene's big brother complex, but personally
I prefer Irene's own simple analysis of the
case: "I don't know why I ivas always pre-
tending I had six brothers. Except that I
liked to go to parties, and I was shy, and
wanted to assure myself of plenty of escorts."
That's it, dear reader, in a nutshell, and we
don't need Dr. Freud. Irene Dunne is a
Party Girl with vine leaves in her hair. And
don't let that dignified lady-like reserve fool
)0U.
Vivacious Irene is both actress and
singer. Here she is with her hus-
band, Dr. Francis Griffin, a promi-
nent New York dentist.
The nicest things in her life
have always happened to her at
parties. Dr. Francis D. Grifrin for
instance. She'll never forget the
night she met him, and how
near she came not to meciing
him. New York was in the midst
of one of its severest snow-storms
that particular Saturday night,
and Irene ^vas completely worn
out after the evening's perform-
ance and besides she thought
she was taking cold, and )ou
know how careful singers have
to be, so after the last curtain
call she scurried out the stage
entrance, jumped into a taxi,
and dreaming (what again!) of
a hot bath, her nice soft bed,
and a book, she arrived at her
apartment to find the living
room full of gay yoimg pcnplc.
hell-bent on a party. "lUit I
can't go!" groaned Irene. "But
you promised!" they shouted
over the White Rock. Well, you can't argue with party-minded
people, you know that. So Irene slipped into a red evening gown
and a mink coat and still complaining bitterly that she'd much
rather be in bed, that she didn't want a scotch and soda and
would probably catch her death of cold in the snow, left for the
party.
The party was at the Biltmore Hotel, and Irene cheered up
considerably when she heard the gay dance music. It was a great
)car for stags, and there were dozens of them lined up against
the wall all trying to figure out an introduction to the beautiful
auburn haired girl with the big eyes (weve they blue or gray or
green?) And Irene, who knew ex'actly what to do ^vith those eyes,
was cpiitkly the belle of the ball. (Entre nous, oh completely
entre nous, she's a bit of a flirt.) Around and aroinid the dance
floor whirled I. a Flamme. It was her first red evening gown, and
her last, though she often wonders why she never bought another,
it was so nnith fun.
"^Vhere have you been all my life?" asked the first stag who
managed an introduction and a dance. "I'm from Louisville,
Kentucky," said Irene. "Where have you been all mv life? " asked
the second fortiuiate )oung man. "I'm from Madison. Indiana,"
said Irene. "Where have you been all my life?" asked the third
yoimg man (No. there wasn't nuich originality among the snrart
set dining the speakeasy era.) "I'm from St. Louis," said Irene.
But the fourth young man look her tom|)lelely by surprise. "The
i)oys think you are Irclird in the head," he said casually. "It seems
that you don't know where you're from. You've given each of
thein a dillercnt ans\v'er. Is it an old [Coulinued on page 72]
for November 1936
31
tars Read In TKe Tea
Leaves What Their Des=
times Will Be.
Tea
Leaves
So HELP me, you'll never
guess what the stars have
been up to this past
month! Going completely
gypsy on us, they've aban-
doned all other parlor games
[or the new rage of reading
fortunes in tea leaves!
Peering into tea cups with
the town's most glamorous
stars— and that's a nice way
to make a living!— we dis-
covered strange and amusing
things about Jeanette Mac-
Donald, Luise Rainer, Dol-
ores Del Rio, and many
others. And we learned that
this tea leaf business is a perfectly elegant
way to find out the secret hopes and am-
bitions of even the most reserved stars.
Vou could have knocked us over with
a feather (feathers mean flirtations, in the
l)ottom of your cup) when Jeanette Mac-
Donald announced her engagement to Gene
Raymond the day before her appointment
to read tca-lcavcs with us. While ihc \vhole
town scramljlcil for news of the wedding
date, wliich Jeanette funiiy refused to di-
vulge, we wondered if she'd keep our date.
She did, bringing Gene with her, looking
proud and handsome and smug— as ^vhy
shouldn't he, capturing one of the town's
greatest beauties?
In the most ajjproved fashion, Jeanette
sipped her tea, turned the cup three times
Ircim Icll to ri"lu, in\'erled it over the
Horse shoes: success in choosing a mar-
riage partner.
(We began to think Jeanette and Gene
had "fixed" this.)
A single key at the bottom of the cup:
guard against robbery.
A chain: early marriage. Had the chain
been broken, it would have meant trouble
in store.
Jeanette left us to decide for ourselves
about the truth of the prophecy. She just
smiled mysteriously— and refused to com-
ment.
Gene said, "Most of all, I'd like to know
if I'll be given another assignment as pleas-
ant as my last picture, 'Walking on Air.'
That was a swell part, and I could stand
a few more like it." His cup answered:
Pigeons at rest: meaning domestic bliss,
and wealth acquired through industry.
A ring on one side of cup: sign of mar-
riage. Had the ring been near the bottom
of cup, it would have meant a marriage
to be broken.
Full-blown rose: luckiest sign of all,
meaning long life, prosperity, success in new
ventures, and fame to artists.
"I guess that answers my question," said
Gene, rather awed. We verified the predic-
tions, in part, by learning that Jeanette and
Gene have already dra^vn up plans for a
home, and are looking for a suitable lo-
cation.
Surprisingly, if you're a sceptic, the fore-
casts were closely allied to current problems
and situations in each star's life. Maybe
Hollywood is right to take its newest fad
seriously!
Carole Lombard found symbols that are
significant in the light of her recent great
success on the screen, and also her gaily
"A speedy marriage" was fore-
told in Jeanette MacDonald's cup
saucer for a moment, and then held it in
both hands for careful scrutiny. Some peo-
ple save trouble by drinking clear tea. toss-
ing fresh leaves in the damp cup, and then
reading the pictures, but this is frowned
upon, according to Jeanette, in the most
authentic circles.
"I \\arn you," she smiled prettily, "a bit
of imagination comes in handy. Sometimes
the figures aie indistinct."
Indistind was putting it mildly, ^\■e mut-
tered as we peered into the cup to see a
bunch of decidedly nondescript and soggy
tea leaves. Then, suddenly, as we stared,
pictures began to form.
A ])alm tree: meaning children to a
wife, or a speedy m;uriage to a maiii.
A piece of clo\cr near the rim: happiness
and prosperity.
social private life— though nothing referred
to her rumored romance with Clark Gable.
Her cup held:
Many faces in the clear, at top and sides:
meaning change, discovery, friends, and
merry-making.
A house near top: change, success in new
enterprises.
Kite: your ambitions, if ^viscly directed,
will lead to success; if rashly directed, will
end in disaster.
"This is ama/ing." Carole remarked seri-
ously. "I've been wondering if I'm doing
too many light, flipjjant roles, and if I
should change my type on the screen, for
32
one or two pictures, and do a seriously,
dramatic part!"
More frivolous were the pictures discov-
ered in the cup of Luise Rainer, that odd
and enchanting actress who has risen to
screen fame and still kept her private life
almost as secret as Garbo's. We saw:
A parasol; quite distinct and clear, it
meant a new lover, and a hasty marriage.
Dots surrounding it indicated that the lover
will be wealthy!
Windmill: success in a venturous enter-
prise.
A hare: timidity and melancholy.
"Explain?" Luise cried with sparkling
eyes when we asked her about the new
lover. "Certainly not! I'm learning my for-
tune, not telling it!"
So we hastened on to Constance Bennett,
that colorful and outspoken star, whose tea
cup provided the most interesting revela-
tions we encountered:
Pigs: a mixture of good and bad luck.
Mountains, both clearly defined and
rugged, meaning good friends and powerful
enemies.
Saw: hard work, trouble through
strangers.
Vase: rewards through sacrifice and
service.
Connie surprised us by saying. "You
know, although it doesn't tell of ease and
luck, I like that cup. I know I have enemies,
but I've made friends, too. And I've found
that almost all happiness and reward does
come through service and ^vork."
She recently made "Ladies in Love," at
Fox, with three other feminine stars, Lo-
retta "Voung, Janet Gaynor, and Simone
Simon. No easy task for any of them— risk-
ing inevitable comparison with the others!
The gypsy blood is coming out
in Jimmie Dunn and Marian
Marsh as they read the mystery
of the days to come
Rut someone who worked on the picture
told us that Connie made no special effort
for attention, and will shine out solely be-
cause of her superb talent.
One amazing coincidence occurred dur-
ing our investigation of Holl)wood's tea-
leafery. Bette Davis had her cup read just
before she left Hollywood, incognito, and
made that secret trip to London. Her cup
held:
Brian Aherne's and Karen Morley's tea
leaves indicate more successes. Hooray!
Ducks: increase by water.
E)es: observation. Inspect carefully all
propositions you receive.
Airplanes: interpreted as travel by that
means.
"Ridiculous," Bette laughed. "I'm going
up to Canada by automobile, and I've al-
ways absolutely refused to fly. I'd be scared
to death."
Two days later Hollywood learned that
Bette had ftown to the East coast from a
remote town in Canada, and was already
on her way to London, leaving far behind
her contract worries with Warner Brothers!
Dolores Del Rio, serene and lovely,
startled us by offering a strangly troubled
cup. Then we remembered that her career
has been at a stand-still for almost a year,
with a surprising lack of good parts for
so glamorous a star. Her cup revealed:
A cross in the clear: troubles that may be
overcome by perseverance and faith.
A lily at the top of cup: many friends of
refinement and great influence.
A lock, near thin, straight lines: obstacles
to overcome by forethought and determina-
tion.
A flower— a triangle— and a butterfly: all
symliols of prosperity, pleasure, and happi-
ness.
"As I interpret this," said Miss Del Rio
thoughtfully, "it au<;;urs well for my new
contract with Cohunbia. I'll win success if I
exercise forethought and perseverance. One
could hardly ask for more than that!"
The figure of the lily, by the way, is
especially suitable for Dolores, who is one
of Hollywood's great hostesses and whose
Santa Monica home has seen entertain-
ments for leading lights of the artistic,
business, and social worlds.
Karen Morley read her cup on the set,
while Brian Ahernc looked on. Now mak-
ing a brilliant come-back to the screen un-
der the banner of Sam Goldwyn, Karen re-
marked, "The one thing I'm superstitious
about is not being superstitious about any-
thing! So I won't be a very good subject."
Nevertheless we found in her cup:
Spiders: money coming to the consultant.
Hen: addition to the family.
{"Another!"' cried Karen, who is quite
content with her two-year-old youngster,
Michael Vidor.)
A daffodil: meaning success in new under-
takings and fresh endeavors.
"And that," said Karen, grinning, "is
something Mr. Goldwyn would be delighted
to know!"
Leaving this charming sceptic, we next
visited Nelson Eddy, to find him drinking
a cup of tea in the MGM restaurant and
quite willing to serve as a subject for our
researches. His cup showed:
Bees: signs of industry and sagacity.
A clock near the top of cup: sickness and
speedy recovery.
A pair on one side, a tree on the other:
meaning promotion and prosperity.
Jug near top, near bees: meaning ex-
cess, in this case excess of professional wor-
ries.
We sincerely hope the cup and its ^varn-
ing will lead this popular player toward the
racquets of life (meaning revelry, flirtations,
and merry-making!)
Glenda Farrell, one of Hollywood's most
vivacious ladies, pro\ided interesting spec-
ulation when she found an odd variety of
symbols in her cup:
A trident: meaning honors in the Navy.
("Glenda mutterecl, "I knew I played in
too many of those sailor pictures, but I
never thought the tea leaves Avould know
about it!")
A fan: innocent flirtations.
Hearts: love affairs; sometimes a man's
initial will be close by.
Swallow: a journey with a pleasant end-
ing.
Sceptre: honour from ro\altv.
("Well!" said Glenda.)
A complete necklace; many admirers.
We haven't space to tell you all the other
readings we saw as we tossed tea cu[>s with
the stars, but maybe you can iniderstand
why the game offers fun and sometimes,
profit. Almost any book store or news st;nul
can supply you, at a nominal price, with
the same little booklet the stars use to work
out interpretation of the figmcs in their
cii))s. So try it for yourself.
Maybe— just like Hi)lly\vood— you'll find
that you actually enjoy the tea itself!
for November 1936
33
How Fred A/lacA/lurray/
By Good Work In O ne
Picture /\fter /\notKer^
Has ReacKed TKe Top.
IT HAD been almost two years since I'd really talked to Fred
MacMurray . . . the two most important years in his life.
Actually, I didn't expect to find him changed. I wasn't disap-
pointed. Save for just a shade more self-assurance, he might have
been the same boy who walked into my office in the Paramount
publicity department a year ago last May— six foot three of clean,
clear-thinking young manhood— just a little bit dazed and sur-
prised at finding himself there.
I recall the first time I ever had occasion to look for him— there
at the studio. And believe me, I went on a still hunt that occupied
the best part of an hour, before I could track him down. And
then I found him, of all places, on a stage! That may not be
surprising to you, but it was to me. The fact of the matter was
that Fred had been in Hollywood under contract to Paramount
for the best part of six months and so far hadn't even drawn a
part. But there he was— on a stage— all made up.
"Well, Fred," I asked, cheerily. "Have they really put you to
work?"
"No," he said, a bit flatly. "Just a test." Then that irrepressible
bump of good humor came to the fore. "Guess they'll never give
me a chance to really act." And he grinned broadly (he hoped).
You see, Fred isn't much of a talker. Especially about himself.
Even when he's something very important on his mind, you ha\e
to draw him out, sort of bit by bit. And the more important it
is— the closer to his heart— the harder it is to pull anything out
of him.
For instance, it wasn't for a couple of weeks after it actually
happened that it finally leaked out that Fred had all but packed
his bags at the end of the third day of shooting on "The Gilded
Lily." I reminded him of that today.
"Well, you don't blame me, do you?" he wanted to know,
sampling a bit of my shad roe and nodding his approval. " (Tastes
a little bit like li\er, doesn't it? I like liver.) But you see, they
told me no one liked me in the picture. I just figured I was doing
it the only way I knew how and if they didn't like me, the best
thing I could do was quit. Glad I didn't, though."
And, but for the graciousness of Claudette Colbert, who whis-
pered a few words of encouragement in his ear, and his own
tenacity, Fred MacMurray might have been playing a saxaphone
with the California Collegians to this day. And then who would
the lovely ladies of the screen have fought about for their leading
man?
And don't think for a minute that hasn't happened! I had occa-
sion to be present at a cocktail party not so many months ago
and to hear one of the most charming of the young stars say, most
emphatically:
". . . and I told him I wouldn't make another picture unless I
could have Fred MacMurray opposite me!"
This same bland young man was the cause of all sorts of ruc-
tions ^vhen Walter Wangcr wanted him to play opposite Joan
Bennett in "Big Bron-n Eyes" and Carole Lombard insisted, at the
same time, that Fred replace George Raft who had just left the
cast of "The Princess Comes Across." Carole won out, of course,
but I don't think cither Walter Wanger or Joan Bennett will ever
cjuitc forgive her.
And what, you may ask, has happened to this yoimg man dur-
ing all these goings on? He's just gone blithely on his wav, not
believing any of it, piling up a list of box-olTice pictures for him-
He^s Just The
self by the dozen— an even dozen, I might add, in less than two
years!
Sine, it's been hard work. He's a little bit sorry he hasn't had
time to go in for sports or anything like that. Back in the high
school days in Beaver Dam, he won ten letters for his athletic
achievements. But he's not really complaining because he some-
times has only one day between pictures, or that the longest
period of rest he's had is three weeks— just long enough for a trip
to Las Vegas to be married to Lilian LaMonte
and a brief honeymoon trip. „
Lilian, as you all probably know by this
time, came to the coast at the same time Fred
arrived to fulfill his motion picture contract.
But, as with all things private and personal,
Fred didn't talk much about Lilian.
"Sure, she's my girl," he'd say, and that
would be the end of it.
Just try to get Fred to fill in as an extra man
at a party, though. And, as you can well
imagine, after his tremendous success in "The
Gilded Lily," he was much in demand. That's
the ways things are in Hollywood. Naturally,
Lilian would not be included in the invita-
tions.
"So sorry," Fred would
apologize, with his friendly
grin. "Just can't make it."
And the truth of the
matter would be he had a
date with Lilian— which was
more important.
"I taught her how to
cook," he told me today,
chuckling a little. "You
know, back in New York,
lots of times we'd buy a
chicken on Saturday night
and cook it in her apart-
ment on Sunday. Saved
money, too."
Fred loves to eat. And
not in the fashionable places
haunted by picture celeb-
rities, either. He'll find a
remote little spot where
they have "swell" fried
chicken— or a lunch coimter
famous for its steaks. Or
Lilian will prepare a meal
in their small apartment on
tlie maid's night oiu.
Hollywood parties leave
them both a little bit cold,
if the truth were told.
Night clubs don't interest
them, and, besides, they
cost lots of money.
They're saving their
mouev, too— good sound in-
M'stmcnts, insmance poli-
cies — and they're looking
around, now, at property.
Gladys Swarthout and
Fred MacMurray drink
a toast in "Champagne
Waltz": To all our
friends, good luck!
34
Silver Screen
Boy Next Door
By
Wood
They figure they'll be building their own home some one of
these days, if they can get a good buy.
"How have you managed to be in Hollywood, but not of it?"
I wanted to know.
"I don't know,"
he ansAvered, a bit
puzzled. "How do
you mean?"
"Well," I volun-
teered, "It seems
to me you've man-
aged to live as
quietly and peace-
lully as anyone I
know. And you've
kept out of the limelight to an almost amazing degree."
"Gosh, I vi'ouldn't know," Fred replied, flushing a bit. "Unless
it's because I knew what Hollywood was all about before I came
back here. I saw quite a bit of the other side of it, you know.
And Lilian helped -a lot. I don't think either of us had any
delusions about this success business— haven't now. "V'ou know, it
might last a long time, and it might be gone tomorrow. You have
to be prepared."
Fred isn't the type of person who rushes blindly into things.
No, sir. He thinks and thinks before he takes a step forward. He
listens kindly and gratefully to all advice, making a mental note
of the good parts, but on the whole, doing pretty much what he
had in mind in the beginning.
"Lots of people thought we were foolish to wait so long before
we got married," he told me. "But somehow, I don't think it's
fair. I feel the same way about raising a family. I want to be sure
of my future before I make any plans."
He's a very loyal person, too, this MacMurray. In his quiet, un-
demonstrative way, he's always tried to repay anvone who's helped
him along the way. Take the California Collegians, tor instance.
Fred will never cease being grateful to them for introducing him
in their band during the stage production of "Roberta," \vhere
he was discovered and signed to a contract by Paramount.
Recently, the powers that be at the studio were discussing the
engagement of a band for "Champagne Waltz." Fred suggested
the Collegians. No one was particularly interested, but, quietlv,
Fred kept plugging them. They were hired for
the picture! And six of the boys in the band
are Fred's pals, having formed the original
seven-piece band v>'hich engaged Fred at the
Warner Brothers' Holly\vood Theater.
"It was funny about our honeymoon," he
said suddenly. "You see, we'd planned on going
to Honolulu on the 'Lurline.' At the last min-
ute, we couldn't get a reservation. But we made
up our minds we were going some place, so we
went to Catalina! We stayed there over the
week-end and then decided we were going to
make the best of what was left of my three-
\veek vacation and really take a trip. We'd just
about decided to go to Alaska, bags all packed
and everything, ^vhen we got a reserxation on
the 'Monterey' for Honolulu."
Even in Honolulu the MacMurrays didn't
do the round of the night spots, as is usual.
The only place they did go was to visit a fel-
low from IJcaver Dam who lixcs at the Naxal
Base there! y\t heart, you see, Fred is just "the
boy from Bea\er Dam."
The only thing that worries him right now
is that things have been moving too fast.
"I don't like to go ahead so fast," he ad-
iniitcd, "it scares me a little. .After all. I can
(H)l\ do one thing on the screen— be nnscH.
I'm afraid people \vill get tired of mc!"
"Well, I here ) on lia\ c it. I know a dozen
actors right here in Hollywood who xvould
give a lot of money just to "be himself " en
the screen. And therein, to me. anyway, lies ihc
charm of this big, overgroxvn boy from Bea\cr
Dam. He might be the boy ne.xt door!
for November 1936
35
FOUR MORE fin HITS FROM 20th CENTURY- FOX
IN THE NEW PERFECTED TECHNICOLOR
RAMON A
LO RETT A YOUNG
DON AMECHE KENT TAYLOR
PAULINE FREDERICK • JANE DARWELL
KATHERINE DE MILLE • JOHN CARRADINE
and a cast of thousands
Directed by Henry King
Executive Producer, Sol M. Wurtzel
Based on the. novel by Helen Hunt Jackson
with
FRANK MORGAN
HELEN WESTLEY • ROBERT KENT • ASTRID ALLWYN
DELMA BYRON • THE HALL JOHNSON CHOIR
STEPIN FETCHIT
Directed by William A. Seiter
Associate Producer, Nunnally Johnson
Janet GAYNOR
Loretta YOU^'G
Constance BEXNETT
LADIES IN LOVE
with
Simone SIMON
PAUL LUKAS
ALAN MOWBRAY
DON AMECHE
TYRONE POWER, JR.
Directed by Edward H. Griffith
Associote Producer, B. G. DeSylva
Based on the play by Ladislaus Bus-Fekete
PARADE
It's a **lriple threat" of
f-wA ^ girls, music, and laughter!
1^^^ . ^ With n C^st Picked for Entertainment
^STUART ERWIN • JOHNNIE DOWNS
>«%^^ ARLINE JUDGE
WtSY KELLY
BETTY GRABLE
^„ JACK HALEY
VACHT club boys • DIXIE DUNBAR
TONY MARTIN • JUDY GARLAND
Darryl F.
in Charge of
Zanuck
Production
\^''^pirect«
!\J:/rHvisoclate
ed by David Butler
Producer, Bogart Rogers
36
MARCH
OF
THE
pREDRIC MARCH carries most of the super-am-
' bitious productions and puts life into picture after
picture. His delightful humor in "Design for Living"
is a precious memory and his latest roles have won the
applause of both audience and critics.
Fred March has "the
friendly neighbor" spirit.
He is the one actor who
is never publiciied with
press agent stories. He
comes through on his
merits. (Center, below)
Fredric as Lord Bothweil
in "Mary of Scotland."
(Below) As Anthony Ad-
verse, one of the impor-
tant milestones in the
triumphal March of the
Movies.
There is no better school of acting
than the legitimate stage and that is
where Fred March learned his profes-
sion. (Above) As Dmitri, an officer of
the Czar.
Tom Brown and Frances
playing the lovers in
My Life," translate
passion into hilario
(Below) Marion D
Sammy White in
Mabel' do a dance
joy to watch and whi
the plot step gayly
Pantomime Is The Art Of
Oivm5 A/leaning To A/lotion.
IN THE days of the silent pictures, the movies by means
of gestures, expressions and action toid stories that
delighted millions. Now that theatres are all "wired for
sound," many a picture has been talked to death. How-
ever, the geniuses of Hollywood have come through and
today the screen shows graceful and expressive action.
Sound effects have been pushed to second place where
they belong. Talented players ACT their parts instead
of just mouthing words and now the screen has reached
its peak— The Supreme Form of Entertainment.
In the "Gold Diggers of
1937," Lee Dixon dances mar-
velously — real entertainment.
(Below) As he reverses the di-
rection of the complete turn.
Tapping three times with each foot
faedFore the other hits the floor.
A Russian touch — repeat
four times.
A serws of "cross overs" —
improvise as you go along.
Kiss AND KUNCH !
Victor Moore, stage comedian, and Helen
Broderick have come to Hollywood to put
laughs in pictures. (Above) Jean Harlovi- and
William Powell warmly embrace in "Libeled
Lady." (Right) Louis Borrel and lovely Jessie
Matthews put their heads together in the
interests of "Head Over Heels," a Gaumont
British picture.
Pretendins To Be In Love Is A.S
Easy As Flirting And That's The
Way That Alany A Hollywood
Romance Begins.
THERE has been too much printed about the
screen kisses. These stories "smack," we may say,
of back fenCe gossip and do not give the true im-
pression. The girl in the picture is not playing an old
unattractive woman, but a young and lovely creature,
and when the hero holds her in his strong arms he
tries with every drop of actor blood that's in him to
give the appearance of a decent fellow who has lost
his heart. Then the girl honestly and unaffectedly
endeavors to register for the film the beautiful emo-
tion of a lovely girl overwhelmed by life's greatest
moment.
The kiss and the clinch keep the world turning.
Sylvia Sidney and John Loder in "The
Hidd en Power." They conform to the
English rules of reserve. (Left) Michael
Whalen and Doris Nolan acting up for
"The Man I Marry." It's a Universal
custom.
Ready for
WHEN a film meets with success, the
producers frequently repeat the idea
and the result is that pictures become
better and better. The season of 36-37 starts
with a number of very interesting stories and
the box-offices are busier than ever. "The
Informer," one of the great hits, lead RKO to
make "The Plough and the Stars," another
Irish story. Bing Crosby sings some more,
and the biography of an old master, Rem-
brandt, is played by Charles Laughton. Never
has a coming season appeared brighter.
Barbara Stanwyck in a scene from
"The Plough and fhe Stars."
Columbia produces "Pennies From
Heaven," with Bing Crosby and
Madge Evans.
(Right) John Wray,
John Beal and Tom
McGuire in a scene
from "We Who Are
About To Die." It
sounds gruesomel
(Left) Rembrandt,
the old master, is the
principal figure in
this biographical pic-
ture played by
Charles Laughton
and his wife, Elsa
Lancaster. (Right) A
scene from "The Nel-
son Touch," with
George Arliss shak-
ing hands with him-
self. He plays two
parts and brilliantly
too, of course I
Out Where'
Upper left — Gail Patricit sheathes her tall, graceful figure
in luscious gold lame when she dines out formally. The
full draped sleeves and corded belt and jabot of the same
material add a distinctive note to this lovely ensemble
Heavy brocades and
silks are favored alike
by Paris and Holly-
wood. And (at right)
Marian Marsh demon-
strates what can be
done in the 'way of a
tailored evening suit
fashioned from luxuri-
ous blue upholsterer's
satin brocaded in
shades of mauve, pink
and peach.
(Left) Every schoolgirl
will adore this tailored
two-piece frock of Anita
Louise's. The skirt is green
and tan plaid wool and
the jacket hunter's green
velveteen. (Above) Anita
sets off her delicate blonde
beauty with a three-quar-
ter length evening wrap
of Russian ermine.
NOW that winter has come to Main Street, the
ladies are looking to Hollywood to provide them
with an idea of the coming trend of fashion. It
isn't enough for them to read that Paris is sponsoring
certain definite style changes. They must know what
their favorite film players are wearing. And if Joan and
Claudette and Loretta sponsor these styles, rest assured
that the ladies of the nation will adopt them-but defi-
nitely.
w Oman
Stoops To Oonquer SKe
Visits TKc A4ovtcs To
See Wh.>t The WelU
Dressed Stars /\reV^ear=
ins.
EvERyBODy
Likes Unusual
Photographs
IT ISN'T the camera, the film, or the lights that makes the picture cl
instant interest. It is the unusual quality that catches the reader's ey^
It is this provocative factor that frequently gets the picture printed an
so turns a simple photograph into a fine bit of publicity material. On th
sound stages the director and players work to carry out the whimsy or ides
of the highly paid writers. The one tremendously valuable touch whiel
puts over the writer is his ability to be original. The scenes he thinks up
as well as the action and the dialogue, must be untistuil or he is a failure
Hollywood loves a new and striking idea and it is this fresh and brilliaii
quality that makes even a publicity photograph a success. H
(Below) You rarely tee a "stand-in" and a
star together. Here's Edward Arnold and
Bill Hoover, who wears the same clothes so
that the cameraman can focus the lens.
Garbo's new picture, "Camille,"
is eagerly awaifed. She has be-
come world famous for her inspir-
ing screen personality and charm.
Every Little
Brooklet
Runs to the
It Is A Long Time From
The First Trial To The '"'St,
Billing'^^ Days.
ar
How often you have looked at a little brook
and enjoyed its playful chatter without giving
a thought to the unbroken stream that leads
to the sea. So it is with the ambitious beginners in
the picture studios. They try
with all their hearts to be
the living image of a charac-
ter in the story. One part
leads to another, and as life
goes on the glor) of being a
star comes nearer and nearer.
On this page are new faces,
and at the left is Greta
Garbo, the girl from Sweden
who today stands at the top
—the greatest actress the
screen can sho^v.
We wish them all good
luck for they give their lives
to the task of entertaining
the folks of all the world.
(Left) Rufh Colman is under contract
to Paramount. She is an expert stenog-
rapher and a famous artists' model —
just in case. (Above) You will see
Helen Burgess in "The Plainsman," the
big DeMille picture. It is her first time
in pictures. Although she had been
studying drama, it was not until Mr.
DeMille saw her in a restaurant one
day that her chance came. (Right)
Nova Pilbeam, a young English girl, is
only sixteen years old. She has played
a number of parts and because of her
good work her future seems very
promising.
0
S
ome Dc^mmrs
WKo Will See
TKcir Names In
Electric L^i3Kts
Some Day.
"Girls' Dormi-
tory" introduced
Simone Simon to
American audi-
ences. Her train-
ing on the stage
in France and her
exotic charm
helped her to suc-
cess in America.
(Above) After Philip
McMahon made a hit
on the radio, RKO
offered him an op-
portunity to make
good on the screen.
(Left) Harriet Had-
don, a bright spot in
"The Big Broadcast
of 1937," starts her
career in the chorus.
Some Call It
Work!
1
It Is Just Pretenclins Diirins The Day At The Studk
But When^ Each Wcek^ They Defwsit Thousand
Of Dollars In The Bank, That's The Real ThiiJ
Cary Grant and Joan BenneH in
"Wedding Present." They're both
getting more and more important.
(Right) Warner Baxter relaxes — he
never missesl
THE script tells the actor the
story and the director is lavish
with advice, so the actor only
has to imagine that he is actually
the character the author created.
We have been behind the camera
and seen the actors move and heard
them talk in the manner of the
characters they represent. The bell
rings, the lights flash and to an
observer it seems just play.
We have seen an actor tell a story off-stage and put himself completely
into the narrative. It is one of the secrets of success. The salesman must
have this knack of glowing with enthusiasm and the doctor must radiate
sympathy. Perhaps it would be a better world if we all took a course at
Hollywood to learn to hide our own likes and dislikes and to play every
day the part of "the good neighbor."
Victor McLaglen won the Number One honor last year.
Above is his conception of "The Magnificent Brute."
(Below) Merle Oberon in the arms of Brian Aheme
for "In Love And War," a story of the Irish Rebeltion.
Silver Screen for November 1936 55
HoHywoocl Palpitates Over The ^''Great
Lovers'''' But Nowadays It Takes A Man=
Who=Can=Act To Get TKe Fan Mail.
By
Jerry
/\.sKer
Nelson Eddy's
personality and
his voice have
made him
popular.
"Being
Not
■^pHE B. O. boys have taken over Holly-
I wood. It's not those individuals whose
best friends won't tell, we're referring to.
It's box office we have in mind, pure and
unadulterated. It's the lads who can act, who
bring in the golden sheckels. Gone are the
patent leather heroes of yesterday. The Don
Juans are done. Casanova wouldn't have a
couch maker's chance in a present day
closeup. Rapturous Romeos may think they're
good in Hollywood, but they reek in Penn-
sylvania. Being dark and handsome may help
you to go West young man. But all the
Gables are now quite able. And the Coopers
have all turned troupers.
Cast a weather eye in the general direction
of the new crop of movie heroes. There's not
an arrow collar ad in the lot. The John
Beals, the Burgess Merediths, the Jimmy Stewarts
and the Fred Astaires are something the Greeks
handed down to Elinor Glyn. The boys with the
pretty profiles haven't a makeup man's chance.
The strong and silent types have suddenly be-
come weak and willing to learn how to act. Actors
already established, who were once wondrous to
look at and marvelous to know, are now sensa-
tional to listen to and thrilling* to show. The
whole world may love a lover, but it don't mean
a thing, if they ain't got that swing. It's what-a-
man's moment in the movies!
Those actors who have practically slipped into
oblivion this last year, should have taken an ex-
ample from such B. O. (box office to you) boys,
as Charles Boyer, Nelson Eddy, Randy Scott,
Robert Taylor, Cary Grant, Cesare Romero, Louis
Hayward and dozens of others. Those boys had
quite an edge on the market, until the new deal
in histrionic heroes hit Hollywood with a thud.
They could have gone on for a while, being sym-
pathetic screen lovers, and God's gift to the tired
Handsome
Enough!"
Is
working girl. But they saw the handwriting
on next year's option. The ability they had
never been called on to use, suddenly asserted
itself. Through their own efforts they put
up a battle of the century. They've proven
that the movie public prefers men of action,
. instead of attraction.
The first day Nelson Eddy walked on the
MGM lot, they almost called out the riot
squad. Secretaries fainted and typists ^\'orked
o\ertime on their touch system. When Nelson
walked into the commissary, all the little
chorines sitting around took one look and
promptly forgot their routines. Never in the
history of sound stages had anything quite
as handsome as Mr. Eddy been allowed to
run aroimd loose. Being a modest chap, he
smiled his appreciation and ^vondered when
they weie going to put him to work.
Months later the gals were still gasping. Nelson
\vas still smiling and he still didn't have a job.
I'inally came "Dancing Lady" with a special nov-
elty musical number called "Rhythm of the Day."
Nelson sang it as only he can. There was a lot
of trick photography, inserts of girls' legs, with
long shots of female bodies wriggling around
until they spelled Metro Goldwyn Mayer— or
maybe it was Leo the [Continued on page 64]
(Top) Franchot Tone is in the money be-
cause he can act — remember "Mutiny on
the Bounty"? (Center) Randolph Scott had
to play in "Westerns" until one day Fred
Astaire requested him for "Roberta," and
now he's a favorite of the fans. (Left)
Charles Boyer is a real actor with as fine
a reputation in his native France as he has
in America.
56
Silver Screen for November 1936
SWING TIME
It Will Have You Floating in the
Clouds— i?A'0
T^EFINITELY the entertainment picture
-'— ^ of the month, and we certainly like to
be entertained, don't we? If you're a push-
over for the Fred Astaire-Ginger Rogers
musicals, and who isn't, you'll go pleasantly
mad over this one for it maintains the high
standards of its predecessors and at the
same time tops all of them with its de-
lightful comedy and amazingly beautiful
dance numbers.
Fred, in black-face, does a tap solo called
"Bojangles of Harlem" which is without a
doubt the most striking dance there has
ever been on the screen— at the end of it
the preview audience at the Pantages in
Hollywood practically tore up the theatre
in their wild applause.
Besides the marvelous dancing of Fred
and Ginger, you have the comedy antics of
Victor Moore, Helen Broderick and Eric
Blore, and the charming words and music
of Jerome Kern and Dorothy Fields, so
what more can you ask? It's a safe bet that
you'll see "Saving Time" more than once.
Fred is cast as a vaudeville hoofer with
a passion for gambling, who misses out on
his wedding with Betty Furness all because
of a crap game. Betty's irate father tells
him he has to accumulate $25,000 in cold
cash before he will again be given the
opportunity of meeting Betty at the altar,
so Fred leaves for New "i'ork to seek fame
and fortune and, of course, meets Ginger
Rogers, who plays a talented young dance
hall instructress.
Ginger and Fred work out a feiv routines
and are soon the dancing sensation of New
York, and falling more and more in love
with every waltz. Something has to be done
about Betty who loves Fred, and something
has to be done about Georges Metaxa,
suave orchestra leader, who loves Ginger,
and something is done (Oh, Hollywood
wouldn't let you do^\'n) to the complete
satisfaction of everyone. The best of the
songs are "Never Gonna Dance," "The Way
You Look Tonight," "A Fine Romance,"
and "Swing Time." And just \vait until you
see Victor Moore.
ALL AMERICAN CHUMP
This ^VILL Give You Many a Laugh-
M-G-M
A. ND speaking of entertainment, we were
^ you know, here is a modest little pic-
ture (called a "program picture" in the
"trade") which steps right out and sur-
prises every one by being one of the best
Ijits of grand entertainment of the month.
Plenty of laughs from beginning to end,
and played magnificently by a cast without
a star. Which all goes to prove our old
theory that stars aren't really necessary.
The story's about a small town hick, Stu
Erwin, who works in a bank as a human
adding machine for fifteen dollars a week.
Stu has a trick mind when it comes to
figures but no one in the village appre-
ciates him; Stu doesn't even appreciate
himself.
A slick carnival trio— Bob
Armstrong, Betty Furness
and Edmund Gwenn— lure
him away from the bank
and his beloved cows and
put him in show business
^vhere he is a complete flop.
■\Vhile they are deciding
^vhether to eat him or
throw him ofT the train,
Stu quite innocently gets
involved in a bridge game
with America's leading
bridge expert (bnlliantlv
pla)ed by E. E. Clive) and
In "Stage Struck,"
Dick Powell and
Joan Blondell have
a merry time and
also score individ-
ual successes.
"The Texas Rangers"
give battle to outlaws
and Indians in the pic-
turesque Southwest.
Betty Furness, Stu Er-
win, Edmund Gwenn
and Bob Armstrong
in "All American
Chump."
witli his "figgcr " mind ^vins a \vad of dough
from the cIiam))ion.
That's all Bob .Armstrong needs to kno^v.
As Stu's manager he arranges the bridge
tournament of the century in New York
between Siu and the expert, and then just
as gold is \viiliin his reach the gangsters
start to cut in. Edmund Gwenn, as Betty's
gin-imbibing rascal of a father, is simply
grand, so is Edward Brophy as a frightened
hoodlum, and so is the entire cast. You'll
enjoy this one.
THE TEXAS RANGERS
A Glorii lED Western— Paramount
UrED MACMURRAY and Jack Oakie
^ . play a couple of wandering highwaymen
who become Texas Rangers in the hope
that their identification with the Rangers
will lead them to easy jobs of banditry.
But you know how it is with boys who
want to be bad men of the West; after a
good run-in with the Indians they become
so excited over the Rangers and so loyal
to their brave Chief, Edward Ellis, that
they are completely regenerated and wish
to devote their lives to wiping out outlaws.
It's sort of a glorified horse opera, and
the kiddies will love it, but I have me
doubts about the ladies. Lloyd Nolan plays
a bandit who remains unregencrated, Jean
Parker is the love interest, and Jack Oakie
is by far the best thing in the picture.
DRAEGERMAN COURAGE
A Rfxf.nt Currhnt Event Bicomfs Dra-
matic Picture ¥ are— Warners
r^RAEGERMAN, in case you have been
^ out of touch with American these
last few years, means a man who conducts
rescue operations at mine cave-ins. You
probably read in the newspapers not so
long ago of the men who were trapped in
a mine, when the earth caved in, and of
their exciting rescue— which, un-
doubtedly, inspired this picture.
Henry O'Neill plays a doctor,
fanatically interested in the cause
of miners, who takes a mine owner
(played by Robert Barrat) under-
ground to survey an abandoned
gold property. The earth slips and
they are entombed for a dozen days
and nights, while workers strive
heroically to save them. After being
buried al ive for all that time the
mine owner sees the light and once
rescued he devotes his life to the
welfare of miners.
It's newsreel stuff, but it's plenty
exciting. Barton MacLane is the
hero of the rescue and, with Jean
Muir as his sweetheart, is also the
love interest— which is an unusual
spot in which to find that erstwhile
big shot gunman.
OLD HUTCH
Made to Order for Wally Beery—
M-G-M
A ND this, boys and girls, is a
»■ typical Wallace Beery picture
and, if you like typical 'Wallace
Beery pictures, this is your Roman
holiday. Beery plays a shiftless small
town character who hasn't worked
«, for twenty years, not since he got
married to his long-suffering but
loyal wife, Elizabeth Patterson.
Fishing on the river bank one
day he finds a tin box full of thou-
sand dollar bills, and then a great
problem comes into his hitherto
simple life. He knows he must justify
possession of the money, otherwise the vil-
lage gossips will say he stole it, so he goes
to work and soon, to his surprise, and hor-
ror, he finds himself a respectable and in-
dustrious member of the community.
Then the bank robbers put the pressure
on him to recover their loot, but by that
time Old Hutch is so respectable and law-
abiding that he turns the gunmen over to
the police and gets the reward.
There is an appealing love story carried
by Eric Linden and Cecilia Parker (the two
kids who were so grand together in "Ah
Wilderness") who play the local banker's
son and Old Hutch's daughter. Young love
is definitely at its best, and loveliest, when
played by Cecilia and Eric.
STAGE STRUCK
Swell Entertainment— iyar;?ej- Brother.';
I — IERE'S a refreshing parody on those
i ^ backstage musicals where the leading
lady gets sick five minutes before the cur-
tain goes up on the opening night and the
sweet, demure little chorus girl gets her big
chance. And you have no idea how much
more fun this plot is when played for
comedy than it is when played straight.
Joan Blondell, looking simply ravishing
and playing like a million, is the leading
lady with the bank roll, who definitely has
a penchant for shooting her husbands.
Joan's comedy scenes are cleverly written
and what with l-a li. giving her all as a
comedienne she ups and walks away with
the picture. Her "trouping" scene with her
dogs and luggage will have you in hysterics
for weeks.
Dick Powell plays the dance director in
the picture and to him Joanie is just so
much bad news (but not in real lite, kid-
dies). He is in love with Jeanne Madden, a
little country gal who wants to be an
actress, and he refuses to work in the same
show with Joan, but is finally tricked into
doing so by Warren William, the sly pro-
ducer.
Mr. William resorts to psychology to
make Joanie believe that Dick is really in
love with her despite his evident disgust,
and you can well imagine what grand
comedy scenes follow. Frank McHugh is
very funny as a stage manager and Craig
Reynolds makes a perfect matinee idol. The
Yacht Club Boys are riots in two song
numbers, "The Income Tax" and "The
Body Beautiful." Dick sings a very lovely
song entitled, "In Your Own Quiet Way."
THE GORGEOUS HUSSY
One of the Most Romantic of the His-
torical Films— M-G-M
THE Glamour Girls are going in for cos-
tume pictures this year— Katherine Hep-
burn had her Mary of Scotland, and Norma
Shearer her Juliet, and last, but not least,
Joan Crawford steps out cinematically as
the ravishingly beautiful and extremely
clever Peggy Eaton, the ex officio First Lady
of the Jackson Administration.
In the long curls, and little bows and big
hats of the period (it's the 1820's if you're
forgetful) Joan looks perfectly stunning, and
there were those of us at the preview who
wished, who wished to high heaven, that
Mr. Andrew Jackson, seventh president of
the United States, would stop mouthing
about state rights, secession, and nullifica-
tion for a few minutes, at least, and let
us have more of the Gorgeous Hussy. (Of
course if you're a statesman you probably
feel differently about it.)
The picture story and history don't ex-
actly agree on the character of Peggy
Eaton, but this is no time for quibbling,
and you know how the Hays office is. Any-
■way, four men (according to the cinema)
played important parts in Peggy's eventful
life which carried her right into the White
House.
The first was Bow Timberlake, a gay
young lieutenant of the U. S. Na\y (played
by Bob Taylor) whom Peggy married— after
some of the most delightful love scenes you
have seen on the screen in ages.
The second man was John Randolph, the
Senator from 'Virginia (Melvyn Douglas)
whom Peggy loved from the moment she
knew the meaning of the word lo\c, but
who refused her love twice, once from sheer
stubbornness and once from political dif-
ferences.
The third man was Secretary of \Var
John Eaton (Franchot Tone) whom Peggy
married several years after the death of
her young lieutenant in the West Indies.
And the fourth man was President An-
drew Jackson (Lionel Barrymorc) \\hose
good fricntl she became after tlie death of
his adored wile, Rachael Jackson (Beulah
Bondi). Barrymorc's and Miss Bondi's
scenes together are high sjiots in the pic-
\C(>nlinuril on jxnj^e yH]
58
Silver Screen for November 1936
A Story 0\
TKe Critenon Film Production Of
A.ccused'''^ Brings To TKe Screen Doug=
las Fairbanks/ Jr.y/\nd Dolores Del Rio.
TKeS creen Play Is By Zoe y\kins A.n(i
Oeorge Barraud. A United Artists'
Release.
tice the knife throw she did in her gypsy num-
ber with Tony, had taken on the living
attributes of the woman she hated. There was
murder in the passionate heart of the little
dancer.
Gaby's face contorted, she would speed death
toward Vvette. . . . Some remnant of sanity
came at the final second. The knife dropped
from her fingers. Gaby hurled herself to a
couch in hysterical tears.
In her wild heart blazing hatred had been
quenched by an icy tide of horror. She must
have lost her mind! She, Gaby Seymour, con-
templating minder! Torn between horror and
grief, she lay panting.
Only a few days ago life had been glorious
for Tony and Gaby Seymour. T^vo ambitious
young Americans, they had perfected their
wild gypsy dance in which as a climax. Gaby
hurled the dagger into the body of a faithless
lover. Morel's new show offered them oppor-
tunity and soon, so raced their young opti-
mism, all Paris would acclaim their talent.
The little American girl, who had been born
Gabrielle Romarios of Texas, saw all the world
through rose hued glasses. And why not, when
luck gave them this splendid
chance and she had Tony's love!
Offstage pic-
ture of Do-
lores Del Rio,
who plays
Gaby, the
dancer.
A LONE in her theater dressing room, Gaby
y \ Seymour poised the dagger in her hand,
her arm raised to hurl it. Across her
pretty face came an expression of glowing
hatred that was not acting. In fancy she was
about to bury that knife in the treacherous
heart of the woman who was stealing Tony
from her.
The brilliant dressing table lights beat upon
a lithe, wild, passionate little figure clad in a
theatrical melange of gypsy red, orange and
crude blues. Brown grease paint, scarlet lips
and blue lined eyes heightened the \vildness of
Gaby's face, framed in curls of glossy black.
Her firm, hard trained body bent in an arc like
a tightening spring, the glittering knife ready
as her passionate eyes fixed on the heart of her
target.
Against the wall of the dressing room the
life-sized outline of a human figure had been
drawn in charcoal. A mischievous friend of
Gaby's had added eyes, nose and mouth in the
silhouetted head, using her lipstick lor a pencil.
The result was a caricatured likeness of V vette
Delange, the star of Morel's new musical show
soon to open for the delight of all Paris. "When
you can't (brow slraiglil, that will make it easier
for you. Gaby," Ninclle giggled.
Ninette had done it in fiui, trying to laugh
Gaby oiu of her haired of the capricious star
of tlie Tliralcr Morel. Tonight the crude joke
had lost all hiunor for Gaby; the human target
oiulincd on the wall, so llial vlu- niit;lil ])rac-
SiLV.ER- Screen /or November 1936
59
Artists In Love
Fictiom:;ecl ty
Jack BecKJolt
There wasn't another like Tony, so handsome, so talented and so in
love with her! He was young, her Tony, not two years her senior.
When they walked together in public women turned their heads
after his lithe, masculine good looks and always Gaby smiled, sure
of him, unafraid and proud that the world envied her good for-
tune. It had been like that until she and Tony met Yvette.
At first Gaby couldn't believe that her handsome husband, al-
ways level headed, always reliable, would make a fool of himself
over Yvette. Why, Yvette was thirty-five if she was a day, her
beauty fading, a ivoman notorious for the number and variety
of her affairs with men. Tony laughed at vanity-ridden women
like Yvette Delange— but Tony didn't laugh at Yvette. He %vas
with Yvette now, alone in her flat. Gaby had heard from his own
lips that he was going to her.
"I've got to do it," Tony explained earnestly to her. "Yvette
claims you insulted her at the rehearsal tonight. She demands of
Morel that he take us out of the show—"
"Insulted her!" Gaby's eyes blazed with scorn. "You can't in-
sult her kind. " Her mood veered to dark suspicion. "I understand
perfectly. That ro^v in the theater was all arranged beforehand,
to give you an excuse!"
"Don't be ridiculous," Tony scowled. "Even if Yvette started the
quarrel tonight, don't forget she is the star of this show. She can
make Morel do as she demands. Now she insists that you insulted
her and Morel asked me to go to her apartment and smooth her
down."
It was true, all that Tony said. In her heart she believed it, but
Yvette's caprices and her insults rankled deep with Gaby. She
could not let her triumph through Tony's diplomatic visit . . .
why, all the woman wanted was the chance to lure her husband
from her!
"I don't want a man who goes crawling to a woman like that,"
she screamed at Tony, and Tony, red and very angry now,
shouted: "I've heard enough of this. I'm not going to throw every-
thing overboard— all the things we've worked and slaved for for
years— because you choose to be jealous about nothing. I'm going!"
The door slammed after him and it was then Gaby, in her fury,
seized the dagger and tried to hurl it at the caricatured figure of
the woman she hated.
Ninette's knock at the dressing room door roused her from her
tears. The show girl heard Gaby's accoimt of her misery and
offered what consolation she could, "Come home with me and
we'll cook some eggs."
Tony (Douglas
Fairbanks, Jr.) and
Gaby performing a
dance specialty.
"No," Gaby
muttered, mood-
ily playing with
the dagger. "I'd
rather be alone.
You go on."
When Ninette
had gone she
made a sudden
resolution. Yvette
Delange had not
yet left the the-
ater for her ap-
pointment at
home with Tony.
She would go to
Yvette's dressing
room and tell her
a few things!
Tony Se)mour,
meantime, waited
tmcomfortably in
the little drawing
room of a Paris
flat. Yvette's maid
had told him the
star ^v'ould soon
be home.
The young
American felt ill
at ease. The very
atmosphere of the
flat, vulgarly os-
tentatious aud
overperf u med,
grated on his
nerves. When he
thought of Gaby's
last furious out-
burst he felt mis-
erable.
On tables and
walls were photo-
graphs of many
men, all inscribed
with loving mes-
sages to Yvette. It was like a nightmare museinn, a museiun of a
woman's vanities. He favored the collection of Yvette's lovers with
a disgusted grimace.
Gaby had been a fool to accuse him of loving Yvette. Since they
joined the show the star had pestered him with atten-
tions and Tony, trying to 'be a diplomat, had fended
her off with vague words and meaningless smiles. But
in love with Yvette? How silly, when he loved Gaby and
no other woman alive!
He rose to his feet and ringing
for the maid demanded his hat and
coal. He was going home to Gaby.
Perhaps tiiis snub to Yvette might
cost tlicm their place in the show?
He shrugged. Better even that, than
to have Gaby hurt . . . poor, vio-
lent tempered Gaby who had
shared his love and his ambitions
so loyally!
riic little furnished flat was
cm|3ty and the gray light of first
dawn gave it an eerie, haimted
look. [Coiiliiiucd on next page]
Yvette Delange (Florence Des-
mond) is killed, and Tony is
heartbroken as Gaby is tried
for tKe crime. Roget (Basil
Sydney) is her defending
counsel.
60
Silver Screen for November 1936
Tony hesitated, depressed, filled with vague
anxieties because &abv had not come home.
Then he heard her light tread on the stair
outside. He flung open the door to welcome
her.
She stood there, pale, her street clothes
glistening from the night mists, her eyes
questioning him. Slowly she felt her way
into his arms. So they held each other, say-
ing nothing, huddled close in a mute mo-
ment of reconciliation that brought sun-
shine back to their home.
"I thought you didn't love me any more,"
Gaby whispered. "I've been so miserable!"
"So have I, Gaby. But where have you
been?"
She looked at him strangely, as if startled
and trying to remember. "I ... I don't
know. Just walking about."
A knocking at the door made them stare
mutual questions. "Ah," Tony smiled, "The
milkman! Black or white."
He swept the door wide, his hand out
to take the morning milk bottle. It was
not the milkman he confronted, but two
strangers, behind them the concierge who
let them in. One asked for Gabrielle Sey-
moiu'. "I must ask you to come with us," he
said to the astonished Gaby.
"Come with you! BiU, why?"
"What are you talking about?" Tony
cried.
The stranger answered coldly, "Yvette
Delange was murdered at the Theater
Morel early this morning."
■ "What's that got to do with my wife?"
Tony demanded, his young face tense.
"The surete would like to hear what she
has to say. "He tinned to Gaby, his voice
curt, "Please get yoiu- hat and coat at once."
Yvette Delange's body had been found in
the reception alcove of the star's dressing
room at the Theater Morel. A knife had
cut off the woman's life, a dagger hinled,
or driven, Avith great force. That dagger
was in the body when the discovery was
made and it was readily identified as the
dagger Gaby Seymour used in her dancing
act with Tony. Gaby's quarrel with Yvette
was the talk of the theater; Gaby's presence
near the star's dressing loom was easily
established. Gabrielle Seymour was charged
by the state with the murder.
"But I didn't do it! " Gaby Vv^hispered
through lips cold with horror. "Oh, I
didn't ... I didn't!"
"Think, darling! Tell us everything you
can remember," Tony urged. Her tired,
thin voice took up the story.
"I was furious when you left me. I
thought I would tell that woman what
I thought of her for trying to steal my
husband. I did go to her clressing room.
I took the dagger, I don't know why. I
left it there. She was there, alone. I . . .
I burst out at her angrily. I told her some
things. And then . . . then I left. I wan-
dered the streets. I heard a clock strike
four and it seemed to bring me to my
senses. I came home, where I found you,
Tony."
Tony paled when he learned what the
police knew, that the body of Yvette had
been found at five minutes after four
o'clock. He knew that Dubec, the doorman
of the theater, testified he had seen Gaby
leave the place at five minutes of four.
Tony himself had left earlier than that.
His mind went back o\er the cxening,
detail by detail. "Wait!" he cried. "I re-
member. When I \vas lea\'ing ihe theater
a man came in. He asked me where '\'vctte's
dressing room was located. I showed him
and saw him go to it. Tiiat man was the
murderer! We must find Iiiin! "
Tony rushed to an Auuiiian Iriciid. a
newspaperman allached lo llie I'aiis odice
ol his journal. Gu\ knew and Io\cd them
botii. He w,\s ready lo do anMhing in his
power lo help, and it was he who suggested
they search Ihe police photograph records
for Ihe lace Tony rcmcinheied so well.
Guy's idea brought sudden hope when out
of the thousands of pictured criminals Tony
at last found the face of Henri Capelle.
That was the stranger he had spoken to.
He could swear it.
A moment later the friends looked at
each other in blank despair. The police
officials had a meticulous record of Henri
Capelle's movements. Released from prison
several months before the murder of Yvette,
he had left France the second day of his
freedom. He had never returned, for the
police Avould surely have had that knowl-
edge in their files.
"But he did return," Tony insisted. "I
saw him! He's in France. We've got to find
him!"
Guy thought it over. It looked hopeless,
yet Tony must be aided so long as there
was the faintest chance. Guy remembered a
friend of more than shady reputation, a
criminal for whom he had done several
favors. They went to him with the problem
and with his aid began combing the under-
world of Paris.
In the next issue of this mag-
^ azine you will find a speedy
and true Gladys Hall story about
the gay lives of some of the stars.
. . . A Projection of Barbara Stan-
wyck by Elizabeth Wilson tells the
facts about this well loved actress.
. . . There are some players ivho
stajid right up against the belit-
tling rumors and make good in
spite of them. You'll enjoy reading
their side of it. . . . Then aivay
they go on the first cold days, off
to the cabin in the hills. Ben
Maddox goes along too. . . . And
don't miss Eleanor Packer's story
of HoUyiL'ood's love formula. . . .
Watch for it. On sale Novem-
ber 6th.
The trial of Gabrielle Seymour was the
current sensation of Paris. The little
American girl's beauty fired public imagina-
tion. The circumstances of her dancing act
Avith its horrifying, dagger throwing climax
mingled in the public mind ^vith the grim
reality of the crime at the Theater Morel.
When she was called to the bar to ansAver
her accusers, the court room was jammed
and crowds waited outside the palace of
Justice for the least word of the proceed-
ings.
"Galjrielle Se\mour," the President of the
Court l)egan, "before beginning vour ex-
amination it is my duty to remind you
that yoti are being tried under the penal
code of France. In yoin- country a prisoner
is assumed to be innocent until foimd
guilty. Here, the accused is considered
guilty. It is incumbent upon him to pro\e
his innocence."
Guilty! Guilty, before she was tried! The
PresideiU's words rang like a knell of doom.
Gaby glanced forlornly at her own
hnvyer. Roget was kno^vn as the cleverest
defense laAvyer in all France, but what
could even Roget do for her when she
knew nothing and could tell nothing ex-
cept the simple truth, that she was inno-
cent!
The President's voice wcM on: "Shortly
after yom quarrel \vith \'vette Delange she
was foiuid (lead in her dressing room. Mm-
dcred with Ihe tiagger which helongcxl to
you. And this weapon had been thrust into
the \ictim with the same accuracy which
you employed in your act and in exactly
the same way . . ."
It was true. Gaby could not deny a word
of it.
"Although she was mortally ivounded,"
the President went on, "the victim tried
to defend herself. With a small revolver she
fired once at her assailant. The bullet has
been found sunk in the paneling. That
assassin, Gabrielle Seymour . . . icas you!"
Gaby's cry rang through the tense room,
"No! It wasn't me, I tell you!"
The hours dragged into days, days of
tense terror in court and nights of sleepless
despair. The State brought its witnesses,
piling proof upon proof that Gaby had
struck the bloAv.
Morel, the theater manager, told how
that night at three o'clock, Yvette Delange
sent word to him she must have twenty
thousand francs at once. Accustomed to the
Avhims of his star he secured the money and
took it in person to her dressing room. He
did not go in because Yvette appeared at
the door and took the money from his
hand. Perhaps some other person was with
her in the room; Morel could not swear
to it.
Jean Dubec the doorman told how he
had seen Gaby leave the star's dressing
room at five minutes of four, ten minutes
before he himself discovered the crime.
Dubec also had been the messenger who
ga\ e Morel word that Yvette wished twenty
thousand francs.
"At what time was that?" Roget ques-
tioned.
"It must have been nearly half past
three."
"It couldn't have been half past three, "
Morel interrupted. "I left the theater at
ten after three."
"It might have been earlier, then," the
doorman muttered sulkily.
Still the evidence piled up against her.
The dagger was Gaby's. She had sufficient
motive for the crime— her jealous hatred of
Yvette. According to Dubec she wa.s in the
theater at the time and all Gaby could
oppose against that was her story of wan-
dering the streets of Paris, dazed, and of
hearing a clock strike four Avhen she stood
on the Pont de la Concorde, two miles
from the Theater Morel. She could see
plainly enough that nobody credited that
explanation.
Tony was called to the stand, btu ^vhat
could Tony do to aid her? Franticalh he
averred his conviction that his wite was
innocent, biu he had no proof. ^Vhite and
grimly insistent, he told of the stranger
identified as Henri Capelle who had ac-
costed him, asking for Y\ette's dressing
room. But no other person had seen Henri
Capelle— and Capelle could not be found.
At the end of that last afternoon Roget
himself came to Gabv in her prison. "Plead
self-defense," he coimselled. "It is admitted
'\'\ette fired a shot. You threw that knife to
sa\e Aour own life!"
"No," Gaby moaned. "No ... I did not
kill Yvette. That is the truth!" Roget
shrugged. He felt defeated.
Coint assembled for a night session, the
close of the trial. The State's prosecutor put
his case to the jurv, a bitter accusation
built up by undeniable facts. Not a soul
in the court-room saw hope for the little
American dancer now.
Before Roget could begin a defense Tony
pushed his way to him, bringing at last the
man he had been seeking, .\midst a storm
of protest from the State the new Avitncss
Avas heard.
He was Henri Carros, he said, but ad-
mitted a minute later that he had scrxed
sentence for blackmail under the name ol
Hcini Capelle. As Capelle he had left
France, and. under his rightful name of
[Continued on jnigr 69]
..and her
famous
Little
Dinners
Sen Room. The Waldorf-Astoria, ISi-m York. " Whether I'm in the
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Add to the joy of good digestion
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REMEMBER the friendly touches that make
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A simple menu, plenty of Camels. Smoking
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Smoke as many Camels as you wish, during
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Smoke them for digestion's sake!
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Silver Screen for November 1936
63
The Tennis Crowd
[Continued from page 25]
technique of the new hobby. If you want
to be a buddy to a cinema name the
quiclcest system is to be a tennis ace. The
foremost amateurs of the country have
lingered on to be elaborately feted. It's a
muuial attraction— the athletes yearn to mix
with the glamorous and now there's noth-
ing a star likes more than a genuine champ
io^'tow. If you aren't employing the correct
form the champion will obligingly give out
with invaluable suggestions. Gene Raymond
was a particularly gracious host-and you
ought to have to try to return his serves!
'When a star considers a swankier apart-
ment the first question isn't about the rent,
but about the tennis accommodations. The
nicest apartment houses and hotels boast
available courts tucked in along with their
flowering patios. The ritzy resorts at Arrow-
head, Santa Barbara, and Del Monte plug
their superb tennis lay-outs. Beverly Hills
itself has built a great many splendid pub-
lic courts on La Cienega Boulevard. These
have to be reserved well in advance, one
reason being that John Boles— who resides
near-by-is nearly always displaying his
maddening lobs there.
A stellar estate invariably has a specially
designed court for its gentry and lucky
guests. I'd say the finest private courts are
those belonging to Harold Lloyd. Marion
Davies, Warner Baxter, and 'Victor McLag-
len. Elegant little pavilions are an adjoin-
ing fixture, so the butler may serve you a
snack and a tall cool one in inviting shade.
Claudette Colbert's pavilion is large enough
to run a movie in. The Warren Williams
have a refreshment table on wheels; it's
moved about their grounds laden with plat-
ters of cold meats and rare cheeses. Arlene
Judge is the most enthusiastic hostess—
there's always a gang taking turns on her
court. Practically all of the stars' own courts
are electrically lighted for night play; when
they have to act all day the darlings still
don't intend to be cheated out of their fun.
Which reminds me that last Thursday Sally
Eilers begged to work until one in the
morning so she'd be free to play in a
tournaiirent on Friday. Yes, and she won.
Sally's tops in doubles.
The mecca of our tennis bugs is the new
West Side Tennis Club, in the rolling
Cheviot Hills half-way between M-G-M and
the 20th Century-Fox studios. It's only been
operating this year and the membership is
limited to motion picture people. Here a
clever star can kill two birds with one date.
He can play tennis and simultaneously do
some diplomatic apple-polishing. For the
most prominent producers, directors, sce-
narists, and actors' agents are members. It's
so convenient that you can stumble into
illustrious company at any hour. The en-
tire grounds are lined with a high hedge of
evergreens and from the street all you can
glimpse is a low, rambling building of
California-Spanish architecture. Inside are
spacious lounging rooms, informally fur-
nished. There are, when you go on through,
ten courts banked with lawns and beauti-
ful flowers, placed on graduated levels so
that from the veranda you can watch all
of them. CVoo-hoo! Simone Simon, will
you stop making zose big French eyes away
over yonder there? That young man will
never be able to keep his mind on the
ball.) Bright colored tables and chairs,
shaded by" gala umbrellas, dot the veranda.
Immediately below it are boxes from which
you get a close-up view of the court for
championship matches. A snazzy white
leather and chromium bar adjoins on the
left, while the dining room is to the right.
A tempting swimming pool is sunk in the
lawns beyond the courts. (Aside to the edi-
tor: I hope you aren't putting two and two
together and gathering where your palsy-
walsy is when I should be slaving for you.)
Keith Gledhill and Mae Sutton Bundy, for-
mer national champions, are the profes-
sionals.
Every studio has organized a team to
represent it this Fall in a grand tourna-
ment at the dear new West Side. We've
heard about the Davis Cup affairs from
Frank Shields, who gave up representing
America to be an actor. (He's better than
Errol Flynn, but he isn't a star yet.) So
we're determined to have the same arrange-
ment locally. Metro's Nelson Eddy and Bob
Taylor have been wondering if Bob Mont
gomery will be back from his sojourn on
his Connecticut farm. They need him to
do or die for Louis B. Mayer— he's Leo the
Lion's best. Paramount can rely on Larry
Crabbe and Fred MacMurray. Jack Warner
is laughing, because he has Flynn and
George Brent. Darryl Zanuck is frantic; I'll
bet his next masculine prodigies are tennis
tornadoes!
At the rest of the clubs about the city
the stars are under continuous scrutiny.
But at West Side it's a happy family. They
can come in for lunch with their make-up
on, when they've only an hour off, and
order it on the veranda so they can observe
how Shields is whamming 'era today. At
the other clubs white is the conventional,
prevailing color for tennis outfits; at West
Side you let yourself go and choose the
gayest of shades. Frank Morgan, I'll admit,
is hardly modish in that old sweater which
droops to his knees. But Anita Louise dons
green suede shorts-and-vest, lacing the lat-
ter over a peasant blouse. And Claire
Trevor, in her companion prints ensemble
—hand monogrammed, box-pleated red and
■white shorts and blouse beneath a blue and
ivhite pirate frock— is so lovely a contrast
that no one objects. Anyway, that incon-
gruity is typically Hollywood. Jeanette
MacDonald plays tennis in her bathing suit
—when she's at home.
The entertainment during the Sunday
dinner dances at the West Side is imique,
too. Last week it was Annie Sothern who
had to rise and step up beside the orchestra.
There was such applause after her song
that she had to sing on and on. I must
report, in addition, that the children
(they're still kiddies at heart) have a weak-
ness for betting on their tennis gaines. The
aforementioned bro^vnette courageously bets
on herself to win. Then she has to, spurred
on by the dread of losing cash as well as
caste. Candid cameras click whenever you're
least ready for them, with a star doing the
dirty work. You'd think they'd give their
fellows warning? But no; they tote tiny
black boxes and revel in action shots. You'd
giggle at the one Phil Reed has of a head-
line actress glowering at her health salad.
Does tennis make a girl muscle-bound
Marian Marsh, whose grace and mar\el
ously co-ordinated figure bespeaks the born
athlete, is proof that femininity isn't sacri
freed by this game. Perhaps men hate to be
beaten? Doloics Del Rio (she has a com-
plex for playing barefooted) maintains they
do; she alone won't take lessons for fear
her Cedric might be disma\ed. It's okay foi
Garbo to be an Amazon when ]3la^ing wiili
Cedric, hul his ^vife \von't risk it. It all
depends on tlic man, though. Ann Sothern
confoimdcd her admirers at swinuning, bil-
liards, and bo\v'ling, and now she's embar-
rassing ihem at tennis. But they remain
ardently nuts about her. The theory that
a male craves to teach a girl everything is
further blasted by John Howard. He
boiurccs out of the locker room and is ag-
gravated beyond measure when a pretty
biu poor partner tries to excuse herself by
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64
Silver Screen for November 1936
Her playing is clever, but more
clever still is the way her tinted
finger tips focus attention and
compel admiration. Feminine to
the nth degree, she knows the eyes
of the table are on her hands, and
she dramatizes their effectiveness
with F-O Nail Polish.
It's as simple as putting on lip-
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ways in perfect condition. At your
own dressing table with eight
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tone of polish at a second's whim.
There is a marvelous F-O Oily
Polish Remover to forestall brit-
tleness, and a cuticle remover
that makes a self manicure the
simplest of all your toilet routines.
Smart women know that F-O
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creased seductive-
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too/
• F-O manicure prep-
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FORT ORANGE CHEMICAL CO., ALBANY, N. Y.
pulling the ancient you-wonderful-man line
on him. John drops those Avomen.
Voii Avouldn't fancy that tennis could
ever injure you; Rosalind Russell found
out differently. She'd been emoting a blue
streak ^^ith never a decent vacation. At
last she wangled a month off and excitedly
sailed for Honolulu. She stayed in bed the
first t^vo days on shipboard, to store up
energy. (She planned to ease into a satin
bathing suit and give them something to
gasp at on that beach at Bali Bali!) The
third day Roz ventured on deck; shortly
she was inveigled into a game of tennis.
As she Avearily finished her fifth set she
slipped and crack ^vent her ankle. They
rolled her onto Waikiki's strands in a
x\'heel-chair!
I want to award a medal to Walter
Huston. He never was on a tennis court
until he was fifty; at fifty-three he is a
runner-up in tournaments. At his moun-
tain home at Arro^vhead his regular routine
is tennis. If ■j'ou're reaching for another
candy bar and groaning that you're too old
lo start in, remember Huston. Jmnping to
I he other extreme, Shirley Temple is anx-
ious to shine. She grabs every chance to
hold a racket. Shirley's very sincere about
it and while she can grin when she makes
a bad play, she doesn't like to have any-
one see her fumble. She feels, in her baby
\vay, that folks count on her being tops in
everything she does and she doesn't wash
to disappoint.
It's of considerable help if you can learn
your opponents' weaknesses before you chal-
lenge. Kent Taylor is struggling with his
backhand, but don't you deliberately drive
for it now. Tom Brown is cuckoo over
doubles and it's just because he's better
close to the net. If you're out for his
scalp, send the balls away back. He'll
swoon.
To stoop to more personal disclosures,
Jeanette MacDonald doesn't rely on Gene
Raymond for jaointers; she has engaged a
professional to be her coach. Virginia
Bruce, ho^vever, maneuvers all her beaux—
^vho have to be darbs— into playing with
her. Jean Arthur Avas all striving and no
relaxation until recently, when her husband
persuaded her to let him show her the
fascinating facts of tennis. I was at her
home when she and Frank Ross came in
from one of her first afternoons out on the
courts. She was, I regret to add, o,uite stiff.
Exercise, when you haven't indulged, can
pain even a brilliant star.
If Ralph Bellamy quotes any more data
at me— and he reads nothing but tennis
handbooks nou'— I shall foreswear his com-
pany and make for the Beverly Hills Ten-
nis Club. Janet Gaynor's the attraction
there; she's democratic and will play most
anyone, and she isn't out for blood. Or I
shall drop up to Bill Powell's. He issues
standing invitations, good day or night, for
what he dubs "open court." He's located
his court far enough a^^■ay so the noise of
the ambitious won't disturb him. "And
then there's always the element of surprise, "
says Bill. "I'm never sure who I'll find
there!"
When it's merely yours truh. won't it
be an awful blow?
"Being Handsome Is Not Enough!"
[Cojitinued frO)n page 55]^
Lion! Anyway, when the picture ^vas re-
leased. Nelson's part was barely seen and
everyone promptly forgot him.
After a concert tour, back he came to the
studio. This time he seemed a little luckier.
"Naughty Marietta" helped to get the fans
interested. But it ivas that North 'West
Mounted Police imiform in "Rose Marie"
that made 'em forget his blonde hair and
handsome features. Suddenly they realized
that Nelson Eddy could act. Between the
acting and the singing they almost went
crazy. Today, when his pictures come to
town, they line up with box lunches and
just spend a day in the theatre. A recent
revival of "Dancing Lady" features the
name of Nelson Eddy in lights, along with
that of Joan Cra-^vford, the star.
Remember, back in 1930, when Jean Har-
low became "The Red Headed Woman?"
In that picture ^vas a handsome black-eyed
chauffeur, who had but a line or t^vo to
speak. There ^vas something interesting in
his presence, something exciting in his per-
sonality, something important in his atti-
tude. Feminine hearts began to flutter, as
they waited for the cast and credits to be
listed on the screen. But the name of
Charles Boyer ■was among the missing.
Today he is recognized as an artist of
great ability. It has taken years for him to
accomplish the reputation in pictures that
he has enjoyed for fifteen years on the
French stage. Charles wasn't satisfied to
be a handsome leading man. His limited
kno->vledge of the English language ga\e
him but one preference. He \vould have to
content himself Avith creating a charming,
attractive physical presence, until that da\-
^vhen he coidd adequately express a gen-
uine talent. Even ^vith toda^ s succes'^,
Charles Boyer hasn't yet begun to show
how much better he can be. '^Vhile his Eng-
lish is perfect, he still has to translate it
Acme
Mae West and Randolph Scott, and both looking well.
Mer new picture is "Go West Young Man." Clever title.
Silver Screen for November 1936
65
Mrs. Adam K. LUke^ Jr. says: "Pond's Cold Cream certainly keeps my pores fine."
Faults that start in your
UNDER SKIN
A SINGLE blemish can dim the
freshness of your skin make
you look older than you are
A few coarse pores say, " She's get-
ting on in years" — just as loudly as
lines and wrinkles say it. Stubborn
things — that keep on getting worse
till you learn their real cause and the
real way to treat them.
Deep-skin rousing needed
The truth is, almost all skin faults
get their start, not on the surface.
Miss Jane Mellon
"Pond's Cold Cream
keeps my skin soft
and clear — smooths
out little lines/'
but in your underskin.
In your underskin are little hidden
glands and cells and blood vessels.
These are the foundation of your
outer skin's health. The minute they
function poorly, pores begin to clog.
And then blemishes come. Even lines
are really nothing but creasings in
your outer skin, caused by failing
tissues underneath.
But — you can rouse that underskin
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The tiny glands, cells,
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Every night, pat in Pond's Cold Cream to
loosen dirt, make-up. Wipe off. Pat in
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Every morning, and during the day, re-
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66
Silver Screen for November 1936
from his mother tongue. With the speed in
which scenes are shot, there is not time for
enough rehearsing, to get a natural, in-
telligent reading to his lines. Boyer himself
admits that inany times he must say his
lines in poll-parrot fashion, rather than
let the words flow from his heart and mind.
At a recent dinner party, Joan Crawford
entertained her guests with the showing of
"Mayerling," a French production starring
Charles Boyer that has never been released
in this country. In the audience ivere Con-
stance Bennett, Barbara Stanwyck, Gilbert
Roland, Robert Taylor (just a couple of
"Armands" at heart) Billie Burke, James
Ste^vart, Lynn Riggs, Jean Dixon, Gary
Cooper and Sandra, his wife. Naturally,
Boyer spoke in his native tongue. Connie
Bennett and Franchot Tone volunteered as
inteipreters. The difference in Boyer's per-
formance ^^■as amazing. All the brilliance
and the color and fire of his personality hit
home full force. For the first time ever)one
realized what a fine artist he is, and how
much credit ^vas due him for creating the
great box-office appeal he enjoys in America
today.
If you can't remember how many dozens
of pictures you've seen where Gary Grant
looks hot and keeps cool while he makes
love to a Lombard, a Colbert or la West,
just ask Gary. He can tell you in no un-
certain terms. He can also tell you of his
struggle to climb out of a tuxedo and get
his teeth into a good acting part. He tried
ever)thing humanly possible with his
studio. He even offered to do cowboy op-
eras, which at least would have been a
change. Once he begged to be released from
his contract. But Gary had to go on ex-
uding masculine charm and remaining sar-
torially perfect.
There are those who are still wondering
just what happened to "Sylvia Scarlett," but
it didn't take great powers of deduction to
prove that Gary Grant was right about him-
self. While Hepburn and Alierne struggled
bravely, but alas bewilderedly, through
their characterizations, Gary Grant played
a cockney Englishman that was a thing
apart and a joy to all who saw him. Since
this portrayal, Gary is in demand by every
producer when there is a role that requires
anything but a big mass of muscle.
Cesare Romero hadn't been in Holly^vood
ycry long ^vhen he realized he u-as the vic-
tim of an unfair fate. With a faith in his
own ability, Cesare discovered that he must
live down the unwarranted impression that
he was an embryonic Rudolph "Valentino.
While the Spencer Tracys and Paul Munis
walked away with the acting plums of the
year, Cesare reluctantly played Gigolos,
sappy leading men a.nd an occasional mild-
mannered gangster. In vain he pleaded for
a chance to act. When he was suggested
for the role of the kidnapper in "Show
Them No Mercy," Cesare's friends pleaded
with him not to accept the role. Thev
ivarned him that it was so unsympathetic
and the "guy" was such a heavy, mothers
would automatically drag their little kid-
dies from the theatre whenever his pictures
were shown.
Cesare felt that they were right. He also
felt that he must gamble with his future.
It was now or never. Either he must take
the chance or resign himself to the fate of
all good-looking movie heroes. When the
picture was previewed in Hollywood, Cesare
was so wicked he was hissed by his best
friends. And no greater compliment can
be paid to any nasty kidnapper.
Robert Taylor might be the exception
to the rule, if Bob wasn't such an honest
and down-to-earth person. Fresh out of col-
lege when "Society Doctor" launched him
on a sensational career that even threatens
to top the Gable record. Bob knew it was
a streak of luck. To himself and to his
friends, he admitted that his so-called good
looks were the reason for his sudden suc-
cess. And right then and there Robert
Taylor might have sat back and done all
right— as he is now doing.
Bob knew his looks -ivould carry him
along. But he began looking forward to
that day when people might expect some-
thing else besides something good to look
at. He went to Oliver Hinsdell, dramatic
coach on the MGM lot. Every spare mo-
ment of Bob's time was spent in reading
aloud, working on diction, rehearsing in
scenes. Technically, Bob was giving himself
a foundation. His second break came when
he met Barbara Stanwyck. With her ex-
perience on stage and screen and her great
understanding of what goes on inside of
people, Barbara was able to offer Bob the
benefit of her emotional knowledge. Today
she works with him on his lines. When
Bob learned he was to play in "Camille,"
it was Barbara who read the Garbo lines
so Bob could familiarize himself with their
true meaning. When you see his work in
that role, you'll realize that the handsome
Bob Taylor has developed into a darn good
actor.
The Paramount casting director will tell
)ou (if you could ever get ^vithin a mile
of the Paramount casting director) that in
one week he had requests from Mae West,
Irene Dunne, Katherine Hepburn and Mar-
garet Sullavan for Randy Scott as a leading
man. Two years ago, if Randy had ever
found himself facing anything but a horse
in a closeup, he probably would have col-
lapsed from the shock. Being a big silent
man from the great open spaces ^vould
have been all right, if Randy had been
allowed to act. But it seems that Hollywood
scenario writers think all ^Vestern stars
NOW I ASKYOU^WHT
READ HOW
A BAD
CASE OF
PIMPLE9
QUEERED
ADA''S
CHANCES
17 JUST BUPMS ME UP — WHV MOTHEC
I KNOW I'M EVERV BIT AS GOOD AS '
LOTS OF -THESE GIRLS THAT GET
JOBS RIGHT OFF. OH, THERE'S
^ THE PHOME •
WELL - THEY DO SHOW UP
PPETTY BADLV. ADA X
KNOW WHAT TO DO - "IHEV
SAV FLEISCHMANN'S VEAST
IS WONDEPFUL. FOR
GETTING CID OF PIMPLES
WHY DOlsl'T YOU TRV IT ^
OH, GI3ACE - DO YOU
THIN1<; IT WOULD HELP
ME? I'll GET SOMB
V^OM MY WAY HOME.
Silver Screen for November 1936
67
should suffer silently-which they usually
do (when they go to their own previews).
Randy's chance to act came when Fred
Astaire requested him for "Roberta." It was
in this picture that Randy met Irene
Dunne, who has now asked to have him
play opposite her in her next picture for
Columbia. Randy and Fred became friends,
so Randy was again borrowed to appear
in "Follow The Fleet." In these two pic-
tures he was allowed, to try things out that
never would have appealed to a horse.
When his secret marriage was announced
recently. Randy's fan mailed jumped two
hundred letters in one week. In the good
old days, movie marriages were something
they kept hidden— like idiot children. To-
day, and especially in Randy's case, his
popularity has so increased that the horses
he used to act with are now getting fan
mail.
If you can allow your minds to wander
down the long list of Hollywood juveniles
(without shuddering) you'll recognize the
futility of any of these boys ever getting
a chance to do anything but look eager-
eved and act intense. That's why, when
Louis Hay^vard, fiesh from the New York
stage, signed with MGM, Hollywood
yawned politely and turned back to Herbert
Marshall. But that was before "Flame
Within" was released. In his first picture,
Louis did something that has never hap-
pened before. Taking a role that might
easily have been played like a love-sick per-
sonality boy, Louis injected it with a mag-
nificent soul-stirring feeling.
What happened between Louis and
MGM is not generally known. There was
a long lull, in which he fought against
being wasted in those thankless juvenile
parts in quickie productions. When they
cast him to play the ""Man with the Tarts "
in "Trouble For Two," opposite Bob Mont-
Katharine Hep-
burn at work
making "Por-
trait of a
Rebel." With
the star are Lu-
cile Watson,
Elizabeth Allan
and David Man-
ners. On location
by the Pacific
Ocean.
gomery, Louis felt his long wait was to be
iewarded. Had his original acting part been
left in the finished production, Louis would
have astounded the critics. But, alas, as is
the Hollywood fate, the best part of Louis'
performance remained on the cutting room
floor. Rather than collect a weekly salary
for an acting career that did not allow him
to act, Louis decided to quit Hollywood
cold. Just as he was about to leave. Uni-
versal signed him. Within the next few
months you will see his first starring pic-
ture, in which he lives up to what he orig-
inally proved that he could do.
There's a young Englishman, by the
name of Raymond Milland, who has had
a long hard fight to prove that he could
eliminate his British accent and do some-
thing else besides pose. Jack Benny, the
radio star, who is playing with Ray in the
new "Big Broadcast," predicts that Ray
will soon be one of the big bets of the
screen. There's Bruce Cabot, whom the
Gods of fate, Hollywood and its supervisors,
tried to make into another Gable. When
they finally let him alone (and only after
his career ^vas almost wrecked) Bruce made
himself over into another— Cabot. When
they gave him a chance to really act in
"Fury" and "Last of the Mohicans," he
proved that pretty is as pretty does, pro-
viding they give you a chance to turn in
a pretty good performance.
Franchot Tone, Gary Cooper, Jimmy
Cagney, Douglas Fairbanks Jr., are all mem-
bers of that vast army which has proven
that you've got to make them like you after
they've grown tired of looking at you. A
pretty girl is like a melody. But a hand-
some Hector is just a false note, unless he
can play a tune on the cash register— at
the box-office.
\MtlLANDAJ0BUKETHI5!^
OH - GRACE — "THAT
WOULD BE GRAND -
THANKS AWFULLY
FOR THIMl^lMG
OF ME
HELLO -ADA? THIS IS
GRACE. HAVE YOU
FOUND A 30B VET —
BECAUSE there's ONE »
DOWN HERE I'M SUPE ^
YOU COULD FILL — I ,
SPOkTE TO MISS MARTIN j
AND SHE SAID TO
COME IN AND TALK
TO HER TOMORROW -
PONT lET APOIESCBNT VmV\:&S
KBl? YOU our Of A JOB
J^IMPLES can easily spoil
that
good impression you hoped to
make. Yet — they often occur after
the start of adolescence — from about
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op and final growth takes place. The
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68
Silver Screen for November 1936
Let's Beat The Drums
[Continued from page 29]
» « « and keep
lips lovable
Lips must be smooth and soft to tempt ro-
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So— avoid lipsticks that dry or parch!
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Make the "Over-night" Experiment!
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Coty "Sub-Deb" comes in five indelible
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What the movies have done is to illustrate
the books of the masters. Not with etchings,
or oil paintings— but, rather, the movies
have illustrated them with live models,
1936 human beings who are counterparts
of the originals. And that is a very per-
tinent contribution to culture.
The important point at issue is that the
moving picture industry has grown up.
Moving from the burlesque of Mack Sen-
nett to the subtlety of a Shakespeare re-
quired the stride of a Gulliver. More, it
demanded vast education, vast mechanical
perfection and vast sums of money, calling
for imagination and daring. The filming of
Pearl Buck's "Good Earth," for instance,
with Paul Muni and Luise Rainer, is a
tremendous undertaking. Those of you who
are familiar with the book would be com-
pletely crushed if you were asked to reduce
the giant canvas she painted to the dimen-
sions of a screen in a neighborhood theatre.
That the movies are not awed by such a
task is heartening, for it means that the
industry is truly adult.
If the directors, the writers and the
mechanical geniuses of the Coast were to
devote themsehes exclusively to these giant
portraits, it would result in over-saturation,
if there is such a thing as "over" satura-
Comedy Relief all mixed up nicely.
Nou' I am fully aware that the B-pictures
are necessary as part of the financial setup,
that they often recoup the money that is
thro^vn into the super-super-specials. But
the production of these B-pictures must
keep pace with the movies, or the Coast
moguls will find that foreign film com-
panies will take the market away from
them. The foreign film studios can't com-
pete with a "Cavalcade" or a "San Fran-
cisco" or a "Mutiny on the Bounty,"
because they have neither the money nor
the mechanics to compete, but they can
overwhelm the B-product of Hollywood,
and they'll do it, unless the Coast studios
improve the trite formula.
"It Happened One Night" is a case in
point. This easily could have relapsed into
the B-picture classification. That it didn't
was due, not so much to casting, because
B-pictures squander fine casts, but because
Frank Capra touched it so lightly that it
became a gay, gorgeous comedv. The hitch-
hiking scene, the running "business" of the
trumpet that blew down the walls of
Jericho— these were sufficient to lift it into
the high brackets.
In calling on the 'Walter Wangers and
the Jack Warners and the Harry Cohns and
LIPSTICK!
50c
The successful play "Winterset" has been made into a
film by Radio. This scene shows Margo, Paul Guil-
foyle and Eduardo Cianelli, It will be out soon.
tion. But this is not the case. In the col-
umns next to the advertisements of "Romeo
and Juliet," "Mary of Scotland " and "Green
Pastures," you Avill find listed lighter fare
such as "His Brother s Wife," and "Devil
Doll" and "Girls' Dormitory" and "Swing
Time." This establishes the balance that
the movies need. The Ritz Brothers' in-
sanities are just as necessary to the screen
as the genius of a Laughton; the Marx
Brothers and Eddie Cantor are needed to
leaven an "Anthony Acherse. " The movies,
while reaching out for a higher culture, are
wise in preserving a sense of proportion. It
would be fatal if Hollywood ever lost its
sense of humor.
There is one \varning, ho^vever, that
should be sounded. The A-pictmes of
Hollywood, these super-flickers, are unde-
niably the last word in craftsmanship and
construction and casting. ^Vhen they are
loosed on the markets of the world, the
clFcct is one of breathless appreciation. But.
in tlcvcloping the .\-picttnes. the Coast has
icla|)scd into a smug treatment of B-pic-
tincs. All of these B-pictmcs come out in a
pattern that is identical, never bad but
never very good. It is as if the mo\ies had
developed an Automat. By depositing
.■(ii 5(),(K)() in the slot, out comes a Grade
M-pictine, with Hero, Hcioinc. Menace and
the Darryl Zanucks to improve the breed
of Class B-product, I'm not asking too
much, for they have demonstrated that
they can do anything to which thev set
their minds.
They proved, in "Midsummer Night's
Dream," "Romeo and Jidiet," "Good Earth"
and "Anthony Adverse," that they could
out-Guild the Theatre Gtiild; in "Ca\a!-
cade," the mo\ies proxed that thev could
do a greater job on a panorama of British
history than the British stage could do; in
"The Great Ziegfeld," the movies put Zieg-
feld and White and Carroll to shame, and
RKO has demonstrated, time and again, in
the Fred .Astaire musicals, that the New
York musical stage can't hold a candle to
Hollywood. So, ha\ing pro\ed victorious on
all fronts, the ino\ies can improxe their
Grade B-product. Probably it never has
been called to their attention before.
But, apart from this single pessimistic
note, the occasion calls for loud hinrahs.
.At the present moment, the movies are sit-
ting higher than e\er before. Their ad\'en-
lurcs in Shakespeare and Dickens and Pearl
Buck, each crowned with auia/ing success,
is magnificent work. HoUwvood uow has its
feet planted firmly on the high road. Art
and AVilliam Shakespeare both have been
put on the reel.
Silver Screen for November 1936
69
Artists In Love
[Continued from page 60]
Garros, he returned.
"I went to the Theater Morel that night,
but I had nothing to do with the crime,"
he insisted. "I went there to see Yvette
Delange— "
"Why?"
"She was my wife. That night I went to
ask her for money."
Garros told of that interview. Yvette
asked Morel for twenty thousand francs,
but she had given him only five thousand,
then sent him away. The time he placed at
three o'clock. "When I left," Garros said,
"I did not see the doorman, Dubec, any-
where about."
Dubec was called back to the stand.
Pressed by Roget he declared that he had
seen Garros leave the theater at about three
o'clock.
"Where were you?" Garros shouted at the
witness.
"I saw you from my office."
"You're a liar! You couldn't have seen
me leave. My wife didn't want me to meet
anyone. She let me out through the private
door."
Dubec looked flustered. "I must have
been mistaken," he mumbled.
Across the courtroom Gaby glanced at
Tony. His head was lowered. He could not
meet her gaze. Tony's hopes had been
dashed. Garros, found after this agony of
search, plainly was not the murderer. His
testimony proved nothing . . . nothing!
But the President persisted in his ques-
tioning. "If you were not in your room,
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70
Silver Screen for November 1936
SCREEN STARS
*HITCH ynUP, BEAUTy TD A STAP,^
Dubec, where were you when this man
left?"
"I don't remember. Perhaps I was doing
my rounds."
"But you have testified that it was when
you were doing your rounds at four o'clock
that you discovered the crime!"
"Yes, my lord," Dubec cried, brightening
as though he felt himself on firmer ground.
"When I got to Yvette's room I noticed the
door was half open and the light on. I
thought she had gone home and left the
light on. So I went in and it was then I
saw her stretched out, the knife—"'
Roget was on his feet. "Witness!" he
thundered. "You say the light was on when
you rushed from the room?"
"Yes sir."
"Then why was the light out when the
men you summoned went in a minute
later?"
Over the doorman's face came a look of
confusion and futile rage.
"My Lord," cried Roget. "I ask your
permission to reconstruct this crime." He
left his seat and walked to the witness
stand. Close beside him was a chart show-
ing the plan of the dressing room and a
table on which were ranged the dagger,
the pistol and other exhibits of evidence
used in the trial.
While the State thundered objections,
Roget proceeded. "I know who is the guilty
party and in one moment I will denounce
him to you," he shouted.
"I will go back to the night of the crime.
I see again the corridors of the theater, de-
serted at this late hour, full of dark corners.
The victim, Yvette, has left her brilliantly
lighted room for a moment. The fifteen
thousand francs are thrown carelessly on
the table well in sight from the partially
open door. This money attracts the atten-
tion of a man who passes the door. The
bank notes fascinate him. At a given mo-
ment, thinking himself alone, he creeps into
the room with noiseless footsteps. He seizes
the money and is about to make off with
it, when he hears a noise. Yvette Delange
is coming back! He will be caught. What
shall he do! He darts into the adjoining
room and his gaze meets the dagger, left
lying there by Gabrielle Seymour—"
A gasp came from the tense audience as
Roget 's hand picked the knife from among
the exhibits. Holding it he went on, "At
this moment the victim enters her dress-
ing room. Unconscious of the danger
menacing her she is about to enter the ad-
joining room. Suddenly the light goes out.
In the total darkness she can see nothing,
hear nothing but the terrified beating of
her own heart. One minute passes . . . an-
other . . . then she hears the sound of
footsteps. Something brushes against her
in the dark. It is the thief, escaping. 'Who's
there?' she cries out. There is no ans^ver.
She has an instinctive feeling that someone,
someone armed perhaps, is lurking in the
darkness . . ."
Roget paused. "One moment, I beg
you . . ." he apologised. From the table of
exhibits he picked up Yvette's small re-
volver and seeming to find his right hand
occupied with the dagger, handed that to
the witness who accepted it as a matter of
course.
"She seizes her revolver," Roget went on
dramatically. "Pointing it in the direction
from \vhich she heard that noise, she fires!"
The roar of the pistol filled the court
room. Roget had fired the shot directly
over the head of Dubec.
Instantly the doorman drew back his arm
and hurled the dagger straight at him. But
Roget had dodged low. The knife sped
across the room and embedded itself in
the wood panelling.
Dubec stared at the quivering blade,
driven there by his own hand, a gleaming
admission of his own guilty secret. His
face turned the grey hue of putty. His
shaking fingers clawed at trembling lips.
"I had to do it!" he bleated. "I had to
kill her in self-defense!"
Regardless of the dignity of the court,
Tony Seymour pushed his way to Gabv's
side. His arms drew her from the prisoner's
box and folded her close. Too moved for
words, they stood embraced, finding their
happiness with every heart beat that
counted the seconds until their freedom.
One Of Tke Great Screen Successes
[Continued froi7i page 26]
brother's career, I too adopted the name
Morgan. The next thing I did was to look
up an old friend, Edgar Allan Woolf. He
started me on my stage career."
^Voolf, who since then has become a well-
known Hollywood writer, wrote a vaude-
ville sketch for Frank, and his career was
well laimched.
His acting technique, ^^'hich had. then,
the same grand sense of the ridiculous as
it has now, won him practically instant
recognition. As a result he soon left the
vaudeville stage for such Broadway hits as
"Mr. Wu," "Topaze," "The Firebrand,"
"The Bandwagon " and many others.
Morgan is by no means a newcomer to
Eleanor "Whit-
ney says work-
ing in pictures
is as easy as
sliding down
hill the
shorts, the
shoes and the
smile do it.
Don't lorget with each Screen
Star Puff is a Hollywood Beauty
Secret. Save these folders. They're
good for free premium,
Silver Screen for November 1936
71
the screen, although it has been in com-
paratively recent years that he has skyrock-
eted to fame under the M-G-M banner.
Those of you who remember Anita Stewart
will probably remember him in an opus
made in New York in the "Silent" days
called "The Girl Phillips." "Laughter" with
Nancy Carroll was another picture he made
in the East.
Then back to the stage, his first, and
only love, where he remained until the
movies extended their beckoning hands,
and as a result Frank Morgan has beconie
practically the best scene stealer in the
business. Not that he is deliberate in such
theft. Far be it from him to indulge in
any of the tricks of the trade such as
putting another's back to the camera, and
so forth. But when he becomes slightly
contused, raises his eyebrow in dismay and
studies his fingernails in utter, stuttering
bewilderment, then the scene is practically
"in his bag," regardless of who is playing
with him.
It isn't at all difficult to give you a word
picture of Morgan because he is exactly
the same off the screen as he is on, with
t'he definite exception that in real life he
loses that stammering indecision of his and
becomes the epitome of correct clear speech.
He uses no makeup for his pictures.
Six feet and a little over, he weighs 180
pounds, "all the time." His hair is dark
brown and he has hazel, humor-crinkled
eyes.
He wears a beret because: "I am defi-
nitely not a pseudo-artiste, but I wear a
beret because it keeps the hair out of my
eyes when I am driving an open car. I wish
that people would understand that nothing
one can wear is quite as effective in an
open roadster as a beret. Fm heartily in
favor of starting an "In Defense of the
Beret Movement" and will even contribute
an old one or two to the cause."
Morgan is a good sailor; of athletic ten-
dencies, although definitely not the Tarzan
type; reads modern novels and biographies
and smokes a pipe. Like many another
Hollywood celebrity he is an ardent racing
fan, and also likes baseball.
He is probably as well-known for being
the perfect host as anyone in Hollywood.
Not only is he the very height of gracious-
ness while entertaining, but his stories, told
in that indescribable Morgan way, make
invitations to his home praetically fought
over.
Someone has described Morgan's sense of
humor as being the kind that excels on the
backstroke and the follo^v-through.
He is so well-known for his witticisms,
as a matter of fact, that various sayings of
his have become "Morganisms." If you have
ever read anything about Morgan you are
probably acquainted w'nh. some of them,
because his speech is usually besprinkled
with these jewels of a rapier-like ability
to catch ancl describe the idiosyncrasies of
others. Here are some of those you may
have never seen.
THE FOUR MARX BROTHERS-What
happens as you come out of the ether.
lEAN HARLOW-Silver slippers on a
polished staircase.
JACK BENNY-The guy who sold you
the Brooklyn bridge.
■WALLACE BEERY-A fight club when
the crowd is gone.
JOSEPH CALLEIA-The way a gangster
would like to look.
TED HEALY— He put the banana peel
there.
Those things arc a part of the personality
that makes Frank Morgan the extcilcnt
actor, stealer of scenes, and raconteur that
he is. And a swell guy, withal.
If the writer might be permitted a
thumbnail description of Frank Morgan,
it would be this: The gentleman reading
Thoreau and sipping a Scotch-and-soda by
the Lambs Club window.
SOFT HANDS are sweet
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Silver Screen for November 1936
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Projections —
Irene Dunne
[Continued from page 31]
Southern custom?" "I beg your pardon,"
said Irene becoming rigid with dignity,
"I'm not teched in the head. I -ivas born
in Louisville, Kentucky. I lived in Madison,
Indiana. I was educated in St. Louis and
Chicago. And I don't see that it is any-
one's business anyway." At the end of the
dance Dr. Griffin said, "May I have your
phone number?" With hauteur Irene drew
herself up for the usual squelch, discour-
teous, "I don't give my phone number to
strangers." But imagine her surprised
horror when she heard her voice saying,
and not so coldly either, "It's Plaza 5048."
It was three months before Dr. Griffin
called her. Irene had just about given up
hope. Then it came at last. "Hello, there,"
he said, "Do you remember me?" "Yes,"
said Irene all a-fiutter, "I— I mean, ??o."
Later, much later, after they had had many
dates together Dr. Griffin told Irene that
he had decided that first evening at the
Biltmore that she was the girl he was
going to marry. And that he had gone to
a jeweler's the next day and selected a dia-
mond engagement ring for her. But there
was the career problem. Dr. Griffin was
firmly established as one of Neu' York's
leading physicians-and he didn't like the
stage. And there -ivas Irene singing away
beautifully in one successful musical com-
edy after another— and with one eye still
sort of hopefully on the Metropolitan.
It was several years before Irene finally
accepted the ring. They were married fuly
11, 1927, in a church on East 83rd Street,
and it was the kind of a wedding that every
girl intends to have-and usually doesn't.
Irene had definitely abandoned her career.
She was now Mrs. Francis Griffin. They
honeymooned for many months in Europe
and Irene went on a mad buying spree-
she bought linens, antiques, drapes, vases,
all kinds of beautiful things for the home
they were going to build in New York.
(And which eventually was built in Holly-
wood eight years later.) Back in New York
again Irene tried to keep busy ^vith deco-
rators, designers, architects, anci the servant
problem— and wouldn't even allow herself
to look in the direction of Broad\vay, ^vell,
maybe, just a little peek occasionally.'
And then one of those New York foggy
mornings when Irene was trying to decide
whether she'd go over to Bergdorf-Good-
man's and look at dresses, or just stay in
bed, Anita announced that Mr. Ziegfeld
was on the phone. It was the most exciting
phone call Irene had had since Dr. Griffin
had said, "Do you remember me? "—and
before she had hung up the receiver she
had promised to play "Magnolia " in one
of his companies of "Show Boat!" Her
heart beat fast, the blood coarsed madly
through her veins, she felt like a star on
an opening night— and then she thought,
""What will my husband say?" If it had
been any other play Irene ^^•ould not have
considered it for a moment— but "Show
Boat " was her own flesh and blood, it was
a part of her.
Irene's father, Captain Joseph J. Dunne,
was a builder of Ohio 'Ri\er steamboats
and as a child she had spent many happy
days with him on the Mississippi and Ohio
ri^ers, and she had never gotten over her
nostalgia for the river country. Captain
Dunne \vns a gay, romance-lo\ing Irish-
man, with a quick temper and a sharp wit,
but, despite I he temper, e\ eryone who came
ill contact with him adored him, and little
Irene fairly ^vorshipped the ground he
walked upon. He died when she was
IxrtMve-up until then her life had just
Silver Screen for November 1936
73
Another Love-match
, on the dangerous reef of half-truths
about feminine hygiene. " Lysol "
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been one continual laugh. Yes, Irene
couldn't resist "Show Boat." After all she
was "Magnolia Ravenal." Dr. Griffin proved
himself then, and later, a very understand-
ing husband. If a man marries a girl who
has the theatre in her blood, he needs must
be very understanding.
Irene played "Magnolia" in the Chicago
company of "Show Boat" and was nothing
short of a sensation. Naturally it didn't
take those Hollywood talent scouts long
to send their cards backstage to her dress-
ing room, and at the end of the run Irene
signed a contract with RKO to make pic-
tures in Hollywood. In her new Holmby
Hills home today there is a green chair
(and not much else unless the furniture
has arrived from New York since I was
there) which Irene calls her Problem Chair,
for she sat in it the night she talked over
her return to the stage with her husband,
and again the night she tried to make up
her mind whether or not she wanted to
come to Holly^vood. The poor old Problem
Chair will probably get pushed around un-
mercifully by all the handsome New York
and European furniture that Irene has
bought for her magnificent new home— but,
after all, what with being one of the most
popular and glamorous screen stars in Hol-
lywood today, what with her first home
since she was a child, and what with Dr.
Griffin managing to spend more and more
of his time with her in California, Irene
really hasn't many Problems to settle now,
has she? Well, if you knew actresses like
I know actresses you'd know that no matter
how happy and successful they become
there are always Problems. The green chair
remains in the library.
When Irene arrived in Hollywood in 1930
there was a great Anti-New York-stage-
actress drive on, and Hollywood didn't
warm up to her one bit. In fact Hollywood
was rather rude. They called her "cold."
They called her "aloof." Worst of all they
called her a "lady." She was shoved soon
afterwards into a little number called
"Leather-necking," and she had just about
decided that she had made a dreadful mis-
take and had better call the whole thing
off when she was handed one of the plums
of the year, the feminine lead opposite
Richard Dix in "Cimarron." When "Cimar-
ron" was released in February, 1931, Irene
automatically became a star, with a new
contract and a big salary.
With the exception of a few bad pictures,
Irene has had one successful screen produc-
tion after another, all of them tremendous
box-office, and all of them adding to her
steadily increasing popularity. Most nota-
ble of them have been "Back Street," "Sil-
ver Cord," "Stingaree," "Age of Innocence,"
"Roberta," "Magnificent Obsession" and
"Show Boat." When she did the famous
Shuffle dance in "Show Boat" the preview
audience went mad. Irene could hardly be-
lieve her ears. "They like it," she gasped
to her mother, "and I thought they would
be horrified." When she tried to leave the
Pantages Theatre after the previe^v that
evening she was almost torn limb from limb
by her adoring fans— it proved one of the
nearest riots they've ever had in Hollywood.
Strange to say, Irene didn't go on the
stage because of the glamour of the theatre,
the footlights, and grease-paint, and the
thrill of curtain calls, and the excitement
of it all. She went on the stage simply be-
cause she had to make a living, and she
had a voice, and that seemed the most natu-
ral thing to do. After her father died the
Dunne family fell upon hard times and
Irene realized that her mother and young
brother were dependent upon her. She had
always wanted to study for the opera but
she knew that this took years of study and
thousands of dollars, ancl it wasn't for tiie
likes of her. She had to be a wage-earner.
Her first experience with the "theatre"
had been at a Chautauqua in Madison, In-
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74 Silver Screen for November 1936
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In the eagerly awaited "Plainsman" Mr. DeMille is direct-
ing Jean Arthur and Gary Cooper. It is a Western pic-
ture that will set the pace for all "epics" forever.
diana, when she had played "Mustard" in
"Midsummer Night's Dream." It seemed
very important to her then, but two years
ago she went to the Hollywood Bowl to
see the Max Reinhardt production of "Mid-
summer Night's Dream" and to save her
life she couldn't even find "Mustard." Ex-
cept for the usual plays at school Irene
knew nothing about the stage when she
arrived on Broadway to seek a career, In
fact her only equipment was a feather
fan with an amber handle which some one
had given her when she left home.
But she soon discovered that there was
more to being an actress than a feather fan
with an amber handle. After plenty of pave-
ment pounding she was given a part in the
road company of "Irene"— and, after that,
success was more or less hers. Despite pub-
licity to the contrary she has never ap-
peared in Opera. She would like to some
day. She spent a season with the Civic
Opera Company (which isn't opera) in At-
lanta, Georgia, and fell desperately in love
with that Southern city. Being from At-
lanta myself I happen to know that prac-
tically every eligible male in town proposed
to Irene while she was there.
Irene claims her worst fault is a quick
temper and a sharp tongue, which she in-
herited from her Irish father, and that it
is always getting her into trouble. "I'm
much better now though," she says. "And
soon I think I'll have everything under
control." I suppose that you, like myself,
are one of those dumb people who can
never think of the right answers \vhen the
air grows tense and drama rears its ugiv
head. Only after ive go to bed at night do
we think of something very crushing that
we might have said. "Oh, oh," we groan in
mortification, "Why didn't I think of it
then!"
^Vell, dear reader, that's where Irene
Dunne puts one over on us. Irene always
thinks of that devastating, cutting, crushing,
biting remark at the scene of action— and
not hours later in bed. Irene is caustic, and
can draw blood ^vith a ivord. Personally,
as one of our most dejected bed-writhers, I
envy Irene her sarcasm. I've always -wanted
to come olt best in a conflict of temper in-
stead of just choking a "Vou— You— " and
bursting into tears. But Irene assures me
that it isn't any fiui at all. Whereas we
groan all night in bed because we couldn't
think of an)tliing clc\er to say at the mo-
ment, Irene groans all night in l^ed liecause
she did, and she's awfully sorry she did.
So you see, you can't win. "You hiwc no
idea," said Irene, "how it feels to know
that you've cut someone to the quick. I'll
never do it again, never, never."
Irene can slam a good door and throw
a good hair-biush. loo, when her temper
Hares, bill she has such a grand sense of
liiunor thai hardly have the piclmes fallen
off the walls and the hair brush cracked
in two parts before she is dying laughing
at herself. She is awfully ashamed of these
little temperamental outbursts and doesn't
like to talk about them— but I always say
an actress without a temper isn't worth her
salt. I suppose I'm not the right kind of an
influence but personally I sincerely trust
that Irene keeps both her temper and her
sarcasm. They're safety valves for an emo-
tional actress. And, after all, acting, par-
ticularly when singing enters into it, isn't
the easiest thing in the world.
Irene is definitely one of the Great Wor-
riers of Hollywood. Not as good as Fred
Astaire and ISill Powell, but almost. She
can, and does, -svorry about practically e\ ery-
thing, though you'd never know it by look-
ing at that beautiful, serene face. Ironically
enough, when Irene \vas at the Loretta
Academy in St. Louis she organized a club
the sole purpose of which was to have fun
It was strictly against the rules to worry
about anything. It was called the "Mis
chie\ous Maids Club" and all the members
limited exclusively to ten, wore little gold
pins ^\ith MMC monogrammed on them.
Irene A\as the president and one of the few
members who never had to pay a forfeit foi
Avorrying. Well, all I can say is that she has
certainly been making up for lost time.
But, of course, Holly^\'ood is a far cry
from Loretta Academy. "But honestly,"
Irene told me just the other day, "I'm not
going to ivorry any more. It isn't worth it.
Look at 'Show Boat.' I worried mvself sick
over it. I knew the public wouldn't like it.
But they do and it has broken all kinds
of records. Yes, I decided while I was in
Europe this summer that I'd never worry
again. I shall laugh blithely all through
"Theodora Goes \Vild.' That's the picture
I'm doing now for Columbia, you know.
It's different from anything r\'e ever done
before, and it's a comedy, and I'm going
to laugh and be gay and never gi\e a
thought to ^vorry." (Entre nous again. I
ivas at the studio the second dav of produc-
tion and I fear that our little Irene is
■^^•orrying again.)
"Aiikes" and boats-that-might-sink-in-the-
night frighten Irene more "than anything
else. She loathes speaking over the "mike"
and this fear of it has kept her a^vav from
many a premiere. The lurking "mike" and
the unctuous young man who savs, "Folks,
we have with us tonight Miss Irene Dunne.
Irene say a few \\ords— " can make her
jittery for days afterwards. She's the type
of person who knows exactly where the
lifebelts are buried on a boat, how to
put one on, and just what life boat she's
su|5poscd to dash to when the danger siren
rings. Her father taught her all these things
when she was a little girl gallivanting
around with him on the Ohio Viver boats,
and though it's an excellent thing to know
Silver Screen for November 1936
75
it's made Irene extremely suspicious of
ocean travel.
She crossed on the Queen Mary ^vhcn
she went to Europe this past summer with
her husband and her mother and she
thought it all very beautiful and grand—
but the foghorns were just as frightening
as ever. One groan out of a foghorn and
Irene is prepared for the ^vorse. She ad-
mits, with the proper degree of modesty,
that she is an excellent cook. She once won
ten dollars at a County Fair in Indianapo-
lis, which was the prize for making the
best doughnuts, and when you can make
nice flaky doughnuts, says Irene, you've
really arrived as a culinary artist. She likes
to take long walks accompanied by her
police dog. Major, and she is considered
one of the best golfers in the cinema col-
ony, with the rare distinction of being a
member of the hole-in-one club. She also
has the rare distinction of being the only
movie star in Hollywood to give a party
without any furniture in the house. It
seems that when she returned from Europe
recently she was so eager to be in her first
real home that she "moved in " before the
furniture arrived from New York, and
being in the mood she proceeded to have
a cocktail party. (Didn't I tip you off that
she was a Party Girl!)
It's no pose with Irene that she hates to
talk about herself. She really is shy. So,
naturally, when she first arrived in Holly-
wood the fan writers had quite a time
with her, and not being able to worm out
any exciting facts about her they dismissed
her with the word "colorless." Now actu-
ally, on the contrary, Irene Dunne is the
most colorful actress in Hollywood. And the
most gracious. And color and graciousness,
in the land of the Garbos and Hepburns,
rarely go hand-in-hand. It's a treat to know
Irene Dunne. As a matter of fact it's a lot
of fun.
"Let's Talk Turkey!"
[Continued from page 19]
JELLIED FRUIT PUDDING
1 cup soft bread criunbs
2 cups cold ^vater
I/2 cup seedless raisins
1 package Royal Pineapple Gelatine
1/^ tsp. salt
1/5 cup pecans, broken in pieces
2 tbs. marachino cherries, sliced
Add raisins to one cup water and bring
to a boil. Drain and measure water. Add
enough more boiling water to make 1 cup
and use to disolve gelatine. Add salt and
second cup cold water. Chill until very
thick but not set. Add raisins and remain-
ing ingredients. Pour into molds and chill
until firm. Serve with whipped cream. 6
portions.
APPLE SNOW PUDDING
1 pkg. Royal lemon i/i cup sugar
or lime gelatine 1 cup boiling water
14 tsp. salt 2 egg \\ hites
1/4 cup cold water 1 tbs. lemon juice
1 large tart red apple
Dissolve gelatine, sugar and salt in boil-
ing water. Add cold water; chill until mix-
ture begins to thicken. Grate unlx-eled
apple; pour on lemon juice. Add to thick
gelatine; whip imtil frothy; add stifHy beaten
egg whites. Continue to beat until mixttne
holds shape. Pile in sherljet glasses or
molds. Chill. Serve with cusiard sauce.
If you would like an all hot supper for
Thatiksgi\ing iiiglu, here is one that, by
preparing all ingredients either the day
Ijefore or while your Tlianksgiviug dinner
is cooking, can be on your supper table 20
minutes after it has been put in the oven.
This menu is suHicient for foiu" persons
There is a saying that when at a Jirst meeting the impression is made on
the hearty that impression never changes . . . Evening in Paris Perfume
speaks the language of the heart . . . For Evening in Paris is {nown
the world over as the fragrance of romance . . . It is the perjume master-
piece of the man who has created most oj the great perjnmes . . . a perjume
as rich in moods, as enchanting to the senses, as Paris, itsclj, at night.
O U R J O I S
76
Silver Screen for November 1936
I/I f CLEANS TEETH
Half-way care of the teeth is no
joke. Clean your teeth regularly
but don't neglect your gums.
Neglected gums invite serious
trouble, dentists will tell you.
Why take that chance ? Forhan's
gives double protection. Cleans
and whitens teeth, and at the
same time safeguo i\ls gums.
SAVES GUMS
Forhan's is different from other
tooth pastes. It was created by
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both jobs. With it you clean and
brighten teeth; and at the same
time you massage gums, just as
so many dentists advise. Get
Forhan's, today. It costs no more
than most ordinary tooth pastes
— yet endsordinary half- way care.
Also in Canada,
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Mercolizcd Wax absorbs the discolored blem-
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out the youHR, beautiful skin hidden beneath.
.Just pat Merrolized Wax on your skin every
nifjht like cold cream. It beautifies while you sleep.
iVlercolized Wax brings out your hidden beauty.
USE Saxollto Astrlnfient — a refreshiniS, stlmu-
Itttlnii skin tonic. Smooths out wrinkles and nftc
lines. Keltnes coarse pores, eliminates oillaess. Dis-
solve Saxollto In one-half pint wltcb hazel.
and, while not elaborate, is tempting, filling
and delightfully different.
Cook 4 large sweet potatoes in boiling
water until tender. Separate a cauliflower
into flowerettes, cook in boiling, salted
water about 15 minutes. Heat 1 can aspara-
gus in its own liquid, drain, lay four or five
stalks on a large slice of boiled or baked
ham, roll and fasten with toothpicks. Place
in center of broiler rack and brush with
butter. Peel potatoes, mash, add 1 tbs. but-
ter, dash of salt and enough orange juice
to make a soft fluffy mixture. Fill cups
made from 2 oranges from which the mem-
branes have been removed and the edges of
ivhich have been fluted with a vegetable
cutter. Brush ivith melted butter, put a
piece of marshmallow on each cup and
place cups on extreme inside of rack. Dip
cauliflower in melted butter and place at
front of rack. Wash and peel 4 large mush-
room caps. Put butter in each cap; sprinkle
with salt and pepper. Place on broiler be-
tween ham rolls and cauliflower. Adjust
rack so that orange cups are about 3 inches
below heat and broil 15 minutes. When
serving sprinkle cauliflower with paprika.
A cheese sauce may be poured over aspara-
gus-ham rolls if desired.
It won't be long no^v before you'll be
gathered around the festive board in the
traditional Thanksgiving fashion and I
hope and believe that the above menus and
recipes will contribute to your holiday
enjoyment.
Rumors from Pictureland
[Continued fi'om page 21]
VY/ITH all the Hollywood boys marrying
' * into society these days the poor local
girls just don't have a chance. (Joan, you'd
better not let Dick Powell out of your
sight. And Carole, look out for Gable.)
Hollywood had it all set for handsome
Randy Scott to marry Betty Furness or
Mary Brian or one of the home town girls
^\'hen he ups and announces that he has
been married for months to Mrs. Marion
duPont Somerville, of the Wilmington,
Delaware, duPonts who simply reek with
millions. Randy, following in the footsteps
of Fred Astaire, who also married into the
Social Register, refuses to say much about
his wife except that he has known her since
1915, and that she loves horses, goes in for
breeding them and riding them in horse
shows. The new Mrs. Scott is expected in
Hollywood within the month, and no need
to say that Hollywood is bursting with
curiosity.
„ — — ,
ELEANOR POWELL and Frances Lang-
ford have collaborated on a song which
they call "Taptation " (cute?) with Frances
writing the music and Eleanor the lyrics.
Outside of writing songs, and acting, and
singing on the radio Frances is now busy
trying to raise her weight to a hundred
pounds. She's still a long way off.
A ND, of course, Hollywood was all set
^ for Flenry Fonda to re-marry Margaret
Sullavan, but imagine our surprise when
he announces his approaching wedding to
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Silver Screen for November 1936
77
Mrs. George T. Brokaw of New York and
Paris society. That all comes of letting him
go to Europe last summer.
WHEN the studio painters arrived to
"do over" Marlene Dietrich's dressing
room (Marlene's due back from Europe
soon) they made the startling discovery that
Marlene jots down telephone numbers on
her walls. Why Marlene, a big girl like
you.
" — '■•%>■' — ■
VY / ITH the first day of production of
"Love on the Run," Joan Crawford
and Clark Gable celebrated the fifth anni-
versary of their first co-starring picture,
"Possessed." Neither Joan nor Clark could
recall off-hand ho^v many pictures they
Olivia de Havilland was charm-
ing in the great "Dream" pic-
ture and now she has made a
hit in "Anthony Adverse."
have co-starred in during the last five
years. Director Van Dyke staged the party
as a surprise to his two stars and provided
a cake appropriately decorated with two
little figures in wedding costumes. Dining
the party the victrola played over and over
again "You Are My Lucky Star."
GO-NUT" is the latest expression in
Hollywood where the term "pixi-
lated" (remember the darling old ladies in
"Mr. Deeds Goes to Town"?) began its
career as a national phrase. "Go-nut" was
coined by Nelson Eddy, who admits being a
"Go-nut" himself. According to Nelson a
"Go-nut" is any person who is fond of
moving or of anything that moves. The
town is full of them.
DOBERT TAYLOR has a new black and
white checkerboard dressing gown ^vhich
you can see miles away even on a cloudy
day. Probably a little something he wanted
to startle Garbo with.
— ..$.»—.
X/IRGINIA BRUCE is wearing a new
^ diamond ring with a diamond timt l)ig,
but refuses to tell who gave it to her. Ditto
Betty Furness and her ne\v diamond wrist
watch. Secrets?
—"<§>- —
T'HERE'S always something new under
^ the sun— especially the Hollywood sun.
Celebrities have l)een "done in oil" and
"done in clay," but now Eleanor Powell
has decided that they should be "done in
dance." In her new musical extravagan/a,
"Born to Dance," she will do as tap steps
her impressions of several celebrities. Those
to be honored are Franklin D. Roosevelt,
King Edward, Joan Cra^vford and Mahatma
Gandhi.
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78
Silver Screen for November 1936
APPL AUSS
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Reviews of Pictures
[Continued from page 57
ture. Melvyn Douglas has the best part of
his screen career and is a truly magnificent
John Randolph. Maybe we are just in-
cinably romantic but we do sort of wish
there had been more Joan Crawford and
Robert Taylor and less wrangling over
politics.
A SON COMES HOME
A Dram,\ That's Right Down to
Earth— Paramount
you are about to see Miss Mary Boland
in her first dramatic role" was flashed
on the screen at the preview of "A Son
Comes Home" before the picture started.
This was definitely a warning to the audi-
ence not to laugh when Mary came on the
screen. Many a comedienne, turned dra-
matic for the nonce, has had to sit through
the torturous agonies of the damned at her
previeiv because the audience whooped and
howled thinking that she was just being
funny again. So the tip-off was a pretty
smart idea on Paramount's part.
In her first dramatic role for the screen
(but not for the stage) Mary Boland plays
an angel of the water-front sort of role
and her sincere and emotional portrayal of
mother-love is nothing short of magnificent.
The plot is simple: it's the story of a good
woman whose sense of fair play rises above
her great mother-love, and who protects an
innocent boy who is accused of a crime
committed by her own son.
Donald Woods is excellent as the young
boy who, accused of a murder he didn't do,
comes to Mary to help him in his time of
need. Julie Haydon, of "The Scoundrel"
fame, returns to the screen, after a long
absence as Mary's helper in a water-front
chowder joint, and gives another note-
worthy performance. Also outstanding in
the cast are Anthony Nace as the real son,
Wallace Ford as a rejjorter, and Roger
Imhof as a detective.
WIVES NEVER KNOW
An Hilarious Marital Farce— Fa rn mown/
HERE'S one of the funniest and best of
the Charlie Ruggles-Mary Boland farce
comedies and just the picture you need to
chase the blues away. Supporting Charlie
and Mary this time is none other than
Adolphe Menjou in another of his swell
low-comedy roles.
Charlie plays a devout floriculturist
(what ecstasy he gets out of his ne^v seven
petal petunia) and a model husband, and
Mary is the model wife. All is sweetness
and light until Mary wishes to impress
Topeka society by snaring Menjou, the
distinguished author of "Marriage— The
Living Death" for a dinner party.
Charlie buys a thousand copies of the
book, and the publishers force Menjou to
be the guest of honor at Mary's dinner.
Then Menjou decides to try out his mar-
riage theories by inducing Charlie lo go
on a bingt so that his wife ^vill be happier
in having something to lorgixe. And bv
]iersuadcs Mary that she and Charlie arc
just two vegetables, withering at the roots,
liecause he has never given her the chance
10 lorgivc him for anything.
So Charlie steps out. much agaiiisl his
will, and Mary forgives him until— she finds
oul about the French actress, 't hat lakes a
lol of explaining. Vivienne Osborne is
grand as the French actress who llnous
herself al Charlie just lo make Menjou
jiiiloiis. It's a most aimising-iiiclmc.
^ /o
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Silver Screen jor November 1936
79
Studio News
[Continued from page 17]
dancer. I can dance a little but I'm not
music in motion as she was. My fascinating
American Mick of a father was a gambler
and a drinker. But gambling bores me and
the other field is over-crowded. I can play
the piano— but no audience is going to
stand up and cheer the bricks off a build-
ing for me. I can paint and I can sculpt-
but not well enough to be an old master
and not badly enough to be a new genius.
I have everything— and nothing."
"You have a body," Skippy mutters.
"That's why you're here."
"A clothes rack!" Kay ejaculates dis-
gustedly.
"Buy yourself a rich husband with it,"
Skippy suggests, dealing the cards again.
"And write the life history of a para-
site," Kay mocks. "So that's your opinion
of my talents."
"It isn't lack of talents that's your
trouble, my child," Skip informs her, scan-
ning the cards.
"Then what is it?" Kay demands.
"You'll always find yourself tripping over
your heart," Skip tells her. "A big heart
is a millstone if you want to fly high, my
pidgeon. You've got to be self-centered and
liard and selfish and cruel."
"I can be all of those," Kay informs her.
But Skip shakes her head negatively.
"Just a softie. You ought to take it up
with your ancestors."
"The drivel you read from cards," Kay
sneers.
"I don't need cards to know what you
are," Skip maintains stubbornly. She looks
at the cards she has dealt out. Evidently
they are bad again lor she makes a face.
"All black, eh?" Kay ponders, leaning
In "Come Up Smiling," ZaSu Pitts and Allen Jenkins do tlie
comedy, and Patricia Ellis and James Melton bring out the idea.
across the table. "Who is this— the King of
Spades?" pointing to one.
"A man you may pray you will never
meet," Skip tells her.
"In short— a man," says Kay brightly,
hopefully.
As I've remarked often enough before
today, this is a scorcher. Over and over
they take this scene. It's a long scene and
neither Kay nor Skippy is muffing a line
but everything goes wrong. Nerves begin
to grow taut. So, although I had hoped to
have a chat with Kay when the scene is
finished, I decide the best thing to do is
beat it before I'm thrown out and have
my chat with Kay some other time.
We go to the next stage and find the
lunch room of a large department store.
The picture has been variously called "Let's
Pretend," "Sing Me a Love Song" and
"Come Up Smiling." It features James Mel-
ton, Patricia Ellis, ZaSu Pitts and Allen
Jenkins.
ZaSu and Allen are sitting at a table
together. The other two chairs are tilted
against the table to show they're reserved.
ZaSu is opening her lunch when she hap-
pens to glance up and see Pat and Jimmie
coming in at the far end.
"Yoo-hoo," Pitts yells jumping up, and
waving. "Jean! Yoo-hoo!"
Pat sees her and she and Jimmie make
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80
Silver Screen for November 1936
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Ask The Stars
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their way over.
"I saved two seats for you," ZaSii informs
her when she pauses at the table.
"Thanks," says Pat briefly. She starts to
pull out a chair but Melton is already
there to push it under her. Then he sits
down opposite her.
"Oh, Mr. Hanley," ZaSu smiles absently
at Jim, "this," indicating Mr. Jenkins, "is
Chris."
"Chris?" Jim smiles.
"Yeah," Allen says. "Cross."
"Cross?" Jim repeats. "I thought it was
Chris."
"That's right," Allen encourages him.
"Christopher Cross— commonly called Criss
Cross. I ^vas christened Cross but was
crossed up at the christening and I've been
criss-crossed and cross-crissed ever since."
He laughs uproariously at his own wit . . .
the dope.
"He always says that when he's intro-
duced," Pittsy puts in helpfully.
There is much more to the scene than
this and it is both amusing and dramatic,
biu lack of space prevents my giving you
all the dialogue. I'll just add that there
are also some swell musical numbers in
this show and that Melton has never been
in better voice.
And so we come to the next in the ap-
parently never-ending series of "Gold-Dig-
gers." This is the 1937 version. It would
seem "The Good Life Insurance Company"
has been holding a convention in Atlantic
City. Prominent among the salesmen are
Dick Powell and Lee Dixon. As it draws to
a close (the convention, I mean) the two
boys are being called down by the owner
of the agency for their lack of interest in
selling life insurance. Presently we find
them on a train going back to New York.
Joan Blondell, Glenda Farrell and Rosa-
lind Marquis (and is she a cutie!) and a
bunch of other girls are on the same train.
They are show-girls and their show has
folded up. You know how sho^v-gii-ls are,
especially when they haven't a job in pros-
pect. Each of them snags a man. All, that
is, expect our Joan, who is a virgin at
heart. When there aren't enough girls to
go "round, a bunch of the men (the
drunken bums!) start chasing Joan through
the train. She darts into what she believes
is the ladies room and slams the door. But
lo and behold! There's young Massa Po^vell
shaving. It's his compartment (although
why he should have a compartment when
he isn't even a good salesman isn't made
clear). He has soap on his face and al-
though he has rinsed it, it is still in his
eyes. Fumbling around for a towel he grabs
the jacket of Joan's dress and dries on that.
She gives a little scream, realizing her mis-
take and Dick fo'ces open his big blue eyes.
"Whut ah you doin' in heah, my little
gal?" he asks in a fatherly sort of wav.
"Some dnmks were chasing me," Joan all
but sobs.
"They'll go away or pass out— or some-
thing," he comforts her. "Are you one of
the show girls?"
"I Avas," she admits. "Sho^v closed. No^v,
I'm going to get a job." She glances tOAvards
the door. "Don't you think they've gone
by now?"
"They'll wait for hours," he predicts.
"\V'here you going to get a job?"
"That's just it," she laments. "I don't
know."
"That's tough," Dick sympathizes and
then— like a flash— comes an idea. "Maybe I
could fix it up," taking a card from his
pocket. "How'd you like to work in an
insurance agency?"
Joan glances at the card. "Lovely work—
if you can get it," she coos.
It's getting late so an)thing even re-
sembling a chat is out of the question. I
wave to Dick and Joan and even before
I get [heir rcUnn wave, I'm next dooi
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Silver Screen for November 1936
81
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Wayne Morris and Dick Purcell
discuss etiquette for "King of
Hockey."
looking at Dick Purcell emote in a little
number formerly called "The Shrinking
Violet." The studio must have realized
what a laugh that would be to anyone who
knows Dick so they quick changed the
name to "King of Hockey."
Mr. Purcell is a star hockey player at col-
lege and he finally turns pro when he leaves
because he can't find any other ^vork. He
plays for the New York Violets and George
E. Stone (a gangster again, for a change)
tries to get Dick to throw games so the
gambling interests ivill have a chance to
clean up. Of course, our hero refuses.
Somewhere along the way Dick meets
Anne Nagel and makes a play for her, but
she wants no part of him. We find him in
his room reading "Emily Post" in an effort
to find out what's wrong with him.
"This book," his room-mate (Wayne
Morris) interrupts, "ain't goin' to help you,
either. Knowin' which fork to eat your
ice-cream with ain't goin' to overcome all
that dough she's got. You're just a hockey
player— and broke most of the time, too."
Before Dick can answer there is a knock
at the door. It's a telegram for Dick. After
he's signed for it, he stands reading it.
"What's the matter?" Morris asks.
"Plenty," says Dick, handing him the
wire to read. It's from Merton, Pennsyl-
vania and reads:
"STORE BADLY DAMAGED BY
FLOOD STOP NEED FIVE HUN-
DRED DOLLARS URGENTLY STOP
HATE TO ASK YOU BUT CAN YOU
SEND IT
THOMAS MCKENNA"
"McKenna?" Morris philosophizes, look-
ing up from the wire. "Ain't that the old
guy you was tellin' me about that put up
the money for you to go to school?"
"Yeah," Dick nods impatier.tly. "He gave
me everything. And the one time he asks
me for help I can't do a thing. That's what
burns me up."
"You mean," Wayne suggests sarcastically,
"you ain't got five hundred dollars?"
"Have you?" Dick counters eagerly.
"No^\^ Gabby," Wa^ne murmurs, hurt to
the quick, "you know / ain't. Mebbe,"
helpfully, "we can figure out something."
"Yeah? What?" Gabbly asks impatiently,
sitting down and picking up a ne\vspaper.
"Oh, I don't know," Wayne ans\v'crs
vaguely. "I come from a family of figgcrcrs.
My grandfather was a whittler. He used
to set on a fence an' whittle an' figure and
whittle and figure "
Gabby impatiently flips the paper open
at this crack and what, do you 'spose he
sees?
"GEE-GEES GALLOP AT PACIFIC
PARK TODAY "
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Silver Screen for November 1936
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What
Do You Do with
Your Little Finger?
—when you pick up a glass or cup? . . . You know from
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this lot? Sure you would. I did, too. But,
no! Mr. Bernie Williams who is touring
the lot ^vith me, grabs me by the arm as I
head for the gate and, very dramatically,
says, "^Vait! You ain't through yet. We
haven't seen 'God's Country and the
^V'oman.' "
I start to give him an argument because
I'm too tired to be interested in either one
of them. So I just let him drag me where
he lists. It turns out to be a rough shack
in a north ivoods lumber camp. It isn't
the mess shack because there's no stove and
not enough tables. It doesn't look like the
bunkhouse because there are no bunks.
Maybe it's the club room.
At any rate, Beverly Roberts in a white
shirtwaist and a brown suede skirt and
boots that come up to her knees is ad-
dressing one of the toughest looking bunch
of men I ever saxv.
"That's all," she says, hard and resolute.
"I've held nothing back. Nothing! Because
I felt you had a right to know. I've been
a blind, stupid fool to ever even think I
n'as in love with him (It's Mr. George
Brent of whom she's speaking). But that's
all over now! We'll have a iight on our
hands— but a good logger never turned
down a fight yet. Are you with me?"
"Yay!" roar the men.
"That's fine!" Bev roars back. "This scrap
isn't going to be pretty— and if there's any-
one of you who'd like to drop out, now's
the time." There is a roar of protest from
the men. They are spoiling for a fight. The
script says so. Beverly smiles. "Get going
now and we'll show that chinwhisker
Russett (Mr. Brent, again) what a log drive
really means."
"As the men turn a^vay," the script con-
tinues, "excited and talking, \\'e— FADE
OUT. '
And I fade to
Paramount
(^,UESS I'm due to take another licking
over here. There's just too much doing
in the studios. The first set I visit on this lot
is "The Plainsman"— the C. B. deMille yarn
starring Gary Cooper. This has to do with
Buffalo Bill and Wild Bill Hickok. Gary
is Hickok.
The scene is Buffalo Bill Cody's cabin.
Jimmie Ellison plays Cody. Mrs. Cody
(Helen Burgess, her first big part) and Gary
are standing at the table. The door opens
and Jimmie and Jean Arthur (who plays
Calamity) enter. Jimmie doesn't welcome
her to the place. She thro^^'s her packed
deer-skin saddle bags beside the door and
crosses quickly to Cooper.
"Bill, did they hurt you much?" she asks.
"I'm all right," he says curtly.
"I couldn't come till it got dark," she
explains, " 'cause I was scared they'd be
watching me." She pauses a moment be-
side Helen, glancing defiantly at the three.
"I kno^v you don't ^vant to see me. Biu,"
turning to Gary, "I got to tell you some-
thing. Bill. Custer's ordered you brought
in dead or alive. The troopers have combed
over every hidin' place by the river. They'll
be out this way next."
"He's goin' back to find Lattimer," El-
lison savs bitterly.
"Lattimer's gone," Jean announces.
"Pulled out with his wagons."
"^Vhere?" Gary asks.
"Noljody knows," says Jean.
"I'll (ind him," he decides.
"Yes, Bill, of coiuse you ^^ill," Jean sn^s,
as she kneels beside him and genlh' forces
him back into his chair. "Sonic da\ Nou'rc
bound to luU don't try to lind his liail
no\^'. )ust {\\ to sa\e yourself from Custer's
men. No Iclliu' what they'll do to you."
I'll call \()ur aiicntion once more to tlie
heat of the day and ihcy have a ivood fire
in tlic stove in the cai)in. "This wood's
going to make an awfid noise crackling."
Jean warns them, and adds, "Sounds good,
llioui'h."
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Silver Screen for November 1936
83
"Smells good, too," Gary decides, taking
a tentative sniff.
I notice, wlien the scene is finished, that
Gary's left hand is bandaged. "What's the
matter with your hand?" I ask in mock
solicitude.
"Oh, I hurt it," he says. "I'm ahvays
hurting it in pictures. And curiously
enough," he grins, "it's always the left one
I hurt."
"Well," I say as I rise, "I gotta be going."
"What for?" Gary demands. "Why don't
you sit around and rest? We're all resting."
Anyone who knows Gary would never
argue that point with him so I just smile
—rather vaguely— and amble over to the
next stage.
Here we have "Champagne Waltz" ivith
Fred MacMurray and Gladys Swarthout,
to say nothing of Jack Oakie and Herman
Bing.
Miss Swarthout isn't working today but
MacMurray is, with the California Col-
legian orchestra. Fred used to work in this
orchestra before he got a break in pic-
tures. So when he found they were going
to need a band in this picture he insisted
that they hire this one. And, more, he
invited a couple of the boys to share his
dressing room with him. He plays the
orchestra leader.
The script isn't finished, of course, so
I can't tell you what it's about but the set
is the interior of "The Jazz Palace," where
Fred and his boys hold forth nightly. Next
door is The Waltz Palace where Gladys
sings. She sponsors Wagner.
"There never was a more modernistic set-
ting in Ne'w York than The Jazz Palace,
even though this one is in Vienna, gay
Vienna. Everything is chromium striped
Wide World
Henry Fonda and his bride, the
former Mrs. George T. Brokaw,
socially prominent widow of the late
New York financier.
and fascinating modernistic squares.
Fred and the orchestra are doing one of
those impromptu or, rather, informal num-
bers. The orchestra plays and suddenly they
go very piano (soft). Fred points his baton
at the bass viol. "When is a dog's tail not
a dog's tail?" he asks.
"When it's a waggin', " says the bass viol
and then there is a loud noise from the
orchestra. Presently they piano again.
Fred points at the first violin. "When is
a door not a door?"
"When it's ajar," ans^vers the violinist
and another blare from the orchestra.
Fred points to Benny Baker. "When is
a straw hat not a straw hat?"
But dammit, I can't read my notes and
you'll have to see the picture to find that
one out.
"That's very good," says Mac, "you'll go
far. Now, all together, do your best. This
is a good one, your final test. When is a
seal not a seal?"
"When it's broken," yell the chorus and
there are a series of "awk's" like the noise
seals make and three or four of the boys
flop around on their bellies in such a
perfect imitation of seals I think they
should be in vaudeville— if there is any
vaudeville.
Veloz & Yolanda, those swell dancers,
finally get a break in this picture.
On the way out I stop to say hello to
Jack Oakie. "Aren't you working in this?"
I inquire politely.
"Na^v," he says ^vilh that formality for
which he's distinguished. "Bing and me
don't do this comedy stuff. We do the
'Knock knock' routine."
"What's that?" I persist.
"Come on, Herman," Oakie calls. "Show
him."
So Jack says "Knock, knock."
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Silver Screen for November 1936
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"Whoos dere?" inquires Herman.
"Anna," says Mr. Oakie.
"Anna who?" says Mr. Bing.
"Anna gonna rain no more," sings Jack.
"Knock, knock."
"Whoos dere?"
"Irma," says Jack.
"Irma who?" Bing wants to know.
"Irma gonna have trouble with you?"
asks Jack.
Well, m' dears, I simply fly. I can't stand
puns and when Billy Bakewell went to
New York I thought I'd heard my last one.
The last picture on this lot is shooting
right out in the open before God and
everybody. Right there on the street. It's
called "The Turning Point" and it must
have something to do with prison because
there are a thousand men in prison uni-
form lolling about. Presently the gate opens
and a car drives in. "Boo! Boo! Boo!" yell
the prisoners as Paul Kelly and a few
other men get out. Paul addresses them but
I can't hear what he says.
"Hey, youse guys," hollers the assistant
when the scene is finished, "we'll do it
again and don't make those 'boos' so long
drawn out. Make them more staccato.
Now!"
So they take the scene again and this
time there are a series of short, sharp boos
and to an uninitiated, such as I, it sounds
like nothing in the world so much as a
certain crooner's "Boo, boo, boo."
I mention something of this and my
guide snaps me oft.
"Enough," I scream. "I've been insulted
today from one end of Hollywood to an-
other. I'm going where I'll be appreciated."
"Where?" demands my guide skeptically.
"I don't know yet," I answer with more
truth than sense, "but I think it's
M-G-M
r~^UT here I find plenty of appreciation
^—^ (liar) but only one company. It's "Li-
belled Lady" with Spencer Tracy, Myrna
Loy, William Powell and Jean Harlow. Four
finer actors you couldn't find. Take a bow,
Jean. I've been telling you for years about
Spencer and just wait until you see Myrna
in "To Mary— with Love." (Take a bow,
Myrna. Take a bow, 20th Century-Fox).
This picture is just starting. I suspect
Jean and Spencer are in love but for some
reason, in the office of the justice of the
peace, she has just married Willie Powell.
She's standing by the door with Spencer
close by.
"Well," says Jean to Spencer, "aren't you
going to kiss me?"
"Oh, sure," says Spence. "Sure." So he
kisses her on the cheek and Jean gives out
one of those rapturous sighs and sort of
pushes her cheek up against his mouth.
Finally he draws away a minute but you
can imagine Jean's not hard to take so he
puis his mouth back again and Jean must
like it because she closes her eyes and puts
her cheek back, too. It's all just a little
embarrassing for Spencer Charters (the
justice of the peace).
"An old friend of the family," Willie
explains to Mr. Charters. But then Jean
goes back for still more, so Mr. P finds it
necessary to emphasize his explanation. ".\
very old friend," he qualifies agreeably.
"Oh, er," holding out Jean's bag to her.
Jean snaichcs the bag out of his hand,
her eyes blazing.
"Well," Mr. Charters well's, "I hope
you'll in\ite me to the silver wedding."
"It'll have to be within the next six
weeks," Jean snaps.
They all force a laugh and there is a
chorus of "good-byes" and Spence is shak-
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"\ou ," he begins and if my mother
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Silver Screen for November 1936
Two Blonde Menaces
[Continued from page 28]
85
actual experience. Often too, someone
makes a crack and has to be taken down."
"Like a certain leading man?" teased
Joan. "He started to tell Glenda a naughty
story and you should have seen her eyes
blaze. For once she couldn't think of ^vords
fast enough so she took a swing at him.
One was enough. He apologized profusely
and meant it, too, but she never forgave
him."
"We can take care of ourselves," said
Glenda, "for we learn a little of everything
in this business. We have a long list of
'can do's.' We've learned some fancy
wrestling holds, how to handle fire arms, to
speak the gangster's lingo, how to drive a
truck, to mi.K and spread cement, navigate
a power boat, the elemental rules of flying.
the chorus girls', dance routines. Once, Joan
had to learn the knack of falling down a
long flight of stairs without hurting her-
self, and I was sent to prison and had to
learn the convict's frantic feel!"
"Don't forget the arts and wiles of the
secretarial job," reminded Joan. "We have
both played many seductive secretaries.
Take it from us, a screen career is a liberal
education.
"You can't go stale before the camera,"
she continued. "You must always keep your
mind open to the lighter touches for com-
edy can never be forced."
Here's a swift glimpse of those two love-
able hotcha cuties of the screen whose
bubbling merriment never fails to delight
a million film fans!
Stars or Stooges
[Continued from page 23]
has always had the good sense to employ
the most expert advice which was available,
and to follo\\' it. Mary Pickford's favorite
cameraman was the chap who knew her
worst camera angle and who would sing
out, "Don't give me the little monkey-face,
Mary!" when he glimpsed it through his
lens.
The successful ones are smart enough to
be dummies! Clever enough to let the ex-
perts tell them.
Sometimes this is difficult for people who
have enjoyed success upon the stage, peo-
ple who think they have learned how to
do it, who have perfected and proved stage
technique. The first week's shooting with
Luise Rainer was a series of temperamental
blow-ups, protests and scenes. Luise thought
that these people were trying to re-model
her, to turn her into something artificial.
Days of patient persuasion convinced her
that they were merely trying to emphasize,
upon the screen, the peculiar and valuable
qualities which only Rainer possessed. Once
she was convinced of that fact, Luise be-
came the most tractable star you coidd
imagine.
"They are only trying to make me be the
real me— on the screen!" she said, \vonder-
ingly.
Luise had learned to be a "dummy" to
her own profit.
Sometimes the stars' very defects are
turned into assets by the experts. You have
all admired Boris Karloff's cultivated voice
and diction. Did you know that Boris had
an impediment in his speech and that con-
stant coaching and stern training were
probably responsible for that meticulous
delivery? Critics have mentioned Norma
Shearer's carriage as being the most inter-
esting of that of any woman in pictures.
Did you know that Norma was inclined to
be a trifle— er— bow-legged, and that her
study (with the advice of experts) to over-
come that slight defect has resulted in her
having one of the most interesting walks
of any feminine picture star?
Kay Francis says: "I am too tall and thin.
I have an inclination to frown and wrinkle
my forehead. There are things aboiu my
eyes which are wrong, photographically. I
don't even know exactly what they arc!
I only know that make-up men, canu-ra-
men, dress designers and electricians have
overcome these defects for me without niv
half understanding how these things were
accomplished. If you like the way I look
or sound upon the scieen, these people
must have the credit!"
Kay has learned how to be a clever
"dummy."
Sometimes the experts have to be sho^^■n.
Bette Davis was merely a pretty ingenue
for a long ivhile. Lots of people really
didn't think that she was even very pretty!
She wore such very heavy make-up on her
eyes in the effort,, one gathers, to be
"exotic." When Leslie Howard insisted
upon having her for his leading woman in
"of Human Bondage," and when they made
her up to suit the role she was to portray,
something in Bette ^vas released. Then she
showed us what she could do!
When I first met Bill Powell, he told
me that he thought he was nearly finished
in pictures.
"They have given me a droopy mustache
and correspondingly droopy eye-lids for
years," he protestecl. "You can't go on being
so droopy, so slimy, forever!"
Just about then, talking pictures made
their debut and it was discovered that Bill
Powell could talk. The experts removed
all the droops and gave him lines to say—
and you know the results. But Bill, show-
man that he is, was resigned to the opin-
ions of the experts then. I'll wager that he
would be the first to tell you that experts
are responsible for a great part of his suc-
cess today.
Your successful star is your intelligent
"dummv. "
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86
Silver Screen /or November 1936
A /Movie Fan-s Crossword Puzzle
Fred Astaire
FRED ASTAIRE, after romping about in
England with his sister, Adele (Lady
Cavendish), returned to Ne^v York and
found "Swing Time" playing at the
monster Music Hall. Fred doesn't know
how good he is on the screen nor how
much people like him. He thought he
would go and see the picture, so alone
and unrecognized he bought a ticket and
saw himself "as others see him."
He was pleased to hear the audience ex-
pressing their enjoyment. When one of
his dance numbers ended the folks around
him clapped and chuckled and seemed to
like it so much that Fred couldn't help
liking them, too. He felt that if they
wanted him in pictures they could darn
well have him. So he left the theatre,
dashed to his hotel and then to the flying
field and the next day he was in Holly-
wood ready to make "Stepping Toes."
That's Fred all over, ahvays ready to do
his stuff ever since he was a boy in vaude-
ville, and it shows on the screen, too.
We always feel unhappy when we come
lo the end of a hook we like. It is welcome
news if we learn that the story is to be
put on the screen. "Gone With the \Vind,"
a best seller, has been purchased by David
O. Sclznick for the screen. Already he has
refused offers of $50,000 more than the
■IC^.ooo that he paid. Margaret Mitchell, a
young and very charming Southern \voman,
lias written this fine book and .Allanla, G:\.,
may well be proud of her. George Cukor,
master ducclor, will make the jjicture. C:an
)o« guess who will play Scarlett O'Hara?
'Mary of Scot-
(initials)
the Asking"
Kl)l lOK.
ACROSS
1 The quiet young school teacher in "M'liss
4 "Mary of Scotland"
9 The nurse in "The Road to Glory"
12 She is featured in "Sworn Enemy"
14 To sin
15 Scent
17 Paul Muni's wife in "The Good Earth"
18 A measure of weight
19 The bad man in "Public Enemy's Wife"
20 A continent (abbr.)
23 A degree
24 Humble
26 The priest in "San Francisco"
30 Small venomous snakes
33 Indefinite article
34 To produce mental agitation (slang)
36 To have (Fr.)
38 A preposition
39 Verbal
41 Inequalities
42 -Within
44 Katharine Hepburn's secretary in
land"
47 He is one of "The Texas Rangers"
48 To partake of food
50 Her latest picture is '"bfours fo
(initials)
51 To sum up
52 Every (abbr. )
53 A small mound
54 Pangs
57 She gave a splendid performance in "Fury"
59 The captain in "The Charge of the Light Brigade'
60 One who guides or directs a vessel
63 Magnolia in "Show Boat"
65 Gymnastics
68 To incline the head
71 An untruth
72 Mrs. Charles Boyer
73 Greek letter of the alphabet
75 To fear greatly
77 To e-xtena
80 The charming newcomer in "Girls' Dormitory"
82 He last appeared in "We Went to College"
83 She shares honors in "China Clipper"
84 Quantities
DOWN
1 To obstruct
2 To get up
3 With Conrad N.ngel in "Girl from Mandalav"
4 Possessive pronoun
5 To fondle
6 The demonstrator in "Earthworm Tractors"
7 Vase
8 Neither
9 Co-st.irrcd
Godfrey'
10 Surfaces
11 Abbr. form of m.isculinc first n.ime
13 Civil Engineer (abbr.)
16 Perform
21 Skilful
22 Revenue (abbr.)
24 Feminine first name
Type measure
Consolation
Electrical Engineer (abbr.)
Chief accountant (abbr.)
One of the three youngsters in "The Devil Is a
Sissy"
Parent
He was one of Will Rogers' closest friends
The cafe singer in "San Francisco"
Romantic persons
With Gary Cooper in "The General Died at
Dawn"
Pertaining to a nation (abbr.)
The sun god
Doctor of divinity (abbr.)
Not fat
Pronoun
To bind
Royal Navy (abbr.)
A globe
The stem of a leaflet
Very reverend (abbr.)
The wealthy young sportsman in "The Spend-
thrift"
Her latest picture is "The Gay Desperado"
(initials)
Part of the bible (abbr.)
With Robert Montgomery in "Piccadilly Jim "
Symbol for titanium
Court of appeal (abbr.)
The eye
Mrs. Joel McCrea
A large Australian bird
Man's name
The "mammy" singer
Thoroughfare (abbr.)
The male star of "Yours for the Asking"
(initials)
E.xists.
Answer To Last Month's Puzzle
with William Powell in "My M.in
THE CUNEO PRESS, INC., U.S.A.
IT'S wonderful," says Loretta
Young, "how you can use
all the cosmetics you wish, yet keep
your complexion exquisite with Lux
Toilet Soap."
It's when stale rouge and powder
choke the pores that Cosmetic
Skin develops — dullness, tiny blem-
ishes, enlarged pores. Lux Toilet
Soap guards against this risk. Its
ACTIVE lather goes deep into the
pores, carries away every trace of
dust, dirt and stale cosmetics.
When 9 out of 10 screen stars
use Lux Toilet Soap to keep skin
lovely, you can be sure it's the right
complexion care for you. Why
don't you try it?
YOU want to have the charm of smooth,
clear skin. So follow this simple rule:
Before you put on fresh make-up, ALWAYS
before you go to bed, use Lux Toilet Soap.
She always
came with
Brother
Poor thing . . . for years Ellen had
been coming to parties with an
irritated and unwilling brother
. . . simply because no other man
would take her! And yet, when
she came out of college, every-
body said that with such pretti-
ness and charm she'd be married
before she knew it. But the whis-
pered stoiy of her trouble went
the rounds, as it always does, and
simply ruined her socially. That is
what halitosis (unpleasant breath)
does to many a woman, many a
man — without their even realiz-
ing its presence.
No Laughing Matter
People no longer laugh about halitosis.
Research has established this offensive
condition as being so real, such an every-
day threat, that only the ignorant and
careless fail to take precautions against it.
The fastidious, realizing it is the fault
unforgivable, are continually on guard.
A Notable Deodorant
There has always been one safe product
especially fitted to correct hahtosis pleas-
antly and promptly. Its name is Listerine,
and it is the pleasantest tasting, most de-
lightful mouth wash you can use. When
you rinse your mouth with Listtrine,
here is what happens:
Four Benefits
(1) . Fermentation of tiny food particles
(the major cause of breath odors) is in-
stantly halted.
(2) . Decaying matter is swept from large
areas on mouth, gum, and tooth surfaces.
(3) . Millions of bacteria capable of caus-
ing odors are destroyed outright.
(4) . The breath itself — indeed, the en-
tire mouth — is freshened and sweetened.
Don 't Offend Others
When you want such freshening and deo-
dorizing effect without danger, use Lis-
terine. Use it every morning and every
night, and between times before business
and social engagements, so that you do
not offend. Lambert PJiarmacal Company,
Si. Louis, Mo.
Silver Screen
for December
1936
3
She's back fane? will you ever forget her in " Broadway Melody of 1936") in the
Biggest Musical Show of this Year...M-G-M's dazzling successor to "Great Ziegfeld"
. . .brim -full of brilliant scenes, thrilling dances, gorgeous girls, and stars — stars
—STARS! The Cole Porter songs are swell {"Easy to Love", "I've Got You
Under My Skin", "Swingin' The Jinx Away", "Hey, Babe, Hey", and lots more).
BORN TO
je^ ELEANOR POWELL
with
JAMES STEWAHT-VIRGINIA BRUCE
U^aA MERKEL*SID SILVERS •FRANCES LANG FORD
RAYMOND WALBURN-ALAN DINEH ART • BUDDY EBSEN
A Metro-Goldwyn-Mayer Picture • Directed by Roy Dei Ruth
4
Silver Screen
©CIB 319112
REFLECTING ^Ae MAGIC o/HOLEyWOOD
DECEMBER 1936
Volume Seven
Number Two
ELIOT KEEN
Editor
Elizabeth W ilson
Western Editor
Frank J. Carroll
Art Director
CONTENTS
STORIES AND ARTICLES Page
LIFE AT HIGH SPEED Gladys Hall 20
Players In Pictures Must Always Be On The Go
THE SPHINX HAS MELTED! Anxabelle Gillespie-Havek 22
Garbo Now Is Easy To Know
WHEN SNOW COMES TO THE MOUNTAINS Ben Maddox 24
The Stars Rush To The Hills To Welcome Winter
PROJECTIONS Elizabeth Wilson 26
Barbara Stanwyck
ROMANCE Eleanor Packer 28
The Long and Short Of Love In Hollywood
GOLD MEDAL AWARD 29
]oan Crawford Presents The Medal To Robert Taylor
HOLLYWOOD AGAINST THE WORLD Ed Sullivan 30
The Battle For The Foreign Market
SOME CAN TAKE IT! Liza 32
// Requires A Stout Heart To Carry On
SHIRLEY TEMPLE GIFT CONTEST 51
Thirty-one Prizes For The Most Interesting Letters
"DISTINCTIVE" Jerry Asher 52
Franchot Tone, As A Friend Of His Knows Him
IF Maude Cheatham 53
The Word That Has Added Drama To Merle Oberon's Career
THE THRILLING STORY OF AN AVENGER WHO FOUND
LOVE Jack Bechdolt 56
Fictionization of "Winterset"
MONTHLY FEATURES
The Opening Chorus 5
'"i'ou'RE Telling Me?" 6
Be Beauth ul When Evening Comes Mary Lee 8
Make-up Secrets That Give That W ell-Groomed Look
Tips on Pictures 10
Holiday Meals That Busy Women Can Prepare Ruth Corbin 12
// Is No Longer Necessary To Spend Long Hours In The Kitchen
Studio News S. R. Mook 14
A Tour Of The Busy Sets To See The Stars At Work
19
54
35
Topics for Gossips.
Reviews of Pictures
A Movie Fan's Crossword Puzzle Charlotte Herbert
The Final Fling
ART SECTION
"Bart" from the British Isles
The Sun Never Sets On Herbert Marshall' s Fans
Everybody Dances in the New Pictures 36-37
The Annual Crop Of Musical Pictures Has Arrived
Excitement Ahead! 38-39
Life Is Never Dull For A Movie Fan
They Count Their Fans by the Millions 40-41
The Most Popular Heroes Of The Screen
The Parade of Fashion 42-43
The Stars Flaunt Their Colorful Winter Regalia
All Girls Want Jewelry 44-45
Jewels Make Pretty Girls Look Prettier
Oh, the Joys of the Wildwood! 46-47
the Jungle Pictures Are Here
So Beautiful
Picture Girls Are Loveliest
Animal Performers in the Movies ro
The Hollywood Stars Encounter Competition
COVER PORTRAIT OF BARBARA STANJVYCK BY MARLAXD STOXE
SILVEJR screen. Published monthly by Srreeiilanil T\rai;;i7,l rin. Int-.. nt IT. West I'lh Stiti'l New Ynilt \ v
V. G. Heimburhpr. President: J. S. MaeDermnlt. Vice I'rexidejit; ,1 Superior Serri'liu-y jn.l Treiiurer '\,lM.r'
tislng Offlres: 4.'j West 4jth St., New York; 4ni) Nnrdi .Mi.'liisiju .\\v.. Clii.nr"- s Mrv,,,,,!,],, , '.
Angeles, Calif. Yearly subserlptions $1.00 in the I'liifed Sl;ile<. il-: .Irp, n.l, i , ir- C"!,:, ;iim| M r- i,'„ ■' s | 'i
Canada; foreiRu $l.fiO. Chanoes of address must rearh us five weeks in advance e( the next isnic Be' sure to
give both the old and new address. Entered as serond elass nuiltcr. SepUmher 2:), Itiyn. at the I'li-it OIHee New
Ytnk. N. Y.. under the Art (if Mardi 3, 1879. Additional entry at Cliicivo. Illinois. Copyright 193S by Sereenlnnd
Magazine. Ine. Printed in the 1'. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS
Janet Gaynor
A Letter From Liza
DEAR BOSS:
Now really I don't know why I. the
most fabulous fibber of my time, should
suddenly see the light and go dashing about
Hollywood ^vith white banners of truth
swishing from the inverted flo^ver-pot which
someone with a sense of humor sold me
for a hat. I who could tell whoppers bigger
than a whale could swallow. Maybe I'm just
"in a phase" as we are constantly saying
about Joan Crawford, but if I am in a
phase I must say that there are a lot of
movie stars in the same phase ^\'ith me.
Poor dears, they are so tired of being glam-
orized and vaporized and made to appear
in print as somebody they aren't at all.
They consider their real selves far more
interesting than their reel selves, and they're
right. Yes, indeed, I'm all for more and
more movie stars coming out in the open
and saying "I che^v my finger nails, so
what?"
One of the little pupils who gets a nice
fat A in my debunking class is Janet Gay-
nor. Janet is pretty darned sick of playing
ingenuish Cinderella roles, and being pub-
licized as a sweet bit of fluff, a ga-ga child
of ^vhimsy, and a darling little demented
nincompoop. As a matter of fact Janet isn't
darling, sweet, or whimsical at all. She's a
very determined young woman with a tem-
per—and she's no birdbrain. It was no fault
of liers she became the leading 'Whimsv-
Pooh of the screen, and no^v that she is
through with her Fox contract and free
lancing you'll be seeing the real Gaynor
for a change. You probably never suspected
it but Janet is really one of the best come-
diennes of Holly^vood— \ou caught a whiff
of it in "Small Town Girl " and "Ladies in
Lo\e." But just wait, she'll out-romp Lom-
bard and Patsy Kelly any minute now.
Another gal who belies her pubUcit\ is
Jean Harlow. According to her pictures and
her stories Jean \\'ould think nothing of
jumping on a table at the nearest party
and doing a Gypsy Rose Lee (a strip dancer
to those of you who have led a sheltered
life)— though, of course, she was only doing
it because her licart was breaking o\er
Spencer Tracy or Clark Gable or what have
you on the Metro lot. Jean, I suppose, is
one of the least seen about town girls in
Hollywood. You can't step out of your door
without stumbling over JcanetteMacDoii-
ald, or Irene Dunne, or Barl)ara Stanw\ck.
but it's Jean, not Ihcv, who gels the rc|>
for being a part\ girl. Jean Ii\cs in a small
house, saves her moiu'\', fiivmN o\cr licr cats,
and worries over lici ukiiIu i s Iicaliii wiiiih
has been bad latch.
\nd so farewell to
W'himsv-Pooh Ga\ nor
and Hot-Clia Harlow.
And when it's truth
\(ni waul come U>—
f Of December 1936
5
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every minute you wear the Perfolastic garments
you are actually reducing at hips, waist, thighs and
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■ See for yourself the wonderful quality of the
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SEND FOR TEN DAY: FREE TRIAL. OFFER
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Please send me FREE BOOKLET describing
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particulars of your 10-DAY FREE TRIAL OFFER!
Name . . .
Address-
City-
To Win A Signed/
Framed And Inscribed
PKotograph/ Write
A Fan Letter.
Pat O'Brien and
Ann Sheridan work
together for "The
Great O'Mallcy."
I'm urging my friends to see
it. I \vould cherish a picture
of her."
A boost for Babs.
••^VHA^ A man Mr. Eddv
is and ^vhat a voice," writes
Jane Bieth of Locust St.,
Buffalo, N. Y. "If this doesn't
win me a pictine. I don't
know what will. From the
bottom of my heart I say
he is marvelous. "
He is Philadelphia's
to the movies.
gift
Dick Powell's photo,
won by Ann Aquina.
Ginger Rogers'
photo, won by Mary
Louise Meyer.
ALL the lady fans can have their
/ \ Gables, Ho^vards, Poivells, and yes,
e\'en their Taylors, but if I had my
choice I would take Henry Fonda and be
more than satisfied. He's a star who can
act, but acts natural, and on top of that
he's one of the handsomest men on the
screen," writes Sylvia Lewis of Rockdale
.-Vve., Cincinnati, Ohio.
Tut, tut. He's married now!
SHIPLEY W. RICKER of Monument St.,
\Vest Medford, Mass., writes: "Here's to
William Powell, from a constant admirer
of his fine characterizations. On the screen
I have Matched with interest his suave por-
trayal of emotions none the less deep in
that they are so carefully held in check.
I should be proud to name him my friend."
Among his friends he is known as the
wittiest star.
"AN ACTRESS that has everything-
looks and the ability to act. That's Barbara
Stanwyck. She is really one of the most
talented actresses I've ever seen. Her acting
is true and sincere," writes Elsie Ranta of
6th .\venue, Hibbing, Minn. "I just saw
her in 'His Brother's Wife,' and I ■ivould
like to see her in it over and over a"ain.
"FRENCH ACCENT,
charming personality, excel-
lent acting! Who else could
it be but France's gift to
Hollywood — Charles Boyer?
He is really handsome, but
I became his ardent admirer
because of his first-rate acting, " writes Jean
Holm of Nicholas St., Council Bluffs, Iowa.
Vive le Boyer.
"CHARM AND magnificence is all I can
think of when looking at that s\vell, real
actor— Henry Fonda," writes Ellenann Estep
of ^Visconsin Ave., Peoria, III. "After trying
for a long time to choose my favorite actor,
I have at last disco\'ered him to be none
other than Henry Fonda."
You grow fonder and fonder?
"WILLIAM POWELL is my favorite
movie actor," writes Priscilla Cox of Ken-
sington PI., Syracuse, N. Y. "The first pic-
ture I saw him in was 'The Thin Man — it
^^■as very good. I like him because he has
such a pleasing personality. He ahvays
makes everybody like him. "
Be sure and see "Libeled Lady."
"TO BING CROSBY'S 'Rhvthm on the
Range' I say, 'Congratulations. Bing. on a
fine piece of work,' " writes Jane Cale of
Monroe St., Paducah, Kv. "I have ahvavs
been one of his fans and I know this pic-
ture brought him many more."
He puts the rJiytlnn in romance.
This coupon must accompany your letter. Not good after Dec. 7, 193 6
Sttitc-
Vse Cniipnii or Si'Dil Nnmc and Address on Post Card
Editor,
"YOU'RE TELLING ME?"
SILVER SCREEN, 45 W. 45th St., New York, N. Y.
In the event that my letter is selected for a prize, I should be pleased
to have a framed and inscribed photograph of
My name is
Address City State
The fifty win-
ners of the
signed, framed
photographs
offered in .\uf:-
ust have been
notified by
mail.
Silver Screen
Frank Lloyd reads an amusing
page in the script to the two
stars, Claudette Coibert and
Fred MacMurray
With Frank (Mutiny on the
Bounty) Lloyd as producer-
director, with your favorites,
Claudette Colbert and Fred
MacMurray, in the lead roles,
Paramount 's "Maid of Salem"
sweeps before the cameras.
Here are the first glimpses of
this mighty picture of a love
which braved the blazing fury
of Colonial New England's
witchcraft persecutions.
Claudette Colbert as Barbara Clarke,
the little "Maid of Salem"
A group of Salem lads doing a
little tippling, Colonial style
One of the Salem gentry who
has talked back to the law
gets a day in the stocks
Vn
ft©
II
for Decembek 1936
7
FREDERICS offers the most important
beauty discovery sioce the advent of
the curling iron — a Wireless Perma-
nent Wave- Produces Permanently beauti-
ful waves— INSTANTLY— NATURALLY—
without intense Electrical Heat — without
harsh Chemical Heat — without hair-
pulSing wires — without any discomfort.
Sounds unbelievable — impossible — but
it's true.
Send your name and address to Dept. J,
E. Frederics, Inc., 235-247 East 45th Street,
New York CUy
— for a list of
Authorized
Frederics Salons
who give Fred-
erics Vita Tonic
and Vitron
Wireless Perma-
nents. We will also
send you sample
Vita Tonic and
Vitron Magic
Shield Wireless Wrap-
pers to take with you
when going for your
Frederics Permanent,
Make sure that only
these Genuine Fred-
erics Wrappers are
used ori your hair.
For a natural wave— a permanently beautiful—soft^
lastinswave,demand a FredericsWireless Permanent
Be
Beautiful
WHEN
Evening ,
CO/VIES
Make=up Secrets Which Give
That Well = Groomed Loo
THIS is the season for dates
and dances and doing tiie
town in the Grand Man-
ner! So we're going to give vou
our very best ad\ ice on how to
prepare for a gala evening.
Here's what we consider the
proper procedure:
Cleanse your face and neck
with your favorite cleansing
cream, and don't be afraid to
use soap and uater if it's part
of your regular beauty regime.
If you use an all-purpose
cream, like Primrose House
"Delv," make a second appli-
cation and leave it on. If your
cosmetic supply includes a
special lubricating creanr,
smooth a little of this over
your face and neck instead.
Teeth brushed? All right, y\ow
you're ready for your bath or
sho^\'er.
A perfumed bath is grand
to relax tired nerves and raise
your spirits. Better' still is
a bubbling foam bath like
Helena Rubinstein's ne^\ Pas-
teurized Milk Bath.
Dusting with 'bath powder
or a rub-down with eau de
Cologne is luxurious and re-
freshing, only be sine the fragrance doesn't
clash with the perfimie you apply later.
If your coiffure rims to cinls in the
modern mode, they'll probably need some
repairs. Have you disco\ered Pro-Curler?
It's a dandy little gadget that ^vill make soft,
natural-looking cinls easily and quickly.
They can be held in place as long as you
wish with bob pins that are in\isible. Ac-
tually, you can start from scratch and make
all your own curls with a Pro-Curler. And
it's fun to use!
Now for the all-important make-up.
While you've been bathing, the cream vou
left on yoiu' face has eased out fatigue lines
ind softened your skin so it's prepared for
whatever make-up is best to gi\e \ou a
flattering, natiual-looking and lastint; com-
plexion that will sta\ with \ou. wliatc\ei
anurscmcnt the e\cuing mav hokl.
Yom e\cning make-up muM be lasling.
so that you'll be confident \ou look
your best without resorting to \oiu \,uiii\
e\er\ litllc while. No make-up will stand
too uuich u'pairiug. The first csscniial for
lasling make-up is a good I'otuulal ion.
( u-am rouge is ihe most dojientlable lor
ic "long |5ull." Ho\vc\er, we reali/e it's
hard lo appiv unless xou knoxv the rules.
\'our lace should bo moisi with a foiuula-
lion. not a li(|uid |io\mKm. I*at (he cream
rouge gently in little dabs <nei the cheek-
Claudette Colbert's
slim beauty is suited
to gowns of distinc-
tion.
bone area, then smooth it
carefully up and out. Here's a
trick to keep vou -from looking
fatigued toward the end of the
evening. Bring your cream
rouge right up to the edge of
the lower eyelid and smooth it
Nvell over the outer half toward
your temple. This prevents
dark circles or that too-white-
around-the-eyes look from
stamping you as a girl who
ought to be home in bed ^vhen
the party is still going strong.
The effect is one of \varmth
and vitality.
Powder is applied after
cream rouge, and the same
goes for liquid powder or anv
finishing lotion that leaves a
powdery film on the skin. Do
a thorough job of powdering,
and then as little repairing as
possible as the e\ening wear;
on. Pat your po^vder generouslv
on your forehead, nose, chin
and cheeks. Then blend it
gentlv over every exposed sur-
face—except your evelids, using
)our fingertips in the crevices.
\Vhisk off the excess ^vith a
powder brush. Now a touch ct
compact rouge if you want
added brightness.
A\'e're against po\vdering arms and the
rest of your decolletage as gross injustice
to escorts. So if you want to extend voiu"
evening make-up ' below the chin-line,' use
a liquid powder or finishing lotion that
won't rub off. Max Factor's Make-Up
Blender is excellent to bring the beautv
of vour neck, arms, back and even hands
into harmonv with vour face, and it won't
rub off.
To make vour lipstick doublv adherent
and non-transferable, trv this trick: After
your lips are thoroughly rouged, place a
folded cleansing tissue" between them. Hold
it firmh with \oin- lips and press it against
each one. The excess comes off in the im-
print and what remains will stay ivhere
\ou piu it.
Personalh. we're addicted to the new
Tattoo lipstick because it is vvonderfullv
liisting \et moist enough to keep \our lips
soil ;ind unchapped. And the shades are
luscious!
l ast, but far from least, are \our e^es.
Bmsli aii\ sti:i\ powdei olf \our brows and
kislu's w ith \oiir i.\elasli In usli. If vou use
c-\esliailow, ;iiul it docs haxc a wav of
adding to the tiepth ami In i^luness of yoiU"
eves. appIv it from the middle of the eve-
ball and edge of the lid up toward the brow
and out to^^•ard tiie temple.
~Ti*eoei*ics
VITA-TONIC^WVIIRON
(OIReiESS
8
SiLN'ER Screen
Winner OF the Laugh Sweepstakes!
Thanks to the inspired ''Oiwin'' of that bewildered young
man, Frank McHugh, ''THREE MEN ON A HORSE" is both the
picture of the month and the farce of the year! Take our
tip and be in the grandstand when it romps into town!
'Otwin' had two great passions
—poems and ponies. But when
his tearful bride faced him with
a notebook filled with strange
feminine names and numbers
'Oiwin' became an "also ran!"
The "mob" discovered
'Oiwin' and found a walking
gold mine. His penchant
for picking ponies made
paupers out of bookies
but millions for the mob!
'Oiwin, you're the first guy
to really prove that man's
best friend is the horse."
'It's the horse that deserves
the credit— all I did was
pick him— he had to go to
the trouble of running."
When his bride found out that
the names in the notebook
weren't pretties but ponies-
all was forgiven— and 'Oiwin'
forgot about races and went
back to rhymes. It's the big
cheek-to-cheek finish of the
Laugh Sweepstakes of the year!
MEN ON A HORSE
"Three Men On a Horse,"
the sensational stage success
is in its second big year on
Broadway and still going
strong! The greatest com-
edy hit in 10 years played
by 6 companies in 4 coun-
tries to capacity crowds!
A MERVYN LEROY
Production with
FRANK McHUGH
as "OIWIN "
JOAN BLONDELL
GUY KIBBEE. CAROL
HUGHES • ALLEN JENKINS
SAM LEVINE .TEDDY HART
ILVER
Screen for
December 19 36
9
•V
PARAMOUNT PICTURES STARS
IF you would be certain o\ smooth,
evenly-spread face powder, then
use the famous Screen Star Powder
Puffs — ^^the choice of famous screen
stars. Zephyr-light, soft as down-,
they're carefully made under the
most sanitary conditions. Theirdeep
pile, consistently fine, evenly-tex-
tured surface is composed of thou-
sands of tiny silky-soft plush fibres.
Screen Star Puffs hold your powder
on top— where it belongs — and dust
your powder on with the delicate
touch of a summer's breeze — the
way it should be done. Use Screen
Star Puffs for a satin-smooth powder,
finish. And change your puff fre-
quently for health as well as
beauty; A clean skin demands a
clean puff. Five cents at all leading
chain stores.
YOUB FAVODITE SCBEEN STAR .
Tm STARS
>^HITCH yOUft BEAUTy ID k SIAR'^
Tips On Pictures
rief Reviews to Insure
Happy Evenings.
Mae West puts
a punch in her
picture, "Go
West, Young
Man." Warren
William is on
the receiving
end.
ADVENTURE IN MANHATTAN— Good.
Joel McCrea and Jean Arthur are a pleasant team
in this story concerning a famous jewel that is
missing, with Joel as a screwy reporter and Jean an
actress, both of whom get mixed up in its recovery.
It's light and amusing.
AS YOU LIKE IT— Interesting. From England
comes a screen version of that whimsical pastoral
idyll by Shakespeare known as "Are You Like It."
Elizabeth Bergner is charming as Rosalind and
Laurence Olivier is excellent as Orlando. While the
film is nowhere nearly as lavish as our own Shake-
spearian efforts, it is a faithful transcription of the
written play.
CAIN AND MABEL — Fine. All about a
waitress who turns Broadway hoofer and finds her-
self messed up in a love affair, organized for purely
publicity reasons, with Clark Gable, a pugilist.
How these two manage to get over their pretty
obvious dislike of one another furnishes the nucleus
of a sprightly story. (Allen Jenkins, Roscoe Karns,
Ruth Donelly.)
CRAIG'S WIFE— E.xcellent. This may not be
the liveliest type of film fare, but it is recommended
to all those who take life seriously and like it depicted
sincerely and honestly on the screen. The story
deals with a wife whose home becomes an obses-
sion to her — of more importance than the husband
who loves her. The cast includes Rosalind Russell,
John Boles and Billie Burke.
DANIEL BOONE— Fair. A picture based on
the life of a famous backwoods' pioneer. It has
some effective scenes of cross-country treks but.
for the adults, little else to recommend it. Children,
however, will enjoy the fighting, the Indians, and
the performance of the ever-popular George O'Brien.
DEVIL ON HORSEBACK, THE— Fair. A
story of the South American pampas, produced in
color, and \yith Lili Damita. Fred Keating and
Del Campo in the cast. There is a pleasant "blend
of music, melodrama and romance and it will do
nicely on a dual bill.
15 MAIDEN LANE— Good. This concerns those
old meanies — the jewel thieves — once again, but it
is cleverly produced and has a nice share of comedy,
drama, thrills, etc., to make it seem quite new.
The excellent cast includes Claire Trevor. Cesar
Romero, Lloyd Nolan, Robert McWade.
GAY DESPERADO, THE— Fine. An hilari-
ously funny comedy with music, featuring the cele-
brated concert and opera singer. Xina i\lartini, and
J.eo Carrillo as a couple of gay Me.Nican bandits.
There's plenty of action, color and romance, tlie
kilter supplied by pretty Ida Lupino.
KING OF THE ROYAL MOUNTED -Fail
Zane Grey is responsible for llic jil.ii wlucli we me, I
luil go inlii liere iiiasuinch a-, \.in pn.baMv know
it all b\' hrarl. lloweNer, the -.i-l 1 1 ii-s m llio'Xorth-
ur^t inotinlains .are .aullu-nlic. Ljiganlic atui avve-
in-.piriii- .and do their level best to make volt forget
I he familiar story structure. (.Man Dineha'rt, Robert
Kent, Rosalind Keith).
MAGNIFICENT BRUTE, THE — Good. A
•leld day for N'iclor .Mcl.aglcn who once again
plays a big two-fisted guy whose rowdy rivalry
with the boastful mill boss furnishes most of the
plot. The mill makes an impressive backgrotind and
the atmosphere of the milltown is very effective. ( In
cast. Jean Dixon, Binnie Barnes, Henry Armetta).
MAN "WHO LIVED TWICE— Good. A study
in criminal psychology, with special emphasis laid
on a new scientific experiment which is supposed,
if effective, to rid a criminal of all tendency toward
crime. It is dramatic and exciting as worked out
here. (Ralph Bellamy, Isabel Jewel, Marian ilarsh.)
MY MAN GODFREY— Fine. One of those
deliriotis farces which if taken in the right mood
will amuse you no end. But be sure you're in the
proper devil-may-care mood. The plot concerns a
group of screwy socialites, one of whom, during
a treasure hunt, brings a bum — pla^'ed to the hilt
by William Powell — into the house. The fine cast
boasts Carole Lombard. Alice Brady and Gail
Patrick.
NINE DAYS A QUEEN— Fine. One of the
better English films. The story, concerning the
unhappy Lady Jane Grey who reigned as Queen
of England for nine brief days, will capture yoin'
emotions completely. The period is the 16th Cen-
tury and the production is technically and artis-
tically perfect. An excellent cast is headed by Nova
Pilbeam (Little Friend), Cedric Hardwicke iS:
Sybil Thorndyke.
POLO JOE — Amusing. Joe E. Brown is the
star of this opus. He's a polo expert who actuallj-
knows none of the fine points of the game at all,
and that's the basis of the comedy sequences. Carol
Hughes is the love interest.
PRESIDENT'S MYSTERY, THE— Interest-
ing. The idea for this mystery was e\olved by
Presidettt Roosevelt, and each chaiUer was written
by a different famous author. It has a novel twist
and plenty of thrills and will furnish a very satis-
factory hotn-'s entertainment, f Henry Wilcoxon.
Evelyn Brent, Sidney Blackmer, Betty Furness.)
THREE MARRIED MEN — Amusing. With
three such reliable comedians as Lynne Overman,
William Frawley and Roscoe Karns in the title
roles, you can't go very wrong if you choose this
comedy of domesticity for your ni.ght's entertain-
ment. Mary Brian and George Barbier are also in
the cast and the famous Dorothy Parker and her
husband wrote the dialogue.
THANK YOU, JEEVES— Fair. "This features
the droll Arthur Treacher in the role of Jeeves. Mr.
P. G. Wodehouse's pum]H'Us butler, whose doitr face
and saturnine maimer have brought grins of ap-
preciation from every magazine reader with the
merest excuse fur a sense of humor. As a picture,
however, the humor falls sadly fiat. (David Niven-
\"irginia Field.)
VALIANT IS THE WORD FOR CARRIE—
I'ine. I'rom a best-selling novel of last year comes
this dramatic film coitcerning a woman \\ hose
reputation is not of the sunniest, but who, through
her Io\e and care for two waits, redeems herself
in the c>'es of those who scorned her. (Uad\"s (ieorge
is excellent in the title role, and two newcomers
play the kids' roles delightfully. When they grow
up. Arlene Judge and John Howard play these
two roles.
SiLN'ER Screen
Don't forget — with each Screen
Stor Puff is a Hollywood Beauty
Secret. Save these folders, They're
good for free premium.
New York's al
becomes the .year'
(
We nominate W'lnterset^J- .
for the Best Picture of 1936
i
^ play
picture
«auncierbolt of naked
'Winterset" struck Broad>
vf<iy! Youth's impassioned cry
lor iove, rising out of a great
city's sound and fijry!... Crowded
audiences sat enthralled by
its swift, burning drama. For
months, they warmed their hearts
in its deep -glowing romance
. . ."Winterset" won the Critics'
Award as the best play produced
in New York last season. Now,
ii^^^^^sm'r^m&- exciting stars
who made it a stage sensation, it
tears at your heart on the screen.
on's Famous Play with
§ MiRlDITH
MARGO
CIANNELLI
they creatcc/ on the stage
s^rradfne • Edward EHIs
cted by Alfred Santell
RKO-RADIO PICTURE
Pondro S. Berman Production
MARGO . . . who captured
New York's heart as "Mirlamne,"
the girl who fled to Mio's arms
from a world of hate and danger.
EDUARDO CIANNELLI . . .
unforgettable as the assassin whom
Mio hunted down. Cold, savage
killer, he could not kill love.
for December 1936
11
LORD OF THE ORIENT . . .
Subtle . . . Sinister . . . All-power-
ful.. . but powerless to impose
his will on two young people
madly in love . . .
wm.LUCIE MANNHEIM
GODFREY TEARLE • HOMNEY BRENT
Directed by Story by
HERBERT MASON E. GREENWOOD
COMING TO YOUR
FAVORITE THEATRE
L
) Production
Arlene Judge puts the finishing
touches to her own dinner table
on special occasions.
Holiday Meals
That Busy Women
Can Prepare
IT'S Christmas again, probably the most
important and busiest of all the holidays,
a season doubly hard on the busy house-
Tvife and the career women with meals to
prepare. For such ivomen everywhere the
follo^ving "Christmas Special" has been
carefully worked out. Close adherence to
these menus and recipes will enable you
to feed your family and your guests well,
and yet allo^v you time out for pleasure
and happy hours around a glou'ing fire or
a brightly lighted tree. Excepting the meat
course, which once in the oven requires
only an occasional "look-see" these meals
can be made ready for your table in as
little as 30 minutes.
First, there is breakfast, a meal that can
be a "thing of beauty and a jov forever"
with very little effort. Here are three menus
that may be varied to suit individual tastes.
Menu I
Half a grapefruit
Scrambled brains and eggs
Hot Bisquick Biscuits
Coffee Milk
Marmalade
Menu 2
Kellogg Corn Flakes with sliced bananas
Spanish omelette Buttered toast
Preserves
Coffee
Menu J
Stewed prunes
Broiled sweetbreads on
toast
Toasted English
mullins
C.iugcr niarnialade
Co I Ice Milk
SCRAMBLED ECGS
AND BRAINS
I*ri'|)are the brains
the night before. Wash
and skin I hem inider
cold walti and j)lace
Milk
It Is jNo Longer r\Icccs=
sary To S pcnJ Long
Honrs In The KitcKen.
By RutK Cortin
in refrigerator until ready to use. Scramble
brains, adding beaten eggs (3 to 4 eggs per
set of brains) when they are thoroughlv
done. Cook until eggs are also scrambled.
SPANISH OMELETTE
Make a plain omelette by beating egg
yolks until thick and lemon colored. Add a
tablespoon milk to each egg used and salt
and pepper to taste. Beat whites until stiff
and dry and fold into first mixture. Pour
into hot, greased omelette or frying pan.
Cook until underside is rich brown. Place
in a moderate oven (350° F.) until top is
dry and firm. Loosen from pan with spatula
and turn onto platter. The following sauce
is poured over omelette.
Sauce
Fry chopped onions in butter in a sauce
pan until tender. Add can of Del Monte to-
mato Sauce, chopped celery and green pep-
pers and cook slowly for about 15 minutes.
BROILED Sweetbreads
Sweetbreads may also be prepared the
night before. Soak them about 25 minutes,
longer if you ha\e time, in enough n-ater
to co\ er. Cook in boiling ^vater to \\ hich
salt and 1 tablespoon vinegar has been
added, for 20 minutes. Drain, plunge into
cold water. Dry and separate tubes and
membrane from meat. Split length^vise.
Next morning sprinkle w ith salt and' pepper
and broil in butter
slowly for 20 minutes.
Ser\e on toast \\ith
strips of crisp bacon.
Next let us consider
our gala Christmas
spread. Keep your dec-
orations simple and in
the Christmas spirit.
The emotions which
recur with the coming
of Christinas belong to
the whole world and
to all lime: it is not a
12
Silver Screen
national feast of the season like Thanks-
giving.
CHRISTMAS DINNER MENU
Oyster cocktail Crackers Mock turtle soup
Roast turkey with dressing
Baked cranberry sauce
Canned French peas Candied yams
Boiled cauliflower— Drawn butter
Celery Olives
Mince pie ^vith grated cheese
Black coffee
A nice substitute, and an unusual one,
for the proverbial bird is a haunch or sad-
dle of venison. Buy it a day or two before
Christmas and wipe it off each day with
vinegar. On Christmas morning wash it
with warm, then with cold, water. Wipe
perfectly dry, encase in a stiff paste of flour
and water and ^^rap this in 2 layers of stiff
white wrapping paper. Fill dripping pan
full of hot water. Baste often with this,
adding hot water if it evaporates too fast.
Keep paper from scorching by baking and
you neecl not fear for meat. Three quarters
of an hour before dinner take from pan,
remove paper, test vith fork to make sure
it is clone; return to oven rubbed well with
butter and as this is absorbed dredge ^vith
floin-. Repeat baste three or four times
while meat is browning. This will form a
fine glaze. For gravy, stir into dripping
pan, after meat is removed, a little bro^vn
flour for thickening, a tsp. of walnut catsup,
a great spoonful of currant jelly and juice
of i/2 a lemon. Garnish venison ^vith alter-
nate slices of lemon and pickled beet root
!aid on edge of dish. Currant or grape jelly
belong to venison as cranberries do to
turkey.
If your pocket book is too lean for veni-
son or turkey, roast beef isn't a bad sub-
stitute. Remember happiness comes to those
who can manufactiue it from the on-hand
materials. It is not a monopoly of the rich.
And, if it is to be roast beef, prepare it in
this way and feel sure you need not take
off your hat to any hostess anyu'here.
'Wipe roast with damp cloth. Rub with
salt and pepper allowing 3/, tsp. salt and 14
tsp. pepper to each poimd of meat. Dredge
with flour, place in roasting pan and sear
for 30 miniues in a very hot oven (475° F.).
Reduce heat to slow (250° F.) and cook un-
covered. For rare beef allow 18 minutes per
pound, medium— 20 minutes, and fairly
well done— 25 raintites.
BAKED CRANBERRY SAUCE
This is a real taste sensation.
1 pint cranberries 1 pint sugar
1 cup water (about)
Put berries in granite or porcelain pan
large enough for each Iserry to touch bot-
tom of pan. Dissolve sugar in water and
poia- over berries. Place berries in moderate
oven and cook till plump and tender. Let
cool in pan before placing in dish.
CANDIED YAMS
Parboil yams, then peel and slice length-
wise. Place in baking dish, sprinkle with
sugar, dot with biUter, little lemon juice
and about 2 tbsp. syrup. Put in o\cn and
bake in moderate oven (375° F.) and bake
imiil sugar is dissolved and a thick syrup
is form eel.
Make your Mince Pie with Crosse and
Blackwell Mince Meat. I don't think there
is anything finer on the market. If you
prefer a lighter dessert try this original
one, never before published.
AMBROSIA A LA GWTN
In a round deep dish p\acc a layer of
whipped cream: spi inkle with sugar, place
over this a layer of grated coconut, dot
thickly ^vith pineapple and tiny chips of
Maraschino Cherry, then another layer of
whipped cream. Repeat layers until dish
is full ending with coconut and halved
cherries. Serve in sherbet glasses.
NOSE PORES
Largest Pores on Your Body —
A Test of Your Cleansing Methods!
\ The pores on the nose are the largest on your body. For this reason,
?! if allowed to become clogged with waxy excretions, they will become
% conspicuously large and noticeable.
% The pores on your nose, therefore, are a good test of yoirr skin-
;» cleansing methods. If the pores are plugged with waste matter
and gaping large, it's a sign your methods are insufficient.
By keeping your pores — and this includes the pores of your
ll nose — thoroughly clean, you can keep them normal in size,
% invisibly small.
I A Penetrating Cream Required
To get at the dirt and waxy matter that accumulates in
your pores, you must use a face cream that penetrates,
■f^ one that actually works its way into the pores. Such
p a cream is Lady Esther Face Cream. It does not
''" merely lie on the surface of your skin. It actually
penetrates the pores, and does it in a gentle and
'% soothing manner.
Penetrating the pores. Lady Esther Face
% Cream goes to work on the imbedded
dirt and waste matter. It dissolves it
— breaks it up — and makes it easily
; removable. In a fraction of the
usual time, your skin is thor-
oughly clean.
Cleansed perfectly, your
|> pores can again function freely
— open and close as Nature in-
tended. Automatically then, they
reduce themselves to their normal small
size and you no longer have anything
like conspicuous pores.
Lubrication, Also
As Lady Esther Face Cream cleanses
the skin, it also lubricates it. It re-
supplies it with a fine oil that over-
comes dryness and keeps the skin
soft and smooth.
Make a test on your face of Lady
Esther Face Cream. See for youi-
self how thoroughly it cleans out
the pores. Mark how quickly
your pores come down in size
when relieved of their choking
burden. Note the new life and
sf smoothness your skin takes on.
One test will tell you volumes.
See ForYourself !
All first-class drug and department stores sell
Lady Esther Face Cream, but a 7- days' supply is free for
the asking. Just mail the coupon below or a penny postcard and by re-
turn mail you"ll receive the cream — PLUS all five shades of my exquisite Lady
Esther Face Powder. Write today.
FREE
( Yoa can paste this on a penny postcard.) (28)
Lady Esther, 2062 Ridge Avenue, Evanston, Illinois.
Please send me by return mail your 7-days' supply of Lady Esther Four-Purpose
Face Cream; also all five shades of your Face Powder.
Name
Address^
City
-State-
( // you live in Canada, write Lady Esther, Ltd., Toronto, One.)
for December 1936
13
ANOTHER DIZZY SPELL!
# I felt sick all over — bihous, nervous. My
complexion was a sight. The trouble ? Con-
stipation! Then I remembered FEEN-A-
MINT. I didn't think it could be as good as
my friends all said it was, but I decided to try
it. I chewed one tablet. Now I wouldn't
think of using any other laxative.
• Next day — happy, radiant, full of vim !
For FEEN-A-MINT brings such blessed re-
lief. It's so gentle! There's no griping, nausea,
no disturbance of sleep. Non-habit-forming!
Don't be constipated. Use FEEN-A-MINT —
the delicious chewing gum laxative. More
than 16 million people prefer it.
FEEN-A-MINT
THE CHEWING-GUM LAXATIVE
THE 3 MINUTES OF CHEWING MAKE THE DIFFERENCE
^hsBest CRAY HAIR
REMEDY IS
MADE AT HOME
VOU can now make at home a
■•■ better gray hair remedy than
you can buy, by following- this
simple recipe: To half pint of
water add one ounce bay rum,
) a small box of Barbo Com-
pound and one-fourth ounce
of glycerine. Any druggist
can put this up or you can
mix it yourself at very little
cost. Apply to the hair twice
. '» _ a week until the desired
Shade is obtained. Barbo imparts color to streaked,
faded, or gray hair, makes it soft and glossy .-md
takes years off your looks. It will not color the
scalp, is not sticky or greasy and does not rub off.
NpTCETriNC
YOUR PORES ^EMjy CLEAA/!
A cleansing tissue only cakes the cream and make-up otT the
surface. But I've found the most marvelous way to remove
every bit of cleansing cream and dirt out of the pores them-
selves, and keep my skin free from annoying blackheads, skin
blemishes, and wrinkles. It's called
HOLLYWOOD BEAUTIFIER
3 clever new scientific invention that removes all your make-
up and cleanses those clogged pores in a jifTy — and all those
ugly blackheads that act as the starting point for pimples arc
GONE! At the same time the HOLLYWOOD BEAUTIFIER
gives your face a delightful massage and tissue tone. So easy
to use — and it lasts a lifetime. It only costs $1.00!
Let me tell you as one friend to another not to risk your
lovely complexion another night with ordinary inadequate
cleansing methods and harmful treatments. Order this won-
derful new invention NOW! Send cash or money order for
(1.00 today. Money back guarantee.
HOLLYWOOD BEAUTIFIER, P. O. Bo« 57}. Hoilrwood, CxM.
In "Melody
for Two," Fred
Keating and James
Melton dramatize the
difficulties of broadcasting,
A Tour Of The Busy Sets To
See The Stars At W^ork.
By S. R. Mook
T ET me start this month's chronicle with
I a correction brought about by a letter
from Santa Barbara signed "Just A
Nurse." "Nurse" advises that my statement
in the July issue crediting Florence Night-
ingale with founding the Red Cross is all
wet— that Clara Barton founded the organ-
ization and Miss Nightingale merely started
the training school for nurses. Thanks for
the information. I do not profess to be a
■walking encyclopedia and when a Publicity
Department hands out dope about their
pictures I naturally assume they know what
they're talking about. Now that that's
settled, we'll proceed to
United Artists
^~'^VO pictures shooting here, both Samuel
Goldwyn productions. One is "Come and
Get It" which I have already told you
about and which is nearly finished.
The other is the new Merle Oberon pic-
ture called "Love Under Fire. " Henry
Stephenson is a high muck-a-muck in the
British diplomatic service. He is sent to
Ireland to in\estigate the rebellion, of
which Brian Aherne is one of the heads.
Brian and Stephenson's daughter (Merle)
meet and fall in lo\e. There is a price on
Brian's head (aha, Brian, the public is
catching up \vilh )Ou!) and Merle realizes
not onl) tliat it increases his danger if she
is seen with him but that it puts her
father in a spot, too. So they agree not to
see each other any more. Later Mr. Steph-
enson is rclurned to Fngland aiul a truce
is signed with ihe Irish wliilc a delegation
comes lo I'.nglanil to see what tan be done.
Mr. Sleplu'iisou is gi\iiig a rcce])lion at
ills lioine in Belgra\c Square in honor of
the delegates.
What a home it is. There is a small hall,
a few steps down and one enters the ball-
room—or something. This room is about the
size of the concourse in Grand Central
Station (New York). The pillars are massive
enough to support the roof of the Par
thenon at Athens (Greece). There are real
flowers wherever one looks (Mr. Halchester,
take a bow). The arrangement of the flow -
ers is unique. One bo^vl I particularly no-
ticed combined golden rod with giant yel-
low chrysanthemums in a most effective
manner.
Merle and Brian meeting for the first
time since their big renunciation scene, are
quite cool on the surface. They give no
outward sign of their feelings as they start
walking— several feet apart.
"We can't see each other alone." Brian
mutters without looking at her. "I gave mv
oath."
"I had to do something like that, too,"
she admits.
They are interrupted by an elderly dip-
lomatic couple saying goodnight to Oberon.
As the couple move on they turn and look
back at Merle and the fiery Brian.
"Perhaps I should go — - " Brian begins
tentatively as thev resume their march.
"No— please " Merle begs.
"It's torture seeing you like this," he con-
tinues.
"It's better than not seeing vou at all,"
she counters.
Still walking, thev come to a door open-
ing off the ballroom. They pause as he
glances in. Then he resumes his walking
and she moves with him.
"\Vhat things in your life happened in
that room?" he \vonders.
"That's \vhere I pla\ed the harp," she
smiles. "^Vhen I ^^•as fourteen— in a pink
dress."
They come to another room, pause and
move on.
".\nd that one?" he questions avidly.
"My mother's sitting room." she savs
simply. "I used to say my praters in there
14
Silver Screen
before she died. Then for ten years I never
went into it once— (looking at him) til
now."
"And do you pray there now?" he queries
softly.
She nods, not speaking.
"For peace?" he persists.
"And for you," she whispers. "I pray there
for you." For the first time she comes close
to him, all her love in her glance and his
love in the look he returns.
"Cut!" yells the director harshly.
Merle's dress is especially worthy of at-
tention. It is of a very pale blue starched
tulle with a million sequins (more or less)
all sewn on by hand. About the hem of the
skirt are about six rovvs of them, one right
next to the other. That's to weight it down.
There is a wide butterfly bow in front,
one wing spreading to each shoulder. In
back there is nothing— above the waistline.
I haven't seen Merle since she finished
"These Three."
"How you been?" I greet her.
"All right," she answers somberly, and
adds, "I've been spendin'g every spare min-
ute with Norma." She means Norma
Shearer.
Even I cannot kid in the face of a simple
statement like that, especially when I real-
ize the connotation. Mr. Thalberg's death
is an irreparable loss to the industry and
any reference to it sobers the most facetious.
So I bid her goodbye and proceed to
■Warner Bros.
T GET a break here. "Once a Doctor" with
•I Jean Muir and Donald Woods is rehears-
ing so there's nothing to see. In a way I'm
sorry, because Jean and I are so clubby these
days we're practically eating out of the same
plate. In addition, since her hair has gone
back to its natural color (dark brown) she's
too beautiful for words.
"No Hard FeeHngs" with Glenda Farrell,
Barton MacLane and Craig Reynolds is
supposed to be on Stage 9— but they have
disappeared as completely as though the
earth had svvallowed them up. That ivould
be a catastrophe because Glenda and Craig
are two of my favorite people. Barton, I
don't know.
"The Black Legion" with Humphrey
Bogart, Joe Sawyer and Ann Sheridan is
supposeci to be on Stage 7— but they, too,
have disappeared. Warner Brothers had
better get out a searching party.
That leaves "Melody for Two," starring
James Melton and Patricia Ellis. Well, I
always say half a loaf is better than none.
Or even, as in this case, a fourth of a loaf.
The picture is woven around the current
popular craze tor swing music and the
voices of Herr Melton and Pat.
Melton opens with his orchestra at a
night spot that had been especially built
for him, but walks out on the bo)s when he
feels his friends have turned against him
and made him a laughing stock. (Of course,
he only jumped at conclusions— the wrong
conclusions. The moral is, get all your
friends to make as many cx|)lanations as
possible before you start leaping). As a re-
sult of his independent altitude he is
promptly barred Ijy The Music Corpora-
tion. This puts him, his manager (Fred
Keating) and his press agent (Charles Fo))
in (juite a spot.
Mr. Melton, in a red polka dotted foulard
dressing gown, is sitting at the piano in Ins
apartment, disconsolately accompanying
himself on the piano as he sings a nimibci
called "Stars Over Broadway" and Mr. Foy
is listening— ap]3reciatively— or pretending
to. He is absent-mindedly doing a few
dance steps as he listens.
"Nice number," Jim comments when he's
finished.
"Yeah," Foy agrees sourly, "but where're
we gonna use it?"
"Nowhere, I guess," Melton shrugs.
"You know," Foy announces, "if sonic
MERRY XMAS TO ALL
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f 0 f December 193 (>
15
16
Silver Screen
Kodak Picture
ENLARGED
rnrr exminch
rnrr enlargement
I IlLL of any SNAPSHOT
Your favorite snapshots of
children, parents and loved
ones are more enjoyable
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GEPPERT STUDIOS
thin' don't break pretty soon I'm gonna
liave to go back to hoofin' to buy \volf
poison for this household, I was just tr>in'
a tew steps and the old arthritis am t got
me yet." He lifts one foot and regards it
speculatively. "Guess I'll start soakin' iriy
dogs in salt water tonight to kinda totighen
1 'em up "
The door bursts open at this juncture
and in bounds Fred Keating. "Boys!" he ex-
claims exultantly, crossing to the piano,
"stop doin' whatever you're doin' and listen
to little old Remorse. Prosperity's here.
Yes, sir. I ran right around the corner and
grabbed it and dragged it back— just as it
was getting set to make another turn." He
stops short and eyes Melton. "'Well, what
are you sitting there for? Get dressed. Hurry
up. They're waiting for you!"
"Who's waiting?" Melton asks ivonder-
ingly. "And for what?"
"Klepper's Korn Krinkles," Keating ex-
plains. "I've got an audition for •jou— all
set— in half an hour."
"■\Vill you stop talking about that break-
fast hay and say something we can under-
stand?" Foy demands impatiently.
"Okay," Keating acqtiiesces, "I'll say it
slow— so that even you can understand.
Klepper's Korn Krinkles are going on the
air— next week. They want a singer. Tod's
it." Once again he pauses and glares at
Melton as he adds, "If he ever gets dressed."
"Oh, I'll get dressed, all right," Melton
pouts, "but it won't do any good. We're
still on the N. B. A. black list."
"Forget it," comes impatiently from Keat-
ing. "I've got it all figured out. ^Vhile
you and I are knocking over this audition.
Scoop (Foy) will be callin' on Julius Stornr
at the N. B. A. office and squaring the rap."
"Who, me?" Foy ejactilates.
"Sure," Keating replies. "It'll be easy for
you. All you have to do is act natural.
You're always beefing about something.
This time, you serve your beef with tears."
"Kinda like consomme, huh?" Foy stig-
gests.
In the early part of the scene, when
Keating crosses to the piano to take his
place there he can't help standing between
Jim and the camera. During the ensuing
dialogue, Jim (who has little to say in the
scene) is practically standing on his head
trying to figtne out how to be in the scene
so people can see him. Of course, since
he isn't playing any more, he could stand
up and look over Fred's head but the di-
rector seems to want him seated. And Fred
has his troubles, too. "^Vhen I come in,"
he complains to the director, "I have to
slam the door after me and it's going to
bang so loud when it shuts, it'll drown out
my voice."
No\v, these may all sound like minor de-
tails to you but they are far from trifles in
the life of an actor. For a time it looks as
though the President is going to have to
appoint a special ways and means com-
mittee to figure some way out of these
dilemmas For a time it looked as though
they might have to shelve the picture en-
tirely and start over with a new plot so
Jim could be standing by the fireplace in-
stead of sitting at the piano. And the new
plot could utilize swinging doors that don t
slam so none of Fred's dialogue would be
lost.
The director is the soul of tact and pa-
tience and eventually everything is ironed
out. They re-take the scene to the satisfac-
tion of all concerned. But by that time 1
haxe been on this stage about an hour and
I can't Avait to see if they get off the
N. B. A. blacklist or not. I just let Fate
take its course and I go over to
R-K-O
FIRST, there's my darling, Anne Shirley, in
"Make Way for a Lady," formerly called
"Daddy and I," Herbert Marshall being
"Daddy."
This story concerns itself with a girl
(Anne) whose mother died. One day she
hears a couple of gossips talking about
her and her father, saung that it's too
bad but he'll never marry again on ac-
count of her. So the rest of her life is de-
voted to trying to get him married. Every
time she meets a ivoman she looks on her
as a jjossible wife for Herbie. She finally
{Dicks on a silly, gibbery novelist (Margot
Gloria Stuart and Lee Tracy In the midst of a heated argument
which creates the embattled atmosphere of "General Delivery."
Grahame) as the one, completely overlook-
ing her father's secretary (Gertrude Mi-
chael) who gets him in the long run. They
ought to write a story for her sometime
called "Gertie Gets Her Man."
At any rate, Anne is upstairs in her room
when she hears the front door open. She
rushes out onto a balcony overlooking the
hall below and finds Marshall Just entering
the door.
"Daddy!" she cries and rushes down the
stairs to greet him. "Daddy!" she repeats
when she reaches the foot of the stairs,
kissing him effusively.
"Hello," Marshall returns, some^vhat sur-
prised at the warmth of her greeting as he
had only left her that morning.
"Let me help you," she offers, taking his
hat and brief case (he's a publisher). "How
are you?"
"Fine," says Herb.
"You feel all right?" she persists.
"Yes," he smiles.
"Did you have dinner?" she rattles along
"Yes, I ate in the city."
"Miss Broughton (Margot Grahame)
dropped in today," Anne informs him, in
what she hopes is an inconsequential tone.
As a matter of fact. Miss Grahame is still
there and Anne's unnatural tone of voice
is designed to hide the fact she's up to
mischief.
"Congratulations on your new contract,"
I offer Anne when the scene is finished.
"Thanks," says Anne as though that \\ere
of no consequence. A moment later she be-
comes what you might describe as raptur-
ous. "You ought to see my new dressing
room that they fixed up for me!" she
gushes. "It's too lovely."
The way they photograph this scene is
most interesting. The camera is u>ounted at
the end of a long steel crane, which, in
turn is mounted on a little rubber tired
truck. When the scene begins the camera
is high up in the air— on a level with Anne's
face as she stands at the railing on the sec
ond floor. As she starts to run down the
stairs the truck is pulled rapidly back-
wards, the crane swings to the left and
downward at the same time so it is always
the same distance from her face as she de-
scends the steps. Just as the truck moves
back past the door, Marshall steps hurriedly
in so that by the time Anne and the cam-
era reach the door it seems as though he
has been standing there all the time.
Next at this stuclio is "Winterset" adapted
from the phenomenally successful stage
play. It's a beautiful story, and one of the
most impressive and realistic sets ever de-
signed has been built for it. The story is
Actionized in this issue of Silver Screen, so
I won't go into it here.
Next we have "General Delivery" featur-
ing Lee Tracy, Gloria Stuart and Pat
O'Malley. The story is concerned u'ith their
efforts to capture a crook who is using the
mails for fraudulent purposes. They are all
in Tracy's hotel room. They rehearse the
scene a few minutes and then the director
says, "Gloria, let's cut out that 'Yes, sir,
Inspector.' "
But Gloria, who doesn't like ha\ing any
of her lines cut out, says, "But why?" After
some argument they decide to leave the his-
tory-making words, "Yes, sir. Inspector" in.
Then they proceed with the take.
Lee is pacing furiously around the room.
O'Malley exchanges glances with Gloria
who is refurbishing herself with a lipstick
at a wall mirror.
"I'll get out all right," Lee exclaims furi-
ously. "Soon as I set this Crowley on the
hot seat." He storms hack to Gloria. "l"or-
gct about your face and get down to that
mail desk. You're not here for any beauty
contest."
"I'll be there on time," she says s\veetly.
"But first I've got a date."
[Continued on page 77]
^ -mm,'
BEAUTY ISHDPW^.//^,
o^-mcmtk tct-e^^^ DOUBLE MINT cjum. dad^.
for December 1936
17
"I adored the exquisite girl I mar-
ried—And then — I saw her change
after marriage. . . grow careless, neg-
lect her daintiness, actually offend
anyone who came near her. How
could she?
"Perhaps other men can speak
out, but I can't. I've retreated into a
shell of reserve which she resents,
thinks cruel.
"If someone could only speak
for me — I know we'd recapture
that first glorious happiness."
AVOID OFFENDING -Even those
dear to us hesitate to speak of an
offense that robs a woman of all her
glamour . . . perspiration odor from
underthings. We don't notice it our-
selves so — never take chances. Lux
underthings after each wearing. Lux
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18
HOLIDAY
TIME
Topics for
G ossip
A CCORDING to Ros
^ Ponselle, ^vho reall
ought to know, \ve hav
a potential grand opei
|jrima donna right in
more years of serious s<
Cra^vford ready for gi
Ponselle recently told \;
HERE'S an "intellige
Paul Lukas tried i
of the "Maytime" cast
Tve hate to say ^vhat sm^
of the players rated. ]■
probably know, came
years ago without kno
of English. He has stu
most foreigners no\\' kn.
language than we do.
not one person m lOO
correctly the followir
Data, gratis, culinary, c
sion, impious, chic, in.;
respite.
I, — ,.
Dob burns, he wh(
^ is the latest screer
permission of the cc
name. His real name
prefers Bob Burns,
him for that. A big .
want to have people c."
CONJA HENIE and '
holding hands. Anr
and Robert Kent. Aj
and Louis Hay\vard.
P\0 VOU know ho
■"-^ biggest altractiop.
his name? It \vas gi-
l\Ia)er's secretary, a^
out of a list of name.'
She first presented h
but Bob objected stri
s» finally a comprc
Robert. Neither Mr.
tary, nor his studio
idea how important
come. Bob's real na
ton Brugh, so you i
just why Mr. Ma)(
changed. Mr. Brugh
j 0 r DeCEMB
I
1
1
1
1
■THIGH
By
iys Hall
ne world if you recall.
activities listed above
the ability of the
o its utmost.
? activities
mav
^ day's
\\ o r k and
play in the city of
■Aiovie queens and
where uneasy rest the
• wear these crowns!
and blood would be
li^liing House if con-
:hedule.
'e Lombard tugging
ng to stretch its too-
iined for Utah one
I he social life of the
icr I lie pace he goes,
hiving plans for a
to go into effect be-
lipse.
.VER Screen
Errol Flynn, planning a trip to Borneo
after the preview of "Charge of the Light
Brigade," the completion of "The Green
Light," the preparation of "White Fang,"
brought some wild animals into his home
so that he and the lovely Lili Damita, his
wife, may become inured to the habits of
Big Game before they encounter the
beasties in the i\'ilds of Borneo ... so
limited is his time that he must needs
mo\e Borneo into the bedchamber. He
takes Lili on hurried, between the scene,
camping trips to Arrowhead and other
handy wilds so that she may learn the
rigors of camp cooking and camp life be-
fore she Ijegins to live them.
Take Dick Powell— he won't know the
difference— he was ^vorking in "Stage
Struck," preparing for "Gold Dig-
gers," editing a fan magazine,
building a new house for
himself and bride, re-
hearsing his radio
broadcasts,
making
Clark Gable are seen at the races . . , Jean-
ette MacDonald and Gene Ra)mond are
seen at the Cocoanut Grove ... Gloria
Swanson and Bart Marshall at the Derby
. . . all right, then, Barbara Stanwyck and
Robert Taylor, George Raft and \'irginia
Pine, Henry Fonda and his "heart" . . .
these and how many others must be "seen,"
too, lest they be listed among the For-
gotten (movie) men and women
. . . lest tongues wag and ru-
mors raise dust and
heads shake and the
^vaters of ob-
i V i o n
close
She works before the camera, after-
wards takes some exercise on
the courts, and when the
day is over she
dancesthe
night
away.
per-
sonal ap-
pearances at
benefits, having fit-
lings, ha\ing interviews,
having conferences, having
photographic sittings -dnd— courting
on the set! The lines he \vas called upon
lo speak to Joan Blondell before the cam-
era were made to "do" for the real lines
he might have spoken had he lived in
Pimkin Center instead of Hollywood. The
kisses he gave her on the set were in lieu
of the kisses the average young man would
have given her, leisurely, privately, in a
moonlit garden. He had, so to speak, to
dovetail his love-making!
Joan had to have her trousseau made
in the studio by the studio wardrobe de-
partment so that she could ha\e fittings
beiwecn scenes. What time had she for
shopping? What time for marrying? That's
what she watited lo know. In the evenings
they were often to be seen at the Club La
Maze, trying to relax in the ]5ublic e>e,
still vvith an audience, always with an aii-
(lience . . . always . . . always . . .
They can't relax, in Hollywood. They
liaxc to be in the News, in the Public eye,
on the dance flocir, at the races, at the
lieach clubs, at parties, giving parties . . .
Ginger Rogers and Jimmy Stewart are
seen at the Troc' . . . Carole Lombard and
over
their lime-
jp^""'' lightless heads . . .
Walter Lang gave a
.»«"■ party the other night . . .
Clark and Carole and Fieldsie
and one or X.\\'o other couples were
there . . . then Carole must retaliate and
give a small, intimate party in return . . .
the Jimmy Gleasons entertain for a couple
of hundred . . . the couple of hundred
must return the compliment . . .
They have plenty of money, large and
lavish homes, opulent cars, polo ponies,
yachts, friends, rivals, competitors . . . they
must entertain and be seen and play polo
and golf and tennis and entertain and
dance, dance, dance . . . they must li\e as
the other Romans live in a phantasmagoria
of \vork and fun, of flurry and fever, of
hilarity and high blood jiressure . . .
They dare not let down. Ginger Rogers
goes about town clad in slacks and over-
alls, her face as guiltless of make-up as on
the day she was born . . . but she vvorries
aljout it. She says "I know I am letting my
Public down looking
like this ... I should
keep dolled up, made
up, drt:ssed up . . ."
Even when they do re-
lax they worry about
it.
Take an average day
in the life of Carole
Lombard— and let any
s e 1 f - J) i t y i n g little
housewife with one
husband, two children,
six dishes and one
vacuum cleaner to
manage, read it and
weep
— if she
dares!
Carole rises at 6 a. m.
She is in the studio at
7 for a 9 o'clock call. Betvveen
the hours of 8 and g she is in the
hands of the make-up man and hair-
dresser. She works from 9 until 12.15, with
three interruptions for nevvspaper inter-
views and stills. At 12.15 she lunches, talks
to Clark on the phone. The luncheon hour
is hali an hour. It is complicated either
by an intervievver vvith a face like a ques-
tion mark or by her director, who vvishes,
not unreason-
ably, to discuss
the afternoon's
takes with her.
For an hour
after luncheon
she is closeted
[Cont. on p. 74]
Ginger Rogers,
one of the
most talented
of all the stars,
James Stewart
and (Right)
Errol Flynn.
for December 1936
21
(Left) Fredric
Marsh as Garbo's
leading man in
"Anna Karenina."
(Right) It was in
"Grand Hotel" that
John Barrymore
played the lover's
part.
Robert Taylor,
as Armand,
plays opposite
Garbo in "Ca-
miUe."
NO QUESTION but what that long visit in Sweden did things
to Greta Garbo. Whether or not it was the proximity of the
home folks, the rest from the studios, love of native land,
or perchance the admiring adulation of some Swedish Romeo, we
are not the ones to say. But there is one thing we do know and
that is that this Queen of Cinema Stars is fast becoming the most
approachable and honestly hmnan luminary in ail Holhivood.
This new attitude was especially noticeable in the filming of
"Camille."
Many times ivhile working on this picture Miss Garbo demon-
strated her sportsmanship in a grand manner. There \vas the time
when she shed her cloak of reserve and entered into the popular
Knock-Knock game with the stage crew and ])Ia\ers. In the course
of the game some frolicsome chap turned a smaitie upon the great
star and she accepted it with plenty of grace and chuckles herself.
That ^vas the beauty of it — seeing this fcniuic fatalc of the screen
actually radiating con\i\iality and \varnuh of personality when
the tide of laughter had been turned upon lier and when she
herself ^vas the butt of the joke.
For years studio puljlicists have sougiit to luiild up a legend of
aloofness and myslcry aljout her. '1 hev hau' niailc of her an
una|jproaciiable sphinx, an incxpi essil)ly sad indixiilual. one not
gi\cn to normal reactions and emolions. Yd since lier leUun to
the fdm capital siie has denionsiraicd tliat of all the Hollywood
"untouchables" she is the most nalinal and cas\ to know.
It was during the time the studio was preparing to film "Ca-
mille" that Miss Garbo's actions first cairsed comment. Unlike
most of the Hollywood pretties she resigned herself completely
and wilhoul (he slighlcst suspicion of a whimper lo ihc swarming
make-u|i ailisis and designers. These behind ihc mciics ailists were
(piick lo sense Iheir oppoi 1 iniit) and not onir did ilic\ gi\r anv
evidence of reluctance to expetimeiu upon lie\. rhe\ liUeci hei cut
22
HE Sphinx
Oarto Now Is Easy To
Know. /\nccclotes Of Her
Friendliness On TKe Set.
B
y
y\nnatelle OilIespie^Hayelc
with hoops, stays, taffetas and crinolines, furs and vehets:
they dabbed aird smeared her with all kinds of greases
and paints and they pulled and twisted her hair until
her scalp ^vas as sore as a peeled onion. But the wonder
of it all ^vas that the Great Garbo seemed to be enjoying
it. Once when a hairdresser arranged a certain coiffure of
puffs and curls the effect was so grotesque that the star
could not restrain herself and she actually panicked those
present wiih her hilarious mimicry.
Upon the suggestion of cameraman 'William Daniels,
Greta was eager to act as an experimental model to test
out a ne'.v screen make-up for \\omen. It ■was finallv agreed
that instead of using the time honored and proven grease
paint in "Camille" she would use the new and unproven
make-up materials. That made her rate more than ace
high with all concerned because thus far she is the onlv
star who has been willing to take a chance on the new
make-up.
During the time that .Adrian ^vas collaborating with her
on gowns for the picture she spent countless hours with
him helping him to perfect a taffeta silencer for screen
use. Together they found that the desired elTect could be
attained by using a thin layer of silk beneath the material,
thereby eliminating the sxvish so objec-
tionable to the microphone. Some of the
costimres worn bv her in this film are
the most laxish and breath-taking in
Holly\vood history. One, an evening go^vn
fashioned entirely of jewels, Avas so heavy,
and under the stage lights so heat-retain-
ing, that in less than an hour from the
time she donned it the star ncarlv fainted.
Director George Cid<or, greativ xvorried,
insisted that she lea\e the set for a rest.
But Miss Garbo ^vas adamant in her re-
fusal to do so and thus hold up produc-
tion. She ^^■oldd be all right if onlv there
were some wa\ of keeping down the heat.
Couldn't something be done? ^^'asn't there
some way to fan her and thereby keep
down the temperatine? That tiiought
started everyone to thinking. Then the
mechanics hit u|)on the idea of erecting a
large open ice box on the set. .\ ixiwcrful
wind machine \\as set up behind it and
the icy bl.ists were blo^^•n over the set
and onto ihe star thus enaliling her to
carry on.
Il is (he custom that duiing llio shoot-
ing of a scene no \isiiors aie aliovied on
SiL\'ER Screen
(Left) "Queen
Christina," one of
the really fine pic-
tures, gave John
Gilbert another
chance to appear
withGarbo. (Right)
George Brent and
Garbo in "The
Painted Veil."
AS Melted!
for December 1936
the Garbo set. Yet one day on the "Camilla" set a little ten year
old lad appeared. He had climbed over a back fence on the lot
and had somehow eluded studio guards. Finding the door of a
portable dressing room open he ^valked in. There he asked a sur-
prised Garbo if she wanted to buy a magazine. The star smilingly
asked the boy if he weren't afraid to be found on a set \\'here he
was not allowed. His answer plainly indicated that he wzs not.
Then she asked if he kne\v who she was.
"Sure," he said. "You're Greta Garbo, but you can read, can't
you?"
The little fello\v not only made a sale but Miss Garbo per-
mitted him to remain with her on the set. She placed hiirr upon
the camera ramp, beside her director, where he delightedly
watched the filming of the picture for the rest of the day. Pretty
lucky we'd sa\-, in view of the fact that that same day one of the
studio "big Kigs" had been refused admittance to the set.
Another unprecedented thing occurred one day ivhen the great
star, instead of retiring to her dressing room after finishing a
scene, climbed upon the camera boom and rode around over the
stage, much to the consternation of the crew and players. Watching
the others players act from this new vantage place seemed to fasci-
nate Greta, anyway many a quizzical eyebrow was so arched that
it failed to drop back to its normal resting place for some time.
Maybe she just «'anted to see ivhat a pinnacle she had been occu-
pying inasmuch as she has been upon an imaginary pedestal in the
public eye for so long. Then again it might have been that her
young leading man, Robert Taylor, had something to do with it.
Speaking of Bob Taylor, that young star who is already wearing
a mantle of fame quite well, reminds us of the day when he first
kissed the Great Garbo. At a most critical moment while he held
her clasped in his arms and spoke the lines, "You are the most
beautiful " something untoward happened. He had dropped
his love and kerplunk down on the floor went Garbo. He ^vas
completely be\vildered— his awkwardness— -what could he sav or
do? But before he could do or say anything the star had jumped
up from the floor and laughingly passed the incident olf without
any fit of anger or temperament. During another love scene Miss
Garbo \vas supposed to have become very angry with her hero.
Bob. This time they ^vere seated at a table out-
side a rustic inn in the Bois.
"Don't talk like a fool," she said. Then he
kissed her, but instead of displaying anger as
the script called for she burst into laughter.
Said Director Cukor: "That was not so bad
but I believe your lines call for anger. "
Greia laughed some more and explained that
she tried to be angry but that he (Ta\lor)
would not give her a chance.
Upon another occasion, during the filming of
a dance scene, she and Tay-
lor became entangled in the
(Above) Garbo folds of a \ohnniiious skirt
on the set smil- she \vas wearing. The fcm-
ing down at the inine Star fell to the floor
other members with her partner rigilt
of the "Camille" smack on top of hei'. 1 his
company. Not a time everyone held their
scene in the pic- breath, all looking for a bit
ture. (Left) of \erbal fireworks, but once
Robert Taylor, again their an! icipat ions were
Garbo, Laura lefl unluKillid. Where manv
Hope Crews and a lesser figure would ha\e
Rex O'Mallcy in Ined olf a temperameiUal li-
a sequence from rade Great C;arbo again
the play. [C <> ii I i >i ii <■ cl an page O.)]
23
TKe Stars RusK To
Tkeir OKarming Oat)=
ins In TKe Hills To
W^elcome Winter
now=
sKoes /\nJ Sarsaparilla
aren't a sensitive enough soul to understand
the Holly^^ood crowd. It habitually whizzes
into hobbies at so rapid a pace that today
I guarantee this mountain madness is as
completely novel to your particular passion
as blondness is to Joan Crawlord. She's an-
nounced her daring dyeing experiment, for-
getting that she tried being a blonde
through t\\'o whole pictures that millions
of us saw. But who are we to be so rude
as to remind her?
Everyone I run into in Hollywood is wild
to become a genuine winter sport. It's so
exhilarating! Give me a blanket of snow,
hums bridegroom Dick Pouell. Quiz great
lo^er Gable on Lombard and he regales
you A\'ith an hilarious account of how he
sat down and cracked the ice last Sunday
when he w'as attempting a Sonja Henie.
Carole caught it with her little camera, in-
cidentally. Give Jeanette MacDonald half a
chance and she'll bubble over with the
plans she and
Gene Ravmond
have for the cabin
they'll build sim-
ultaneously with
their town house.
Irene Dunne— of
hasn't had a relapse in manners— he's going
to heat them and put them in the bottom
of the sleigh to keep feet warm.
Tom Brown is running over the list of
eligible, alluring lassies; but if he doesn't
invite Toby \V'^ing to be his companion he'll
be sorry. Ida Lupino is diligently studying
bean recipes! She's learned that a bakeci
bean feast is to be at the end of this his-
tory-making ride. (Tyrone Power, Jr., mut-
ters that he doesn't -ivant to make history-
he wants to make love when the moonlight
streams o'er the snow.) Anita Louise has
been murmuring that she has a hunch
where you can buy the nicest hay that'll
serve for seats. All that's left— when I do
my bit— is to get the gang together.
This isn't a cinch. A player can't spend
a lot of time in the mountains whenever
he Avills; he has to grab his brief pleasure
interludes between studio calls. And mas-
tering the arts of skiing and tobogganing and
bob-sledding, as well as having a mountain
cabin, requires more than a dav. Yet there's
recompense, for our actors have easv access
to California's marvelous winter wonder-
lands, which ri\al Europe for scenery.
There are splendid high\vays that are al-
\\ays kept clear. And ^vhen you're in the
Myrna Loy's moun-
tain lodge, and
Myrna herself
dressed for the
sport of the Sierras.
When Snow
THERE is no thrill
like a new thrill to
these glamour guys
and gals of Hollywood.
The intrepid leaders of
the colony are positively
nutty over mountains
and cabins up in lone
canyons this month.
That's what's in. That's
what rates. That's where
Myrna Loy and all those
you get really enthused
about head for at the
fust opportunity to let
themselves go.
Up where the snow begins the
fun schedules of the famous are
s^^•inging into high. Private lodges
are joyously re opened and on
each trip the illustrious personally
tote more supplies. The swank
hotels are cluttered with the
celebrities who haven't yet de-
cided where to locate their snow
snuggeries. Just a whilf of pine and a star
takes to a toboggan like romance to Robert
Taylor. It'.s definitely lime to ice-skate and
llnow another log on a roaring fire. \o\\
ski, baljy, ski and then take oil ^our mitlcns
and cap and relax as you can now here else.
The honey who can't make a snowman is
the dud who's not asked along a second
\\'eek-end.
Of coiuse, if you're going lo inlcnupt
with the bright remark lhal the moiuilains
lKi\e been aiound a long wliilc lo I)c classed
as a fresh thrill, I shall realize that you
TO 1\
By
Ben Mai
all people— confesses that she dcliglus in a
certain garbage can lid slidcl
1 he peppier members of oiu' Yoiniger
Gcneralion are through tuning in on pet
dance bands. They're bored with local
amusements. For they have heard of old-
fashioned sleigh rides and they're bound
lo have one or else. Tom Beck Is indus-
h iouslv searching for Uw bells to hang
on harnesses for that jingling ellecl. Ken
Howell is picking up stray bricks; no, he
Ann Sothern enjoys toboggan-
ing down the steep snow cov-
ered mountainsides. (Right)
Fay Wray loves the days in
the open.
24
Silver Screen
Tke '"Most PopuLAr^ Star!
Rotert Taylof/ As TKe NX/inner Of Our Recent
Voting Oontest/ Was Presented WitK SHVER
SCREEm Gold Medal By Joan Crawford.
DURING each of the last fe\v years, Silver Screen has asked
its readers to cast their votes for the most popular players
in Holl)\vood. The result for 1936 was overwhelmingly for
Robert Taylor— the 24-year-old star who only a short time ago
was a $35 a week "test horse" for Metro.
The winning of this evidence of esteem and regard is an honor
^vhich Bob appreciates. He pro\ed this in typical fashion when
he learned tlie news that he had won. He was on a three-day
\acation and had driven up to San Francisco to see a University
of Southern California football game. But he took, instead, a
postman's holiday, a.s soon as he heard that the
medal had arrived, and dashed to the studio to
recei\e it.
\Ve asked Joan Crawford to officiate in the
presentation of ihc medal. We asked Joan because
she won tlie medal twice herself— in 1932 and 1933.
She \vas in the midst of a cr)ing scene in her new
picture, "Love on the Run," when Ta\i()r, ihc
medal and photographer arrived. She diicd hci
tears, put on a smile, presented the medal and
reminded Bob she had won the medal herself
several times.
Clark Gable \vas also present and joined in
with "And I won it in 193-I."
The only missing Sh.vkr Sc:RErN medalist was
Shirley Temple, who was the winner in 1935.
Robert Taylor is in fine company— all the win-
ners of the medal have been "tops" and they give
The 1936 Silver Screen Gold
Medal which bears the profile
of the winner, Robert Taylor
every indication of slaying up in front. Bob now has this medal
as tangible proof of his popularity, and with it, he may be sure,
go the sincere good wishes of thousands of our readers.
A brief biography of Robert Taylor shows that his recent suc-
cess on the screen is the \vell earned reward and the logical result
of the years he gave to drama study. Bob was a student at Pomona,
California, where he joined the college dramatic club and played
a part in their production of "Joinney's End." An M.G.M.
executive saiv the play and ga\c Bob a contract.
Taylor was born in Fille)', Nebraska, son of Dr. S. A. Brougli,
a plnsician. The family mo\'cd to Beatric,
Nebraska, where the boy was educated in the
pu!)lic schools. For two years he attended college
at Doane, Nebraska, where, in addition to his
dramatic woik, he was a star tennis pla^cr. Taylor
com|)lctcd his (ollege comse at Pomona after he
rcccixcd the studio (onlrad. and giadualed ivith
a Liberal Arts degree.
While at college he usetl to broadcast, accom-
paiiving his own songs with a cello. He is also an
accc>m|)lislK-d pianist.
His la\orite sjjorts are tennis and horseback
riding, although when he is given leisure from
the studio he can usiialh be found at one of iIk
ocean beaches.
Six feet in height, weighing ifir, pounds. Robeil
l ax lor has broxvn hair and blue e\es, and lodai
is the most Popular Player On the Screen!
for December 1936
29
Hollywood
Against
THE
In Europe^ A.n American Picture
Collects %2,2oopoo In Pounds,
Francs And Gulders. TFie EnglisK
Producers Are Vainly Trying To
Catch TKis For Themselves. But
They Don't Use The Right Kind
Of Bait.
1HAVE just returned from Europe.
In Spain, there is a tlieatre
where, to see Fred Astaire in
"Top Hat," you go to the box office
and plank down your pesetas. The
cashier, instead of giving you a
ticket, inks a rubber stamp and
presses it on the back of your hand. With \our hand thus marked,
you go to the entrance of the theatre. The doorman, having in-
spected tire ink stain on yoiu hand, wets his finger and rubs clean
the back of your hand, so that you cannot retiun that night and
get in again.
In northern France, we went to a mo\ing picture theatre. The
interpreter asked us if we wanted seats in front of the screen, or
in back of the screen. He explained that we coidd have the seats
behind the screen cheaper. Sure enough, there were people sitting
in B.\CK of the screen. ^Vhen the picture started, each of them
pulled out a small pocket mirror. In the mirror, the images on
the back of the screen assumed their rightful positions.
In Paris, we heard Shirley Temple speaking perfect French. In
Cork, Ireland, we saw Jack Benny ad\ertised in "It's In the Air."
In Dublin, the theatres were playing "Death on the Diamond." In
Nice, we saw Greta Garbo and John Gilbert advertised in "Queen
Christina," for pictures reach there si.\ months to a year late.
Wherever you go in Europe, you see American moving pictures
advertised. From the time you step on the boat in New York,
Europe-bound, the importance of American film product is
brought home to you. On the He de France, on successive after-
noons and nights, we saw "Anthony Adverse," "The Great Zieg-
feld," "Texas Rangers" and "Sing Baby Sing." Only one French-
made picture was shown on the luxury liner as it traveled to
Europe, although this was a French Line boat. The proportion of
four American pictures to one European picture holds good in
England. On London stages, "i\'e saw Joe E. Brown appearing in
person at the Palladiimi Theatre, and we sa^v Ben Lyon and Bebe
Daniels at a theatre just a few blocks away, in the flesh. They
not only play American pictures; they're anxious also to see U. S.
cinema stars in person.
Behind the scenes, however, you find the most fabulous and
fantastic battle that ever has been waged for the control of the
foreign market.
Holly^^'ood's suc-
cessful invasion of
Europe, indicated
by every billboard
poster you see, has
been a bitter siege
every inch of the
B
y
EJ Sull
Sylvia Sidney went to England and made a
picture, "The Hidden Power." They know
that Sylvia's fans, everywhere, will storm
the box office and put over the picture.
an
way.
To understand the nature of the fight that Hollvwood is carry-
ing on, you must realize first the fruits of victory. That is. you
must understand clearly the financial importance of the foreign
film market. A fine picture can gross, in the 14.000 theatres of
the United States and Canada, about $1,350,000. The
same picture can gross more than $2,200,000 in the
foreign market. In other words, the approximately fiftv
countries and settlements represented in the foreign
market offer a greater revenue than North America.
So Hollywood's fight to control the foreign market
isn't a matter of artistic pride. Holly^\ood wants the
foreign market because it spells huge profits.
In a stand-up fight, Hollywood must have won by a
knockout. If the issue liad been decided by pictures,
the Coast would have won off by itself, because in
picture product there was no comparison. But the issue of picture
product was the least of the factors involved. At the invasion of
the Americans, national pride and business cupiditv reared up in
England, France, Germany, Italy, Russia, Japan. British business
men, with their money tied up in second-rate English moving
picture companies, appealed to their governments to balk the
Hollywood companies. In the dictator countries, where national
pride must be fostered, the American companies ran into other
difficulties. The Germanic market of 4,000 theatres was cut off
almost completely by Hitler's war on the Je\\"s.
So there came about the various restrictive measures which
Holly^vood has had to fight. In England, for every four pictures
M-G-M exports to the London market, the quota law of England
insists that M-G-M must buy and distribute one British-made
picture. A British-made picture, to so qualify, must have a pay-
roll that is 75 per cent British, and all interior scenes must be
made in England or its colonies. In France, an American picture
is allowed only twenty first runs, and then all voices must be
dubbed in by French performers. In Italy, all American pictures
must be dubbed into Italian, that is Italian dialogue substituted
for English. As if these restrictions "ivere not enough in the past
nine months, Spain, Italy, Germany and Hungary impounded all
moneys of all American film companies. That is to sav. American
picture companies can't take their money out of the banks of
those countries, unless it is to be spent there.
That Hollywood has not only met all of these unequal condi-
tions and triumphed is a tribute to the American-made pictures.
The foreign business men can place every conceivable shackle on
the U. S. producers and distributors, but, in the final test, public
opinion in foreign countries favors the Hollvwood-made flicker.
In Liverpool, England, we had a vivid illustration of this. British
theatres, to comply with the law, must not only buy British-made
pictures in proportion to their American piuchases. but must
play them before a paid audience. As a result, the English theatre
managers have to resort to unusual tricks to live up to the letter
of the law, while evading the spirit of it. In Liverpool, while the
char^vomen are cleaning the theatre in the morning, the manager
runs the British-made flicker. To comply with the law he first
sends the cleaning women to the box office, where each buys a
ticket. Then, \vhile they clean the theatre, he runs the picture and
the cleaning \\omcn are the "paid audience" \vhich the law calls
for. In the afternoon, ^vhcn the real audience arrives, they see an
American picture.
Of course, the really fine pictures made in Britain, such as "Nine
Days a Queen," "39 Steps " and "King Henry \'III," are v\elcomed
in America as ^vcll as in England and the spritely musicals featur-
ing Jessie Matthews— like "Evergreen" and "It's Love Again"— are
first in British heaits.
England, which thought to encourage home industrv bv the film
cpiota law, lunviltingh has done more to discredit British pictures
in Great Britain than ()ther\vise. I'or instance, Paramouiu, M-G-M
01 R-K-O. each having exported four Holl)wood pictures for
30
SiLN'ER Screen
British release, is ordered by law to either
make or buy a British picture and dis-
tribute it. The joker in the quota \a.\\',
ho-ivever, is that England failed to specify
of what quality the British-made film
must be. As a result, the American com-
panies buy British "quickies," cheaply
made, and distribute them. These quota
pictures, made in England by cheap pro-
ducers, are so horrible that when English
movie audiences see certain British-made
pictures advertised, they rush for cover.
This joker will be removed from the
quota law when the present document
expires in 1938, but the harm already has
been accomplished.
Failing in all of these desperate ex-
pedients to defeat Holl)wood, England
now has turned its attention to borro^v-
As a result, when w'e
I saw more Coast actors
at the Savoy Grill than
you can see at the
ing man-power,
were in London
Hutchinson, Warner's Sam Morris, United Artists' Arthur Kelly
and Colinnbia's Joe Siedelman. These are the vice-presidents in
charge of export fcr their respective compan'es, and across their
desks stream correspondence from all over the ivorld. They must
be versed m the picture business, they must know international
exchange, they must be diplomatic— and they must have plenty of
courage. Twice a year, you'll meet them on their way to Europe
to check up on their offices, and once a year you'll run into them
in China or Japan feeling the Far East cinema pulse.
Their target is a foreign market embracing principally England,
France, Italy, Czecho-Slovakia, Spain and Portugal, Australasia,
South America, Japan and China, a market that offers a possible
gross of $1,625,000 to any one American picture. These eight \ ice-
presidents in charge of export are forever asking the Coast to gi^e
them pictures with international appeal that will hit the jackpot
and release its golden shower of $1,625,000. For export purpose
highly sophisticated stories are taboo, and purely American pic-
tures are taboo. The action picture, such as "Mutiny on the
Bounty" is ideal, \vith action rather than dialogue as a base.
Familiar with all of the temperamental quirks and national
prejudices in the foreign markets, these men can sit in a projection
room and call attention to tactless blunders that would ban a
flicker from a nation. "Top Hat" ^vas barred from Italy because
an Italian consul saw the picture in Amer-
ica and resented the comedy antics of the
cop who talked Italian. When the picture
arrived in Italy, the -movie-makers ivere
wise enough to make this cop French in
speech and action, but it was too late.
Mussolini banned "Top Hat" because Italy's
honor had been offended by the caricature.
It is a fabulous and fantastic story, this
behind-the-scenes story of Hollywood's in-
vasion of Europe, a more dramatic and
gripping story than the movies ever ha\e
filmed.
But when you travel abroad and measure^
the mighty inroads of Hollywood against
every possible obstacle and hurdle that
foreign ingenuity can devise— when you see,
on every billboard and poster American
pictures and American stars advertised—
Nou feel proud of the Coast film colonv, lor
Holly\\'Ood abroad has done a mightv job
mighty well.
The pictures made by the Amer-
ican players will come over
and tackle Hollywood films
right on the home grounds.
Bro'ivn Derby, the Clover
Club or the Trocadero
on the Coast. Marlene
Dietrich, Miriam Hop-
kins, Edward G. Rob-
inson, Raoul Walsh,
George Stone, Charles
Laughton, Bob Wool-
sey, Bert Wheeler— ac-
tresses, actors and di-
rectors imported from America were all
over the place. England reasoned that if
Coast actors and Coast directors made
superior pictures, then the thing to do was
to engage them at any price. The reasoning
was sound, apparently, but it has failed to
work out. Robinson, when I saw him, had
been waiting two months for decent
weather so that he could make a picture.
Marlene Dietrich, showing up for the first
da) 's shooling on her picture, a winter
scene, found that the prop man had con-
structed a summer set. Ben Lyon, in his
first picture, waited three days while the prop man leisurely cor-
rected an important costume error.
The reason for all this delay and incompetence, of course, is
largely a matter of national temperameni. On the other side of
the ocean, life is lived Icisuiely and delil)erately. There is no
hurry, no rush. Studio mechanicians in Hollywood are well-paid.
They function as a fast-moving unit. There is a spirit of team-
play which is reflected in the pride ^vhich each takes in his work.
The British studios brought actors and actresses and directors
from America, but their studios are so badly stalled, and their
mechanical workers so indolent that the ^vholesale purchases only
liave added to the overhead \vithout vitally improving their pic-
lines.
Leaders of the fight made by the American major companies
for the foreign market are Phil Reisman, R-K-O; M-G-M's Arthur
Loew, Paramount's John 'W. Hicks, 201 h Century-Fox's \Valler
( Left ) Marlene
Dietrich will
make "Knight
Without Armour"
in England, but
, the result is still
in doubt. (Above)
Edward G. Robin-
son sailed to work
in London on a
picture called
"Thunder In The
City." (Right)
Another British
picture, "Men Are
Not Gods," stars
Miriam Hopkins.
It is soon to be
released to com-
bat Hollywood's
offerings.
for December 1936
31
Some Can
Take It!
ItR equires j\ Stout Heart
To Oarry On W^Ken
One^s OooJ Name Is
Swept /\way By Rumors
TKat /\re Not True.
By L
iza
Constance Bennett (Below)
was the victim of ugly pub-
licity, but Connie carried on —
a real trouper. (Right) There
is a deep sincerity in Spencer
Tracy that no yapping re-
porter can even understand.
I'M WARNING you, I'm in my Borgia Mood today and would
I think nothing of ripping out your I'ondcst illusions with my
little pen and destroying them like so many cockroaches. Gee
whiz, I'm telling you, when your Auntie l.i/a plays Borgia, nice
people run lor cover.
Now what's the matter? What's the cause of this Big Mad of
the late fall of 1936? Well, I II tell you-l'ollvaniias. And' by Polly-
annas I don't mean the Anita Louises ol the industry, who are
all right in their way but awfulb hard lo take at times. No, I
mean the .Sapjjhiras (what, vou don't know Sapphira? Well where
were you when you should ha\e l)een at Sunday School?)
who get
themselves
all dressed up as
Pollyannas and go
about Hollywood simply
exuding sweetness and light
and marshamallows when all the
time they kno\\' they are liars and hypo-
crites, the cooing, fawning, drooling so anci sos.
I ^von't mention any names because they 'll prob-
ably bring suits and I look something a^vful in suits,
particularly if they have padded shoulders, though I do
look right smart in sharkskin for summer. Ves, it seems that I
have been up to my ears in these professional glad girls ^vho have no
more backbone than a sugar coated gumdrop, and not near as much
character, tor so long now that like Dorothy Parker's Gentle ^Veader
(who had all she could stand of Milne's whimsies) I throw up.
One hearty gust of the winds of adversity and they'd all be
gone with the wind. The more I see of the soft, sticky transparenti
glad girls, of Hollywood (and boys too) the luore I cra\c good red-
blooded movie stars Kho use iron and not gelatine for back-bone.,
\ou can have all the little simpering sweeties you want (you'll
be awfully bored with them) but me, now, I'd much rather give
my admiration to those stars ^yho have proved that they can take
it, who have \veathered the storms of adverse criticisiu, who have
established the fact bevond a doubt that they have guts.
No^v■ guts isn't a pretty ivord and \ou can be squeamish about it
if you want to, but I happen to like it. It's expressi\e. It's out in
the open. And it isn't a glad word. Oh, you're going to be awfully
surprised ^vhen I tell you w ho I am raving about now. Hold
tight to your chairs, for if you know me very well the shock's
going to be terrific. As worthy of your admiration because thev
lia\e pro\ed they have gius and can take it I heartily recommend
Connie Bennett, Riuh Chatterton. \\'altcr Huston, Carole Lom-
bard, Spencer Trac\ , Barbaia Stanwyck and Tallulah Bankhead.
Of coinse. the big sinprise is with the first two, because, until
the leaves began to tinii in the fall of 1936. I woidd ha\e none of
them. When I went into my Borgia Mood I couldn't think of
enough horrible things to say aboiu them. Neither of thenr had
e\er done aiiMhing to me— I simply didn't like the idea of them
existing. 1 hat's all. And then I got steeped in professional glad
girls. And then 1 sa\v "Ladies in I.o\e" auti "Dodsw orth." And
32
Silver Screen
(Left) Among those who have met this test is
Carole Lombard. (Below) Today Ruth Chatterton
is back among the leaders and no thanks to the
rumor mongers
then I
met the girls
^ personally, which
is always fatal in a
good feud. And then I just
got to thinking
Connie, I suppose, more than any
other actress has been subjected to bad
publicity, and the fact that she has iveathered
one of the worst storms in Hollyivood certainly
ought to prove that she can take it. I believe in giv-
ing the devil his due— not that Connie is a devil (maybe
she is at times, hooray) but a lot of that publicity ^vasn't
justified, in fact it ^vas rather ungallant of the Fourth Estate.
Connie still has cold shivers when she thinks of those news
stories that were syndicated in every paper in the country several
years ago. "Connie Bennett Knocks Down Child" the headlines
read. Now Connie might knock you or me down sometimes if she
gets worked up enough but she never in the world u'ould even
hurt the feelings of a little child. It all happened ^vhen the Chief
stopped at Albuquerque on one of her trips East and there was a
mob of fans down at the station to see movie stars. Connie got off
the train to send a wire and was immediately stamped. She signed
autographs and signed until the conductor called ".411 aboard"
and she started back to the train, with a dozen or more people still
clutching at her and demanding autographs, and it just so hap-
pened that a little girl got in the way of the older children and
was pushed right over the car step. The kid was badly frightened,
and so was Connie, and she held up the train while she dried her
tears and consoled with her. But the next day newspapers all
over the country carried headlines "Connie Bennett Knocks Do\\'n
Child."
That's only one example. There have been hundreds of others.
Even her own profession turned against her when the New York
columnists declared a field day over her late appearance at a
Broadway play not so long ago. "Connie Bennett arrived long
after the curtain had risen laughing and talking so foudly that
the actors on the stage didn't have a chance," the newspapers
reported. As a matter of fact Connie was late at that certain per-
formance, but she was at a dinner party and no matter how she
coaxed the people to hurry they just wouldn't— and she was just
as mad as the critics were over being late, for la Bennett loves
a good play (she couldn't be a Bennett if she didn't) and, believe
it or not, lateness isn't one of her sins. Next to Joan Cra^vford
she is the promptest person in Hollywood. In the old days when
Connie would read these lies about herself she ^vould go into
tantrums and demand retractions (which she didn't always get),
but now she takes it all u-ith a shrug. Shrugs are better than tan-
trums when dealing with the Press.
I suppose it was the fact that Connie refuses to greet you with
a cheery "good morning" when, as far as she is concerned, it's a
hell of a morning, that won me over to Miss Bennett. She just
won't be a hypocrite. She refuses to be awfully glad and gurgly
about things she isn't glad about at all. And I like that. And
another thing I like about Connie is her way of doing something
for others. She doesn't yap her head off about Charity and then
not do anything-the way some of the Glamour Gills do. Not
Connie— she docs it quietly and thoroughly and it gets done.
And, despite the fact that she has the reputation of being one
of the more selfish movie stars, and boy, has she taken it on that
count, too, Connie happens to be at the back of one of the most
worthy charities in Hollywood today. You probably know all al)o\it
the Seeing Eye, if you've been listening to the Alexander Wooll-
f o r December 1936
cott broadcasts this past year-you probably kno^\' all about it any-
way. Connie Bennett didn't. But when she returned from England
recently she stopped o\er in New York for a iew days and some
friends urged her to drive ^vith them over to Morristo^vn, New
Jersey, and see the famous scliool where instructors teach those
beautiful, faithful and intelligent animals, the police dogs, to
guide the blind. Thanks to this school, for the first time the
world becomes a place where the sightless can do something more
than merely stand and wait. Connie ^vas deeply impressed. .\ny
movie star \vould have been, no doubt, for a day or so until the
new picture went into production. But Connie didn't forget. A
new picture came up, "Ladies in Love," but still she didn't for-
get.
From Mrs. Harrison Eustis, president of the Seeing E)e, she
learned that the school was badly in need of additional funds, so
Connie, who has the reputation of never thinking of anyone but
herself, proceeded to organize a Holhwood committee to raise
fluids for the Seeing Eye. On the committee are Mrs. Gary Cooper,
Mr. and Mrs. Douglas Fairljanks, Merle Oberon, Claudctte Colbert,
Joan Crawford, Ida Koverman, Mr. and Mrs. Samuel Goldwyn,
Joel McCrea, Kay Francis and Norma Shearer. ,\nd then with
(heir help she proceeded to do what is the hardest thing in Holly-
wood to do, namely, to get "big name" mo\ie stars to sign a paper
saying that they would appear on a Seeing Eye radio program
and give their check to the Seeing Eye school in Morristown,"New
Jersey.
Of course, you know that for their ajjpcarances on the radio
now the stars in Hollywood are getting tremendous sums of money,
and if you think stars for the most part are generous with these
checks you are quaintly mistaken. The more they ha\e the mce
ihey want, which is just one of the Unwritten Laws. But Coiuiie
Bennett took charge. Today the list of the stars who will gladly
broadcast tree for the Seeing Eye includes such big names as:
Constance Bennett, Merle Oberon, Joan Crawford, Franchot 'l one,
Gary Cooper, Gilliert Roland, Loretta ^oung, Janet Ga\n<)r. Kay
Francis, Da\id Ni\cn, Brian .Miern, Karen Alorlev, Claucleiic Col-
bert, Dolores Del Rio, Frances Dee, Joel McCrea, Joan Hrnnett,
Gene Raymond, Baibara Sl;niw\ck, Robert Ta\lor, Norma SliL-avcr.
Herbert Marshall, Paul Lukas, I'rid MacMurray, Jeanef.e Ma '-
Donald and Nelson Eddy. As .soon as a sponsor is decid.";! ii')cn
ihe ijroadcasts will begin. Of course I [Conliniicd on page 60\
33
THE DRAMATIC HOME-COMING
OF THE COUNTRY DOCTOR^S
3000 GROWN-UP BABIES'
A society woman nearly stole him An orphan boy ended the strange
from her. heartache in their lives.
-a
The fading movie star tried to
recapture f ame-and found love,
Yvonne Cecile Marie Annette Emeiie
with
JEAN HERSHOLT
ROCHELLE HUDSON HELEN VINSON SLIM SUMMERVILLE ROBERT KENT
DOROTHY PETERSON JOHN QUALEN ALAN DINEHART J. EDWARD BROMBERG SARA HADEN
TOM MOORE GEORGE ERNEST MONTAGU LOVE
Darryl F. Zanuck in Charge of Production • Directed by Normon Taurog
Associate Producers Earl Corroll ond Harold Wilson IJ^K^
34
BAR T
// FROM
THE
British
Isles
Herbert Marshall Has PlayeJ Many A Part In HolIy=
wood Pictures^ A.nd Never Yet PlayeJ One Badly.
The -famous English
actor and his champion
seHer. (Left) Kathar-
ine Hepburn and Herb
Marshall in "Portrait of
a Rebel." (Right)
Anne Shirley and Mar-
shall as they appear in
"Make Way for a
Lady."
SOMETIMES we wonder about Herbert
Marshall, whether he is happ) or not. He
has been l)ere for a long time and has proven a "Coodwill
Ambassador." Because of him we like Englishmen belter. We
know that during the war he fought and suffered.
We have seen liim as a .soldier, as a scamp and in many other
parts, but whatever the role is we enjo) (he culture in bis voice,
the character in his face and his ever present kindly humor.
\ou have to like a chap like thati
In Silent Days TKe ^A/amps^^ ^X4re Lan=
3uorous and jeductive/ But Now TK.
Dancers Take Steps To Be EncKantms.
(Left) Lil; Damlfa and
Del Campo in a dance of
the Latin countries for
"The Devil On Horsebaclc."
(Above) Eleanor Powell
and James Stewart up in
the air over the rhythm of
"Born to Dance."
Martha Raye and Benny Goodman give a
comedy twist to "The Big Broadcast" for
Paramount. Martha still retains her night
club mimicry and burlesque angularity.
NE of the blessings of having the theatre wired
for sound is the dancing picture. The catchy i
tunes and the talented dancers who have!
reached your theatre are welcome, but without
sound there would be no gay musicals and frisky
hoofers. Nowadays, every big star has to tread a
measure, not excepting Garbo, Crawford, Lombard j
and Claudette Colbert. If a player can sing or)
even play an instrument, he has an open sesamej
to every studio in Hollywood. But if a player can]
(Itince then the talent scouts hunt him down and
get him to give his skill to the movies.
Sound gave us the many marvelous dancers on
the screen.
TKe A/lusic Sets ^ our Pulse
To Dancins = /S-ncl It
Looks So Easy.
Veioz and Yolanda are one of fhe most famous dance
teams on any screen. "The Big Broadcast" presents these
talented performers. (Right) She danced her way into a
long term contract. Lillian Porter proves that the prettier
the legs, the prettier the dance.
Excitement Ahead !
Life Is Never Dull For A Movie Fan^ For Pictures Give Us
Thrillins Moments From Other L,ives.
H I jlWllliiiitLi-
In "The Plainsman" (top) are the
Cheyennes and the Fifth Cavalry
Troops. (Above, and at left)
Gary Cooper as Wrid Bill Hickok
and Jean Arthur as Calamity
Jane. Wild Bill was a famous
western character and the De
Mille picture is his biography.
(Upper Left) In "The White
Dragon," Edmund Lowe and
Elissa Landi find themselves in
handcuffs. (Left) Ann Soth ern
and Eric Rhodes. A scene from
"The Smartest Girl in Town"
Lawrence Tibbett and Wendy Barrie in "Under
Your Spell." (Lisft) Sir Guy Standing, Freddie
Bartholomew and J. M. Kerrigan in "Lloyds of
London."
\
John Howard,
who plays an im-
portant role in
James Hilton's
story, "Lost Hori-
( Above) Look for Nelson Eddy in
"Mavtime," with Jeanette MacDon-
ald. (Right) Dick Powell has won out
in person, in pictures, on the air, and
now in love. His latest release is
"Sold Diggers of 1937."
They ^
Count
Their Fans
By The
TKe Popular Heroes Of TKe Screen Have
Stalwart FigureS/ Talent In Acting/ And
V^Aiat Is A/lore^ OKarming Personalities.
I
Fred MacMurray, wha.,
playing opposite Claudet^e
Colbert in "Maid of Salem,"
is safely settled in the
movies and in matrimony.
(Left) Clark Gable, who is
being shown in "Love on the
Run," with Joan Crawford.
Clark is always wonderful in
important roles and fine with
the fans at premieres and
personal appearances.
RECENTLY in the Silver Screen
Gold Medal balloting for the
Most Popular Player, the win-
ner was Robert Taylor, whose
charm has swept the country like a
Wall Street boom. However, these
seven steady going, always busy,
young men held high places in the
contest. So here's a bow to John
Howard, the newcomer to the ranks
of the exalted, and to Henry
Fonda, Fred MacMurray,
Gary Cooper, Clark Gable
and Dick Powell— they are
always close to the lead and
close to the hearts of the fans.
(Right) Gary
Cooper is always
busy, and recent
months have seen
him achieve his
greatest success. He
will soon be seen as
a famous character
of pioneer days.
The Parae
(At extreme left) Very black — very beautifi'
very exciting is the broadcloth coat with vel
collar worn by blonde Betty Furness. The nip|
in waistline, full sleeves and full skirted b
are reminiscent of the coat worn by the Marc
de Lafayette during his visit to Americsi
1776. Betty's "opera hat" is of black vel
and her white gloves and cluster of wl
flowers at the neckline. provide a startling
trast.
The very latest in "cocktail"
turbans is adopted by Merle
Oberon. It's really just a velvet
skull cap with a flattering wired
bow framing her lovely high
forehead.
Marie Wilson's
black tunic
dress of heavy
ribbed novelty
fabric is en-
hanced by a
novel belt of
stitched red
leather. Her
pancake felt
tarn has sun-
burst tucks on
the crown.
A slate grey
woolen skirt
topped by a grey,
blue and orange
checked jacket
with double patch
pockets and an
ora nge velvet
tucked in scarf is
Betty Furness'
choice for brisk
days. Her shoes
and off-the-face
hat are of grey,
also.
A black pat-
ent leather
belt in cut-out
design accen-
tuates Olivia
de Havilland's
''swing-
skirted" frock
of bright
green fabric.
Crush resistant
sheer black velvet
is Jean Arthur's
choice. 1850 rick-
rack braid out-
ines the man-
darin collar and
wee cufFs, while
dull white metal
hooks and eyes
close the blouse
THE Big Moguls ol H
play's ihc thing." But)
studios say, and correti
much -desired touch." TH,
to technique. .'Vnd. after :l
a picture what is it that' ll^
The clothes the star wor
And if the star's dressi
perhaps the tricky little g
an odd hat. a no\el colla.
the simple daytime frocksi ;ai
memorable by just such I \
Fashion
Leopard sk!n
accessories
are used with
amazing re-
sults on Marie
Wilson's sim-
ple brick-red
wool frock.
Her hat and
shoes are
brown sued
♦ 1
Down Hollywood
Boulcvara March
The Stars Gaily
Flaunting Their
Colorful Winter
Regalia.
June Travis
makes a severe
copper-colored
wool dress in-
teresting with
one of the new,
decorative wide
belts fashioned
of brown and
copper ante-
lope.
(At right) A powder blue and
silver lame gown sponsored by
Wendy Barrie favors the new
idea for sleeves in formal eve-
ning gowns, and shows a fine
balance in the use of tunic and
train.
(Below) Patricia Ellis' high-
crowned brown felt hat fea-
tures a wide band of green
ribbon topped by a jaunty
pheasant quill.
; with Shakespeare thai "the
Iress designers at the various
I the accessories add the final,
ig, of course, to clothes, not
thing is said and done about
the audience remember best?
cularly appeal to the ladies,
e with it did. A belt, a scarf,
all very important. See how
; are made more fetching and
A famous French
couturier designed
this feather - weight
grey wool frock
polka-dotted in silk
chenille worn by Si-
mone Simon. The
wide grey belt is
studded with silver
stars which are also
used for buttons on
the cleverly cut bod-
Anita Colby and
the antique silver
and sa pphire
jewelry that so
perfectly matches
the jewel of her
beauty.
Merle Oberon is the happy
owner of a promising future
and also a necklace of real
pearls. (Below) The pearls
that encircle Claire Trevor's
pretty neck are genuine,
bought out of her first sav-
Movie Stars A.re Not Only
Envied For TKeir Beauty /VnJ
TKeir Jots. Every Fan ^earns
For TKe Oorgeous Jewels Of
Tlie Ladies Of TKe Screen.
(Leff) There is no
gem better loved
than a star sapphire.
Arline Judge wears
hers modestly.
(Right) Carole Lom-
bard loves star sap-
phires, too. She has
one of the largest in
the ytorU.
(Left) Eleanor
Powell wearing a
complete set of
gems in "Born to
Dance." There were
more than one hun-
dred rubies and
diamonds in her ear-
rings, ring, bracelet
and brooch. (Below)
Alice Faye owns an
unusually wide pinlcy
ring made in a floral
design of rubies, sap-
phires and diamonds
with small cut rubies
encircling it.
Oh The
The Screen Not Only Takes
Lis To The Jun5le For The Tar=
?an Pictures But Introduce^
Us To Jungle Oirls And
nj'uns Too.
"The Girl of The Jungle" is Dorothy Lamour and many,
lad will yearn to protect her in her home in the wild)
She has strange playmates, as the picture above re
veals. Or perhaps that's a Tammany tiger.
OF THE
\V ildwood!
THE stories that come to the
screen entertain many a quiet
stay-at-home with the hair-
breadth escapes of the jungle. Ed-
gar Rice Burroughs wrote many of
these stories and they were always
welcome. Perhaps such pictures
stimulate the imagination—
at any rate the millions who
go to the movies give their
ardent support to these stories
of strange, powerful men and
lovely girls.
The gangster films were
ruthless, but there never was
a thrill in all of them to-
gether to equal the kick we
il get out of Tarzan's friends
fj among the elephants and
rhinos.
Lawrence Tibbett in "Under
Your Spell," and almost under
water. Perhaps this picture wil
be laid nearer home, but don't
forget your water-wings.
So
Beautiful
TKe Oirls In Pictures
Are BlesseJ WitK
Loveliness
Loretta Young, a vet-
eran in pictures, has
played girls of many
types, but through
each, part has shone
the charm and gentle
qualities of Loretta
herself.
(Left) Olivia de Havil-
land has played classic
parts and moderns and
never has her witchery
failed to bring reality to
her brilliant character-
izations. (Right) In her
new coiffure Jean Mu'ir
has found an attractive
frame for her own de-
sirable beauty.
WHEN a girl is given beauty,
there is an obligation laid upon
her to use her appearance to
give charm to heroines and thus make
stories seem more real. The fervor of
writers assumes a more convincing
manner when the girl in the part has
the magic of perfect features and the
sparkle of color and youth.
3 GREAT
ts place among the ten finest pic-\
tures ever produced. The story was
adapted by Robert Riskin from James
Hilton's world-famous novel, with Ronald
Colman in the star role... a combination that
is nothing short of inspired. Obviously Colum-
bia has expended a fortune on this film, but to
my mind it's money well spent. The picture
is spell-binding, with its strange story of five
people kidnapped and whisked far beyond
TO GREATER
ENTERTAINMENT
OR months Hollywood has
^ been predicting that this would
r- be the greatest movie season
in history. Well, I've just been
looking over some of the
screen capital's coming prod-
uct, and all I can say is —
Hollywood wasn't fooling!
•on't misunderstand me. I'm not a movie
cpert — but I know what I like. And I want
By RUSSELL PATTERSON
grand new songs. And how Bing sings them,
with plenty of inspiration from Madge Evans, I
who grows lovelier with every film. Their love
affair literally starts on a dime — and almost
ends in jail, when Bing takes under his wing
an irrepressible little gamin (Edith Fellows,
the 10-year-old who scored so heavily in "She
Married Her Boss").
And don't miss Irene Dunne in "Theodora
Goes Wild"! This mad, merry Columbia film
is one of the biggest comedy surprises the
screen has sprung in years. This story of a
girl who starts half-a-dozen near-divorces try-
ing to get her man, will have you howling
from the very first foot. Melvyn Douglas is
splendid as a New York artist who brings out
the worst in small-town Theodora — more, in
fact, than he bargains for!
But the greatest treat that screendom has
in store for you is Frank Capra's mag-
nificent production of "Lost Horizon",
a film that, without question, will take
civilization, imprisoned in a paradise where
people never age. Capra has definitely topped
his "It Happened One Night" and "Mr.
Deeds" in this one.
"Lost Horizon" won't actually reach the
screen for some time yet. But when it does,
you'll agree that this grand picture alone
would have made good Hollywood's boast
about its "greatest movie season".
tell you, in a few well-chosen words —
id pictures — about the three approaching
tractions that I like best.
The first one you'll see will be
e new Bing Crosby show— "Pen-
es From Heaven". Here's the
ttiniest picture Bing's ever made,
s his first for Columbia — an en-
gingly human romance with five
Bing swings
into his biggest
laugh show,
■with 5 new
song hits, in
"Pennies From
Heaven".
Columbia is rumored to have spent two millions on its pro-
duction of "Lost Horizon". Here are Ronald Colman and
Margo in a tense scene, with producer Frank Capra in inset.
TKe StuJios Ol
Hollywoocl Hire
Many An Edu=
cateJ Animal To
Oivc Reality To
Pictures.
(Lower left) In "Por-
trait of a Rebel,"
Katharine Hepburn
tries to lead the
donkey. (Left) Kath-
arine decides he is
donkey all over.
Shots Of The Stars
WITH THE
Animal
Performers
Tarzan (Johnny Weissmuller)
is rescued by his friend, the
elephant, fronn the trap in
"Tanan Escapes."
In "Libeled Lady," Walter Connolly, Myrna Loy and
Will iam Powell are fascinated by the size of the
fish. It is his first picture. (Left) Martha Raye mak-
ing faces at the chimpanzee, who has a Paramount
contract.
51
Shirley Temple Gift
Contest
Prices That Would A/lake Lovel/ Christmas Presents
Free For The Best Letters.
'E HAVE ascertained from
many of our readers that
mothers sometimes can only
make their daughters wiHingly eat
their spinach, or drink their milk, be-
cause Shirley Temple does so. Older
sisters have often been able to teach
younger ones the good manners and
neatness required of them by setting
Shirley up as an example. Teachers
have also been aided in obtaining
obedience from their little pupils b\
the same method. That is why we are
here presenting an opportunity for you
to write a letter telling us how Shirley
Temple's influence has helped in the
up-bringing of soine little girl you
know, to whom you would like to give
a beautiful gift.
Pictured to the right is the first
prize. This, as well as the second
prizes, is the famous Shirley Temple
doll coach made by the F. A. Whitney
Carriage Company. All of them pos-
sess a white chassis, no nails visible on
sides and no sharp edges— all rounded.
They have one-piece French handles
and non-pinching safety hood jointg.
On each side of the doll carriages there
is a reproduction of Shirley's head, and
her name appears on the hood knobs
and wheel hub caps.
To make these doll carriages out-
standing gifts, we have included with
each one of them a Shirley Temple doll
and a wool blanket with long fringe, em-
broidered with Shirley's name. A matching
pillow completes the ensemble.
FIRST PRIZE
A SHIRLEY TEMPLE doll carriage, 26"
X 12I/2" with foot extension, and a
27 inch Shirley Temple baby doll. The
carriage is fully upholstered with non-
cracking leather cloth, has white enameled
gear with shackle springs, 9" wire wheels
and :j4" rubber tires. The baby doll is
dressed in beautiful organdy clothes, with
Shirley Temple photographed with the doll carriage,
doll and accessories offered for the first prize.
Answer This Question And Win One Of These Beautiful Prices:
F^ow has Shirley Temple influenced the life of some
little girl that you know?
rubber panties. She has real blonde hair
and real eyelashes, and cries when tipped
forward or spanked. The doll represents
Shirley Temple at the age of two. A wool
blanket and matching pillow included.
TWELVE (12) SECOND PRIZES
CHIRLEY TEMPLE doll carriages, 19" x
91/4". with 18 inch Shirley Temple baby
dolls. Carriages have hoods of non-cracking
leather cloth, plated safety joints, ^vhite
enameled gears and handles, 7" wheels with
I/2" rubber tires. The dolls are the same as
the first prize except in size. A wool blanket
and matching pillow included.
EIGHTEEN (18) THIRD PRIZES
22 inch Shirley Temple dolls. These dolls
are modeled after Shirley as she is today.
They have long blonde curls and real eye-
lashes. The eyes not
only open and
close, but move
from side to side—
a featiue no other
doll has. The ac-
cordion pleated
dresses that the
dolls wear are at-
tractive copies of
Shirley Temple's
own dress.
CONDITIONS
1. Your letter should not contain more
than three hundred words.
2. Be sure your name and address appear
on your letter.
3. Write your name and address plainly
on the coupon below and attach it to
your letter.
4. Neatness will be considered in awarding
these prizes.
5. Contest closes midnight December 7,
1936.
6. Contest is opened to any reader with the
exception of members of the staff of this
magazine or their families.
7. In the event of ties the prize tied for
will be sent to each tying contestant.
8. The prizes will be awarded for the
most interesting letters in the opinion of
the editor, whose decision will be final.
One of the third
prize Shirley Tem-
ple dolls.
Editor,
Shirley Temple Gift Contest,
Silver Screen, 45 W. 45th St., New York, N. Y.
In the event that my letter is selected in this contest, I
should be pleased to have the prize sent to me at the
following address:
Name
Address
City
State
52
Silver Screen for December 1936
FRANCHOT TONE has contributed an
outstanding performance in Hollywood,
but, unfortunately for such histrionics,
there are no Academy awards, no blazing
banner lines to inform the world of his
accomplishment.
It isn't that I mean to hold Franchot up
as an object of mortal perfection. Fortu-
nately, he possesses all the human frailities,
even as you and I. But he has shown his
mettle in the face of the most trying cir-
cumstances — that is, trying to one of
Franchot's intrinsic decency. For keeping
his individuality, for remaining adamant in
his original repugnance toward fitting into
the acknowledged Hollywood mould, Fran-
chot Tone is singularly distinctive.
Marriage to a great star, wide world
acclaim, wealth, have made no change in
the ideals and guiding influences of the
Tone career. Over a period of years, Holly-
wood has expected and witnessed the in-
e\itable crack-up of every actor who has
vouchsafed to retain his identity and in-
dividualism, in spite of the exigencies of
fame. But Franchot Tone remains daunt-
less. In fact, if anything he is stronger than
ever in his position. And Hollywood is a
liitle grim at the shock of it all. On the
other hand, there is a ncK side to Franchot,
a new side that is less didactic, more emo-
tionally chivalrous and in every way repre-
sentative of the life he is li\ing. In
Hollywood, most actors arc prone to become
He is an actor of
great talent, of
soaring ambition
and a saving sense
of humor. (Below)
Tone and his hob-
by— chess, that is
it.
"Distinctive
FrancKot TonC/
His
Friend Of
Mim
By Jerry Asl
collectors, using their
fame and fortune to
this advantage. Fran-
chot Tone from the
start was a connois-
seur. Today he still
seeks out the best in
music, in books, in
friends, in living.
Franchot kno^vs no
substitutes for qual-
ity. His work he con-
siders the most im-
portant thing, next to
his marriage. This ex-
plains his bitterness
in not being given a chance to create some-
thing worthy of his abilitv.
Of all the actors in Hollywood there is
none whose talents have been so distorted
in un^vorthy roles. Doubtless, the scarcity
of leading men is the reason for Franchot
being slioved into the first part that comes
along. In answer to all his pleas that he be
given another "Bengal Lancer" (for \vhich
he was borro\ved) or another "Mutinv On
the Bounty" (he got this because Bob
Montgomery waiUcd a \acation) the pro-
ducers tell Franchot that iiis pictiues "make
money." So far, no actor has ever been able
to find an ansivcr to this one. .Xnd Francliot
is no exception!
Since his mairiage, a new facet in the
Tone jicrsonably has dc\ eloped— one that
As A
Fvnows
ler
Franchot never be
lieved possiij'e. As it
has been piinted so
manv times before,
Franchot has always
been a lone wolf.
Long before he left
college, he reconciled
himself to the fact
that he would never
be a good mixer or
become the life of
an\ part). Instinctively he kept to himself
That "hail fellow weU met" attitude wasn't
part of his nature. There was little he had
in common with the work-a-day \\orld in
general.
At least once a ^veek the Tones give a
dinner party. Dining the sinnmer months
they entertained with se\eral Siuida\ after-
noon garden alVairs that carried on into
bullet suppers and a mo\ie. Franchot siid-
denlv disco\cred. to his amazement, that
he enjoyed being with a crowd of people.
He foinid things to sav to them and they
seemed to ha\ e things to say to him. Doubt-
lesslv it ^vas insjjircd bv the warmth and
genuine friendship that has been sho\vercd
on him since his marriage. One night \vhen
his guests started (Continued on [xigc 69)
53
MAYBE it is because Merle Oberon was
born on the little Island of Tas-
mania that she loves the sea so
ardently. E\er since she came to California
to make pictiues, she has lived in a pic-
turesque house on the beach at Santa
Monica, with the Pacific Ocean for her
front yard. Her next door neighbors are
Norma Shearer Thalberg and the Douglas
Fairbanks', who are also her most intimate
friends, and they form a nucleus of a con-
genial little colony of their own.
It was -while sitting on her broad terrace,
one sunny afternoon, watching the blue
waves dancing against a bluer sky, that
Merle said, "The word career should be
spelled with the two letters—/-/^.' I can look
back and see how this small word has influ-
enced every step of my way. // this had not
happened, // I had not done this or that,
at a psychological moment, where would I
be today? What would my life be?"
"It seems to me," I began, suddenly
realizing that this tiny girl curled up in the
big s\ving was the piquant star who has
completely captured the entire film world,
"that your career was foreordained. I'm
very sure a special destiny guides you for it
follows such a perfect pattern."
Merle laughed. "Oh, no," she replied,
"there are many times when I must make
far-reaching decisions all by myself but my '
un-ivavering optimism always helps me out.
I have a pet theory that if we have unlim-
ited determination and will concentrate on
\\.hat \\c want— will work for it, fight
down the obstacles, never admit discour-
agement, that nothing can keep us from
succeeding!
"Of course, the most significant if in my
life is that my father died three months
before I was born. He was a British army
officer and had he lived no thought of a
career ivould have touched my life. As it
was, my first ambition was to hurry and
grow up, so I could earn money and take
care of my mother. When I was nine,
mother ancl I went to Calcutta, India, to
li\e wilh my imcle and aunt, and fortu-
nately for me, they encouraged my inde-
pendence, which is unusual in English
families.
"The second if that completely changed
my life came one afternoon in 1927, when
my aiuit took me to see the Hollywood-
made picture, 'The Dark y\ngel.' That silent
film thrilled and moved me as nothing else
had c\er done and sitting in the dark the-
atre, whh tears streaming down my cheeks,
I felt something happen to me: I knew I
was to be a screen actress! Never for a min-
ute did I waver or doubt this, though at the
time there were obstacles towering to the
very sky and it looked utterly impossible.
""Sow," she asked, "// I had not seen 'The
Dark Angel,' at that very time, would I
have ever caught the same driving inspira-
tion again?"
Indicative of her directness, the \er\
TKe WorJ Tkat
Has AJded
Drama To AAerle
eron s Oareer.
By
yVlauJe OKeatKam
next day, Merle joined the Calcutta Ama-
teur Society, and appeared in several of
their pantomimes, danced, in the chorus of
"Sinbad the Sailor," and "Aladdin," and
sang in "The Geisha." She was now con-
vinced that her next step must be England,
where she could launch her career, but the
realization of this dream seemed as remote
as the very stars.
Then, when she was seventeen, her uncle
was called to London on business and Merle
decided iqion a desperate move; she would
become a stowaway, and sail with him into
her new world. Successfully hiding a small
satchel in his stateroom when she went
aboard the ship to see him oil', she gaily
bade him an afTectionate goodlne. and
slipping away from her mother and aunt,
she hid on an upper ticck muil ihc\ wcie
well oiU at sea, when she suddenly ajjpeared
at her uncle's door.
The whole daring idea amused him im-
mensely. An) way, what could he do aboiu
it now? So. the two of them loured I ng-
land ancl x\ hen he \\a'< icacK to u iinii
Life is very good for
Merle; her friends are
steadfast and her dreams
are coming true. Brian
h O m e he Aherne and the Pacific
agreed to Ocean combine to amuse
give Merle her.
t ^ve n t y - f ive
poimds, a re-
turn trip ticket to India, and let her try her
luck at getting into pictures.
Se\entccii, and alone in London, the first
thing she did was to buv an expensive fiu'-
trimmed coat she saw dis|)laved in a win-
dow. 'I'hen, reali/ing she had spent mosi
of her money, she \vciu on a cracker diet
for almost a week, ^vaiting for her oppor-
tiniity. One morning she read in the news-
pa]3er that girls ^vere wanletl to dance in
a film, so, putting on her beautiful new
coat. Merle swe[)t grandly into the man-
ager's olfice and made such an im])ression
of chat tiling eleganre that she landed the
job at once.
Now comes the ([uestion: if she luul not
foolishly bought the extra\agant coat, how
long might her first screen chance have
been delayed?
One of the (C(>nli}iii(d on page 71)
1936
volved in a self-defence shooting over a
buried treasure little Miss Sybil "hoping
to scare the law" invents lies about Uncle
Asa that fairly take him to the chair. But,
of course, in the end he becomes the local
hero.
Mr. Kibbee is excellent in another of his
famous "Captain January" roles and the
casual way in which he wanders in and out
of jail makes a big hit with the audience.
May Robson plays a shrewish aunt who has
the care of Sybil and her sister, Jane Bryan.
Sybil puts over a song called "I'm the Cap-
tain's Kid."
LADIES IN LOVE
Tension in Budapest— Tiventieth Century-
Fox
AND here, at last, is that muchly dis-
cussed picture in which four of Holly-
w'ood's most temperamental actresses played
together (and fought together if you be-
lieve the chitchat of the town). But no
matter what they did on the set it is quite
evident that on the screen they are all per-
fect little ladies indulging in no up-staging
or scene-stealing.
The three stars— Janet Gaynor, Loretta
Young, and Connie Bennett— play three
yoimg ^vomen in Budapest v.'ho decide to
urerge their meager incomes and rent a
ritzy apartment for appearances sake. All
tliree fall in love and good old heartbreak
ensues. Love is a flop in all three cases but
broken heart.
Loretta loses her young man. Count
Tyrone Power Jr., ^vhen he marries his
royal fiancee after a flirtation with Loretta.
And Connie loses her man, Paul Lukas, to
a little girl from the country, Simone
Simon. (Personally I would appreciate it if
Twentieth Century could arrange to have
Simone fall in love with a young man for
a change.)
THE BIG BROADCAST OF 1937
Musical Extr.\vag.\nza At Its Best—
Paramount
TF IT'S first class entertainment you're
1 looking for don't look now but here it is,
right in the "Big Broadcast of 1937," by
far the best of the big broadcast series. The
entertainment goes all the way from Martha
(Above) Loretta Young, Janet
Gaynor and Constance Ben-
nett in "Ladies in Love."
(Left) "Along Came Love,"
with Irene Hervey and Charles
Starrett. (Extreme left) Jack
Benny, star of "The Big
Broadcast of 1937," hurry-
ing away from work.
THE CAPTAIN'S KID
Way Down Eau — Warners
CUTE little Sybil Jason, who seems to
know much more about sincerity and
tempo in acting than many of her elders,
plays a rich little girl from the city who is
spending the summer in a quaint old Ne^v
Englancl scacoast town. The love of her
life is "Uncle Asa" (Cuy Kibbee) a grizzled
old Munchausen who never wearies of tell-
ing S)bil tall tales of his ]3irate days.
^V'cll, Sybil ]M(>\(s liial she can tell tall
tales too, ko wlicii Uncle Asa becomes in-
each finds compcnsaiion in another di-
rection.
()uiie natural!), with three different love
stories running concurrently and getting
themselves straightened out, the pictiue be-
comes rather jciky and episodic. Juch^ing
from the audiciue re-aclion the most in-
teresting hue affair was that of Janet lor
the hanunish magician (superbly pla\ci! by
.Man Mowbray) who tries to break Janet's
heart just to appease his own romantic con-
ceit—fortunately for Janet young Doctor
Don ,\mcche is right there to mend her
Ra\e to Leopold Stoko^vski and his sym-
phony orchestra and back to Manha Rave—
and at the preview both Miss Rayc and Mr.
Siokowski shared equal honors for the
greatest applause.
The plot's quite hilarious, revolvmg
around Piatt -Airflow Golf Balls' conuner-
cial broadcast. Oiu" own little nitwit, Gracie
Allen, is the sponsor of the program, and,
aficr hearing Frank Forest sing "La
Bomba," she just must have him on Piatt
(.oir Balls. AVith Ray Milland as the press
agent and Jack Benny as head of the broad-
Silver Screen for December 1936
55
casting company, the conceited Mr. Forest
agrees to sign only if they will have Shirley
Ross brought to town and hushed up—
Shirley it seems has been satirizing Mr.
Torest on her radio station in the sticks.
But when Shirley is brought to to^vn,
immediately Mr. Milland, Mr. Benny, and
Mr. Forest all fall in love with her— with
the press agent winning out in the end
after some very upsetting complications. In
the meantime, while Shirley is getting her
love affair straightened out every kind of
entertainment you ever heard of is hap-
pening in the radio broadcasting station,
with Grade, of course, acting like a mad
woman. She finally snares Bob Burns (who
has been wandering around the station for
days with his bazooka looking for Stoko\\-
ski) in a hot embrace which reaches a new-
high in comedy for all times.
Martha Raye, Shir-
ley Ross, Frank Chap-
man and Benny Fields
sing like nobody's busi-
ness, Louis De Pron
and Eleanore Whitney
do a stand-out dance
number, and Benny
Goodman's swing band
IS simply terrific. It's
a sweW picture for the
entire family.
ALONG CAME
LOVE
Not in the Social
Register— Prt ra mount
]— [ERE S a
1 ^ light and
Simone Simon, the
talented French ac- , , , . r <
tress, who also ap- [fO.'^) ^'^ of de-
pears in "Ladies in li^'O"^ nonsense.
l^„y^ )> There arc no star
names, b u t who
cares! Irene Hervey plays a trash-can sales-
girl in Tracy's (could they mean Macy's
perchance?) basement wiio is looking for a
Prince. The Prince turns out to be a
theatre doorman (Charles Starrett) who is
really a young baby doctor ^vorking his way
through medical school. Irene l^orrows a
baby, takes a morning olt from her trash-
cans, and goes in pursuit of the doctor.
They are just about to be married when
a raid on a Burles(|ue show, where her
mother is singing, brings bad publicity and
just about wrecks the romance. But it all
"The Captain's Kid," Sybil Jason, is getting
walloped by May Robson. It hurts Guy Kib-
bee, the Captain, but not in the same place.
works out beautifully with mother getting
her release from jail and marrying the
manager of the store. Irene Franklin, as the
mother who can put over a song a la
Minsky, steals scenes right and left, and we
find ourselves asking why not more of
Irene Franklin in pictures. It's very gay
entertainment.
WEDDING PRESENT
The Fourth Estate Goes Goofy— Pa rn-
mount
lOAN BENNETT and Gary Grant play a
— ' couple of crazy devil-may-care newspaper
reporters in this slightly mad and very ram-
bunctious farce which is guaranteed to put
you in good spirits. They have no respect
for discipline, or anything else, and when
they win the annual awards for good re-
porting they promptly lose their medals in
a crap game with the elevator boy. Such
loony people.
Finally Gary decides to reform and be-
comes a city editor, and Joan goes to New
York and gets herself engaged to Conrad
Nagel, the unexciting author of success
books. When Gary hears about the ap-
proaching wedding of his girl friend he gets
tight and sends all the fire engines and
police wagons in town to Goinad's house
as a sort of wedding present. Now fire en-
gines always do things to Joanie, and in the
stress of all the exciiemcnt she throws over
the success author and decides to marry into
the newspaper profession.
George Bancroft is good as a vengeful
city editor, and so is Gene Lockhart as an
Austrian archduke who goes on a spree
with Joan and Gary. Joan, pretty as a pic-
ture, establishes herself as a comedienne.
DIMPLES
Keeping Up the Temple Standard- ru'cn-
tieth Century
THE latest Shirley Temple picture, rich
in comedy and fun, rates right along
with her best vehicles. This time the locale
is quaint old Ne\\' York of 1850 and Shirley
is a tiny street singer (and a bit of a rough
neck) who with her gang entertains the
crowds while her guardian, "Professor"
Frank Morgan, does a neat and thriving
business as a pickpocket.
When Shirley catches her adored "Pro-
fessor" stealing a cuckoo clock in a rich
lady's house she is heartbroken, and the
poor "Professor" is so penitent that he
straightaway agrees to reform. But the little
matter of the theatre's funds and Napoleon's
^vatch come up and the poor man finds it
very difficult to live up to Shirley's trust
in him.
The plot gets \cry comjilicated when a
rich old lady (Helen West ley) falls in love
^vith the little Temjile and oilers to buy
her from the "Professor" for fi\e thousand
dollars, and Shirley becomes the first Little
Eva in the original com|ian\ of "Uncle
Tom's Cabin" which is produced by the
old lady's nephew.
There are all kinds of com|)licalions and
all kinds of reconciliations in the end, and
the picture is really all kuuls of fun. Frank
Morgan siuilllcs and snorts through one
grand comedy scene after another. Shirley
Ia|) dances (as only a pupil of Hill Robin-
son's can) and sings two charming songs—
"What Did the Bluejay Say? " and "Picture
Me Without You."
[Continued on pngr G7]
56
THE THRILLING STORY
OF AN
Avenger
HO Found Love
FROM the elevated approach to the great
bridge one could see the vast panorama
of rooftops and towers that crowd onto
Manhattan island. It spread under the
drizzling winter sky as far as the eye could
follow, this seething, crawling human ant
hill. Millions of men. millions of struggling
lives, millions of dreams.
The man who stared do^vn at it had his
dream. It had led him there from all across
dusty America, thumbing his way on the
roads, riding the rods on the freight trains,
living by the free soup kitchens and the
suftrance of the hobo jungles.
He was young, just past his majority. A
lean,, browned man with the eyes of a
dreamer, dark eyes that ivere lighted by
fanatical devotion to one idea.
The chilly wind ^vhipped his ragged
clothing. It crept through the rotted fabrics
and burned his flesh. The icy rain soaked
him. He ^vas not a\vare of it. Someivhere
among those millions down there \\as one
man he had come far to find— one truth he
must wring from that man's lips.
Mio Romagna, foUoiving the tragic pur-
pose of his life had come to clear a dead
man's name.
That inan had died sixteen years ago in
the electric chair. The crime for which
Bartolomio Romagna paid the penalty was
the murder of a factory paymaster. All
those sixteen years
his son believed in
his innocence.
Sixteen years later
the dean of a fa-
mous university law
school, reviewing
the old case as an
academic exercise,
became convinced
that Mio Romag-
na's father had died
an innocent man. The court had refused
to hear a witness whose testimony would
have named the real murderer.
The ne\vspapers of Airrerica gave wide.
publicity to this opinion by an expert and
so it came to the ears of Romagna's son,
bringing him thousands of miles to seek
out Garth Esdras and compel that forgot-
ten witness to speak the truth.
Standing on the great bridge, faced -^vith
the immensity of the city, Mio sa'iv the
hopelessiress of his search, but the fanatical
purpose in his heart was not cooled. Garth
Esdras '\vas therel He would be found!
Just beneath him was the river's edge
and the huddled roofs of the lo^vest shuns.
In the shadow of one of the great stone
abuttments that supported the bridge, was
an open space, a square formed by the tene-
ments on three sides, the river on the
fourth.
A stair opened from ^vhere Mio stood and
winding around the masonry made an exit
to the square below. Halfway down the
shadowy steps he saw a figure that held his
attention.
A girl huddled against the stair rail, her
slight body abandoned to grief. The utter
despair of her pose cried aloud to his s\m-
pathy and beckoned him to join her.
■■\Vhat's the matter, kid?"
She raised her head from her arms. Mio
looked into a pale, tragic face and saw
sweetness and beauty there. Her littleness
One of the many
dramatic scenes
in "'^X'interset."
(Left to right)
Mi liamiie Esdras
(Margo), Garth
Esdras (Paul
G u i 1 f o y I e ) ,
Trock Estrella
(Ediiardo Cian-
nelli), Mio Ro-
magna (Burgess
Meredith), the cider Esdras (Maurice
Moscovitch) and Judge Gaunt (Edward
Ellis). Margo and Burgess Meredith, who
played the leads in the stage production
on Broadway for months, are the stars of
the screen play.
somehow made him ache to help licr.
She A\"as shrinking from him "Nothing,
nothingi" she gasped, ans^vering his rpies-
tions. She ivould have run a^\av from him.
He put his hand on her arm, genth.
"I'm sorry."
"For ^siiatr" she asked amazed.
"That vou're unhappy."
She looked at him beivildered. "Wasn't
iinhap23iness the common lot? "It's all
right, " she muttered. "You're unhappy,
too."
"How do you kno\s' that? "
"I just looked at you. That's all. Can I
help?"
In all his years of vagrant wandering no-
body had ofiered help. She ^vas just a kid,
shabby and ill noinished, yet she had such
riches of heart she Avould share -with himi
"'Who are vou?" he gasped.
She shook her head. Her eyes had a
frightened gleam. "No one. Just a girl you
57
sr.w among tne tenemenLS." Turning she
slipped from liis restraining iiand and
darted auay down the stair. She vanished
in tlie shadows of the bridge hke a figure
he had dreamed.
He \\'andered into the square below, star-
ing hopelessly at the tiers of tenement
^vindows that bounded it on three sides, at
the black, greasy ri\er that lapped and gur-
gled along the embankment on the fourth
side. His thoughts
returned again to his
search for that one
man — Garth Esdras.
One among millions!
A strange thing was
happening in the
stjuare. Mio stared, lis-
tened, unable to be-
lieve his senses. There
came the sound of
music — gay, light
Fictiontsation Of "Wintcrsct/ An RKO=Raclio Picture Pro=
cluccd By Pandro S. Berman^ With Biirscss Alercdith/ Marso,
Eduardo Ciannclli, Helen Jerome Eddy, John Carradine,
Alaurxce Adoscovitch, Edward EUis, Paul Outlfoyle, Stanley
RidseS/ Sidney Tolcr And Barbara Pepper.
Screen Play By Anthony Veiller From The
Orismal Play By Alaxwcll Anderson.
By Jack BecKdolt
tunes that
quickened the
pulses and
brought a glint
of light to the
dullest eyes.
Music, spring-
ing like some
rare flower out
of the foulest
mud!
Old Lucia
owned a grind
organ. It was
his means of
livelihood. But
Mr. Boss, that
austere, all-
powerful figure that brooded somewhere
above all the skyscrapers, did not like music
on the streets. Mister Boss had told his
policemen to silence all the grind organs.
So old Lucia, ordered off by irate cops,
trtmdled his organ home to the square. The
tenement children followed after him, dar-
ing him to play. Well, why not? It VvOuld
be for the last time. A party for everybody!
Free music— free dreams of happiness! That
^\•as the music that startled Mio.
Tenement windows opened, faces stared
out, smiled doubtfully. Out of doors they
came, old and young to dance to the last
of the street music.
A pair of ragamuffin boys did a shuffle.
A sailor drew a street girl into his arms and
whirled her away. A pair of girls danced
together, laughing shrilly. The old hobo
who crept around the square smoking dis-
carded cigarette butts he picked up, swayed
his body to the rh) thm of the songs. They
were all dancing— dancing goodbye to the
street music— goodb)e forever!
Mio saw the girl of the bridge and ^vent
to her. He held out his arms, saying noth-
ing. She moved iirto his embrace and they
danced with the others and looking into
each other's eyes they saw no others. They
were alone in a world of their own, a man
and a girl in love.
A policeman came, red faced and full of
bluster, running to them down the alley
that led from the square to streets beyond.
The music had to stop. The law said so.
Most of the dancers were too cowed to
protest. They shrugged and turned back to
their holes. A few mocked at the la^v; a
few defied it in hot speeches.
Among those who dared speak Mio saw
an old man. He \vas lean and feeble. Pa-
perlike skin stretched tight over a cadaver-
ous frame. Nobody knew ^vho he was. He
did not live in the square. The old man's
speech was gentle, with a queer dignity,
even a hint of authority. But his mincl was
feeble. He rambled.
"\Vhate\er they have said or done, let
them disperse in |)eacc," he said to the
policeman. "It is belter that they go softly
— lest when they are dead- you see their
eyes pleading and then' oiUstrctched hands
touch you, fingering told on yoiu' heart."
He put a pleading hand on llic ])olitc-
man's arm. "I have been harsher than you,"
he quavered in his strangely arresting voice.
Mio's stare concentrated on this strange
old man. Somewhere he had seen that face,
sometime long ago! He had seen that face
and heard that voice . . . bin ivhere?
What did it mean to him? He could not
solve the riddle.
The policeman threw off the old man's
grip so roughly that he fell to the groimd.
While the crowd growled shame at the law .
a younger man helped the victim to his
feet. He called another to aid him and
bet^veen them they led the queer old
wraith out of the crowd.
Mio turned to ask the girl if she knew
the old man. The girl had slipped aivay.
When he found her again, haunting the
square in his determination to see her, she
sat on the parapet by the black, greasy
river, huddled forlornly against the driv-
ing mist.
Her name ivas Miriamne. She would tell
him no more than that. Without shame she
said that she loved him; that she would
go with him wherever he went. It Avas sweet
to hear her say that, strangely sweet and
tempting to a lonely man. Mio was torn
befiveen his desire and the vow he had
made to clear his father's name. In a biust
of bitterness he told her of Bartoloirrio
Romagna's death and his son's purpose in
life.
"I have no house, nor home, nor love of
life, nor fear of death, nor care for what
I eat. Love somewhere else, Miriamne, and
get your children in some other image. This
face of mine is stamped for sewage!"
Standing before her, shaken by the old
bitterness, he lifted his face to the falling
rain. "Lie still and rest, my father, for I
have not forgotten! ^Vhen I do forget, may
I lie blind as you!"
She drew back from him and her eyes
sho^ved amazement and growing terror.
"Mio! What was his name . . . your
father's name?"
Her tragic \vhisper startled him. He said,
"Bartolomio Romagna. I'm not ashamed
of it."
She screanred then, "I kno^v ^\^h\ ^ou're
here! There's someone lives here— and vou
mean to see him— )ou mean to ask him "
"Who told you that?"
She finished with dread certainty. "His
name is Garth— Garth Esdras!"
His face was close to her. his e\es de-
manding the truth. "^Vho are you, then?
AVere you sent to say this?"
"^oii said there \vas death alxuu mhi."
she whispered, "^es. but nearer lli.in U)u
think! Let it be as it is— ne\er see this place
again, nor think of it . . . Go. before
you're seen or sijoken to! "
She started away from him as she s.iitl ii.
His hand clutched at her.
"BiU why? Tell me wh\ !"
".\s I love you I can t tell \ou! "
"Where will I find you, then, if I shoulil
want to sec you?"
She shook hei head at him \ehemently.
"Ne\er! I'or I should bring you death." She
lore herself from his hands and rated away
into the sliatlows. [Coiitiinifd on uc\l prtgf]
58
Silver Screen for December 1936
The blind fates that guide men's lives,
moving \>ith the inexorable sureness of the
tides, meting out justice as surely as great
glaciers flow, grasped the strings that hur-
ried the human puppets to their final
reckoning. In the dingy basement room
where Miriamne Esdras lived \\'ith her
Ijroiher Garth and her old father, the fates
had set their stage.
That same newspaper article that
brought Mio questing for the truth had
mo\ed other hearts. One was that strange
old man Mio had seen in the square. He
was Judge Everett Gaunt, the judge who
had condemned Mio's father to execution.
For sixteen years the gentle reproof of a
d\ing man rang in his ears, torturing him
with doubts. He was an old man and his
mind was a dim, fogged lumber room in
\\hich ghosts of reason roamed. Judge
Gaunt, seeking Garth Esdras, found him
^^hen the policeman's irritation threw him
to the ground. It was Garth and his
lather who carried the old man to
the basement.
In another man the newspaper ar-
ticle roused a murderous fury. Trock
Estrella \vas the gangster whose bul-
let killed the paymaster sixteen years
ago. The sudden revival of the old
case filled him with guilty terrors.
While Mio Romagna stood on the
great bridge, staring hopelessly over
the city, Trock ^vas posting trusted
gimmen at the exits to the square.
They had orders to kill Garth Esdras
if he attempted to leave the place. At
any cost his mouth must be stopped
before he ^vent to the police.
Miriamne, torn bet\veen loyalty to
her brother and love for Mio, fled
back to the basement. Old Esdras,
Garth and Judge Gaunt 'were already
there. And across the great bridge,
even then, Trock Estrella, the mur-
derer, was returning, plotting fresh
killing as he hurriecl.
A telephone message from one of
his gunmen was bringing Trock back.
The gimnian had recognized Judge
Gaunt and had seen Garth shelter
him.
Trock s mind was made up. The
Judge must be rubbed out. Garth
must be rubbed out. And if there
were any others left who could speak
the truth about that crime of six-
teen years ago . . . well, that was
going to be just too bad for them!
'With the gangster was his one
inseparable companion, Shadow.
Shadow was loyal; and he kept his
head better than Trock Estrella. He
argued ^vith Trock as they hurried.
"I'xe seen men get that way, think-
ing they had to plug a couple guys
and then a few more to cover it up,
and then maybe a dozen more! You
can't slough all the witnesses, liecause every
man you put away has friends ''
Trock was sick of Shadow's cautions,
blazing with the lust to kill. He turned on
liim, eyes narrowed. "You all through?"
"\Vhy, sure."
"All right. AVe're through, too, )ou
know."
"Yeah? " said Shadow, warily, ^varned of
his peril. "Sure, I'll go. Maybe you A\'on't
mind if I just find out what you've got
on you. Before I turn my back, I'd like to
know." AVith mock courtesy he took Trock's
gim away from him. "So long, Trock. I
won't talk. You can be sine of thai."
"I know )ou ^von't," Trock said sofllv.
He tinned toward the river and liruil his
hand— a signal to his killers. The slap of a
revolver with a silencer was not loud
( nough to startle anybody near; Shadow
(luniplcd across the low parapet beside Ihc
liver. Trock's lool rolled llie boch larihcr,
il slid down the bank and whirled away
in the current.
"■Well, you . didn't lie," Trock grinned.
"You won't talk." He went on into the
square to \isit Garth Esdras.
To find Garth Esdras! Mio had no other
purpose now. Miriamne and love were for-
gotten in the excitement her warning had
roused. Garth was near— in this very square!
■When he found the basement hovel
finally. Garth and his old father were per-
suading Judge Gaunt to leave the place.
Mio told his errand to the man he had
travelled so far to discover.
"My son knows nothing," old Esdras
quavered.
"That's right," Garth echoed. "The po-
lice picked me up at the time because I
looked like somebody they had seen in ^vhat
they called the murder car. They held me
a little ^vhile, but they couldn't identify
me for the most excellent reason I ^^'asn't
there when the thing occurred. That's all
ANNOUNCEAAENT
7 HE series of biographical articles called
"Projections" will continue and the Jan-
uary issue of Silver Screen luill have a typi-
cal story of Carole Lombard.
These stories by Elizabeth Wilson are
unique because instead of giving you one
"personality angle" they truthfully review
the star's life in most engaging fashion.
Another story that will be a bright spot
in the next Silver Screen is Ed Sullivan's
article about the early Broachvay days of
the movie stars. Broadway is his life and
no one can write better about the actors
of Mazda Lane than he.
Grace Kingsley, whose recent article "You
Must Obey the Rules" was an outstanding
contribution, is at work on a special fea-
ture about etiquette ivith anecdotes that
-will give you a real understanding of Holly-
wood party behavior.
A neiu writer, Phyllis— Marie Arthur,
brings a new, fresh and authentic article
about the stars and their broadcasting
thrills. It is like being behind the scenes
yourself, her writing is so vivid.
Our sweet little Shirley Temple's next
picture is beiiig fictionized for the January
issue by Jack Bechdolt. He is a succesful
and really talented writer, so look forward
to reading "The Stowaway."
It will start your new year off happily.
The Editor.
On Sale December 8th
I know about it. I wish I could tell you
more. "
Mio recoiled from him. his hopes dashed.
"So I came three thousand miles to this
dead end!" But his heart would not accept
this as truth. "You lie! I ^^'on't believe it!"
The strange old man he had seen in the
scjuare spoke to him reprovingly. "If you
mean to say that Bartolomio Romagna ivas
innocent, you are wrong. He was guilty."
A furious young man turned on him, ar-
guing. |)leading his father's cause, .\nd as
they argued his bewildered mind kept grop-
ing for the answer to a mystery— Who vvas
ihis old man?
Suddenly he knew. Memory flashed back
to the comt room where a little boy sat
beside his father. That man was the judge
who condemned him!
"I am an iipriL;lu judge," Ihc oUl man
tried. "I want I he irulh. \'\c scanned and
\eri(icd and conqiared llie lianscripts of
llic Irial. T vvalched all modern conuiient
and saw it centered finally on one fact—
Gartli Esdras was not called. This is Garth
Esdras. And you have heard him. Would
his deposition have justified a new trial?"
Mio stood silent before him, seeing his
dream castles crumbling. But the truth ^\as
in him and he answered according to it.
"No, " he said. "No, it would not."
He dropped into a chair, stunned by his
disappointment. Garth Esdras and his
father, their faces lighted ^vith relief, started
to lead the judge out of the tenement.
\Vhen Mio looked up, Miriamne stood
before him. She had come from the adjoin-
ing room of the basement flat. She vvould
have given him all the consolation her
loving heart prompted, but he shook his
head at her. "Don't you understand? Now
I'm blacker than ever. The son of a
felon "
"Ne\'er believe them, Mio! Never!"
"It was truth I ^vanted. Truth. Not the
lies )ou d tell yourself, or tell a woman, or
a woman tells you. The judge with
his cobra mouth may have spat the
_ truth— and I may be mad!"
They leaped apart at the slam of
the door th.ovvn open. Three men
backed into the room, old Esdras.
his son and Judge Gaunt. Following
them, his hand threateningly clutch-
ing something in his coat pocket,
came Trock Estrella.
The gangster's eyes fixed on Mio.
"AVho is he?"
Old Esdras answered, "His name s
Romagna. He's the son."
"Then what's he doing here? You
said you were on the level."
"AVe didn't ask him, " Garth bab-
bled. "He just Avalked in. On account
of the stuff in the papers."
Trock considered them. He saw no
menace in Mio Romagna. "AVell. ive
are a gathering!" he sneered. "Now,
■ if we had Shadow, we'd all be here,
huh? Only I guess we A\on t see
Shadow! ' He laughed darkly, remem-
bering the body his foot sent slither-
ing into the greasy river.
"Listen," Trock said briskly.
"There's a car waiting up at the
street to take the Judge home."
Father and son excfianged terrified
glances. They knew now what Trock
planned to do \\ith the old man.
"He's harmless," Garth cried.
"That's not necessary."
"I sav it is," Trock snarled. "You
vvouldn't want to let the Judge walk,
would you? The Judge is going to
ride where he's going, vvith a couple
of chauffeurs and everything done in
st\le. Don't )ou worry about the
Judge. He'll be taken care of."
Laughing at their terrified faces
Trock glanced out of the door. Rain
was pouring. He drew back with a
shiver.
"It takes ten days off me, every time I
step into it! It's Shadow likes the wet. Not
me ..."
The vvords trailed into silence. Thev saw
his e\ es bulging^ and turned to look where
Trock looked. Outside, drenched by the
rain stood something in the form of a
man, something ^^■ith a dead, pallid face
and eves that stared in at them. It came
on with a shuffling, dead step, swaying craz-
ilv and the\ saw it held a revolver in one
hand. It came into the room and Trock
backed awav from it, backing luitil he was
pinned against the wall behind him.
The thing cliuched wearilv at the door
frame and held the gun pointed at the
gangster. "Keep yoin- hands \vhere they be-
long. Trock." It nio\ed nearer again, wip-
ing awav the dripping ri\er water that
clouded its eyes.
Trock's \oice Avas a squeal. "I'm clean.
Shadoiv. ^■ou've got mv gun. "
"^'eah. I know," Shadow answered om-
[Conlinui d on page 72]
SiL\'ER Screen for December 1936
59
LI N E S
Skin faults start below
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Silver Screen for December 1936
.men Doctors swab
SORB THROAT.
surface germs are destroyed,
soreness relieved, healing
quii
ckened
•Yfhenyou Gargle with
PEPSODENT
ANTISEPTIC,
you continue your doctors
treatment by destroying sur-
face germs, relieving the cold.
USE PEPSODENT ANTISEPTIC
FOR COLDS— TO RELIEVE
THROAT SORENESS
• The reason doctors have you gargle is
to relieve soreness, kill germs. So re-
member, Pepsodent Antiseptic is three
times as powerful in killing germs as
other mouth antiseptics. You can mix
Pepsodent with two parts of water and
it still kills germs in less than 10 seconds!
Thus Pepsodent goes 3 times as far —
saves you % of your money.
So active is Pepsodent that, in recent
tests on 500 people in Illinois, Pepso-
dent users got rid of colds twice as fast
as others! Get either the 25c, 50c, or $1.00
Pepsodent Antiseptic at any drug counter,
and see for yourself how
pleasantly effective it is.
Some Can Take It
[Coniinued from page 33]
know that charities are a grand way for
mo\ie stars to get personal publicity, but
if you just happen to think that Connie is
doing this for publicity I am very much
afraid that I will have to knock your block
off tire next time I meet you in the back
alley.
H'mmmmmm, I'm going to miss Con-
nie when 1 go into my Borgia Moods. Just
think, no Bennett to take nasty cracks at.
But at least I still have Hepburn.
Another movie queen who certainly took
it on the chin was Ruth Chatterton. For
some reason or other (I could go into it
mere thoroughly but I ^von't) she has never
been popular wiih the Press. Maybe we just
don't like the way she says "beeeeeen." Any-
way she has had a terrific ribbing both in
the neivspapers and at Hollywood dinner
tables, and there were those who expressed
great satisfaction when she suddenly left the
screen in a huff several years ago.
But Lady Ruth has proved beyond a
doubt that she can take it. She didn't ex-
pect to spend the rest of her life hanging
her head in shame over bad reviews, bad
pictures, and bad gossip. Hollywood could
say ^vhat it pleased— and did— but Ruth
managed to keep her chin up and the more
they said she was "through" the more de-
termined she was to prove that she wasn't.
She signed with Columbia in hopes that
she would get the same kind of a break
from them that Grace Moore got (remem-
ber Grace was "through" too until she made
her sensational come-back in "One Night of
Love," which put her right up on top
again), but the pictures assigned her
weren't so hot and Ruthie once more be-
came the subject of Holly^^'ood scorn.
Holly^vood is really like a bunch of kids,
when they see anyone is weak and defence-
less they start picking on her.
But Miss Chatterton wasn't as weak as
they thought. She had guts. She signed with
Twentieth Century for the role of the
school teacher in "Girl's Dormitory." But
still the breaks -(veren't with her. For it so
happened that this picture -ivould introduce
to a panting world a new screen personality,
Siraone Simon, and naturally when a new
screen personality is being launched, not
only all the close-ups but the entire sym-
pathy of the story must favor the "discov-
ery." In the original script it was Ruth
Chatterton ^\ho finally married the Herr
Professor Herbert Marshall, with Simone's
part being very small and incidental. But
you know what happened
"Imagine supporting Simone," giggled the
catty part of Hollywood, "She's past slip-
ping now, she's through." But it's a well-
known folk song that he who laughs best
laughs last. And Ruth Chatterton got the
last laugh. As Mrs. Dodsworth in Samuel
Goldwyn's magnificent production of
"Dodsworth" Ruth is nothing short of su-
perb. And this time she supports no one,
it is her picture from beginning to end,
and she gives a performance the likes of
which these old eyes have rarely seen. To-
dav Ruth Chatterton can write her own
ticket. She is right up there on top ^vith
the Shearers, and Crawfords. and Dietrichs
again. And as far as I'm concerned she can
say "beeeeeen" as often as she wants too.
Somehow or other two years ago the idea
got aroimd that Carole Lombard had gone
hish-hat in a big wny (I suppose it was
because she gave so many parties) and that's
all the Press needed to know. .\ few davs
after she arrived in New \oik one of the
columnists ran a long article about how she
siuibbcd the photographers at the train
and "Miss Lombard' had belter be careful
I)i'cause the ])hoto;4ra]:>hcrs made her and
the photograjjliers could break her. "
"Well, I was. always one to believe what I
read in the pajaers, but that time I simply
couldn't stomach it. You see I made the
trip East \\ith Carole, I got off the train
^vith her that morning (and talk about
being high-hat, Carole is probably the only
Holly\\ood star who did not arrive in New
York on the chic Twentieth Century) and I
literally froze to my marrows' ^vhile Carole
posed for one picture after another, leg
art. teeth art, evervthing.
The columnist who started this avalanche
of "who does she think she is" publicitv, I
might add. ^vas no place around the Penn-
syhania Station in the cold gray dawn of
that morning biu was cozily at home in
bed. But thus are rtmrors started. So then
the picking on Carole began and was
taken up by the fan magazines and the
Hoi Iv wood gossips. When she happened to
invite to one of her parties a boy she had
kno^vn since she ^vas twelve years old it
was immediately annoimced over the air
and in all the newspapers that Miss Lom-
bard was feeling predatory and had taken
So-and-So a^vav from his fiancee.
Oh, there was just one cute little rumor
after another. But somehow or other to-
dav, after her big success in "My Man God-
frev" Carole is being called the leading
comedienne of the screen— and by people
who said she couldn't act worth a damn
onlv two years ago. And no one's remem-
bered to call her high hat in quite some
time.
"Walter Huston was considered "through"
in Hollvwood several years ago after a se-
ries of Metro "B" pictures, and the studios
coiddn't see him for a cloud of dust. So
^Valter returned to his first love— the stage.
But now after his sensational success in
Mr. Goldwyn's "Dods^^■orth " every studio
in to^vn is dangling a fat juicv contract-
but "Walter is being wary. The Tracy boys
—Spencer and Lee— almost got themselves
buried in a mess of bad publicitv, and the
\\ise-acres predicted with nice long faces
that neither of them would ever be any-
bodv on the screen again. But Spencer to-
day is one of the most in demand leading
men on the Metro lot, and since "Furry "
and "San Francisco" it's a luckv star who
gets him for her picture. And Uni\'ersal
is using e\erv lure possible to get Lee off
his \acht and into the studio. Those iwo
bovs certainh proved that they could take
it.
It is not definite but as we go to press
it is being ^vhispered about that it will
be Tallulah Bankhead who will play the
much co\eted role of Scarlett O'Hara in
"Gone ^vith the \Vind," which David Selz-
nick ^vill produce this ^vinter. No one ever
got a ^^■orse break than Tallulah in Hollv-
wood. No one has ever had more bad pub-
licitv. No one has ever been more disliked.
And Tallidah knew all this. BiU she had
the gius to come to Hollvwod this past
stunmer in the trv-out of a New York plav
and sho^v her critics (both press and the
mo\ie stars") that she reallv could act if
given a chance. Her play could ha\e been
just as much a failure as were her pictincs:
it took a lot of nerve. Before she left town
for tlie Ne\\' York opening practicallv ever\
studio (to \vhom she \vas so much poison
before) offered her a contract. If she gets
Scarlett, the plum of the year, she will
make a swell Scarlett.
r)VRI\G lltr nwhinp, of "Born To Dance."
Eleanor Powell and ]imni\ Stewart re-
x'crled lo the s^ood old school days. They
hroiii!,!/! their lunches from home and ale
tooeilur.
Silver Screen for December 1936
61
^^2
,^1 ^1
Evening in Paris Perfume in de luxe bottle
with square chromium cap. . . $10.00
Triple Vanity holding Rouge, Lipstick and
Face Powder (loose or compact). $2.T5
Evening in Paris Purse Flacon of Perfume,
Face Powder, Rouge and Talcum Powder
nestle in the satiny interior of a gleaming
silver and blue box $2.93
Perfume in square
silver and blue
gift box. $1.10
Perfume and Face
Powder in a luxuri-
ous box. . $2.2S
It is le Pere Noel, the Santa Claus
of France, speaking . . . We men do
not clutch the head and search for
gifts in frenzy when it comes to the
season of the joyous Noel, But no!
Because we know that from the
cradle it is natural for the ladiestobe
concerned with their beauty. ..and
that the loveliest ladies of our belle
patriearedevotedtoEveningin Paris.
So do as we do if you would delight
the ladies at Noel . . . give to them all
sets of Evening in Paris . . . For yes,
there are in all twenty different sets,
costing from a little one dollar and
ten cents all the way up to twenty dol-
lars for the set de luxe, the gift glori-
ous for the loveliest lady you know.
At your favorite drug or department store
****
Evening in Paris Perfume, Toilet Water,
Face Powder, Talcum Powder, Single Loose
Vanity and Lipstick in a satin-lined, triple-
sectioned gift box $ 1 0.00
A gorgeous half-moon gift box with Evening
in Paris Perfume, Toilet Water, Face Powder,
Talcum Powder, Single Loose Vanity and
Lipstick $7.75
Purse Flacon of
Perfume and
SingleCompact.
1.75
Perfume, Face Pow-
der, Lipstick, Single
Loose Vanity and
Talcum Powder in
gift box. . $4.95
Perfume in special ^
bottle with atom- 1
^ izer. . . $ 1 .05 ,
"^^^B O 11 It J O I S
62
Silver Screen for December 1936
Badminton
gives Ann
Sheridan and
her graceful
figure a
morning
workout.
When Snow Comes To The Mountains
[Continued from page 25]
evident in the lovely but cozy rooms, and
her yen for flo^^'ers is proved by her en-
couragement of moimtain blooms. An eve-
ning here is a thoroughly comfortable
a Hair.
Allan Jones and Irene Hervey have in-
vested in a cabin on the lake front. Now
they've brought in their speedboat and
stored it, and Allan has been sharpening
their skates. He's too canny to let any
tinkerer touch them. They skate in one of
the rinks formed by the freezing over of
the lake's miniature- bayous, along with
the stars who patronize the hotels. At Ar-
rowhead Lodge, in the Norman-English
village, I hailed Robert Taylor and Bar-
bara Stanwyck, Claudette Colbert and her
doctor. Ginger Rogers, Arline Judge, Dick
Powell and Joan Blondell, and Gary Grant
in the dining-room when I dropped in for
supper last Saturday. Chester Morris's two
children hurried in for a whopping meal;
papa and mama had said they could start
if they got hungry before papa and mama
came in from skating. (You should observe
Pat O'Brien maneuvering tiny sno^vshoes
onto his two-year-old!)
Across the lake, at the ritzy North Shore
Tavern, Garbo is a rumored guest. If you
see her voii aren't supposed to tell. And
there you'll also ha\e a swell opportunity
of plaving with Fay Wray, Marian Marsh,
the Jimmv Cagneys, and Ann Sothern and
her flock. And where Ann trips, her newly
acquired hubby, Roger Pryor, Cesar Ro-
mero and Betty Ftn-ness likewise trip. Be-
cause they're all weak over "Annie Girl,"
Ann's old toboggan from Washington. No
one but Ann's permitted to steer this tem-
peramental snowskimmer since Cesar tired
of back-seat advising and all but shot the
shrieking foursome over the edge of a
precipice.
Marian and Fay learned to ski at St.
Moritz, as did Gene Raymond. So these
three are especially adept. They lean into
the wind with perfect grace. I hope you
recall that your skis ought to be a foot
longer than the highest you can reach, and
that \ou must leave them outside. It warps
them to bring them in where there's a fire,
declares sage Marian.
^V'ith Sonja Henie, the greatest -ivoman
skater who's ever lived, in our midst no
one dares to hand out many suggestions.
She's been so busy filming her reproduction
of Pavlo^va's swan dance that she hasn't
been to the mountains yet. But she's
promised to give an out-door show to her
stellar acquaintances. Then she'll leap and
\\hirl and glide just as she does in her first
picture, and I guess it'll be a relief not to
ha^■e to think of camera angles. Simone
Simon's begging her to wear one of her
beguiling all-white costimtes when she
comes up.
HERE POLLY- I WANT VOlJ
TO TQ^ EATINlG TMIS S-'EAST
FOR AVs/MILE. MRS. AMES /
SAID IT CLE.A.RED
JEAM'S PlMPUeS
RIGHT UP.
J WELL^ JEAM CERTAIN LV
HAS i_OVEL.V SkTISl.
DO VOU TMIMK TMERES
REALS-V A CMAslCe
FOR Me ?
( IT Sure was a luci<;v bceak r
^ LEARKIED ABOUT TMOSE YEAST
' CAkiES IN TIME . there's NOT A
SIMQLE PiMPUE LEFT.' CM, i Do
, HOPE JACK WILL LIKE ME
Silver Screen
/t?f December 1936 53
Naturally the tales told around cabin
fires and hotel hearths are principally
about how the speaker is progressing on
skis. Bob Taylor and Barbara Stanwyck
would rather press on to new conquests,
so they're dipping into this bob-sledding
racket. Gene Raymond's the old veteran
at it. The most torrid twosome is getting
tired of sitting in the middle; being sand-
wiched in and holding ankles is duck soup.
They want to be at the front and steer or
on the end. "God help 'em!" exclaims a
begrii^zled mountaineer.
Diets are being horribly violated. When
you'\e been out designing an igloo and
pattering about on snowshoes (you'd fancy
Bob Montgomery was in the Far North
making the rounds of his traps!) you come
in shouting for food. To the dickens with
whether it's fattening. Your resistance is
shattered— everyone admits that your ap-
petite triples in this mountain air. But,
explains .\nna Sten seriously, one exercises
all the extra food oil! Which one does, at
that. Especially Anna, from the chilly
steppes of Russia. She's queen of oiu- ^vinter
sports (so long as Sonja can't get a^vay from
toun) to Gene Raymond's king. She really
isn't languid like Dietrich. Her latest bar-
gain, I can add, is a "droshky" which she
guides with an expert hand. In case you
aren't pat on your Russian, this is simply
a one-horse shay with runners attached.
She stumljled upon it in a studio prop
department.
All those handsome males who pursue
Mary Brian in turn have nothing but kind
phrases for her, but a pained expression
does cross their faces at the mention of
escorting her to the moimtains. Mary seems
fairly fragile, but let her start ivalking
through sno'.v drifts and she goes on and
Fred Perry,
famous tennis
champion,
and his wife,
Helen "Vin-
s o n ■ with
Ginger Rog-
ers at the
circus.
on— and on. A mere man's feet are frozen
nearly beyond recall.
Irene Dunne's a Avhole lot better at ice-
skating than she is at skiing. Last year she
^vas in a Fresno nursing home as the result
of a skiing accident to her knee. Her cabin
is in Yosemite and she fixes it up with the
right degree of modishness; yet it's small
enough tor her to take care of everything
herself, too. AVhich she does most efficiently.
Her husband flies out from New York
when she phones she'll have a vacation and
their jaunts to Yosemite are sentimental
pilgrimages. They honeymooned there and
it's good luck to return to renew their
pledges of de\otion. Dr. Griffin is partial
to ice hockey and Irene democratically chats
Inirnuitioitill
with neighboring \vi\es \vhile applauding
his battle for points. If the neighbors hacl
any doubts about her they were absoliuely
^von over when she agreeably accepted their
hint that she take her garbage can lid and
slide ^vith them!
The -Ahwanee is the ultra hotel in Yo-
seiriite and there you'll encounter Grace
Moore and Gladys S^varthotU and their
husbands. And the Warren Williams. The
fire-ball from Glacier Point is more beau-
tiful than e\er when the valley is carpeted
ivith snow, according to Grace.
At Idle^vild I was informed that there
was a stranger who should tackle Major
Bowes. He \vas always singing as he
skimmed over the sno^v, and his voice was
4f2MK.HEU HATE ME ON SICHT
3UT DARUIMG
THOUGHT YOU
^AMTEO TO
vtEET 3ACUC -
A/MV VOUVe
iEEM TALKINie
^BOUT IT FOR
NEARUV A
-r YEAR
?0
1-K-KWOW-BoT I )
didm't have all. \
these dreaopuu l
PIMPUeS THEN-
OM, MUMS, it's JUST
TOO MEAM TO HAVE
IT HAPPEKl LIKE
THIS .
-AMD THE POOR CHILD
IS JUST HEART BQOKEKJ.
She's LOOkrEO forward
TO MEETIMS HER FRlEsaO'S
BQQTHER FOR SO
LOMG. „^
— ^r»c
' YOU OUGHT TO GET
HER SOME FLEISCHMAMm's
YEAST, that's VJHAT THE
DOCTOR PRESCRIBED
FOR JEAsJ. IT CLEARED
HER SKIN UP WONOERPULLY
jeoOD ByE-SOOD BYE J_^^^
I — I FORGET -YOU
1 KNEW YOU O
FALL FOE HEQ,
/WMCEWW HATE TO BE SEEN
PIMPLES spoil many a "date"—
f
for boys as well as girls — after the
start of adolescence, from about 13 to
25 years of age, or even longer.
At this time, important
glands develop and final
by clearing skin Irritants
out of the blood
Copyriiibt, 19H6, Standnrd Ijrnnil,, Incurpnratod
growth takes place. The entire system
is disturbed. The skin gets extra sen-
sitive. Waste poisons in the blood
irritate this sensitive skin. Then, un-
sightly pimples pop out.
Fleischmann's Yeast clears these
skin irritants out of the
blood . Then , pimples go !
Eat 3 cakes each day,
one before meals —
plain, or in a little water
— until skin clears.
64
SiLX'ER Screen for December 1936
HOW TO AVOID
™" yiOOR
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"right good." The natives led me to Laur-
ence Tibbett! He was incognito in that no
one there recognized him.
There is no fussing with chains on tires
for AVallace Beery when he is in his cabin
mood. He pops into his own airplane and
flies two hundred and fifty miles North in
an hour-and-a-half. Winter as well as sum-
mer. His wife and baby daughter fly with
him, as i\ell as honored friends. It's a
pri\ate paradise Wally has, at Silver Lake,
in the middle of a hunting and fishing
Acadia. He toasts a swell marshmallow, his
little Carol Ann affirms. Let the gay sprigs
go on their sleigh-rides, Wally states. He's
content to cuddle on his davenport before
his giant fireplace and put the finish on
marshmallows.
I've been chattering on enough, though.
Prepare to -(vipe dishes and s^vap bed-time
stories, play bridge and gaze into the
embers if you receive an invitation to
Myrna Loy's or any of the other stars' cabins.
I've got to be off on my mission. I have
to do my bit to go on that sleigh-ride -(vith
the Younger Generation. All they've as-
signed me is the job of cornering a sleigh.
As though I'd have one up my sleeve!
Great kids, aren't they? Anyway, the horse
isn't on me. Ross Alexander knows a couple
of horses ^\ho are just dying to join the
fun!
Director Anatole Litvak arrives to
direct "Joan Of Arc" starring
Claudette Colbert, for 'Warner Bros.
The Sphinx Has Melted!
[Continued from page 23]
laughed it off. It was about this time that
the studio crew at last acknowledged her
to be a good sport. And you can believe
me when I say that any player of renow'n,
who is classified as a good sport by those
calloused crews, has certainly earned the
title.
One afternoon after a good lunch Direc-
tor Cukor appeared on the set in a very
gay mood. As usual he and Miss Garbo
exchanged witty repartee, but that v\'as cus-
tomary. Pretty soon though, he commenced
to jump and skip all over the stage. First
he would give the impression of flying,
then of sailing, then he would buzz and
viciously smack an imaginary foe in the
air. What was the matter? Had the man
gone crazy? No, he Avas simply entertaining
the assemblage with his im.itation of a mos-
quito. That his efforts were successful was
apparent by the reaction on Miss Garbo,
who was almost convulsed with laughter.
The whole incident so amused everyone
that little could be accomplished for the
balance of the afternoon.
Another time during the lunch hour at
the studio the players and stage crew organ-
ized a soft-ball team. They called their
squad the "Camillas" in honor of the film
on \vhich they were working. They at once
chose Greta Garbo as their sponsor. A chal-
lenge to the studio office team was issued
and just as promptly accepted. In no time
at all the game was on. Among the specta-
tors was Garbo herself. Yes, there was the
Screen's Number One Mystery 'Woman right
on the base line coaching her players and
telling them how to play their positions.
.'\nd she stayed right on to the finish of
the game. No rooter did more valiant work
lor ihcir team llian did Greta on that day.
But right here \vc might let vou in on a
little secret. Robert Taylor piaved second
base on the "Camillas" and mavbe ihat
might ha\c had something to do wilh it.
WivAl do v(in ihink?
A t\|)i<al inslaiKc of Garbo's new s|ion-
iiig aniliulc occurred when a fuse box blew
oul dining the shooting of a scene. Bob
ra\lor was leaning over the back of her
chair at a llualu' box scat, when B.ANG—
tliere was an explosion overhead that sent
sparks sliowciing all over the set and do\\ii
onto their heads. The pair rushed oil-stage
just as all the lights v\'ere extinguished and
the set thrown into darkness. Fortunately
no one Avas injured and as soon as repairs
were made everyone was back on the job,
including Miss Garbo. It looks as though
nothing can make a faint-hearted doll-like
actress out of this real trouper.
Good looking Robert Taylor figured in
many humorous incidents dining the film-
ing of "Camille." Once he failed to put in
an appearance in a scene calling for his
presence with the feminine star. The com-
pany hunted all over the lot for him. Miss
Garbo sat sweltering under the v^eight of
her heavy and uncomfortable costume. But
still no leading man. Minutes seemed like
hours and everybody's patience \\as sorely
tried. Suddenly Taylor's voice came crack-
ing in on them all with a wild "Yippee."
and he tore onto the set astride a cow pony.
He had been out trying to make a deal
with the ov\'ner of the beast and finallv
bought the cayuse. The incident \\ound up
so spectacularlv that everyone forgot about
their long wait and soon the cameras were
grinding away with a smiling Greta before
them.
Miss Garbo has coiripletely dispelled the
old idea that she is haughty and aloof.
She has proven dtuing the shooting of
"Camille" that she is one actress in Hollv-
Avood who can subserve her own v\hims
and fancies for the benefit of the cast. In-
stead of seizing upon opportune situations
to go into tantrums of temperament such
as high stung actresses are commonly sup-
posed to do, she has proven to be a real
sport, a trouper of the first water. That old
invisible cloak of reserve has been coni-
pleteh dissipated. Perhaps Garbo herself
has grown weary of the halo of mvstery
and loneliness she was surrounded by. It
mav be that she has become the master of
old whims and fancies, .'\gain, it ma\ be
that a protracted diet of seclusion and
aloolness has ceased to appeal to her. Most
likelv, however, is tlic fact that she is
simplv hungr\ for friends and congenial
companions. But whatever it is that's caus-
ing her to be that way it has our appro\al.
^Ve've alwavs had the greatest of admira-
tion and respect for the Great Garbo as an
artist but now that we know thai she can
be "regular," "that is suntihin'. "
Silver Screen for December 1936
67
Reviews of Pictures
[Contifiued jrom page 55]
DODSWORTH
A Dramatic Story of Marriage — Uniled
Artists
HERE, decidedly, is one of the finest, if
not the finest, "adult" picture ever
screened, and never again do I to
catch anyone saying the movies are only
for morons. Sinclair Lewis' popular best
seller of several seasons ago has been
adapted for the stage, and then the screen,
by the capable Sidney Hoivard, and, given
a magnificent production by Samuel Gold-
wyn, it will easily be the most talked about,
and the most raved about, picture of the
winter.
Walter Huston, who also played the title
role in the stage production, is truly excel-
lent as the typically American Mr. Dods-
worth, but the greatest praise must go to
Ruth Chatterton, whose Mrs. DodsAvorth is
one of the most intelligent and brilliant
performances ever seen on the screen.
Mary Astor, looking more beautiful than
ever before, plays the understanding young
widow to whom Dodsworth turns in his
misery, and this is undoubtedly Mary's
finest work. David Niven as the neurotic
Mrs. Dodsworth's English lover is excel-
lent, and so is Paul Lukas, as the suave
European. There is an inspired minor per-
formance by Madame Ouspenskaya as the
Baroness who breaks up Mrs. Dodsworth's
engagement to her son, well played by
Gregory Gaye. A fine picture.
LIBELED LADY
Co.MEDV Hit Wuh The Big Stars Clicking
-MGM
TEAN HARLOW, William Powell, Myrna
Loy and Spencer Tracy make this sur-
prisingly clever comedy fairly sparkle with
their hilarious handling of the witty and
highly amusing dialogue. Spencer Tracy
plays a managing editor who is too busy
to get to his own marriage to the impor-
tunate grass widow, Jean Harlow.
Myrna Loy sues the paper for libel and
that brings William Powell into the picture
to add a very great deal to the fast and
furious comedy. The plot is complicated by
their falling in love but that makes it
funnier. The fishing scene has no\elty and
is entirely side-splitting in its humor.
Walter Connolly and Charley Grapewin
support the cast with gusto and Jack Con-
way's direction is marvellousl)' skillful.
RAMONA
Ax Exquisite Love SJOKY—Tiventiet h Cen-
tury-Fox
If ^'OU are one of those die-hards who
^ simply wouldn't accept Technicolor you'll
ha\e to change your mind now. "Rainona,"
the famous romance of early California
da\s, comes to the screen definitely as the
most beautiful moving picture ever filmed.
Ramona's tragic love story has been
filmed several times before, but never before
has it been done so artistically, and with
such a beautiful Ramona. Loretta Young, in
a l)lack wig, plays the haU'-brced Indian
maiden and gives an excpiisite and sensitive
performance ^vhich will long be remem-
bered. Don Ameche plays Alessandro, her
valiant Indian lover and husband, and
tiicre could not have been a more perfect
Alessandro. Pauline Frederick is excellent
as the domineering Spanish senora whose
handsome son, Kent Taylor, also loves the
beautiful Ramona.
Jane Darwell is simply swell as a moun-
taineer settler who harbors the young
couple when they are driven from their
home by the brutal Americans.
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68
Silver Screen for December 1936
4 I
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Simply cleaning your teeth may
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But when neglected gums be-
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ORIGINAL
POEMS
SON GS
For Immediate Consideration
Send Poems to
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Dept. 13B, Para
It BIdg.
The fascinating allure of henna-
treated hair has long been recog-
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To be absolutely safe and to obtain
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insist that your beauty parlor use
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HOPKINS
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EGYPTIAN
HENNA
Romance !
The Long And Short Of It
[CoiUiiuied from page 2?
courtship and marriage has been a never
failing souice of interest to romantic-minded
Hollywood. ♦
"I guess big men like little girls because
they make us feel like giants of strength
and power," Johnny told me one day. That
probably is as good an explanation as any
for the age-old attraction of the muscular
male for the small and frail female.
The first time I saw Joel McCrea and
Frances Dee, they were walking do^\n a
studio street, hand in hand. For a moment
I thought that Joel was showing someone's
kid sister the sights of Holly^vood. Then I
recognized the tiny girl who could easily
have walked under Joel's outstretched arm.
Joel is another member of Hollywood's new
school of hugely masculine players. There
is something indefinably rugged abotu his
ime\en features and his big, slightly awk-
ward body. When he picked his -wife, did
he select a large girl who would have been
his feminine counterpart in size and vi-
tality? He did not. He chose one of Holly-
wood's smallest actresses, little Frances Dee,
who gave up her career to marry him and
to become the mother of his children.
Bob Montgomery is big with a different
kind of bigness than that of Gary and
Johnny and Joel. He is as tall as they
are but he is built along slimmer, more
finely drawn lines. He, too, is one of the
present-day athletic stars. He plays polo,
tennis and golf with an expert skill. His
favorite recreation between picttires is
working— and I mean ^vorking— on his farm
in New York state. And Bob, too, has fol-
lowed the Hollywood formula in romance.
His wife is the small, blonde and dainty
Elizabeth Allen Montgomery who is one
of Hollywood's tiniest women.
This is an age of big men in motion
pictures. That makes the smallness of the
objects of their affections even more no-
ticeable. The average masculine player of
today is taller and broader than the stars
of the silent pictures were. Matirice Cos-
tello, the first great matinee idol of the
screen, was smaller and more compactly
built than are the men who have inherited
his place in popularity. Rudolph Valentino,
probably the greatest romantic hero Avhom
the films have ever known, was several
inches shorter in height and narro^ver in
shoulders than today's Clark Gable.
But, even in the old days, the larger
men ^^•ere attracted to the smaller women.
The tall and blonde Wallace Reid, the first
typically young American hero of the
screen, married tiny Dorothy Davenport.
Big Bill Hart, the two-gtm man of the
western plains, took as his bride small,
golden-haired Winifred ^Vestover. Francis
X. Bushman, over whose masculine virility
another generation of \\'omen fluttered and
sighed, married a small brunette, Beverly
Bavne.
"Perhaps it is becatise there are so very
many small women in Hollywood," tiny
Jobyna Ralston Arlen, wife of the husky
Dick, tried to explain today's big-and-little
complex of the film colony's romancers.
It is true that small \\'omen are in the
majority in Hollywood. They have a better
chance in pictures because the camera adds
pounds and inches to the feminine pla)ers'
real weight and height. Most visitors to
Holhwood are open-mouthed in their
amazement because of the unexpected tini-
iicss of the famous women whom they see
on the streets and in the studios. But there
are plenty of gootl-sized girls, too. Kay
I'rancis. Joan Crawf(M(l, Grcia Garbo, Rosa-
lind Russell, \'irginia Bruce and many
others are in town. But, in spite of the
wide choice of feminine fragility which
Hollywood offers, the brawny males very
often ignore the little women under their
noses and go far afield to find their dainty
brides. So the mere superiority of their
numbers doesn't seem to be an important
factor in the desirability of the smaller
women.
Randolph Scott, ^vho certainly deserves a
place among the tallest and ruggedest of
the Hollyvvood men, recently travelled all
the long way to Virginia and Nevs' York
to find his bride, the little Mariona Duponc.
Like his good friend, Fred Astaire, he chose
an eastern socialite for a wife. Also, like
Fred, he selected a small girl. Fred can't be
classed vvith the Randolphs and Garys and
Johnnys in point of size, but he can be m
point of solid American virility.
The happiest marriages in Holhwood
seem to be the ones which follow the pat-
tern. The same rtile holds for the most
flourishing romances. There are Clark
Gable and Carole Lombard, for example.
Clark Avas really the pioneer of the he-man
heroes. AVith his arrival, the old smooth
and silken screen lover disappeared. Since
his separation from iris wife, Clark has
been devoting most of his attentions to the
blonde and fragilely slender Carole. The
affair, Avhich began in an hilariotis spirit
of fun, has developed into a serious ro-
mance and all Hollywood is betting on an
eventual marriage.
Then there's the case of young Robert
Taylor. He is another typical American bov,
the product of the small towns and public
schools, husky and vital. His short and ex-
citing Hollyvvood life has been dotted with
romances. The girls have been blondes and
brunettes, but they all have been daintily
small. First there was little Jean Parker,
with whom he made one of his earlier pic-
tures. That died a quick death after the
release of the picture. Longer lasting and
more ardent was his romance with Irene
Hervey, blonde and only slightly over five
feet in height. For a time it looked as if
this would end at the altar, but something
happened, probably a lovers' quarrel, and
they separated. Irene married Allan Jones
and Bob plimged into a rumored romance
with tinv Janet Gaynor. They were work-
ing together in "Small Town Girl." But
nothing came of that affair because Bob
met Barbara Stanwyck. This last romance
promises to be the real thing. If they do
marry, the broad-shouldered Bob and the
finely-carved Barbara, the old formtda vsill
have worked again.
Check over the Hollywood lists and vou ll
see that the old formula is proying iis
potenc). Bill Powell and Jean Harlow, Gary
Grant and Mary Brian, David Nivens and
Merle Oberon, James Stewart and Ginger
Rogers among tlie romancers. Errol Flvnn
and Lily Damiia, the ^\'arner Baxters,
Cedric Gibbons and Dolores Del Rio and
many others among the happily marrieds.
Even the directors have followed the pat-
tern. The muscidar W, S. \'an Dyke, of
"Trader Horn." "Thin Man." "Naughty
Marietta" and "San Francisco" fame, mar-
ried tinv. blonde Ruth Mannix. Big. blonde
Bob Leonard, who brought "The Great
Ziegfeld" to the screen, chose the ultra-
small Mae .Murray for his first wife and
is now married to the equally tiny Gertrude
Olmstead.
Hollvv\ood isn't setting any new styles in
love. It is merelv following a formula which
is as old as romance itself.
Silver Screen for December 1936
"Distinctive"
[Continued from page 52]
to leave, Franchot suddenly found himselt
following them to the door and begging
them to remain for "just a nightcap. ' When
they finally left Franchot quizzically said
aloud to himself: "Tone— you're a changed
man."
The quiet way Franchot conducts his
daily life, is completely foreign to the pub-
lic's conception of a movie star's existence.
With a sixteen-cylinder Cadillac coupe re-
maining for weeks in the garage, Franchot
drives around in his Ford. Except on rare
occasions, Franchot is never seen at the
Vendome, the Brown Derby or any of the
popular eating places. And then it's usually
because he is working or attending to some
business in that immediate vicinity. And
he always eats alone. There are a few
friends in Hollywood that Franchot is sin-
cerely fond of. There's Gary Cooper, Lynn
Riggs, the play%vright, and Francis Ledei-er.
Vet, it would never occur to Franchot to
call one of them up, and ask him to go to
a football game or meet him for lunch.
On rare occasions, when Franchot does
want to do something different, he gets up
at four in the morning and goes on a hunt-
ing trip. But he still doesn't call a Cooper
or a Lederer. Instead, he is accompanied by
Bennett, the Tone chauffeur, who is a
:oyal friend as well as a trusted employee.
The t^vo of them tramp back into the hills
for hours. Bennett confides that Franchot
sometimes reinains completely silent during
the entire trip It's that strange sort of
reserve in Franchot's nature, ^shich at
times must be coddled like a baby. This
Doris Nolan, star of "The
Man I Marry," is one of
the best bets of the Uni-
versal lot.
69
may account for his friendly feeling toward
the gentleman he refers to as "Coop."
On days when he is not working, Fran-
chot devotes his time to his singing. At
eleven in the morning, he arrives at the
home of Signer and Madame Morando.
These gentle folk originally kne\\' an oper-
atic fame in Italy. The later years of their
life are now devoted to their pupils. Fran-
chot sings two hours before lunch and t-sva
hours after. When he's working, he dashes
over on his lunch hour and gets in everv
spare moment. There's something about the
peace and stability of the Morando home
that appeals to the tranquil Tone. He never
seems to tire of the companionship oi
these two elderly persons.
There is no grand-standing in Franchot's
occasional display of affection. He carries
this fetish right straight through the dailv
course of his life. Even when he goes to
the Hollywood Bowl, he goes because he
loves the music. Most of the Hollywood
stars occupy the high-priced front row
boxes. Franchot struggles to the top of the
hill— ^vhere he may sit undisturbed and
inconspicuous, in the cheapest seats, next
to peojjle who really come there to listen.
It's amazing that Franchot has never
ceased to be appalled at the show-windo\\-
display of emotions in Hollywood. In five
years' time, he has never reconciled him-
self to the fact that the intimacies of life
are spoken of so casually. A sophisticate to
his finger tips, Franchot cannot condone
bad taste. He can't understand how^ people
in Hollywood know so much about each
other, down to the most intimate detail.
At a dinner party recently, the hostess
told an amusing story of an escapade that
concerned a popular male star and his
leading lady. It was all told quite mno-
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70
Silver Screen for December 1936
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cently and certainly there -^vas no reason
why the two people concerned shouldn't
conduct their private lives in any way they
sau- fit. It wasn't that Franchot Tone, who
was one of the guests, was shocked. It
■\vasn't that he ^\'as surprised or being naif.
The thing that made him indignant, was
the casual A\ay everyone discussed the story
and how perfectly plausible it was that
thev should know about it.
"\Ve all kno\\' what goes on in the ■irarld
today," says Franchot, "and ^^'e know that
certain conditions do exist and certain
things do happen. There are intimacies that
■\ve kno^\' about— but we never discuss them
as table talk. They only concern the parties
involved. \Vhat can it possibly matter -what
others do, as long as they don't hurt us?
It's strange that Hollywood, pointed out as
the artistic center of the world, should still
have this Main Street attitude and intol-
erance."
The time and effort others give to things
that don't concern them, Franchot devotes
to improving himself. When he discovered
that there actually was a possibility of an
operatic career, he went to work ^vith a ven-
geance. Back at Cornell, Franchot had a
classmate by the name of Harold Smith. He
Tvas an excellent musician and after gradua-
tion he became an organist. "When Franchot
decided to get an accompanist to wox'k w'lih
him at home, he located Harold Smith.
Letters were exchanged and as a result,
Smith is now in Hollywood and -^vorking
for the Tones.
"When he isn't practising, Franchot ^vorks
otu with Bob Howard, a capable trainer.
He is putting himself in excellent condition,
because he knows that as long as he remains
in Hollvwood, work wiW predominate his
life. "When the day comes that he can get
away, he wants to be capable of handling
all the things that are in store for him. On
account of his singing, he only indulges in
an occasional cocktail. His cigarettes are im-
ported from England and are a special mild
brand. For di\ersion Franchot plays chess.
He loves the game so much, he takes a
miniature set to the studio with him. Re-
cently he discovered a third assistant direc-
tor, who has won several chess prizes, Fran-
chot uses his personal influence to see that
this particular assistant works on his pic-
tures. Ofttimes, Avhen Franchot hasn't anv-
one to play with, he will sit down and play
against himself.
E\tx since he deserted the stage and came
to Holly\vood he has felt the great urge to
retinn for a single play. The offers have
been man), but the studio would ne\er
give its consent. Just recently it looked
as if he ^voukl get away. Plans were made
and his \vife was to accompany him, do her
Christmas shopping, and see the shoAvs,
^vhile he rehearsed. The final okav from
IiA'ing Thalberg was all that Franchot
needed. The unexpected demise of the pro-
ducer naturally upset all the plans.
Franchot still holds out hope that he
may stage a temporary return to his first
lo\e. If he does, New "i'ork ivill see him in
person during the holiday season, AVhcn
the play is o\er, Franchot ^vill rush back
to resiune his contract obligations in
Hollywood, Perhaps, dining his absence,
Hollwvood producers will disco\er that in
Franchot Tone they have a rare indi\ idual.
who has retained his rare individualit)'. It's
to be hoped that in the case of Franchot
1 onc~;ihscnce will make the hearts of
those, who gi\e Franchot to the ^^•orld,
grow fonder.
SUNK!
piCHARD DIX in "The Depths
l\ BeUra'," a Columbia picture, be-
comes a deep sea diver. The regular
ecjuipment \ciih a real air-pump is
used. Dolores Del Rio is the featured
beaulx iu the picture but she u'asn't
there.
Silver Screen for December 1936
71
Betty Grable and Johnny
Downs in "Pigskin Parade."
Betty is a "triple threat."
IF
[Continued from page 53]
cro\\ning ifs in Merle's whole career i\'as
that day, after being turned down for an
extra's part, she dropped into the studio
cafe at the very hour Alexander Korda and
his wife were lunching. Mrs. Korda caught
one swift glimpse of the girl, then pointed
her out to her husband, saying, "That is
the most striking face I have ever seen!"
Korda. too, saw her possibilities, and that
afternoon he gave Merle a screen test which
brought several small roles. Then came her
Great Opportunity; the part of Anne Bo-
leyn in the now famous picture, "The Pri-
vate Life of Henry VIII, " ^vhich definitely
launched the lovely Oberon as a glamorous
screen star.
The ifs came fast now. // she had not
played Anne Boleyn, Douglas Fairbanks
would never have selected her for his ex-
otic Spanish heroine in "The Private Life
of Don Juan," nor would she have been the
Chinese girl in "The Battle," nor the scin-
tillating slant-eyed charmer in "The Scarlet
Pimpernel." She was now typed as an alhu-
ing exotic, and Darryl Zanuck sent for her
to come to Hollywood, to play opposite
Maurice Chevalier in "Folies Bergere. "
"Ever since that eventful day in Calcutta,
when I saw 'The Dark Angel,'" said Merle,
"I had hoped to come to Hollywood. Then,
when I arri\ed I was not happy because
they thought I was too young for the part
and I had to be extra exotic to make the
\voman as sophisticated as they wanted her
to be.
"I didn't like m)self in that picture and
I was afraid these artificial roles would
harm me with screen audiences, so I de-
cided to return to London ^vhere I ^vas
still under contract to Alexander Korda.
This brings me to another //, a most im-
portant one. // I had sailed immediately
for England, as I first ]5lanned, ni) career
would read much diflcrently, but I lingered
in Ne\\' \'oxk for several weeks and fre-
quently met Mr. and Mrs. Samuel Goldwyn
at social affairs. One night at a dinner, Mr.
Cioldwyn said to me, 'I'm sorry screen audi-
ences cannot see you as you really are.'
Then, he asked if I would like to drop the
exotic mask and be my real self in his new
talking version of 'The Dark Angel'.'
"To this day I don't know what I did
or Avhat I said but I remember wishing I
could slip away some^^'here for a good cry,
I was so deliriously happy. It was' a thrill-
ing surprise, and yet-\vell, there have been
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Jin) iof
In "Can This Be Dixie?" Jane Withers
reveals her remarkable comedy talents.
several times in my life when I have set
my heart on something ' and I positively
knew that it \vould eventually come true.
Leaving India, Ka.s one. Playing in 'The
Private Life of Henry VUL ^\'as another,
and Lm sure that do^vn deep within myself
1 always knew that someday I would play
the girl in 'The Dark Angel.' In each in-
stance, there were mountains of obstacles
blocking my goal but my theory of deter-
?!U)ied concentration Avon!"
So Merle returned to Hollywood to bring
her freshness, her vitality, and her sparkling
beauty to American pictures.
During the idle ^veeks before the picture
started, she was terribly lonely. There Avas
no gaiety, no beaux, nothing to do day
after day but look at the ocean. Then along
came the holidays and at the Goldwyn's
Ne\v Year's party she met another lonely
Britisher who had just arrived, David
Niven. It was the psychological moment for
their meeting, and a friendship quickly
formed between them which has grown into
one of Hollvwood's most beautiful and
sincere romances.
"And one of the merriest," said Merle.
"David has a great capacity for enjoyment
and every moment is lived to its fullest.
^Ve're now making our first picture to-
gether, 'Love Under Fire,' and an amusing
thing was that the very first shot on the
film was a love scene between David and
me. No, we weren't the least fussed, m
fact, we thought it fun."
The fact is, that if she had not met David
at this time her loneliness would have car-
ried her back to England, when she com-
pleted "The Dark Angel"!
Is another question mark hovering over
Merle Oberon? \Vhen she marries David
Niven, will she give up her career? She
loves acting, she is ambitious to gain the
highest honors, and too, there are many
attractive plans; a picture in England, a
powerful drama in "Hinricane," which will
probably be Goldwyn's next choice for his
star, and perhaps, in the spring, the cov-
eted role of Desdemona, with ^Valter Hus-
ton as Othello. Vet, first of all, she is a
woman, and marriage and a family are of
paramoimt importance to her.
"I can see no reason," Merle explained,
"why an actress should give up her career
when she marries. Norma Shearer is an
inspiring example of how one may suc-
cessfidly combine a beautifid domestic life
with a career and not neglect either. Fame
slips by a ^voman just when she needs it
most, Avhile a family continues to be a jov
throughout her entire life. It wouldn't be
Avise to sacrifice too much— for a career!"
So it looks as if there were to be no ifs
on this subject, after all.
WmterSet [Continued jrom page 5?
lOn AND 20'
AT LEADING
5 & 10< STORES
inously. "You put three holes in me. But
I'm back from the grave, Trock. Back to
lake you ^vith me."
As Trock screamed he came a step nearer
and another. He wiped frantically at eyes
which were already glazing with death.
"I got this far. .-^nd now I can't see!" he
moaned. "The blood runs otu too fast . . .
too fast . . . when you've got three holes
clean through you." The dying voice rose
in a last, hysterical cry. "Show me ^vhcre he
is, \oii fools! Show me "
Shadow crashed his length, falling on his
lace, dead at last.
Trock, huddled against the wall, screeched,
"Take him out of here! Take him out!"
While Garth and his father dragged the
1)0(1\ to the next room, Mio stooil where
Sliado\v had stood, the revohcr now in his
own hands.
Enough had been said, enough had been
done to show Mio the truth. It came like
a blinding Hash from the skies and in the
terrified lace Ijclorc him he saw the true
answer to his charges.
"You killed the paymaster! You!"
"Yoti lie! It Ka.s Shado^v killed him!"
Trock muttered.
The judge roused at this. "It ^vas not
Romagna?"
"No. it was not Romagna killed him."
Mio pointed at Trock. "He says Shadoiv
killed him. There ^vere three men in\ol\ed
in the crime for Avhich my father died.
Shadow and Trock Estrella as principals in
the iiiinilcr. Garth as ivitness. W hy are they
here togcilier?"
He \vhirled on Judge Gaunt.
".\nd vou. the jtidge, why are vou here?
Becatisc \ou were all afraid and drew to-
gether out of that fear to arrange a storv
that \ou could tell! And Trock killed
Shallow and meant to kill vou out of that
same fear ... to keep them quiet! "
Mio's head came up: his lace blazed with
trium])h. "This is the thing I've htinted
o\er the earth to find out. .Vnd now. whei-
ever men still breatlie and think and know
Silver Screen for December 1936
73
\^hat"s done to them by the powers above,
they'll know my father's innocent!"
Trock's hand hurled him against the
wall. Leaping on him Trock snatched the
gun.
"Go right on talking," he snarled. "It
won't get far, I guess."
Mio grinned in the face of danger. "You'll
see to that?"
"Yeah. Me and some others." Trock
backed to the door and spoke to Garth
Esdras. "Keep the mug here ten minutes.
Then let him go. I have plans to make."
He ran out through the rain to the gun-
men he had posted at both entrances to
the square. His plans were simple. From the
bridge above Trock would keep ^vatch.
When Mio came out lie could see him
move across the square. Then he would
light a cigarette. That would be the signal
for the shot that would drop him.
If Mio was to live, he must go at once.
But Garth Esdras opposed his going for
fear of what Trock would do to punish
treachery. Only when he knew his sister
loved Mio, did he relent.
Miriamne and old Esdras pled for Mio's
silence. If he told the police now, it would
mean that Garth would be punished. What
would be gained?
"You ask too much!" Mio cried at her.
"Your brother was ready enough to let an
innocent man pay for the years he's had."
His smile turned wistful. "We're parted
anyway, Miriamne. Parted by the same dark
wind that blew us together. I shall say
«=hat I have to say." He ran into the night.
Miriamne screamed after him, "But now
you've stayed too long. He'll be waiting!"
She ran after her sweetheart, follo^ving
him into the rainy blackness, ready to be
with him when he died, to die with him
if fate was kind.
Garth Esdras, who had lived a coward's
life, was moved out of himself by their
peril. He, too, went into the "night, hoping
to sneak past Trock's gunmen and bring
police help.
Trock saw him from the bridge above
\\here he waited. Trock snapped a match
to the cigarette in his mouth. The soft
slap of a silenced gun told of Garth's death
in the alley.
Trock grinned and waited. One more to
account for, Mio Romagna!
Mio clasped the girl close in his arms.
"Go into the house. There you may be
safe. It's clear that I'm to die. But I shall
die as I have li\ed, alone."
"No, Mio, no! I do not want to live with-
out you! "
"It's better to live, Miriamne. I wanted to
live— because of you— I leave you that— and
what my father said to me, dying, 7 love
you and will love you after I die!' Tomor-
row I shall still love you, as I've loved the
stars I'll never see and all the mornings
that might have been yours and mine."
He lifted his head, glancing about the
dark square, menacingly silent as death
waited for him.
"Now all you silent powers that make the
sleet and dark, and never yet have spoken,
gi\e us a sign. Let the throw be ours, this
once. Let fall some mercy \vith your rain.
We are two lovers here in your night and
we wish to live!"
There was no light from the sullen skies,
no sound or sign from the \\aiting shadows.
Death lay \vhichever way they walked.
But suddenly Mio's smile flashed.
"They ha\e answered! But I was blind
and I could not see! "
It \vas just beside them, the instrument
of their deliverance. It was old Lucia's
grind organ. Stored in it was the music that
so irritated the police. He had only to turn
its crank . . .
In the black night, with murderers wait-
ing their moment, Mio made the square
echo with the music.
Off the streets outside the square an irate
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74
Silver Screen for December 1936
What
Do You Do with
Your Little Finger?
— when you pick up a glass or cup? . . . You know from
watching others that charm and poise can be destroyed
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Margery Wilson gives the authoritative answers to
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cop came running.
Trock Esirella spat the unlighted cigar-
ette from his mouth and started to in\'esti-
gate. He saw the police, turned and raced
up again toward the bridge.
And on the Ijridge above, the old hobo
who haunted the place, retrieving the butt
end of smokes that luckier people throw
away, pounced on Trock's discarded cigar-
ette.
He lighted a match to it.
Out of the shadows ^vhere Trock's gun-
man ^vas posted, a gun spoke once. The
lead sped after Trock's racing figure, catch-
ing it in mid-stride. Trock Estrella stopped,
whirled about and dropped to the em-
bankment below. His body slithered across
the icy bank as .Shadow's bodv had done
and the black, oilv water of the ri\er re-
ceived it with a chuckle.
Life At High Speed
[Cojitinued from page 2i]
\vith Travis Banton, looking at sketches,
at materials, having fittings. She is back
on the set until 6 p. m.— with two inter-
ruptions for interviews. Then back to her
dressing room to remove her make-up, to
call or be called by Clark, to go to ^'ictor
Hugo's for dinner, on to the Troc' (ivith
Clark, of course) to dance, to see, to be
seen . . .
When Carole is not working— and what's
the difference, you tell me— she rises at
10.30 in the mornings if the telephone gives
her that much respite ... it doesn't, of
course. You know Mister Bell, "may his
soul rest in pieces," says Carole. . . . She
rises and dashes over ' to Claudette's for
two sets of tennis . . . she dashes back
home, dresses, lunches at the Vendome with
friends she has not been able to see during
production ... at 2.30 on almost every
"non-^vorking" day she had an appoint-
ment at the studio for story conferences on
her ne.xt picture . . . she then spends an
hour in the gallery for portrait sittings for
her Art which must "do" throughout the
next production . . . she dashes home for
dinner . . . she gives a few small, informal
parties at home . . . for her director and
the cast of her last picture . . . for friends
. . . she takes in the fights, the circus when
it is in town, the amusement piers, the
dentist . . . she writes letters, signs auto-
graphs, repays luncheons, teas,' cocktail par-
ties and just doesn't know what to do with
her time!
I was talking with Jeanette MacDonald
the other dav— just after she had announced
her engagement to Gene. You en\'ision the .
joy-giving Jeanette, no doubt, reclining in
bed, leisurely, an exquisitely appointed
breakfast tray upon her knees, drapes
drawn, house quiet. Ah, no! Jeanette ne\ef
breakfasts in bed. But never. Jeanette never
properly breakfasts at all. What happens
is this: A tray with a pot of coffee, a gla's
of fruit juice is brought to Jeanette each
morning at seven. She sips coffee with one
hand, so to speak, and answers the tele-
phone with the other. Just for fun she
counted the number of phone calls that
came in one morning last week between
the hours of 7.30 and 8.30. Tiicre . were
forty-three of them. And this, despite the
fact that the stars change their phone num-
bers on an average of once a week.
They now have a new and nifty littie
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Silver Screen for December 1936
75
method of swapping telephone numbers. In
other words, what is Jeanette's telephone
number this week may be Greta Garbo's
next week, and so on. Imagine dialing
Clark Gable and getting Hugh Herbert,
for instance! But then, anything can hap-
pen in Holly\vood. Anyway, Jeanette had
to answer the forty-three calls herself. They
were from the studio, from the director,
from her manager, from radio agents, from
her singing teacher, from Gene, from her
attorney, from friends. . . . Immediately
after breakfasting and telephoning and
dressing she rushes to her singing lesson
which lasts two hours. Two hours every
dav ^vhether she is working or not.
She seldom has time for social luncheons,
but on rare occasions and so as not to
lose the personal touch entirely, she does
go to the Vendome, to the Assistance
League, to the Derby. And while she is
lunching there, radio agents buzz about,
friends pause for a chat, invitations are
given, phones are plugged in at her table
and Jeanette eats three mouthfuls of ex-
pensive Vendome food.
After luncheon there is her French les-
son. After her French lesson there is, almost
without fail, an interview. After the inter-
\ie\\- there is her tennis lesson. After her
tennis lesson there is her masseuse. After
her masseuse there is some practising to
be done, sometimes with Nelson Eddy,
sometimes alone. After the practising there
is dinner, sometimes at home with her
mother and Gene, sometimes Jimmy Stev-
art comes over from next door. No\v and
again they dine, Jeanette and Gene, at the
Troc', at the Derby, go on to the Cocoa-
nut Grove, perhaps, for dancing. And after
that there is the shower, cold creaming, a
{ew relaxing exercises, ten or fifteen tele-
phone calls, lines to be learned for the next
day and after that the lazy, indolent girl
hasn't a thing to do but turn over and
go to sleep!
Fred MacMurray tried to get married for
months. The spirit was willing but the
schedule was weak, or something like that.
It takes a couple of hours to get married.
And Fred could barely take time off to con-
vince his Lilian that he is flesh and bone in-
stead of celluloid, a man instead of a
shadow she saw upon the film. He finally
had to elope to Las Vegas while they were
still shooting it out on "The Texas
Rangers"— spiced between shots, as it were.
Even as LeRoy Printz, dance director, took
time out between steps to marry Betty
Bryson . . . Fred didn't even leave a trail
of breadcrumbs behind him when he
eloped lest the studio get wise to the Hansel
and Gretel motif and track him down.
And even now, a bridegroom, Fred arises
at 6.30 a. m. of each working day. Lilian
cooks his breakfast for him and plenty of
it. He rushes to the studio. He is always
late. Lilian stands by the phone at home
to answer the studio's frantic calls of
"Where is Fred?" He takes half an hour
for make-up. He arrives on the set. He
works. He dashes off again between 9.30
and 10 a. m. for another cup of coffee. He
works. He reads the papers. He cracks jokes
with Oakie. He rushes to the commissaiy
lor linicheon at 12.30. He goes back on the
set. Bet^veen 3 and 3.30 p. m. he sends
the property boy, employed for this pui-
pose and no other, to get him his afternoon
cup of coffee and hunk of pie. He works
some more. He rushes home. He dines at
home or at the Club La Maze. He studies
his lines. In between whiles he and Lilian
swim, play tennis, fish, play Monopoly, go to
the races, go to the fights, go to the homes
of friends, just fritter away their time . . .
They hardly have time to fall in love.
They have almost no time at all to fall
out of love. Ginger Rogers told me that
she literally did NOT have time to be a
wife, a home-maker, let alone a mother, of
all things! She never knew, she said, what
WM
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Ruth Chatter-
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tor Fritz Lang
meet at Grace
Moore's party.
she ^vas going to have for dinner or when
or where or with whom. She couldn't enter-
tain, not even her husband, because at any
moment of the day or night, Christmas,
Easter, Admission Day, birthdays, anni-
versaries, she might well hear Fred Astaire
saying "Let's go through this routine again.
Ginger"— and Fred wots not of clocks or
time tables or date books or train sched-
ules.
Or, again, if she tried to telephone her
ex-husband that she would be home in fif-
teen minutes she ^vould hear a voice from
the set intone "Hold it for a still, please.
Miss Rogers." And that was that. She never
lunched alone but always with an inter-
vie^ver, with her director, with a radio
agent. She is building a ne'sv home for her-
self and her mother in Beverly Hills. She
"reads" blue prints while she gives four or
five hours to fittings for the elaborate ward-
robe Vihich is hers in every picture.
She goes to the Bowl when the summer
concerts are on, to the Philharmonic in the
winter. She has a beach house at Malibu
and an apartment in town and the new
house in process of construction. "When she
awakes in the morning after an evening
spent, perhaps, dancing with Jimmy Stew-
art at the Troc', she doesn't remember
whether she is in the Malibu house or in
the apartment or -on the set ... .in her
brief dreams she hears Fred Astaire call-
ing "Lets go through this routine again.
Ginger . . ." she has been known to rise in
her sleep and do a few pas de seuls until
put back to bed by her mother . . .
Nelson Eddy has three careers . . . the
screen . . . radio . . . concert ... in his
leisure moments, I mean when he is not
practising, recording, studying lines, con-
ferring, being photographed, doing auto-
graphs, he runs his home, plays tennis,
takes a gal out to dine and dance, swims
in his pool, entertains and just moseys
about . . .
Joan Cra\v[ord and Franchot Tone ^^■ork
;ili day on the scis, t:ikc \oice lessons, pi-
ano lessons, study Fiench, psychology, read
all the best books, entertain, write, pro-
duce, act, gi\'e plays in their little theatre,
get sun-tanned in season, get un-sun-tanned
out of season, fritter the languid hours
away . . .
They don't have enough to do . . . go in
for ranching and raising cabbages like
I'rancis Feikicr, raise dogs like Sui Er\vin,
do mo\ ie ]jholography like Leslie Howard,
give kiddies' parlies lor ten and iwche in-
fants like the Frederic Marches, run horses
like Clark Gable, move out of a brand
new house into a brander ne^^' one like
Claudette Colbert, write songs like Ginger
Rogers, have nervous breakdowns like
Carole Lombard, give circuses like Harold
Lloyd, ^vrite books like Errol Flynn . . .
just invent ways and means to fill in their
spare time, you know . . .
It's like eating too much. The more you
eat, the more you can eat. Your tummv
stretches, to be literal if not lo\elv. And
similarly, the more you live, the more you
can live. Your capacity stretches, too.
It's speed, that's what it is. The race is to
the s^vift. They spurt, dash, gallop, scamper,
dart, flit, spring, boom, march in quickstep,
shoot, fly, whisk, skim, scud . . .
Is your hat still on? Mine's not. It's off—
to them.
Ha\e you lost your breath? I have.
Do they ever stop? They do not. I do.
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Silver Screen for December 1936
77
Studio
News
[Continued from page 17]
Lee is like to explode. "A date!" he
echoes and turns to O'Malley. "You hear
that, joe? And the Old Man wonders why I
kick on dames cluttering up a man's job!"
"Yes, sir, Inspector," Gloria announces
coolly, starting for the door, "I've got a
date— with a tenderloin steak."
Lee calms down at the mention of food.
"That's right," he speculates. "It is about
time for dinner. How're you fixed for cash,
Joe?"
Gloria pauses at the door and she and
O'Malley look at each other again, as
though all this were an old, old story.
"I got three bucks," he informs Lee war-
ily, emphatically.
Lee turns expectantly to Gloria.
"No, you don't," she snaps before he can
say anything. "You still owe me tw'enty on
that Chicago touch."
"The memory of an elephant," Lee barks.
"Always broke! Always hungry! " Gloria
sneers. "What do you do with your money?"
"Can I help it if I have a gentleman's
tastes?" Lee whines.
"Ha!" she sneers. "What an imagination!"
\Yell, that's about all there is to this scene
so I move on to the next one. Oh yes! They
get their man and find they were meant
for each other.
The next, and last, set on this lot is
"The Smartest Girl in Town" formerly
called "Million Dollar Profile." This one
stars Ann Sothern and Gene Raymond and
is being directed by Joseph Santley. We
won't go into the story again of how won-
derful they all are. They really are— but
I've told you before. And Time is marching
on— at a most alarming pace.
Gene is a millionaire good-for-nothing
who is always having to write checks for
dames because he can't manage to control
his enthusiasm. Ann is a model. Eric Blore
(than whom— take a bow, Eric— there is no
funnier comic in fillums) is Gene's valet.
Thinking Gene will be away for a few
days he rents his yacht to an advertising
company to make a few pictures. Needless
to say, Ann is the model they send to pose.
Gene returns unexpectedly and they mis-
take him for the male model. He is about
to expostulate when he sees Ann and de-
cides to go through with it.
The set is so realistic that if you only
looked above the deck you couldn't tell
it \vasn't a real yacht.
I forgot to mention that the company
lias been held up for hours because the
male model hasn't appeared. That is why,
\\ hen they see Rayinond approaching in a
boat they think he's it.
"Don't hurry, Apollo," Ann calls sarcas-'
tically as Gene approaches. "Why'd you
bother to come at all? Why didn't you just
wire regrets?"
"Cup your hands, Ann," Santley sug-
gests. Then he turns to the camera man:
"Do you think she should cup both hands
or just the one farthest away from the
camera?"
"\Vell," the camera man replies judicious-
ly, "I think in pictures just the one away
from the camera."
Ruminating on the difference between
the way things are done in pictures and
real lite— because if she cupped only one
hand her voice would be deflected in my
direction insf^ad of carrying out to Gene,
which ^vould be all right with me, too, but
not at all what Joe wants— I move on up
the street to
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78
Silver Screen for December 1936
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There are three pictures in production
here but two of them (a serial and a west-
ern) are on location. The other one, "Three
Smart Girls" with Alice Brady, Louis Hay-
■\\'ard and Binnie Barnes, is on the lot. Un-
lortunately, Alice isn't Avorking and Louis
is home sick. Miss Barnes isn't in the scene
I see. The three girls are working. It isn't
an important scene so I'll go back later
and tell you about this one next month.
Miss Barnes is playing bridge and explain-
ing to the kibitzers that she didn't have to
get set on that last hand. She could have
let her king of spades ride (instead of
trinnping it) and sloughed a losing dia-
mond. But it's too late now. She didn't let
it ride, she did trinnp it and she did get set.
Wondering ^\'hy people in a bridge game
persist in re-hashing hands that are deader
than yesterday's ne^^'spaper, I leave Uni-
versal and proceed to
Paramount
THERE'S quite a little activity over here,
^ or at least so it seemed as I came through
the parking lot. But when I get inside the
studio I find that "Rose Bowl," a football
picture featiuing Tom Brown, is on loca-
tion and there is only one other one on the
lot I haven't already told you about,
"Champagne Waltz" and "The Plainsman"
having been duly reported. The unreported
one is "Hideaway Girl" with Robert Cum-
mings, James Eagels, Wilma Francis, Shir-
ley Ross, and Monroe O'ivsley.
The set is Cummings' cabin on a ship.
Even ship's cabins, apparently, are now
modernistic— with a profusion of red plush.
Gathered in the cabin are the people
mentioned above.
Miss Francis is a thief— a jewel thief, I
believe— and it's time for the showdown.
"Muriel!" Bob exclaims to Miss Francis.
"Then it ^^•as you who put the glass in my
cabin!"
"You're crazy," she retorts in a panic. "I
don't kno^v \\ha.t you're talking about!"
Eagels tries to take her by the ^^-rist. "Take
your hands off me, do you hear? Mike-
make them stop!"
"Better quiet do^vn, Muriel." Cummings
ad\ises. "These men are from Police Head-
quarters."
At this W'ilma throws back her head and
gives out a screech of derisive laughter.
"Them? Don't make me laugh," thrusting
a forefinger in the direction of Owsley.
That's Jake Grenados- the biggest crook
is in with him."
"Is that true?" Shirley asks Monroe
quietly.
"No, it isn't," he answers curtly.
"It is!" Wilma insists.
"How do you know— unless you arc Lady
Jane?" Bob asks her quietly but AVilma
only glares at him, unable to reply.
There is a pause in the scene. "She's
stuck," the director surmises, and turns to
his assistant. "She doesn't kno'sv ^vhat to
say."
So they have to stop production ^vhile
they figure out something for 'Wilma to
say.
"I take it you're up to no good again,"
I suggest to Monroe.
"Did you ever see me in a picture Avhen
I was up to any good?" he demands. A mo-
ment later he sighs reminiscently. "And
■(vhen I was on the stage I used to play
dashing young lovers— light, airy, carefree."
"Yes," I agree, "I remember your telling
me about one time on the stage when you'd
forgotten to fasten your trousers and the
wind billowed through them."
"Never mind," he interrupts hastilv, "we
won't go into that. At least, these villain-
ous parts keep me in gasoline and break-
fast food."
They still haven't figured out a come-
back for Miss Francis so I leave them—
still in a quandary— and seek the sunny side
of the street.
"Maid of Salem" starring Claudette Col-
bert and Fred MacMurray is just starting so
I'll tell you about that one next month.
And now we'll see what's doing at
Columbia
The first picture I run into over here
^ is called "The Depths Below" and stars
Richard Dix and Chester Morris. There is
a story going around Hollywood about
this opus to the effect that Harry Cohn
(\icc-president of Columbia) said: "I made
this picture once for forty thousand dollars
and it cleaned up. So I made it again for a
hundred thousand and it still made monev.
I'm going to spend a quarter of a million
on it this time and if it still makes monev
1 11 know 1 have nothing to worry about.
I can just go right on remaking this picture
as long as pictures are made and jt w ill al-
wavs make monev."
Personally, I don't believe he said it.
From what I kno^v of Mr. Cohn his hu-
mor isn't that dry. But that's none of my
business.
It's a good story, an'lhosi'. I think the
In "The Depths Below," Chester Morris finds himself submerged in
beautiful womanhood — there's the b.Tsis of a plot right there.
Silver Screen for December 1936
79
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hundred thousand dollar production
boasted the presence of Jack Holt and
Ralph Graves and was called "Submarine."
It had a gala premiere at the Chinese in
u'hat are vaguely referred to as "boom
days." It's about a couple of submarine
divers (the gents mentioned above) who
are inseparable— rough and tumble type,
with hearts of gold and shy as a couple of
con%ent girls.
The scene I see is right at the beginning
of the picture and is ^vhat is known as an
"atmospheric shot" to establish the cama-
raderie existing between the two.
Chester, in some manner known only to
the Morris family, has managed to crash
a party at a most exclusive home in Cuba
or South America. He is sitting in one of
those fan-shaped wicker chairs surrounded
by a bevy of Latin beauties and he's really
going to town on the subject of his pro^v-
ess and exploits when he is interrupted by
Miki Morita— a Filipino butler.
"Excuse, please," Miki entreats. "Your
friend. Admiral Dorgan, outside. He say he
like see you. Is all right?"
"Dorgan? Dorgan?" Chester repeats re-
flectively. "I never heard of no Admiral
Dorgan. He must be an imposter, trying
to crash the party. Throw him out!"
Of course, the girls all take their cues
from Chester and add their instructions to
the butler in their native tongue— what-
ever it is and Chester continues his boast-
ful, if slightly ungrammatical, recital of his
accomplishments.
Miss Dolores Del Rio is the love interest.
Chester is such swell company I wish
I could loiter on this set longer but, alack-
aday! There's work to be done.
"Lady from No\vhere" starring Mary As-
tor is on location and, there being nothing
more to see here, I leave for
2 0th Century-Fox
ONLY two pictures shooting here, heaven
be praised, but both of them are im-
portant. One is "The White Hunter" star-
ring Warner Baxter, with Gail Patrick in
her first leading role.
Simone Simon \\'a.s to have played Gail's
stepdaughter but she took sick and the stu-
dio also decided the part was not big
enough for her after her sensational suc-
cess in "Girls Dormitory" so now Jime
Lang is doing the role.
The story is long and complicated . . .
but interesting. Years before, Warner had
been disgraced in England by giving in-
formation about munitions to Gail, with
whom he was in love, and who is married
to Wilfred Lawson. Warner had left Eng-
land and gone to Africa and become a
white hunter, heading safaris. Eight years
later Lawson, his daughter and Gail come
to Africa and find Warner at the head of
their safari. They are terrified— all but
the daughter who, knowing nothing of
the conlrelemps and what has gone before,
falls in love with Warner. Gail tries once to
get Warner back— unsuccessfully. Later she
makes another eiloit- and that is where we
find thein now, moonlight streaming over
the plains and silvering the palms.
.^s Warner enters his lent, strikes a match
and lights the lamp, he suddenly sees Gail
curled up on his cot in an alluring pos-
ture. She smiles up at him. "I've been wait-
ing a long time," she says silkily. As he
(hicsii't answer, she slowly straightens to a
silling position. "Don't you ever tire ol
bi'ing tlie strong silent man?" she asks with
an attempt al lightness.
Warner merely looks at her, his expres-
sion cynical. Gail rises, trying to give the
ii)i|)rcssion she is perfectly at case but one
is aware of a desperate anxiety in her man-
ner.
"And you used to be such a charming
host, " she remembers. "You might offer me
a drink, )ou know."
"You're amazina;, Helen." Warner says
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ER Screen
with a sudden smile. "You haven't changed
a bit."
"I'm glad you appreciate me," she smiles
nervously.
He merely shoves his hands in his pock-
ets and stands regarding her ^vith a look
of bitter amusement. Realizing she is not
getting anywhere, she takes a step towards
him. "Clark," she says tensely, "let's put
an end to this stupid cat-and-mouse game."
"Don't tell me you're suggesting this
time I'm the cat— and you're the poor little
mouse," he exclaims mockingly.
For an instant she seems frustrated— un-
able to cope with his remoteness, but then
she goes on appealingly: "I know \vhat you
think of me— and I don't blame you. There's
nothing you could say to me," rushing
along in a torrent of self-abasement, "that
^^-ouldn't be deserved. You know that but, '
^vith a burning intensity, "perhaps there's
something you don't knou'— something I
didn't even kno\v myself— until these last
few days— You're the only man I've ever
loved!"
Baxter stands regarding her gravely and
for the moment he seems to believe her.
"I must have been insane to do what I
did," she continues impetuously, coming
close to him. "But I'll make up for it,
darling! Any way you say! I'll leave Varek
(LaAvson) tonight! I'll go with you— any-
whereV
There is an instant's dramatic pause.
His face is expressionless. She ■waits breath-
lessly to be taken in his arms. Then, sud-
denly, he laughs— a short, contemptuous
laugh. "That ivas superb, Helen," he
mocks. "A remarkable performance!"
She stares at him, realizing she has failed.
Then— with an abrupt change of manner
—she smiles bitterly and shrugs.
"It should be amusing to hear you talk
about love," he says, his eyes smiling but
his voice cutting, "but somehow it isn't."
Then, abruptly, he ya\vns and turns to-
wards the door. "And now, if you don't
mind, Helen, I'm tired."
Gail looks at him angrily, turns quickly
and goes out.
It's a fine scene— finely played.
I say "hello" to Warner and his wiie who
is visiting him on the set and ^vonder how
in the name of Allah she contrives to look
comfortable when she's smothered in silver
foxes and the thermometer is about no
on the stage.
Then Gail and I chat for awhile and she
tells me how happy she is over this big
chance she's getting and how much she
likes being loaned around to other studios
as she has been during this past year. .A.nd
I congratulate her on the fact that of all
the fi^■e Panther Women whom Paramount
brought out here five years ago, as the
result of a nation-wide contest they con-
ducted, Gail, alone, has survived and done
anything.
Gail is so beautiful, so intelligent and
so witty I hate to say "goodbye" but there
is still "Lloyd's of London " to be covered.
This has to do with the founding of the
famous Lloyd's Insurance Company.
The hero of the story is Jonathan Blake,
played by Freddie Bartholome^\' as a child
and by Tyrone Power, Jr. as an adult.
Loretta Young was to have been the love
interest but the part wasn't big enough to
suit her so she walked out of the picture
and set sail for Honolulu. Now Madeleine
Carroll is the love interest and the part has
been enlarged.
^Vhcn T'\rone finds she is the wife of the
man he hates, his despair knows no boimds.
He swears to climb so high in public
esteem that everyone will respect and fear
him-and cultivate him. And he makes
good his threat.
The sot is Ihe interior of Lloyd's and
I wish \()U could sec it in rcalit\. ratlici
than merely on the screen. Many of the
pieces used as props were actually brought
from England.
The place is a bedlam. News has just
been received of Lord Nelson's defeat. The
hundreds of men in the place are staring
"Lloyd's of London" is the thrilling
story of how a nice little business in
England had its beginnings. Tyrone
Power, Jr., and Miles Mander in an
exciting moment.
at a bell. The bell tolls once to denote a
disaster and twice for good news. It has
tolled once. All of them are staring at it,
that is, save two. One of the two, Miles
Mander (who plays Jukes), is sitting in a
booth. Suddenly he %\'hips out a pistol and
points it at his head. Tyrone who has been
\vatching him, leaps on a bench, reaches
over the top of the booth and pushes the
gun awa.\ just as it's fired.
"You fool!" he yells. "That won't help
things."
Suddenly he hears the voice of Sir Guy
Standing, whose protege he is, calling,
"Jonathan! Jonathan!! Jonathan.'.'!"
At the third "Jonathan!" Tyrone looks
around the room to locate Sir Guy, sees
him, jumps off the bench and walks over
to him.
"Cut!" calls the director.
"'When they \vanted to borrow me from
Paramount for this part," Sir Guy explains
to me afterwards, "the studio called me in
and asked me to read the script and see
what I thought of it. I took it up to my
dressing room and started reading it. It was
a big thick script. I became so engrossed
in it I completely forgot it was a script
and that I \vas supposed to be reading it
to see what kind of part I'd have. I read it
as though it weve a novel in which I had
no direct or personal interest."
That certainly speaks well for the plot
development.
And now -we'll make a quick jaunt to
M-G-M and then call it a day.
At M-G-M
THE Marx Brothers are cutting capers in
their new picture titled "A Day At The
Races." The scene is Groucho's bedroom
but I don't see Groucho around. Instead,
Esther Muir, one of our more opulent
blondes, all done up in black satin that
fits her like a sausage skin and shows her
ofl like a diamond in a Tiffany setting, is
sitting at a table -svith a huge compact,
wliich she is holding in front of^ her as she
powders her face. Harpo is standing at her
slioidder. annoving her.
"Blow! Blow, will you?" Esther screams
at him in a rage, meaning he should take
ihe air.
But Harpo grins fiendishly, smiles as
tliough he iniderstood perfectly -what she
means, leans o\cr. lakes a deep breath and
blows so hard he almost lifts Esther out
of her seat. He doesn't quite, but he does
loosen all the powder from its moorings.
.As the gust of breath hits the compact
I he po\\ der flies all in her face, all over
Silver Screen for December 1936
81
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her dress. My word! There's hell to pay
and the chase is on.
Aside from Esther, the most distinguishing
feature of this set is the huge basket of
flo\vers on the table. They're artificial—
the work of Steve McDonald, who makes
all of M-G-M's flo^vers. The man is really
an artisan. I defy anyone to stand five feet
away from any of his flo-\vers and tell they're
not real. Some of them you can only dis-
tinguish from real floivers by touching
them. The artificial flo^vers cost more than
real ones but the heat from the lights wilts
real flowers so rapidly it's cheaper to use
artificial ones.
Next we have "The Cockeyed Cruise"
featuring Edmund Lowe, Elissa Landi,
ZaSu Pitts and Eadie Adams.
The scene is the bar on board a ship
bound for San Francisco. At the bar are
Edgar ("Average Man") Kennedy, ZaSu
Pitts and Harland Briggs, who plays her
husband. Mr. Kennedy, I believe, is a crook
posing as a detective. They are sipping
drinks— or guzzling them— with Pittsie
quavering and fluttering all over the place,
when Lowe dashes in and makes straight
for detective Kennedy.
"Sergeant!" he gasps. "Quick. There's a
dead man in my staterooiri."
"Hey!" Kennedy growls to the barkeep,
"will you slip this guy a Mickey Finn? "
"Oh. Mr. iTrent," ZaSu quavers, all agog
and atuitter, "did I hear you say what I
thought I heard you say— or didn't I?"
"You heard him all right," Kennedy mut-
ters.
"But listen," Lowe persists to Kennedy,
"this is on the level— and it isn't the same
man that was dead before."
"Oh," Kennedy sneers with heavy sar-
casm, "you gotta collection."
"I don't like the ^vay you're talking to
Mr. Trent," ZaSu announces to Kennedy.
"If he says he's gotta dead man you can
be dead sure he's dead right."
Need I tell you this is a "Cops and Rob-
bers" story and that it all comes about
over the theft of an enormous diamond
known as "The White Dragon"?
"Maytime" has been taken out of pro-
duction temporarily for some re-^vriting so
that lea\es only "Love on the Rim" starring
Joan Crawford, Clark Gable and Franchot
Tone.
Fm ashamed to confess Fve forgotten the
plot of this picture, except that Joan and
Clark steal an airplane to get out of Eng-
land. Then they steal a delivery truck
\\hich, curiously enough, belongs to a cou-
turier from whom she frequently buys
clothes. Therefore, she doesn't feel she's
doing anything very wrong when she ap-
propriates one of the dresses she finds in
the truck. It fits her to perfection and is it
lovely!
"You're looking swell," I compliment
Joan when the scene is finished.
"I do not!" she retorts indignantly, draw-
ing herself and sho^\■ing me her waistline
which is so small I could put my two hands
aroimd it. "I weigh a hundred and thirty
and that's entirely too much."
Florence, the script girl, conies up drag-
ging a strange woman visitor on the set
with her. "Joan," Florence begins,
you show my friend your stomach?"
"Well, really," Joan gasps, a little dis-
. OIK cried at the idea of showing a perfect
^iMiiger anything so personal.
■ I mean, how thin it is," Florence e.\
plains and turns to me. "She's got every-
body in the compaii)' on a diet," llorence
continues. "Me, Mr. Gable, Joe Manckie-
vvicz the producer, and she's trying to get
Mr. \'an D) kc to go on one, too. '
All of which just goes to pro\e that no
matter which way you part )our teeth, a
smile is still a smile.
I'll be seein' va!
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Silver Screen for December 1936
ntJ^^'A'^'^^^ A Movie Fan'S Crossword Puzzle
By Okarlotte Herbert
ROBERT TAYLOR and Clark Gal)le may
be )our Dream Boys, dear fans, \mi it
seems that to the extra girls on their sets
the)"re just a couple of actors. Recently a
ne\\spaper man took a vote among the
extras on one of the Metro sets as to what
men they ^vould like to marry. Of the
thirty-five girls one voted for Robert Taylor,
one for Clark Gable, one for Gary Cooper,
and all the rest for King Ed^vard. 'Well,
Mrs. "^Vally" Simpson must be right.
|T "WAS not until Sally Eilers had moved
^ into a hunting lodge near the Denham
studios on the edge of London that she
heard the legend that the lodge was
haunted. Sally learned from her informers
that the lodge belonged to an earl some
hundreds of years agO' ^vho went forth on
a grouse hunting trip and ne^er returned,
although the neighbors and servants say
that his spirit often returns. Sally is eagerly
-svaiting to meet the astral earl— she hopes
he looks like Robert Donat.
„ — ,^ — .
CESAR ROMERO is ^L^rtha Rave's lat-
est escort about town. And Simone
Simon seems to be dividing her time be
iween Willie Wyler, director, and Jacques
Thiery, -writer. Maybe it's because they both
speak French and Simone's English is still
sadly lacking. Simone attended her second
preview, "Ladies in Love" \vith Thiery and
Mr. and Mrs. Charles Boyer. '
lOAN BLONDELL and Dick Powell ra-
ther reversed things on their recent
honevmoon in New \ox\. They sent all
their' friends postcards on ^vhich they had
written: "Having a grand time. Glad you
are not here."
ALICE FA YE just can't get New York
out of her blood, so she has put an
auto horn on her new car ^vhich sounds
exactlv like a Hudson River boat.
WHEN someone asked Merle Oberon
what she wanted as a "going away"
l^resent (Merle has to go back to London
for that Korda picture) she very promptly
replied that a huge box of chewing gum
would be the thing she'd appreciate most
of all. It seems she doesn't like the British
variety.
CHIRLEY TEMPLE had to speak a re\\'
words of Chinese in her next picture
"Stowaway," so the suidio had a sweet
little Chinese woman in to tcacli her. The
woman made a game oiU of it \\iLh_ a
liounting liall and Shirlcv liccame so in-
uigucd that she (li(hi't Avant to stop taking
lessons. Just tell Shirley it's a "game" and
she'll sti'idy anything. She adores games.
|r YOU arc a close liiend of Joan Craw-
' ford's she will prob.ibh ,i;i\c nou her own
recording of the song "Lost." She is mad
about the song and whcnc\er she goes lo
ihc Trocadero lor dinner and dancing willi
I'rancliol, the popular Phil Ohiman always
lias his orchcslra play il for her several
limes. Ohlnian is the composer of the song.
ACROSS
1 Not many
4 Charles Laughton's next characterization
12 Barbara Stanwyck's hoy friend
15 The comedienne in "Rhythm on the Range"
17 He's starred in "The Gay Desperado"
18 Female horse
19 Prefix denoting againsr
21 The most joyous of winter seasons
23 A circuitous way
2 5 By birth
27 Lee Laird in "Public Enemy's 'Wife"
29 Specks
30 The rich heiress in "My American 'Wife"
33 A small bitter plum
34 Within
37 Thoroughfare (abbr.)
38 Feminine personal pronoun
40 A favorite comedian
42 Bustle
45 A course of business
47 Hn.rdship
50 With Clark Gable in "Cain and Mabel"
51 Small cabin
52 In "Back to Nature"
5 I Son of Mohammed
57 A strong alkaline solution
58 In "The Big Broadcast of 1937"
60 The hobo in "My Man Godfrey"
62 Ringing
64 Of short duration
67 The nurse in "The Road to Glory"
69 A player on the Fox lot
71 Cover
72 Ruth Chatterton and Walter Huston appeared in
this
73 Feminine first name
DOWN
1 His next picture will be "Lloyds of London"
2 Every (abbr.)
3 In love with Ronald Colman in "The Lost Hori-
zon"
5 Mohammedan princes
6 Parent
7 With Kay Francis in "Give Me Your Heart"
8 A direction (abbr.)
9 A famous woman evangelist
10 Former movie vamp (initials!
U Myrna Loy's friend In "To Mary, With Love"
12 Tybalt in "Romeo and Juliet"
1 3 Either
14 With Joel McCrca in "Two in a Cuiwd"
16 Son of Seth (Bib.)
18 Roman god of war
20 Week-day (abbr.)
22 She and Charles Ruggles are a favorite comedy
team (initials)
24 Period of time
26 Expression of slight surprise
28 Goddess of dawn
31 Above
32 Uncas in "The Lasr of the Mohicans"
35 Remarkable child singer in "Rainbow on the
River"
36 He made the first round trip across the Atlantic
Ocean
38 The wife of "Anthony Adverse"
39 A silk worm
41 John Randolph in "The Georgeous Hussy"
43 God (Latin)
44 A recenr bride
45 California (abbr.)
46 A suffix
48 On high
49 A pen for swine
50 The blind mother in "Star for a Night"
53 A burglar (slang)
55 Citv in Ohio
56 Stakes in gambling
58 "Winterset" is her latest picture
59 A f.avorite English actor
61 Neuter pronoun
63 Lieutenant (abbr.)
65 National Academy of Science (abbr.)
66 Japanese- statesman
68 Three-toed sloth
70 The sun god
Answer to Last Month's
Puzzle
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Both a pleasure and an aid to digestion:
Smoking Camels!
One of the happiest experiences of
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MRS. THOMAS M. CARNEGIE, JR., New Yorh
MRS. J. GARDNER COOLIDGE, II, Boston
MRS. ERNEST du PONT, JR., W ilmington
MRS. CHISWELL DABNEY LiVNGHORNE, Virginia
MRS. JASPER MORGAN, New York
MRS. NICHOLAS G. PENNIMAN, III, Baltimore
MRS. LANGDON POST, New York
MISS ANNE C. ROCKEFELLER, jYeu> York
MRS. BROOKFIELD VAN RENSSELAER, New York
Copyrigrht. 1936. R. J. Reynolds Tobi
COSTLIER TOBACCOS: camels are made from
FINER, MOKE EXPENSIVE TO B ACCOS . . . rt/ K /C /^ H ^ iV;)
OOMESr/C. .. THAN ANY OTHER POPIILAK B I? A N 1) .
ROADWAY REMEMBERS By Ed Sullivan |
een
January
Carole
Lombard
I
u
ARD KNOCKS MAKE GOOD ACTORS
For girls who go places — CigareMe Vanity Proveyourgoodtaste withthisDoubleVan-
with face powder, rouge, lipstick. $5.50 ity and Lipstick in leather-topped box. $5
A gala giftbox — five "can't-do-withoots,"
in the world-favored fragrance Gemey. $5
She evades
TF ONLY this lovely ^harm .
X girl could stand for-
ever as you see her here— serene, beauti-
ful, goddess-like! But when she smiles—
when lovely lips part and reveal dull
teeth and dingy gums— how quickly and
tragically ilie spell of beauty is broken.
NEVER NEGLECT "PINK TOOTH BRUSH"
It may not seem dangerous — that first
warning "tinge of pink" on your tooth
brush. It may seem trivial, unimportant.
But your dentist will tell you it can be
and has been the prologue to many a
dental tragedy. Remember— "pink tooth
brush" is a distress signal, and only a
distress signal. But when you see it, jilny
close-ups . . . Dingy teeth and tender
..She ignored the warning of "Pink
safe— see your dentist.T\ie chances are that
it docs not mean a serious gum disorder
—but your dentist shoidd make the decision.
Usually, however, it only means gums
that have grown tender and flabby under
our modern soft food menus— gums that
need more exercise, more stimulation —
and as so many dentists will often advise
—gums that need the help of Ipana and
massage.
For Ipana, with massage, is designed
to help benefit your gums as well as clean
your teeth. Rub a little extra Ipana onto
your gums every time you brush your
teeth. Lazy gums awaken. Circulation
gums destroy
Tooth Brush" stimulates gum tissues.
lou il soon sense a new,
healthy firmness in the gum walls them-
selves.
Ipana Tooth Paste and massage is ap-
proved by many modern dentists, taught
by many modern teachers in classrooms
all over the country. Don't take chances.
Even before you see that "tinge of pink"
on your own tooth brush, even before you
have this first warning of danger— sched-
ule yourself for this modern dental health
routine with Ipana and massage. Don't
risk being a "dental cripple." Change to
Ipana and massage, and help keep your
smile lovely, bright, sparkling— o?i(/ safer.
ee V, and 9"--
Silver ScREEN/or January 1937 3
Silver Screen
©CIB 322031
REFLECTING MAGIC o/HOEEyWOOD
JANUARY 1937
Volume Seven
Number Three
ELIOT KEEN
Editor
Elizabeth Wilson Lenore Samuels Frank J. Carroll
Western Editor Assistant Editor Art Director
CONTENTS
STORIES AND ARTICLES Page
BROADWAY REMEMBERS Ed Sullivan i6
$tage Celehrilies Leave Pleasant Memories
HARD KNOCKS MAKE GOOD ACTORS Leon Surmelian i8
Backgrounds Of The Hollyivood Stars
RADIO REHEARSAL "JITTERS" Phyllis Marie Arthur 20
How Broadcasting Upsets The Actors
PROJECTIONS Elizabeth Wilson 22
Carole Lombard
"WHODUNIT" Janet Graves 24
Screening Mystery Stories
\'ENUS UNDER CONTRACT Annabelle Gillespie-Hayek 25
lime Lang, the Streamlined Beauty
IN THE PINK OF CONDITION Ben Maddox 26
The Games They Play To Get Exercise
"THE WAIF FROM THE YANGTZE" Jack Bechdolt 28
Fictionization of "Stowaway"
THE GIRL WHO HAS MANY FRIENDS... Wick Evans 31
Madge Evans Tells Hotv A Player Gets Along
THEY BROKE THE APRON STRINGS Helen Louise Walker 32
Success Seekers Go Out Into The World
WANTED, AN IDEA! .feoo IN PRIZES 51
A Contest For A Trade-Mark
AN IRRESISTIBLE ACTOR Dena Reed 52
Charles Boyer Creates The Spirit Of Romance
THE QUEST FOR A LOVER Liza 56
Actors Side-Step Romantic Roles
SAFE DEPOSIT SECRETS Gordon R. Silver 59
Hidden Treasures Of The Players
MONTHLY FEATURES
The Oi'ening Chorus 5
Tips on Pictures 6
"You're Telling Me?" 8
Nature Helps Out! 10
Beauty Secrets Of The New Year
Topics For Gossips 15
Studio News S. R. Mook 54
Stars At Their Best Are The Stars At Work
Cultivate a Taste For Foreign Dishes Ruth Corbin 58
// Will Excite Your Appetite
Reviews of the New Pictures 60
A Movie Fan s Crossword Puzzle Charlotte Herbert 82
The Final Fling Eliot Keen 82
ART SECTION
BiNG, "The King of Crooners" 35
Bing Crosby Rules On Air And Screen
The Darlings 01 the Screen 36-37
The Leaders Among The Girls In Pictures
With Nature's Backgrounds 38-39
Natural Surroundings Help The Actors
HgKlywood Celebrates a Merry Christmas! 40-41
The Kids In Pictures Believe in Santa Claus
After Dark! 42r43
Follow The Stars When The Spotlight Falls Upon 1 hern
It Must Be Love 44-45
Hollywood' s Pet Motif
In the New Films History Gets a Break! 4^-47
Scenes From The New Pictures
Evenings of Hai>piness 48-49
Coming Pictures Promise Delighifiil Hnterlainment
Dance Madness 50
It's Fun To Go Crazy
COVER PORTRAIT Of CAROLE LOMBARD BY ALIRLAND STONE
SILVEK SCREEN. PublLshed monthly by Screcnland Magnzino. Inc.. al ir. West 4:>lh Strrct. Now Y'cirk, N, T.
V. G. Hcimbuclier. President; J. S. MiieDerniott. Vi(t' Prc^idcTil ; .1. Siiiicrinr. Sfcrcl arv ,inii Tmisiji-cr. Adver-
tising Offices; 45 West 4jtli St., New York; 401) North .Michigan A\e., cliicuKii: r,11 S, .\lcx:iit.lriii A\c.. I.os
Angeles, Calif. Yearly suhseriptions $1.0(1 in the Unileil ^;ialc.i. its deiu ndcrcic^. Cuha and Mcxkc; in
Canada; fmeign $1.01). Chanocs of address must reach us five weeks in advance of tito next issue. Be sure to
give both the old and new address. Kntcreil as second class matter. Septcmhcv 23. lOliO. at tlic Post onice. New
York, N. Y., under the Act of ilarch :>. 1S7H. Additional entry at Chicago. Illinois. Copyright 19^0 by Screenljtnd
Jlagazine, Inc. Printed in the IT. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONK
Tie O
Ck
p e n I n 3 \^ n o r u s
Miriam Hopkins
A Letter From Liza
DEAR BOSS:
Now that the frost is on the pump-
kin in New England and the goose
hangs high, I suppose we might just as
well bring up the subject of Christmas,
though out here among the palms it's still
eighty-five and I must say I just can't
get excited over Santa Claus and Shirley
Temple hanging up her stockings in such
an uncivilized climate. But, unfortunately,
we share the same calendar, if not the same
climate, with youse guys in the East, so I
might just as well pull myself together, put
on my snood (the Maid of Salem influence)
and see what the little boys and girls of
cinemaland want for Christmas— not that
they'll get it, but that's not my worry.
The glamorous Marlene Dietrich, who
looked too beautiful to be of this world
in that blue cape in "Garden of Allah,"
confided in me that for Christmas she
would like a Lubitsch-directed picture be-
cause Herr Ernst Lubitsch always h::s one
of those super-colossal staircases in his pic-
tures and Marlene thinks that she could be
just awfully glamorous drifting down a
super-colossal staircase.
Remember Maurice Chevalier dashing up
and down the staircase in "The Smiling
Lieutenant," and Jeanette MacDonald in
"The Love Parade' and Kay Francis in
"Trouble in Paradise"? — well, Marlene
would like a crack at a staircase, too . . .
Bctte Davis would like another "Of Human
Bondage" . . . Claudette Colbert would be
a^vfully pleased to. get a buyer lor her new
home . . . Toby Wing would like King Ed-
^vard (who wouldn't) . . . Simone Simon
(not always pronounced Sea-moan Sea-
moan by the more catty of the mo\ie gals)
would like less Connie Bennclt and a young
lo\er for a change in her next picture . . .
I oiiise Beavers would be imuh obliged
if Santa Claus brought her another "Imi-
tation of Life' . . . And Miriam
Hopkins, Tallulah Bankhead, Bette Davis.
Claudette Coll)ert, Maigarel SuUavan,
Irene Dunne, Kailiarine Hepburn, Con-
stance Bennett and a wirolc slue of otliers
would just love to find in their stockings
;i coiUr;icl lo play
Sc;tilctt O'Hara in
I lie coming produc-
lion of "Clone With
I he Wind." Me, now,
I'd raiher lind Ciable.
j or January 1937
5
See the Best Pictures
Follow TKis Guide
to Screen Successes.
AS YOU LIKE IT — Interesting. From
England comes a screen version of that whim-
sical pastoral idyll by Shakespeare known as
"As Vou Like It." Elizabeth Bergner is
charming as Rosalind and Lawrence Olivier is
excellent as Orlando. While the film is nowhere
nearly as lavish as our own Shakespearian efforts,
it is a faithful transcription of the written play.
COUNTRY GENTLEMAN — Amusing. A
spontaneous comedy that will have you bubbling
with laughter. A small town is the locale and most
of the action is centered around a home for vet-
erans. Olsen & Johnson, the popular radio team,
have some priceless dialogue and the romantic in-
terest is in the hands of Lila Lee and Pierre Wat-
kin. (Joyce Compton, Olin Howland, Wade
Boteler).
DEVIL IS A SISSY, THE— Excellent. This
film will please audiences of all ages. It will appeal
to children because its principal characters —
Freddie Bartholomew, Jackie Cooper, Mickey
Rooney — are the most popular child players today.
And it will appeal to adults because its theme — a
sort of sidewalks of New York tragedy — will get
right under their skin. All in all, you shouldn't
miss it. (Ian Hunter, Peggy Conklin. )
EMPTY SADDLES— Fair. A Buck Jones west-
ern, concerning the oft-repeated wars between sheep
and cattle men, with a Dude Ranch thrown in for
added color. Naturally there's plenty of fast
riding, good exciting deviltry, and a tender romance
thrown in to keep the plot true-to-form. (Louise
Brooks).
GENERAL SPANKY— Amusing. The Our
Gang kids are featured in this full length com-
edy which uses the Civil War as a romantic back-
ground. The kids are really something to write
home about and the adults in the cast are such
familiar favorites as Ralph Morgan, Phillips
Holmes, Irving Pichel and Rosina Lawrence.
HOPALONG CASSIDY RETURNS— Good.
With Bill Boyd getting more and more popular
in the title role of this series of westerns, this
looks like a sure-winner — especially for children
and those adults who adore rough and tumble melo-
dramas of the wide open spaces. In the cast are
I'lvelyn Brent, Gail Sheridan, George Hayes.
IN HIS STEPS— Good. All those who enjoy
sentimental, heart-rending tales will enjoy this
immensely. It tells the problem of two youngsters,
Eric Linden and Cecilia Parker, whose respective
families are dead against their marrying. This
sounds like another Romeo and Juliet theme, but
the way the principal characters work it out is
something quite different. (Chas. Richman, Henry
Kolker, Olive Tell, Robert Warwick.)
LADIES IN LOVE— Good. Now that al! the
ti!nuilt and the shouting have died down about these
four temperamental stars playing together in one
ronviiitic lilm, we can view the result with unbiased
judgment, and that is — the story is trite, episodic
antl disappointing. The gals — I-oretta Young, Janet
Ga\'nor, Constance Bennett, Sinionc Simon — are
lovely and will give you your money's worth of
entertainment. But the men — Paul Lukas, .\llan
Mowbray, Tyrone Power and Don Ameche, are
still better. Laugh that off!
LAUGHING AT TROUBLE— Fair. Don't let
the title mislead you. This is no lauLihiug matter.
Inslead it's a grltn murder mystery that starts
with a trial and conviction of the man considered
guilty. Jane Darwcll (this is her first starring pic-
ture) plays tlie role of a newspaper editor who
takes it upon herself to solve the crime. (Sara
Iladen, Margaret Hamilton, Allan Lane).
LEGION OF TERROR— Fair. The sordid
Black l.cginn. which oiu-r.-iU'd out Dctroit-wav a
short while ago, is the siil)ject for discussion and
action on the part of government inspectors in this
melodramatic f^lm. Naturally there's a romance
interwoven with the political and ritualistic wran-
gling, with Bruce Cabot and Marguerite Churchill
as the girl and boy in love.
LIBELED LADY — Fine. This can't help but
amuse you. Bill Powell, a newspaperman, in order
to compel Myrna Loy to stop a huge libel suit
against his paper, frames her — and then falls in
love with her. Spencer Tracy, also a newspaper-
man, and Jean Harlow, his fiancee, help along the
riotous comedy in their usual telling fashion. Also
in the cast, as Myrna's father, is Walter Connolly,
who goes over big.
LOVE LETTERS OF A STAR— Fair. If you
enjoy a smoothly told murder mystery with a cast
that makes the most of every tense situation, here
is your evening's choice. There's a very promising
new ingenue in this by the name of Polly Rowles,
who will bear watching. Supporting her are Henry
Hunter, Halliwell Hobbes, Ralph Forbes.
MAKE WAY FOR A LADY— Fine. A briskly
paced comedy about a publisher (Herbert Mar-
shall) whose motherless datighter (Ann Shirley) is
making a deliberate play at getting him remarried,
ller choice is a jittery lady novelist (Margot Gra-
hame) btit her father retaliates by falling in love
with his secretary (Gertrude Michael),
MAN I MARRY, THE— Fair. Doris Nolan, late
of the New York stage, is the heroine of this ro-
mantic comedy which is all about an heiress who
tries to evade marriage with a stuffed society shirt
only to find herself catapulted into the arms of an-
other. However, this last suitor turns out to be
none other than handsome i\Iichael \\'halen. who
writes plays when he isn't performing as a play-
boy, and so all ends as it should end, with hero
and heroine in each other's arms.
NORTH OF NOME— Good. Jack Holt in an-
other one of those rugged adventure yarns — this
time laid in .Masl^a — wdtich he does stich jtistice
to. The seal industry provides the makings of still
another "racket," nian.iged by Holt in typical
Holliati manner, which is saying a moiuliful.
ICvi'lyn Wiialile is the romantic heroine and Doro-
tliy Vpplcby occasions some hearty laughs. (Guitui
\\'illiams-Jc3hn Miljan).
PIGSKIN PARADE— Fine. A football picture
that is kidded hilariously and will not bore you
even if you don't know a touchdown from a for-
ward pass. It's all about a small jerk-water tiniver-
sity which, thru some error, gets into one of the
Big (Raines with Yale. There's a fine cast of
comedians in this, headed by Tack Haley, Patsy
Kclley, Stu Erwin and Arline Judge.
REBELLION— Interesting. The second in a
series of pictiu'cs depicting colorful episodes in
histnrv. This <<uc liis lo ,In willi ( '.i 1 i fnr,,ia (period
KS.SOl \\]u-u llu' SiMinsI, ^rillns » rrc ln'in- Ircatcd
rather sliaMuiy K\ uncouth -Xmcricm interlopers.
Grace Moore and
Henry Stephenson in
"Interlude," the next
picture starring the
popular diva.
Tom Keene plays the lead and Rita Cansino the
lonely Spanish senorita whose home and life are
endangered by the situation.
ROSE BOWL — Good. Do we have to tell you
that this is a football story? Yep! That's just what
it is, replete with its small-town college team as
opposed to the more important team it is to play
in the big game. Tom Brown is effective as the
hero of the small-town team and Larry Crabbe is
properly unpleasant as his rival. (Nydia Westman-
Eleanore Whitney).
SING ME A LOVE SONG— Amusing. A cotn-
edy with music featttring that well-knowm radio
tenor. James Melton, in the role of a department
store owner whose business sitddenly goes kerplunk
and who becomes a clerk in a music store in order
to feed the inner man. Patricia Ellis is cast as the
love interest, Ann Sheridan as the villainess. and
such high-bracketed comedians as ZaSu Pitts.
Hugh Herbert. Nat Pendleton and Allen Jenkins
lend more than adequate support.
THREE MEN ON A HORSE— Most amusing.
One of those extravagantly funny farces about a
man (Frank Mcffugh) who writes gift card "verses
for a living but on the side indulges his remarkable
psychic gift for picking winning horses. .V group
of gamblers take his "guesses" quite serioitsly and
that's where the fun really begins. Cast inclttdes
Joan Blondell, Allen Jenkins, Guy Kibbee.
UNDER YOUR SPELI^Entertaining. The
golden-voiced Lawrence Tibbbett is cast in a light
comedy abotit a much harassed singer who is "so
tired of it all" that he escapes to a lonely ranch,
only to be bedeviled there by \\'endy Barrie. a
society girl, who has made a bet that she can get
him to sing at her party. Tibbett sings brilliantly
an aria from Faust, as well as several minor airs of
a popular nature.
WANTED! JANE TURNER— Exciting. One
of those swift, absorbing melodramas centering
around a racket that is put on the spot by L'ncle
Sam's persistent Ci-Men. This one happens to con-
cern postal insi^'cctors. and Lee Tracy and (Gloria
Stewart, his co-worker, round up the culprits in
pretty grand style.
WILD BRIAN KENT— Fair. This is adapted
from one of Harold Bell W right's typical novels —
with Ralph I!ellamv cast as the good-ior-nothing
polo player who unexpectedly finds himself jienni-
Icss in the midst of the tremendous wheat and
cattle country of our great West. How his rcgeiiera-
tion takes place forms the nucleus of tliis mildly
entertaining film. (.Mae Clark and Helen Lowell.)
WOMAN REBELS, A — Fine. Here we are
treated to the enlightened picture of a 19th century
modernist who dclies the social conventions of her
day and carves out an editorial career for herself
with excellent results until the scandal of her
vouth catches up with her. The supporting cast
boasts Herbert Marshall, Doris Dudley and Eliza-
beth .\llen.
Silver Screen
Another GARY COOPER, JEAN ARTHUR Triumph
CECIL B. DeMILLE'S
1
Cecil B. DeMille brings you Gary
and Jean in their grandest pic-
ture ... the story of Wild Bill
Hickok and Calamity Jane, the
hardest boiled pair of lovers
who ever rode the plains ... a
glorious romance set against
the whole flaming pageant of
the Old West . . .
"You've got courage enough
to kill a dozen Indians . . .why
haven't you courage enough
to admit you love me?"
"Save your fire, boys, 'til they
come close and then blast the
varmints. There's got to be
room for white men on these
plains."
Gentlemen, my name is Wild
Bill Hickok and I think we can
settle everything very . . . very
peacefully. ..unless somebody
wonts to deal out of turn."
"Go ahead. Do your worst.
We'll still be laughing at you.
Laughing at a great chief so
small he'd kill two helpless
persons for spite."
for January 1937
7
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particulars of your 10-DAY FREE TRIAL OFFER!
Name.
Address ;
Sfate
ne and Aiiiirt^i^A <jn l^etuij/ Postcard
Use Ctntpon or Sfnd Nn.
^ouvz Telling A/le?
//
Write A. Letter Giving Your Opinions A.ncl Suggestions For
The AAovies A.nd[ Stars /\.nd ^X'in A. Framed, Inscribed Photo.
WHY is it that Fred
MacMurray ivas
only placed in
seventh position in your
contest?" asks Anne Tarpey
of Fourth Street, Brooklyn,
N. Y. "If I had anything to
do about it he would have
been placed first and
Robert Taylor would have
been put seventh or not in
the race at all. Robert
Taylor may be No. i man
with many people, but he'll
fade away and Fred Mac-
Murray will live on with
many admirers."
No, Robert is fast color
—doesn't fade.
"IT IS ahvays a treat to
watch Dick Powell sing. I
can't say that it makes me
relax into a restful mood,
because it does just the op-
posite. He has such a pleas-
ant, friendly, carefree man-
ner that you forget the
time and day and that you
are just sitting in a theater
\vatching him on the saeen.
I hope that he gets more
pictures like 'Happiness
Ahead,' 'Shipmates For-
ever,' and 'Broadway Gon-
dolier,' " writes Minnie
Daniel of Georgia Street,
San Diego, Calif. "He has only one thing I
don't like very well and this is his
mustache. Of course, it is his personal busi-
ness and, if he likes it, that is the main
point, but I think it makes him look
older."
Maybe Joan decides those questions now.
"I HAVE never written for any photo-
graphs of any stars before, but from all the
movies I have seen I think Ginger Rogers
is the best actress. She is so graceful when
she dances," writes Dolly Peterson of Brig-
antine ,\ve., Brigantine, N. J. "^V'hen she
played in 'S\\ing Time' she was very beau-
tiful. I woidd like to see her in more
dancing pictures."
She has everything that it takes, Dolly.
"ALL THE girls can have their Gables,
Taylors and Eddys, but you can give me
Fred MacMurray twenty-four horns a day,
seven days a week and fifty-t^vo weeks of
a year. He's got personality, ability to act,
plus what it takes to make men and chil-
dren, besides women, jam the theatres
These photographs
framed in wood,
under glass, have
been sent to the
winners.
where his pictures are
playing. His portrayal of
various types of character
shows that he is a capable
actor," writes Mildred King
of Saratoga Ave., Yonkers,
N. Y.
O.K., Mildred. His photo-
graph, graciously inscribed,
is on its way to you.
"I HAVE been reading,
month after month, your
column in the Silver
Screen and now' I ivant to
have my say," writes Jeanne
Derse of S. E. Alder St.,
Portland, Ore. "I have fol-
lowed Randy Scott's career
ever since he was in ^Vest-
erns, and, if anyone de-
serves success, he does. He
personifies everything a
movie star should be. And
I ^sant to be one of those
congratulating him on his
marriage. May he have suc-
cess in both career and
marriage."
Read about him in the
"Apron Strings" article in
this issue.
"THIS LETTER is writ-
ten about one of the best
all around persons in that
glamourous to^vn they call
Hollywood, namely Barbara Stan\\'yck,'
writes Alice Manning.
"I have seen many of her pictures and
every time I see her I like her better. She
may not be the most beautiful girl in
Hollywood, but she certainly is one of the
most real persons that town can boast of.
We are glad she makes pictures, so ire
can all knoiu her.
"IT 'WAS a lucky day for the movie
public, especially the fairer sex, ivhen that
grand personality, Randolph jcott, ^\as in
troduced to the screen," writes Catherine
Traphagen of Locust Street, Buffalo, N. .
"He's got what it takes, this tall, handsome
gentleman from the South. I could write
pages telling ho^^' much I sincerely admire
his acting, but mere words would prove
futile, so I'll just say, 'To the greatest oi
actors, Randolph Scott, the best of luck for
many years.' "
He thanks you and will send a picture
to you— the greatest of fans. We met him
the other day. He is quiet and pleasant and
success is xcritten all ox'er him.
This coupon must accompany your letter. Not good after Jan. 7, 1937
Editor,
"YOU'RE TELLING ME?"
SILVER SCREEN, 45 W. 45th St., New York, N. Y.
In the event that my letter is selected for a prize, I should be pleased
to have a framed and inscribed photograph of
My name is
Address City.
State.
The fifty win-
ners of the
signed, framed
photograpltd
offered in No*
V ember have
been notified
by mail.
8 SilverScreen
THE PICTDRE
OF THE MONTHS
Come On, Everyone
THE PARTY'S
ON AGAIN!
Busby Berkeley achieves a new pinnacle in
rhythm as he introduces his 170 newest
beauty discoveries in that stunning dome and
ditty number — "All's Fair in Love and War"
RING out ihe old... SWING in the
new! 1937 comes to town in a blaze
of syncopated merriment as Warner
Bros, go to town with a superlative
new edition of "Gold Diggers". Mirth
and maids and melody. . . lyrics and
laughs and lovely ladies... packed
with lavish profusion into a glor-
ious show set to the split -second
tempo of Warner Bros, musicals I
DICK POWELL
JOAN BLONDELL
GOLD DIGGERS OF 1937
VICTOR MOORE • glenda farheix • lee dkon • osgood perkins • rosalind
MARQUIS ♦ Directed by LLOYD BACON ... A First National Picture with
Songs by Harry Warren ond Al Dubin, Harold Arlen and E. Y. Yarburcf
And "Speaking of the Weather", it's lair and
warmer for everyone concerned when Dick
lets himself go with that grand new tove song
the tunesmiths made to order for his lady lovel
for January 1937
9
Nature
Helps Out!
Beauty
Secrets
OF THE
/Vew ^ear
Unusual l^o^
ttons That Bring
A.Ilure Lip To
TKe 1937 L eveL
WHEN you're listing your New Year's
resolutions for 1937, be sure to in-
clude one to make the most of your
beauty! Not every girl can have as lovely a
complexion naturally as Ann Sothern who's
playing in R-K-O's "Smartest Girl in
Town." But there's much you can do to
improve your own, and we're going to tell
you some of the ways Mother Nature will
help out.
For instance, sun-ripened fruits hold
secrets of beauty that are just beginning to
be realized. Lucky you, if you can spend
the Winter basking in Hollywood's sun or
hop on board the Florida Special for
Miami. If you can't go South in person, let
your imagination carry you to where
oranges, lemons and limes are ripening in
the sun. Then, when you're shivering under
your fur coat and wondering if your nose
looks as red as it feels, hold the cheering
thought that down there Nature is work-
ing for your beauty!
Things that grow in the simshine have
been found to make a very definite con-
tribution to complexion beauty. And this
discovery was considered so important that
a ^vhole new beauty treatment has been
buih up from citrus fruits, the aristocratic
avocado (alligator pear to you) and the
.southern grown papaya melon.
We won't attempt to initiate you into
the mysteries of \'itamin F which is the
chief beaiuifying element they're said to
contain. 15ul we can say, from our own per-
sonal cxjxiience, that these new products
are ticliglnlul to use and the complexion
im|3rovement they induce in a shoit time is
so great that we're all for Vitamin F, what-
evei' it is!
I.imes and lemons have icniavkable
powers of cleansing and clarir\ iii'.; the slsin.
So they ha\e been used lo luiiiisli the main
ingredients in ;i cleansing emollient that's
woiked into the skin with the lingers, then
By
Mary L
Ann Sothern de-
lights in play-
ing sophisticated
comedy, but
marriage has a
Pryor claim.
^vashed off with clear, cold ^vater.
The tropical papaya melon provides'
juices that stimulate, tone and refine the
texture of the skin. So extract of papaya
melon is contained in a skin tone that can
be applied on even the most sensitive skin
without dra^ving or burning. You see, it
hasn't one bit of alcohol in it except what
exists in the melon itself.
You know how firm and smooth an al-
ligator pear feels when you dig your spoon
into it. Well, the avocado has been found
to contain a rich, penetrating oil that cor-
responds very closely to the natural secre-
tions in the skin itself.
You have a real treat in store for you if
you try the ne^v Avocado Night Emollient
that's made from alligator pears. It feels
wonderfully cool and smooth as soon as
you put it on. A little light massage or
patting will send it right into your skin,
so there's no residue of oil to soil your pil-
low or give you that "greased pig" feeling—
and look. Personally, we like to apply it
after a good soap and water cleansing and
then ^vash our face with cold water half
an hour later, instead of leaving the emol-
lient on all night.
These tropical fruit beauty aids are made
in sunny Miami and their name is "Sini-
clyme." They are all liquids and soluble
in water. They smell luscious although they
contain practically no i^erliune except
what's in the fruits themsehes.
So much for what Nature has provided
in the way of sim-ripened tropical fruits
for hcaiUy ! One of her greatest gil ls to skin
allraclixeness is ever\ila\ milk. ^Ve don't
need to tell you aboiu ilic famous beauties
who have bathed in milk. There are
women in this da\ aiul at;e who do it!
Drink plenty of milk. You'll find it's a
wonderful aid lo ihc skin of vonr entire
body a.s weW as your i iimplexion.
Well, we've been waiting eagerly lor a
face cream that 'svould
provide the beauty-
giving qualities of milk
in a jar. And we've
found' it in Pom-
peian's new Milk Mas-
sage Cream. It's 80 per
cent milk! The diffi-
culty of including real
milk in beauty prep-
arations has always
been that it's so hard
to preserve. But Pom-
peian has solved that
problem.
The Pompeian Milk
Facial is recommended
only once a A\eek, re-
gardless of what other
beauty preparations you use. It's a treat-
ment to thoroughly cleanse, soften, smooth
out fine lines and whiten without bleach-
ing. It'll bring up a healthy glow in your
skin and make it look better right after the
treatment. If your skin is very dry, smooth
on some of your favorite cleansing or lubri-
cating cream after the milk facial.
One of the biggest surprises in new
beauty discoveries is that gold is beneficial
to the skin! The alchemists of old ^veren't
successful in making gold out of cheaper
metals. But Daggett and Ranisdell have
turned gold into an aid to beauty. Their
Golden Cleansing Cream contains colloidal
gold xvhich is said to have remarkable
powers for ridding the pores of clogging
dirt, make-up, dead tissue and other im-
jjurities that destroy complexion beaiUv.
You can't see or feel colloidal gold be-
cause it isn't a solid metal any more than
the iion in spinach is a metal. But it's gold
all the same, even if it doesn't glitter. "The
theory is that gold has a negative reaction
to the positive quality of skin impurities,
so it draws them out the same way a mag-
net attracts steel.
■We don't kno\v for an actual fact ho^v
much the gold has to do with the effective-
ness of this cream, but we can say it's ex-
ceedinglv pleasant to use. And we were so
pleased with its action on otn- own skin
that we started in on a second jar as soon
as we had used up the first.
There's nothing new or startling in the
reputation cucumbers enjoy for softening
and whitening the skin. If you want to get
what ciKumhers can give you for beauty,
^ou'll like (iemcN Cuciunber Lotion. It's a
fiai;iaiil. easil\ used liquid that's excellent
for a (piick cleansing job before you renew
yoiu' make-up or to follow a soap and
water lathering. \Ve especially like the wav
it seems to take the dull tones oiu of one's
[Coii/iiiiicd on page 12]
10
Silver Screen
DORIS
NOLAN
THE SCREENS NEWEST
ErMQST GLAMOROUS STAR
'N 6LDFM0US g
Brilliant with Beauty! Dazzling with DancesI
HE
Gorgeous with Girls! Looney with Laughter!
Sparkling with Splendor! Tingling with Tunes!
GIANT CAST OF 350!
LOOK WHO'S IN IT! .m^
DORIS NOLAN
The new fan topic of the notion! ~ ' «<I«~**
^GEORGE. MU:RPHT
Broadway's greatest dancing star! \i'.y\- .<
HUGH HERBERT 'V..
GREGORY RATOFF ■ -{
HENRY ARM ETTA '"'^-^^
Fiimdom's top comics together for the first
time in one picture I , "*
GERTRUDE NIESEN > '
Radio's greatest songstress ! „' „ " " ,
ELLA LOGAN -
internationally famous radio & night club star! ^
THE THREE SAILORS ^
They're nuts to everybody I
PEGGY RYAN
Eleanor Powell's protege and dancer supreme !
GERALD O. SMITH l|
Where fun is — there he is I
JACK SMART
Famous stage comedian A March of Time star I
MISCHA AUER
Remember the gorilla man of ^
"My Man Godfrey"?
CHARLES R. ROGER S, Executive Pro</ucer
THE WHOLE WORLD WILL
BE WHISTLING THESE SONGS
"I Feel That Foolish Feeling Coming On"
"There Are No Two Ways About It"
^„ "Blame It On The Rhumba"
■«« "Fireman Save My Child"
« * "I've Got To be Kissed"
"Top Of The Town"
"Where are you? "
SONGS AND LYRICS |
By Jimmy McHugh and Harold Adamson, the
greatest song hit team in pictures!
STORY AND SCREENPLAY
By three writing Aces: Charles Grayson,
Bob (Academy Prize Winner) Benchley and
Brown Holmes 1
IRECTOR
Walter Lang who gave you
Breakfast!"
'Love Before
GOWNS AND SETS
By John Harkrider, illustrious Ziegfeld set and
wardrobe creator!
DANCES
By Gene Snyder, famous director of the New
York Music Hall RockettesI
LOU BROCK, Aifoeijfe Producer
THE NEW UNIVERSAL'S GREATEST MUSICAL TRIUMPH!
j 0 y January 1937
11
The tiev7 i\K,-,-l.. ;Une
Cream Masc i-a— dark-
ens, beautities, and
tends to curl lashes. Ap-
plies smoothly and
easily without water.
Black, Brown, or Blue.
Complete with brush in
dainty zipper bag.
fe^that First Impression
Everyone notices your eyes first — remem-
ber this! Eyes without proper eye make-up
often appear dull and lifeless — bald and
unattractive. Many women deplore this in
their appearance, but are timid about using
eye make-up for fear of having a hard
"made-up" look, as with so many ordinary
mascaras.
Maybelline, the eye make-up in good
taste, has changed all this. Now you may
have the natural appearance of lovely,
long, dark lashes — instantly and easily —
with a few simple brush strokes of harmless
Maybelline mascara. Non-smarting and
tear-proof.
You will be delighted with the other
exquisite Maybelline Eye Beauty Aids,
too! Try the smooth-marking Maybelline
Eyebrow Pencil to form graceful, expres-
sive eyebrows — it may be had in shades to
match the mascara. Use Maybelline Eye
Shadow for truly glamorous effects — a
touch gently blended on the eyelids
intensifies the color and sparkle
of the eyes immensely.
The new Maybelline Cream
Mascara and the ever-popular Solid
Mascara are preferred by over
10,000,000 discriminating women
the world over. Either form_ is only
75c at leading toilet goods counters.
Generous introductory sizes of all
Maybelline Eye Beauty Aids may
be purchased at all leading ten cent
stores. For the finest in eye make-
up, insist on genuine Maybelline!
THE WORLD'S LARGEST SELLING EYE BE.\UTY AIDS
complexion.
Of course you know about milk of mag-
nesia as an anti-acid. Well, now its
contained in t:vo brand new creams for
complexion beauty! Phillips' Milk of Mag-
nesia Cleansing Cream does a special cleans-
ing job because, besides loosening and
absorbing surface dirt and make-up. it
neutralizes acid deposits that collect daily
on everybody's skin. Texture Cream, it's
sister, preserves fine texture and smooth-
ness. It's a dandy make-up base. And that
reminds us, once otir dentist told us that
if we rinsed our mouth with milk of mag-
nesia every night, letting the coating stay
on our teeth, wtd never need to come to
him for fillings!
Even if you don't like oatmeal for break-
fast, you'll enjoy using it to beautify your
skin. Powdered oatmeal, pleasantly and
only slightly perfimied, makes up the
Lavena Two-Minute Oatmeal Facial. Vou
simply make a paste of a little Lavena and
^vater, smooth it over your face and let it
dry, ivhich it does almost instantly. Then
wash it off with clear, cold water. This is
especially good for skin that is oily and
inclined to break out, but it may be used
on any type of skin. If your skin is very
dry, follow the oatmeal facial with your
regular cleansing or lubricating cream.
You won't ha\e to go far to find what
we consider the best beauty aid Xatiue has
to offer. And that's plain cold water. Use
plenty of it. It's stimulating, which means
it brings up healthy circulation. It's astrin-
gent, so it refines and improves skin tex-
ture. And it's so instantly refreshing, it's a
joy to use! Whether you wash your face
ivith soap and -ivarm -water, cleanse it w\i\\
a cream or do both, always finish off with
a good dousing in cold ^vater. If yoti end
)our bath or shower wii\\ cold water, youH
find it helps keep the skin on your body
smooth and clear, too.
Ice intensifies the same benefits cold
water confers on complexions. However, it's
too much of a shock to sensitive skin if
^ou apply it in the mw The safe ^\ay to
use ice is to wrap it in a towel or soft
cloth and keep on rubbing it over your
face and neck until they tingle, not leav-
ing it in any one spot too long.
Now we'W finish by telling you one place
nnt to use cold water. That's on your hair.
Rinsing your hair in cold water after a
shampoo tends to take awav from its life
and lustre. For the very same reason, you
sliould dip your comb in ^varm ^vater when
\ou want to use it dampened to repair
waves or set your hair.
KyQ Shadow — Blue,
lUui'-Gra\'. Browa,
Gtecii or \ iolet.
Title Changes — The Names For
COyMING PICTURES
■Glory" (Jane Darwell) has been
changed to . "Laughing at Trouble"
"General Delivery" (Lee Tracy) has
been changed to
"Wanted: Jane Turner"
"Love Under Fire" (Merle Oberon)
has been changed to
"Beloved Enemy"
"One Man's Bonus" (Edward Everett
Horton) has been changed to
"Let's Make a Million"
"Safari in Paradise" (Jean Arthur)
has been changed to
"Help "Wanted: Female"
■'Ail Scarlet" (Ann Dvorak) has been
changed to "Racing Lady"
12
Silver Screen
^Pbw It Is Your Turn/
Dear Reader of Silver Screen: —
It is a source of inspiration to know intimately about the good people who buy
this magazine and I always enjoy reading the letters that come to me. You have
read of the house of Warner Baxter, the car of Gary Cooper and the social life of
Robert Taylor, now, what about you?
If you will fill out the questionnaire below, I will be happy to send you a present
to repay you for your trouble. I KNOW you'll like it! A handsome calendar which
bears a full-color, lifelike portrait of a famous screen star! These are gorgeous repro-
ductions and fine for framing. You'll be crazy about yours and will find it a hand-
some addition to any room in the house.
As the supply is limited, I can only send 5000 calendars to the answers received.
So, will you please fill out the questionnaire below and mail it to me at once? Your
calendar will reach you promptly and I know we'll both be happy!
Sincerely,
THIS OFFER ENDS JANUARY 3 KD, 1937. Only 5,000 calendars are available and these will
be sent to those submitting complete answers as long as the supply lasts. Address: ELIOT KEEN,
Editor, SILVER SCREEN, Dept. "A," 45 West 45th Street, Nexv York City
•
IT'S EASY! JUST CHECK THE ANSWERS
1. How old are you? Do you live alone or with your family? With Family □ Alone □ 2. Check which you live in. City □ Suburb □
Village □ Farm □ 1-Family House □ 2-Family House □ Apartment □ 3. Where did you buy this magazine? Drug Store □ Stationery
Store □ Hotel □ Newsstand □ Subscription □ Other 4. Are you single or married? Single □ Married □ 5. If
single, are you expecting to be married? Yes □ No O When
Relation
Age
6. In the first two columns at the right, please list the age and relationshi-)
of all persons living with you in your home, including children. LIST YOCJR-
SELF FIRST. PLACE A CHECK MARK (/) OPPOSITE THE ONE
WHO PURCHASED THIS MAGAZINE. In the third column check the
names of those who read this magazine regularly. Do not check occasional
readers. In the fourth column list the occupations of the members of your
family (such as clerk, stenographer, student, keeps house, etc.) In the fifth
column check those now working. In the last column give the annual income
of each, that is, weekly wages multiplied by 52, plus whatever income there
may be from other sources.
Reg.
Reader
□
□
□
□
□
□
□
□
Occupation Employed I
□
□
□
□
□
□
□
□
inual
come
8. Check
9. Do you have a pet in your home?
7. If you rent your home or apartment, what monthly rental do you pay? Or if you own it, what is its value?
which of the following you have in your home. Electricity □ Gas for Cooking □ Both □ Neither □
Yes □ No □ What is it? 10. Check which of the following your family now has. Car □ Telephone □ Radio □ Mechanical
Refrigerator □ Washing Machine □ Vacuum Cleaner □ 11. What is the make and year of your car? Make Year
Did you buy it new or used? New □ Used □ 12. Do you personally drive a car? Yes □ No □ 13. Is your family planning to
purchase any of the following in the near future? New Car □ Mechanical Refrigerator Q Vacuum Cleaner □ Radio □ Washing Machine □ New
Rugs □ New Furniture □ Other Household Equipment 14. Do you have a Camera? Yes □ No □ How many
rolls (or packs) of film have you used during the past year? 15. Do you personally shop for the food served in your home? Most
of it D Part of it □ None of it □ 16. If not, do you have a voice in its selection? Yes □ No □ 17. If you had to choose between
the two, which would you eat? The foods you like best □ The foods which are best for you □ 18. Is your bodily weight a factor in your selection
of foods? Yes □ No □ 19. Does the kind of food you eat seem to have any effect on your skin or complexion? Yes □ No □
20. Check where you buy your cosmetics. Drug Store □ Department Store □ Chain Store □ 21. Please put down what you pay, per package,
for the following items. Powder Lipstick Cream Nail Polish 22. Do you make any of your own clothes? Yes □
No O 23. Please put down what you pay, on an average, for each of the following items of apparel. Dresses Shoes Stockings
Hats Brassieres Slips Girdles Gloves 24. Do you watch what screen stars wear
to determine what to buy for yourself? Yes □ No □ 25. What type of hair do you have? Dry □ Oily □ Normal □ 26. Do you
shampoo it yourself or have it done in a beauty shop? Myself □ Beauty Shop □ 27. Check which of the following you have on hand in the
family medicine chest. Headache Remedy □ Digestive Remedy □ Laxative □ Cold Remedy □ Burn Remedy □ Antiseptic □ 28. How
long have you been a reader of this magazine? Less than I year □ ' year □ 2 years □ 3 years □ 4 years □ 5 years □ More than 5 years □
CHECK WHICH STAR'S PORTRAIT YOU WANT ON YOUR
CALENDAR. Robert Taylor □ Ginger Rogers □ Kay Francis □
NAME
ADDRESS
CITY STATE.
13
R X. . . but the
boss never
tumbled ..."
IT'S simply wonderful how
promptly Listerine, the
quick deodorant, masks a tell-
tale breath the morning after.
This little secret is treasured
by miUions of men and women
who every day must hit the
business deck alert, wide
awake, and fastidious.
* * *
Freshens and Sweetens
Listerine helps to remove
odor-producing debris from
the mouth, teeth, and gums.
It instantly halts the decay of
tiny food particles — the major
cause of halitosis (bad breath) .
At the same time it cleanses,
invigorates, freshens and
sweetens the entire mouth.
Immediately, the breath be-
comes more agreeable, purer.
Start using Listerine, and
Listerine on/y, every night and
every morning. Nothing is
more refreshing or invigorat-
ing in the mouth. And if you
wish to be doubly sure that
your breath does not olFend,
rinse the mouth before social
or business engagements.
Unlike many of its imita-
tions, Listerine is safe instead
of dangerous ; adequately pow-
erful instead of excessively
strong; pleasant to taste in-
stead of bitter; refreshing
rather than revolting.
Lambert Pharmacal Co.,
St. Louis, Mo.
LISTERINE TOOTH PASTE
mw^hvtn^A POUND in the
big double-size tube-40<^
14
Silver Screen
Silver
Screen
TOPICS
FOR
GOSSIPS
IS IT true what they say about Harlow?
Evidently it is. According to one of
Hollywood's brighter columnists Metro
sends a film to the training quarters of
the University of Southern California's
football team every Friday night. The team
is permitted to see any picture but one
with Jean Harlow in it.
TT was just one of those moments in the
William Powell drawing room the other
night. Bill, who had been bragging about
his prowess as a cook to Myrna Loy on the
"After the Thin Man" set, invited Myrna
and her husband, Arthur Hornblow Jr.,
over to his house for crepes suzettes which
he himself was to make. While Myrna and
Arthur looked on, admiringly he hoped.
Bill assembled everything, that is, every-
thing but the chafing dish for ^vhich he
looked high and low. "I have a chafing
dish," he said, "I know I have a chafing
dish. Now where could it be?" After he
looked from cellar to roof he suddenly re-
membered. "I did have a chafing dish," he
said with a smile, "but when Carole and I
separated she took it. Wouldn't you just as
soon have griddle cakes?"
T;HE first time Henry Fonda's bride, the
*■ former Frances Seymour Brokaw, Ne^v
York socialite, ever saw her handsome hus-
band in action in front of the cameras he
was showering kisses on Sylvia Sidney in a
scene from "You Only Live Once." "No
wonder I had to forego a honeymoon trip,"
said Mrs. Fonda to Sylvia with a wink.
VY/HEN Director George Cukor wishes
to tell Garbo something on the
"Camille" set, he calls her Miss Garbo.
Robert Taylor calls her Miss Garbo, too.
Such respect. Miss Garbo, however, calls
Taylor "Bob," which helps matters a little.
CYLVIA SIDNEY and Barbara Stanwyck
are two actresses who can weep at will
by concentrating for a few minutes before
the start of a scene, but stopping the fiow
of tears is not so easy. It often takes them
fifteen minutes or more to get control of
themselves after the director yells "Cut."
VY/ELL, you got the shock of your lives
when the lovely and dignified Irene
Dunne blacked her face and went into a
Cakewalk in "Show Boat"— but wait luilil
you see Grace Moore do "Minnie the
Moocher" in swing lime with "bumps," in
her new picture "Interlude." Even prima
donnas will do anything for a laugh.
^
WiRGINIA BRUCE has the greatest
' variety of eligible escorts of any girl in
Hollywood. When asked why she didn't
concentrate on one she replied. "No
one man combines all the qualities I
like." The perfect escort according to
Virginia, who really ought to know,
should be a composite of the fol-
lowing:
Robert Taylor to make all the other
girls jealous.
Jack Dempsey for protection.
Clark Gable for his manly char-
acteristics.
Noel Coward for his wit
Fred Astaire as a dancing partner.
George Bernard Shaw for his intel-
ligent conversation.
William Poivell for his spontaneous
good humor.
James Stewart for his lack of affecta-
tion.
Cesar Romero for his polished
manners.
Francis Lederer for his charm.
— ...f>,._„
VY/HENE\'ER Director Clarence Brown
wants Joan Crawford to leave her
dressing room and come on the set he
squeaks a French auto horn. And, bye the
bye, our Joan has taken to singing in night
clubs again. The other night, persuaded by
her friend Phil Ohman, orchestra leader
there, Joan sat at her table and sang
"Melancholy Baby." So pleased was she
with the applause that she took courage
and sang it again several nights later at
the Cocoanut Grove.
«_»^._.
I r S going to be just too sad for Francis
^ Lederer when Margo leaves Hollywood
to do a play in New York— which she ex-
pects to do soon after the previeu' of
"\Vinterset." This has become one of
Hollywood's best romances.
y^ND, by the w.ay, if you're lucky enough
to get yourself shown through a studio
when you're visiting Holl)wood be sure
and insist upon seeing the set of a Merle
Oberon or Claudette Colbert pitune.
Those two girls are the most cordial of
the mo\ie stars to visitors, and no matter
how diflicult the scene is ihat they are try-
ing lo do they are alwa)s friendly to the
visiting toiaist.
TTHFA'RE rinnoring that Ka) Francis'
^iiip lo I'uiope may be a honeymoon
wilh Dcliiiar Daves. Kay .says it isn't, but
then you can't always believe what a movie
star says, or are we being cynical?
Things We Never Expected to See:
^ Katharine Hepburn entertaining the fif-
teen children who play with her in
"Quality Street" by telling them fair) tales
on the set.
LittI® Miss
Quigley is all
ready to change
the plates on
her baby buggy.
VY / HEN a movie star gives presents to
^Y the crew of her picture at the end
of the production it is not news, it's sort
of a pleasant custom, but when the crew
gives a present to the movie star that's al-
ways news. It's no great secret in Holly-
wood that the ^vorking crew of a picture
usually doesn't care to gi^'e the star any-
thing but a bird. But ^vhen Merle Oberon
finished "Beloved Enemy" the crew on the
picture ga\e her a tiny gold figure of her-
self for her token bracelet, and an elaborate
scroll ^vith the following quotation from
the picture on it: "To Merle Oberon, Our
Beloved Enemy: 'We'll be coimting every
minute of every hoin- on every clock in the
\vorld until you return to us' (Signed) The
Crew." Ah, what sentimentalists.
—
AyllRIAM HOPKINS is now romancing
' *^ wilh .Anton Litvak, famous foreign
director, \vhom she met on the boat com-
ing o\er from England. Miriam arrived in
Holl)v\'Ood by plane, after almost a year
abroad. "Holl)wood," said Miriam, "is
just as I left it." At least the Hollywood
romance situation is— glancing aroimd the
room one could spot Connie Bennett and
Gilbert Roland. Kay Francis and Dclniar
Da\es, Merle Oberon and Da\id Xi\en,
Gloria Swanson and Bart Marshall.
.
I ANET GAYNOR and Fredric March aic
the next two Hollywood stars to t:ike
to color. ",\ Star Is Born," in wliiili tlie
U\o are co-starring, is being made in
Technicolor. Here's hoping that thex'll be
as easy on the eyes as Marlene Dietrich anil
Charles I5o\er in "The Garden of .Mlali."
VY/HEN she turns ^(i 01i\ia dc Ha\il-
land \\\\\ win .'Si.ooo from her mother
il she hasn't \ei smoked— except when
pii lure loles il( in:inil it.
for January 1937
15
A/lemories Of TKe
BroaJway Days
Of TKe Picture Players.
THE editor of this magazine sez: "Sully, do you
remember when most of the screen stars were
on the Broadway stage?" . . . And I sez,
"Yes," and that's how this article came to be
written.
Sez he: "Do you remember Humphrey Bogart as
a stager?" Now that is an easy one. The first time I
met Humphrey ^vas at the Mayfair Saturday niglit
dance at the Ritz-Carlton Hotel. The Mayfair
dances, to Broadway, were the same as a strawberry
festival to a small town, or the weekly dance and
bridge of the Ladies' Aid Society in my home town,
Port Chester, N. Y. Not that they played bridge
at the Mayfair, you understand. You danced and
ate, and, in between, the Broadway girls showed
off their latest models from Hattie Carnegie and
Milgrim and VVilma's. It was during a break in
the music that Humphrey Bogart and myself met
for the first time.
"Say, I'm glad to meet you, Ed," he said. "A lot
of people say that the two of us look alike." Alice
Brady overheard the remark: "You both have
grounds for libel," she said. I never have been able
to figure out that remark but if she means what
I think she meant, Bogart and myself were in-
sulted, good.
Like a lot of actors, Bogart, up to the time he
clicked in the stage version of "Petrified Forest,"
^\'as wasted because he was miscast. I remember one
play in Tvhich he emoted. They made him a bit of
a gigolo and his discomfort in the role was obvious.
It wasn't until they let him grow a stubble of
beard, and become the killer in "Petrified Forest"
that the fellow's talent expressed itself.
"That is the type of stuff I mean," sez the editor.
"Now can you think up an actual story about Frank
Morgan when he was on the stage?" And I scratched
my head and thought back to the days ^vhen Frank
Morgan was occupying the dressing room one floor
above Fred .\staire at the New Amsterdam Theatre.
The musical show was "Band Wagon," and, so far
as I can recall, this was the last show in which
Aslaire hoofed with sister Adele. Morgan was the
comedian of the show, and his bewildered laugh
had not yet been attached to the sound tracts of
Hollywood. There was a gorgeous red-headed show
girl who dressed on Morgan's floor, so night after
night, I used to go up to his floor, figuring that
perhaps this beautiful creature would cross my
path. But I had no luck; in fact, I can safely state
that I have never had any luck with red-heads.
The only one I ever met on the third floor of the
New Amsterdam was Frank Morgan.
We were having a drink one night when he
started laughing fit to bust. At first I thought that
the strain of the show had gotten him down, and
that he was going nuts. But it seemed that he ^vas
thinking of a night in a town called ^Vaycross,
Georgia. The troupe was playing Hamlet, and, because of a
short bankroll, the company had left the preceding town rather
hastily, without paying the hotel bills or the stabling charges for
the horses which trucked the scenery. Right in the midst of the
gravediggers' scene, the sheriff stomped on stage, arrested Morgan
and the other grave-digger and hauled them off to jail. That was
the recollection that had sent Morgan off into a fit of giggles,
and it seemed he had thought of it because in the second row,
that night, he had spotted a geezer who was the spitting image
of this Georgia sheriff. Perhaps this story sounded humorous to
me that night, because Morgan and myself had a few drinks. If
it does not sound funny to you, take two Scotch and sodas and I
guarantee that you will laugh heartily for several hours. If you
do not, then you must be using a very inferior grade of Scotch.
The editor sez: "This is a family maga/ine and it ill behoo\cs
us to give the readers the idea that everybody who writes lor this
paper is a toper. Haven't you got a story where the actors don't
drink?"
So I will tell you about Fred Astaire, if you will descend one
fliglit in the New y\mstcrdam, with me. And perhaps as we go
tlownslairs, we will get a look at that bcaiitirtil vcd-lic':i(l who had
the dressing room next to Frank Morgan. Asiaiic a milk-
16
drinker. I never saw a fellow who could drink so much milk and
apparently enjoy it. The minute he'd come off stage, his colored
man had a bottle of cold milk and Astaire would gulp this down.
Bob Benchley, who was a fret^uent visitor to Fred's dressing room,
Avould grimace violently whenever Fred swallo\vcd the milk, be-
cause Benchley is a pretty good two-fisted drinker himself, and
it pained him to see a great dancer go to the co\vs this \vay. "You
will come to no good end, Fred," Benchley ^vould tell him. "Milk
should be put in cans and bottles but it should not be put in
the human stomach. \Vhen you dance up and down violently, the
milk will cindle and become cheese and you will be in a helluva
fi\ because you will not ha\e a cracker."
Astaire, ho\\ever, like Gene 1 iinney, continued to drink milk,
l iinnev u'^ed to scandalize the trainers at his Speculator, N. Y.,
camp by drinking cold milk after a workout. The trainers said
that this was all wrong, and that the stomach couldn't hold
chilled liquid after exercise. BiU I guess Tunney knew more than
they did, because I never heard of one of his trainers beating Jack
Denipscy. The same with Astaire. He drank milk and is the
cream of the dancers.
Flowever, there is more than one way of skinning a cat. as the
expression goes. Astaire got into the movies on milk, but Benchley
Silver Screen
There is a never-ending parade of
stage celebrities swinging down the
Rialto, bound for Hollywood's greater
fame and fortune, and high in spirits
because of confidence in their ability.
Alice Faye, Francis Lederer, Alice
Brady, Franchot Tone and Fred Astaire
joined the parade and conquered
cincmaland.
got in on Scotch. However,
Astaire got Ginger Rogers too,
wliich is an extra vote for a
inilk diet. Ginger always re-
minded me a little of; that
heauliful red-head who dressed
next to Frank Morgan on the
lliird lioor, but I won't go into
that again as the editor scz
this is a family magazine. That
is a silly oijjection. Red-heads
have families, loo.
"What," sez the editor, "what about Alice Brady on the stage?"
1 remember, sez I, the night she and Conrad Nagel were opening
in "Forever y\fter." It was a big oijcning. and liie theatre liad
just installed the new fire sprinklers. Nagel had just laid out ail
of his costumes on the couch in his room, when some dope in
the engineering department decided to test out the sprinkler
system. Nagel made his first entrance that night, dripping wet.
Or, maybe you'd like to hear about Alice Brady in "Mourning
Becomes Elcctra," the Eugene O'Neill hea\y drama, and possibly
one of the finest tragedies the modern stage ever has presented.
/orjANUARYl937
As you know, the Brady voice was one of the most
facile instruments of the theatre. She had vibrant low
tones that thrilled an audience as much as her facial
expressions and ph)sical gestures. The show had
played about a month when one of the regulars
became ill, and the understudy was rushed in. Then
ensued the most amazing silent duel ever witnessed.
The understudy tried to copy Brady's throat tones.
Miss Brady accordingly dropped her voice a pitch
lower. The understucly went down a pitch too.
Everyone in the company was engrossed in this
unusual battle, but Alice Brady finally dropped her
voice so low that the understudy cracked up. I have
heard of a lot of peculiar rows and grudges on
Broadway, but this is the only time I ever heard
of a lainyx feud.
Franchot Tone first came to my notice in "House
of Connolly," a Group Theatre production. Now to
imderstand this fully, you must realize first that
the Group Theatre was a group of youngsters and
oldsters so on fire with their enthusiasm for the
stage— the legitimate stage— that they'd go through
hell and high water for it. Pay days didn't inatter to
them. They ^vere a group of youthful and enthusi-
astic martyrs, willing and eager to accept any martyr-
dom so lon.g as they could act. The critics all rapped
"House of Connolly," a somewhat gloomy and fore-
boding study of a southern family that goes to rot
morally just as the mansion goes to rot physically.
Impressed by the youngsters' spirit, influenced by
their gameness, I gave the play a fine write up.
Pictine the backstage scene. The youngsters get
progressively bluer as the reviews come in. Then
suddenly silver breaks through the clouds, a friendly
and encouraging notice from the Sidlivan pen. I
never knew this until Joan Cra\vford and Franchot
Tone arrived in New York to get married. Tone
was turning away all interviewers but, to my aston-
ishment, he asked me to come right up: "Til never
forget what you did for all of us in the Group
Theatre, Ed," he said. "You can ask any question
you want. I owe it to you for your review on 'House
of Connolly.' " And that's ^vhen I heard the story.
He told it to me. "House of Connoliy" won me the
Silver Screen interview on "House of Cra\\'ford."'
My only recollection of Ed^vard G. Robinson on
the stage is that he was forever playing old man
roles. New Y'ork audiences never got a good look at
Robinson until he arrived in the movies, because on
Broadway stages, he was ambushed in whiskers.
I remember Gary Grant as Archie Leach in
"Nikki." He plaxed the part of Gary Lock\vood, an
aviator, in that sho\v, so I imagine he took his screen
name from his stage character. In the same show
was a pretty good young actor by the name of
Douglass Montgomery, and the star of the piece was
Fay Wray. It lasted only forty performances at the
Longacre, but it was sufficient to put Gary Grant
and Douglass Montgomery into the flickers.
I remember Alice Faye as a chorus girl in George
White's "Scandals" when the show opened in Atlantic
City, and Grace Bradley as a chorus girl at the
Paradise Restainant in New Y'ork. Brian Donlcvy
pla\ed in a lot of bad plays around Broadway before
lie finally got his moving picture chance. I used to
sit with him at the New York A. C., and he'd icll
mc of the hopes he had when he played in "What
Price Glory. " Donle\y believed that the parade had
passed him by before he got the Hollywood offer
that gave him a new lease on life.
My clearest recollection of Francis l.edcrcr was
that drcadfid opening night of "Autumn Croecus."
Tlie Shuberts had licraldecl his arrival in America by
hailing him as a "great lover." As a result, the Open-
ing Night audience, the men I mean, sat back in
(heir chairs and coldly obser\ed the great lexer's
technique. There xvas no doubt aI)out it. he had
charm. Howe\er, late in the second act, there was
a mountain scene. The stage carpenter, to get the
pro|)cr elfect, had made a small hill in the fore-
grotnid of the stage, of FIN. The first time Lederer
vaulted iq) ihe hill to make love to his lady fair, his
shoes sli]iped and he came sprawling down to the footlights.
Comageoush he tried it again, and again he came clattering
down, his ii<)l) nailcd boots making a most infernal scraping
lackcl. He tried .igaiii. and this tinie he had belter luck biu lor
sheer cmbanassing momenls on the stage, this one will nexcr
fade from mind.
Not so embarrassing as the opening niglii of A'inccnt ^oilman's
"Rainboxv." Charlie Rugglcs was ihc comedy star of the play. At
least he ihoughi so, tuiiil a doukc\ in one of the scenes connnitted
the uiqiardonalilc sin. 'Fhc aiKlicn(c [('.<>i!li)nic<l on l><ii;,c 63]
17
Hard Knocks Make
Good Actors
B
y
L^eon Surmelian
GABLE . . . McLaglen
...Holt...
Fonda . . . These
men have dealt with the
raw realities of life and
knocked about over large
portions of the globe, their art gaining immeasurably
thereby.
It's more than five years now since Clark Gable has
been the great lover of the fillums. His booming voice
and vibrant, at times fierce, masculinity have -worked
havoc with femmes everywhere. Everything he does or
says is news, and more people are familiar with his
dimples than with Hitler's or Mussolini's or Kemal ^
Pasha's mug. Here, in our own country, Clark would
steal the show from the President of the United States ^
if both made a public appearance together. Such is
the power of the visual and audible art of the screen!
The social philosopher and reformist might well put
this fact in his pipe and sinoke it.
But it takes more than looks and sex appeal— and
unlike many other stars, Clark is an even more attrac-
tive and compelling personality off the screen than
on— to be the romantic rage of fickle millions month
after month, year after year. The tremendous pop-
ularity of this male idol rests on the enduring founda-
tion of his capable acting. This veteran romantic
hussar would have toppled from his white horse long ago if he
had failed to turn in convincing performances, no matter what
the particular role assigned to iiim. Clark Gable is a good actor
not because he is under the aegis of M-G-M, surrounded with all
the aura and technical perfections of the world's largest and
richest studio, and playing opposite the most glamorous stars of
the screen under famous directors, but because he has grappled
wkh the raw realities of life with those big, po\verful hands of
his, and to this day has not lost the common touch.
"In this business of acting it's only alter a guy attains a certain
perspective that he realizes what the struggles and associations of
his past mean to him," Clark said to me with a riniiniscent look
in his blue eyes, while waiting for the retake of an intimate love
scene with Joan Crawford, a gal who has lived Life. too. We were
on the glittering set of "Love on the Run." In his superbly tai-
lored tweeds he looked like a character from the pages of a
society novel. "Believe me, I wouldn't trade my experiences in a
rubber factory at Akron, in the oil fields of Oklahoma and the
lumber camps of Oregon for anylliing in the world. Besides gixing
mc muscles, they taught me things about life I couldn't have
learned otherwise.
"I was 17, just out of high school, wluii T went to Akron, and
landed a job as limc-kce|)cr in a rubber factory. I was rather big
for my age, and told ihcm 1 was 20. Ii was hi that factory that
Back in the days when Jack
Holt drove a dog team across
the frozen tundra of Alaska,
he learned the makings of a
man. (Below) Henry Fonda
has known days when his belt
Was pretty tight and hunger
was his close companion, but
he learned about Life,
I understood :vhat the term, 'melt-
ing pot,' as ajjpiied to .America,
means. The ^vorkers in that plant
represented ever) nationality in the
world. Meanwhile I enrolled in
the night school of the Lhii\ersity
of Akron, taking a premedical
coinse. I wanted to be a doctor.
One dav, back on the farm ^vhcre I grew up, I was riui over by
a wagon, and was treated by a grufi countr\ doctor who inspired
in me great respect lor the medical profession. However, a chance
acquaintance w'ah two actors opcncil up a new ^vorld to me. the
thrilling, crazy, Bohemian world of the theatre. 1 gave up my
premedical studies and became a call ho\ in a local theatre, serv-
ing wilhout salarv. Diniii>; llie day, I associated ^vith the motley
crew of Ihe ruiiher raeu>i\. and. at nights, moved in an altogether
dilleienl eii\ ii iiiiiiieiil , iiiUi\i(ated by the smell of grease paint.
From tall hoy 1 giadiiaied to lineless parts, and on a memorable
night spoke m\ first line from the stage. I played a butler, and
said, 'Good e\'ening. madam."
".Mur m\ siepnioihcr died, my father sold his fanri and went
into the oil business in Oklahoma. I went with him, although I
haled to leave Akron. The rubber factory crowd was a tame and
ci\ilized group compared to the workers in the Oklahoma oil
18
Silver Screen
/Vlany j\ Screen Part Proves To
Be A, Oreat Role Because Once
Upon A Time The Actor Had
Lived Throu3h Days That Were
Hopeless And Unhappy.
Clark Gable has not always fields-Chinese coolies, Mexicans,
sailed on plac.d seas, and Negroes, two-fisted desperadoes of
when today he plays a ^^^^ ^^^.^^ includin-. a ^e^v )Ouns
screen character he lives ^^^J bdon-ing to xvealthy la>n-
over aga.n other days that j,;^^ desirous of making tl.cir own
he can never forget. ^^,0^,^), ^o,,,, i ,„.„,c
$12 a day, but I'd have ratlier
^vorked as an actor for nothing. After a year, I gave it up, and
went to Kansas City, where I joined a traveling theatrical com-
pany. We Ijarnstornied through the West, playing in tents,
schools, churches, and now and then in a real theatre. We were
broke most of the time, but happy.
"Two years of this life knocked out of my head a lot of silly
ideas I had aljout the glamoiu' of the theatrical profession, and
made me a seasoned, even tliough a little c\nical, trooper. Tiien,
one day, 1 found myself strancled in Butte, Montana, with 26
It took the rough side of many
countries to teach Victor McLaglen
the secret of living of work, of
despair and of the glory of hope.
These secrets he gives to the screen.
cents in my pocket. No prospect of a job any^vhere.
I wrote nine telegrams to my father asking for some
money, and tore up everyone of them. I'll ne\'er forget
my journey from Butte to Portland, Oregon, in a Ijox
car. It was on a terribly cold night in March, and I
nearly froze to death.
"In Portland, after another crack at stock, things
got so bad that I turned to a general employment
agency, and got a job \vith a paity of engineers siir\ ey-
ing some lumber tracts in southern Oregon. For two
months I carried their instruments as we plodded
\ through the heavy brush of the timber country, ^\'e
kept our heads bandaged all the time, as a protection
I against insects and a peculiar thorny bush that grows
' in that region. It rained every day and e\ery nighi,
and my clothes were ne\er completely dry.
"Then I drifted into a linnl)er camp at Sihcrton,
j Oregon, where I worked until 1 saved enough moncx
' to get back to Portland. But still there \vas nothing
doing in the show business. I worked in the ad depart-
ment of the Portland Orcg^ouUtit, \vhich enabled me
to read the 'help ^vanted' ads before they appeared in tlie paper,
and eventually landed a job witli the telephone company, as an
odicc clcik. Gradually, I worked my way do\vn to Los Angeles,
and broki' into jjicunes as an extra. But no studio would ha\e
nie inilil I gained some reputation on Broadway.
"It's funny how I caught on in HoUwvood. I started as a lica\y.
Well, I guess I looked a preiiy lough hombre, all right." He
chuckled to liiinscll, lii;lued a cigarette. Clark is at his most at-
tractive, and in his iriust form, when he laughs. Then, the eternal
boy in him conies out. "I was in the gunman cla.ss when my part
as the killer in Sccirl Six ^vas changed to tliat of a romantic hero,
because of the public reaction against gangster picdires. That was
a big break for mc. II ihiy had left me in ihe part as originalh
plannetl, in all probability it would ha\e been ihe end of nie 011
(he screen.
".\11 these experiences, of course, [Cuiiliniwd on })<i;j,c 71]
for January 1937
19
CAME down with fan-itis, but definitel),
the day I won my first movie letter con-
test in Silver Screen. That was the year
I had a "When Did You Leave Hea\en '
complex about the movie great, having
never seen any of them in the all-too-
human flesh.
Then I grew up and came to Holly^vood
to see the stars. And what did I do? I saw
the stars. I saw Miss Lombard, Mr. Gable,
Mr. Taylor and Miss Stanwyck and found
out that they are all that they're cracked
up to be. In fact, I saw darn near every
shining light in town, and I had no more
so-called drag than a celluloid anchor.
And all because I had discovered that
if, mouselike, I inhabited a seat in the
semi-darkened Figueroa Playhouse or Holly-
wood Music Box Theatre, where the
Hollywood Hotel, Lux and Camel Caravan
shows rehearse their all for the ether, I
would see almost every player in Holly-
wood. (There aren't any closed sets in
radio, so I barged into different rehearsals.)
Now a radio fan sees the stars \vithout
the cluttery paraphernalia of the movie
studios, minus the horrendous grease paint
and witholU benefit of Adrian. She sees
them at work and at horseplay, and not
as others see them. Half the time the stars
are unaware that the master fan-mind is
quietly ticking away in the third row from
the rear. But all is fair in love and Holly-
wood so here goes for some mike-impres-
sions of the filmites.
Robert Taylor kids Barbara Stanwyck
that she eats too much, and when she took
off her shoe at "His Brother's Wife" re-
hearsals, old tease Taylor stooped to tickle
her foot. Some call it love.
Dick Powell reacts in an equally little-
boy manner. The day before he married
Joan Blondell he could hardly keep his
feet on the Hollywood Hotel floor or his
face in front of the mike.
These foolish things remind us that stars
are really people. You know, whenever I
think of Kav Francis, I think of the ivory
cigarette holder she keeps in one hand
when she rehearses and when she
broadcasts. The first time I saw it was
at "The AVhite Angel" show, .^nd I
guess I noticed it particularly be-
cause I \vas so amused at the
thought of Florence Nightingale
butting her cigarette on the sole
of iicr shoe. (.\ little habit of
Karl's.) Then, in "Give Me
Your Heart" (page Mr.
Breni) Kay clung to that
holder as I hough it had a
magic charm. .■\nd Lm
wondering, has it? I
doubt if she'd take olf
those
h o r n -
rimmed
glasses she
wears for the
coronation of
King Edward.
I was up in the
control room the
night of the perfectly
riotous rehearsal of
"Sing Baby Sing," having
had to bring "Hamlet"
over from the village library
to check on a line of solilo-
quy. Gregory Ratoff's voice
sounded as if the war games had
started, .^nd Patsy Kellv, with her
black hair out of line, mumbled
to heiself into the stage mike, which,
of coinse, was perfectly audible in the
control room. (I am no technician, so
I can only explain this control room
Inisiness by my experience with it. You
sit in this glassed-in cage that overlooks the
stage where the broadcast is going on and
hear every word that is spoken into the mikes
on the stage. The program leaves the control
loom to reach the air.) .Mice Fave was Sing
Baby Singing to Michael ^Vhalen. And the sar-
torialh -su[5er Adolphe Mcnjou appeared in, of all
things, a slicker after sneaking down the allev to
avoid autograph fiends.
20
Silver Screen
Nobody
will ever be
able to tell me that
Gladys Swarthout wor-
ships clothes. Because I saw
her throw her very stylish tweed
jacket on the stage floor and kick it
out of the way while she was skimming
the cream of "Carmen" for the Caravan.
Robert Taylor, guest co-star, nudged Hymie
Fink (ace candid cameraman) in the ribs
when Gladys went temperamental.
Norma Shearer had memorized her po-
tion scene for "Romeo and Juliet." And
she didn't want a human being in her line
of vision when she gave it. Edna Mae
Oliver likes the spotlight. It took more
than a suggestive poke for Ralph Forbes
to get her off the stage after her part in
the show.
Another rehearsal that was particularly
mad was "Valiant Is The Word For Carrie,"
with Arline Judge, Gladys George, Isabel
Jewell and John Howard, not to forget
Wesley Ruggles directing from the control
room. Arline is inclined to take direction
literally. When it was suggested that she
put a little more life into the line "Sur-
prise, surprise" she backed away from the
mike and came hippety-skippety yelling
"Surprise." At which John Howard burst
out laughing as did everyone else except
Mr. Ruggles. Even though he and Miss
Judge have come to the end of their
wedded bliss he was most consoling, cooing
down from the control room: "That's all
right, dear. Never mind." The line did not
make the air, however.
Gladys George had had rehearsals called
at six o'clock (they are usually held around
nine) because she had a dinner engagement.
But Valiant is the word, and so forth, went
on and on, until Gladys called to her hus-
band, who shared the control room
with Mr. Ruggles: "You'll have to
phone those people we can't come."
He warbled right back: "I did, dear.
They imderstand." Imagine a hus-
band actually seeing to all that with-
out being reminded! Oh well, he
and Gladys have only been married
a year. He'll get back to normal for-
getfulness after a while.
There is plenty of talk about "This
won t last" and "That isn't to be," but
I'll stake my white fur bunny slippers on
the Joel McCrea-Frances Dee marriage.
'Cause when a wife spends her entire eve-
ning at a radio rehearsal just to be with
her husband, that's marriage with the Hol-
lywood taken out of it.
How would you like to walk into a
theatre and find Lionel Barrymore re-
hearsing? I was properly enchanted with
"The Devil Doll" but after half an hour
in which THE Barrymore said nothing but
"Call off the dogs" some seventeen times,
I settled down. He smoked so many cig-
arettes the stage soon looked like a Fog
over Frisco set. Then he drank coffee and
with his mouth full of sandwich said into
the mike "This is the same thing as mur-
der." Maureen O'Sullivan looked about two
years old in a grey sailor hat with stream-
ers. (I tore right home and put streamers
on my hat, but alas, I only succeeded in
looking two years older.) Maureen of the
Irish-lake-blue eyes has the distressing
habit of eating lier corsages. Honestly, I
watched her nibbling her gardenias all
through the show.
There's nothing remotely Cisco-kiddish
about Warner Baxter. When he was re-
hearsing "To Mary, With Love," he said
to Myrna Loy, "If I don't get that last
'darling' in, you go right on anyway."
Romantic, huh? Myrna was late, so one of
the extra girls had to read her Mary-lines
with Baxter. She didn't see Miss Loy come
in. Myrna made no attempt to interrupt.
Finally the girl caught on, but Myrna
saved her from embarrassment by murmur-
ing "That's quite all right." Nice gal, Mrs.
Hornblow. Thoughtful.
I've seen so many air shows that I'm al-
\vays forgetting who is guest star on \vhich
show, and I get all disappointed because
Eric Linden isn't with Jack Oakie only to
discover Eric a week later
program. One afternoon I
eir
TKe Stars Fill TKeAfrWitMK
Ofiarming Peraonali'tics But First
Oome TItosc Terrifying Rclicarsals.
on some other
wandered into
the Camel Caravan rehearsals without the
faintest idea who the guest stars were to
be. On the stage a tired looking little man
in an old blue sweater was leaning against
a liarp. He smiled at me so sadly that I
came right back with what I fondly im-
agined was a hopeful grin. Nearby, another
sad young man sat on a piano bench with
his trouser leg pulled up, nursing a bared
knee. A third gentleman was lying on his
stomach on the stage floor scribbling notes
on the margin of his script. Finally a flash
of Neon streamed through the place where
I park my brain, if any. Could the sad
harp-leaner be Harpo Marx? The knee-
nurser, Chico? (I discovered later he'd been
playing leap-frog in the theatre and fallen
afoul of one of the seats.) The floor-flopper
was Groucho.
And in fitrther ramblings through radio
channels, I gleaned that: Grace Moore
hauled out a gold vanity and powdered
her nose between scenes of her "Trilby"
broadcast. Incidentally, it was only by the
grace of God and an extra girl that she got
her script sorted out a scant second before
her first speech on the air. . . . Peter Lone,
he of the superb Svengali, combs his black
hair so flat it looks painted on. . . . Ruih
Chatterton was in tears at the Lux "Qualitx
Street" show because that was the da\
Irving Thalberg died. (She and Brian
Aherne have one of those telling-\ oliniies-
with-a-look sort of friendships.) . . . .\bout
the best acting I've seen at the mike \v:is
when Elissa Landi (the Countess Zanardi s
Elissa), she of the red-gold hair and the
green-gold e>es, together with Otto Kriiger.
gave "By Candlelight " on the Cara\an. . .
Frank Morgan, he of the humorous hesi-
tancies, was priceless in "Laburnum Gro\e."
You know, it's funny to \\'hat lengths tiie
stars will go to bolster up their sense of
importance so they can put on a good
show. June Lang neeilcd an orchid cor-
sage and George Rafi had lo ba\e
X'irginia Pine in llie second row. . . .
Ir\in Gobi) solenuily ihunibcd his
nose at his fellow actors on a t:aia-
\an show. . . . Lorelta ^■oung cried
her skyhlue eyes out for "Raniona."
^'es, when the star spot goes into
uhearsal or on the air out in Holly-
wood, there is |)lenty going on to
inlcrest tlie fans.
for January 1937
21
C AROLI
RETURNING from the Martin Beck Theatre in Ne\\' York one
bleak January afternoon of that depressed )ear 1935, Carole
Lombard had impressed upon her mind, and she has a mind,
two of the important facts of life, viz., that you can never coiurt
on your friends in an emergency, and that no matter how inno-
cent you may be you can always count on people thinking the
worst of you.
Carole and three friends had just been to a matinee of "Romeo
and Juliet," starring Katharine Cornell, and Carole wns in a
"mood," a romantic mood (plays always put her in a mood), and
with her thoughts on balconies, frustrated love and Mr. Basil
Rathbone she didn't ivant to be bothered by reporters just then,
and there, coming out of the Waldorf-Astoria, just as her taxi
drew up, was a whole batch of them. ^Vith a tally ho, and her
friends in merry chase, Carole sprang from the cab, dashed
through the revolving doors, up the steps and into the spacious
and muchly populated lobby of the 'Waldorf— up the steps, yes,
but in her haste she missed the top step and fell flat on her face.
The Glamour Girls of Holly^vood have been given to spra^vling
here and there from time to time, so I have heard, but Carole
holds the record for being the only one who has spra'svled in the
grand and majestic lobby of
the Waldorf, while all those
present gasped. It was most
embarrassing. No movie star
is at her best when flat on
her face. It sort of de-glam-
orizes her. No^v you would
think, wouldn't you, that her
three friends would have has-
tily picked her up, shown a
little solicitude, and assured
her that no one saw her, but
no, just when she needed
friends most the three of them
speedily beat it for the near-
est elevator pretending (the
snakes) that they didn't know
Miss Lombard from a cloud"
of dust (no reflection on the
Waldorf rugs). And you would
have thought, wouldn't you,
out of all those people who
clutter up a hotel, that one
of them would have helped
restore a poor girl's dignity—
but no, all Carole heard as
she picked herself up and
gingerly felt for a crack in her
head was a dear old lady's
remark to another dear old
lady, "Drunk as a hoot owl.
Hollywood movie star. Would-
n't you just know."
Now I don't wish to give
the impression that Miss Lom-
bard is a clumsy girl, heavens
no, you can see for yourself
that she has one of the most
beautiful figures on the screen,
and is as graceful as a young
l'a\lowa any day, but there
\vas one other time that I saw
Carole take a spill, and it's
Carole Lombard has
that certain some-
thing that packs
the theatres, and
thriUs the hearts of
men.
uell worth passing on.
It was during the
Santa Anita racing
season last February
and Hollywood -ivas
up to its eyeballs in
horses. Old Families,
and Eastern million-
aires.
Movie stars had en-
tered into the gala
spirit of the thing and
forgetful of their ten
o'clock bedtime were
throwing parties with
utter abandon. Carole
is a great favorite with
the New York Social
Register, so when she
gave a party they
ganged up on her and
came along in droves.
Miss Lombard, look-
ing too di\ inely beau-
tiful for this world in
a Travis Banton cre-
ation that shrieked of
chic, had been a
charming hostess for
hours and was in need
of a bit of relaxation—
so she joined the girls
and boys in the back
room who weren't
bluebloods, and who
were playing bridge,
and Kho included in
their midst the three
friends who could not
be counted upon in
an emergency, which
all goes to show that
Carole has a forgiving
nature.
She had just slipped
out of her slippers,
and was telling ^Valter
Lang how to play his
hand (Carole adores
bridge next to ham- '
burgers') ^v'hen some-
one stuck his head in
the door and A\his-
pered, "Psst. Carole,
more tiaras are arriv-
ing." ".-Ml right, all
right," sighed Carole.
"See, AValter, if you
had led hearts like I
told you to, )ou could
have made a little
slam." "Oh. go be a
hostess." snapped
Walter. Back into her
sli]3pers and her hostess
22
Silver Screen
4
^^^^^^^
O M B A R D
Carole (center) is
one of the best ten-
nis players in the
Hollywood crowd,
and no wonder, for
she practices with
Eleanor Tennant
(left), former
champion, and her
friend, Alice Mar-
ble, National
Champion.
manner once more, Carole
Slopped to pose tor a moment
in the frame of the door, a
a movie star, and murmur
theatrically, "Oh, must I al-
ways be a hostess?"
But hardly was the last
\\oid out of her mouth when she slipped on the wet floor (some-
(;ne had spilled a cocktail) aiul slid on her patootie, as \ve morons
of the l.cit Bank say, rij^ht into two Whitneys, a Vanderbilt, and
a son of an earl. From her informal position Carole extended
her hand and greeted them elfusivcly ivith queenly dignity. It's
little wonder that the .Social Register, who must run into a lot of
friuiips and stulfed shirts in their ramblings around the world,
simply go crazy over Carole.
Carole Lombard, as you surely know by now, was born Jane
Peters, October G, 1909, in Fort Wayne, Indiana, the only girl in
a family that included two boys, Frederic and Stuart. Born
mider the sign of Libra (you know the lady without her clothes
who balances a pair of scales) and ruled by Venus it was quite
natinal that the child should grow up to be a well balanced adidt
with a yen for love and romance. When she was six her mother
decided that a temporary separation from her husband was neces-
sary (the Peters of Fort Wayne did not believe in divorce) so,
with her little girl and her two boys, Mrs. Peters went on a \isit
to Los Angeles. The kids were crazy about California with nitle
Clark Gable and Carole
are often seen together and
quite happy about it —
until the autograph hunt-
ers begin their attack.
Jane the best tomboy of
them all, and so the days
slipped into years, and
Mrs. Peters and her brood
never returned to Fort
Wayne.
Like all children, Carole
loved nothing better than
to dress up in her
mother's clothes and go
parading around the
neighborhood. Rita Kauf-
man, famous designer,
caught her neighborhood
"act" one day and \\'hen
Mrs. Peters wasn't look-
ing sneaked Carole over
to the California Studios
and got her a small part
in "The Perfect Crime."
Carole ]) 1 a y e d Monte
Blue's daughter. She was
very bad. But she recei\ed fifty dollars for five da)s work and
success went straight to her head.
Her brothers found her unbearable; there was jusi no living
with her. She decided then and there that the glamorous life of
the screen star was definitely for the likes of her, and no main r
how hard "Bessie" (that's what Carole calls her mother) lectured
anil sioimed and raged about arithmetic and spelling Carole
woidd not falter from her one great i)in]jose in life— to be a movie
star. But to her surprise, when "The Perfect Crime" was released,
no one even noticed Monte Blue's daughter, and so Carole, very
disconsolate, went back to school.
Two summers later she bum|>cd into Charlie Chaplin ai ( aia-
lina and talked him into testing her for the leading lady in the
"Gold Rush" and Chaplin, imi>resscd by her beautv and jkmsc
gave her two studio tests— but she didn't get the part, i'he "break"
finally came very unexpectedly one day when M. Kemper, a l ox
executive, noticed her resemblance to Constance Bennett and
signed her on a contract for scventv-five dollars a week.
She was sixteen the day the contract was signed. On the Fox
contract list there was already a Janice Peters so Miss Jane Peters
was asked lo chan"e her tiaiv.e at once. She chose Carol because
she had alwavs liked ihal name. She {Continued on jiagc -.\]
for January 1937
23
Charlie Chan —
Warner Oland —
always in char-
acter.
(Left) "The
Thin Man''
added to the
popularity of
Myrna Loy, Wil-
liam Powell and
the dog, so now
they've done it
again.
Whodunit
By Janet Oraves
TKe Detective Stories And
Mystery Tales Keep Many
An Actor On Easy Street
Now that William Powell and Myrna
Loy, guarded once more by the faith-
ful Asta, are romping through the
hazards that beset them in "After the Thin
Man," and Universal is searching frantically
for some grimace-and-groan expert to play
"The Hunchback of Notre Dame," it wiW
be annoimced that another cycle of mys-
tery thrillers is upon us.
But the thriller is more than a cycle.
It's an institution, as permanent a fixture
in the Hollywood set-up as love-story, ad-
venture yarn, or musical comedy.
Our ancestors loved to sit around a dying
fire and scare themselves blue ^\^ith ^\■his-
pered tales of blood and mystery, gro-
tesque monsters and gibbering phantoms.
So we sit in the darkened theater and
shiver as Fay Wray looks in the mirror and
discovers the grisly countenance of Boris
Karloff peering through the windois', or
W^illiam Powell and Myrna Loy exchange
flippancies while murder lurks in the
shado^vs around them.
The biggest Names have been sleuth or
suspect. In "Star of Midnight," Ginger
Rogers managed
tried the detective's wits. Robert Taylor
served his apprenticeship in the whodunits
as juvenile of "Murder in the Fleet" be-
fore receiving the just reward for his abil-
ity—the role of leading man to Garbo,
and Carole Lombard and Fred MacMurray
got themselves thoroughly tangled in the
plot of "The Princess Comes Across."
^Vhen the movies' newly found power of
speech first gave them the ability to handle
the complicated clues and explanations
of the whodunit proper, Po^vell was right
there, ^vith his urbane voice, to play the
supercilious Philo Vance.
And when the whodunit suddenly re-
fused to go on considering murder as a
serious matter, Po^vcll became the more
humorous, but no less dangerous Nick
Charles. He is identified with " The Thin
Man," the comedy-mystery that still mon-
opolizes the nation's screens. He coped
with a masked killer in "Slar of Midnight"
and war-lime spies in "Rcn(kv\ous" and
MOW lie appears in the sc(iik I lo liie grand-
pa|)py of all the comic whodunils.
Warner Oland, too, would laugh at the
idea that the detective story is a fad, an
occasionally recinring cycle, since he has
for some years been deriving a good, steady
income from his portrayals of the cheerful
and philosophical Charlie Chan.
These two are undoubtedly Hollywood's
foremost sleuths. But a score of minor clue-
hunters have helped to prove that crime
pays pleasant dividends. We may be sure
that we have not seen the last of Edward
Arnold as the lazy, beer-imbibing Nero
Wolfe. Curiously enough. Franchot Tone,
who spends most of his time stifling ya\vns
in dra\ving-room and penthouse, ga\e an
exuberant and ^■astly amusing performance
in an obscure little film called "One Ne\\'
York Night," as a thoroughly scared young
amateur detective.
In such satirical melodramas as Ronald
Colman's Hiilhloii; Dnnn niond films and
Robert Douat's "The Thirty-nine Steps,"
mvstery blins into hilarious confusion, and
oiu' hero, ap[)i()priatcly e\en more liniatic.
blithely surmounts gigantic odds ^vith the
ease of a Fairbanks.
The hard-boiled variety of detective story,
so popular in books, has so far seen very
little service oir the screen. Dashiell Hain-
mett, author of "The Thin Man." is master
in this field. His "The Glass Key" gave
George Raft one of his strongest roles. The
incomparable "Maltese Falcon," recently
filmed in disguised and mangled form with
^Varren ^Villiam and Bette Davis, received
a more faithful interpretation several years
ago, when Ricardo Cortez and Bebe Dan-
iels played the leads.
The great detective, suave or swaggering,
would not seem half so clever if he had no
stooge to make him shine by contrast, no
Dr. ]]'alson to whom he must explain all
the quirks of the plot. This stooge may be
a loval. though slow-brained henchman, or
a bungling officer of the law. Eugene Pal-
[Continiiecl on page 67]
24
Silver Screen
TKe Famous IncKes Of
June L-ang — SKe Has
Just EnougK /\n J Not
One Too AAany!
By
Annatellc Gillcspic=Hayek
Venus
Under Contract
HOLLYWOOD, that gi-
gantic quick-cliange
artist, whose portals
are filled ^vith the most beau-
tiful women in the world,
has accepted a new reigning
Queen of Beauty. This time
it is a diminutive blonde,
a nineteen-) ear-old ingenue
who recently played her first dra-
matic role in "Road to Glory."
This "Modern Venus," otherwise
known as June Lang, came to the
attention of the artistic ^vorld after
the noted New York sculptor, Albert
Stewart, had proclaimed her a "per-
fect yardstick for feminine beauty."
Though the young actress is
smaller than the famous Ziegfeld
standard of perfection, she embodies
a rare combination of the perfect
physical qualities of a numl^er of
Holl)wood luminaries. She carries
herself as a Crawford, she has the
slenderness of a Parker, the hips of
a Sidlavan, the legs of a Dietrich and
the ankles of a Blondell. Her feet
are as perfect as those of Gloria
Swanson, although not so small.
Here are her measurements:
Heiglu, 5 feet 31/2 inches; weight,
104 pounds; waist, 25 inches; bust,
311/4 inches; hips, 361^ inches; neck,
1314 inches; chest, 31 inches; wrist, 6
inches; sleeve length, 181/2 inches,
and ankle, 7I/2 inches. She Avears
numljer 51/2A shoes and number 6
gloves.
All of June's features are in correct pro-
portion to the rest of her body ancl lor
ihat leason artists liave jjraiscd lier. She is
ihe essence of health; everytliing about her
speaks that— her fresh young beaut), her vi-
brant personality, the clearness of her com-
plexion, the silken texture of her hair and
the sparkle of her big brown eyes. She has
a beauty that is fresh, dewey, enchanting
and dilfereni.
Achieving and holding that perfection
has not been easy for )une. Like any other
girl she has had to work for it. "Ne\'er do
I let a day pass," she says,
"without taking exercises.
I cliinb a lot. I climb over
these Holly\vood hills and
I find that much sunshine,
deep breathing, and cor-
rect eating are essential for
keeping up the general
tone of my body. When I
walk or climb I wear low
heeled shoes. I swing my
arms around and around
and I breathe deeply. When
I stand I am careful not to
stand on one hip, nor do
I spread my legs, for both
these bad habits distort the
figure."
June's waistline rivals
that of Jean Parker, who
is said to have the most
beautiful in Holly^vood.
Both incline on the long
side with length between
the bust and waist, and
both are fiat in the back.
Both are nicely covered
with firm flesh, but with-
out any jelly roll above the
normal waist line. And, like
Margaret Sullaxan, June is
a perfect hip model, \vith
both hips even— not one
higher than the other. She
has no sharp bones and no
extra bulges.
She is like Joan Craw-
ford inasmuch as her ab-
dominal sculpture is flat in
front, and like Joan her
muscles are strong and firm.
I Joan learned to hold in
her "tummy" by practicing
■ with a ruler down the
front but Jtme does it by
daily exercise. Here is the
exercise she takes:
Stand straight, with hands on hips, toes
parted a little, and with the heels in. Swing
the torso far around to the left and then
to the right. Be careful not to swing the
hips. Do this vigorously at least twenty
times. If this is done faithfully June guar-
antees that no inflated tire will ha\c a
chance to hang itself around the waist.
June does not believe in dieting, she just
eats simply. Seldom does she dine ai tiie
Trocadcro, or other fashionable |)laces. and
when she docs she merely pla)s at eating.
She always has a siinple meal of the things
that are good for her, and that she likes,
before she leaves home. She eats very little
sweets and almost no meat; however, she
likes steaks and chicken. Green vegetables,
especially green salads, are favorite foods
as are also the fresh fruits. She has trained
herself to like the right things ancl she can't
understand why other girls don't do the
same. But that's where June dilTers from
many. She has a generous portion of brains
and she realizes her millions of fans expect
her to stay letter perfect. There's no doubt
but that she will too!
"It's swell to have a nice figure," says
June, "but it takes work to keep it that
way. And having a reputation for a nice
physique makes it all the harder. ^V■hen
people see me they expect something per-
fect and / just can't disappoint them."
She's crazy about ice cream and if she
allowed herself what she really wanted
she'd have it at every meal, and some-
times in between. "But there's a limit to
all things," she says, and with that forgets
about the ice cream. She drinks three
glasses of milk daily, a glass of orange juice,
a glass of tomato juice, but very little
coffee or tea. Intoxicating liquors are
banned, although on very rare occasions
she takes a small quantity of champagne.
She loathes smoking, and never smokes a
cigarette except when the script calls for it.
Whenever June spends a long day on
the set her mother always prepares her
favorite dinner. It consists of clear soup,
medium rare steak, stewed tomatoes ^vith
bits of bread, spinach, green vegetable
salad, rolls, milk to drink, and of coinse
ice cream.
June appears to have an inexhaustible
source of energy. "But that's because I
know how to conserve my strength wiien
not needed," she says. "When I am tired,
I relax. When I do not need my energy,
I relax. That is the secret. When one re-
laxes new energy just comes. If I am very
exhausted I lie down on a bare floor and
let go every muscle in my body. In half
an hour I am completely rested."
E\'cry night finds June sleeping ^vithout
a pillow. She beliexcs ])illows make round
slioulders and lor that reason a\oids them
like so much poison. She woidd rather die
than culti\ale the roinid shoidders that
some girls have. "If only they would keep
their slioulders up," she says. "F.\cry day 1
sec lo\ely, )(niiig school girls allowing their
[Conlinued on page 70]
for January 1937
25
Bowling keeps
Alice Faye in
good health.
What is better
than that?
Olivia de Havil-
land fencing
with Errol
Flynn. It is one
of the best exer-
cises, and safe,
too, for they
really wear
masks, except
for the photog-
rapher.
Bicycles are
quite the fad
and Rochelle
Hudson rides at
least three miles
a day.
ANEW battle rages in Hollywood!
The amazing fight the stars are imag-
ing now tor their health.
Suddenly the film world is health con-
scious to an extreme degree. No one wants
to do anything unless it's obviously bene-
ficial. Ordinary appointments are post-
poned until the daily sport is attended to.
It's become the major social sin to be lan-
guid. Eyes must be clearer, skins positively
flawless. You have to be a vision ol vigor,
and how you get that way is all important.
It may be the dead of winter, but then
that's Hollywood tor you. Instead ot stall-
ing until spring and waiting for those ads
that query hoiv do you look in a bathing
suit, the actors and actresses have jumped
the gun. The demand of the local sirens is
every man a Weissmuller, and they, in
turn, are taking great pains to express the
Velez in themselves. Camille may be break-
ing your heart as she coughs herself to
death, but she'd be the forgotten date if
she actually materialized in the movie
colony. A lady now has to be hardy, has
to hold her own. And I'll bet you'll be
surprised at what!
At competitive sports, no less. Do you
bowl, fence, and ping-pong? Have you, too,
a badminton net in yoiu' back yard? Of
course, this trend is a genuine shock to
those of us who've been around Hollywood
any length of time. Because instinctively
stars are rabid individualists and generally
they've not mixed well in competitive
sports. They've been satisfied with horse-
back riding and swimming, with a private
trainer to put them ihrough paces. RiU
no more. Since super-hcallh has become
the reigning hobby, they're choosing part-
ners lor tiicir exercise and blithely evolv-
ing into determined challengers.
■V'ou probably don't realize how difficidt
it is for a star to hang onto the tip-toj)
condition his job ncirssii^iics. "It's a won-
der to me there hasn't bien a lot of tuber-
culosis in Hollywood," Ceorge 15reiu said
to me a few days ago when I was \ isiiing
him on the stuffy stage. "We
have to be cooped up like this
for weeks on end, shut away
from sunshine and fresh air."
The work is nerve-wracking
because of the constant emo-
tionalism. The glaring lights
drain one's vitality. The life a
successful star leads is hard on
all the things he must have to
click. Daubing grease paint on,
bandolining the hair, dieting to retain a
slim figure— this has to be counteracted
somehow. Often the grind is so steady that
a star loses all resistance \vithout e\en
guessing what's happening.
Loretta Young and Dick Powell gave
the current craze the initial impetus. They
became so run down with all work and
no health-building sports that they had
to drop everything for months to recuper-
ate. The other stars were alarmed at these
experiences and checked up on ihemsehcs.
They sa\\' that fat contratls and thrillnig
love affairs and widespiead apjilause meant
nothing without a splcnilid \italily to enjoy
the fruits of their labor.
Stutlio contracts forbid actors from en-
gaging in rough spoils that might hurt
them or mar (heir valuable faces. So thev
had to snoop around and discover coni|5eli-
li\e spoils with no drawbacks. The fore-
most people had only to start the ball
In The Pink
Condition
rolling. Oxernight the town's gone mad
over health as the A-i hobby and every-
one's conceding that the exercise that
should be taken is easier and far more fun
when disguised as a merry sport. Garbo's
taken up horseshoe pitching— which shows
)ou how the wind's blo^ving!
Those personal programs follo\\ed solo
style are passe since the spread of the let's-
gct-together spirit. Robert Taylor, for in-
stance, had bought weights and was faith-
fully going through a lifting routine three
evenings a week. He converted the extra
bedroom in his home into a modern gym-
nasium. The results were good enough-
he added inches to his chest and pounds
of muscle. But good grief, he exclaims,
when he remembers. All that precious
spare lime could have been spent with
Barbara Slauwvck if he'd known about
hadininlon! 'When I AV'as at his house the
olher day I noted ihc weights slacked for-
26
Silver Screen
The Players Go In For Oames
But Tlicy Are Really Tl"iink=
ins ^^'^ Body Beautiful.
and after you serve it you have to
keep popping to keep it in the air.
The elegant Mayfair is but a
memory to Hollv\vood's Inner Cir-
cle. In history, they'll have to write
in bowling alleys as the successor!
Now it you fancy that going down
to the neighborhood bo^vling alley
would be a trifle declasse, stop
being so Avrong.
Not only is bowling the most
bowlers. They all started with the regula-
tion size ball, incidentally, and they've
mastered the art of giving a hook that
knocks do^vn all the pins perched at the
end of the alley. The girls don't make
strikes like this regularly, but they're im-
proving all the time.
Judith Barrett is the sponsor of a team
of five men who use her name in tomna-
ments. She's furnished their sweaters and is
present when-
ever they play.
Carole Lom-
bard, accord-
ing to rumor,
is going to
have her team, too.
James Dunn, Fred-
ric March, John
Howard, and Cesar
Romero are top-
ping the men s lad-
der.
[Cont. oil page 63]
en
Madd
Loretta Young,
Loy and Tai
OX
lornly in a corner. And a badminton net
is in full glory on his lawn.
Barbara herself had been religiously
walking for miles every clay. As she swiuig
Ijiiskly through Beverly streets she kept
muttering that this was a heck of a system
for '■emaining svelte. If Bob had been
trotting along at her side her feet wouldn't
lia\e touched the pavement. But he wasn't.
He had his darned old weights.
Came the dawn to our ace lovers. They
climbed on the banchvagon. And although
both are working most of the tiine, they're
getting in their badminton every single
tlay. TThey have to siiuffle their free time
around to do it, but they won't omit it.
Badminton, as you know, is similar to
tennis. Only you use a high net instead of
a low one, and you can |)lay on any sort
of level space. The big difference is that
\ou can't let the ball bounce at all. The
shuttlecock, as it's called, is feather-weight
Mary Pickford, Grace Moore, Myrna
Lachman — table tennis champions.
popular sport in the whole country, with
more adherents even than baseball, but in
Holly\vood you meet the best screen stars
at the bowling courts. Picking up a six-
teen-pound ball, and heaving it with a
mighty but accurate swing, is keen for the
abdominal muscles. But don't forget to
withdraw your fingers from the holes in
the ball or you'll skid down the polished
hardwood alley on )C)ur chin.
The place most of the famous frequent
is the Beverly Hills Bowling Court, on
Wilshire Boulevard. They go there after-
noons as well as evenings and favor the
downstairs room. Although this is a public
alley the stars aren't bothered by rude
staring. Everyone's on hand for honest
health exercising and there's no need for
parading. The stars democratically ask
whocver's bowling next to them for help
with the iiUricatc scoring, and chink Ccna-
Colas with good-natured abandon. I'airkia
F.llis (who is also an expert archer). Ginger
Rogers, Alice Faye, and June Travis, in
the ordr'v name(l, are the best feminine
for January 1937
27
"THE
Wa
FictionizaHon of ''^Stovvavvay^''
a20tK Century = Fox Production
FROM THE
Yangtze
B
Jack BecKaoIt
The Cast
Johnny Shirley Temple
Tommy Randall Robert Young
Suzanne Parker Alice Faye
The Colonel Eugene Pallette
Mrs. Hope Helen Westley
Richard Hope Allan Lane
Kay Swift Astrid Ailwyn
Judge Booth J. Edward Bromberg
Atkins Arthur Treacher
Friendship is a tree o£ shelter from the
rains of trouble . . . Ancient Proverb.
ALONGSIDE the muddy bank of the Yangtze
/\ river, a junk lay moored in the shadows. The
night was thick with a drizzle of rain. Dead
silence hung over the little village of mud huts
that clustered beside the current-the silence of
houses hastily emptied, of frightened people hastily
departed. The solitary Chinese coolie who was mak-
ing the boat ready for departure moved furtively.
The elderly, dignified Chinese magistrate and the
little American girl clinging to his hand spoke in
cautious undertones.
Terror was abroad along the Yangtze. Hi Chung,
the bandit general, and his murdering crew were
pillaging the countryside.
Sun Lo, the m.ngisirate, clasped his hands and
bowed ceremoniously to the little girl who peered
trustingly up at him.
"You will remain in Shanghai, Johnny. Chang
will take good care of you." Furtively he handed
her a purse. "Take this money. Give it to my
brother tor your expenses."
She nodded understandingly, smiling anxiously
into the grave face above her. She was a sturdy,
curly haired little half pint, the daughter of Ameri-
can missionaries now dead. In all this vast land of
frightened silence and in all the great world beyond she had but
two trusted friends. Sun Lo, the magistrate, and Mr. Wu, the
mongrel pup slu' clasped in her arms.
"Goodbye, my little friend. I shall see you very soon and until
then the memory of you \\ill bloom like a flower in the garden
of mv heart."
"Goodbye, Honorable Sun Lo," Johnny answered gravely. "Tlie—
the thanks ot an honest person is— is . . ." Her brow wrinkled
distressedly.
"Is as precious as the jewels of the rich," Sun Lo completed
for her.
She beamed up at him, her dimpK's showing, "^'es. I couldn't
remember."
Chang, the magisir.Ue's scnant. casi loos,' ihe jind<. li slid
without a sound into llic hroad. grcas\ Iiumhii ol tlic am irnl
The junk slipped down the ^■ang(zc. sailing when the gods sent
a faxorablc wind, dii.ling the cuncius when there \vas none.
E\entualiy it tied to a dock in Shanghai.
That liight Chang, the miserable servant of an honorable
master, heard tiic clamor of gamblers on an adjoining junk.
Chang had no money but he had seen the little hoard Sun Lo
ga\e Johnny. \Vhen another morning dawned Johnin and Mr. Wii
were alone anil without a pennv. And Mr. Wn \yas Inuigry.
Without the ])ricc of a \vretchcd soup bone, a little girl and her
(log loamcd the streets ot the cilv, feasting their eyes on strange
si'^his whiU- ilieir stomachs went emptv.
UivicU- a shop a gleaming Rolls-Royce parked. Johnny saw a
Silver Screen
Alone, Johnny (Shirley Tem-
ple) wandered about the
strange Chinese city, asking
help from every man she
met.
handsome youni;; man in expen-
sive American clothes accost the
shop Iceeper.
"I want," lie said very slowly
and clearly, "to buy a dragon's
head."
"Hsien seng yao mai shih ma tung hsif"
"A dragon's head," the young man repeated. The merchant
looked on him blandly and shook his head. "Dragon," said the
\oung man, louder than Ijelorc. "Dragon. See?"
He thrust his own head forward, placed a hand at either car,
wiggled all his fingers, ran his tongue in and out of his nunilh
and rolled his eyes horribly.
"Dragon! Dragons head!"
Johnny and Mr. Wu watrlied in open mouthed deliglit.
"Dragon!" the young man siioutcd,
"So pao chien tc hen, wo pu timg ni ti luia," said the mercliant
blandly.
The young American tore his iiair. "Isn't tiicre (in\lii)il\ here
that can talk English?" he demanded.
"I can," said Johnny.
She turned to the shopkeeper and loosed
a flood o£ liquid vowels. He bowed and
produced a highly decorated paper dragon
mask such as delight little Chinese boys.
"The tongue of the angels," cried the
young man. "Now that I think of it, you
look something like an angel too!"
His name \vas Tommy Randall and a
great many people said he Nvas no good.
Some, more charitable, admitted that he
was no particular harm, either. He ^vas
just Tommy Randall, heir to all the Ran
dall fortune, idling his way around the
world because he couldn't think of anything better to do.
Tommy's gratitude led him to invite the strange Utile wail to
lunch. After Mr. ^Vu had disposed of two soup l^ones and Johnny
had done justice to an cciuaily cxtia\agant meal the three \\c\e
pretty well accpiainted. 'ronun\ Randall seldom did any \ery
serious thinking, but he became a bit thoughtful when he learned
Johnny's stor)'. A little girl and a little dog, l)olh orphans and
friendless, coiddn't exactly be left to ^\•ander through Shanghai.
He loaded Johnny and the dog into his car with a \ague notion
of turning them o\er to whome\er it \\as that look care of cases
like this.
On their way to seek professional ad\ ice Tommv stopjjed at
ihe I'oreign Club. He had promised lo pick up three American
friends, three pleasant wasicrs like himself. He liade |olniii\ and
the dog wait in the car.
"Patience," sa)s the ancient proxerl), "is like wealth. Manv
talk about it, bui few possess it." Johnny, who had been reared in
China and slee|)ed in the ancient wisdom as iiUer]3retcd by
Honorable Siui l.o had \mnv ilian most. .\s the hours passed and
I'ommy Randal! still lingcicd wilh his friends in the Foreign
Club she and Mr. W'w made I hcmsch i s at home in the i uml)le
for January 1937
29
seat of the Rolls. With the lid closed
overhead they curled up together and slept.
When Tommy and three friends emerged
at last, mellowed by many drinks, the
stowawavs had been forgotten. There was
just time to get the Rolls to the dock
where it was to go aboard ship. Steel
tackles were slipped under the car, a steam
winch rattled and the Rolls with its sleep-
ing passengers in the locker descended
slo^^'ly and gently, deep down into the
vitals of an ocean liner.
Tommy Randall awoke in his stateroom
on the afternoon of the next day and then
only because Atkins, the perfect valet,
nudged him respectfully but with deter-
mination.
"Go away," said Tommy. 'Tar away."
"I'm sorry sir, but there's a young lady
to see you—"
"Huh!" said Tommy, sitting up with a
guilty start.
"A young lady, sir. I think it's rather
urgent."
Tommy, remembering
other times, looked worried.
"That's bad—"
"She's very beautiful, sir."
"Oh well, that's not so
bad."
"She has a child with
her—"
"Oh! That is bad."
"The Captain is with
her. He insists on seeing
you."
"That's very bad," said
Tommy. He rose with a
groan, belted his bathrobe
and accepted the checkbook
which the helpful Atkins
handed him. He remem-
bered other awakenings
like this when the check-
book invariably had come
in handy. He came into the
adjoining room briskly, de-
termined not to be imposed
upon.
"I don't know what your
game is, young lady,"
Tommy began sternly. "But
it won't work. I never saw
you before in my life. And
I have witnesses to account
for my whereabouts for the
past fiventy-seven years—"
He stopped. His jaw
dropped open. That was
often the effect Susan
Parker had upon young gentlemen. Susan
was more than beautiful. She carried
around with her a charm which money
cannot buy nor brains duplicate. She was
a lovely girl.
Tommy Randall gaped into her indig-
nant face and felt in his manly bosom
something akin to a swooning. He was too
overcome for several moments to discover
what Susan held by the hand. Then, with
a cry of "Johnny!" he threw his arms
about the little waif who had been his
guest the day before. "Johnny, what are
you doing on this boat?"
"I'm a stowaway," Johnny said gravely.
"But I didn't mean to be. I just wailed
in your automobile— like you said."
It was one of the first truly serious mo-
ments in Tommy Randall's life. He saw in
a swift vision how frightrul ihe conse-
quences of his carelessness nii.^lu h.nc been.
Bad as it was, his idiocy might easily have
turned out worse, but for Miss Susan
Parker who had sheltered the child when
ship's olTicers were pursuing lur.
The Captain decided I hat Susan was a
IH-rfcclly competent guardian lor the li 'e
girl while she remained on board ; nip.
Tommy Randall, who exhibited such con-
cern for the orphan, was allowed lo play
the role of an unofficial but very indulgent
uncle. Because of this arrangement Tommy
was brought into contact with Susan a
great deal. Only one person had any fault
to find with the arrangement. She was a
Mrs. Hope, with whom Susan Parker was
going out to Bangkok. She didn't like
orphans and she considered Tommy Ran-
dall about as useless as the cellophane off
yesterday's pack of cigarettes.
The air was like a tepid bath and scented
with all the perfumes of the romantic East.
The moon that swam in the sky had that
certain golden something that it takes to
make a perfect evening on the China Sea.
The ship's orchestra was playing dreamy
waltzes. That was the kind of night it was
when Susan Parker stood by the rail and
sent the little dream ships of her maiden
meditation sailing over the golden moon-
path.
Tommy Randall's finding her there was
so little of a coincidence that Susan felt,
like an honorable girl, she ought to tell
Suzanne Parker (Alice Faye) and Kay Swift (Astrid
Allwyn) look on as Tommy Randall (Robert Young) sur-
prises Johnny (Shirley Temple) with her new wardrobe.
him she was engaged to another man. The
other man was Richard Hope, who ivas
waiting for his bride at Bangkok, and the
Mrs. Hope Susan traveled with was to
become her mother-in-law. Susan and Rich-
ard had been engaged four years.
"Four years!" cried Tommy, digesting
the news. "You mean you've been engaged
four years and you haven't seen him all
that time? Ah, you Latins! A hot blooded
race, aren't you!"
Richard wasn't exactly hot blooded and
Susan knew it. She felt she had to defend
herself— and Richard— and she rather tartly
reminded Tommy that at least Richard was
a fine, steady yoimg man and not a mil-
lionaire pla)l)oy whose name was often in
the tabloids in connection with exploits
that were as obsolete as the speakeasy.
Having reduced Tommy to humiliated
fragments she promptly took pity on his
dejection. The orchestra was pla\ing a
lo\cly \valtz at the moment and slio slipped
into his arms. 1 lu'\ swa\cd aciiiss the deck,
I'orgctful of c\cr\ thing but music and
moonlight. That was how the hoirified
iMis. Hope (liscxncved them.
Like evervbodv who read (he ncwspa])ers,
Mrs. Hope knew all about the dangerous
Tommy Randall. Her first act after sepa-
rating Susan from him was to radio
Richard:
FOR \ ERY IMPORTANT REASONS
I SUGGEST YOU MEET BOAT AT
HONGKONG INSTEAD OF B.\NG-
KOK. MOTHER.
Mrs. Hope was no fool. She had seen
the gone look in Tommy's eyes. She had
seen, too, that Susan was not entirely
averse to him. And she knew that these
two were drawn closer every day by their
mutual love for that absurd little orphan,
Johnny.
Mrs. Hope didn't want to go ashore at
Hongkong. She was waiting Richard's ar-
rival. And she definitely discouraged Susan's
eagerness to see the city. Like a dutiful
girl, Susan had no intention of deceiving
her mother-in-law-to-be. She was quite re-
signed to staying on the ship until she
chanced to hear from Atkins that Tommy
had taken the orphan ashore. Atkins added
truthfully that Hongkong
had always been very unfor-
tunate for Mr. Randall, but
probably no harm would
come to them this time, if
only Tommy didn't order
champagne.
That was why Susan
went ashore at Hongkong.
Somebody who was trust-
worthy had to look after
Johnny. Susan headed
straight for Sloppy Slims
cafe and there found Tom-
my, cold sober, righteous
as a deacon and bent only
on giving the little girl a
wonderful day among the
bazaars. Nobody could
blame Susan for going
along with them.
AVhen Richard Hope
joined his mother aboard
the ship he was just a little
puzzled and not entirely
approving of her. Richard
had arran,ged to meet his
fiancee at Bangkok and once
a thing ■ivas arranged, Rich-
ard's tidv mind resented
any rearrangement. Mrs.
Hope hinted dark fears of
Tommy Randall's influence
on Susan, but Richard was
not impressed. The sort of
girl Richard Hope chose to
marry was not the sort of
girl who would get into spectacular diffi-
culties with Tommy Randall. No!
.A.fter this show of perfect form and
breeding it was somewhat of a jar to
Richard to learn that Susan was ashore
with Tommy. It was more of a jar when
Richard and his mother discovered thenr.
There ^\■as a mud puddle in the street
aird Tommy, the gallant, was carrying
Susan across it. Naturally he had to hold
Susan in his arms to carry her. But it
looked pecidiar and Johnny's hilarioirs
presence only emphasized the unusualness
of it.
For Susan that was the end of a happv
afternoon. She went back alioard ship with
Richard and Mrs. Hope and tried her best
to be a dutilid fiancee. She couldn't help
^vorr^ing a little about Johnny. Tomm\
Randall had promised to take the best
of care of the child, but was Tommy to be
trusted?
^\'hile Susan worried. Tommy. Johirny
and Mr. \Vu were locked up in a Hong-
kong jail. It ^vasn't Tonnn\ 's fault or
|()hiui\'s, .Vnd Mr. \Vu hail nothing to do
\vith it.
Pushing their way through a street cro^vd
Tomiin lost hold of the little girl's hand.
The hand he caught, in his groping, be-
[Coiiliuiied on page 15^]
30
Silver Screen
The Girl Who Has
Madge Evans Reveals The
Inside Information Of How
A. Player Gets Along.
Many
Friends
Riding keeps Madge
in good health and
she has no fear of
the cameraman.
By
Wick E vans
JUST as one Evans to an-
other, I can ivrite the 'lead'
of your opus for you," Madge told me
as we sat in her blue-and-silver dressing-
room at Metro and I waited until she
finished dabbing lotions and things on her
face preparatory to having a sitting of
"stills" made that afternoon.
"Swell," I said— and meant it— "What's
it going to be about?"
"Promise not to write anything about my
being the child on the Fairy Soap ad; or
about my once being a 'baby star' and
everything will be elegant."
"Done!" I repeated. "But you've got to
promise to tell all! To give!"
The snoot that she made then was meant
for me, but she didn't say anything until
the waiter from the commissary had fin-
ished serving our salads and had departed
—with Madge's cheerful reply that she
"didn't Avant any ice today."
"It's a bargain," she repeated, then. "Here
goes. Did you hear that waiter ask me if I
wanted any ice? Well, he's one of the in-
iiumeraljle people who have helped me —
and his question had nothing to do with
highballs. By people who have aided me,
•1 don't mean, necessarily, just those who
are 'biggies' in the industry. Ordinary
folks who, through friendship, kindness, or
a genuine desire to be of assistance, have
given me a boost.
"That waiter's name, for instance, is
Charlie Hutch ins. He is the one w ho al-
\\-d)s serves me here in my dressing-room —
I have lunch here instead of in the com-
missary .so that I can change my clothes
and relax a few moments between scenes.
Begging my pardon for 'bulling in' as he
called it, he told me that he hacl discovered
soinelhing from another he had waited on,
that would help my makeup to stay on
longer, and \vould make it ]30ssible for me
to go longer without poAvdering. He said
that he had learned that if I would first
appl) my greasepaint, and then, before
powdering, rub a cube of ice gently o\er
my face and neck that my ]30wder, when
applied, would slay on indefinitely. I tried
it. It ^vorked, splendidly. I can now go
almost an entire after-
noon -without running
to the makeup box for more powder. That
is a big help, believe me. Whenever Charlie
brings my tray these days, he always brings
me a bowl of ice. He never forgets. How
is that?" she concluded. "Is that 'Giving?' "
"Leave us," as we say on the wrong side
of the tracks, "continue," I begged.
"Well, I promise that all the people I
mention ^von't be named Charlie, or all
the incidents won't have to do ^vith ice,
but there is another Charlie who did nie
a big fa\or and in so doing helped me in
my \\ork. His name is Charlie R)an, prop-
erty man here at M-G-M. Once when I
was working at night, and, incidentally,
making a love-scene, I had a lot of trouble
^vith my breath vapori/.ing in the cold
night air. You know, like it does back East
in the wintertime. The scene was laid in
a garden, flowers were blooming, and there
was a full moon. Of course the camera
would pick up this breathy vapor and
make it look as if I were smoking.
"I was at a loss. I didn't want to hold
up production, and I didn't \vant to bother
the director or cameraman. Then Charlie
Ryan noticed it and told me \vhat to do.
He said that if I would take a sip of ice-
cold water just before the scene, hold it
in my mouth until the cameras started
turning over and then swallow it, that I
ivould have no more trouble. I tried it,
and, of course, it ^^'orked perfectly. There
have been times when it nearly froze me
to death, since then, though. It gets cold
on night location sometimes, and when
one has on a \cry decollete evening dress,
pints of cold water don't exactly make one
too warm."
She was silent for a moment, thinking,
and then, in a burst of sudden recollection:
"Here's an incident that has nothing to
do with ice or men named Charlie. Quite
awhile ago I made a picttne with Bob
Moiut^omery called 'Lovers Couragi'ous.'
Robert Z. Leonard directed it. 1 had a lot
of fun on that picture. Partly because I
liked both Roberts — Leonard and Mont-
gomery, and partly because the atmosphere
on the set was so gay and light-hearted! I
like to work hard, but I like to have a
good time while I'm doing it, so I enjoyed
that one very much. It turned out nicely,
I think, and after it was finished, I grad-
ually forgot about it. I made several pic-
tures after that one, and then weirt on loan
to England to make "Transatlantic Tun-
nel." When I returned I did a couple more
and then, much to my dismay, I found my-
self getting stale— sort of fed up with e\ery-
thing. Perhaps I don't give that impression,
but I'm a very moody individual and
sometimes I get so depressed that it's a\\ful.
"To make a long story short, just wlien
I began to think that I was headed for the
jitters, I received an assignment to work
in another picture with both Bob Mont-
gomery and Mr. Leonard. It ^\as called
"Piccadilly Jim," and it turned out to be
just the tonic I needed. I had mote iun
making it than ihc other and I don't be-
lieve that there could ha\'e been an\ thing,
at the time, that would have been I'ctier
medicine."
"I told you that," she explained, "to
show that all soils of things are likelv to
be a big help in the picture business. Often
one receives advice, or a lip. from an un-
souglii-for source, thai is marvelous. This
\\ill surprise you, probabh. but among
those people who ha\e helped me most are
two girls 1 lia\c never seen. Look right
behind you on the Avail, there. See that
framed letter? Thai's my first fan letter.
From a girl who has been writing me c\er
since.
"1 read all my fan mail, if I can possibly
[CoiiliiiKcd on Ixigf tiS]
for January 1937
31
By
Helen L^ouise
Walker
VY / HERE do motion picture stars come
from? How did they get here? How
did they obtain the opportunities which
allou'ed them to open the doors which led
to lame and fortune? I've been doing a bit of delving into these
questions of late and . . . goodness! ... I have been appalled at
the courage, the initiative, as well as the sheer geography ^vhich
is involved.
The stories of the present crop of younger stars sound like
sagas of youthful and modern Marco Polos. Almost none of them
came from theatrical families. Almost none seem to have sprung
from circles in which dramatic careers might have been deliber-
ately fostered. Most of them seem to have set forth on adventurous
and perilous careers upon their own initiatives and under alarm-
ing circumstances.
Nearly everyone
seems to have
been pursuing
soine pot of gold
which was entirely
different from the
one he found at
the Hollywood
end of the rain-
bow.
What made
them take these
respective bits in
Randolph Scott
left home in
search of ad-
venture and
found it in
Hollywood.
their teeth and set forth in puisuit of some chimerical career?
And «hat strange l-ate brought them at last to Hollywood
and to light-and-sound-and-sl!ado\\' importance?
Let's start \vith Luise Rainer. Luise was born in the quiet
to^vn of Dumont, in Austria, not far from A'ienna. Her father
was a comfortably prosperous merchant there. Liuse was care-
fully reared and educated and it was taken for granted that she
would marry, at the proper time, the logical, industrious young
man. Her good father and mother were mildly worried when
their pretty young daughter, while still very ytunig, nuuimired
about becoming a wiiier. (She wrote notes for lutine master-
pieces on small pieces of ]japcr which she secreted aboiu her
bedroom.) Later they found her modeling figures in clay and
talking about lieconiing a sculptress. But they didn't worry
seriously because they imagined that these weie passing,
youthful phases.
BiU . . . «hcn Luise was fifteen slie went to visit her grand-
mother in Beilin . . . and Grannie look her to a real theater!
(iorgcous |)ei)ple declaiincd and |)osUucd and Luise realized,
then ami llicrc. ivhal iier life work was to be. Slie would act.
W lial \vas lUdre, there was to be an audition for aspirants to
dramatic lame, the very next da\.
Luise slipped away from Grandmamma aiul rushed to the
32
Silver Screen
theatre. (Grandmamma was
merely pretending that she
wasn't looking.) But Luise was
so appalled at the numbers of
smart people who were wait-
ing to register for the audition
that she fled in dismay.
"There must," she told her-
self, "be a smaller thea-
ter somewhere where
they let young people
like me show what they
can do!"
There was— and Gran-
nie helped her find it.
It was in Vienna and the
kind people looked at
Luise, spoke to her po-
litely and took her name
and address. "Nothing
Success Seekers Oo Out Into TKe ^World/
Break Home Ties y\nJ FigKt TKeir Own Battles.
their most important leading woman. And what a thrill that was!
\ow, this is what is important about this story. Luise loved
her parents, of course. She loved her home and her small
Ijrothers and sisters. Her family disapproved, bitterly, of the
course she was taking. That disapproval, the unbelief in her, hurt
her cruelly. But she stayed in Vienna. She rented a tiny room
at the top of a tall building and she painted the walls white
and planted flowers in pots. She will tell you now, "I was not
quite so homesick, so miserably lonely, when I looked at the
lovely view from my ^^•indows. I was not quite such an outcast
when the flowers finally bloomed."
It wasn't, of course, merely the flowers ivhich began to grow.
It was Luise's self-confidence, her self-belief. She had broken those
home ties and it had hurt. The success which came afterward,
first in the theater and then in pictures, were the results of that
painful and almost heroic transplanting. But she (and I suspect,
Grannie,) were right.
It is difficult to break away from home and family ties. But . . .
Consider Frances Farmer. Frances was born in Seattle, Wash-
ington, and she went clear around the world before she arrived
in Holly\vood. (I told you that the geography concerned in these
careers was pretty terrifying.) Frances worked her ^vay through
high school by serving as a part-time usher in a motion picture
theater. She worked her way through the University of Wash-
ington by waiting on table.
Just as she was preparing to graduate from college, the Seattle
Times conducted a contest for amateurs ... to ivrite essays on
a political subject. Miss Farmer haunted the public libraries for
weeks and then produced an essay which won the first prize in
the contest. The prize was a round trip ticket to ?.Iosco\v!
Now, Frances had, until then, scarcely been farther au'ay from
her native city than you could throw a pebble. Her parents ^vere
pretty upset. But Frances \\-as twenty-one . . . and she accepted the
ticket, hopped aboard the ship and there she was, in Mosco^v. The
wanderlust had. caught up with her. Far from
being homesick, this young woman cabled her
family for additional funds, arranged to A\rite
some pieces for papers to help pay expenses . . .
and continued on her way around the world, to
the dismay, one imagines, of the Seattle Times
which must ha\e been ^vistfully awaiting her
yoiuhful revelations [Continued on page 62]
will come of it, " said Grandmamma.
"\qu never can tell," said Luise. And \\'hen she returned
to her home, she kept her stiiall overnight bag ]iacked,
saw to it that it was always supplied with clean towels,
soap, handkerchiefs, nighties . . . just in case.
.Viler six weeks she received a message to report to the
Theater Group in Vienna. And just here I'm afraid that she
deceived those trusting parents. She told them that she was
going, again, to visit Grandmamma.
.\rrived. she \\'as asked to sho\\' what she could do . . .
and she did what any fifteen-year-old aspirant would do.
You've already guessed it. "OiU, damned spot . . ." and so
on. from Macbeth. They smiled. But they signed her at a
small sa'arv. Thcv 'rained and coached and groomed her.
And when their brief season ()]5encd in X'ienna, she was
Luise Rainer left
her home deter-
mined to be an
actress. Simone
Simon was dis-
covered by a di-
rector as she sat
in a Parisian
sidewalk cafe.
joy January 1937
33
THE HITS TO WATCH FOR
FROM NOW TO NEW YEAR'S DAY
THE DIONNE QUINTUPLETS
in REUNION
with the year's most important cast: JEAN HERSHOLT, ROCHELLE
HUDSON, HELEN VINSON, SLIM SUMMERVILLE, ROBERT KENT,
Dorothy Peterson, John Qualen. Directed by Norman Taurog.
BARBARA STANWYCK and JOEL McCREA
in BANJO ON MY KNEE
with Helen Westley, Buddy Ebsen, Walter Brennan, Walter Catlett,
Anthony Martin, Katherine De Mille. Directed by John Cromv/ell.
WARNER BAXTER and JUNE LANG
in WHITE HUNTER
with Gail Patrick, Alison Skipworth, Wilfrid Lawson, George
Hassell. Directed by Irving Cummings.
CRACK UP
with PETER LORRE, BRIAN DONLEVY, Ralph Morgan, Helen
Wood, Thomas Beck, Kay Linaker, J. Carroll Naish, Lester
Matthews, Duncan Renaldo. Directed by Mai St. Clair.
LAUGHING AT TROUBLE
with JANE DARWELL, Delma Byron, Allan Lane, Sara
Haden, Lois Wilson, Margaret Hamilton, Pert Kelton,
John Carradine. Directed by Frank R. Strayer
SHIRLEY TEMPLE
STOWAWAY
will, ROBERT TOUNG • ALICE FAYE
Eugene Pallette, Helen 'Westley, Arthur Treacher,
J. Edward Bromberg, Allan Lane, Astrid Allwyn.
Directed by William A. Seiter.
ONE IN A MILLION
lATith SONJA HENIE, ADOLPHE MENJOU,
JEAN HERSHOLT, NED SPARKS, DON
AMECHE, RITZ BROTHERS, Arline Judge,
Borrah Minevitch and his Gang, Dixie
Dunbar, Leah Ray, Montagu Love.
Directed by Sidney Lanfield.
Oarryl F. Zanuck in Charge of Production
34
//
Back In Tacoma/ Washington/
There Are Some WKo Remem=
ber May 2^ 19o4/ For That's
Where And When Bing Crosby
Was Born — ^The Boy Who Was
Destined For Fame And The Big
Money!
BiNG
//
The King
OF THE
Crooners
His name was Harry
Lillis Crosby, but
now he is "Pop" to
three sons — Gary,
Philip and Denis.
(Left) The lovely
Singer Rogers leans
gracefully upon her
established reputa-
tion as a dancer.
(Right) Irene Dunne
has a nfiraculous
way of imbuing life
into characters in the
shadow of tragedy.
Neither ''Back
Street" nor "Magnifi-
cent Obsession" will
ever be forgotten,
because of her.
Darlings ^
OF THE
Screen
ONE of the important elections of 1936 was thJ
landslide for the Gold Medal Winner-Robert
Taylor. However, some of the runner-uppers were
very beautiful and richly talented, and here are photo-
graphs of the ten girls who stood highest in the voting.
There was no one type that ivas selected by the movif
fans to receive the high honors, nor was one particulai
age given the palm. Many of these actresses have been
before the public in a number of difterent roles, some:
in comedies and some in dramatic plays. But it was the
star with a special talent— the singer, Jeanette Mac
Donald, who led every lady in ballots.
The World That Goes To The
Movies Has Selected Its Favorites.
The Lucky Girls Have
Luxury For Breakfast,
Luncheon and Dinner —
With Plenty Of Fame On
The Side.
(Right) The star who stands
highest among the popular
girls is Jeanette MacDonald.
Her singing has given her a
very special appeal, and
"Maytime," her next picture,
is eagerly awaited. (Left)
Joan Crawford, another Gold
Medalist, and a girl with
nnany successes to her credit.
(Upper left) Claudette Col-
bert was born in France, but
her professional career began
in America. She is soon to be
the "Maid of Salem."
(Left) Greta Garbo is
looked up to by all as
the great screen ac-
tress, and Sweden can
take a bow. Her pic-
ture, "Camille," will
soon be released.
(Right) Jean Harlow
is the front page girl
of the picture colony.
Myrna Loy plays one of the leads in
"After the Thin Man." She was the first
to score nation-wide success in the role
of a wife, so she tried the real thing and
now is Mrs. Arthur Hornblow.
If,-
J. Farrell McDonald and Roy Emerfon in Canada to malce "The
Great Barrier" for Gaumont-British. (Right) Richard Arlen
went to England and then to Canada to play in this picture.
A scene from "King Solomon's Mines," with
Cedric Hardwicke, Anne Lee and Arthur Sinclair.
The company traveled to the African veldt for
this picture. (Right) In "The Garden of Allah,"
Charles Boyer and Marlene Dietrich invoke the
spirit of romance with a real desert for atmosphere.
NATURE'S Backgrounds
Make Better Actors
Good Acting Creates A Feeling Of Reality. Natural Surroundings
Help The Actors To Bring
Drama To The Screen.
A T THE left is a scene taken in the
A Canadian Rockies. The company
was sent all the way from England
to make the outdoor shots, as it seemed
easier than bringing the mountains back
to Dick Arlen in London.
We have seen players, from Sarah Bern-
hardt to Mae West, and there have been
times when the great talents of these
actresses have made painted canvas seem
positively real. But when a mime looks
across miles of actual valley and moves
like "one of the helpless pieces of the
game he plays upon the checker-board of
nights and days," then the stark and mer-
ciless battle for existence, that perhaps we
have all known, clutches our imagina-
tion.
The companies "on location" make pic-
tures that are invariably welcome.
(Right) One of the re-
cent pictures made in
Nature's own studio is
"God's Country and the
Woman." Beverly Roberts
rests against the rugged
strength of a giant pine
tree. (Below) A wonder-
ful scene from "Conflict,"
with Harry Wood leading
his lumberjacb.
I
Hollywoo J
Celetrates
A MERRy
Christmas!
Jane Quigley just can'f
wait for her Christmas
present. We wish many
happy holidays as a re-
ward for Jane's delightful
pictures.
The Kids In Pictures Should
Believe In Santa Claus —
And They Do.
Little Dicltie Moore
always looks so pen-
sive, but perhaps
Santa Claus will
give him a gift that
will make him hap-
pier.
Sybil Jason has been in Amer-
ica long enough to make many
friends and Santa Claus knows
where she is, you may be very
sure. (Below) Spanky McFar-
land's great day has arrived.
He has played in Our Gang
Comedies for a long time, but
now he is starred in "General
Spanky."
I I
Virginia Weldler and our old
friend, the Raggedy Ann doll
— so she has gone Into the
movies, too! Goodness Gracious!
After Dark!
Follow The Stars During Those Witching
Hours Of The Night When The Spot=
ight Falls Upon Them.
For formal occasions
Madge Evans wears
silver and whife and
steps into your vision
like a prineess
straight from the
pages of a fairy
story. The fitted
basque, with its vol-
uminous puffed
sleeves and quaint
peplum, is of silver
lame with a flower
design, and the full
white chiffon sicirt
has a wide border of
this luscious material
to give it added
form and grace.
NOW that the holidays have rolled around again, gay parties
are in the offing. And what fun it is to shed our staid day-
time clothes in favor of something soft and shimmering
and flattering for the glorious evening ahead. This year it is
even more fun than usual since the styles are so varied. One can
be sleek and dignified if one chooses— or one can indulge a
passion for the baroque. If we choose the latter, watch out for
a deluge of feminine fripperies in
lovely pastel shades. And how di-
^ vinely lovely they make a woman look!
(At left) When a chu
coiffure is desired—
and some sophisti'
cated gowns make this
imperative — Joan Ben'
nett shows you whal
miracles can be worked
with a long bob. Ano.
Olivia de Havilland,
shows you an interest-,
ing study in arrange-,
ment by pinning the,
corsage of roses an<i^
lilies of the valleyj
which the best bo>
friend sent her, righ^
on top of her tiny
pleated pink taffet«
muff. Her wrap is ol
grey kidskin — unpre-
tentious but very at-
tractive.
(At left) Marcel Rochas, the distinguished
French couturier, designed this I'eune
fil/e evening gown for Simone Simon, who
is frankly not quite twenty yet! Fashioned
of pale blue peau d'ange, the uniquely
pleated sleeves form a cape at back, while
wine colored asters are used adroitly on
the square-cut bodice and low back.
Some girls refuse to change their hairdress no
matter how gala the evening. But they will com-
promise by adding a flirtatious doo-dad to their
conventional coiffure and — presto! the effect is
not only novel but lovely, and so-o simple to
achieve. (Above — left) Paulette Goddard is
partial to a floral decoration that reverts to the
Eurasian influence. But Merle Oberon just fastens
a ruby and rhinestone clip carelessly to one side
and looks discreetly glittering. Whereas Gladys
Swarthout sheaths her dark hair with a modest
cluster of daisies and proceeds to enjoy herself
immensely — for daisies never tall.
Margo goes dramatic
on us in a big way! But
without this deep cream
and gold lace dinner
gown she wouldn't meet
with half so much ap-
plause. In front the dress
is slit to the waist and
held together with three
little gold kid bows, and
the belt is banded in
gold kid.
It
Must
Be
Love
\ Herbert Mar-
^ s\ ^l^^" Ger-
" trude Michael.
If'sloveagainl
A scene from
"Make Way
For a Lady."
Many A Pi cture Orows
HectxC/ Brave Men Orow !
Braver And The Girls,
Grow Fairer And Warmer
When Lrovc Comes Along.
I^EW indeed are the screen stories where
lovers lead lives placid and peaceful.
According to our most dramatic pictures,
loves lights the fires of ecstasy and misery
alike. Men are roused to primitive ruth-
lessness or to commendable nobility, and
then for the purposes of the drama the
callous hand of Fate tears them
asunder! B-r-r-r!
Before two people can really feel
the surge of the emotions that bind
them one to the other they
must be together, and never
can a more cruel test be made
of love than when lovers are
separated— each a prey to
loneliness. No wonder the
screen teaches us to
make the most of
moments when one's
happiness is held
within the circle of ^ ,
one's arms. ^
"Come Closer Folks" gives ^
James Dunn and Marian
Marsh a liffle lighf-hearted
romance. (Left) When love
is at the wheel — George
Houston and Marion Nixon
in "Captain Calamity."
(Right) William Hall and
Judith Barrett in "Flying
Hostess."
(Above, left) Bruce Cdbot and
pretty Barbara Popper in "The Big
Game," a football classic. (Above,
right) Gloria Stuart and Lee Tracy
in "Wanted: Jane Turner," the
love story of a postal inspector.
(Right) It's "Ready, Willing and
Able," showing Lee Dixon and
Carol Hughes depicting bliss.
(Left) Hugh Sinclair and Con-
stance Cummings in "Strangers
on a Honeymoon." Intriguing —
eh, what?
Warner Baxter and June
Lang showing how compli-
cated life is in "The White
Hunter."
IN THE NEW FILMS
History
GETS
A Break!
The famous Men And
Women Of Other Days
Are Once AAore In The
Limelight.
John Miljan as the
famous General
George Custer.
(Right) Flora Rob-
son plays Queen
Elizabeth in "Fire
Over England." Les-
lie Banks in center.
"Maid of Salem," star-
ring Claudette Colbert,
is the story of the dark
days in the Massachu-
setts colony when witch-
craft was believed in
and witches punished.
ON THE wide prairies of the west, the stalwart men who
dedicated their lives to extending the boundaries of
civilization, and to making the ranches of the pioneers
secure from savages, lived many dramatic stories. "The Plains-
man" is a page of the development of our country. Another
company is making a picture of the New England Colonists'
struggle toward liberty and freedom. In England two pictures
are being made to tell again the stories of the great figures of
olden times. Story tellers have immortalized these figures, but
now the screen makes them live again.
Evenings of
Happiness
Pictures Brimmins With Beauty^ MusiC/
Humor And Drama Await You.
NOW that the season for all varieties of screen plays is here
the finest dancers and singers are ready to perform. Actresses
old and young, buxom and svelte, are on the screen once
more and everybody should go to the movies. The new songs
are catchy, and, now and then, a new star makes her bid for
fame. The critics may rave or condemn, but the millions of movie-
goers will decide which pictures furnish the best entertainment.
(Above) Jane Withers in fhe
musical piece, "Can This Be
Dixie?" sings "Does Yo'
Wanna Go To Heaven?"
(Righf) Jack LaRue and Mae
West put over "Go West
Young Man."
Madness
Marjorie Ray-
mond in "Hafs
Off." (Right)
Florence Chum-
becos.therhumba
dancer in "Every-
body Dance."
51
Wan
Joe E. Brown
was born
with a big
moil til ind I
swpll sense ot
liumoi .
$5oo.oo IN Prizes
Have You Orisinal Ideas? Joe E. Brown Will Make
A Series of Comedies Under the Management of David
Loew, Producer. A Trade=Mark is Wanted to Iden=
tify These Comedies and Twenty=Four Prices Will Be
Awarded for the Best Ideas Submitted.
TWENTY-FOUR PRIZES
WILL BE AWARDED
FIRST PRIZE $200,
SECOND PRIZE 100
THIRD PRIZE 50
FOURTH PRIZE 2 5
and
5 FIFTH PRIZES of $10.00 each
13 SIXTH PRIZES of 5.00 each
Total
$500.00 in PRIZES
AHACH THIS
COUPON TO yOUR
ANSWER
00
00
00
00
HE readers of Silver Screen
are invited to enter this inter-
esting contest. Use your brain
and collect one of the 24 prizes
]^ offered.
■ It is not necessary to be able to
Sfe draw in order to win a prize. Sim-
^ ply describe your idea and the
best ideas will be selected. Sup-
pose, for example, this was a con-
test for an RKO-RADIO Trade-
Mark.. The idea for a design
could be submitted as follows: —
On the screen would
appear the antenna of a
broadcasting station and
' from the wires the pic-
ture would show wireless
waves shooting out. Then
the sound of wireless
^vould be heard through-
out the audience and
thus the name Radio
would be impressed upon
them.
This describes the fa-
miliar RKO-Radio trade-
mark and no design would be needed, in
addition to this brief description, in order
to present the idea to the mind of the
searcher for a trade-mark.
It is well to embody in your idea the
characteristics of the pictures, the star and
other fundamental qualities. Read the de-
scription of one of the pictures that is
printed on this page; it gives you points
that should help to guide your thoughts.
Dr. David Loew will produce a series
of Joe E. Brown comedies and for these
a trade-mark is needed. These pictures will
be distributed by RKO-Radio Pictures and
the winning design will become famous.
Wouldn't you like to see a trade-mark
that you had suggested thrown on the screen
when you were in the theatre audience? No
one would know that the prize winner was
seated amongst them, and how they would
envy you if they did!
The title of the fust Joe E. Brown com-
edy is:—
"Easy Going"
The story tells tiic hectic adventures ot
an astrologer and his beautiful assistant.
Telling fortunes turns out to be no easy
task at Coney Island, but finally he gets
in the money when he forecasts that a 100
to 1 pug will win. In the face of prosperity
a romance develops and the first thing you
know the assistant, clever girl, marries him.
A trade-mark is often made up of sym-
bols. For example, one producer uses a lion
on his trade-mark. Why? Because the lion,
the king of beasts, suggests that the product
having such a trade-mark must also be ot
the highest, finest, most kingly character.
Another producer uses the rising sun to tell
that his product marks the coming of a
new day in pictures. That is the way trade-
marks are fashioned. Therefore, these com-
edies might be stamped with a trade-mark
to suggest laughter. Suppose, for example,
the trade-mark shelved a parrot and a good-
natured dog; they open their mouths and
shake their sides while the theatre echoes
with the sound of their laughter.
Now you think of one.
Silver Screen assures each contestant ab-
solute impartiality. The prizes will be
awarded, but no agreement is made that
the prize winning designs will be used on
the screen. If the ideas do not properly
suggest these comedies the prizes will be
sent to the contributors of the best ideas in
any case, but producing moving pictures
costs too much to have the comedies
stamped with an inappropriate trade-mark.
Such is the decision of the hard-headed
business man. Vou may win some money,
anyhow!
CONDITIONS
1. The contest will close on January 6,
1937.
2. The winners will be sent their prizes
during January, 1937, and the March,
193 7 issue of Silver Screen will an-
nounce the names of the successful
candidates.
3. In the event of ties, prizes of equal value
will be sent to each of the tying con-
testants.
4. The decision of the judges will be final.
5. No correspondence will be entered into
regarding this contest.
6. The prizes will be awarded to the trade-
mark ideas which are best, and neatness
will count.
7. Sketches will not count. The prizes will
go to the best ideas, best described.
8. No employee of this company or of Mr.
David Loew may compete.
9. All ideas submitted in this contest will
become the property of Mr. David Loew,
the sponsor of this contest.
To Contest Editor, Silver Screen
45 W. 45th St., New York, N. Y.
In accordance with liic (onditions on this page, I am
competition for one of the Trade-Mark prizes.
siiliniii 1 ing m\ idea in
52
An
He Creates TKe Spirit Of Romance. He
Has Dignity A.nJ Charm. But ^-^Ky
Not?— Charles Boyer Is A F rcnchman
Irresistible
CHARLES BOYER is the
Hollywood version of
hero with a dash o£
Noel Coward, a bar (stick to
your music, my sweet!) of
Cole Porter and the veriest
inkling of a Mdivani. That
is to say, he is a sophisticate and a charmer!
Being early for my appointment I recalled the
first time I had seen him— in the midst of a
large and admiring crowd. Perversely I was
prepared to dislike him. Just a little. As one
might dislike a child becoming the centre
of admiration— and very probably spoiled by it.
Half an hour later I was sitting beside him, wondering at the
simplicity of a boulevardier who has the wit to appear naive.
"I'm here to take the census," I laughed, as he made certain I
was comfortably seated. "Question 18 is: 'Are you happy now-
content to stay with us, always?' "
"I love it here, you know that," he answered, smiling that slo^v
devastating Boyer (pronounced Bway-yay) smile, "but I'm still
anxious to get back— though I don't see a chance for some time."
Get back— at u'hom, to what, you ask? France, of course! He has
the true Frenchman's love of home and hearth.
"Did you kno^v Pat and I have identical contracts? The only
ones in existence, as far as I kno^v, and they arrange that m)
wife and I work at the same time and have the same time off!
TOR
By D
e n a
Reed
We experienced so much dis-
pleasure at our first separation
that we don't believe in them.
Now we can get away together
— three-week location trips
apart are enough!"
One is never quite prepared for Charles
Boyer. He is at once both older and much,
much younger than the speaking shadow wliich
has caused mademoiselles and misses from
Rheims to Roanoke to toss adjectives about
recklessly. Ha\'ing the ageless grace of the
Montagues, it is only surprising that his easy
informality should hold so much in it that is
spontaneous, youthful, aird yes, refreshing!
Boyer, as you may have heard, has been some-
thing of a Parisian sensation for many years.
He is now thirty-seven. At thirtv-four he was
half-failure— so he says. At thirty-five he became
an international focal point of admiration-
feminine admiration. And a husband.
"I still think that spending six months here
and six months in Paris lends much that is
important to the other. In Hollyv-'ood- a de-
lighttul place" (his smile conferred splendor
oil an already beglamoured city), "one works
hard all day and often far
into the night and then
one plavs bv talking about
one's -work. That is not
good— for me. I need to get
' awav from it all, to stop
thinking, planning, review-
ing."
"That's because you take work so ^cii-
ously, " I prompted.
In a voice as deep as it records antl l.cau-
tifulh modulated— reminding one of t!iam-
pagne sparkling in a fragile, finelv etched
gla'-s— !ie agreed:
"Work is work. It is not to be trifled
whh."
Do you question tliis atlilude of lii-"- Tlicn
recall that wlicn lie \vas sixteen he became
so eiului^i;isiit c)\ cr tlie great PaiiMan aclor.
l.ucicn (;uilr\, as "Samson" that lie went
h-.ick ten ni'_;lits in succession to see liini— and
llicn and tliere dct'ded that acting \\'as to
be his life's woik! Rcmcmljer. too, tliat al-
though lie didn't know a word of English on
his arrival in the United States he set about
learning the language and in six months he
spoke it so well that he was loaned to Para-
mount for a fcatmcd lole.
Nor has he changed.
When filming the "Garden of .Allah." in
which Marlenc Dietrich plays opjiosiic hiin.
He has a splen-
did reputation
in France, but
he takes it all
quite calmly.
Silver Screen for January 1937
53
it was so intensely liot that,
as the day progressed, they
were working in a tem-
perature of 140°!
"It was exciting," is his
comment. "We got up at
4:30 eacli morning, had
breakfast at 5 and started
work before the cameras at
six. We rested from eleven
to three, because it was
impossible to continue
under the vertical rays of
the sun. We'd start work-
ing again at three and
shoot as long as the light
permitted. And we had to
eat Arabic food, because,
while it was filmed in the
Arizona desert, the story,
itself, is laid in the Sahara.
Have you ever tasted 'con-
scous,' a sort of Irish stew?"
he laughed delightedly. "It
was delicious. Another was
meat grilled on iron stakes
called Lahm muchui. Too
bad I couldn't have saved
some for you."
"Thanks awfully," I said,
forcing a smile, and bless-
ing Buddha, Confucius
and Mohainmed. "I'll set-
tle for a double malted."
"Ping" Brodie, who in
1910, was the home run
king of the New York
Giants, was on the elec-
trical staff of the "Garden
of Allah" crew. "Ping" and
Boyer became fast friends
^vho found a common in-
terest in sports. When the
rest of the company were
inside the tents catching
up on their siestas "Ping"
would be giving Charles a
play-by-play description of
a game he won from the
White Sox back in '12.
Charles was the best au-
dience "Ping" ever had— in
or out of the bleachers!
Hardships, when in line
of duty, don't mean a
thing, except to keep him
in touch with his fellow-
humans. He likes people,
likes to talk to them, get
their viewpoints. For in-
stance:
"Snow," one of his two
chauffeurs, insists they're
ing through bits of business until they're perfected to his personal
satisfaction. He's a dynamo of action. And his utter sincerity has
forestalled comment that would seriously affect the prestige of
another. No one has ever accused Boyer of being a poseur. No
one, I believe, would dare!
You have heard, of course, of the immense courage of the man.
He topped failure with failure, played in the "Magnificent Lie,"
which was also a magnificent liability, appeared in foreign ver-
sions of Fox pictures and was even shunted into bits in American
films which had to be deleted when shown in foreign countries
out of deference to his fantastic following in Europe.
"I'd rather follow the mental reactions of one man in the street
than all those sitting at executives' desks," he told me. "It's a
hundred to one shot, you see," and his large eyes glow and that
vein on his forehead becomes a vital living thing, giving his face
intensity and a handsome ruggedness.
He insists one must be of the people and think with the people
to make one's work interesting to the people.
He is vitally interested in everyone about him. With the
Frenchman's shrewd capacity for judging people, circumstances
and things generally, he has also the true Gaelic flair for doing the
unusual, the spontaneous. Because of that he knows, quite cer-
tainly, that Walter Wanger was the medium of his success. With
limitless admiration for the man he explains, "Wanger has the
most uncanny ability for casting, one of the unsolved problems
of Hollywood and the greatest single stumbling block to successful
films."
On the other hand, Boyer doesn't believe in consistent teaming
on the screen. Perhaps he will make another picture or two with
Dietrich, or with any other star with whom the studio may
couple him; like most canny individuals he sees beyond the
rewards of immediate success.
"Teaming is successful, usually," he concedes with candor, "but
it is the box-office reaction of the fans— again reacting against the
players— which makes it unsuccessful in the future."
He is, you see, the same Charles Boyer who spent thirty-five
years steering his course clear of adoring, desperate, designing,
reckless feminity— and then tossed his jealously-guarded freedom
hastily aside -ivhen he fell head-over-heels in love ivith the win-
some and ingenuous Pat Paterson. Such are the inconsistencies
of the Boyer charm.
Of all the pictures he has done, "Private Worlds," with Claud-
ette Colbert, remains his favorite, because, he says, "It was such
an intelligent theme." And he is intensely interested in doing
other pictures which are stimulating and thoughtful.
Among his fan letters is one which he recently received con-
sisting of seventy-nine pages— about 10,000 words— something in
the manner, one might suppose, of a true life story!
"Movie audiences," he says, "are largely alert, intelligent, under-
standing people. They enjoy all types of pictures, but they ap-
preciate those which, either directly or indirectly, bring hope,
thoughlfulness and a message." He says it in no crusading spirit-
there is too much of Montmarte in his make-up!
It remains to be seen \vhat color will do for him— and to him—
for "Garden of Allah" falls into the Technicolor class. He pro-
fesses keen interest in it as a new medium with all sorts of in-
teresting possibilities. His next Wanger production scheduled is
"History Is Made at Night."
It will be interesting to watch his career— which we are sure
will be long and, can it be doubted, exciting! His rise to the
very vanguard of screen prominence has been mercurial, yet he
has proven "beyond reasonable doubt," that for him it has been
the well won heights of success, richly deserved.
Pat Paterson (Mrs. Boyer) and
her husband in Hollywood,
where he is playing in "His-
tory Is Made At Night."
(Right) Scene from "The Gar-
den of Allah," with
Charles Boyer and
Marlene Dietrich — a
both kept so Technicolor picture,
that Charles
will have
"someone to talk to," for he's an excellent
dii^er, ha\ing learned on the circuitous
roacls of Switzerland. He even has a ihird
ch.iullcur in Paris— and in view of the fact
the Uoyers are so seldom there I think he
simply hasn't the heart to let him go!
He's a character, of course. Years ago
the Parisians became quite accustomed
to a young man gesticulating and mum-
bling to hhnself as he traversed the Bois.
It \vas nothing unusual to see the young
actor pacing to and fro living out each
scene of a hundred varied roles. And the
habit has kept step down the years. On
the set you'll find him walking miles, ob-
livious of people, gesturing, grimacing, go-
54
in her -wedding gown of figured white
dimity or gingham and her bridal veil
made of a lace curtain.
"Well, blow me dou'o," Barbara beams
as I come on to the set. "Where you been?"
"Oh, up at Lake Louise and then down
at Ensenada, Mexico -with Dick Arlen
and Joby," I answer.
"You dog!" she exclaims. "Here I've
been trying for ages to get away for a va-
cation and Bob (Taylor) is foaming at
The Stars At
TKeirBcstA.re
The Stars At
Work. Visit
The Sets With
S. R. Mod
J. W. Kerrigan
and Edward
Everett Hor-
tom in the
comedyi, "Let's
Make a Mil-
lion."
J^IRST stop this monl-h is
20th Century-Fox
And out here the first set I go on is
"Banjo on My Knee" where Barbara Stan-
■\\'yck, who makes pictures with both hands,
on nights and Sundays as well as week-
days these many moons, is starring. Joel
McCrea plays opposite her. This is from a
novel by Harry Hamilton.
Harry used to run a class in drama in
New York, and in the summer he came
out here to visit Norman Foster and they
wrote plays, some of which were produced
and some ^veren't. Now they both have
contracts at this studio as writers and Harry
has a house and a gentleman's gentleman.
Isn't life wonderful?
This was a grand book, even though he
didn't send me an autographed copy, and
it ought to rtiake a fine picture. Partic-
ularly with the cast they've provided. It's
a tale of life as it's li\cd on liic shanty
noats that dot the Mississippi Ri\er be-
tween Mi'inphis ami New Orleans. y\nd it's
an authentic pictine, too.
The Mississippi, as it is reproduced on
Stage iC of the 20th Cenlury-l'ox lot is just
as muddy and smelly as it is in reality and
the shanty boats ihey'vc built are just as
dirty and rickety.
'I"hey'\e taken a few liijcrtics wiili ihe
book. The piciure opens with the wedding
of Barbara and Joel. Barbara is .sumpin
the mouth ^vith desire
to get up to Lake
Louise. All yo.u do is
travel and have fun."
"That's right," I
come back at her in
an aggrie\'ed tone.
"Here you've got the
guy every gal in the
country is panting for,
you make more money
than you know what
to do with, everyone
loves you and you be-
grudge me the little
fun I get out of life."
"I don't begrudge it
to you," she says. "I
only envy you. Hey,
doc," she calls to |oel,
"how's about a treat-
ment?"
So Joel comes o\er
and gi\es her a chiio-
piaclit adjusliucnt,
.snajjping her back nilo
place where one of I he
\criebrae has slipped
out.
"AVhal's (he iiialUT
willi \()ut batk?" I ask
s\nipallicli(alh when
1 he 1 1 eal incnl is o\ 11.
"Oh, I wrendied it
a fei\- years ago ivhen a horse threw me and
then I throw it out every once in a while
playing tennis," Barbara says.
"How come you let him," jerking my
head to-ivards Joel, "fool with it?"
"I like that!" Joel expostulates indig-
nantly. "I'm one of the best adjusters in
the country. You see," he goes on warming
to the subject of his talents, "what I lack
in box-office draw I make up in doing
little things on the sets for the different
studios, like keeping their stars fit, etc."
Before we can continue this interesting
conversation, the director calls them.
The wedding is just over. Old Newt
(■Walter Brennan) Joel's father, has just
proposed a toast to the St. Louis Blues.
1 he guests lift their tumblers, coffee cups
and dippers in an understanding silence
and drink. It is Old Newt's favorite piece.
"Uncle Newt," Buddy Ebsen says when
they've finished drinking, "it looks to me
like Judge Tope is just about to fall in
the river."
Everyone turns and looks. Barbara and
Joel lean forward from their place on the
railing of the boat. The Judge, loaded with
corn likker, is dozing on the edge of the
boat.
"It does look that way, don't it?" Bren-
nan agrees mildly.
It's just my rotten luck that Buddy is
not doing his dance today because the way
that boy dances is nobody's business.
I stand around and jaw a ivhile longer
with Barbara and Joel and then I saunter
over to the next stage.
Claire Trevor and Michael Whalen are
making a picture here called "Career
Silver Screen for January 1937
55
Nella Walker, Nan Grey,
Jean Lafayette, Deanne Dur-
bin and Barbara Reed in
"Three Smart Girls"
Woman." (Tentative title.)
Claire is a law student and an ardent
admirer of the legal technique of Michael
Whalen— a brilliant and theatrical criminal
lawyer. She goes to a murder trial to watch
him work. Near the completion of the
trial he stages a fake faint and Claire, who
had approached him to congratulate him
on his victory, believes he is really ill. She
helps Doc (Edward Brophy), who is
Whalen 's companion, take the lan-yer home.
As Whalen sits on the divan, Brophy is
giving him a chiropractic adjustment. He
wrenches his head this way and that as
Whalen attempts to carry on a conversation
with Claire.
"Wh— what are you
doing next ^veek?"
Whalen queries be-
tween wrenches.
"I'm going to a lit-
tle to^vn you never
even heard of," Claire
smiles indulgently.
"To visit my uncle.
Why?"
"I just had an idea.
Perhaps I dreamt it,"
Whalen admits. "I'm
going to Hot Springs
for a rest cure. Why
don't you come along
and visit your cous-
in?"
"My cousin? "Claire
repeats, puzzled. "In
Hot Springs?"
"Well, we're all
cousins, aren't we?"
Whalen counters. "I
mean common an-
cestors — Adam and
Eve?"
"That's funny,"
Claire laughs and
turns to Brophy. "Of
course, he thinks I'm
just— a ," hesitat-
ing for a word.
"A dame! " Brophy
Time out for
lunch. Joel
McCrea and
Barbara Stan-
wyck leave the
"Banjo On My
Knee" set for
sandwiches and
coffee.
supplies the word without any hesitation.
"Thank you," Claire smiles. "Just a
dame."
"Not at all," Mike lies as all men lie in
such moments of hope. "Beautiful girl
like you! "
"I'm a lawyer, Mr. Conant," Claire con-
Eduardo Giannelli and Lee
Tracy working up the mys-
tery in "Criminal Lawyer,"
tinues smiling. "I wanted to congratulate
you— and you were ill. That's all."
"You!" Whalen exclaims incredulously.
"A lawyer!"
Well, it goes on like that, but he gets
nowhere with Claire-in the picture. But I
saw them together at a preview one night
last week.
When the scene is finally finished I start
chinning with Claire. "Don't mind me if
I'm a trifle distrait," she smiles. "I bought
a house, I'm trying to furnish it, I'm trying
to finish the picture and I'm trying to get
away to New York on a vacation— all at
once!"
"You ought to go to auction sales to
furnish your house," I advise. "You can
get swell stuff for nothing at them."
Claire looks at me pityingly. "I suppose
I can sleep on the floor until a good bed
comes up at auction," she suggests, rather
acidly. I thought.
That's the trouble around this town. You
try to be helpful and save people money
and all you get is snubbed.
Ruminating on the injustice of things
in general and the ingratitude of humanity
in particular, I leave her and go to
Paramount
I'M THANKFUL to say there's not too
I much doing over here. Larry Buster
Crabbe is working in another Western— but
it's on location. I bear up as best I can
under this staggering blow and totter over
to the first stage where there is a picture
working. It is called "College Hobday"
and features the one and only iMav\ Boland
and Martha Rave, and those inimitables
of the radio. Burns & Allen, and Jack
Benny. Also Elcanore Wniitney, Marsha
Hunt, Johnny Downs and Leif Erickson.
It's really a very impressive cast.
Unfortunately I can't work up a lather
of enthusiasm over the story. It doesn't
make sense— but then none of Burns &
Allen's stories ever do. They're like olives
and caviar. You like them or you don't.
If you do they're funny in anything.
Mary and Jack Benny, although they
apparently do not know each other, are
co-partners in a failing hotel. They can't
get business. Mary is on her way to the
place with Etienne Girardot who wants to
make a health resort out of it. Benny thinks
if he could get representative boys and
girls from the country's leading universities
to come to the place and put on a gigantic
show it would pay. Girardot's ideas are
Harry Watson, Billy Mauch
and Phillip Hurlick in Tark-
ington's classic of boyhood,
"Penrod and Sam."
different. He wants to mate couples
eugenically by first subjecting them to a
"treatment" and then turning them loose
in a perfumed garden to see if they re-act,
Benny sees a chance to get the college kids
there and Girardot sees a chance to get
some human guinea pigs because everyone
knows no one is more anxious to mate
than college kids . . . eugenically or other-
wise.
I don't know how all this is going to
be put on the screen when Carrie who, in
"Valiant is the Word for Carrie," was
nothing but a good, old-fashioned, honest
courtesan had to be white washed no end
before she could be put into pictures.
However, praise be, all this is none of
my headache.
In "Quality
Street," Sir
James M. Bar-
rie's famous
story, Franchot
Tone supports
Katharine Hep-
burn.
"Let's Make a Million" with Edward
Everett Horton is shooting here. It's just
starting and the script isn't finished yet.
But the set is apparently the office in a
small country store. There is an office chair
overtmned and J. M. Kerrigan is lying on
the floor beside it. The door bursts open
and Eddie Horton rushes in, wide-eyed.
"Did you fall, Sam?" he queries.
"I didn't sit down here on purpose,"
Kerrigan retorts with a sickly grin.
"There's something the matter with that
chair," Horton reflects as he walks over
and helps Joe to his feet. "It acts this way
e\cr\ lime you take a drink. How do you
feci?'
" Joe replies shakily. "Pigeons
flying aroiuul- in my head. Yel-
low and green ones."
"Yellow and green |)igeons."
Horton exclaims enthusiastically.
"They're very rare." He looks at
Kerrigan in a worried maimer.
Kerrigan is moaning sliglillv and
holdiiig his head. Hon on picks
up a ijotilc from the lal)le and
reads the label: "Hango Fi//."
You know, wliiinsy lor "Fi//,
HangoN ci ."
[Coiilinurd on page 76]
"Awful
56
Marie Wilson's
frantic portrayals
of dizzy dames in
pursuit of love are
winning her fame
as a real comic.
FOR A
Lover
Paul Muni as
Dr. Pasteur, a
perf ormance
that is expected
to win the high-
est Hollywood
honors.
BOUXDING merrily along in the Valley one morning, not so
long ago, after leaving the airport where I had helped Merle
Oberon see David Niven off to North Carolina (not that
Merle needed any help, but she has promised me David if she
e\er throws him over and I have to stand by and watch my
chances no matter how slim) my mind suddenly turned for no
reason at all to the great lo\ers of the screen. I haxe a mind
(question mark) that's constantly playing tricks on me like that.
There I was breathing in the crisp morning air (neither it nor
1 would be quite so crisp a few hours later), and admiring the
glorious beauty of the mist rising above the mountains which
rise above Warner Brothers studio, and sort of drooling pleas-
antly over the Life More Abundant that we Southern Cali'fornians
enjoy, when all of a sudden my mind does a nip-up and for no
apparent reason I have to start worrying about great lovers.
(Some day I'm going to trade my mind in for a \acuum because
I think it will be more restful, but there are those who will say
it was an even exchange.)
■Weil, I said to myself, every studio just has to have great
lovers, those beautiful creatures with beautiful arched evebrows,
beautiful dreamy eyes, and magnificent body bcautifuls,' or else
dames like me couldn't be lured into the loge scats even on bank
night. Robert Taylor, Nelson Eddv. Clark ' c.alile, Gary Cooper.
Henry Fonda, Gilbert Roland, Charles Bovcr-I began' to count
thcni olf on my fingers just the way 1 do in "Blackjack"-whcn
1 suddenly thought of something else to worry about. Not a
single one of ihc great lovers of the screen is on the 'Warner
Brothers' contract list!
Now how can the Warner Brothers keep on making pictures
year after year if they have no sex appeal, 1 mean the pictures
not the Brothers. Why they'd have to go bankrupt and rent their
sound stages out as farmers' markets and plant an avocado grove
in the l)ack lot. I'oor old Warner Brothers, with no alhue "nan,
no si/zling romance. The studio, I suppose, would be but a shell
of its former .sell, a sou (,! old uiiii lor the touiists to i)rowl
around.
But somclhing was wioin; soincw lici c. bciausc \\luii 1 drew
Pat O'Brien is a
sincere artist and
audiences every-
where enjoy his
convincing per-
formances.
up in front of the studio there was such a hammering as I'\e
never heard and right -ivithin my scope of vision there were four
new buildings going up, t^vo sound stages, and one of them
modestly tagged as the largest sound stage in the world. The
place fairly screamed prosperity right in your face. Uh huh, I
said to myself again, they've got a great lover tucked away some
place there, I've just overlooked him, and far be it from me
to o\'erlook a great lover. "When a dame like me gets in a
dileimna she just barges right in to investigate— and that's exactly
what I did.
Little asterisks now denote a period of time while I am quest-
ing for the roiriantic sex appeal boy of "Warner Brothers, and in-
cidentally eating an early lunch in the Green Room because
I'm a fan ivriter and a free meal is expected of me.
My Big Disco\ery. No actor is the great lover for "Warner
Brothers. Instead of having one stereotvped manner the plavers
there are versatile actors, they are not leading men. Phooev.
they said, what's a great lo\er when you can have a great actor?
(They had me there, me being one to appreciate the arts.)
AVhat's Robert Taylor when yoii can ha^e a Paul Muni? "Who
wants to be just a good looking dope and pose in uniforms and
tails when he can really come down to earth and put his teeth
into something meatv? Our actors, they said, don't just act as a
supporting cast to Glamour Queens, our actors act.
And, believe me, thev've got something there. Take the case
of Robert Taylor, we find him pla\ing' the same person over
and oxer again, and that person is Robert Ta\lor. Since the
public likes Bob (and I'm right there with voii. jjublic) there
is no obvious harm in his repeating his mannerisms. We'd be
awfully mad if Bob contorted that handsome face to play a
shriveled Chinaman, or enveloped that phvsique in rolls of
flapping rags. That's right, no matter how \ve go for Bob Ta\lor,
and personally I go for him like mad, we just "have to admit that
Bob is realh just a leading man, a great lover, and not a great
actor. He cainiot carry a ])icture alonc-that's reallv the test of the
tinng-btu must alwa\s have a Garbo, a Joan Crawford, an
Irene ntuinc. a Janet Gavnor, a Barbara Stanwvck. anv one of
57
A Famous Studio Has Found
tke Formula for Producing
Pictures TKat Make Money.
Claude Rains, an
actor of distinction,
as he appeared in
"Anthony Adverse."
Another studio borrowed Paul Muni to play
the humble Chinaman in "The Good Earth,"
and he created a character of masterly sim-
plicity. (Above) Muni again, but as the
ignorant, uncultured miner in "Black Fury."
the Glamour Girls. The men at Warner Brothers, it
seems, are actors first of all, and to hell with being great
lovers. The shining example, of course, is Paul Muni.
Paul Muni has never played a great lover on the screen, and
I don't suppose he ever will as he is nobody's fool, and definitely
nobody's leading man. But just release a Paul Muni picture and
it makes hundreds of thousands of dollars, and people jam
the theatres even more than they do for Nelson Eddy and Gary
Cooper. Why?-because they know they are going to see great
acting. And, strange as it may seem to us goofy girls, there are
millions of people in this world who had rather see talent than
inch long eyelashes.
As Doctor Pasteur, in "The Story of Louis Pasteur,'" Paul
Muni gave a most convincing performance, so convincing, in
fact, that it is generally accepted that he will win the Academy
A\vard for it tiiis year. As the arrogant, murderous gangster in
"Scarface" he gave an entirely dilfcreiU but ecjually convincing
performance. His acting in "A Fugitive from a Chain Gang"
made cinema history; wherever lovers of good acting are gathered
together Paul Muni's Fugitive is always mentioned with the
greatest of admiration. His characterizations in "Bordertown,"
"Black Fury" and "Dr. Socrates" were all different, biu all con-
vincing, and highly interesting. I have not yet had the good
fortime to see "The Good Earth," which has not been previewed
as I write this, but people who have seen the rushes of the
picture tell me that Muni, as the little Chinese Wang, is nothing
sliort of magnificent.
And I can readily believe them for 1 was on the set when the
company was on location at Chats\\'orth, one day, and saw them
shoot the scene in the wheat fields where Wang kneels in the
wheat and with fear-stricken eyes watches the coming of the
storm that wiW bring terror and desolation to him and his people.
That was not Muni kneeling in the wheat field— it was Wang.
Could one of the great lovers do that? Alas no, they arc so busy
playing themselves on the screen that they could never change
their personality.
Another of the sood actors, but not great like Miuii, 1 (lis-
Errol FJynn's reputation
will live forever for his
performance in "The
Charge of the Light
Brigade."
The never-to-be-for-
gotten"! am a Fugitive
from a Chain Gang."
Paul Muni's great act-
ing actually moved the
hearts of the law-
makers to save the au-
thor of this story from
merciless vengeance.
(At top) Ian Hunter,
an actor with several
successes to his credit.
covered at Warner Brothers,
is Pat O'Brien, the genial
Irishman who has been act-
ing ever since he was a kid
in Milwaukee. Pat had to
fight to be an actor, he says
that all of two thousand
managers turned him down, but he was determined he had talent
and he finally made the grade. The directors call Pat a "sincere"
actor, which means that he invests a part with a naturalness
and makes the audience believe it. His straightforward directness
shows in his work. He's no great lover, heavens no, but you never
see people walking out of the theatre when Pat's Irish pan is
flashed upon the screen. He's another guy who never supports
a Movie Queen, he's generally the big shot of his own picture.
In "Oil for the Lamps of China" he was excellent, and so he
was in "Ceiling Zero," "I Married a Doctor," and "China
Clipper."
Of comse, he gets tossed in silly little program pictures hke
"Page Miss Glory" and "In Caliente" occasionally, and Pat froths
at t?ie mouth and goes into the "front oflice" to tell them what
he thinks of them, but no matter how trifling he considers the
part he has yet to give a bad performance. Yes, Gilbert Roland
may have more allure, but I'll take Pat any evening at the
cinema.
Then there is Claude Rains, one of the best actors in the
business, but definitely no great lover. Claude would feel kind
of silly cavorting with Crawford, Harlow, or Colbert, but give
him a part witli some giUs to it, a part in which he can really
act, and Mr. Rains will give you a performance that will thrill
you to the core. Will you ever forget his "Crime \Vilhont Passion '
or his Don Luis in "Anthony Adverse"? y\s Napoleon in "Glorious
Betsy" he gave the one stand-out performance of the picture.
When people told him he was hammy as Napoleon he reminded
them that Napoleon was hammy.
His first appearance in a picture in Hollywood was quite
unusual. He was brought out from New York to star in "The
Invisible Man" and as vou may recall the Invisible Man was
more or less invisible throughout the entire ])icture, and even
when his lorso was visible his face never was. Even in mv wildest
lli"lils of imagining I jnsi cui'l imagine \Coii I i inifd on page 6^]
58
Silver Screen for January 1937
THIS month I've been browsing around
New York's famous foreign eating
houses; dipping into stacks of yelloAved
clippings; poking my nose generally into
other people's business in my search for
unusual, easy to make recipes of dishes all
of you have at some time or other felt the
urge to prepare. And what an exciting
time it has been!
Here are the recipes for 3 Syrian dishes
the average American never gets ^\•hich
were instantaneous successes with me. And
they are easy enough for a child to make.
HOMMOSS
Soak hommoss (a vegetable very like our
chick peas) overnight, then boil about 2
hours, salting to taste and adding water
when necessary. Run through nut grinder
attachment of meat grinder till it is fine
and ivithout grain. Add a cup of tachin
dressing (this can be bought in cans), half
a cup of ^^'ater, and a cup of lemon juice
(strained) for each half pound, dry \veight
of hommoss. Chill. Serve with 2 tbsps. olive
oil over top of each portion. Hommoss
keeps indefinitely.
BABA GANNOUGE
Peel and slice a medium egg plant, and
steam in top of a double boiler till it can
be mashed with a fork. Beat well. Add a
cup of tachin dressing, half cup of lemon
juice, half cup of -water. Salt to taste. Mix
thoroughly. .Serve with parsley and olive
oil.
RICE PELAFF
Soak unwashed rice (1 cup) in hot ^vater
for 2 hoins. Tlien wash thoroughly in cold
^^•ater. Melt quarter |)Oun(l butter and cook
rice in it for 1 minuu-. Add lamb broth
until it covers rice !)) more than half an
inch. Cook over slow fire 30 minutes, or
until rice has taken up all the broth and
is thoroughly dry.
.At a certain iini in New York's CHiina-
town I had one of the most delightful of
Cantonese dishes. It is one of ihc simplest
\vays of preparing chicken but it has a
never- to-bc-forgoticn flavor.
WAT GAT
Take a broiler— about 21/2 or 3 pounds-
clean and place in a |)ot greased wiih
vegclabic oil over sltnv rnc, mining lo
\'enl binning, lor ahoul lo minulcs Soak
and seed i (iniicc Iimil; ihc icd, ilrv,,
Cultivate
A Taste
For Foreign Dishes
It May P rove A.lmost As Exciting As A
Trip Around The V/orlJ.
By RutK Oortin
Maxine Jennings likes
to experiment with
unusual recipes.
sweet Chinese prune. Slice i ounce Chinese
mushrooms, 3 ounces bamboo shoots, 2
ounces gum choy (a long, yellow very dry
\egetable) to size of water chestnuts, of
Avhich you use 3 ounces. Mix together and
fry a golden brown with a little broth to
which has been added salt, pepper and soy
sauce to taste. Stuff browned chicken ■with
vegetables, replace in pot and brush with
butter brush dipped in soy sauce. 'When
bird begins to look dry pour in some kind
of broth. It should not take more than 40
minutes to cook chicken but your fork is
a good indicator. Medium oven 350° F.
Mexico contributed this next recipe,
which I picked up a few years ago in
Hollywood. You can buy Enchaladas ready-
made, in cans, but not so good as those
you can make with this very easy recipe.
ENCHALADAS
Take 2 cups flour, 2 tbsps. cornmeal, 1
tsp. salt and enough water to make a thin
batter. Have your grocer grind three
poimds of either beef and veal or beef and
chicken. Boil this meat until well done.
Make a sauce of 2 cans hot tomato sauce,
and an equal amiount of -water in ^vhich
boil 1 tbsp. cumin seed. Add sauce, a dash
of red pepper, mustard and salt. Thicken
if necessary. Keep meat filling and sauce
hot and bake cakes size of a large pan, as
needed. Lay on plate, put 2 tbsps. meat on
one side of cake and flap other side to
cover meat. Cover with sauce, sprinkle with
grated cheese and garnish with parsley or
lettuce and olives.
If you like Chili Con Came you can buy
it in compact brick form, add a little \vater
and cook to desired consistency, 'i'ou'll find
it not only economical but quickly pre-
]5ared and quite as tasty as if von had
spent an hoiu" or more in its ]ireparation.
•Mong the Texas border arid in Oklahoma
T have eaten what is called "Chili 3 \Vavs."
Il is nolliing more than Chili poured o\'er
well (ddked s|):iglu-lli but it is delightful.
Russi.i — in particular a cozy resiainant
o\er neai llie Fast River in New York C'ilv
— is ri'sponsible for these two perfectly
grand dishes.
BLINTCIIIKY
2 eggs 2 tbsps. sugar
i<J ( up flour Hair cup of milk
I/, Isp. sail Collage cheese
Sour cream
Heal eggs unlil liglu ami add milk. Mi\
sugar, salt, and flour together and stii
quickly into liquid, being sure to get out
all lumps. Have ready a hot, well buttered
frying pan. Pour in enough batter to cover
bottom (about 3 tbsps.). Shake well over
fire until it spreads out into a thin layer.
^Vhen brown on bottom and firm to touch
on top, turn out on a towel and put a
generous tablespoonful of cottage cheese
in center. Roll up at once turning ends
under. Serve with sour cream.
1 small onion
I cup of carrots
1 cup of tomatoes
2 tbsps. butter
Half cup of celery
1 tbsp. vinesrar
BORSCHT
2 qts. ineat stock
2 cups of shredded
cabbage
Salt and pepper
2 cups minced beets
2 potatoes minced
Sour cream
Mince onion and fry until brown in but-
ter. Add to meat stock -ivith other vege-
tables. Simmer 2 hours. Season with vin-
egar, salt and pepper. Serve and add to
each plate 2 tbsps. sour cream.
And from one of England's far-flung
frontiers comes—
INDIAN CURRY
1 small apple
2 tbsps. butter, more if necessary
2 tsps. curry powder
1 tsp. lemon juice
2 tbsp. chopped onion
3 clo\ es or pinch of powdered cloves
Peel and cut up apple and onion. Put
into frying pan -ivith butter. Bro^vn. Squash
into a paste. Add curry powder, clo\es and
lemon juice. Simmer slowly 10 minutes.
Your curry mixture is no^v ready and can
be used with rice, baked sausage, fish or
eggs. Cold lamb or any left over meat
makes an excellent curry simply by mixing
■ivith a little rice water and meat gravy and
cooking for 10 minutes. Serve with filajor
Grc\'s Chutnev.
.\ grand climax to this r,-star assortment
of foreign dishes is this cake from France.
GATEAU AUX NOIX
5 ounces finely chop]5ed walnuts
2 oinices fine dry bread crumbs
Grated rind 1 small lemon
Pinch of salt Pinch po-wdered mace
ounces sugar I'j ts]). finely ground clo\es
5 egg yolks 5 egg whites, stifllv beaten
Cream beaten yolks -with sugar, add
chopped nuts and other ingredients one by
one, and lastly fold in beaten whites. Mix
ihoroughly. Bake in loaf cake pan in slow
oven-about 275° F.— for ii/, hours. Make
cake day before wanted. Jirst before serv-
ing, cut into thin slices, spread each with
whipped cream, and ]ilace I hem one on top
the olhei unlil cake is built up again.
59
Buck Jones be-
lieves in a good
luck charm that
he has had for
many years.
(Above) Virginia
Bruce keeps a
memento of her
former life.
Safe
S
DEPOsr
Una Merkel
keeps a scrap
book of press
clippings that
recall her "yes-
terdays."
vays
will
probably
water!
"My dad gave it to me long ago,"
laughed Charles. "I recall his words per-
fectly. He said, 'Charlie, my boy, keep
this deed and pass it on to your children.
Let it be a grim reminder never, never,
never to buy real estate that you don't
see Avith your own eyes!' "
Carole Lombard has a much-handled,
EGRETS
By Oordon R. Silver
WHAT is in the safety boxes of
great motion picture players?
Reference is not made to tangi-
ble values, stocks, bonds, the family silver
and the like.
Safe deposit boxes at the various Holly-
wood banks, in addition to the storage of
valuables, hold many strictly sentimental
treasures, things the screen celebrities
o u 1 d n ' t part
with for any-
thing in the
world.
Comedian
Charles Butter-
worth, for in-
stance, keeps as
a memento and
a warning the
deed to a lot in
a certain little
town in Illinois.
The lot is and
be— ten feet under
HiJJen Treasures Dear To
TKe Hearts Of Tke PI ayers.
cancelled check for fifty dollars— payment for ten days' work as
an eleven-year-old child in Monte Blue's silent picture, "The Per-
fect Crime."
The thing Ann Harding prizes most is a blackthorn stick, a
oot long! Not so odd that she should rate it so highly, when you
learn that it was made by her father (the late General George
Grant Gatley) when he was once stationed in Cuba.
It has a heavy silver head and tip, and would be very handy
as a weapon of defense, but since her dad's passing,
Ann has kept it hidden at the bank. She used to
carry it as a swagger stick.
Basil Rathbone has in his box the torn and muddy
coat of his brother John. It was taken from the body
of Lieutenant Rathbone alter he had been shot down
in Flanders. . . .
A blonde wig is to be found nestling beneath
Myrna Loy's will, and the deed to the house in which
she lives. It is a memento of that part in "What
Price Beauty," directed by Mrs. Rudolph Valentino,
which marked her film debut. Also, in the same box,
is a pair of sandals Myrna wore in the "The Desert
Song."
Irene Dunne cherishes an old-fashioned locket, the
gilt of her inother, in which reposes the tiny frag-
ment of a note. This note, in the handwriting of
the late Florenz Ziegfeld, was sent to her dressing
room at the end of the first act during her tryout
performance for the role of Magnolia in the initial "Showboat"
road company to be organized by the producer. The note reads:
"My troubles are over! " It was Ziegfeld's method of telling her that
she -would have the role.
y\nother keepsake is a gift to her from Laura Hope Crews-an
exquisite lace fan. It is not only a token of friendship and love,
Miss Dunne says, but the fan has a history that also makes it sink
into one's heart as a precious treasure. It
was in Miss Crews' family for far more than
a century; in fact, it was carried in Colonial
days by an ancestor of hers, a lady who
was a beauty of the day, and whose fan,
Irene rather thinks, must have set a new
fashion in those early years of our country.
Yet another item dear to her inner self,
is a tiny doll. This is her one souvenir of
herself. It wears what Irene calls an Alice
blue gown, and it is the doll to which she
sang in the stage musical, "Irene."
Clark Gable still has the lucky penny he
flipped to decide between stage stardorn
and a career in motion pictures and it's
there in his bank box.
Virginia Bruce's hidden treasures bring
her both sad and glad memories of her
late husband, John Gilbert. Besides rings, pins, watch chains
and such that he owned, she has what she terms her most pre-
cious possession and she says she Avouldn't part with it even
for a day for a million dollars!
It is a short story that Jack wrote shortly before he passed
away and is entitled "Thou Shalt Not Tell." It relates the story
of a cynical, bitter man whose beloved only child dies. 1 hen
his ^vife leaves him and he loses all of his money in a big busi-
ness gamble. At last, discouraged and weary of everytliing on
earth, he dies and goes to heaven and finds there such wonder-
ful, such magnificent peace that he begs to be allowed to return
to earth in his original form and personality and tell all creation
of the beauty and happiness he has found in the other ^vorld.
But, in place of bringing peace to men and women of the earth.
it biings such disconlent whh life on the
earthly planet that he is warned to return
pirit world al)o\c, and to keep to
himself the glories
he has loiuid lest
all civilization be
ruined . . .
An altogether
different sort of
prized possession
belongs to Fred
Stone, who made
such a fine screen
debut with Kath-
arine Hcpliurn in
"Alice Adams."
Resting in his l)ank
deposit box are a
[Cfiil. nil I'/igr
1
Ann Harding
keeps a stick once
carried by her fa-
ther. (Center)
Fred Stone has an
odd souvenir of the past. (At right) Anne
Shirley has a childhood engagement ring.
60
Silver Screen for January 1937
Review
OF THE
New Pictures
THE GARDEN OF ALLAH
Tragic Romance in the Desert— Sc I znick
International
THE Technicolor version of the Robert
Hichens novel, a best seller of several
generations ago, is by far the most beautiful
of the color pictures. Never on stage or
screen have you seen anything so breath-
takingly lovely as the silhouettes of desert
caravans against the rising and the setting
sun. Marlene Dietrich is certainly one of
the Glamour Girls who takes to color like
a duck to water. The glamorous Marlene is
simply ravishing in her close-ups, and her
reddish gold hair, clear blue eyes, and
perfect profile make her the most beautiful
of the stars yet to be seen in technicolor.
Co-starring with Marlene is Charles Boyer,
the handsome French actor who has a dev-
astating appeal to women.
The story, alas, is not nearly so exciting
as the color and the stars. As you probably
remember, it's about a Trappist monk who
breaks his solemn vows to the Church and
runs away from his monastery in Northern
Africa to see the world. In a nearby desert
town he meets and marries a young woman
Avho has also just escaped from a life of
repression. The monk is continually
haunted by his broken vows, and this secret
gradually becomes a definite barrier be-
tween them. Finally he confesses to her what
he has done, renounces his love and worldly
delights, and returns to his monastery to
seek again a peace of sou\. No matter how
beautiful the color and Marlene, it is still
the story of the renegade
monk. A pictorial highlight
of the picture is the dance se-
quence of Tilly Losch. Also
in the cast, and excellent, are
Joseph Schildkraut as a
poetic desert courier, Basil
Rathbone as Count Anteoni,
and Lucile Watson as a
mother superior.
GO WEST, YOUNG
MAN
A Neav Mae West Laugh-
^EiTt— Paramount
T'HE new W^est picture isn't
^ up to the glorious old
standard of "She Done Him
Wrong" but it manages to be
very amusing and gay (the
censors don't have to frown too much) and
Mae's fans will all be quite pleased about
it. Mae plays a spoiled and temperamental
Hollywood movie star who is doing a per-
sonal appearance tour in the East. And, as
is the Hollywood custom, she is accom-
panied by a press agent whose business it
is to see that she says and does the right
things. Mae has an eye for sinewy males
and Warren William, her press agent, has
quite a time of it keeping her out of en-
tangling relations.
Mae's car breaks down (Connie's Rolls
rented out for the occasion?) in a hick
town and she has to spend the night at
Mrs. Strothers' boarding house, and here
she meets Randy Scott, a country boy Avith
an invention and a lot of sinews.
Isabel Jewell and Maynard Holmes, as
a couple of movie-mad fans, are excellent.
And so is Elizabeth Patterson as Aunt Kate.
Alice Brady, unfortunately, is entirely
wasted. As you know, the picture is adapted
from Lawrence Riley's successful stage play
"Personal Appearance," in which Gladys
George starred for over a year. Some of
the best lines are deleted (censors no doubt)
but they still have that SAvell one where
the mo\'ie star calls her fans a "bunch of
THEODORA GOES WILD
A Gr.vnd, HiL.Ajiious Comedy— Co/iu«b/a
OLUMBIA may be one of the smaller
Hollywood studios but when it puts
its mind on turning out an uproarious
romantic comedy it chalks up a hit every
time. Theodora is a ivorthy follo\v-upper of
.Mr. Deeds.
Irene Dunne, than whom there is none
Icnr'icr on the screen, plays Theodora, a
\-.in\; girl brought up in a strict New
r.nnland town by tivo spinster aunts and
as full of repressions as a fruit cake is of
rai'iiis. In secret, and under the nom de
|)hune of Caroline Adams, she writes a
daring best seller on a subject she knows
nolliing aboiU, viz.. Sex. The book is im-
iiu'diaicly banned by the Ladies Literary
Sotiety of the tOAvn— of which Irene is a
mem her. \ swell situ-
ation? Vou bet, and
the picture's full of
til cm.
On a visit to her
New York publisher,
she meets Mclvyn
Douglas, a dashing
"Fugitive in the
Sky" has a gay
cast — Gordon Oli-
ver, Warren Hull
and lovely Jean
Muir.
Silver Screen for January 1937
61
In "Theodora
Goes Wild,"
Irene Dunne
and Melvyn
Douglas develop
romance among
the fish.
young illustrator,
who twits her
about her prim-
ness and even fol-
lows her back to
Connecticut to egg
her on to kick
over the traces.
Having fallen in love with him, Irene
takes his advice finally and goes wild
successfully, too successfully, with
headlines in all the newspapers. She
turns the tables on Douglas, whom
she discovers has a whole slue of re-
pressions of his own. There's one in-
sane comedy sequence after another
until the gal finally gets her man.
The scene where the shocking Theo-
dora, alias Caroline Adams, returns
to the prim little town with a baby in
her arms, is the brightest, most hilari-
ous comedy spot of the year.
THE
IN
himself another girl with a
much wealthier father and the
course of true love runs
smoothly.
Eugene Pallette and Cathe-
rine iSoucet play Jane's mother
and father. The best comedy
is contributed by Nat Pendle-
ton as the rich girl's body-
guard.
FUGITIVE IN THE SKY
Another of Those Aviation
Thrillers— Warner Brothers
WE FIND high up in the
skies on a transconti-
nental plane, the Kansas City
Limited to be exact, a news-
paper man, a pretty steward-
ess, a G-man, a public enemy
No. I disguised in a woman's
clothes, an old lady busy mak-
ing astrological charts, and a
murdered man.
There is much ado, to be
sure, -^vhen the killer rips out
a gun from under his feminine
skirts and takes charge of the
frightened passengers. He
forces the plane to land in a
dust storm but is captured, be-
fore he can make his escape,
by the good old G-man— and
then, to everyone's surprise, it
is discovered that he didn't
murder the passenger after all.
you just know there'll be plenty of bright
humor, and there is. Ann models smart
clothes for photographic purposes and
Helen manages the advertising studio
where she works. They bribe Eric Blore,
valet of the extremely wealthy and social
register Gene Raymond, to let them use
his master's yacht as a background for a
series of yachting costumes.
The male model is late showing up at
the yacht so when Gene comes aboard,
quite surprised by it all, Ann mistakes him
for the model and puts him to work help-
ing her with the pictures. Of course they
fall in love and Gene continues to disguise
himself as a male model until the hilarious
finale. There's nary a dull moment.
TARZAN ESCAPES
Excitement in the Jungle— M-G-M
THE kids will simply go crazy when they
get a look at the latest Tarzan picture;
there'll just be no keeping them from fall-
ing out of the balcony in their ecstasy.
And, judging from the previe^\' audience,
there'll be many an adult who gets a thrill
out of it too.
Jane and Tarzan (Maureen O 'Sullivan
and Johnny Weissmuller) are very happy
in their jungle home, with Cheetah the
chimpanzee acting as housemaid, and an
elephant performing the duties of an
elevator boy. Yes, all is peace and happi-
ness in the jungle until one day Janes
relatives appear and start pleading with
Jane to return with them to London and
help them save the family fortune. It's all
LUCKIEST GIRL
THE WORLD
A Routine Plot— But One That's
Always Good— Universal
THIS is the story of the rich girl
and the poor boy and if you think
it sounds familiar you are definitely
right. "It Happened One Night " is
its Alma Mater. Jane Wyatt plays the
rich society girl who becomes infatuated
with a scheming insurance salesman. To
prove to her father that she can live on
the salesman's salary she takes $150 and
leaves home for thirty days.
In a cheap boarding house she meets
Louis Hayward, and by the time they have
had a series, of whimsical misadventures in
connection with the community use of the
Irathroom they have fallen in love with
each other. The conniving salesman finds
Catherine Doucet, Eugene Pallette and Jane Wyatt,
in "The Luckiest Girl in the World," bring to
the screen a picture of charm and subtlety.
Warren Hull plays the newspaper lad,
and Jean Muir his fiancee and tiie plane's
stewardess. John Litel is the G-man and
Howard Phillips the killer.
SMARTEST GIRL IN TOWN
Mistaken Identity Is the Theme— 7J-/\-0
ANOTHER of those gay, romantic
comedies starring [)retty Aim Sothcni
and Gene Raymond. And. of course, with
Eric Rlore and Helen lirodcrick in ilic cast
a hoax to get Jane back to civilization
the poor girl doesn't know it so she
senls to go back with them.
With the relati\es comes a_nasty tra
who is in cahoots with a tiilic of 1)
thirsty savages, who plans, with the!
sistance, to get Tarzan in a cage and
him back to England to exhibit in
shows. He gets the genlle Tar/an in a
all right, but wlicii Tar/an sees his be
Jane and her relati\cs al the mcrc\ o
[Coiiliiiiicil oil jxii^c ()()]
hut
con-
pper.
lood-
r as-
takc
sidc-
cage
oved
if the
62
Silver Screen for January 1937
They Broke The Apron Strings
about Russia under the Soviet regime.
When someone on the ship between Lon-
don and New York thought that she should
make a test for pictures, Frances was
amused. She was a journalist . . . not
an actress. When Talent Scout Oscar Serlin
(of Paramount) invited her to the studio
tor the test, she was still amused. It would
be an amusing lark . . . and something to
write about when she returned to Seattle.
So she wasn't frightened ^vhen the make-up
men went to work on her or when she
eventually faced the lights and cameras.
^Vhy should she be? She had nothing to
lose.
Ah, but she had something to gain! The
test was viewed and before she could say,
"Jack Robinson" or even, "Dear me!" here
she i\'as in Hollywood, facing more make-up
men and more cameras and with the dotted
line of a contract under her pretty and in-
credulous nose.
But, what if she hadn't written the essay?
^Vhat if she had listened to sage advice and
declined to go to Moscow? What if her
initiative had not led her on to those fur-
ther travels which brought her, at last, to
Ne^v York and the screen test? What if
she had not broken those home ties?
Errol Flynn's path to Hollywood was
even more erratic, more unplanned and
more astonishing. It led him from green
Ireland, where he was born, through
jungles, along turgid rivers, through steam-
ing swamps and it included pauses in some
of the most colorful of South Sea ports. It
furnished him ^vith some vivid adventures
. . . and also with some grim and drab days
and weeks in London, looking for a job.
The urge to wander was an important
part of the general make-up of the Flynn
family— and Errol's father took him to far
parts of the world while Errol was a mere
boy. Small wonder then, and no surprise
to the family, that he ran away to sea at
an early age, earning his way on tramp
steamers and freighters to still farther, un-
explored ports. Before he was twenty he
o\vned his own schooner and was plying
here and there about the South Seas.
An amateur motion picture company
hired the schooner (Mr. Flynn's services as
skipper were included in the deal) to cruise
about those far parts for the purpose of
obtaining "background shots." Since the
company had almost no cast and very little
money, Errol consented to act as something
or other against the backgrounds of palm
trees and lagoons.
He does not know where, if ever, the
picture was released.
Later on, under a similar arrangement, he
pla\ed (of all things!) the role of Fletcher
Christian in "Mutiny on the Bounty,"
which stoiy a small, fly-by-night company
was filming near Tahiti. He doesn't know
uhat became of that picture, either. Bin
perhaps it ^vas those experiences before the
cameras which impelled him to return to
England and nearly starve to death in the
effort to find work on stage or screen.
He didn't, you see, return to Ireland.
Those ties had long been severed.
The luck o' the Irish eventually won him
an almost invisible part in "Murder at
Monte Carlo." Irving Ascher noticed him
and sent him, forthwith, to Hollywood
where he waited nine months without
iloing anything at all before he was cast,
lo everyone's surprise except his own, for
the role in "Captain Blood." That, of
course, (lid the trick and made him famous.
If adventure is in ihcir blood, no amount
ol movie fame and adulation can remove
!t. As this is \vritten, Errol is olf for Bor-
neo and other remote parts to spend his
vacation in the pmsuit of fish, new ex-
[Continued from page 33]
periences and several thousand feet of film.
Fate and a devious path may ha\e brought
him to Holly\\'ood. Nothing can keep him
here ... so long as that thing is in him
which made him leave the comfortable
home, the fireside, and set forth after . . .
well, I'm convinced that he didn't know
what he was after! I don't think that he
knows what he is after, now, as he sets
forth for Borneo. But I'll wager that it
will be the beginning of something or
other!
Simone Simon was born in Marseilles,
France. When she was ten her family
moved to Madagascar, on the East coast of
Africa. From that time on her life was
filled with drama and change. She lived
and went to school in Budapest, Turin,
Berlin and Paris. She was studying design-
ing in Paris when the Russian director,
Tourjanski, saw her sipping coffee at a
sidewalk cafe, introduced himself and asked
ANNOUNCEyMENT
npHE February issue of Silver
Screen will have a long "Pro-
jection" of Loretta Young's inter-
esting career, as told to Elizabeth
Wilson. . . . Ben Maddox digs into
the doings of the players who are
aviation conscious. . . .An exclusive
feature of this next issue will be
the fictionization of the picture,
"Captains Courageous," in which
Freddie Bartholomew stars. . . . Ed
Sullivan, the Broadway Columnist,
tells how Hollywood fixes the stage
favorites. On sale January yth.
The Editor
her to make a test. She slapped his face.
But she must not have slapped it very
hard, for the next day she went to his
studio and made the test.
Now, this was exciting, but rather fright-
ening. Success came to her swiftly in Eu-
ropean pictures . . . but Simone was
accustomed to swift, colorful experiences,
with a European backgroimd. The success
did not astonish her as much as it might
have a less experienced young ^\'oman.
Her first really important adventure
came, I think, when she left the familiar
European haunts to come to Hollywood
. . . when she left behind her the friends,
the associations, her family, the gay hodge-
podge of Continental capitals, to come to
a land which Avas strange to her, indeed!
She came alone. She hadn't a friend,
knew not one soul in this bewildering
Hollywood. She did not understand the
language and she was prepared . . . nay,
determined ... to be annoyed at practically
everything. She must, she thought des-
perately, make her presence known, con-
vince people that she was a Personage. And
this she tried to accomplish in the only
way she could think of.
She stormed. She shouted. She sulked.
She demanded of her producer that he
help her find a panther lor a pet. She was
appalled when the people around her
merely smiled and allowecl her to have her
own way or lo think that she was lining
it . . . even to the panther. That amused
tolerance made her think that she had
failed lo register as a Personality.
Actually, she was a very homesick, for-
lorn little object. Each week she told her-
self, "Next week I shall go home to Europe
where they know me and mulerstand me—
and where I can understand them and
^vhat they are doing. They understand,
over there, what I mean ^vhen I get into
a temper! "
But she did not go home. Not even
•when she was obliged to retire from the
coveted role of "Cigaret" in "Under Two
Flags." That hurt. But she didn't go home.
She -^vaited long months before another
part came her way. And she became more
cheerful, less tempestuous, during that
trying ^vait.
There was in her, you see, that streak
of stubborn determination which is char-
acteristic of all these young things— that
something which gives them the courage
to break those home ties, to make them,
see the job through, no matter how lonely
they may be, no matter how discouraged,
how stranger-in-a-strange-land they may
feel.
After the preview of "Girls' Dormitory,"
Simone commented, "For months no one
called to ask me to go somewhere. Since
that picture is previewed, everyone calls to
ask me to go everywhere. Is this success?"
Yes, Simone, we are afraid it is.
But . . . Simone has bought a house in
Beverly Hills. She is making friends, she
is learning to speak English. She no longer
feels that people are unfriendly or critical
of her. The loneliness and homesickness
are forgotten now in the flush of success.
But what if she had been afraid to break
those ties?
Randolph Scott did not travel quite so
far as these others to get here. But it took
hiiri nearly as long to arrive as it did these
others.
When Randie, born and bred in a small,
Southern town, inherited a bit of money,
of course the old family friends advised,
"Now, son, you just invest it here ivhere
you know everyone and can trust everyone
. . . where everyone knew your grandfather
and your Uncle. . . ."
And when Randie placed that money,
firmly, in his pants' pocket and annoimced
his intention of setting forth for Holly-
wood, people, naturally, raised their hands
and gave him up as a bad job. "^Ve'll look
after you here," they averred.
"I don't want to be looked after," quoth
Mr. Scott.
First thing you knew, here he ^vas. The
Paramount publicity department sent him
to call upon me, whether he liked it or
not, I enjoyed it ^ery much.
He didn't tell me . . . and I probably
never shoidd have knoisn it if a casting
director hadn't grown confidential one
afternoon, that Randie had a long, deter-
mined struggle to go through before anv-
one gave him a chance in pictiues. There
wasn't anvone in Hollywood to "look after
him" ^^hen he was discotnaged and im-
happy. He had cut those protecting, family
ties.
He had coinage and belief in himsell to
add to the breeding and the background
which were his heritage.
You don't think of Scott, somehow, as a
fighting man. He is too gentle, too cour-
teous, too slow of speech. But he waded
through a swamp of inferior rt)les, waited
and worked and tried . . . before he ■\\as
linally recognized as a potential star.
The courage, I repeat, of these young
]icople must inspire you. The vision, how-
c\er unformed it mav be, of their own
potentialities is something to consider.
They . . . each and every one of them
. . . went out alone to conquer the world.
Most of them had to travel a long, long
way. They are still young, still a bit breath-
less. But here they are!
Silver Screen for January 1937
65
Between pictures, the sea-going blood of Lewis Stone
comes to the front, and with Mrs. Stone he sets sail.
The Quest For A Lover
[Continued from page 57]
Robert Taylor or Henry Fonda or Charles
Boyer or any of the great lovers playing an
entire picture without a face. Can you?
Also at Warner Brothers I found Ian
Hunter who was brought to Hollywood by
Warners to play the Duke of Athens in
"Midsummer Night's Dream" and was so
excellent that he was handed a contract,
and has since given a fine account of him-
self in "I Found Stella Parrish" and "The
White Angel."
Then there are Frank McHugh, Allen
Jenkins, Guy Kibbee, and, last but not
least, Errol Flynn. And now we're really
getting somewhere. I have my secret sus-
picions that no matter how much they
deny it Warner Brothers are about to find
in their midst a great lover. That Errol,
he certainly has what it takes. I can go
nuts over him at the mere drop of an eye-
lash. But, so far, Warners has rather kept
him under wraps as it were. In "Captain
Blood ' he ivas romantic and swash-
buckling, but it was a spectacular picture
which isn't a good test for a great lover.
And in "The Charge of the Light Brigade"
he is kept so busy dashing around on horse-
back working out a revenge on the Surat
Khan that he has little time for romance,
in fact his own brother walks off with his
girl. A great lover would never allow that
to happen to him.
But rumors from the stage where Kay
Francis and Errol are co-starring in "An-
other Dawn" rather lead me to believe
roared for thirty minutes. Every attempt
on the part of the performers to play a
scene was broken up in the roars of
laughter that saluted the effort. Every men-
tion of the donkey in the dialogue that
follo\ved sent the audience off into a fresh
fit of merriment. Ruggles summed it up in
one sentence when the cast sorrowfully
gathered backstage: "The donkey made a
jackass out of all of us." The torch singer
in that show later became a Page 1 head-
liner, Libby Holman.
I remember, best of all Eddie Cantor's
that once this picture is released Errol will
automatically become a great lover. Well,
we can always use another one I always
say, but here's hoping that Warners will
give Flynn the same break they give their
other actors and not stereotype him. I'd
hate to see him go through life being Kay
Francis' leading man.
Now I am reminded of a story. It's quite
apropos of what we've been talking about.
Broadway Remembers
[Continued from page 17]
appearances, that in "Whoopee," when
they're talking about operations, and he
says: "Did you see my scar?"— and starts
pulling his shirt out of his belt-line. Can-
tor always said that this was the funniest
bit of material he ever had on the stage,
and that it proved that humor, to be at
its fimniest, must be down to earth and
must concern itself with an everyday event.
The majority of people have had opera-
tions, and the majority of people want to
tell you about 'em. Cantor exploited the
common weakness and, night after night,
Two actors, real actors but unappreciated
were standing in front of the Brown Derby
when a super elegant roadster dripping
chromium drew up and a Personality Boy
^vith his locks gleaming and his shirt open
at the throat jumped out. "They say he's
getting four thousand a week," said the
first actor gloomily. "Oh, stop grouching,
said the second actor, "What do yoti care?
He can't act."
in "Whoopee," was rewarded with belly
laughs.
Sez the editor: do you remember one
thing else? Yes, I sez, I remember Claudette
Colbert— no, no, sez the editor, do you re
member that I told you only to write five
pages?
Yes, I sez, I do remember that. Then
sez the editor, quit. You have ^\'ritten five
pages. This is not the Congressional Rec
ord, this is a discriminating family maga
zine, and brevity— yes, sez I— brevity is still
the soul of wit, sez he.
In The Pmk of Condition
John Boles brings his two daughters in to
vie with him and you ought to hear them
howl e\ery time he rolls a "poodle." (I.e.,
doesn't topple a single pin, but accidentally
drizzles the ball down a side gutter.) Lee
Tracy has a take-off like an airplane and
Andy Devine seems to be having the most
fun. Gary Cooper displays the most unsus-
pected sense of humor when he and San-
dra are there. He isn't gushy, but-as the
management contends— he's "a swell fellow."
Ping-pong (midget tennis) is another
sport "the stars have gone tor with a ven-
geance. If you don't mind attaching a
miniature tennis net across your Queen
Anne dining-room table— or is yours Renais-
sance?—you can play it without a spe-
cial table. However, I think it's advisable
to save the furniture. \ou must keep the
hall from bouncing on the floor, naturally,
and that's the excellent attriliutc of the
sport. If you're a whiz you're on a continu-
ous jump, and if you're rotten you're for-
ever bending down to retrieve. Either way
you're giving yourself a workout. Fay Wray
[Continued from page 27]
and Dick Powell are the village champions.
Dick's new ping-pong table is so heavy
that three men are required to move it. He
has installed it in the patio adjoining his
and Joan's playroom, and before you can
sit down and gossip you have to take on
your host and hostess. Dick's taking no
more chances with his health.
Those who are anxious to ac(iuire more
grace are Hocking to fencing instructors.
Here, according to Basil Rathhone who
wouldn't dream of missing his daily lesson,
is the ideal sport. You have to be precise,
fast, and tlioughtful. In five minutes you're
in a most decided perspiration. The foils
are blunt and you always don a mask and
chest protector, so (here really is no danger
in\oIved. Errol Flynn, Frcdric March, and
Gene RaMHond arc almost as adi'pl as Basil.
Women are fcnchig now, loo. Aniia Louise,
Oli\ia dc Havilland, and Josc|)iiine Hutch-
inson are the most cflicicnl lady fencers—
and that alone indicates that it isn't a
tough hobby. Josephine just relmned from
New York, where slie went lo select a
fencing outfit that would be more striking
than anyone else's.
Polo is attracting the riders who are
tired of doing the bridle paths. It's a rous
ing sport that's unequalled for thrills, and
consequently the various polo fields near
Hollywood are very much the vogue. Stars
rarely have time to play baseball, but
I'red MacMurray and George Raft ha\c
started to play \vilh the studio teams when-
e\'er they ])ossibIy can. At the swank Holly-
wood Athletic Club, and the other private
conditioning clubs, handball, squash, wres-
tling, and boxing are intriguing the stal-
wart. Joel McCrea and Gene Raymond and
Tom Beck drop in to the Hollvwood A. C
practically every day and so does Johnnv
^Vcissnulller when he's not in London with
Lnpc. Harold l.lovd and Pat O'Brien have
built super handball coints at their homes
and invite their pals lo join ihem there.
I'm going out to the bowling alley and
practice. If it's what Ginger Rogers goes
for, it's good enough for me. Mavbe I'll
soon he belter than that Jimmy Stewart
64
Silver Screen for January 1937
The Waif From The Yangtze [continued from page 30]
longed to a small, moon-faced urchin ^vho
looked, in his Chinese clothes, like an over-
stuffed pincushion. An irate Chinese
mother pursued the foreign devil, proclaim-
ing that he was stealing her child and
while they all argued with a bearded sikli
policeman Tommy gave the officer an im-
patient push and he sat down in the mud
puddle. After that jail followed as the night
the day.
Susan was cold ^vith fright and fury
when the adventurers got back aboard
Tommy tried to explain, "Now look, Susan,
the whole thing was an accident! You know
me. You know I wouldn't—"
"Yes," she answered bitterly. "I do know
vou. I know you can't be trusted. I should
have known it before." She took Johnny's
hand.
"Please, Susan!" Tommy begged.
"Don't be mad at Uncle Tommy, Susan,"
Johnny joined in. "He didn't mean to knock
the policeman down."
Richard stepped between them, taking
Susan's arm. "IE you don't mind?" he said,
with raised eyebrows and perfect calm. His
manner put a definite end to all discus-
sion. Tommy went away in disgrace.
Richard had much to say to his mother
and Susan about life in Bangkok. Of course
there were natives, he admitted in the
same tone as a Long Islander admits mos-
quitoes. There was some sort of quaint,
native civilization, too, no doubt. But their
little colony didn't mind things like that.
They just had nothing to do with it. "Why
the houses were as modern as you'd find in
any good American suburb! Lots of closet
space, fully equipped laundries, all that
sort of thing. You played bridge every
day and you got to know your opponent so
well you could guess every card he'd play.
And tennis was the same. Then Richard
drew a floor plan of the house he had
taken for them and showed Susan where
her room would be and where Mother's
room would be, and Susan, who hadn't
counted before on a mother-in-law under
her o^vn roof, definitely saw romance fly-
ing out the port hole.
Richard and his mother had a great
idea. The marriage must take place on
shipboard— and at once.
"But why?" Susan gasped, somewhat sur-
prised.
Mrs. Hope told her severely that her
marriage to Richard would stop the ship-
board gossip about her and Mr. Randall.
Susan had been making herself unfortu-
nately conspicuous with Mr. Randall and
something must be done about it.
In Susan's gentle heart the first stir-
rings of rebellion might be noted. First
she had waited four years for Richard
and ^vhen he did appear he was even
more of his old, correct self than she re-
membered. ^Vhy, he scarcely even kissed
lier. And she was pretty thoroughly sated
with Mrs. Hope and her eternal managing
of her romance. Now she faced a life time
of marriage to Richard and life in Bang-
kok, where the proper people never con-
cerned themselves with anything that wasn't
exactly like life in any good American
suburb! And lo cap it all her mother-in-
law meant to live willi lluin!
While Susan was pondering ihis, Tommy
Randall had a shock. The strange little
waif who had won his heart was to be
lakcn awav from him.
Johnny had no people to claim her. The
Captain saw nothing to do but send her
to an orphanage.
"But couldn't I adopt her? " Tommy
argued.
"■^'ou re not married, Mr. Randall. I'm
afraid the authorities would never consent
to adoption so long as you're not married."
It was then Tommy spied Susan who had
come on deck for just a few moments' res-
pite from Richard and Mrs. Hope. He
hastened to her side, made bold by his
desperation.
"Susan, they're taking Johnny awRy.
Going to put her in an institution. Pig-
tails, gray dresses, all that. Look— I tried
to adopt her, but they won't let me have
her because I'm unmarried. But you're
going to get married— you can adopt her!"
Susan stared, be^vildered. Johnny going
to an orphanage— that would be terrible!
Her heart ached for the funny little waif.
But what could she do . . . could she do
anything?"
"You don't ^vant to see her go to an in-
stitution!" Tommy pleaded.
"No!" Susan cried with all her heart.
"Then listen. I've gone completely soft
about that kid. Incredible, I know, but
true. I wish you'd adopt her and let me
pay for her upbringing until I can take
her myself— and that'll be as quick as I
can get to the States and come back with
a wife. Will you do it? It wouldn't be
for long. You may not believe it, but there
are a lot of girls back there who'd be will-
ing to marry me— at least there used to be."
Susan thought of Richard. And his
mother! Then she thought of poor little
Johnny and Mr. Wu.
"It's not for me, it's for Johnny," the
young man pleaded.
"I'll do it!" Susan cried.
She hurried away to explain the matter
to Richard and Mrs. Hope. A few minutes
later she came on deck again, a badly
worried girl.
At the gangplank Johnny was trAing to
be brave, though she must part from her
beloved Uncle Tommy. The Captain was
^vaiting to take her ashore and give her
up to proper authorities.
Tommy welcomed her with a shout.
"Look, Captain, she can adopt Johnny.
She's going to be married!"
Susan averted her face. Her voice ^vas
shamed and despairing, "But I'm not get-
ting married," she said.
Definitely the four-year engagement had
ended. Richard and Mrs. Hope did not
approve of Susan's adopting the child.
"But we can't let this happen to Johnny,"
Tommy groaned. "We can't!"
He turned on her, desperate.
"Look, Susan. I've got an idea! Don't sav
'no' until you hear me out. I know exactly
what you think of me, but that isn't im-
portant now. Listen— marrv me!"
Had he gone absolutely mad? Susan's
wUd stare seemed to say so.
"Don't misimderstand me now, " Tommy
raced on. "^'ou wouldn't ha^e to piu up
with me. I ^vouldn't even come near you.
It'd be one of those marriages in name
only. As soon as we dock in San Francisco,
you can go right to Reno and get a di\orce.
My lawyers will handle e\er\thing."
It was a mati, absurd idea. Onh Tonnny
Randall would be capable of .suggesting il'.
Susan couldn't e\eii bear lo look at the
idiot, l)ut she mailc llu' mislake of looking
at the pathetic little waif, Johnny, instead.
Johnny was waiting at the gangplank. She
held Mr. Wu close against her small breast
and the tears ran down her cheeks. Susan
had seen orphan asylums. She cotdd en-
vision Johnny, parted from her dog, sub-
dued to a child automaton by the disci-
pline . . .
"I'll do it!" she cried wildly. "I'll marry
you. Tommy!"
*****
Susan sat in a Reno court room and
tried not to look at Tommy Randall. She
tried not to think of him, or of that voyage
in the far East now ending in this hideous
commonplace of a divorce court.
For a few months she had been— in name
only— Mrs. Thomas Randall in order that
she might assume guardianship of a little
waif Fate had flung into her lovely arms.
Tommy she had scarcely seen during the
return voyage to San Francisco and, once
there, Johnny, too, had been taken from
her. She had served her purpose in this
farce the fates had arranged. She had saved
the child from the dreary monotony of a
public institution. Now she must find con-
solation in that.
Tommy's lawyers assured her the divorce
action would take only a few minutes. Just
a few minutes and she would be Susan
Parker again . . . free to forget Tommy
Randall . . . free to find happiness. It was
then Susan realized once and for all time
that she could never find her happiness
apart from Tommy. And now it was too
late to do anything about it!
The judge -^vas on the bench. The case
■svas called. Law5ers for the defense-
Tommy's la'ivyers— said gravely they had
no witnesses to offer in Tommy's cause.
Lawyers for the plaintiff— Susan's lawyers,
hired by Tommy— said gravely they rested
their case with the wise and honorable
judge.
The wise and honorable judge— who was
just that— remarked with a smile that he
had a witness of his own to call. And it
was Johnny who took the witness chair.
Johnny held Mr. Wu in her arms when
she took the oath and both little girl and
little dog looked very serious . . . She
spoke the speech which the judge had
taught her, though not ^vithout some
prompting from the judge himself because
the legal ivords were long and bothersome—
e\en harder to remember than the wise
maxims Honorable Sun Lo taught her in
China.
Duly deposed and sworn, Johnny de-
clared gravely that she knew of no lawful
reason why Susan Parker and Thomas
Randall should not live and love as man
and Avife.
Across the heads of Iaiv)ers Tommy
stared at Susan and Susan stared back at
Tommy. Suddenly the strain and worry
and general ghastliness of those last few
months went out of their bewildered hearts.
There was hope in their glances— mutual
questioning and a mutual ans^ver.
"Di\orce denied," said the wise and hon-
orable judge.
.■\fter that there -(vas nothing for them
to do, but do that ^^'hich they had wanted
all the time— take each other as man and
wife and share their love with Johnny . . .
and Mr. ^Vu.
And so. Dear Reader, in the words of
Honorable Sun Lo, may the bird of pros-
perity continue to nest in your roof top.
T HE color fans are rl/nnnriiifi [or more jiielnres In color and so
"A Sinr Is Horn" is Ix'inti imiilr in Teelniicolor. unlli Jauel
C.aynor and Fred Marrli. \'<ne yon will vv fancrs red hair paminn.
Silver Screen for January 1937
65
ulty Under Sldn
e
S
ace of
LARGE PORES
LINES
BLACKHEADS
Miss Isabel Parker: "Pond's Cold Cream ends dryness.
Where
skin
faults
begin
Tiny underskin
glands, nerves,
blood vessels make
outer skin good or
bad. When they
function poorly,
faults start.
And here's the rousing treatment
that keeps it vigorous . . .
HORRID skin faults are usually under-
skin faults. Blackheads come when
tiny oil glands underneath are overworked,
give off a thick, clogging oil.
Next thing you know, your pores are
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Lines around your eyes, mouth are just
your outer skin crinkling, because your
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But you can stop those cloggings! Bring
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Twice a day invigorate your underskin
with a rousing Pond's deep-skin treatment.
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Now waken glands cells
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In a short time, your skin is better every
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Get a jar of Pond's Cold Cream today.
Begin the simple treatments described
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Remember this treatment
Every night, cleanse with Pond's Cold Cream.
As it brings out the dirt, stale make-up, and
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Every morning, and during the day, repeat this
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66
Silver Screen for January 1937
Reviews of the New Pictures
conniving trapper and the savages, he lets
out his terrifying jimgle yell and imme-
diately, as befoie, his elephant friends
come in droves to his rescue, and ivith
them he wreaks vengeance on the trapper
and the murderous natives.
The relatives, thoroughly frightened by
now, admit their deception, and scurry
back to London, leaving Jane and Tarzan
more in love than ever before. There are
plenty of exciting moments, especially when
Tarzan does battle with a crocodile, and
if you aren't too, too sophisticated your
hair will stand on end.
COME AND GET IT
A Po\\'ERFUL Story of a Rugged Individ-
ualist—i7n?ted Artists
CAMUEL GOLDWYN continues to turn
out those intelligent, adult pictures
that are such a treat to the poor movie
going public which has to swallow so much
tripe in the name of entertainment. They
say of Goldwyn that even his failures are
noteworthy. But speak not of failures here,
for "Come and Get It" is definitely one of
the hit pictures of the year, even more so
than "Dodsworth."
The writers who adapted Edna Ferber's
best seller to the screen took great liberties
with Miss Ferber's book (with the author's
permission) and improved the story con-
siderably. Even Miss Ferber admits that she
should not have killed off Barney Glasglow
and his wife and daughter in that awful
boat explosion, so for the screen Barney
and his family are allowed to live, and it's
much better that way.
[Continued from page 61]
Edward Arnold, to be sure, is the only
man in Hollywood who could have played
the burly lumber baron, and, as Barney
Glasglow, Mr. Arnold is well nigh perfect.
Frances Farmer plays both the Lotta whom
Barney loved as a young man, and t\\'enty
years later Lotta's daughter, who becomes
the passionate obsession of his middle age.
It is significant that since the previews' of
this picture Frances Farmer's stock has
reached a new high and she is now an-
nounced as Hollywood's next star. A new
discovery also is Andrea Leeds, a U.C.L.A.
local girl, who clicked as Evvie Glasglow.
The great tennis player, Frank Shields, also
makes his movie debut in a small part of
this picture, and, called "another Gary
Cooper," is definitely headed for the big
time. Walter Brennan as Swan Bostrom is
simply elegant, and so is Mady Christians
as Carrie. Joel McCrea as Barney's son
gives his best performance to date.
The plot, of course, tells the story of
an American lumber baron of the i88o's
^vho amasses a fortime by robbing the land
(Wisconsin) of its forests for his paper
mills. He gets his start by throwing over
the woman he loves, a night club enter-
tainer, and marrying the daughter of his
rich boss. Twenty years later, now manv
times a millionaire, he meets the beautiful
daughter of this woman now dead and falls
insanely in love with her— but she is the
only thing in his life he can not "get," for
she has fallen in love with his son.
There may be crusaders for honor and
honesty who will regret showing so elabo-
rately the detestable lumber baron who
cheated his state to become a rich pla)boy.
THE CHARGE OF THE LIGHT
BRIGADE
One of the Most Dramatic Episodes in
History— TFajwer Brothers
T'HE famous charge of the light brigade
^ at Balaklava in 1850, although immor-
talized by Alfred Lord Tennyson in a
poem, has been conveniently shrouded in
mystery in the history books. But the
cinema, the good old cinema, has now sup-
plied a very adequate moti^"ation for the
suicidal charge of the six hundred, so his-
tory need no longer hang its head over this
particular episode. And, furthermore, the
Warner Brothers have made of this episode
one of the most thrilling and breathlessly
spectacular films you'll ever ha\e the good
fortune to see.
If you ■want to be thrilled, and who
doesn't, don't miss this pictiue. There is
plot and counter plot, spies, diplomats and
hair-raising intrigue, but the story chiefly
concerns Major Errol Flynn of the British
Army in India.
Errol is even more handsome and
personable than he was in "Captain Blood."
Olivia de Havilland is lovely as his fiancee
^\ho finally manages to gather up courage
enough to tell him that it is his brother
Patric Knowles she loves, not him. C.
Henry Gordon plays the sinister Surat
Khan. David Niven is charming as one of
the young officers, and Nigel Bruce and
Henry Stephenson of Her Majesty's Army
contribute their usual perfect perform-
ances. This will undoubtedly be the spec-
tacular hit of the year, perhaps of many
years.
I ALMOST FELL OVER
WHEN DICK TURNED UP
AT "TME DAMCE WITH LOUISE
ISI STEAD OF you.
MARSE, HAVE^
YOU TWO
HAD A
BUST-UP?
OF COURSE MOTf
sill.v/ dick
doesn't have'
TO A<3»< ME TO',
eVERYTHIKlQ,
DOES HE?
REMEMBER NOW -you've
GOT TO EAT THESE
YEAST CAKES EVEOy
PAV, TMEY'RE GRAMD
PIMPLE CHASERS
1 U^NOW-I'VE TRIED
TRUDY-IT'S MARGE
LISTEN DARLlSlG -
DICK'S ASKED ME TO
THE DANCE NEXT WEEK-
UH- HUH -JUST LIKE YOU
SAID ME WOULD - ISKI'T
IT WOWOERFUU?
r I TOLD ^'
SVOU THOSI
yEAST cake:
WOULD FIX*
1 THINGS
UP r'h
Silver Screen for January 1937
67
"Whodunit"
[Continued from page 24]
lette, who used to play Sergeant Heath to
William Powell's Philo Vance, has been re-
placed by the thick-necked, thick-wilted
Nat Pendleton, who annoys today's ace
detective, Nick Charles.
Charles Butterworth gave Ronald Col-
man bewildered assistance in "Bulldog
Drummond Strikes Back," and the frog-
voiced Lionel Stander was an unfailing
pleasure as Nero Wolfe's indefatigable aide.
One of the greatest assets of the whodunit
is the lengthy cast that invariably crowds
the screen, giving opportunity to so many
capable players. There are all the red her-
rings who must slink about looking just
too suspicious for words, in order to dis-
tract the moviegoer's attention from the
real culprit. Usually, of course, the guilty
party is the most irreproachably innocent-
appearing character in the cast; but he may
sometimes be an obvious villain, with an
"air-tight" alibi that the detective breaks
down at the last minute.
What, no women? Well, very few. The
thrillers are neglectful of our sex, when
they are not downright insulting. All the
heroine has to do is scream at regular in-
tervals and get herself into incriminating
positions or dangerous spots from which
the hard-working hero must rescue her.
Or she may even make an infernal nuisance
of herself, like the charming but exasper-
ating young lady that Rosalind Russell
played in "Rendezvous."
Edna Mae Oliver alone has upheld the
honor of her sex, as the screen's sole lady
detective, the snooping school-teacher who
made her first appearance in "Penguin Pool
Murder," with the tough, querulous Jimmy
Gleason playing stooge.
International
Mary Brian and Gary Grant
emerge from a picture show all
smiles and still single.
But why stop there? Claudette Colbert
would certainly make a clever, as well as
decorative sleuth. Joan Blondell's long ac-
quaintance with the ways of movie crooks
qualifies her also. Maybe a feminine Sher-
lock wouldn't be realistic. So what? One
of the most engaging features of the thriller
is its bland disregard for realism.
The step from the whodunit to the
horror picture takes you even farther from
realism— perhaps into the realm of fantasy.
But the fantastic thriller has a great deal
to learn from the prosaic detective yarn-
chiefly, the value of comedy. The relief
from tension that laughter gives makes the
grimmest moments more effective by con-
trast. The best of these pictures— "The In-
visible Man"— was also the most comic.
The actor who does the scaring in the
thrillers is much less important than the
actor who is being scared. Audiences watch-
ing "Dr. Jekyll and Mr. Hyde" shivered
more at Miriam Hopkins' portrayal of
naked fear than at Fredric March's trick
make-up. Much of the kick beneath the
light-hearted foolery of "The Thin Man"
was supplied by Harold Huber, as the ter-
rified stool-pigeon.
Logically, the next step in Hollywood's
dogged attempts at the mass production
of mild hysterics should be the more subtly
chilling psychological horror story. We've
had a taste of this sort already in Peter
Lorre's "M" and in "Dr. Jekyll and Mr.
Hyde," that bright little essay on schizo-
phrenia, which might have been written in
collaboration by Dr. Sigmund Freud and
the Grimm Brothers.
There is room in the moviegoer's affec-
tions for every type of thriller. We can
listen with an equally pleasant shudder to
Boris Karloff's hollow tones echoing in the
cobwebby laboratory and the ruined castle,
to William Powell flippantly defying some
belligerent gunman, or to the hushed, eerie
sound of Leslie Howard's voice as he takes
us on another of his excursions into the
hereafter or the fourth dimension.
IB
rAPPENED TO THE BOY FRIEND UTELY
okr-THEpe's Dicvc: now.'
CVBE HE'S COMIMS ISJl
bPE - DIDNJ'T EVEM
tOK THIS WAV„ MARGE
PU OUGHT TO DO
METHIMQ
ABOUT
THIS
BUXTRUDV- HOW
CAN I ? you KNOW
HOW PRETTV LOUISE
^ IS - AND JUST LOOK
AT ME WITH AUl-
TMESEAWPUl. PlMPteS
MARGE - I BET THAt's THE WHOLE TROUBLE
.F you SET RID OF THOSE PlMPLES
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liStekj, fleischmamm's veast is
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5
aOSH MARGE - you SURE DO .
,OOK PRETTY -SAV, HOW p>J I'D
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IllGHT NOW FOR THE J I DlCl^ m
MOVIES TOMORROW?/-^ W ■
It • ^
DONT lET APOiESCENT fl/APLBS
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68
Silver Screen
Here's something for the girl who "has
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And, finally, the t'ift of color , . .
subtle, imperceptible . . . but, oh,
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S 1. The Kurlash Company^ Jioeliestert N. Y, The
Kurtash Company oj Canada, at Toronto, J.
[Continued from page 31]
find the time, and from the letters, par-
ticularly from those two girls I mentioned,
I obtain a lot of information that really
assists me in my ^vork. Comment on hair-
dress, for instance; or clothes, or even a
slight change in makeup. After all, it is the
fans who are the real critics, so I try to
follow their suggestions, if they are reason-
able, as much as I can. Some day I'm going
to make an effort to meet and thank those
t^vo girls in person for writing to me so
faithfully.
"Speaking of hairdresses, another girl
here on this lot has helped a gieat deal,
strictly on her own initiative. Her name is
Marie Brasselle. She always does my hair.
She goes through all sorts of magazines and
hunts for new and interesting coiffures.
Then she'll build for me a sort of com-
posite coiffure from all those photographs.
One side from one picture, a curl or two
on top from another, and the back from
still another. Some of these effects are
marvelous. When I'm working I always get
to the studio very early so that I can have
my hair \\ashed and set each day before
shooting begins.
"Incidentally, the time tliat I spend
under the dryer is when I try to read all
my fan mail, too; but -what I started to
say was that no matter how early I get
here, she never minds. She says that when
my hair looks particularly nice in a pic-
ture she gets a grand glow of pride because,
no matter if her name isn't mentioned, she
has the satisfaction of knowing that she
has contributed something to the picture,
and has helped me. She certainly has been
a real aid, because she has made it possible
for me to have as many as four coiffures in
one picture.
"I think, absolutely, that those people
ivho say that people in pictures are not
happy unless they are giving someone else,
figuratively speaking, a swift kick, are very
ivrong. Everyone— from the lowest salaried
messenger boy to the biggest director— has
ahvays given me better than an even break.
Look! I'll give you an example. Just the
other day when 1 was working in 'Pennies
From Heaven' with Bing Crosby, Monty
Mr. and Mrs. Richard Dix off
for a well earned vacation,
leaving the twins to keep house.
Westmore, makeup man, gave me a swell
lift. I always apply my own makeup, and
generally do a pretty good job. But Montv,
who had been watching me, suggested a
few changes. I made those changes but
they still didn't please him, so he took
time out from more pressing work, to show
me ivhat he meant. He did it because he
really wanted to be a help. As a result my
make-up photogi-aphed much better than
usual.
"There are a lot of others -svho have
helped in much the same way. Directors
■who miss their lunch to give a little extra
coaching; 'still' men who ^vork o\ertime
so that one's pictures wiW be better; people
in the -ivardrobe department ^vho, on their
own, will freshen up a costume between
scenes. All in all I'd say that the studio
workers are a very kind group— and thev
most certainly have been grand to me.
Whe^v!!! . . ." she concluded. "I haven't
talked so much in ages. You talk awhile."
"Oke," I replied. "Just ans\\er one more
question— although it has nothing to do
with our premise— and then I'll amscrav.
Where did you acquire your accent? It is
different from anything I've heard in pic-
tures. Ho^v come?"
"Lots of people have asked me that,"
she replied. "I don't really know, unless it
comes from en^'ironment. My parents were
born in England, you know, and I suppose
that the way I talk is a sort of combination
of inherited English, and stage diction— al-
though I've had but very fe^^' lessons in
enimciation. Living Avith people does have
an effect .upon one's speech, however. I
knoA\' an amusing story that has to do
ivith accent, by the way.
"^Vhen I first came to Metro, five years
ago, I -was asked my nationality. I told
them that I was born in New York. 'Then
get rid of that accent,' they said. 'It won t
get you anywhere out here.' That, of
course, was years ago. Not so long ago
when they ^vere preparing to make 'David
Copperfield,' I asked for the part of Agnes
in that picture. I adore Dickens— I always
have, since I was a child— and since it ^vas
a sort of ambition of mine to play that
part I asked for a test. Do you know what
they told me. They thought that I wasn t
English enough— that I didn't have enough
of a British accent. They gave me a test
anyway— an example of the 'breaks' that
they will give one merely for the asking—
and as a result I got the part. 'With this
proviso. They sent a young man to me— a
graduate of Oxford. He was to talk to me
an hour every day— in order to perfect mv
diction." She laughed aloud, and then sud-
denly sobered. "Do you know? " she asked
thoughtfully, "I'd better add that the
}oung man I mentioned is reallv another
who has helped me. I pretended that 1
didn't need a tutor because I am English,
but* I'll have to confess that he helped me
a great deal in creating the role of Agnes.'
NVhat Madge E\ans said to me about
others inadvertently presented a pretty
clear picture of herself— as an individual.
If this writer might be permitted to insert
a personal opinion, I'd say that she left
out a lot of things. The people she has
helped, for instance; those to whom she
has given a boost over a particularly rough
stretch. A very human sympathy and un-
derstanding is an essential part of her
makeup. AVhat she has done has been done
without any fanfare and publicity. The
deeds stand for ihcmsches. I won't mention
any of I hem because she ^vouldn't like that
any !)cticr than being called a "baby star. "
She's that kind of a person.
Silver Screen for January 1937
69
Anna Lee, English beauty, will soon be seen in "King Solomon's Mines.'
Safe Deposit Secrets
\Continued from page 59]
few little whisps of straw from his original
stage costume of the stra^v man in "The
Wizard of Oz," which long ago won him
everlasting fame and glory.
Tucked away in Anne Shirley's box is
a tiny diamond ring which she has care-
fully preserved and which was given to
her by a little boy just 14 and a half years
ago. And thereby hangs an interesting tale,
her by a little boy just 14 and a half years
ago. And thereby hangs an interesting tale.
To tell it, first it is necessary for you to
rangements ever worked out by a parent
for the protection of her child.
One is her natural mother, Mrs. Mimi
Shirley, and the other is Mrs. Lena Sage,
named as Miss Shirley's "alternate mother"
by the California courts. The appointment
of the alternate mother was made at the
request of Mrs. Shirley to safeguard the
welfare of her daughter in the event of
Mrs. Shirley's death. Mrs. Shirley and Mrs.
Sage met about fifteen years ago during
the shooting of "Spanish Dancer," the first
picture in ivhich little Anne appeared after
her arrival in Hollywood. Mrs. Sage's son.
Byron, three years Anne's senior, Tvas also
working in the film . . . the kiddies and
the parents became fast friends, and Mrs.
Sage made many of Anne's little clothes
when she was a child, and aided the mother
and child in more ways than one when
their luck was on the down grade.
And here's ^vhere the romance comes in,
revealing the fact that Anne holds the rec-
ord of having been betrothed at an earlier
age than any child outside of royalty.
When Anne was just four years old and
Byron Sage was a manly little lad of seven,
their respective mothers dreamed that per-
haps some day they would fall in love and
marry each other. Mrs. Sage thought so
much of the idea that she had a small
diamond ring made especially for Anne,
and at a tea party for four, Byron laugh-
ingly slipped the ring on the engagement
finger of the blushing little girl— and the
two mothers beamed with real pleasure.
"But it ivas not to be," laughs Anne
today. "Because when Byron grew up he
went in for blondes. (Anne has dark brown
hair and dark eyes) Byron and I are still
the very best of friends and always will be,
but there is no romance."
But the tiny ring has been most carefully
preserved by Anne and today it is one of
her hidden treasures, resting in its secret
hiding place in a Hollywood bank.
Evelyn Venable cherishes a bunch of let-
ters, now yellow and mellow with age, that
were written by the immortal Mark Twain
to her father, a noted professor.
Laid away in the back of Buck Jones'
box is a long hair from the tail of his
famous horse. Silver. He has had it there
many years for good luck.
Biiinie Barnes has kept the ropes she
t\virled in her cowgirl act in her first stage
appearance. She was billed as "Texas Bin-
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70
Silver Screen for January 1937
YOU MUST HAVE
A SOFT, ALLURING SKIN
...FREE FROM PIMPLES
S'
JMOOTH, satiny shoulders — lovely
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To be truly lovely, you must rid your skin of
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The real cause of disorders resulting in ugly
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SC 1-37
Name
Address .
City
Stale
Dixie Dunbar keeps Ker health by a few
simple exercises. You try it, Aunt Emma.
nie," although she had never been to
America at the time. Those ropes, she in-
sists, started her on the road to fame and
she wouldn't part with them for anything.
Cora Sue Collins keeps a tiny gold locket,
lovingly fastened around her dimpled little
neck, when she first started working in pic-
tures, by Pat O'Brien.
Mady Christians, the charming Contin-
ental actress, treasures in her box two yel-
lo^v programs. One is that of "The Son of
Casanova," her first stage starring vehicle
in Berlin. The other program is that of
"The Miser," the first play Miss Christians
did under the direction of Max Reinhardt.
More than jewels, more than money, Una
Merkel holds dear two things. One is her'
set of diaries. The other she terms her
"Down the Road to My Yesterdays." It is
the big scrap book that holds her press
clippings.
In these she can read her rise to promi-
nence on the stage, and on the screen. The
rungs of the ladder are all there, the words
of encouragement from reviewers on the
ne^vspapers; to their kindness she says she
owes the good cheer that is so precious to
one struggling to rise in the world, and
the inspiration to go ahead.
Many of their names are known to Una
through their signatures, and all these are
treasured names. She wishes she knew the
writers of them all. Some that she does
know are her best friends, and she visions
the entire family of men and women of the
press as like them.
Odd times, Una drags out her clipping
books, and sits by the hour looking them
over and getting a great kick out of her
perusal of her dearest memories . . . and
then back they go, to be safe from all
harm, in the bank.
Marlene Dietrich has a couple of dozen
pairs of shirt studs that the late John Gil-
bert wore. She also cherishes a few plain
cotton sheets for which she paid a top
price of .fsoo -when the Gilbert personal
things were auctioned off recently. Jack
slept bet^veen them and Marlene, his
staunch friend during his last earthly days,
prizes them above everything else.
Jack Oakie cherishes, above all things, a
comic valentine sent him by Joan Craw-
ford long, long ago.
"I recall at the time we'd both been play-
ing in a Broad^vay show," grinned Jack.
"And I was getting pretty discouraged with
my very small part and my equally very
small salary. Joan must have read my
mind— must have known I was thinking of
quitting the big city cold— for a couple of
days later, on February 14, she sent me the
largest and funniest comic valentine I ever
saw— with words printed on it, something
like this:
'Don't be a quitter, little man, oh no,
Just be a sticker an' forward you'll go!'
"^Vell, I stuck like LePage's and did e\en-
tually go forward, if I do say so. But that
cured me of having a long face. Hence-
forth, my face sported the broadest grin
imaginable.
"Is it any wonder I've treasured that
valentine and ahvays will?"
Venus Under Contract
[Continued from pngc 25]
beautiful bodies to become distorted, sim-
ply because ihcy do not stand and ^\alk
correctl). So many of them slouch their
hips and let their chests droop! It really
is sad."
Here is an exercise she advises iliat thcv
try:
Sit or slant! straight atid clasp \our
hands on the opposite arms just al)o\e the
wrist, left li;nul on riglil arm and \ ice
veisa. Then hold yoiM' clas))e<i arms in
fiont of you. extended on a le\cl with the
shoulders. Pull on your arm muscles w'ah
both hands siinullancouslv and then nnsli,
altevnaiing the movements. Do this vigor-
ously and rather fast. You will see that it
has a definite pull on the chest and muscles.
To Jiuie taking exercises is as important
as a daily bath, and she'd rather miss a
diimcr than that bath of hers. She likes
showers but finds a tub more con\enicnt.
Her motto seems to be one of cleanliness,
and she uses jalcniy of warm ;\'ater and a
good mild soap. Oince a ^veek she washes
her own beaiuifnl hair ^vith a pine Castile
soap and then gives it a \inegar rinse. She
uses little make-up, but alwa\s removes it
Hist before washino- her face with warm
Silver Screen for January 1937
71
and soap. Then she rinses with ice
water. She does not use any night creams.
Out at the Twentieth-Century Fox Studio,
where June is under contract to Darryl
Zanuck, they have big plans ahead for her,
for she has looks, and curves, and best of
all, ability. Everything about her is as nat-
ural as a mountain spring. Everybody who
knows her says that. She is generous, good
hearted and sincere, with an unaffected
manner and youth that will serve as a key-
note for successful players of the future.
There's no question but that, if she con-
tinues to keep her chin up and her ^vaist
do^^■n, she'll go far!
NOT THE
SOAP POWDER ■
jyOR the first time Greta Garbo is
u'Caring gold dust in her hair for
highlights in close-ups in "Camille."
Gold dust is often used by the
Glamour Girls to bring out those
entrancing shades on the screen.
Marlene Dietrich never faces a
camera without her gold dust.
Hard Knocks Make
Great Actors
[Continued from page 19]
have helped shape my character. And
ni\ job, as an actor, as I see it, is to
interpret one set of human beings to
another. Impressions and memories of the
past, especially of one's early years, are
bound to crop out in one's characteriza-
tions. Not that I make a conscious effort
to copy from people I've known in real
life. You can't really do much copying be-
cause you have to play the part the way
it has been written, and screen roles are
usually highly colored. I've done a lot of
things on the screen I wouldn't do in real
life. And yet, if I act in a certain way, it is
because I've lived a certain kind of life.
No actor can get way from his past."
It has been said of Clark that he lives
in Hollywood, but is not of it. Few top-
ranking stars care to dine in the studio
commissary, but he does, sitting next to
office ^vorkers and extras. Among his close
friends are five men whom he calls his
"barometers" of public opinion. One is a
cook in an all-night restaurant in Holly-
wood. Another, a young college graduate,
who is a filling station attendant in Santa
Monica. A third is a professional game
hunter. The fourth is a studio electrician.
And the fifth is a Mexican gardener, a vet-
eran of Pancho Villa's armies. They are
his cronies. "When I'm bothered with a
knotty problem," he said, "I try to make
the rounds of these fello\vs, ancl sit do\vn
and gab with them. They help me
straighten out my mental kinks."
Clark \vas born with a yen for vaga-
bondage. In school, his favorite subject was
geography, and he won a globe, awarded
to him for his excellence in this su1)ject.
That globe is batlered, but still legible,
despite the criss-crossing pencil lines indi-
cating a million miles of imaginative travel.
Mention to him the word "Samarkand,"
or the "Khyber Pass," and his eyes will
gleam like those of a globetrotter in a rem-
iniscent mood. Unlike other stars, he hasn't
gowi in for a home and property. He pre-
fers to live in a hotel, because, as in his
South American trip, when he did more for
international amity between ihe two Amer-
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DAILY RADIO TREAT: Ted Malone
. . .inviting you to help yourself to
Happiness and to Beauty. Monday
to Friday, 12:15 pm E. S.T. over
the WABC- Columbia Network.
72
Silver Screen for January 1937
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Bob Burns helps
out the roller
skating craze.
Martha Raye
takes to it like
a duck to music.
icas than ten ambassadors, he is apt to pack
up at any moment, and be gone, here,
there and everywhere. He is a wanderer
and outdoor man by nature, and a good
car and hunting and fishing equipment
mean more to him than a mansion ^\'ith
those fantastic electric gadgets in the palmy
luxuriance of Beverly Hills. His greatest
ambition is to take a few years off and
travel all over the world.
Another two-fisted actor and Academy
^^'inner is Victor McLaglen. Vic has ^vorked
and scrapped his way around the world.
This burly son of an English bishop \vas
the toughest kid in school and the despair
of his gentle parents. He ran away from
home and school at the age of 14 to join
the Life Guards, passing for 18. The her-
culean mould of his physique determined
his long career as a bruiser and world ad-
venturer.
You know Vic's story. He has roamed
over the face of the globe. He has toured
the rough touns of Canada, where he went
from London to seek his fortune at 19, as
a wrestler taking on all comers in one-
night stands. He has toiled on farms and
prospected for gold in the Canadian wilds.
Has been a vaudeville actor in Australia.
Hunted lions in Africa. Fished pearls in
the South Seas. Taught calisthenics and
boxing to a maharaja in India. Fought the
Turks in the torrid wastes of "Mespot" as
a captain in the crack Cheshires, and when
the Union Jack replaced the Ottoman
crescent and star over the sacred domes
of Bagdad, he ruled as assistant provost
marshal in that legendary city.
"The last thing I ever expected was to
be a movie star," he told me with that
toothy grin of his as he took me around
his magnificent estate, "Fairhaven," and
had me pose with him for a picture. He is
a little ashamed of being an actor. His
he-mannish stuff on the screen is no studied
art. There is nothing affected or theatrical
about his acting. He is simply himself
before the cameras, often lixing over ex-
periences from his own life in the films
that feature him. He has been cavorting
before the cameras for 16 years, and his
star, which rose to such brilliance in the
mcmoral)le Whal Price. Glory, shows no
signs of dimming, and indeed, shines
Iirightcr than ever. He won the Academy
award in 1936. and no doubt \\\\\ win
more acting laurels.
Or consiclcr the case of Jack Holt. Here
is anotlier stalwart gent who has kept Iiis
fans for tz years, truly an unparalleled
achicvemenl. He is not and has ne\er been
a sensalional player. "I make bread and
l)nller piclurcs," he lold me, moilesily.
Jack I loll s characteri/alions alw ays lun e
force and punch in them because he makes
us feel that he is made of such stern stuft
that he can duplicate in real life ivhat he
is performing on the screen.
Jack Holt's adventurous spirit took him
to Alaska in his yoiuh. He spent five years
there as surveyor, prospector, freight-packer,
contractor, government mail carrier, and
what not. As you talk to him, you realize
how great is the influence of nature over
the character of man. The fierce years he
spent in the sad and lonely North have
left their marks. The fixed gaze and dis
tant look of his eyes, his inflexible mouth,
his reticence, his dislike of sleek crowds—
these are heritages of his Alaskan life. Our
last frontier moulded both his character
and acting. It gave him that peculiar virile
appeal which has been his fortune.
Jack Holt has one of the finest physiques
I've ever seen. His quiet strength and dig
nity inspire respect. I can best describe him
by saying that he looks like an army
colonel in civilian clothes. He is courteous,
and sinprisingly urbane. And he has the
saneness of those who have sufl:ered want
and privation and have toiled ^vith their
hands.
Among the new leading men of the
screen Henry Fonda must be given a high
place as a grand actor. His acting has a
tremendous vitality and a certain stern
dynamic quality about it, combined with
a rare poetic sensitivity. And he is so, in
real life too. I found him on the set ot
^Valter ^Vanger's "You Only Live Once.
He staged a hold-up in his prison cell
\\hich had all the smooth, calculated, fero-
cious terror of a real hold-up. The scene
^vas shot about twenty limes, each take
requiring the same outpouring of nervous
energy from Fonda. He was exhausted and
still shaky as I followed him to his dress-
ing-room.
"It didn't occiu" to me to enter the
theatre until I was out of college," he said.
"I studied journalism in the University of
Minnesota, wanted to be a ^vriter. In
Omaha, I had a swell home, and my father
\vas able to finance my schooling without
my having to work, but I preferred to earn
m^ own expenses. We done e\erything. M\
first job was at a filling station in Omaha.
I \vantcd to biiv a Liberty bond, and finally
sa\ed up 50 dollars to get my bond. I have
■worked as trouble-shooter for the telephone
company, dri\en a truck, dressed windows
in the Brandeis department store, worked
as a mechanic in a garage and as a
printer's devil, etc.
"It was in New York, ^\•hile I made the
rounds of theatrical agencies, having been
bitten by the acting bug. that I had a
lough lime. Once, for three months, I
Silver Screen for January 1937
73
hardly had a meal. I know what hunger
means. I know what it means to go with-
out any food for three or four days in suc-
cession—have absolutely nothing to eat, not
even a 5c bag of peanuts. One day, during
this period of starvation, I went into the
Grand Central Art Galleries, to see a new
exhibition. I hadn't been there for about
a month, and wanted to see the new paint-
ings on display. I wandered to some back-
rooms, and heard sounds of a large gather-
ing. I sa^v a tremendous table loaded with
food— the kind you see in the movies. Ap-
parently a reception or a party was being
given in honor of somebody. I could have
very well helped myself to some of that
wonderful food— say, a ham or caviar sand-
wich, but didn't dare touch anything. I
was afraid a waiter might come up and
ask me, 'I beg your parclon, suh, bwt what
is your name?' I had to walk out with a
drooling mouth and a sickening sensation
in my stomach.
"Experiences like that help an actor, al-
though very seldom I recall incidents from
my past life to help me enact a role. At
least, not consciously. Of course, in our
subconscious mind, where hardly anything
is ever forgotten, experiences and impres-
sions of our past remain very active, and
color our actions whether we are aware
of it or not.
"I've knocked about the country quite
a bit, too, and I just came from a trip to
Europe. The only way to see Europe is to
drive from town to town in your own car,
and that's what I did. I got a terrific kick
out of everything. It was my first visit
abroad. In June, I'm going to Italy to
make a picture. Mr. Wanger is taking his
whole company there.
"Tough breaks, hunger and privations
deepen our inner world. Travel broadens
our mental horizon and sympathies. The
two combined together help us strike a bal-
ance in our lives. A lot of people go over-
board when success finally comes to them
because they lack this balance."
REDUCING THE
HIP HIP HOORAH
The blonde Terry Walker, Kent
Taylor and the shimmy machine.
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Projection — Carole Lombard
[Continued from page 23]
chose Lombard because it was the name of
a friend of her mother's, a lovely gracious
woman whom she had adored when a
child. It was several years later that a
numerologist suggested that she put an
"e" on Carol to bring her good luck. She
did, and it did.
The beautiful and glamorous Miss Lom-
oard, who causes you to catch your breath
now when she slithers across the screen
dripping with white silver fox and dia-
mond bracelets, was nothing more than a
"bit" player in those days, and in Westerns
too. When she reminisces, and try and stop
her if she hears sacred music, she will tell
you about those early days, and especially
of a little number she did with Buck Jones
called "Hearts and Spurs."
But even galloping across the California
desert, choking with dust in a temperature
of 1 10, Miss Bernhardt Barrymore Lombard
had not reached the depths of her chosen
profession. That came a few years later
when she became one of the famous Mack
Sennett bathing beauties, during which
period she threw pies, was chased by cops,
squirted hose, took falls, and splashed
about in swimming pools. It was while she
was at Sennett's that she met Madalynne
Field, another pie-thrower, and there began
a friendship that has lasted to this day.
When Sennett's closed, Carole had been
there a year and a half. Pathe immediately
signed her, and with her went Fieldsy as
her secretary, manager, best friend, and
severest critic. You may bluff Carole some-
times, if you catch her in a sentimental
moment, but you can never blutf Fieldsy.
Every time Carole meets a charming young
salesman and says, "I think I'll buy"—
Fieldsy says, "No, you can't afford it," and
except in the case of star sapphires, Carole's
one extravagance, Fieldsy always has her
\vay. Thanks to her excellent management
we will not be giving benefits for Carole
Lombard in her old age.
In the fall of 1930 Paramount signed
Carole on a long term contract (she's still
there) and she was elevated to second lead-
ing lady, her first picture under the new
contract being "Ladies Man," in which she
was to support Kay Francis, who in turn
was to support William Powell, the big
romantic star of the Paramount lot. The
director thought it might be a good idea
to have Carole meet her leading man, so
he took her over to the dressing room one
day and introduced her. Carole said hello
and Bill said hello and the great Powell-
Lombard romance was oft to a good start.
When Bill left the studio in favor of more
money at Warner Brothers, Carole, the
sentimentalist, mo\'ed in his dressing room,
and there you'll find her today having
her hair waved by Loretta -(vhile she -waits
for a call from the "Morning, Noon and
Night" set. "It's my come-back picture,"
Carole will tell you. Every picture Carole
makes is her "come-back" picture. She dis-
cusses her "return to the screen" as if she
had been off it for years.
The suave Mr. Powell was enchanted by
Carole's humor, her frankness, her gay
laughter, and bubbling enthusiasm. The
first date he had wdth her they sat talking
seven hours straight. It took him eight
months to persuade Carole to marry him.
The mere sight of him made all the Holly-
wood ladies wish to throw their domestic
security to the ^vinds, but Carole had
"ideas" about marriage and possessiveness
and careers. However, they were married
at the Peters' Beverly Hills home, June 27,
1931, and amid a shower of rice and cham-
pagne left for Honolulu on their honey-
moon.
The first year was hardly over before
Carole realized that she had been right
about marriage and Bill wrong, so early
in the summer of 1933 she took a plane
for Reno, and op August 18, 1933, she be-
came the ex-Mrs. William Powell. Carole
and Bill, two such swell people, fortunately
ceased being married just in time to be-
come good friends. And today you can't
find two better friends in Hollywood. When
they worked together recently on the sen-
sationally popular "My Man Godfrey" the
entire set w'as kept in a riot of laughter
from the moment they arrived in the
morning until they left that night, so
there's little wonder that their own infec-
tious humor was reflected on the screen.
BiU, alas for the fan writers, there was
no renewing of the romance. When Direc-
tor La Cava said, "Last take, go home,'
Carole found Clark Gable -ivaiting to take
her to dinner, and Bill found a series of
phone calls from Jean Harlow informing
him that he was two hours late already.
Holly\\ood has many conjectures, but Hol-
lywood doesn't really know why Carole and
Bill split up. To the world they were
ideally suited, they never fought except
when Bill would trump Carole's trick 01
step on her feet in a tango (he isn't as
crazy about bridge and dancing as Carole
is), and w'hatever the reason was, Carole,
like the wise, well bred person she is, has
kept her mouth shut.
Carole, as her best friends will gladly tel'
you, has many faults. It seems that she
simply will not close drawers. Dresser draw-
ers, dressing table dra^vers, bathroom cab-
inet draw'ers, they are all hanging out al
a rakish angle when Carole leaves for the
studio. As far as Fieldsy has been able to
figure it out this is caused by the fact
that Mrs. Peters used to spank Carole for
slamming drawers and doors when she
was a child, and now the reaction has set
in.
Another of Carole's bad habits is to bite
off the edges of stationery ^vhile she is
thinking ^vhat to write in a letter. (Piob-
ably a thumb-sucker when a baby.) She
always writes with green ink, and her
spelling is something to lift an eyebro^v
over. Her most annoying little trick,
though, is to change her handwriting when
she is signing checks, and the bank clerks
used to go stark staring mad trying to
figure out which was Carole's signature and
^vhich was a forgery. They finally hit upon
the simple plan of forcing her to piu a
distinguishing mark on all of her checks.
If you ever want to torture Miss Lom-
bard, though I don't see why you should,
just stand near her when she is under a
hair dryer and carry on a conversation with
some one. As a matter of fact you don t
have to talk, just move your lips, and laugh
occasionally. Carole will stand it as long
as she can and then, dying with curiosity,
she will pop her head out from under the
roaring dryer and demand, "What did you
say? " She has just a little more than her
normal share of ciniosity. Don't try to keep
any secrets from her— she'll get them out
of vou bit by bit.
The story Carole likes to tell most on
herself concerns her last trip East ^vhich
A\as in 1935. After leaving New York slie
took a train for .Atlanta, where she was to
board a plane lor New Orleans. The Para-
mount publicity department wired her that
the train woulcl stop at a little town called
HapcNille. which is near the airport, and
that [here would- be a large delegation of
tans to meet her. So Carole took extreme
care \vith her toilette and with Fieldsy
hopped off the train at Hapeville all set
for cheers and autograph books.
It was early in the morning and there
was only one persoi-i to be seen on the
entire horizon— a little five-\ear-old girl.
"My public," beamed Miss Lomliard.
"Little girl," she said to the child, "can
you tell me where I can get a taxi or a
car or a wagon or something to take us
over to the airport?" The child look one
look at Carole and started crying lor her
Manuna at the top of her lungs. "A\'ell,
Miss Lombard," said Fieldsy, "nou'vc just
got to tear yoiusclf away from )our adoring
public now and walk across the cotton
patch to the airport."
Silver Screen for January 1937
75
Carole hates surprise parties, clubs of
any sort, and people who say. "Have you
heard the story about " Before they can
even say what it's about Carole has said,
"Ves, I've heard that one." She can't bear
jokes, dirty or clean, so if you want to
make a hit with Lomljard never try to
tell her a joke. She practically murdered
■Walter Lang one day at a very smart party
because the hostess said, "Carole, have you
heard the funny joke about the man with
the glass eye?" "Yes, yes," said Carole has-
tily. "It is funny, isn't it. Ha, Ha." "Oh,
Carole," shouted Walter from across the
room, "what was the point of that story.
I've forgotten." If looks could have killed
Mr. Lang, that eminent director ^vould now
be pushing up the daisies.
It is often a big surprise to a lot of
people, who evidently think that movie
stars sit around swathed in sables and
paradise and never do anything more
strenuous than eat caviar, to learn that
Carole is one of the best, if not the best,
tennis players in the Hollywood crowd.
She moved last June from a very un-chic
home on Hollywood Boidevard (Carole
doesn't believe in paying big rents, or
maybe it's Fieldsy who doesn't) to a small
house in Bel Air— which hasn't a dining
room, but has a tennis court. Almost every
day, studio permitting, she nonchalantly
slams away at the chalk line— and hits it
too.
Carole was taught tennis by Eleanor
Tennant, former champion who turned
professional. Carole used to be the impul-
sive t)pe who would run up on a ball,
but Eleanor soon broke her of that habit
by saying "Easy does it," and so it does,
Carole discovered after a few lessons.
"Easy does it" has now become her pet ex-
pression, and she will give it to you as an
answer for practically anything you might
Mr. and Mrs. Ricardo Cortez
arrive on the "Queen Mary."
Ric made a picture in England.
ask her. Well, anyway, Easy-does-it Lom-
bard can beat nearly all the inale players
in Hollywood, including Clark Gable.
Another of "Teacher" Tennant's famous
pupils is Alice Marble, who, last September,
beat Helen Jacobs at Forest Hills and be-
came national champion. Alice, a quiet.
reserved sort of girl, but, mercy, what a
dynamo on the court, is one of Carole's
best friends, and has been ever since Carole
wrote her a fan letter when she was sick
several years ago.
Like all sentimental people she is sus-
ceptible to music. If Benny Goodman's
saving band comes over the radio, Carole
immediately begins to swing. If it's a sym-
phony, she sits in the bay window with a
far away look and has lofty thoughts. If
it happens to be sacred or sad music she
^vill start reminiscing, and, like it or not,
you are in for the story of her life. Gou-
nod's "Ave Maria" calls forth her philos-
ophy of life. "Home, Sweet Home" and
"Should Old Acquaintance Be Forgot'
brings on a good cry.
Carole is famous in Hollywood for her
gags and her parties neither of which she
has gone in for much this year.
One director who, Carole considered, was
getting too slapstick in his comedy, re-
ceived a van load of meringue pies from
her. And of course everybody has heard
about the Ford she salvaged from a junk
yard and had painted white ^vith little red
hearts for Clark Gable's "Valentine last
February. Her famous Fun House party
where she had Dietrich, Colbert, Baxter,
Oberon and dozens of other dignified stars
sliding down chutes and twirling madly
around mixers, with no regards for bruises
and scratches, was her party to end parties
she announced. Since then she has enter-
tained on a very moderate scale, her most
recent parties being tennis parties. She has
lights on the court and is likely to start
playing at four in the morning.
At present Clark Gable is playing Romeo
to her Juliet. Lucky girl. To be won by
William Powell and wooed by Clark Gable
all within one lifetime— it simply isn't fair.
ay sq/e...take the
doctors judgment atout laxatives
You CHOOSE your family doctor
because you have confidence in
him. He will never take chances where
yotir welfare is concerned. Even with a
little thing like a laxative, doctors
have a definite set of standards which
guide them in their choice. Before they
will give a laxative their approval, it
must meet their requirements on these
specific points:
The doctor says that a laxative
should be : Dependable . . . Mild . . .
Thorough . . . Time-tested.
The doctor says that a laxative
should not: Over-act ... Form a
habit . . . Cause stomach pains . . .
Nauseate, or upset the digestion.
Now. here's a fact that's significant
— Ex-Lax checks on each of these
specifications. Not merely on two or
three. But on all these points.
No wonder so many physicians use
Ex-Lax in their own families. No
wonder millions of careful mothers
give it to their children with perfect
confidence. No wonder that Ex-Lax is
used by more people than any other
laxative in the world.
Your first trial of Ex-Lax will be a
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Everyone likes Ex-Lax — particu-
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sample to Ex-Lax, Dept. S 17, P. 0. Box
170, Times-Plaza Sta., Brooklyn, N. Y.
When Nature forgets— remember
EX-LAX
THE ORIGINAL CHOCOLATED LAXATIVE
76
Silver Screen for January 1937
Studio News
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Continued from page 55]
"This cured you the last time you had
pigeons," Eddie remembers as he pours
out a dose.
Kerrigan do^^'ns it and then it comes
out: he'd had a few drinks ^vith a man
who had some inside dope on an oil com-
pany that was going to start drilling
shortly. But after a twenty minute dialogue
it turns out the man was only the night
watchman.
Instead of having fun with the actors on
this set, the fun is with Ray McCarey, the
director. All the gals on the lot are gasp-
ing over him. He tells us ho^v easy Horton
is to get along Avith.
"Why can't you be agreeable like that?"
Lois Wiss, who is with me, asks him.
"I'll try, dear," Ray smiles mockingly
as he edges toward her.
"When will you start trying?" Lois, who
has had promises before, demands.
"Would now be too soon?" Ray asks try-
ing to slip his arm around her.
But Lois is a fraidy cat. She grabs me
by the hand and gives me a yank that
lands us both outside the stage.
"The nerve of him!" she pants indig-
nantly as we hear Ray laughing.
"He was only trying to be agreeable-
like you asked him," I remind her.
"Like I^ ! ' she explodes. Suddenly she
hauls off and bops me right on my sore
wisdom tooth.
Hurt to the quick, I leave her standing
right in her tracks and betake myself to—
R-K-O
IRST pop out of the box over here I
-'- run into Mr. Oakie— Mr. Jack Oakie—
on the Lily Pons set. The picture has been
titled "That Girl From Paris."
"Are you and Herman Bing a comedy
team now?" I ask.
"Yeah," says Jack. "We pull opera singers
out of the hole. We just got through liven-
ing up Swarthout's 'Champagne Waltz' and
now we're putting Pons across. '
About this time the assistant director
comes up. "Jack," he says, "they're getting
ready to take close-ups of Miss Pons and
she d like you there to get your re-actions."
"Sure," Jack agrees "I'll feed the little
woman."
So he gets up on the orchestra platform
where Gene Raymond, Frank Jenks (at the
trumpet) and Mischa Auer (at the piano)
are already assembled.
Lily is an opera singer who has left her
manager and uncle at the altar when she
discovers they're only interested in her
career and not in herselL She meets Gene
Raymond, leader of a jazz orchestra, falls
in love with him only to discover he's
leaving next day for America. She stows
away on the ship, only to find on arriving
in this country that he is already engaged
to Lucille Ball. She hides in their apart-
ment and then Herman Bing arrives and
hires the orchestra to play at his road-
house. Lily sings the Blue Danube Waltz
but the audience doesn't care much for
semi-classical music. As she sings the orches-
tra gradually Avorks the number into jazz-
pardon me, swing-time— rh)thm. She's sur-
prised, all right, but she follows them and
makes a tremendous hit.
That's the number they're doing now
and it's really a circus watching the boys
faces as they listen to her singing in the
tempo in which the waltz was Avritten.
Oakie is particularly comic in his facial
efforts to teach her jazz without speaking.
And Mischa Auer (who made such a hit
as the gigolo in "My Man Godfrey") is
making another hit as the bored piano
player in this opus.
F
It's fun on this set but I can't spend the
day here so I get on to the next one. Guess
what it is? Nothing but "Quality Street"
starring Franchot Tone a7id Katharine
Hepburn.
I saw Franchot yesterday at a cocktail
party Dorothy Parker and Alan Campbell
had given. "Come on over on the set and
see me," he invited me.
"NaA\'," I grinned. "You're working \vith
Hepburn and she doesn't like me and Lord
knoAvs I don't like her. So I'd better keep
my distance."
"Come on," he insisted. "I'll hide you in
my dressing room ' So here I am.
It's a swell set, too, and, luckily for me;
Hepburn isn't ivorking this morning so ]
can just walk about in broad daylight— 01
rather, broad arc light. I don't believe
Jack O.-ikic, Gene Raymond, Frank Jenks and Lily Pons in
the prima donna's new picture, "That Girl From Paris."
Silver Screen for January 1937
77
there is any other studio that builds as
impressive outdoor sets (inside of stages)
as R-K-O. The sets for "The Informer,"
"The Plough and the Stars," "Winterset"
and now this are all something to gasp
over.
"Quality Street" is the principal resi-
dential section of a little English village.
Here, in the early years of the nineteenth
century live the two Throssel ladies-
Phoebe (Hepburn) and her old maid sister,
Susan (Fay Bainter), their tiny income
barely sufficing for their needs. Across the
street live the Misses Willoughby (Estelle
Winwood, Helena Grant and Florence
Lake). You'll remember Florence as the
wife of Edgar Kennedy in the "Average
Man" series of comedies.
On the advice of the dashing Valentine
Brown (Franchot) who flutters all the
hearts of the village ladies, the Throssels
have invested half their funds in a London
company that fails.
Franchot seems very interested in Phoebe,
who has not allowed her sister to tell him
the investment was a failure. When he
calls she thinks he has come to propose
but, alackaday! He has only come to say
"Farewell" and to tell her he has enlisted
in the army to fight Napoleon.
All at once my plans go amiss. They've
finished the scene they were doing and
Hepburn is called before I had expected
her. My luck holds, though, and she doesn't
see me so I just stay and watch the "take."
"I shall pray that you may be preserved
in battle, Mr. Brown," she whispers through
her disappointment.
"And you and Miss Susan will write me
when occasion offers?" Franchot inquires.
"If you wish it," she murmurs.
"With all the stirring news of dear
Quality Street?" he persists.
"It seems stirring to us," she defends it.
"It must have been laughable to you."
"But I made friends in it, Miss Phoebe—
of two very sweet ladies."
"And did— did I amuse you also?" it is
her turn to persist.
"Enormously, Miss Phoebe," he rejoins.
"Those other ladies, they were always
scolding you. Your youthfulness shocked
them. I believe they thought you dashing."
"I have sometimes feared I was perhaps
too dashing," she replies nervously. But she
is smiling gallantly through the pain of
her disappointment when Fay Bainter
enters.
"Have you " Fay begins expectantly.
"Is it— you seem so calm, Phoebe," she ends
lamely.
Hepburn presses her sister's hand warn-
ingly and imploringly. "Susan, what Mr.
Brown is so obliging as to inform us is
not what we expected— not that at all. My
dear, he is the gentleman ^vho has enlisted
and he came to tell us that and to say
'goodl)ye.' "
"Am I not the ideal recruit, ma'am?"
Franchot jokes. "A man without a wife
or a mother or a sweetheart."
"No sweetheart?" Fay echoes incredu-
lously, thinking of Hepburn.
"Have you one for me, Miss Susan?" he
banters.
"Susan, we shall have to tell him now,"
Katie interrupts hastily lest her sister's face
betray the truth. "You dreadful man, )ou
will laugh and say it is just like Quality
Street. But, indeed, since I met you today
and you told me you had something to
communicate, wc have been puzzling what
it could be and we concluded you ^vere
going to be married."
"Ha, hal" Franchot laughs. "Was lliat
it?"
"So like \vomen, you know," Katharine
admits ruefully. "We thought perhaps we
knew her." She glances at her mother's
wedding dress which they had got out of
ai) old trunk. "We \vcre even discussing
what we should wear at the \vedding."
"Ha, ha!" he laughs once more. "I shall
often think of this. I wonder who would
have me. Miss Susan?"
Before Fay can answer there is a bugle
call to which Franchot immediately re-acts.
"I must be off," he finishes hastily. "God
bless you both."
As he marches away, Hepburn waves to
him from the window, the tears streaming
down her face. But he is too far away to
see them.
This was one of Sir James M. Barrie's
most famous plays and one of Maude
Adams' greatest hits. I do not mean to
underrate Miss Hepburn's ability— much.
There ivas no one who cheered louder and
longer than I did for her in "Morning
Glory" and "Alice Adams" but she would
essay anything from Juliet to Zaia— from
Peter Pan to the role she played in "The
Warrior's Husband." And there is no one
living who can play all those parts con-
vincingly. If I had never seen Maude
Adams in this part it would be different
but it is hard to visualize the vital Hep-
burn as the mouselike Phoebe Miss Adams
made her and which she still managed to
imbue with so much charm.
Ah, well. Time has taken its toll of Miss
Adams, the same as it has of all the rest
of us and she has retired these many years.
I suppose as long as she can't play Phoebe
it might as well be Hepburn as anyone
else. And Franchot is magnificent. How
that boy has come along in the past year
is something to marvel over.
The last picture on this lot is "Criminal
Lawyer" with Lee Tracy and Margot
Grahame. It's a gangster picture, I'm afraid.
Tracy and Eduardo Cianelli (a very
suave gent of the Noel Madison type) are
in the former's apartment, sitting on a
divan. Tracy (you won't believe this but
it's because he has to do it for the picture)
has a drink in his hand. On the table are
a flock of hors d'oeuvres— cheese, nuts,
caviar, anchovies, what-not. Mr. Tracy is
in a frock coat and gray-striped morning
trousers. Hot diggety dog!
"It would seem" that up to now he has
been a lawyer whose practice consisted
largely in "springing criminals after they've
been arrested." All of a suddint-like he be-
comes weary of the game. The town is cry-
ing for a clean-up. He says "Make me the
district attorney and I'll clean 'em out."
Nobody believes he'll do it biU he insists
he will so they put him up for election
and that's the state of affairs when we
pick up him and Mr. Cianelli.
"If I ever spill what I've got on you,"
Cianelli threatens, "the juries you've fixed
with my dough — -"
As he speaks Tracy puts down his drink
(momentarily) and offers him the dish of
nuts.
"What are those?"
"Nuts!" says Tracy succinctly.
Mr. Cianelli smiles— but angrily. "Smart
guy, hey!"
Tracy puts down the nuts and picks up
a plate of cheese, that he shoves right
under Cianelli's nose.
"What's this?"
"Cheese," Lee smiles, "for a rat!"
"Remember this, Barry boy," Eduardo
admonishes him as he rises and picks up
his hat from a chair, "that springl)oard ol
yours is lial)lc to be sawed right olf in I lie
nuddle— and you'll take a nose (li\e into a
ditch." With this parting adnu)nition lie
turns and goes out of the room, slanuning
the door after him.
Lec finishes his drink— but naturally— be-
gins to remove his coat and starts for the
rear of the apartment.
"How's it, toots?" I hear behind me. I
glance arouiul and there is none other than
Jinunic Cagncy griiniing at me.
"Right in the jjink." I come back snap-
pily. And then my ciuiosity gets the better
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of me. "What 're you doing here?"
"Oh, just visiting around," says Jimmie
airily waving his hand. As I try to follow
the direction of his hand I see Mr. Frank
McHugh. Mr. McHugh is the comedy in-
terest and after you see him in "Three
Men On A Horse" you'll agree R-K-O
couldn't have supplied better comedy in-
terest.
There being nothing more to see at this
studio, I head for
United Artists
/^NLY one picture going over here but
that's a biggie— "You Only Live Once "
—Walter Wanger's first production for this
studio. Henry Fonda and Sylvia Sidney are
the stars— only Sylvia isn't -working today.
Btit Henry is.
The set is a prison cell— in death row-
where condemned men a\vait their fate.
Henry is the prisoner. I can tell by the gray
shirt and gray trousers and felt slippers
he drears.
"W^hat are you in for?" I ask sym-
pathetically.
"Nothing," he informs me in an ag-
grieved tone. "Absolutely nothing."
"I know," I say soothingly. "But what
are you supposed to have done."
"I'm supposed to have robbed a bank,"
he informs me resignedly, "and killed a
few people in the getaway. But be sure
you emphasize that I'm only supposed to
have done it and was really framed. You
can easily see," he goes on, "that I couldn't
get out of the death hotise and go through
the rest of the picture if I was really
guilty."
They rehearse the scene once. Henry is
supposed to be pacing back and forth,
nervously, across the cell. Suddenly he stops
and turns to Fritz Lang, the director. "I
have a brilliant idea," he announces. "Re-
member in 'Once in a Lifetime' how they
kept cracking Indian nuts? Well, suppose
as I pace back and forth I keep cracking
my knuckles? It's a very nervous gesture
and we can dub the sound in later."
"No," Mr. Lang jokes. "I think it would
be better if you'd keep biting off your
fingers and spitting them out."
But Henry doesn't like that idea so
finally they shoot the scene without any
nervous gestures. Back and forth Henry
paces. Suddenly he goes to the bars and
regards Big Boy Williams— a guard who is
sitting outside reading a paper.
"I want to see my wife," he says.
"Too late," Big Boy snaps, looking up
from his paper. " 'Gainst the rules."
"Will you do me one favor?" Henry begs.
"If it ain't against the rules," Big Boy
ya\vns.
"Will you tell my wife that I love her?"
Henry implores him. "Say that I'm sorry
I've acted like such an ass. You'll tell her
that, Rogers, won't you? That's not against
the rules."
I've seen Henry do scenes from three or
four pictures and I never get over marvel-
ing how he kids right up to the time of
the take and then goes into a dramatic
scene like this and plays it as though it
^vas really his own life lie was living.
That finishing us up at United Artists,
let's see what's doing at
Warner Brothers
TF r\'E been lucky at other studios this
1 month b) finding things fairly quiet, I
atone for it here. There are just too many
]:iictures shooting. Howe^■er, I think I'll
sohe the diditully by telling you about
"Another Dawn"— Kay Francis' latest— and
"San Qucntin "— with Humphrey Bogart—
next month.
Of the others, the most grip]nng is "Jus-
tice After Dark." Ann D\orak and John
Litel h:i\c the leads in this. They're slioot-
ing almost the last scene in the iiitunc. It
is evidcnily a gangster film because the set
is a courtroom and there are a number of
spectators who look like roughnecks. Ann
is the court stenographer and Litel is the
prosecuting attorney. Stanley Fields is in
the witness chair.
"You just mentioned Bob Terrill,
Jacobs," Litel observes to Fields. "In this
state they hang men for murder. And
you're not going to be a pretty sight on
the end of that rope."
The corner of Fields' mouth twists con-
temptuously.
"You're a fat man, Jacobs," Litel con
tinues. "Do you know what happens ^vhen
they put the noose around a fat neck like
yours and spring that trap?"
Litel turns to the script girl. "The word
is 'dangle,' isn't it? When you dangle at
the end of that rope?" She nods and Lite!
repeats his line to himself. "When yoi;
dangle— dingle-dangle." You'll have to see
this picture to get any idea of the intensity
Avith tvhich this scene is played, but it is
well Avorth seeing.
Next we have a piece called "Mountain
Justice." Josephine Hutchinson and George
lirent have the leads in this. Little Marcia
Mae Jones who played the sweet little girl
in "These Three" is also in it.
Josephine is a mountain girl who had got-
ten a taste of the outside ivorld and Tvants
to bring light to the closed-in mountain-
eers, among whom she has lived all her
life. They look with distrust on anything
"furrin." In the meantime her father
(Robert Barrat) has become involved in a
court case over his attempted shooting of
a New York power company's representa-
tive. The company sends George Brent (a
brilliant— but, of course— attorney) down to
prosecute. The night before the trial
George meets Josephine and her kid sister
(Marcia Mae) at the carnival grounds.
'T'hey are standing by the ferris wheel talk-
ing when Josephine's local suitor (Edward
Pawley) comes up and starts berating her
and threatening to tell her father about
her for carrying on ^\ith George. George
has left them momentarily to buy a chicken
so he won't be a "furriner" any more.
"Oh, Tod," Marcia Mae pleads, "you
wouldn't tell Pa!"
"And when Jeff (the father) finds out
you been makin' up to a furriner," Pa^vley
says savagely to Josephine, ignoring Marcia
Mae, "he'll lash the hide ofta ya!"
Unobserved by Pawley, George re-enters
the scene, tickets for the ferris ;vheel in
his hand. He stands a little away from
them, listening.
"You're nothing but a " Pa\\'ley froths.
"You say it! " Josephine snaps, "if you
\vant \our face slapped!"
"Why, you " Pawley shouts, beside
himself.
He moves forward as if to strike her
but George steps in, swings Pawley
smoothly around and lets go a terrific, ef-
fortless sock from his waist level. The force
of the punch spins Tod and sends him
sprawling a dozen yards away.
"Come on, children," George smiles to
Josephine and Marcia Mae.
Another picture shooting out here is
adapted from a book— an old favorite of
mine— "Pernod and Sam" by Booth Tark-
ington.
Penrod ("Billy Mauch, the young Anllioiiy
Adverse), leatlcr of his neighborhood gang,
beats up Jackie Moivow, the mean son ol
the banker who employs Billy's father
(Frank Craven). In truth, Billy was defend-
ing \'crinan (Phillip Hurlickj a little col-
ored boy whom Jackie tvas bullying. Billy's
gang are jmcnilc G-men. C.ra\cn punishes
Billy but condones his actions when he
Icariis the truth. Gangsters, led by Craig
Re\nolds, rob the bank after a gun battle
in which ^'erman's mother, Mildred Goxcr,
is kilkxl. She is hing there on the street, in
Silver Screen for January 1937
79
front of the school house, as we pick them
"P- . .
"Mommy! Mommy!!" Verman cries in an
agonized voice as he sees his mother lying
there.
A woman leans down and leads him away
as men take charge of the body. Billy
and his friend, Sam (Harry Watson) edge
into the scene.
"Mommy!" Verman sobs broken heart-
edly. "I want my Mommy!"
"Don't cry, Verman," Billy begs as he
kneels down and puts his arm sympathet-
ically around Verman's shoulders. "You
gotta grit your teeth." His voice breaks.
"Remember you're a G-man."
Verman tries pathetically to grit his
teeth and stop crying.
"That's right," Billy encourages him.
"And smile— just a little."
Billy is a swell little actor but, somehow,
I have a hunch when this picture is pre-
viewed it is going to be his friend Sam
(Harry Watson) who runs away with it.
The last picture out here is "Ready,
Willing and Able." This features Ruby
Keeler and Ross Alexander. The plot is
too complicated to go into but Carol
Hughes is doing a sort of snake hips dance
and, what I mean to say is, Gilda Gray in
her palmiest days had nothing on Carol.
That gal really turns loose and the wrig-
gles fall where they may.
I stay on the set watching Carol as long
as it's decent and then, to get my mind off
things, I leave for
Pathe
THERE'S one picture shooting out here
. (which I well knew when I came in).
It's "Rainbow on the River"— a Principal
"Rainbow on the River," Bobby
Breen's new picture with Benita
Hume, Marylyn Knowlden, Alan
Mowbray, Bobby himself, and
Charles Butterworth.
Pictures production starring Boljby Brccn.
Bobby's parents have been killed in the
Civil War. His father was a Yankee, son
of a wealthy Northern woman (May Rob-
son), but Bobby doesn't know that. Living
with his grandmother are her niece (Benita
Hume), Benita's husband, Alan Mowbray
(wait'll you see him in "Ladies in Love")
and their spoiled brat (Marilyn KnowIdenV
Bobby has been raised by an old colored
mammy— the best and greatest of all col-
ored actresses (Louise Beavers). Finally the
village priest learns who Bobby really is
and writes to his grandmother. She sends
for Bol)by to come live with her. Benita
and her family are afraid that Bobby will
inherit May's money so they make life mis-
erable for him. One night he starts to run
away— back to Louise— but just as he gets
to the foot of the stairs he stumbles, drops
some of his luggage and the commotion
brings the whole family running into the
hall.
"I— I'm leaving," Bobby announces, see-
ing he's caught.
"Where do you think you're going?"
Benita queries.
"I'm going back to Toinette (Louise),'
Bobby says.
"Oh, no, you're not," Benita snaps. "The
only place you're going is back to your
room." With that she grabs him by the
arm and starts to drag him upstairs leav-
ing Mowbray standing there, shaking his
head.
Just at that moment the mousey Charles
Butterworth (the butler) comes from the
rear, carrying a candlestick.
"Mrs. Layton," Charlie stutters to Ben-
ita, "I beg your pardon, but I \vouldn't do
that."
"Ho\\' dare you talk to me like that?"
Benita fumes.
"I think you've done enough to this
boy," Charlie informs her, standing his
ground.
Well, May is roused by all the noise
and comes in and for the first time in his
picture career Charlie gets his wind up
and tells all of them what he thinks of
them. May sees the light, realizes how
Benita and her family have been pulling
the ^vool over her eyes ("Oh, you can't
pull the wool o-ver my ey-es!"), kicks them
out and takes Bobby back do^vn South to
Louise. When she finds Bobby is really her
grandson, she takes him back north— and
Louise along with them. Lucky day!
I want to say that my work this month
seems to be never-ending. I still have three
studios to cover. I suppose I might as well
get it over with. Of the three, I'll start
at
Columbia
There are three pictures going over here.
^ I guess the most important (to Colum-
bia, anyhow) is "Interlude," starring Grace
Moore. Miss Moore (and this is another
staggering blow under ^vhich I have to
bear up) is not working today. She is an
Australian opera singer who has overstayed
her time limit in this country. She must
either go home and come in again or go
to Mexico and try to get an Australian
quota number. When she gets to Mexico
she finds she can't get another number tor
a year— which is all right ^vith me, too.
Some bright boy figures it out if she mar-
ries an American she can come in imme-
diately and stay forever.
Gary Grant is a down-and-out artist in
Mexico ^vho can't meet his hotel bill.
That's all right with me, too, and it doesn't
^vorry Gary much because he seems to be
drunk most of the tiirie (in the picture).
Grace and he meet and Gary draws a pic-
ture of her as she looks to him. When the
picture is finished her face is a perfect
blank.
But just now he has other trouljles. He
is lying on a divan in his room listening
enraptured to a phonograph record when
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Gary Grant relaxing in "inter-
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BACKACHES
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Over 5 million people have used Allcock's, the
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Jean Arthur turns her back and George Brent is
perplexed. The picture is "Help Wanted: Female."
the hotel manager (Enrico De Rosas) bursts
in.
"Hello, innkeeper," Gary greets him.
"Sit down and feast your soul!"
"I have come to see you about the bill,
Senor," De Rosas notifies him loftily.
"Beautiful!" Gary murmurs, referring to
the music.
"ft \vill be beautiful when the bill is
paid, Senor," Rico states.
"I'm surprised at you, Innkeeper," Gary
chides him. "How can you think of bills
at a time like this?"
"I must think of bills," De Rosas per-
sists. "I am running a business here."
"And running it badly— if you don't
mind my saying so," Gary tells him off.
"Oh," Enrico cuts in sarcastically, "you
do not like the service?"
"A successful manager doesn't annoy his
guests about trifles," Gary tips him off.
And then Senor De Rosas really explodes.
"Oh! A trifle! He does not pay his bill,"
he announces to no one at all, "and it is
a trifle!" He paces the room madly for a
moment. "I will not permit you to stay
another minute! Not— one— more— meenit!"
"Sssshh!" Gary cautions him. "Hold it!
Hold it! He's going to hit high B-flat.
Listen!" referring to the tenor on the
phonograph!
"I do not care for your B-flat," De Rosas
screams through the singing. "You are ir-
responsible, Senor. I will have you thrown
out!"
"You have committed a sacrilege," Gary
yells, leaping off the divan and grabbing
him by the shirt front. "You've drowned
out the B-flat of an artist. Just for that,
I won't pay you at all!" And with that
he shoves De Rosas out the door.
The second picture over here is "Help
^Vanted— Female" with Jean Arthur and—
believe it or not— George Brent. I stare
goggle-eyed at George ^vhom I had just
left at \Varners a short time before.
"I jinn|> from one studio to liie other,"
he explains.
"A Mexican jumping bean?" I suggest.
"No," says George, "an Irish jumping
Brent."
"\Vliat's this all about?" I ask George.
So Clcorge takes up about half an hour
of liis lime explaining tlie plot to me. I'm
getting old, I'm gelling blase, jaded and
God only knows what all cl.sc. Tiic jilot,
someliow, just doesn't seem new to me.
Jean Arthur and Rutli Donnelly (spinster
sisters) run a secretarial school. They expel
Dorothea Kent because, although she's at-
tractive, she's too careless.
George is the editor of a health maga-
zine. When business drops off at the sclrool
Jean is forced to take a job as George's
secretary. One day she flares up and tells
him both he ancl his job are dead— that
instead of a health diet he needs a steak
—and humanizing. They have one scrap
after another until (after Jean has been
made associate editor) George takes the
expelled Dorothea as his secretary and not
only that, he starts playing around ■with
her— in a nice ^^'ay, of course. That's too
much. Jean resigns and goes back to the
secretarial school.
George follo^vs her there, disrupts a class
and finally gets her outside the classroom
where he can talk and urge her to come
back.
'You asked for this," Jean squelches him,
"so try to get it through your head. Gome
back and work for you! I should say not!
Not in a thousand years! You're stubborn—
and conceited— and selfish— and incompe-
tent! And you're such a fool! 1 never want
to see you again!"
That's the end of that scene. "Bov, did
you give out in that one," I jeer at George,
kno\\ing he's only had one line to speak.
"Tasty, ell?" George grins imperturbably.
Shucks! You can't kid a guy ^vho won't
be kidded so Fanmag Fanya and I move
on to the next set. At least, it should have
been the next set. "Women of Glamor"
with Melvyn Douglas, Reginald Denny
(tee hee!) and A'irginia Bruce have been
working here all day but suddenly the\ 've
gone on location. So that's one I get out
of covering, although I like them per-
sonallv.
Tliere being nothing else at Golumbia, 1
transfer my acti\ities to
M-G-M
"This studio is still in a turmoil since
^ Ir\ing Thalberg's luuimcly death. "May-
lime" is just ahoiu to go back into produc-
tion. "G.a])tains Coinngcous" with Spencer
Tracy and Ficddio Bartholomew is on lo-
cation and so is ".Ulcr the Tliin Man" ^vith
Myrna Loy and \Villiam Powell, so I'll
have to tell you about those two next
month.
There's notliing else here so I jog out
to the last studio
Silver Screen for January 1937
81
Universal
The first picture here is "Three Smart
^ Girls. ' Alice Brady, Ray Milland, Charles
Winninger and Binnie Barnes head the
cast but they have all long since finished
their parts. So today they're shooting al-
most the opening scene of the picture. It
isn t an importanf scene, and it's been a
long day; I'm tired, I'm thirsty, I'm hungry
and I'm dirty. So I don't stop to chat and
there's no sense giving you all the dialogue
because, although it's well-written, it isn't
particularly brilliant (it couldn't be in this
particular scene) and, as I told you, the
scene isn't very important.
Statement of the Ownership, Management, Circulation, etc.,
required by the Acts of Congress of August 24, 1912.
and March 3, 1933, of Silver Screen, published monthly
at New York, N. Y., for October 1, 1936. State of New
Yorli, County of New I'ork, ss. Before me, a Notary in
and for the State and county aforesaid, personally ap-
peared Josliua Superior, who, having been duly sworn
according to law, deposes and says that he is the Busi-
ness Manager of the Silver Screen and that the follow-
ing is. to the best of his knowledge and belief, a true
statement of the ownership, management (and if a daily
paper, the circulation), etc.. of the aforesaid publica-
tion 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, managing editor, and business managers are;
Publisher, Sereenland Magazine, Inc., 45 W. 43th St.,
Kew York City; Editor. Eliot Keen, 45 W. 45th St.,
New York City; Managing Editor, Eliot Keen, 45 W.
45th St., New York City; Business Manager, Joshua
Superior. 45 W. 45th St., New York City. 2. That the
oivner is; (If owned by a corporation, its name and ad-
dress must be stated and also immediately thereunder
the names and addresses of stockholders owning or hold-
ing one per cent or more of total amount of stock. If
not owned by a corporation, the names and addresses of
(he Individual owners must be given. If owned by a firm,
company, or other unincorporated concern, its name and
address, as well as those of each individual member,
must be given.) Sereenland Magazine, Inc.. 43 W. 43th
St., New Y'ork City; V. G. Heimbucher, 45 W. 43th
St., New York City; J. S. MacDermott, 45 W. 45th St.,
New Y'ork City. 3. That the known bondholders, mort-
gagees, and other security holders owning or holding 1
per cent or more of total amount of bonds, mortgages,
or other securities are; (If there are none, so state.)
None. 4. That the two paragraphs next above, giving
the names of the owners, stockholders, and security hold-
ers, 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 stockliolder or
security holder appears upon the books of the company
trustee or in any other fiduciary relation, the name
of the person or corporation for whom such trustee is
acting, is given; also that the said two paragraphs con-
tain statements embracing affiant's full knowledge and
belief as to the circumstances and conditions under whicli
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 atilant 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. .Toshua Supe-
rior, Business Manager. Sworn to and subscribed befoic
me this 5th day of October, 1936. Edward A. Geelan, Jr.,
Notary Public, Rockland County. Certificate filed in
New York County No. 720. (My commission e.vpires
March 30, 1933.)
1000 Laughs!
"GITTI>' IN
THE MOVIES'
HOLLYWOOD and the MOVIES. Fully
illustrated with 39 .side-splitting CARTOONS. Read
how LEM VVHILLIKENS ■■outslickers" the movie
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$1.00 plus charges. 6141 Franklin, Hollywood, CalH.
r-AODRESS ENVELOPES AT HOME-,
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Experience unnecessary. Dignified
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Box 523, Jackson, Tenn.
EARN MONEYS HONE
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WOMEN'S SERVICE LEAGUE
17 Roxbury St., Dept. S-l Keene, N. H.
"Top of the Town" is the next. This is
about a beautiful, slightly balmy heiress,
the possessor of .'§50,000,000. The time is
t\\'enty-five years hence, ■\vhen there is a
hundred story skyscraper in New York.
There's an orchestra in the Coral Cove 111
the basement (led by George Murphy) and
there's another one in The Moonbeam
Roof on the roof. George wants to lead the
latter orchestra because that's the swank
one. The heiress (Doris Nolan) is the niece
of the men who own the building. She
■\vants to get into show business so George
engages her to sing with his orchestra,
figuring she or the uncles will immediately
put him in the Moonbeam Room because
they won't want her singing in the base-
ment and breathing all that bad air.
The next morning the papers carry
the announcement and George is rudely
^vakened from his slumbers by his man-
ager, the one and only Gregory Ratoff,
pounding on his door.
"Come on, hurry up, get out of that
bed," Gregory sputters as he enters with
the newspapers.
"I thought it was an earthquake," George
mumbles sleepily. "What's the matter?"
"There's an earthquake, all right,"'
Gregory shrieks, "and you started it. Look
at these," shoving the papers at him.
As George sits on the edge of the bed,
Ratoff thrusts the papers at him. Gregory
blinks as he reads.
"How do you like that?" Gregory moans.
"Every morning paper in town."
George's eyes begin to ividen (and tliey
aren't very big eyes, either) as he reads.
"Say!" he shouts, "the Coral Cove is all
over the front pages!"
"Do you know what that's going to do
to you?" Gregory yells angrily.
"Put me right into the Moonbeam
Room," George chuckles.
"When the Bordens see this you'll be
lucky to even be in the Coral Cove,"
Gregory hisses.
"Why? What's the matter?" George won-
ders innocently.
"I told you to leave everything to me!"
Greg explodes. "The Bordens threaten to
hang me if I don't keep her out of the
show business— and you come along "
"Well, how was I to know?" George in-
terrupts defensively. "I thought it Avould
help me get the job."
"We've got to do something— and do it
quick," Gregory wails.
"That's easy," Murphy comforts him. "I
hired her. I can fire her."
"Uh-huh," Mr. Ratoff nods sarcastically.
"And then she'll fix it so you'll never get
into the Moonbeam Room."
A pretty kettle of fish, as you can easily
see. But whether he stays in the Coral Cove
or rises to the heights of the Moonbeam
Room— or whether he even works— it's all
one and the same to me, the way I feel.
Vou know the old saying, "Chicken one
day, feathers the next."
Me? There's chicken in the ice-box at
home and I'm on my way to it. See you
next month.
FAME IN HOUUyWOOD
' // HE new hullcr did iiol suil his
-il- 'iiihircss. She didn't like Ike way
lie served, managed or marketed.
"You don't seem to understand,"
she admonished, "this is a very formal
home. I must have dignity."
"All right, mndume. I'm leaving,"
exclaimed the butler, "what you want
is Arthur Treacher."
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Silver Screen for January 1937
A Movie Fan's Crossword Puzzle
By (^Karlottc Hertert
Gladys Swarthout
SO THIS is a new year! We hope it brings
an invention or two into daily use. Inven-
tions, notlring else, just inventions, have
changed our ^va.y of living since the days
when our forefathers and foremaminas lived
in caves. Take motion pictures, for instance,
and that is what we were leading up to.
One day Deacon Hannibal Goodwin of
Ne^vark discovered ho^v to make celluloid
in tape form. His mixture changed to cellu-
loid as it ran out so that he could make as
long a ribbon as he wished. That was the
birth of our movies. No Deacon, no movies.
Thomas A. Edison worked out the sprocket
holes so that the pictures would not jump
and soon the public could pay ten cents and
see photographs that moved.
There were theatres to be built, studios
to be started and actors to be hired, and so
Mr. Zukor came along.
Adolph Zukor arranged to get the pic-
tures made and distributed all over the
world. That ivas twenty-five years ago and
this is his jubilee month.
Short films of AVestern characters on
horses, with chases, led to long films and
lamous performers.
The Famous Players organization began
its forward march toward longer and better
pictures in better theatres, and the movie
show in an empty store with two flaming
arcs outside slo\vly disappeared.
With what imagination the picture busi-
ness was developed! What bravery and
ivhat valiant showmanship went into this
gro\ving art!
The newspapers began to print revie^vs
of the movies and to recognize the public s
interest in them. Motion picture advertis-
ing became increasingly important and the
tremendous husincss of making and selling
nio\ies began to lake its place— the fifth in-
dustry in America.
The Sarah Bernhardt picture was the
first one Mr. Zukor distributed and now
his company, to celebrate the occasion,
is releasing "Champagne Waltz." Gladys
Swarlliout, grand opera singer, stars in this
pidure. And thus he passes another niile-
sione.
I.ct us give him a long and lusty cheer
as he goes down the road, for life has been
much pleasanler because of Mr. Zukor,
Happ\ )ubilce lo \ou all!
across
1 Johnny in "Yours for the Asking"
4 Her latest picture is "The Garden of Allah"
n Valet to "Piccadilly Jim"
15 A suffix
16 Her next picture will be "Maytime"
18 The ingenue in "The Gay Desperado"
19 Rowdy Dow in "The Gorgeous Hussy"
20 Pertaining to medicine
21 Turf
22 Certain brand of gasoline
23 Large bodies of water
24 Elongated fish
28 The tallow tree
30 Fear
32 Scent
35 Andrew Jackson in "The Gorgeous Hussy"
36 Prohibit
37 Loretta Young and Don Ameche played in this
38 Slang expression of approval (abbr.)
39 To be
40 Upon
41 A savory jelly in which meats are served
46 South American animal
49 One of the four stars in "Libeled Lady"
51 Rose in "The Devil Is a Sissy"
53 Sailors
54 Army Ordinance Dept. (abbr.)
56 Sums up
57 Jim Hawkins in "The Texas Rangers"
59 She works at the Warner studio
63 Letter in the Greek alphabet
64 The king of birds
68 Soft sheepskin leather
69 A human being
71 A box for packmg
74 Barton MacLane's sweetheart in "Draegermao
Courage' '
75 From a lower to a higher point
76 Sandow in "The Great Ziegfeld"
77 A point of the compass (abbr.)
DOWN
1 "Craig's Wife"
2 Low female voice
3 Nourish
4 With Katharine Hepburn in "A Woman Rebels"
5 Principal divisions of a drama
6 Thoroughfare (abbr.)
7 Now working in "After the Thin Man"
8 Printer's measure
9 Nominate
10 The talented dancer in "Born to Dance"
12 Lewis Stone's daughter in "Sworn Enemy"
13 A suffix
14 "Fish-eye" in "His Brother's Wife"
16 Her latest picture is "Go West Young Man"
17 Doctor of Dental Surgery (abbr,)
25 Comedian in "Come Up Smiling"
26 The songbird in "Champagne Waltz"
the Damned"
be "Maid of Salem"
'The Texas Rangers"
27 An English actor appearing in "Everything is
Thunder' '
28 O'Hara in "The General Died at Dawn" .
29 Regarding (abbr.)
30 A garment worn in Arabia
31 Before
33 Period of time (abbr.)
34 Star of "Lost Horizon"
41 The sultan in "Abdul,
42 Mineral spring
43 Her next picture will
(initials)
44 Either
45 Before Christ (abbr.)
46 One of the outlaws ir
(initials)
47 Middle (abbr.)
48 Respond
50 Period of time
52 A weight used in Turkey
54 Correct
55 Mary Reyburn in "Ld Give My Life"
57 Manuscript (abbr.)
58 Biblical pronoun
60 Shortened form of feminine name
61 To wrap around
62 Within
65 Morning (abbr.)
66 An instrument for discharging shot
67 An untruth
69 Myself
70 Indefinite article
72- Neuter pronoun
73 Toward
Answer to Last Month's
Puzzle
mwmmj^jmmmm
DBDiOl D S W^RTrnsBNlAl N
i
A R A
the: cuneo press, inc., u. s.a.
CfmidPrnoA,
Even your best friend will be delighted to get a yearly
subscription to SILVER SCREEN for Christmas and
you'll be proud to give it!
Imagine! Twelve long months of Hollywood's highlights,
the Romance and Glamor of the Screen World, fashions,
gossip, news about pictures and players! It's the ideal
Christmas present . . . and you save money !
$2 BUYS THREE ONE-YEAR SUBSCRIPTIONS
This is a special Christmas offer. Regularly, the price is
$1 for each yearly subscription. So, take advantage of
this bargain and give as many as you like . . . three . . .
six . . . nine!
At no extra cost, we will send out handsome holiday cards
announcing your gift. These will be mailed to arrive at
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follow for twelve long months!
USE THE COUPON BELOW! If you need more room,
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/
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Gentlemen: Enclosed please find $ for which you are to send Silver Screen for one year and a holiday card
announcing this gift in my name to: —
Name
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THE TREASURE OF THE PEW
Loretta Young
MOVIE MAGIC MAKES THEM GREATER
LISTERINE SAYS WuM4/'U/i
to Nature's Healing Process
Feel chilly? . . . Uneasy? . . . With just a
hint of rawness and tickle in the throat?
Do something about it, quick! be-
fore there is actual pain in swallowing.
Prompt action may prevent much
needless suffering. Or hasten the heal-
ing process. Thus ending the cold or
sore throat sooner.
Don't Treat Symptoms
Get At the Cause
The irritated throat-surface is usually
the result of infection by germs. Help
the system in its fight to repel these
germs by gargling with Listerine Anti-
septic.
Every one of these surface germs
which it reaches is almost instantly
killed by full-strength Listerine. It de-
stroys not only one type of germ, or
two; but any and all kinds which are
associated with the Common Cold and
Simple Sore Throat. And there are
literally millions of such germs in the
mouth.
The effect of Listerine is definitely
antiseptic — NOT anesthetic. It
doesn't lull you into a feeling of false
security by merely dulling the irrita-
tion in the throat. Listerine acts to
check the infection, and so gives Na-
ture a helping hand.
Additional precautions? Certainly. The
Common Cold calls for common sense
hygiene; plenty of fresh air, rest, and
sleep; and regular elimination.
But gargle frequently with Listerine
Antiseptic, several times a day at least.
Many users report best results with
gargling every hour. If the inflamma-
tion still persists, it is advisable to
consult your doctor.
Fewer, Less Severe Colds
Proved in Clinical Tests
Four years of carefully supervised
medical tests established the clear-cut
finding that those who gargled regu-
larly with Listerine Antiseptic had
fewer colds . . . and got rid of them
faster . . . than non-garglers.
This winter, why not make a test of
your own case? Get a bottle of Lister-
ine, the safe antiseptic with the
pleasant taste. Keep it handy in the
medicine cabinet. Use it regularly.
Then see if your experience doesn't
check with that of millions who never
accept anything but Listerine when
they buy an antiseptic mouth-wash.
Lambert Pharmacal Company
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Now a finer Cough Drop
by LISTERINE
Wisely Medicated
Even in the throats of
healthy persons, disease-
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found at all times. X-ray
photographs of garglers
indicate how Listerine
Antiseptic, used as a gar-
gle, reaches the germs on
throat-surfaces.
Finger Wave, Manicure and Facial
yet she overlooks tender, ailing gums
How often such neglect leads
to real dental tragedies...
help keep your gums healthy
with Ipana and Massage.
She'll sit by the hour for the latest
finger wave, spend dollar after dol-
lar on beauty aids, and fret and worry
over the first sign of a skin blemish.
But her friends and even strangers sel-
dom notice these things. They only see
her smile — a disappointing smile — a
smile that is dull, dingy and unsightly—
a smile that shocks instead of thrills!
Yet her smile still could be attractive
—with teeth sparkling, white and bril-
liant. But not until she does something
about her tender, ailing gums— not un-
til she knows the meaning of that warn-
ing tinge of "pink" on her tooth brush.
Heed that Tinge oj "Pink"
When you see that tinge of "pink" on
your tooth brush— to your dentist.
You may not be in for serious trouble—
but let him decide. More than likely,
however, he will lay the blame to our
modern menus— to the soft foods that
rob our gums of necessary work. And
usually he will suggest more work for
those lazy, tender gums and the healthy
stimulation of Ipana and massage.
If he does, start with Ipana and mas-
sage today. Use it faithfully. Massage a
little Ipana onto your gums every time
you brush your teeth. Gradually you'll
notice a new life and firmness as circu-
lation quickens in the gums.
Then with whiter teeth, healthier
gums, how appealing your smile will
be; how brilliant, sparkling. Start with
Ipana Tooth Paste and massage today,
and help make your smile the lovely,
attractive thing it ought to be.
a good tooth paste,
like a good dentist,
is never a luxury.
IPANA
Silver Screen j o r February 1937
3
The fragrance of
her camelias intoxi-
cated his senses , . .
'Crush me in your arms
until the breath is gone
from my body!"
She had known many kinds of
love, but his kisses filled her with
longings she had never felt be-
fore . . . The glamorous Garbo —
handsome Robert Taylor — to-
gether in a love story that will
awaken your innermost emotions
with its soul-stabbing drama!
with LIONEL BARRYMORE
ELIZABETH ALLAN • JESSIE RALPH
HENRY DANIELL • LENORE ULRIC
LAURA HOPE CREWS
A Metro ■ Goldwyn - Mayer Picture, based on play and novel
" La Dame aux Camelias" ( Lady of the Camelias I by Alexandre
Dumas. Directed by George Cukor
m -7 1937
©CIB 325891
REFLECTING ^Ae MAGIC o/HOELyWOOD
FEBRUARY 1937
Volume Seven
Number Four
ELIOT KEEN
Editor
Elizabeth Wilson Lenore Samuels Frank J. Carroll
Western Editor Assistant Editor Art Director
CONTENTS
STORIES AND ARTICLES Page
PRIZE CONTEST 12
Fit adjectives To The Stars
LIFE IS LIKE THAT Oscar Howard 14
A New York Artist Observes The Picture Folks
IS HE A STUFFED SHIRT? Muriel Babcock 16
Boly Taylor Is Put To The Test When He Visits His Home Town
MOVIE MAGIC MAKES THEM GREATER Ed Sullivan 18
The Hollywood Influence
PROJECTIONS ....Elizabeth Wilson 20
Loretta Young
MRS. GRUNDY REGRETS Grace Kincsley 22
A Social Blunder Sometimes Proves An Asset
READY FOR LOVE Dena Reed 25
Olivia de HaviUand Looks Pleasantly Upon Marriage
THE TREASURE OF THE FEW Liza 26
Imagination Is A Priceless Quality
THE LADY OF TRILLS Catharine Hoffman 28
Lily Pons Is Giited With The Loveliest of Voices
THE STARS AND THEIR FLYING MACHINES Ben Maddox 30
You Can't Keep A Movie Star On The Ground
JUST "LUCKY" Maude Cheatham 51
Fred March Never Forgets The Time He Got The Breaks
ON THE GRAND BANKS Jack Bechdolt 52
Fictionization of "Captains Courageous"
MONTHLY FEATURES
The Opening Chorus 5
"You're Telling Me?" 6
A Smart Hair "Do" Mary Lee 8
Becoming Coiffures Of The Movie Girls
Tips on Pictures 10
Topics for Gossips 13
Pictures on the Fire S. R. Mook 32
Visiting The Sound Stages
Reviews of Pictures 54
Menus for That Party Mood: Ruth Corbin 56
St. Valentine's Day Offers An Opportunity To Go Gay
A Movie Fan's Crossword Puzzle Charlotte Herbert 82
The Final Fling Eliot Keen 82
ART SECTION
William Powell 35
He Is The Screen's Personification Of A Gentleman
The Fight Against Self-Consciousness 36-37
Hollywood Trains Them To Forget About Themselves
There Is Drama in Every Walk of Like 38-39
Where Plots Come From
Dance If You Would Have a Perfect Figure 40-41
A Swing Orchestra Is The Best Beauty Doctor
Prelude to Exciting Evenings 42-43
A Netv Trend In Fashions That Go Places
Beauties of ihe Screen 44-45
The Loveliest Girls In Pictures
The Crowned Heads of Hollywood 46
Every Game Has Its King Or Queen
"Off-Stace Shots" 4^-49
Out Of The Ordinary Photographs Taken On The Lots
Loud! 50
Checks And Plaids For The Heroes
COVER PORTRAIT OF LORETTA YOUNG BY MARLAND STONE
SILVER SCREEN. Published monthly by Srrccnl.ind Masazine. Inc. at. 4."i West Kth Strool. Now Ynrk. N. T.
V G. Hcimbuchcr. President; J. S. MarDermott. Vire President; J. Superior. Secretary and Treasurer. Adver-
tising Offlees: 4,") West 4.".th St,, New Y'ork ; 400 North Mioliican Ave., Cliieago; r,l\ S. Alex.iiHiria Ave., Los
Angeles, Calif.; Walton Hldg.. Atlanta, Ga, Yearly subsrripl ions $1.00 In the United Slatrs. lis dependeneies.
Cuba and Mexieo; il.'M in Canada; fori ign $1,110. Changes of address must reach us five weeks in advance of the
next issue Be sure to give both the old and new address. End rcd a.s second riass matter, September 23. 10.10,
at the Post Offlee. New Yorit, N. Y.. imiU'r the Ait of Marrh 3, 1,S70. Additional entry at Chicago, Illinois.
CODyriKht 1937 by Srreenland ilagazine. Inc. Printed in the V. S. A.
^ MEMBER AUDIT HUREAU OF CIRCULATIONS
Joan Crawford
A Letter from Liza
DEAR BOSS:
I don't know what it is, maybe
prosperity finally staggered around the
corner or something, but all the movie
stars are getting frightfully gay these days.
You just can't count on a prima donna
being prim any more. They do the most
amazing things. Those beautiful Glamour
Girls, who used to be quite content to
stretch their chassis luxuriously over a
chaise longue with yards and yards of
chiffon, get awfully mad now unless the
director lets them take at least one fall
during the picture. As for the Wonder
Boys, unless they can push around a lot
of mugs and get all mussed up they won't
plav. Oh, I am sure nothing good will come
of thisl
Of course the biggest surprise was when
Grace Moore, who, less than a year ago,
pouted for weeks because Herr Von Stern-
berg asked her to milk a cow, decided to
sing "Minnie the Moocher" in her newest
picture, "Interlude," with gestures, yes, my
dears, gestures. Wait until the Metropolitan
hears about that.
And my poor eyes nearly popped out
when I saw Joan Crawford, she who used
to say, "My deah, caAvn't you, really "
in the best English drawing room tradi-
tion, dancing the bumps like a wild young
thing in "Love on the Run." And excellent
bumps too. Imagine my horror (but de-
lighted horror) when the debonair and
suave Mr. William Powell, always so
immaculate, suddenly started floundering
around in the water during that elegant
fishing sequence in "Libeled Lady," mak-
ing himself look utterly ridiculous. Dignity
be darned, said Mr. Powell. And .so said
Melvyn Douglas in "Theodora Goes Wild"
as he smeared blackberries across his hand-
some face— yes, our Mr. Douglas who used
to be so serious that you spoke to him in
a whisper, when you had enough courage
to speak to him at all. And Irene Dunne,
who for years has been the "lady " of the
screen, not only l)it her finger nails in the
same picture but ordered a straight whiskey
and (lid ihe best slightly light scene wc'\c
ever had on the screen.
In "After the Thin Man" the charming
and discreet Myrna Loy gets herself locked
up in the jug. and Madge Evans in
"Piccadilly Jim'' takes the most divine fall
of ihem all. . . . Madge who lui-i been so
sweet and proper.
No, nothing good
will come of this 1
hope.
for February 1937
5
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Oil re
Tedins M
DEAR EDITOR:
\Ve never kno\v
what becomes of
the pla)ers who once
upon a time were pho-
tographed in palaces of
uxury between their
glorified screen appearances. \Vhere do they
go to? \ou tell us.
Eileen Raymond,
St. Louis, Mo.
One we can account for anyway. Gloria
Swanson soon will probably be in a stage
play on Broadway— "Lovers' Meeting." And
we wish her good luck.
To the Editor:
I read where "The Garden of Allah"
grossed §84,200 the second week at the
Music Hall in New York City. Do the
people go to see the stars or to get familiar
witYi the stor\ from which the film is
adapted, or to see the theatre?
Of course, I know the answer. They go
for entertainment first of all and that
means the story, background, and so on.
But second, the public goes to see the
players. We have seen them so often that
they seem like old friends and it is a real
pleasure to see them again.
That, in my inexpert opinion, is the
answer to the mystery of star appeal.
Christine ^Vebber,
Ozone Park, L. I.
Yoii enjoy the movies in proportion to
your imagination.
Dear Editor:
Perhaps here is one bit of news you do
not know. As a ticket agent I hear some-
thing now and then.
Bobby Breen's next picture, "Boy Blue,"
may have a musical score by Oscar Strauss.
At any rate, Sol Lesser, the producer, has
left for Vienna on the "Normandie."
Anthony Quinn,
Tacoma. ^Vash.
HV have had the pleasure of slinking Mr.
Lesser's hand. To such men go our respect
and admiration.
Dear Editor:
In the movie theatre that I go to they
show double bills and some people do not
like the custom. Of course it is more for
Clever Dick Powell and beauti-
ful Madeleine Carroll are co-
starred in "On The Avenue."
They seem surprised. Perhaps
they never before read letters
that speak right out.
the money. But we still
have the xery much ad-
mired ne^^•sreel, so why
two featme pictures?
Speak Oracle!
Ed Gallen,
San Francisco, Calif.
If you enter the theatre when a picture
is half over you spoil your enjoyment of
the photoplay. If there are tivo pictures
shou'ing and you go in during the middle
of one, at least you see the other as it
should be seen.
Why does Irene Dunne change to
comedy? Are there no more "Back Streets '
or "Magnificent Obsessions?" I ha\e read
of comedians who ^vanted to play the
melancholy Dane. Is it true that a star
who has stirred the sympathies of mil-
lions, now yearns to bring laughter to those
whose lives are spent in the lonely paths of
serious reality?
I thought she was a real comedienne in
"Show Boat." \V'hat I ^vant to know is this:
does that show greater ability on her part
or does that indicate that she has slipped
a bit?
Roy Jones,
New Orleans, La.
Anyone can be serious, in fact ice are, but
it takes a gifted artist to command your
lauahter.
Dear Mister Editor:
I have been a frequent visitor to the
movie theatres and right now. because of
the many simultaneous parachiue jiunpers
that 1 saAV in a news shot in Russia, I can
visualize how an army can be placed in an
enemy country to biun the cities and do
damage. Also, because of "Lloyds of Lon-
don," I know an old English coffee house
as though I had travelled abroad in a
previous century. I learned about "Into the
Valley of Death" from Errol Flynn's
"Charge of the Light Brigade." "Mutiny on
the Boimty" taught me the exciting story
of Pitcairn Island, and my respect for Dr.
Pasteur is a fixed part of my beliefs. (Now
I know what pastemized means.)
Louise Babcock,
Harrisbiug, Pa.
Thanks for your letter. You shoxu how
the movies have realty advanced.
Write A Letter To This Pase. Say What You
TKink/ Provoke Discussion, Proclaim Votir Beliefs.
6
Silver Screen
Gladys and Fred go to town in handsome style
The thrilling romance team of
"Champagne Waltz" take time off
from work to tour Hollywood in
a hansom cab. (By the way, the
critics all tell us "Champagne
Waltz" is the best picture either,
one of these stars has ever made)
VeloE & Yolanda step out in a little Tyrolean number
Gladys and Fred take a few pointers on
ball room dancing from the greatest dance
team in the world . , .Vcloz and Yolanda
Gladys Swarthout
and Fred MacMurray
'Champagne I/I/altz
j or February 1937
7
.... A great story by
JOSEPH CONRAD . . .
masterly direction by
ALFRED HITCHCOCK
of "39 Steps" fame . . .
a brilliant cast with
SYLVIA SIDNEY
OSCAR HOMOLKA
JOHN LODER and
DESMOND TESTER
A REMARKABLE PICTURE THAT
NO ONE CAN AFFORD TO MISS
Coming to your favorite theatre
♦Sylvia Sidney tliroupli lUo courlesy of Walter
Wangcr Productions, Inc.
A Smart HaIR
"DO"
From the center part mouiJed
curls are brushed back from
either side of Madge Evans'
face, giving an upward sweep-
ing effect, while the back is
curled in even double rows, giv-
ing a halo effect.
WE'D like to give Hollywood the
credit it deserves for bringing com-
mon sense back to hair styles. All
through these years when elaborate hair
styles have been coming over from Paris,
the stars have just gone ahead and worn
their hair the way they wanted to and in
arrangements they know arc beconring to
tlrem. Most of them have lovelv, well-
groomed hair to start with, and the \vay
they wear it is smprisingly simj^le. Now
the newest American hair styles stress sim-
plicity, nalmalness and arrangements tnat
will show olf tiie beauty of the hair itself.
Orchids to Holly^^■ood for bringing this
about, say \ve!
Tlie hair that frames the classic face of
Madge K\ans, Metro-Goldwyn-Mayer feat-
ured ])hner, is arranged so simply any girl
could do her own the same ^vay. Vet the
Iiairdress Madge Oscars in the pictures on
this page is ne\vcst of the new!
Girls ^OVfio Are Photoj;raphcd
every Day W car Coiffures
TKat Are Becoming.
By yVlary L<ee
That "inverted curl" brushed up from
each of Madge's ears is one of fashion's
laf st ^vrinkles. And those two soft rolls in
back are as smart as they are easy to ar-
range. The center part is getting more and
more popular. Note the smoothness on top
and the absence of formal -waves.
For gay, formal e\enings, Madge i\'ears
more curls. She keeps the straight center
part, with elongated ringlets in an inter-
esting arrangement aroimd her face— an-
other version of the "inverted curl." And
she wears a ro^v of straight up-and-down
curls across the back of her head.
In the new hair styles, waves are con-
spicuously lacking. '\Vhen they are used,
they're only incidental to the rest of the
hairdress. Ciuls and swirls and soft rolls
take first place. Hair is done so it can be
mussed up (by you or somebody else) and
then brushed l)ack into place with the
greatest of ease. Personally, we have no
regrets ^vhen we say adieu to those set
waves and tiny formal ringlets that needed
frequent repairs at a beauty shop and a
net to keep them in place overnight.
On their way back to natinalness, hair
styles ha\ e taken some very radical changes
in their stride. For instance, there's the
high-in-front vogue, with curls or rolls or
pulls rising up from your forehead. It's still
smart to show your forehead, if you have
a good one. However, the ciuled up kind
of bangs and little ringlets across your fore-
head are good style. Show your ears, en-
tirely or in part.
Bobs are both long and short; If you
wear your hair short in back, the smartest
arrangement is a swirl brushed up from a
side-part. \ow can do more interesting
things with your hair, though, if you have
two or three inches at the back of yoin-
neck to plav with. The important thing
aliout a long bob is to ha\e the ends cut
ime\enly so they ^vill slay in cinl.
One of the latest innoxations is an ear-
to-ear part all the xvay across the top of
your head. This is used when you want to
bring hair forward to arrange it in ringlets
o\er yoiu" forehead or those uprising rolls
or ciu'ls. For instance, we saw a hairdress
ii'sing an ear-to-ear part xvhere one con-
tinuous soft roll outlined the forehead and
xvas carried all the way around the head,
low in back. The girl's hair \vas absolnielv
smooth inside the circle.
Slanting parts at the back of one's head
are smart, too. And some of the new coif-
fures seem to change the entire shape of
head. There's one that makes )oin
iiead look triangidar. One large curl at the
center front is turned forward so its tip
lightly brushes ^o^n■ forehead. This is bal-
8
Silver Sc. rten
anced by two large rolls, starting from a
soft brushed -up effect over your ears and
extending diagonally down the back to
meet a slanting part at the neck-line.
These new hair styles may sound com-
plicated because they're so different from
the ones we've been wearing. But actually,
they're much easier to arrange and keep
neat than the formal waves and many ring-
lets. It's hard to set good waves yourself,
but it's easy to make loose curls and rolls.
The "inverted curl" is the secret for
making these new hair arrangements look
soft, smooth and natural. You make in-
verted curls by winding the coil inward
toward the scalp instead of outward toward
the face as it's usually been done.
Personally, we find bobby pins ideal for
making these curls. You simply take a
strand of hair, dampen it with warm water
and smooth it out with your comb. Then
wind it around into a little coil and slick
in your bobby pin so it will hold the coil
flat against your head.
Then when your hair's dry, comb or
brush the curls over your finger to make
them any size or shape you want. You can
make them go sidewise or up-and-down or
diagonally according to the angle at which
you hold your finger. Or you can comb
several together into a long roll.
One of the biggest advantages of these
new hair styles is that the more you brush
the better! IJrushing is good for everybody's
hair. And it will make those loose waves or
rolls smoother and shinier and better in-
clined to snap back into place.
Unless you're blessed with naturally
curly hair, a good permanent wave is the
foundation of a successful coiffure. I mean
by "good" a wave that is just right for your
hair, neither too much nor too little. You
simply can't have kinks this year. Know
what kind of a permanent wave you are
getting and be sure the pads and lotion
used are the ones supplied by the manu-
facturer of the machine. And, unless you're
sure the operator knows your hair, it's wise
to insist upon a test curl.
Don't let any operator tell you that all
fine hair is alike and proceed to wave it
accordingly. There are two types of fine
hair, one which waves very easily and one
that takes more heat. Neither is all coarse
hair alike when it comes to permanent
waves. A good operator can tell by feeling
your hair what type it is and how it should
be waved, but a test curl is the best in-
surance.
New Titles For
NEW PICTURES
"Help 'Wanted Female" (Jean Arthur)
has been changed to
"More Than A Secretary"
"The Depths Below" (Dolores Del
Rio) has been changed to
"Devil's Playground"
"Peach Edition" (Michael 'Whalen)
has been changed to
"Woman Wise"
"No Hard Feelings" (Glenda Farrell)
has been changed to "Smart Blonde"
"Justice After Dark" (Ann Dvorak)
has been changed to
"Midnight Court"
OF ALL tTsT£RRORS
AMAZING NEW FREDERICS WIRELESS PERMANENT
USES NO HARMFUL CHEMICAL HEAT- NO INTENSE
ELECTRICAL HEAT-NO HAIR-PULLING WIRES
'■T'OR YEARS women have shrunk from the terrors
■■• of Chemical Heat — from the discomforts of elec-
trical machines with heavy hair-pulling gadgets.
But all this is a nightmare of the past. Frederics
Wireless Wave has robbed permanent waving of all
its terrors. Today, feather-light, pre-heated alumi-
num wavers are put on to cool off — not heat up.
Quickly — magically — comfortably — your straight
hair is coaxed into beautiful, soft, lustrous waves—
so alluring — so enduring and so easy to manage that
you will think you really have naturally curly hair.
Send your name and address to E. Frederics, Inc.,
235-247 East 45th Street, New York City and
we will rush you the names of Frederics
Franchise Shopowners in your neighborhood
who are qualified and equipped to give the
new Frederics Wireless Permanent.
(UK
Make certain that Frederic 8 Vita-Tonio
or Vitron Magic Shield arc used on your
hair when getting a Frederics Wireless
Permanent (sec illustrations ahove).
Avoid substitutes. Sample wrapper,
for idcntiGcation, will be sent Free*
~f reJerics
VITA-TONICWVITRON
OXRELESS
for February 1937
E. FREDERICS, Inc., Dept. 9A89
235-247 East 45th St.
New York City
Kindly send mo a list of sulons in my nei^libor-
hood who give Frederics '%'irelcss Permancnts.
INamo
Address
City State
9
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Chew a tablet for 3
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Learn why this laxative is a favorite with
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Tips On Pictures
R
evievvs m
Brief
(Above) Pat O'Brien and
James Cagney at the Tin
Wedding Anniversary Party
of Sue and Chet Morris.
Sue says, "A rolling stone
gathers no morris."
BORN TO DANCE— Fine.
An elaborate musical with, of
all things, a plot that is ac-
tually amusing, and a cast that
does it justice. Eleanor Powell is
the premiere danseuse, aided by
Buddy Ehsen, and Sid Silvers,
Una Merkel and Jimmy Stewart
provide plenty of comedy.
CAREER WOMAN— Fine.
A satire of the law courts, contrasting the trickery
of city courts with the bigotry and prejudice of
those in small communities. (Claire Trevor,
Michael Whalen, Isabel Jewell, Gene Lockhart.)
COME AND GET IT — Splendid. An enter-
taining film adapted from Edna Ferber's story of
the timber business in Northern Wisconsm and
what it did for, and to, Barney Glasgow who
rose from lumberjack to a position of great power
and wealth in the industry. Edward Arnold is
superb as Barney and Walter Brennan and Frances
Farmer turn in admirable performances.
COUNTERFEIT LADY — Fair. Interesting
film fare for a dual program. It tells the story
of Ralph Bellamy, a detective, who poses as a jewel
thief in order to protect a large jewelry insurance
company. Joan Perry is the romantic lure.
GO WEST, YOUNG MAN — Fine. Taken from
the stage hit, "Personal Appearance," this farce
concerning a moronic motion picture star is red
meat for Mae West. Helping along the riotous
plot are Randolph Scott, Warren William, Isabel
Jewell, Lyle Talbot, etc.
GREAT O'MALLEY — Interesting. The story
of a New York cop who believes in carrying out
the law's precepts to the letter of the word, thereby
causing much heartache among the unfortunate.
A demotion convinces him that justice without
mercy is not justice at all. (Pat O'Brien, Humphrey
Bogart, Sybil Jason.)
HAPPY GO LUCKY— Good. The locale is
Shanghai and we have a round mixture of melo-
drama and comedy when Philip Reed, a song and
dance man, is mistaken for Evelyn Venable s long-
lost sweetheart. He carries thru the pretense,
thereby aiding her when she and her father are
threatened by conspirators.
JUNGLE PRINCESS, THE— Good. All loyal
supporters of the various Tarzan films will enjoy
this. Instead of a boy growing up alone in the
African jungle, with animals for playmates, we
find a girl growing up in similar fashion in the
Malay jungle. (Dorothy Lamour.)
LLOYDS OF LONDON— Excellent. A skill-
fully woven fiction idea is blended with the actual
story of the founding of the famous English insur-
ance house in the 18th century. Lord Nels^on s
unexpected victory at Trafalgar provides one o the
most dramati*incidents. (Tyrone Power, Madeleine
Carroll, Freddie Bartholomew.)
LOVE ON THE RUN— Fair. All about a rich
American heiress (Joan Crawford) who runs out
on her marriage to a fortune-hunting nobleman
•iiul hops off to the continent with Clark Gable,
not knowing that he is a haled reporter. I-ranchot
Tone, another reporter, complicates matters still
further.
MORE THAN A SECRE-
TARY— Fine. An airy romantic
comedy featuring Jean ,\rthnr
and George Brent in' their re-
spective jobs as head of a
secretarial school and physical
culture magazine health fad-
dist. An ace-high supporting
cast is headed by Ruth Don-
nelly, Lionel Stander and Regi-
nald Denny.
MAD HOLIDAY — Amusing. Another carbon
copy of the "Thin Man'' type of mystery, with
Edmund Lowe and Elissa Landi quite delightful
in their respective roles of blase movie star and
a writer who are confronted with a mysterious
murder while on a sea trip.
PIGSKIN PARADE— Fine. A football picture
that is kidded hilariously and will not bore you
even if you don't know a touchdown from a for-
ward pass. (Jack Haley, Patsy Kelley, Stu Erwin
and Arline Judge.)
REMBRANDT — Excellent. A well-knit biog-
raphy of the famous 17tli century Dutch portrait
painter, Rembrandt van Rign, beautifully photo-
graphed and produced, and with Charles Laughton
playing the lead to perfection. (Gertrude Lawrence
and Elsa Lanchester.)
REUNION — Fair. This is not nearly as enjoy-
able as the first film exploiting those marvelous
Quins. The film is taken up by so many highly
sentimentalized plots and counter-plots that the
children are seen all too little. (Jean Hersholt,
Helen Vinson, Dorothy Peterson, John Qualen.
Rochelle Hudson, Slim Summerville.)
SMART BLONDE — Fair. A wise-cracking
mystery film with Glenda Farrell cast as a reporter
who spends most of her time following Detective
Barton MacLane around hunting clues, during
which time each tries to outwit the other.
SONG OF THE GRINGO— Fair. The new
Westerns are as full of lilting songs sung by the
romantic cowboys as they once were full of wild
chases over hill and dale in search of the dead-
eyed villain. Perhaps the kids would relish a return
to the old formula. They prefer e-xcitement to
romance. (Tex Ritter-Joan Woodbury.)
THEODORA GOES WILD — E.xcellent. A
smartly-paced comedy about a small-town novelist
with inhibitions who suddenly blossoms into such
a helter-skelter modernist that she amazes her
comparatively staid New York publishers. (Irene
Dunne and Melvyn Douglas.)
10
WINTERSET— Excellent. A beautifully pro-
duced and superbly acted film, but because the
theme is sombre in the extreme, dealing with the
vindication, sixteen years later, of a man electro-
cuted for murder, it will not appeal to a large
audience. (Burgess Meredith-Margo) -
Silver Screen
iiP lllL ^ cupper'^ riot oitbvx Xi^^lk.
■ - . ,.j-.«iiiatJ
a big W
^^'^^r?pt^n!uncea CucUjo,^ ^^^^^^^^ ^
music—
\
J , a Patricia is^^'^
7^
NAT PENDLETON
ANN SHERIDAN • HOBART CAVANAUGH
And These Other Songs—
"THAT'S THE LEAST YOU CAN DO FOR A LADY"
"SUMMER NIGHT" •"YOUR EYES HAVE TOLD ME SO"
lyrics and Music by HARRY WARREN & AL DUBIN
A Cosmopolitan Production • A First National Picture
Directed by RAYMOND ENRIGHT
For this joyous entertainment that so easily
romps away with picture honors this month —
thanks are due
lue to /y
for February 1937
11
12
Shirley Temple
Irene Dunne
Joan Crawford
Joan Blondell
Fit An Adjective
To These Stars
Select The Words That Seem To
You To Describe The Players Best.
THE producers and the fan -svriters
of Hollywood more or less agree
on the question:
"What does each star mean to the
public?"
Now we want to hear from the
public itself, and in order to fire you
with ambition, certain prizes will be
given to the persons who label the
stars most perfectly.
LABEL THE PLAYERS
What adjectives in your opinion
best describes these stars?
For example: There are players
who are well known for the apparent
sincerity that they give to their roles.
Others are "Exotic" or "Smart" or
"Comical" or "Beautiful" or "Subtle"
or "Aristocratic," or perhaps none of
these.
WHAT WORD DOES EACH
SUGGEST?
The stars play in picture after pic-
ture, in roles of all kinds, yet always
there is one certain kind of part that
seems to best come within the pe-
culiar characteristics of their skill.
Perhaps they are sparkling or vivid.
Ma) be they are sympathetic or men-
acing. Think over the parts in which
vou "have seen them and then think
up the word that most suitably de-
scribes each pla)er.
PROMPT RE\VARDS
The contest prizes will be sent to
the winners soon after the contest
closes; that is early in January.
Fill in the adjectives in the spaces
on the coupon so that the word is
in the space with the name of the
actress whom the word describes.
HOAV THEY VARY
Some girls are particularly good
in parts requiring the glamor and
style of radiant beauties, and other
stars have made themselves known
for their skillful portrayals of char-
acters marked with tragedy. Select
the word that defines the outstand-
ing quality revealed on the screen.
CRITICIZE IF YOU WISH
If, in your opinion, the star fails
to create any convincing character
qualifications, then she is common-
place or unsympathetic. Have no
hesitancy in criticizing these players
if you feel that anyone of them has
fallen short.
PRIZES WILL BE AWARDED AS FOLLOWS:
First Prize — For the ten best adjectives $10.00
Second Prize — For the ten adjectives judged
second in merit
Twenty-five Third Prizes — For the next best
selection of adjectives
5.00
1.00
CONDITIONS
The prizes will be awarded
for the adjectives which in
the opinion of the judges
most perfectly fit the stars.
All entries must be in the
mail not later than February
5th, 1937.
The adjectives must be en-
tered on the coupon below
and neatness will be con-
sidered.
In case of a tie, prizes of
equal value will be awarded
to the tying contestants.
Employees of this company
or their families are not
eligible to enter this contest.
Shirley Temple . .
Irene Dunne
Joan Crawford ...
Joan Blondell . .
Claudette Colbert .
Ginger Rogers . . .
Greta Garbo
Mae West
Myrna Loy
Katharine Hepburn
Contest Editor, Silver Screen,
45 W. 45th St., New York, N. Y.
When awarding the prizes please consider the adjec-
tives which I have placed on this coupon.
!
( NAMK)
(CITY AND STATE)
Claudette Colbert
Ginger Rogers
I
Greta Garbo
Mae West
Myrna Loy
Katharine Hepburn
Silver Screen
T
opics
E
or
G
ossips
CpENCER TRACY had
to have the hairdresser
use the curling iron on
his hair twice a day dur-
ing the early sequences
of "Captains Courageous"
—then it was once a day
for awhile— and now he
doesn't need the curling
irons at all and is
frightened stiff that the
curl won't come out.
TF you are interested in
•l| Bob Taylor's personal
habits— and I just bet you
are— he drinks twenty
cups of coffee a day. And
he won't touch milk.
ONE of the most embarrassing
moments in Myrna Loy s life oc-
curred the other afternoon when she
was visiting her new house in Cold
AVater Canyon and got stuck in the
mud on the new road in front of the
house. They had to get a mule team
to pull her and the car out and, of
course, just as the mules were pulling,
some tourists arrived. Myrna hopes they
didn't have candid cameras.
Which reminds us of the ritzy premiere
that Marlene Dietrich and Joe von Stern-
berg once attended at the Chinese in Joe's
spiffy Rolls. With all of Hollywood look-
ing on, and dozens of stars yammering for
their cars, Joe's Rolls broke right down
in front of the theatre and wouldn't budge
an inch. A taxi had to push Miss Dietrich
out of the way.
MIRIAM HOPKINS, who collects cele-
brities like some people collect
stamps, became very palsy with the eccen-
tric Gertrude Stein while she was in
Europe this past fall. Miss Stein claims that
Miriam taught her the art of make-up and
that the next lime she visits America she
is going to show the newsreel boys a thing
or two.
The most fun Miriam says that she had
on her recent European tour was when she
tried to get back into England after a visit
to France. She lost her passport and the
immigration officials were all for establisli-
ing her 'identity as a spy. "When I told
them I was Miriam Hopkins, screen star, "
said Miriam with a laugh, "they didn't
seem at all interested. In fact they told
me that they had never heard of Miriam
Hopkins, screen star. I guess they told mc."
lEANETTE MacDONALD and Gene Ray-
mond have announced that their wed-
ding will take place June 17th in Holly-
wood, probably at a church.
After the ceremony they expect
to take a honeymoon in Hono-
lulu. They don't want one of
these off-to-Yuma marriages
where they have to go back
to the studio to work the next
day. And June the 17th seems
to be the earliest that they can
both get away from their
studios at the same time.
Taking no chance on a thief's breaking
^ ; in while she is away from her Holly-
wood home, Eleanor Powell has put her
hundred tap dancing slippers in a vault
in a local bank.
WHAT Elinor Glynn once called IT
Sam Goldwyn now calls "habit-form-
ing personality." He considers that Robert
Taylor and Merle Oberon are habit-form-
ing personalities and he is determined to
discover several new habit-forming per-
sonalities this year. With "Come and Get
It" he precipitated Frances Farmer, prac-
tically an unknown, right into stardom,
but, unfortunately for Mr. Goldwyn,
Frances happened to be under contract to
another studio which will reap the rewards.
And, like many another producer, right
now Goldwyn is looking to the New York
stage and nijiht clubs for those new per-
sonalities.
FROM actor to director to agent— yes, we
might say that linle Maggie SuUavan has
just about' run the gamut of the theatre
in her marriages. Henry I'onda, her lirst,
lias bctoiiie one of Hollywood's most |)op-
ular leading men. Since he directed hei in
" Tlie Good Fairy" William Wyler, husband
numlier 2, has gone from good to best as a
director and is now so hot that Sam
Goldwyn has him on a long-term contrail
In harmony with
St. Valentine's Day.
Tala Birell in the
arms of Walter
Pidgeon in a scene
from "She's Dan-
gerous."
at a terrific salary.
Leland Heyward, her
newest husband, also
happens to be her agent,
and is one of the richest
agents in Hollywood.
Katharine Hepburn is his
biggest client and, as you
probably remember, he
was rumored married to
her all of last year-they were always getting
on and off planes together. Well, it's kind
of nice to have Maggie settled again for
a while anyway. She was always about to
remarry Henry Fonda or Willie Wyler,
and it was all very disconcerting to the col-
umnists.
Janet GAYNOR did an impersonation
of Simone Simon in "A Star is Boin"
that's so perfect it probably will be taken
out of the film before you see it. By the
way, that's one of the popular pastimes in
Hollywood now, imitating Simone Simon.
But Janet's is the best. Connie Bennett's is
the second best. W'tU, those two girls ought
to be good, they made a picture \vith her
not so long ago.
Another hot romance that's sizzling
. plenty at the Clover Club and 1 roc-
adero these nights is that of Gertrude
Niesen and Craig Reynolds. Gertrude, who
has been acclaimed by many (including
Mr. O. O. Mclntyre) as the best of the
torch singers has been signed on a Uni-
versal contract by way of the "Follies" and
New York swank night clubs. You'll be see-
ing her soon in "Top of the Town." When
Gertrude sings, nothing else really matierv
It's that liood.
ACCORDING to Travis Banton, he who
■ makes Dream Girls oiu of the Para-
momit stars, those little peaked cai)s that
have been so smart this past fall and early
winter have just about seen their day. 1 he
new hats, says Travis, are big, broad-
brinnued. shallow-crowned affairs which
depend entirely upon the ability of the
wearer to adjust them smartly. Of the
twenty-five hats that Carole Londiard wears
in her new picture. "Swing High. Swing
I.ow," only one of them has an illusioti of
hei"Iit.
for February 1937
13
At the "Troc" some
sit and think, some
sit and drink and
some just sit.
iFE Is Like That
In Hollywood a New York y\rttst
Observes The Curious Picture Folk
Written and Illustrated by
Oscar Howard
you want to know all about Holhwood?
That's an order. Unless one has been there since the fnsl
custard pie -svas thrown, what does one know about it? I,
myself, only spent a iew montRs out there, on the fringe of thin!;s.
I know how you feel about the place. A real lite Cinderella
story occurs everv day. From the small to\vn to riches and fame
in one jump. The court roya! of the coimtry— the dreamland ol
half the world.
I don't know anything about it, but I will tell all. Did you e\cr
wonder why all these actors and ^^•riters and such come back
wailing and cursing about the place? They have been paid tor
whatever they did, more money than they ever expected to collect
in a lifetime. But they scream that the place is mad. It's dull.
The incessant sunlight gets 'em.
I remembered that line when I dto\'e up to a traflic cop, in
boots and slicker, standing thigh deep in running water and a
blinding rain by the Santa ,\nita race track. He wa\ed me awa\
from my route to Hollywood, down which ran a brown torrent.
Cars were turned and stalled in all directions and the slump of
a tree was mo\ing in checks and iiislies down the centre of the
stream. I had to go through I.os Angeles. That is like diisin;.;
on the Boston Post Road through Stamford, Conn., lorc\er ,ind
ever and ever. It rained for two weeks and then the weather got
back lo normal.
"Whai's that like?" I'don't know. I went lo Miss Irene nunne's
house willi her press agent to make a |)ortrail sketch. When \ve
arrived she was undergoing publidls. A (amera <n-w was taking :i
home life piclure of Miss' Dunne pkning wilh her polite dog in
ihe gardeir She was slaiuling under an oiange tree, (iolden friiil
gleamed al)o\e her. .V mocking bird sang in the branches. B\ llu'
way, did anvone e\er lell \()U that there are three paiis ot
14
Walter Abel goes to
Victorville to rest be-
tween pictures and in
the languorous Green
Spot Cafe he relaxes
with the cattlemen's
daughters.
mocking birds in e\ ery ' 'Holiv-
wood door vard. That the^i sing
all day and all night? The beati-
tiful lady was wearing a heavy
tweed suit. The man at the crank
of the camera had on a heavv
winter overcoat with his collar
tinned up aroimd his ears. One
of his helpers was in a plain shirt
and pants, his collar undone, his
sleeves rolled up. Another wore a
heavy flannel shirt and a leather
coat suitable for hunting in the
mountains. There was also a I at
man in a blue polo shirt and
v^liite pants. Make a sketch of
ih.it and yon arrive at a perfect
what - is - vvrong- with - this pictin e.
Was it winter, summer, vvarm or
cool? Everv one \\as comfortable
as far as I know.
AVhen the camera crevv had
])acked and gone, Miss Dinnie
\\as a most gracious and accom-
modating model for me. .\s I left,
a girl was beginning to inter\ie\\
her for some fan magazine. I he
actress had just finished a long,
hard spell of \\ork in a picture,
she was supposed to be enjo\in;^
a day otF. For all I know she
wanted some peace and privac\ .
but to all of us she had been
amiable and unhurried.
The press agenl said such da\>
were a small part of a star's
Silver Screen
troubles. According to him, most of them were
overcharged for everything, by ever)body. They
were afflicted by lawsuits for imagined or exag-
gerated damages. They were forced to resist
disturbing and pitiful appeals from unfortu-
nates, each of whom had no idea that their
particular letter added but one more to an
incessant stream of such recjuests for help. They
were continually peered at and asked for auto-
graphs at inconvenient moments. If they showed
a normal irritation the public, the press and
their publicity departments resented it and re-
minded them it was a part of the job for which
they were well paid.
"What sort ol places do the motion picture
j)eople live in?" Thev live all around and all
ovci' Hollywood from magnificent houses with
swimming pools and gardens to little
apartments on the side streets where
the construction is so thin that the
sound of a telephone bell may mean
they are wanted in their room or
that someone is trying to date a girl
three houses down the street. The
life seems to be precarious, most of
them rent until they are long established and
very successful. Then they 1)U) , or build, from
Santa Monica, along the coast, to I.agiuia,
some ninety miles toward San Diego. Or they
live up canyons in the mountains, where
nothing but cactus and brush and naked hill-
sides surround their garden wall. Ralibits,
gophers, little plumed quail and now and then
a rattlesnake live alongside. They have to
twist their cars like a spinning pretzel to climb
the ([uick curves to their garage doors. At
night they look down on the appalling acre-
age of lights along the streets of Hollywood.
Culver City, Los Angeles. Searchlights swing
around the sky on particular occasions, as if
there were an air raid.
Once it was the idea of a theatre impresario
to turn toward the sky a battery of search-
lights indicating that he was putting on the
premier of a picture. Now they are also used
to celebrate the opening of a new delicatessen
on one of the big boulevards.
There is a lot of the old Spanish fiesta spirit loose around
Hollywood, crossed with publicity. It is slightly mad and full of
whims. For instance, a recent rinnor has it that while blondes
were once all the rage brunettes are now being done. The girls'
hair must be parted in the middle. It's the influence of Mrs.
Simpson. That makes sense in the cinema world.
W'e were trying to tell you where they live. Every yard and
street in Hollywood is lineci with stiange trees. Once this locality
was a desert, growing a crop of low scrubby brush and the afore-
mentioned rattlesnakes. Now all you have to do is to turn on
\vater at regular intervals and most of the plants and bushes of
the world will grow. Spring blossoms and Autumn flowers in
bloom at the same time. Consecjuently Park Avenue types of
apartment houses, like the Chateau Elysee, rise from rows of date
palms and are surrounded by flowering trees from only-the-gar-
dener-knows what tropical lands. The more luxurious hotels have
outlying bimgalow apartments in beautiful gardens, where hand-
some young men who work for the pictures can return home from
dancing and be lulled to rest by singing tree frogs, the doves
calling in the dawn and the sound of nodding blossoms.
E. H. Griffith, the director, has a house at Laguna in a ravine,
seventy feet above a blue-green, foam-laced, private cove of the
Pacific ocean. Sometimes a seal swims around to look up at his
terrace. Brown pelicans fly past the opening between his cliffs.
Beyond them is the blue Pacific, all the wav to China. He gets
enough peace there to be able to direct four lady stars in one
picture called "Ladies in Love" without bloodshed.
"—Do you always see all these famous people around? " Do you
always catch fish? You can ivatch the Polo at the Uplifters or
the Riviera Club and never see a star in the bleachers or on the
field. No one wants to have an expensive pony roll on a valuable
actor in the middle of a costly pictine. .Some of the boys can't
play if they are working, but next week they may be out there
both a-horse and a-foot.
There may be a whole mob of famous and optically familiar
faces during lunch or dinner at the Bro\vn Derby, Sardi's, the
N'endome, the Trocadero. Also, vou can go there and peer about
in the way at least three tables full of tourists will be doing and
see no recognizable actor or actress. The accompanying sketch
made in the Trocadero cocktail room contains some fair portraits
of what was before me.
The funny looking bird brooding in the foreground may have
been a merchant from Michigan or a great producer for all I
know. Brood is all he did while he was there. He held a throbbing
brain and nervous system together with various poses of his hands
and spoke no word to the gal friend. I have a hunch that man on
the far left was an actor. He was there with his sister for all I
know. The blonde and her boy friend at the bar may or may
not have been in pictures. Someone told me that one of the men
standing at the left-hand end of the bar was an agent making
more from the monies than any star because he got a percentage
of their salaries from several of the highest paid actors and
actresses.
The other sketch was made in a cafe around the corner on
\'ine Street. The lad who was, with me, and who devises
those short pictiues that make \ou want to go to next
week's attraction at the Fine Arts Theatre, kne^v most of
Hollywood. He said the blonde might have been a dancer
or a visitor or a local gal. The men were musicians or
lion tamers as far as he kne\\'.
I'eople don't dress up much in Holly\vood. ^ou would
want your evening clothes if you left that cocktail room
at the Trocadero to go lipstairs, [Continued on page 76]
The cafes arc
filled with men
and cuties —
mostly tourists.
Irene Dunne and the
erratic camera crew.
The strange cos-
tumes are in har-
mony with Holly-
wood weather.
for February 1937
15
Is He a
Stuffed
Shirt?
Bob Taylor Is Put To
The Test When He
Visits His Home
Town.
By
Muriel
Batcock
-ji' a front page editorial
priiuecl the da) he left, in
the home town paper, The
Beatrice Sun. It says:
"Has it gone to his head?
This was the first question
in the minds of many u'ho
thronged the streets to
icax'e and shout a xcelcome
to the returning hero. . . .
"He had not slept for
licenty-four hours. He re-
turned the cries of icelcome
iL'ith shouts of greeting. He
appeared ticice at the the-
atre and recalled liis pre-
vious appearances on the
same stage, quietly, 7}iod-
estly. He talked in Junior
^ High School, and recalled
^ that he luas in one of the
^ first classes to meet in thai
■ building. He ivas tired. But
'% he had dinner with old
§ friends, met others at a re-
f ceplion, mingled with the
: crowd at the dance, chatted,
■ talked -with hundreds until
long after midnight. And
"he called it one of the
fullest days of his life. He
did not u'ant to waste a minute
of it.
"The many who talked with
him were almost of one opinion
—Robert Taylor, in Beatrice at
any rate— is still Arlington.
Brugh. It has not gone to his
head. He has lost much of the
shyness Beatrice once knew. The
constant glare of the limelight
would do that to anyone. He
has acquired a trace of the pro-
fessional air. Two years spent
before the camera have nuidc
him an experienced professional actor. But
niiderneatii he is the same. Hearing the
..^jud song of -welcome by the legion
quartet, a deep blush broke through all
sleek exteriors. The doubters smiled and
u'ere glad they had been -wrong. This
'nion teas heard a hundred tiines: 'The
has not lost his balance.'"
I think that editorial is really one of
: most wonderful things that has hap-
(Above) An informal snapshot of
Bob in Hollywood, where life is
easy and the prospects good. (Be-
low) Saying good-bye at the plane
that took him to his old home.
IS BOB TAYLOR a stuffed shirt? Has
Hollywood and the adoration of thou-
sands of women gone to the head of the
kid who ^\•as brought up simply in the
Middle \Vest prairie country?
That's the question Beatrice, Nebraska,
the home town, was asking about Bob initil
recently. They remembered that his dad,
the doctor, was a pretty regular sort of a
guy, that his mother was well liked and
that as a kid Bob used to toe the mark.
But what had happened to him in Holh-
wood? Had his three-year sleigh ride to
fame and to a Rudolph Valentino-Romeo
reputation swollen the upper cranial re-
gions of young Arlington Brugh?
Had he gone high hat or tailor's diunmy?
Certainly they expected some of the hav
seed had been combed out of his hair and
that he woiUd ha\e sonic new suits of
clothes. They'd even heard he'd given his
mother a diamond bracelet— but what
about Bob, himself. What kind of a fellow
was he? Could Nebraska be proud of him
as a man?
And so Bob went home and took the
acid test from those who knew
him "\vhen. " It was an epochal
trip. Schools closed, stores closed,
seven bands turned out. AVhis-
tles blew and bells rang. .M!
work and all play stopped for
the welcome. Bob was put in
an open touring car and dri\en
Lindbergh-fashion through the
town to how and wave to
his friends. Undergraduates of
Doane College, where Bob once
studied, put on a serpentine
parade two miles long. The Na-
tional Guard had to be called
oiU to help the police!
But of that, more details
latei The most important and
the most interesting thing was
the way Bob answered bv his
demeanor, once and for all, the
question which all Nebraska had
been asking— ''Has Bob "la^lor
Turned Into a Stulled Shirt?"
w.un to know the answer?
All right, here it is in the form
16
SiLVTR Screen
pened or will happen to Bob in a lifetime.
It stands squarely on its own feet and talks
for itself.
If Bob had turned out a swell-head, if
he had gone prancing into Nebraska with
condescending airs, if he had talked fool-
ishly about all the beautiful women in
Holly wood who paid him court, if he had
done any one of a number of things he
might have done, those Nebraskans would
have had his number instantly.
For somehow, out in the Middle \Vest,
particularly in the prairie country where
the winters are bleak and where life is not
only real but pretty earnest and your very
existence depends upon what the farmers
get for their corn and wheat this year, you
get down to fundamentals. You can spot
tailors' dummies and slickers a mile off: you
can spot insincerity and pomp and false
pride in a second.
So they looked at Bob and they decided
Dr. Brugh's boy had come home and he
was still a nice guy. Ye ah, a reigning
Romeo who had made a lot of money,
more power to him, but he was their Bob
Taylor, wasn't he?
i don't think Bob realized he ^\ns up
against such a severe and thorough-going
scrutiny by the home folks when he went
back to Beatrice on this visit, ostensibly to
help his grandma, Mrs. Eva Stanhope, cele-
brate her 8oth birthday. He realized that
folks would be looking him over, watching
him, but I don't believe it entered his head
that he was suspected of having tinned into
a stuffed shirt. He ivas just going back
home where he'd been brought up. His
reception floored him.
For example, when I talked
to him on the plane going
back to Hollywood the next
morning and asked how he
felt, he said:
"Gosh, those are the great-
est people in the world.
They are my home town
folks. I love "em. I'd like to
go back there and live. They
were wonderful to me."
There's a world of signif-
icance in those words: "They
were wonderful to me. " The
Nebraska folks thought Bob had been won-
derful to them. Bob thought they had been
wonderful to him. That's mutual liking
and respect.
Ho^v do I know all about this recejDtion
Bob received. Well, I had my personal ear-
splitting echoes of the cheering. (And from
xvhat I heard I Avouldn't be surprised if
they are still yelling and clamoring for
Bob back in Nebraska.) Aboard a United
[Continued on page 58]
(Above) Working
with Garbo makes
anyone feel im-
portant. (Right)
An old snapshot
of the hero as boy
scout Paul Re-
When Nebraska played Missouri Bob Taylor
escorted Mrs. Weeks and Mrs. Spiv Eyth, and
the cheering stadium did not upset him a bit.
for Fhbruary 1937
17
TKe Players WKo Are CalleJ To Holfy=
wood Find TKere A New AnJ AAore
Remarkable Self.
B,EdS u Hi
ivan
SKETCHES By
JAMES TREMBATH
Movie
Magic Makes
Them Greater
Spencer Tracy
reached pictures by
way of the stage.
MARGARET SULLA VANS personal
triumph in the Broadway phiy,
"Stage Door," is a personal triumph
for the olt-maligned motion picture indus-
try, but the movies, instead of bragging
about this complete vindication of Coast
training methods, have completely over-
looi^ed the opportunity to take credit for
it. Let's look at the record, as a lately-
discredited statesman was wont to remark.
I he record shows tliat in 1933 Margaret
Sulhivan played supporting parts in two
Broadway stage pla)s, 'Chrysalis" and "Bad
Manners." These two shows played a total
of 31 performances, and she was thrown
out of work and inio Hollywood.
Now, and here is the important ]Kirt— for
the next three years, Margaret Sullavan
remained in Hollvwood. before the cameras,
and in 1936, she not only returned to
Broadway stages as a full-fledged star, birt
every dramatic critic pointed out in their
reviews that her picture work had given
her greater authority as an actress. This
is not the verdict of one critic, or two, but
every single critic who saw the opening
night of "Stage Door" agreed that in the
three years spent away from Broadway,
Margaret Sullavan had learned to act bet-
ter than she'd ever kno^vn how to act
before.
Hollywood should have seized upon this
admission immediately and thrown their
hats in the air. For years, the Coast has
been told that if it were not for the New
York stage, Hollywood would be bankrupt
of talent. But the case of Margaret Sulla-
van is a repudiation of all these' assertions,
for the Margaret Sullavan who left Broad-
way in 1933^ was just a fair young actress;
the girl \vho returned after three years in
Hollywood was a fine star. It is the most
important and grudging admission the die-
hards of the legitimate stage ever have
made, and I say that the Coast should ring
the bells and clrive home the point for all
the ^^•orld to hear. Hollywood as a training
ground for the Broad^vay theatre is a com-
pletion of the cycle, an unheard-of thing
that ^vould have been laughed out of coun-
tenance years ago. But it has happened,
with a vengeance. For the movies "made"
Margaret Sullavan, gave her better diction,
greater facility of gesture, greater authority
in deli\ering her lines, and then sent her
Ijack to the stage as a finished illustration
of tiic somidness of mo\ic direction and
technical instruction in tlie art of acting.
It is the mo\ie's tinn to laugh now, and
the last laugh is repiucdly the heartiest.
Remember what the drama critics said
wlicu Katharine Hepburn, after her moving
pictine success, relumed 10 the Broadway
stage and Hopped in "The Lake?" In case
you have forgotten, the critics seized upon
the Hepburn performance, and held it up
as an illustration of how Hollywood meth-
ods ruined a promising young actress. The
legitimate theatre supporters raised up
their eyes to Thespis, and invoked all man-
ner of dire maledictions 011 the movies
which could do such a thing. Their com-
plaints were not without foundation. Miss
Hepburn, unlike Miss Sullavan, was made
a movie star overnight. Miss Hepbinn, ^vho
had much to learn, was denied the oppor-
tunity because she ^\as immediately recog-
nized as a box-office personality, and thus
was vaulted into the star brackets. ^Vhen
she came back to Broadway, she actually
knew little more about acting than when
she left. "The Lake" proved it, just as
"Stage Door" proved that Margaret Sulla-
van's less spectacular progress througli
Hollywood had taught her much.
And while we are on the subject of what
Hollywood has done for ^L^rgaret Sulla-
van, let us consider what the Coast has
done for the Ritz Brothers and the 'iacht
Club Boys. These were just two night
club acts on Broadway. Hollywood lifted
them out of minor classification and made
them internationally famous. The Ritz
Brothers didn't mean a thing to the so-
called astute New York managers. I tried,
for almost a year, because I ^\as con-
vinced they were able comics, to get them
placed in a Broadway night club or show,
without success. They played with me
whenever I took one of my acts into \aude-
ville, but apart from those occasions, they
had difficulty in getting cmploxnient. apart
from their \vinter engagements in Florida.
The movies look the Ritz Brothers, and
^\ith rare perception of their talent, made
them the comedy toast of the coimtry in
18
Silver Screen
studios are alive
experts who criti-
rehearse, dis-
and develop the
players. Patsy Kelly
is a fine comedienne
now, due to the dis-
cernment of Hollywood.
The helpful Hollywood
system brought out talents
in Katharine Hepburn
that before had been un-
suspected.
"Sing, Baby Sing."
The movies took Humphrey Bogart,
earning a fair salary in the Broadway
showshops, and made him a featured
player, quick. The movies took Brian Don-
levy, who floundered about in a dozen bad
Broadway shows, characterized him as a
bad man and got more out of him, in one
picture, than Broadway managers had been
able to visualize in five seasons. Patsy
Kelly, kicked around the Broadway musical
comedy stage for seasons, went to Holly-
wood and emerges now as a fine comedi-
enne, thanks to the manner in which Coast
directors cast her. Fredric March, fired
from a Lew Fields show because he was
too clumsy, became a polished actor on the
Hollywood lots. Broadway managers
couldn't visualize Clark Gable in anything
more important than the road companies
of New York successes; the movies spotted
him at once as a matinee idol and con-
verted the Broadway second-stringer into
a national idol.
Bill Frawie), Sid Silvers, Lynne 0\erman,
Ginger Rogers, Alice Faye, John Bcal— each
of these can get down on his or her knees
nightly and thank God for the Klcig lights
that outlined their talents so that two con-
tinents might observe them. Broadway ig-
nored Frawley for seasons, considered
Silvers nothing more than a man-in-the-
box for Phil Baker, thumbed down Over-
man as all washed-up, paid Ginger Rogers
scant attention, was vaguely aware that
Alice Faye was a George White Scandals
chorine, and called on John
Beal only when they needed an
actor to play an adolescent part.
Mae West, reduced to pro-
ducing her odd plays in out-of-the-way
Broadway playhouses, played a small role
in a George Raft picture, and so alert
ivere the movie-makers, that, in her next
picture, she was a star. Broadway sa\v
her around for
years, and never
detected the spark
that Hollywood
\vas quick to de-
tect. Irene Dunne
was rated an excel-
lent singer around
Broadway, good
enough to get into
a Ziegfeld operetta,
One of the discoveries of the picture studios
was Lynne Overman's genius for comedy.
The stage career of Clark
Gable was never startling,
but his screen successes
have won praise for him
and credit to all the
studio wonder-workers.
but the Coast took one
look at her and headed
her for stardom. The
Coast treatment of
Spencer Tracy, Joe E.
Brown, Barbara Stan-
wyck, Leo Carrillo, Fred
Astaire, Paul Minii, Jim
Cagnev, Joan Blondell
and Eleanor Powell was
so sensitive that each
of ihcsc became great
box-ofllce names be-
\C.i>iiliiiucd on /wg<' 60]
for February 1937
19
'Tot
11
L O R E T T
WHEX Loretta Young
appears on a studio
set all the camera-
men take a deep sigh ot
relief and shout "Clap
hands, here comes Loretta."
She may be a problem
child to her family, and to
her producer, but to the
photographic department
and to the Westmore
Brothers, those merry
make-up men of Holly-
;\'Ood, she presents no
problems at all.
Loretta is considered the
best "camera subject" in
pictures because she photo-
giaphs well from any angle.
Slender, young, with beau-
tiful blue gray eyes heavily
fringed by her own lashes
you can well imagine what
a treat she is to the sore
eyes, and nerves, of the
cameramen who have just
finished a stormy session
with a Movie Queen who is
fast approaching
forty, admits to
twenty -six, and wants
to scamper around
on the screen like a
coy sixteen.
Yes, when Loretta
comes on a set the
cameraman delight-
edly removes the
gauze from the lens
of his camera (some
of your best friends
are photographed
through layers and
layers of gauze— and
even a bit of burlap
occasionally) and the
Westmore Brothers
remo\e their pur-
plish make-up which
has a ^vay of mak-
ing slipping chins,
spreading noses and
bagging eyes get into
place, and an air of
general relaxation
pervades the entire
stage. No heated ar-
guments over "sides,"
"lights," and "angles."
The boys call her
"that pretty crea-
ture," and she calls
them each by name, and it's all gay fiesta
time on the Young pictures until Loretta
is handed a page of script which makes her
look undignified . . . then come the fire-
works!
For Loretta, like most extremely young
and sensitive people, has a perfect horror
of appearing undignified. Ask Loretta to
"take a fall" in a picture and you're asking
for trouble. Ask her to read lines that be-
little screen acting as a profession and
you've got an erupting Vesuvius on your
hands. Oh, don't get me \vrong, you can
tease Loretta and you can play jokes on
her, she really has a grand sense of humor,
20
but you must never do
anything on screen or
off to make her look un-
dignified. She just can't
bear to be humiliated.
It's dignity abo\e all
with L.oretta. So what
happens— so her family
and best friends never
spare her anything.
When Eddie Suther-
land, the young director
to ^vhom she is rumored
engaged, calls for her of an evening to take
her to dinner, he says, "Are you going to
be the beautiful Movie Star this evening, or
are you going to be clever?" And the guest
in the Young home is constantly comment-
ing upon the resemblance of liltle twelve-
year-old Georgianna to her celebrated sis-
ter. "Mercy child," they say, thinking to
please her, "when you grow up you're
going to look exactly like Loretta." "With
that nose? " groans Georgianna, "I hope
not!" Poor Loretta. With millions of
women only too eager to give their eye
teeth just to look a teensy wcensy (Whimsy-
Pooh is here) bit like the glamorous Miss
Young her own adored little sister goes
into a sulk for hours when reminded of the
resemblance. ^Vhat a world.
"Well, I've done all right ivith my nose,"
snapped Loretta once during one of these
family arguments (and I'll say she has; just
take a look at the Young estate in Bel-
Air.) "Y'es," conceded Georgianna, "but it
wasn't yoin- nose that got you where you
are— it was your abilitv." And Loretta still
can't decide whether it ^^•as a compliment
or not.
After a temperamental outburst at the
family dinner table, and there's nothing
like a hard day at the studio to bring on a
dash of temperament, Loretta ^vill retire
with great astral dignity to her bedroom
only to find a ]wor old worn out star,
frayed and tattered at the edges, pinned
to her bedroom door. .'\nd, of comse,
Loretta ^vill ne\er forget the e\ening she
was being the glamorous and gracious
Mo\ ie Queen to a certain young man on
whom she ^vished to make an impression,
and was succeeding quite well loo. when
who should pop into the room but one of
Silver Screen
O U N G
like it or not— and she a married woman by
that time too! Mrs. Grant Withers with a
tutor! Mrs. Grant Withers learning the
capitals of the states! How mortifying.
Intermtional News
her sisters with a picture
of Loretta taken at the ad-
vanced age of six months,
prone and naked on a bear
skin rug. There is nothing so
mortifying to Loretta as that baby
picture. She has tried every way pos-
sible to get hold of it in order to tear
it in a thousand pieces, but the Youngs
keep it dangling over her head like the
sword of Damocles. Just let Loretta get on
her dignity around them!
Ever since she was a .child, Loretta has
had this awful horror of being caught off
her dignity. The most humiliating experi-
ence of her life occurred at the famous
Cocoanut Grove when she was only thir-
teen. She and a young boy from her danc-
ing class were doing an exhibition dance
there one night for a charity benefit, and
the boy in the excitement of the occasion
twirled Loretta one too many twirls and
landed her right in the fish pond— and
there she lay for all of thirty seconds with
her feet in the air and a gold fish in her
hair. And the nasty people laughed— oh
how they laughed— and oh how Loretta
hated them. It was nine months before she
would go near the Cocoanut Grove again.
And even now she shies away from fish
ponds.
Loretta went into the movies to get out
of going to school, which is as good a reason
as any I know for going into the movies.
She disliked school intensely, she ^va^lcd
to be a dancer, and she was certain that the
dressing table would be of much greater
importance in her life than the multipli-
cation table. And Loretta was right. Of
course the crowning indignity of it all was
that as soon as she signed a contract the
studio furnished her with a tutor, and a
tutor she had up until the age of eighteen,
southern California climate, and how ideal
it would be for children. So, one fine
morning. Aunt Collie drove down to the
station in Los Angeles to meet her sister
from Utah. As the Union Pacific
pulled in she noticed a poor little
woman at a window, harassed
and begrimed, and with four
howling children dragging at her
skirts. "Poor little woman," said
Aunt Collie, "what a nightmare
it must be for her to have to
travel with four children."
Well, of course the poor little
woman turned out to be her own
sister, and the bawling kiddies
her nieces and nephew. Mrs.
Young's brother-in-law was busi-
ness manager for Eric Von Stro-
heim, a big shot director in those
days, and just to help the family
fortunes along, and they certainly
needed a bit of helping, he would
get his three pretty little nieces
parts in pictures during their va-
Acme
(Above) Sally Blane, Mrs.
Young, and Polly Ann with
Loretta in the garden of
her home. (Right) Eddie
Sutherland quite happily
escorts Loretta to a pic-
ture premiere.
And how very undigni-
fied. But Loretta was to
learn at an early age that
you have to face the banal
facts of life even though
you are a movie star
with a telephone number
salary.
It was exactly nineteen
years ago that twenty-six-
year-old Mrs. Young and
her four beautiful chil-
drenT Polly Ann, Betty
Jane, Gretchen and Jackie,
descended upon Holly-
wood. The family had
been living in Salt Lake
City, Utah. It was there
that Gretchen, who later
became our Loretta, was
born January 6, 1913,
on Hollywood Avenue—
which was very fitting
and might have given Mrs,
of moving to Hollywood
What did give her the
times."
Mr. Young was an auditor with a rail-
road, and there wasn't much money, and
the country was at war with Germany, and
four growing, hungry children are no
cinch in war time. Mrs. Young had sisters
in Los Angeles and Holly^vood who were
constantly writing her al)out the marvelous
. Young the idea
, but it didn't,
idea was "hard
cations. If you looked real fast you saw all
three sisters playing native dancing girls in
"The Sheik" starring Rudolph \'alentino.
Mrs. Young thought it was extremely kind
and sweet ot the studios to give money to
little Polly Ann, Belly Jane, and Gretchen,
and she v.as very, very graieful— ^^■hich
makes her as different from other Holly-
wood niotheis as tlay is from night.
That first )ear in Hollywood, when
[Coiitiiiitfd on l><igc t)'^]
for February 1937
21
A S octal Blunder Sometimes Reveals TKe
LJnexpectecI CKarm Of A P ersonality.
EMILY POST-ISH as Hollywood can be when she sets her mind
to it, slie seems to feci that she has come to tlie time when,
like any other aristocrat, she can if she wishes break a rule or
two of etiquette and not only get away with it, but make folks
like it!
She figures that often customs are more honored in the breach
than in the obser^ance, and sometimes matters turn out better
for a little breaching than for too much observing.
Romance often results from some little breach of etiquette, as
everybody knows.
Take Jackie Coogan and Betty Grable, for instance.
Jackie had been wanting to meet Betty for a long
lime, but somehow fate had been against them.
Then, when he saw her on a Catalina-bound boat
with her dad, he took the bull by the well known
horns. Dancing was going on, and Jackie saw a lad
making for Betty, but he managed deftly to push
him aside without seeming to be rude, and, bowing
in apology, approached the lady of his admiration.
"Won't you dance this with me?" he asked breath-
lessly, as he saw the other lad arriving. Betty
looked into Jackie's honest brown eyes, said,
"Oh, you're Jackie Coogan, aren't you?" and
was whirled away on his arm.
That lately married couple, Ross Alexander
and Anne Nagle, will always be glad that Ross
committed a faux pas one day in the dining
room at 'Warners Brothers Studio, for it was
then their romance began.
Ann was lunching in the Green Room, a
private dining room reserved for important
film folk, when Ross came in. They had never
met. The only available seat was at Anne's
small table. Ross sat down opposite Anne,
without introducing himself or asking per-
mission, and Anne
didn't like it a bit.
''Thatseatis
taken," she informed
him crisply.
"Oh, I beg Nour
(Upper left) Joan
Bennett, whose
sparkle and loveli-
ness help her rise
above the rules of
etiquette. ( Above )
Gienda Farrell
helps along every
party with her
spontaneous gayety.
(Left) Dolores Del
Rio is no stickler
for rules. Her "So-
cial Graces" are in-
stinctive.
pardon," Ross said, and departed to the
common dining room. But, somehow,
he couldn't forget Anne's saucy, pretty
face. Presently he returned with Errol
Flynn, and Errol introduced him for-
mally to Anne, first asking her per-
mission.
"Now may I sit down?" he asked. She
had to smile and say yes.
Two weeks later they were married.
One of the fine and tender romances
of Holl) wood, lasting through marriage
and the years, is that between Warner
Baxter and his wife, the former actress,
"Winifred Bryson, and it all began with
what Baxter believed at the tiine was a
flirtalion!
Their meeting occurred at the old
Burbank Theater in Los Angeles, when
Warner, just ha^■ing been given
a reading by Oliver Morosco, was
standing in the loliby. He hadn't
eaten for two days, and looked
pale and gaunt. But he wasn't too
weak to note a beautiful face,
and Wiimie ivas beautiful. She
was gazing at him interestedly, so
much so that he took heart to
speak to her Avithout an introduc-
tion. She was kind. And was he
tlirilled later to find her on the
stage, and a member of the Mor-
osco company! He thought he had
made a big impression, but the
fact . was . Winifred ■ was merely
feeling sorry for him, he looked
22
Regrets
so ihin! She told him aftciwaid,
when, pity having turned to
love, she promised to marry
him.
And everybody knows, of
coinse, how Jeanette Mac-
Donald and Gene Raymond
met on a host's doorstep as
I hey were going to a party.
^V'hat they don't know,
perhaps, is that Gene
picked up a rose that
Jeanette dropped from
her corsage that night,
and still has it.
The first corsage
Tommy Beck sent to
Anita Louise resulted
in a faux pas. For, in-
stead of the corsage,
there arrived at
Anita s house a huge horse-
shoe of roses, with the donor's name.
Anita searched and searched for another card,
and finally fomid one bearing the words: "Congratulations to the
Bliss Bakery on its opening!"
She laughed and laughed, and the ice was broken between the
voung people more effectually than it could ha\e Ix-en had the
right bouquet arrived, especially as Anita had the horseshoe prom-
inently displayed, to the abashed amusement of Tommy when
he finally arri\ed. But Anita was tactful, and took some of the
flowers from the horseshoe to wear.
Glenda Farrell and Craig Reynolds met in an odd way, and
through a breach of etiquette on Craig's part became friends.
"We met in the ante-room of an official's ofTice at a studio,"
recounts Gicnda. "An agent introduced us, and I liked Craig's
The vivacious Joan
Blondell learned
from hundreds of
audiences the value
of charm. (Left) In
frills and furbe-
lows, Josephine
Hutchinson smiles
upon a friendly
world.
looks. But he sat down,
look out his cigarette
case, and proceeded to
smoke without offering
me one and without a
word. This piqued me,
and I started talking
to him. I didn't care
about the cigarette, for
I don't smoke, but I
thought he might have
offered ine one anyway.
"I found him inter-
esting in his talk. Next
evening he phoned to
ask if he might tall on me. It was sudden, but I said
yes, and he told me that night, when I rallied him for
being rude about the cigarette, that he had been so
flustered at meeting me that he forgot the formali-
ties. ^Vhich, of course, whether true or not, would
cause any woman to forgi\e him."
One of the warmest friendships in Hollywood is
that between Norma Shearer and Merle Oberon.
.'\nd it began in an inadvertent slip (literal and fig-
urative) made by Miss Oberon.
It was at the Maylair party, and Merle, wearing a
long lace gown, tripped on it, and fell lieatllong on
the dance floor. Norma Shearer was one of the wit-
nesses. When Merle, all confusion, passed Norma's table. Nliss
Shearer smiled svmpathetically. Later they met in the dressing
room, and Norma spoke to Merle, telling her of a similar mishap
that iiad once befallen herselL Miss Oberon appreciated Norma's
kindness and tact, they had a good laugh together, and have been
friends ever since.
There's a laugh in most of the eliciuette breadus.
Take that little allair of Doris Nolan and Heiny Hunter's
barbecue, for instance.
Henry was so proud of his new bar!)ecue outfit that he deciiled
to barbecue the meat him'-elf. He knew exactly how it should be
donc, he did, and no menials were going to l)e allowed to s))oil
his meat.
A screen
player like
Richard Dix
cares little
for the con-
ventions, but
a great deal
for his
friends.
for February 1937
23
Mrs.
Guests sat by at long tables in the
grounds around the pit with their mouths
watering. They were served. But, somehow,
something had gone wrong. They took one
taste— and looked surprised. They tried not
to make wry faces— but that meat certainly
did taste of kerosene. How it had happened
nobody knew, unless it was that Henry had
used kerosene in starting the fire. The host
himself was blissfully unaware, meanwhile,
beaming on his guests, the joy of accom-
plishment in his eye.
But Doris Nolan belongs to a race which
does not bear wrongs silently.
"This meat tastes funny— awfully funny!"
she exclaimed.
Guests gasped, but she went right on:
"I'm going out and buy you some hot
dogs!"
Henry took one taste of his meat, turned
pale, but capitulated gracefully. He even
laughed, and if there was a hollow note in
his laughter, nobody noticed it,
and everybody else laughed too.
"I'll go with you," he told
Doris, and they sped away to
the nearest hot-dog stand, re-
turning with ample provisions
for a feast, and a grand time
was had by all.
I^ven Mary Pickford herself,
one of the social queens of
Hollywood, since it is just noth-
ing for her to have a duke or a
countess about the house at
Pickfair, occasionally breaks a
rule.
Being a good scout Mary tells
this one on herself:
"I did break an important
rule of etiquette, but inad-
vertently," she said.
It was while she was enter-
taining. Prince George at Pick-
fair— a reception in order that
the Prince might meet a num-
ber of Hollywood's famous, and
was practically a command per-
formance, inasmuch as the list
was of the Prince's own making.
From a dais, at the head of a
short flight of stairs leading
from reception hall to living
room, the Prince was to receive
the picture folk presented to
him. Everybody was a bit
flustered.
The first guest to be pre-
sented was Mary's cousin, Verna
Chalif, who is a dancer. Mary
began: "Your highness, may I
present " then she paused,
and began again, "Your high-
ness, may I present " and
again she paused. Starting yet again
pausing again, because, oh horror of
rors, she couldn't remember her cousin's
name!
But in the meantime poor Verna was
making a low curtsy— and holding it! She
was indeed practically squatting on the
floor! Finally Mary, frying in her blushes,
explained: "I am sorr) , ) our Highness, but
she is my cousin and I can't remember her
name. I'm so embarrassed!"
His highness was equal to the occasion.
"You shouldn't feel that way," he said,
"because I am in a perfect dither myself
at meeting all these famous motion picture
people!"
That broke the ice, Mary at once remem-
bered her cousin's name, \'erna rose from
her painful curtsy, and thereafter the party
went off easily.
Then there was that alfair of Dick Powell
and the butler.
Guests don't usually hold conversations
with butlers, so others guests at the [xiriy
in cjuestion were ama/ed when llicy saw
Dick talking alfabls witli the butler on his
arrival at a big dinner party. No, Dick,
they noted, hadn't been drinking. He didn't
seem to be trying to be funny either He
was being just cold-sober friendly to the
butler.
The party was one of those stiff, formal
affairs, in fact it started out in unusually
congealed fashion until Dick-and-the-butler
episode. Then everybody broke down and
became a little more human. Of course that
very human trait of curiosity came into
little
who
makes
others
happy.
WINNERS IN THE
SHIRLEY TEMPLE GIFT CONTEST
FIRST PRIZE
S. Douglass Falkner, 110 No. Custer Ave.,
Miles City, Mont.
(12) SECOND PRIZES
Mrs. Mildred Bergheim, Hawley, Minn.
Wesley S. Bird, 72 W. Blake Ave., Columbus, Ohio
Clarice Vanden Brulle, 4259 Iroquois Ave., Detroit, Mich.
Elaine Dubin, 238 E. 58th St., Brooklyn, N. Y.
Marjorie Freedman, 911 Fourth Ave., Juniata, Altoona, Pa.
Mrs. Frederic P. Hare, Jr., P. O. Box 106, Friedens, Pa.
Mrs. Bill Hilton, 615 Cole St., San Francisco, Calif.
Mrs. Tom T. Kimbrough, Guthrie, Ky.
Charles J- Langello, c/o Postmaster, West Beach, Md.
Mrs. E. Olden, 883 Baughnian St., Akron, Ohio
Mrs. Ralph Van Duser, 1008 S. Main St., Horseheads, N. Y.
Eileen Welch, 657 Conway St., St. Paul, Minn.
(18) THIRD PRIZES
Marjorie L. Booth, 283 First Ave., Newark, N. J.
Betsy Buchan, 723 Exposition Blvd., New Orleans, La.
A. P. Burton, 6340 Park Ave., Indianapolis, Ind.
Dolly Campbell, Box 264, New London, Conn.
Mrs. Edwin J. Fendl, 39 Highland Ave., Elizabeth, N. J.
Mrs. O. H. Fiebing, 5670 N. Lake Drive, Milwaukee, Wise.
Elsie Foran, 11 W. 10th St., New York, N. Y.
Doris Gordon Frazer, Wainwright Hall, Kew Gardens, N. Y'.
Leona M. Hardy, Raymond, N. H.
Mrs. H. Hoffman, 5340 Tracy Ave., Kansas City, Mo.
Marie C. Hoyne, 3936 Dickens Ave., Chicago, HI.
Mrs. D. Prescott Lawrence, 63 Circuit Road, Dedhani, Mass.
Thos. Markey, 1325 Colwyn St., Philadelphia, Pa.
Mrs. Mark W. Murrill, Third Cliff, Scituate, Mass.
Eileen M. Scale, 1114 N. 6th Ave., Maywood, 111.
Mrs. P. H. Vaughter, 812 Tradesmens Bldg., Oklahoma Citv,
Emma Wolfe, Box 65, Mullens, W. Va.
Mrs. Edward Ziha, 4856a Kossuth Ave., St. Louis, Mo.
and
hor-
play. Some of the guests had to get Dick
into a corner and ask the why and \vhere-
fore.
Then it came out that the butler was
a man whom Dick had seen around the
sets, playing butlers in pictures, and so
Dick saw no reason why he should not
stop and pass the time of day ^vith him
when he met the man actually butling.
Dick must have met a good many butlers
anyway, for, usually, on arriving at a
friend's house, he makes straight for the
kitchen. Dick dotes on kitchens.
But speaking of butlers. Myrna Loy once
owned a shell-shocked butler. Nevertheless
he was an excellent scr\ant. He had one
eccentricity— he simply \vould correct Miss
Loy's guests if they did not call a wine or
a liquor by its proper name or vintage.
"No, madam," he \\'ould say, "that is not
i88() port. It is 1900 ])ort."
This amused the guests, ho\\'cver, and
often broke the ice when the party seemed
to be "freezing." and as he was an excel-
lent butler, as I said before, M\rna let him
get away witli it.
The first time I'asil kclh leiiicil at ():;io
and left his w'ife, Dorothy MacKaye, to en-
tertain their dinner guests, Mr. and Mrs.
Stu Erwin, Mrs. Kelly was embarrassed.
Paid merely said, "Sorry, but I start work
at eight tomorrow morning. Good night."
No further explanation was made, and
Dorothy feared their friends might be of-
fended, though they apparently accepted
Paul's disappearance in good part.
After he had gone, Mrs. Erwin explained
how very sensible she thought Paul had
been to make his exit. And as a result of
the lack of conventional politeness, these
two families have a strong and friendly
bond.
A case in ^vhich social defeat was turned
into victory happened to Marion Talley,
or rather Marion made it happen.
Miss Talley was invited to dine with
Walter Bransen, noted musical composer,
and his wife, Dorothea Manski, grand
opera singer. Miss Talley dressed in her
best evening clothes, and ar-
rived at the Bransen home. The
butler admitted her, but she
found her friends in the living
room, not dressed for dinner,
and looking bewildered ^vheii
she entered.
"You— you weren't expecting
me?" demanded Miss Talley.
"Why— why, we're delighted,
of course," her hostess recovered
herself, "but it was tomorrow
night, you know, that we ex-
pected you! We— \\'e really aren't
prepared tonight! "
Miss Talley had recovered
herself, too.
"Nevertlieless," she said, "I'm
going to dine here tonight!"
"But— but " spluttered hen-
host.
"Just give me an apron," said
Marion.
Whereupon she Avent into the
kitchen, sent the cook out for
sausage, and prepared sausage
and waffles for dinner— a dish
for which she is noted.
And that was still another
case in which a good time was
had by all.
Naturally, though, the Bran-
sens were close friends of the
singer, or she would hardly
have taken the liberty.
Josephine Hutchinson one
time saved a party because she
made the social error of coming
in formal dress.
Chester Morris once saved the
day for his host by committing
a sin against etiquette,
was during a dinner party. Members
of a mens club had been in^■ited to a
private home, and a speaker was on his
feet talking, when Chester broke in and
rudely interrupted him, saying, "That re-
minds me of a story!" Guests looked at
him in amazement. His reason for break-
ing in was because the speaker ^\as in-
advertently telling an incident detrimental
to a man who happened to be a guest at
the party! Though the speaker mentioned
no names, for the good reason that he him-
self did not know the name of the man
to whom the story applied, Chester knew
that many people ])rcsent would know antl
that the man himself would be terribly
embarrassed.
Guests stared in amazement at Morris,
who afterward explained j^i'^ately to his
host.
Harmon O. Nelson. Bctte Davis's mu-
sician husband, will ne\er wear anything
biu moccasins on his feet.
Betie is a good wife and enters into the
spirit of the thing, and they have developed
a gag,
\Cotitiuiird oil [ntgc V>\i]
It
24
Silver Screen
Ready
FOR
Love
Olivia Je Havilland
Says That Her Career
Would End If The
Right Man Came Along.
By D ena Reed
IT WAS precisely five minutes
of ten of a Saturday morning
when I glanced up at the
Ritz Towers wondering, as I
entered, if a screen star has any
legal rights to take pop shots at
an early interviewer, or whether
the usual procedure is to turn
over and ignore the animal
until the decency of a midday
sun makes all sweetness and
light.
The publicity department at
Warner's had said I might see
Olivia de Havilland at ten, if
. . . and when . . . and as she
would be "available."
Announcing myself I was told
to "go right up." I've heard the
maid's sister tell the scrubwoman's assist-
ant to do that, in a pinch, and it didn't
comfort me any as I whirled up in the
elevator, my mind running something
like this:
I'll probably sit around for two hours
when there'll be stirrings and mutterings
and finally, 'long about one o'clock, the
object of my dejection will emerge, yawn-
ing behind a dainty white hand held up
limply for the occasion— and the business
of living will idle along from there. . . .
Letters which sprawled at my feet in
front of the de Havilland suite didn't
cheer me any either. I glanced down at
the postmarks as I toed them between my
first and second and third rings at the
door. "Waukegan, Warner Brothers, points
West. . . ."
. . . And then the door opened!
It opened just a mite and in the slit appeared two
brown eyes bright as a press agent's blurb, and, as the
opening widened, I discovered it was Olivia herself, her
light brown hair in a fluffy halo about her head and
her full, curving mouth forming a smile of welcome as
she asked me to come in. For all the \vorld she looked
like some small child who was filling in until mother
appeared on the scene!
There was something excitingly fresh and young and terribly
vibrant about her (at ten!). Smash-bang went my visions of a star
lolling on her beautiful satin divan.
Before I knew it I was "zipping" up her dress. It had a black
skirt and a blue top with a fascinating buckle that closed at the
throat and which Olivia fastened and unfastened coniiiuiously
during our conversation, giving added feeling that here was just
a cute kid, albeit a grand looking one!
"I'm so glad you've come," she said unceremoniously, with the
voice of one who is accustomed to eating much earlier as a gen-
eral rule, "because now \\c can order our breakfast! A\'hai do
babyhood in To-
kyo to st.-irhood
you like?" she smiled. Hollywood is
"Oh, I've had breakfast," I answered, => """"^.'^ *°
"go right ahead and order yours." Olivia.
"But )OU haven't," she fro\\iied her
disappointment. "AVhy, we had a
breakfast ap|>oinlment!"
"Well, I'll have some milk and we can go gay o\cr iliat."
"I made a personal appearance at the Strand last night." she
explained when wc sat down to the business of talking, "and that
always upsets me terribly. I ne\er seem to get used to ])crsonal
appearances and suiter terrible stage fright every time! Vou can
probably see the effects."
There were, I remarked, no tangible bruises.
"How did you ever manage lo appear in '.\. Midsummer Night's
Dream'?" I asked, "out there at ilie Bowl in front of so main
iliousands of people, iiuhiding the whole [Continued on [>agc 66]
for February 1937
25
George E. Stone, who sees
even in minor characters
the strange creatures he
has given to pictures. (Be-
low) As the cat man in
"Anthony Adverse."
Is The
Priceless Quality That
Transforms The Oood=
Looking vWen Of The
Screen Into A rtists
Respected
Throughout
The World.
YEARS ago, Maurice Maeterlinck wrote
a book of essays which he called "The
Treasure of the Humble" and which,,
like most of his plays, sort of conveyed the
idea that we are such stuff as dreams are
made of. Had M. Maeterlinck been caught
in the Hollywood holocaust of six years
ago, when musicals were in their heydey,
he would doubtless have had "Sweet
Mystery of Life" as his theme song, for the
old boy ^vas rather pixilated on the mys-
tery of life, claiming that it was the only
thing that made life worth living. And I
think he had somctliiiig there.
But I am not here today to give you a
dissertation on Maeterlinck, mystery and
mood music (though don't think I couldn't
if I wanted to). I am merely here to stale
quite blatantly that I have stolen Maeter-
linck's title for the subject of this story,
though why I am writing about the hinnble
in as un-meek a jilace as Hollywood is
more of a mystery to me than it is to you
His conception of
King Henry VIII
won a continent for
Charles Laughton.
And he made Cap-
tain Bligh of "Mu-
tiny on the Bounty"
one of the never-
to-be-forgotten vil-
lains of the screen.
and life and Maeterlinck.
I vaguely suspect that
pennies must have some-
thing to do with it. My
pennies, luifortunately, do
not come from Hca\cn.
The Treasine of the
Humble in Hollywood, in
case you're interested, my
pets, is the gilt of^imagi-
nation wliiili eiiabltS some
placers to be actors in-
stead ol self-seeking pi.'b-
licity hounds. Now 1 don't
want to seem to harp too
much (thcv tell me that
Treasure
Anita Louise is good at the harp,
too) about actors being actors and
not hams, but I must say that when
a thespian takes the trouble to sub-
merge his own personality and take
on all the attributes of the character
he is playing he deserves a lot of
credit. And I was always one to give
credit where credit is due.
As you well know, you who have
watched the progress of the cinema
through the last ten years, the old
type of movie hero with his patent
leather hair, cold cream skin, petu-
lant lips, slim waist and attenuated
fingers is gone forever, we hope. (Oh,
there are a few of them left around
still but we're calling in the ex-
terminator any day now.) The con-
ceit of these pretty boys and their
sissified appearance have furnished
material for many a wit and many
a cartoonist. Benchley, AV'oollcott,
and the New Yorker crowd have
simply made a Roman holiday of
them. No, I don't have to tell you
that actors are talented now instead
of just pretty— that was covered dur-
ing the last penny shortage, 'mem-
ber? But what I do want to tell you
is that the actors of today, though
really talented
when it comes to
tap dancing, sing-
ing, crooning and
looking virile, ar6
just as conceited as
were the sheiks of
a past generation.
OF THE
By IL i ? a
sense there's no feeling.)
A modest player, and an actor no doubt,
will not try to be himself in every picture
in which he plays— but a conceited player,
and no actor no doubt, most certainly will.
Just the other evening I had one of our
rather important leading men say to me,
"I told the director I would not wear a
beard. My fans like to see my face as it is."
Lon Chaney, of golden
memory, felt that a
similarity between two
roles was a criticism
on him and he prided
Charles Laugh-
ton as Rem-
brandt, his
latest masterly
creation.
( Le£ t ) Lionel
Barrymore, the
actor who has
never reached the
limit of his art.
(At top) As an
old man and (be-
low) this amaz-
ing actor in a
woman's role.
And I say conceit is
deadly to acting. Unfortu-
nately, the conceited player
is |)opulnr enough with his
fans (juiic olicii— you see
his aiiogant ]jaii and spe-
cially built Ducsenberg
body spread over page after
|ja,L;e in niaga/ines, he loves
]Hibli( ii\, lie laps it i:p like
\vhippcd creani, he pays a
press agent big money every
week so that he can see his map and
name in all the newspapers and maga-
zines. His idea of being an actor is to
\valk down the aisle of ihe Chinese on
preview night with the reigning Movie
Queen on his arm, to dance at the
Trocadero (there are always photog-
raphers at the Trocadero) with the
highest paid stars, to drive up to the
Brown Derby, which has the- biggest
mob of autograph seekers in liont of il.
in a car that shiieks ostenlalion. He
calls himself an actor, but I call him a
ban). (This shoe ought to do a deal of
j)inching, but ma\be where ihere''; no
■Walter Bren-
nan has true
talent for
acting.
(Above) In
"Come and
Get It."
himself on the lad thai when he donned
a fresh make-ui> he had created another
distinct character. Paul Muni feels like
this too. And so do Charles Laughton,
\Valtcr Brcnnan, George E. Stone, Basil
Raihbone, Lionel Barrymore, Hmnphrey
Bogari, Mischa Auer, Peter Lorre, and
others whose names escape me now. You
don't find the pans of these boys plastered
all over the niaga/ines. ^'ou don't liud them
saving. "I won't wear a beard, my fans like
my face as it is." They are rather humble
foik in this glittery movie racket for they
)carn sincere!), with their vvhole souls, to
make each role a complete character— and
nius to the pul)li(it\. They have the gift
of imagination. ;intl that's the treasure of
the lunnble.
Charles I augliioii. of all the liv ing actors,
has the !;reale>-l imagination when it comes
to dealing a role and subnicrging his own
personality in it. \ou can say, and say
[('■"nliiiiK (I on p'igi- ()•)]
for February 1937
27
THE
Lady
OF
Lily Pons Is Vih rant
^V^th Personality
And Gifted WitK The
L-Oveliest Of Voices.
Trills
By Catl-iarine Hoff man
"tIFE, it is so full, so happy, don t you
I think?"
And I had to admit I did. For it
is hard to picture anyone \\ithin a radius
of five miles of Lily Pons who does not im-
mediately become infected with the zest for
living \\hich this diminutive diva exudes.
The French have a word for it— "joie de
vivre." And what better than a word from
France for this little lady who is France—
her sunny skies, her charm, her infinite,
inexhaustible gaiety!
I had heard Mademoiselle referred to as
"the second Jenny Lind," "the uncrowned
cjueen of song," and once, I seemed to re-
member, as "a glass of sparkling cham-
pagne." It was this last role which she
played for me that November afternoon,
just after her return from Hollywood, as
we sat before the open fireplace in the
quaint, cozy den of her French provincial
home on a Connecticut hillock— or rather
I sat and Mademoiselle cuddled up.
She, whose sublime trilling had so often
set the air of the Metropolitan Opera
House a-quiver, whose pert, j^iquant per-
sonality had readily made her the darling
of film fans from Portland, Maine, to Port-
land, Oregon, whose gladsome carolling
had sent so much joy over the air waves
into a million .\merican homes, seemed just
a little girl, Avhose bright green sweater-
shirt and brighter brown eyes gleamed a
little impishly, and whose slight form, en-
cased in gray tweed slacks, seemed lost
somewhere in the depths of her great chair.
Out of the depths, so to speak, came a
voice like a glass bell— a French voice, trip-
ping eagerly through a language it is last
learning— to tell me:
"Of course Hollywood, it ^vas nice. It was
fun— ah, but hard work, too!" A pensive
frown furrowed the hiow of the little lady
of the big vocal range.
"You liked the parties, the
gay life of the film colonv? '
"Ah," and Mademoiselle
pouted her pret-
tiest pout, "I did
not go to parties.
No smoke! No
late hours! Not
for Lee-Lee! (Yes,
that is how she
pronounces it!)
"The voice, you
know. It is not
good!— And what
time do I have
for parties? I come I)ack from the
studio at six, take my make-iij) olf,
and voiia, seven o'clock! Dinner in
l)ecl— I am so tired!- then study my
lines- oh, lines, that is something! I
think I nc\cr can get the American
slang!" .She threw up her hands in a
gestiae of modified despair. "Then,
nine o'clock! Lights out! I must be
up at six in the morning. No. no! I did
not go to parties! But it was not bad. " The
broad Gallic smile flashed back.
In another second, she resumed thought-
fully, "Do you like the name of my pic-
ture: 'That Girl From Paris?' I think it is
very nice, no? Oh, and I have with me such
nice men— and so many! Un, deux, trois,
quatre," she counted on her tiny fingers.
"M. Oakie and M. Jenkins, they are very
funny. They make me laugh. Sometimes
they make me laugh when I must sing,
and that is not so good. Then there is M.
Auer. He is from Russia, and he can tell
such good stories. And that Gene Ray-
mond! My good-ness but he is handsome!
You kno^v, in France ^ve do not see very
much the blond men with the blue eyes.
"Now I will tell you what you call a
'good one.' 'We have in that picture the
very beautiful -waltz— they call it 'Seal It
■\Vith a Kiss' (she blew one into the air to
illustrate) and I must dance it, with a
partner, of course. But I think maybe if I
dance ^vith M. Jenkins, M. Oakie have his
feelings hurt. And if I dance with M. Ray-
mond, I be sure 1 insult M. .4uer. I do
Our Lily ag.-iin goes be-
fore the jury of the movie
public with a new pic-
ture, her second.
28 SilverScreen
The adulation bestowed upon a Metropolitan
Opera diva, added to the glamour that the
screen lavishes upon her, do not distract Lily's
thoughts from her little home in Connecticut.
It is a French girl's memory of the Riviera.
The artistically simple
living room of Lily Pons'
country home.
not know what to do! Then I ask, 'Couldn't
I dance with all of them?' Everybody look
at me like I have sing a bad, sour note.
Then, they stop looking at me and they
sit down and think. They think for two
hours. Then they come to me and they
say 'We have it!' I ask them what they
have, and they tell me. I must dance with
M. Auer, and I must dance Russian. But I
must also dance with M. Jenkins, and I
must dance the same dance like the Tenth
Avenue girl— where is Tenth Avenue, I
don't know? Oh, I must also dance the
dance with M. Oakie, with the taps on my
shoes. And then, if I am very good, they
say I can dance it really nice with M. Ray-
mond." She bent forward and clapped her
hands to her knees with laughter.
"Well, we dance and we dance, and we
find we do not have a finish. Then we find
we do not have a finish because there is no
finish. What will we do? They call Arthur
Schwartz who wrote the music in Ne\\' York
quick, and tell him 'Give us a finish one,
two, three, or we gi\e you the finish.' And
one, two. three he gi\e them a finish— yes,
on the telephone. M. Kostalanetz is with
him in New York when he talk, but the
next day M. Kostalanetz he is in Hollywood
rehearsing the orchestra in the new ending.
I think it is wonderful, this picture busi-
ness!"
I nodded vociferous assent.
"Ah, but that is not all the funnv things
I have to do in Hollywood. No, Mademoi-
selle. I have to swing ihc sing tunc! I mean
sing the swing tune. It must be hot." The
grim, determined way she said it amused
me. "And what do you think is the swing
song? 'Beaulilul Blue Danube!' " She took
pains to cxphiin to me how she \vas obliged
by tlie yVlniigluics of ilie film set to sing
the Johaiui Strauss wall/, with all its jnis-
tine lilt, as she does on concert stage the
while the orchestra dished up a swing
accompaniment. "Also," the half-pint col-
oratina continued, "I have a ninnber
where I nuist be the tnnnpct." She ptu her
hands up to her moiuli. tnnnpct si\le, and
gave a hearty "ta ra-ta-ra-ta-ra. ' "Main
limes I have been the Ihile, but nc\er be-
[Cniiliiiucd oil jxige "jG]
for February 1937
29
AND Ti 1
You Can't K
Movie Star O
Oround.
By Ben yVladd ox
Mac
eep
HAVE you a ^vould-be aviator lurking in the house? If so,
give him a garland instead o£ a glare. Bring the problem
child into the parlor, and park him in the cozy chair right
by the fire. He's going to be a big help. Probably he'll want to
go into a pulp-magazine tale about war aces, but insist that he
be elemental. You must get the swing of his aeronautical patter.
You must learn how airplanes tick. That is, you must if you
want to become a fit companion for your favorite movie star, who
has, it seems, turned into a fool for flying machines.
The good earth is too familiar a pasture. Today in Hollywood
the sport of stars is decidedly aviation. Everyone of prominence
strikes an attitude for altitude. Out at the great airports which
lie on opposite sides of the city the mammoth white hangars are
filled with beautiful ships anxious to be warmed up. The air is
balmy, in the daytime and in the moonlight, and curiously tense
with an ever-present expectancy of excitement. The daring young
men of the screen world begin to burn up the air-lanes as soon as
they finish their stint before the cameras. The women of Holly-
^vood, led by Ruth Chatterton, are out to prove that any girl
who's competent can be a keen aviatrix.
The leaders of the vogue, ivhich will tomorrow be a part of all
our lives, have bought airplanes of their own. These range widely
in price, the town's toniest being o^vned by Wallace Beery and
Ruth Chatterton. Many a star rents a plane just as you would a
drive-your-own auto, paying for it at I4 an hour or by the mile-
age run up. Of course, the initial step is to take lessons from an
accredited instructor.
The average price for a course
ihat will make you the solo
-kipper of a sky cruiser is fifty
tlollars in Hollywood. This al-
lo^vs for seven hours of actual
personal teaching. You must
solo for fifty full hours before
vou are granted a pilot's license
and the privilege of taking an-
other person up with you. Two
hundred hours alone and you
can qualify for the advanced
rating of a transport pilot. So
Robert Cummings
is an aviator as well
as an actor who has
yet to reach his
"ceiling" on the
screen.
far Wallace Beery and Ben Lyon are the only stars who re in this
select classification.
There are many flying schools around but, as always happens
in Hollywood, two in particular apparently draw the cream of
the colony. Bob Blair, dark and a veteran, holds forth at Mines
Field and his list of stellar pupils is dazzling. Chatterton is his
product. Blond, amiable Payton Watkins attracts illustrious ama-
teurs to Dicer Field.
If you're musically inclined it'll be easier for you to learn to
fly— you need rhythm and a good sense of balance and you must
be willing to accept advice. A fear complex ^vill be your worst
enemy; you must have confidence. The first thing they'll tell you
is how to keep the ship's nose on the horizon. You may choose a
plane guided by stick or one driven with a ^vheel like a car.
No longer do the studios object to tire entrancing airways.
While it's still true that if you should fall you'd fall emphatically,
any statistics you want to consult verify the fact that it's far safer
above the ground than on it.
No one realizes the value of an actor's time more strongly than
a studio; a player can be whisked from Broadway overnight and
from Europe in a week. Executives of film, companies are utilizing
planes to carry exclusive groups to distant cities for sneak previews
and to rush new prints East for premieres. They not only shoot
be^vitching chorus girls around the country as potent advertise-
ments, but they order ideal locations picked from the air.
Naturally this sanctioning ■ivas all the red-blooded blucliloods
of the acting profession wanted. It
was all right to be famous, but
whije you worked at it why not
The all-round skill of 'Wallace
Beery has made him a licensed
transport pil( I 111 I <ii I iMi't
ing. (Right) Miislii Hunt
spends every niinutL .iw i\
from the stuJio at
the flying f I I
30
Silver Screen
TKc Players /\re A/loclern=A4inclccl.
Litcrty Is Tkeir BirtKrigKt y\n J TKe
Sky Is TKe L imit.
James Dunn and his
new Stinson-Reliant
plane.
have fun, too? The slightly hesitant discovered the safety and
thrill of flying when the transcontinental passenger lines intro-
duced fine transports. Now New York is only a de luxe sleeper-
jump and the air fare is no more than that of the speediest trains.
Clark Gable spent the first half of a recent week there— and
when he bleu' in to Hollywood again he had to devote the latter
half to a recuperating hunting trip. Between you and me, two
nights of transcontinental traveling isn't what tired Clark out; the
three days celebrating did that!
The remarkable patronage of the stars has made the Hollywood-
New York run the most important in the United States. Camera-
men and crowds are at the Western terminal every day. Arrivals
are gala affairs. Going-a^vay showers are a current innovation.
When Anita Louise flew East for the third time this season, four
handsome juveniles caused her to pay for excess baggage. Each
presented her at the last minute with a weighty book, their
John Trent, TWA pilot,
low a leading man.
scheme for keeping her from glancing twice at the personable
males on board. Fay Wray has been presented with an engraved
plaque which dubs her the pet of the giant skyliners. She's
covered fifty-two thousand miles in fifty-two weeks. B. P. Schul-
berg discovered his new male star on a trip last Fall. La Verne W.
Browne.. TWA pilot, is now John Trent, leading man!
When a star elopes to Yuma or Mexico it s now almost invaria-
bly a case of love above the clouds at last. No one wants to poke
along in a car or a train when it's so exhilarating to fly. The same
pilots are usually routed out to preside in the cockpit of these
modern chariots of Cupid. Honeymoon planes are being lavishh
decorated since Ann Sothern and Roger Pryor had such a notable
send-off. After a marriage at midnight in a Hollywood church,
and a wedding supper, this couple was escorted to the airport.
There they found that their thoughtful guests had made the
bridal plane a bower of white satin and golden orchids!
The touch Hollywood has added to aviation is a demon-
stration of how much more romantic you can be if you're
a flying sweetheart. Stars who go to the popular air fields are
bumping into new triangles there. Beneath the constant whir
of the graceful propellers heart dramas are being enacted.
Carole Lombard began the regular series of lessons, but
stopped when her health ^vas threatened by over-work. At
Mines Field they say she'll develop into a splendid pilot.
They're anticipating her return— and Clark Gable's. When
she quit coming out, he gallantly did, also!
Tom Brown was lured to this same rendezvous by Toby Wing,
who wanted to see some pilots she knew. Tom and Toby had a
little spat and now, although he's rapidly acquiring air technique,
it's a society debutante who cheers from down below. Ken Howell
is determined to convince a U.S.C. co-ed that he's preferable to
the basketball player she occasionally considers dating; so he lets
her watch him take lessons.
According to Paula Stone, Denny Moore looks marvelous in his
aviation helmet. She received her proposal of marriage
aloft from him. Paula thought the idea of a flight to
Yuma was nifty, but she wasn't quite sold on the fol-
low-through. Since Anne Shirley started mastering this
business of flying, Owen Davis, Jr., will have to display
plane ability as well as ardor to hold onto her. When
she met Cecile Hamilton, nineteen
and the youngest feminine transport
pilot in America, she declared thai
she wanted to take lessons from her.
Anne has resolved to enter Ruth
Chatterton's derby to the national
air races next simimer.
One Saturday Lily Pons went to
the airport to greet her Andre Kos-
telanetz, and what did he have toted
ofl; the plane but a baby grand
piano! While she 'ivas making her
latest picture he hopped out from
New York every ^veek-end, setting a
new high in de\'otion. ^Vhen he
brought this surprise Lily had to say
"Yes" to his wedding suggestions.
Now she is the first prima donna to
take along her own piano wherever
she flies. It weighs only three hun-
dred pounds and the other passen-
gers rate a free concert.
Hollywood wives aren't letting
their [Continued on pogc 6<)]
(Center) The first hospital plane is in-
spected by Basil Rathbone, Anita Louise
and Ralph Bellamy. It is built to fulfill
the mission of mercy. (Left) Richard
Arlen and his son, Ricky, who'll
be a flyer some day. (Below)
The "big name" in flying is Ruth
Chatterton. She is
twice famous —
actress and avia-
trix.
for February 1937
31
I
Visitin3 TKe Sets And TKe SouncJ Stases, To See
Pictures Being MaJe, Witk— S. R. Mool
rO IT comes the time of the year \vhen
> it is an additional task to write Studio
^ News. There are football games to go
to, himting trips to join, fishing trips to
make, new night clubs to be explored and
on top of all that a trip to New York.
.Stifling my dissatisfaction with Life (and
Judge) 1 force a smile to my lips and set
out to see what's doing hither and yon
about the studios. On account of their ex-
tensive expansion program there oughi to
be plenty doing at
Warner Bros.
There is. First we have Kay Francis in
^ her latest opus, "Another Dawn." This
is another of those pictures with the locale
laid in the far East-at Dikut. Honestly,
Kay spends more time abroad, in her pic-
tures, than almost all the other players put
together. Ian Hunter and Errol Flynn are
the male leads and Fii.d.i Tm-Minii v]><-
made such a hit witli ka\ in 'i.nc Mi
Your Heart," is the o.li- i 'iiil-
There is a lot of pJoi Imii miI!i; i w
to say Kay has manud I.m. '.hi
commander of the •.■.n : .-nn
without loving him :ini! I.i
knew it when he mat
her. When he bri nt
her to the post
as „a bride, .she
promptly pro-
ceeds to fall
in love with "^^^^^^^^^^^i I
Flynn. In this
particular scene
she is sitting in her
bedroom, by the win
dow, working on a i)ii'(e
of needlepoint. She Iii.p^ j
commotion outside, - up
through the window iml ap-
parently, quite startliil b; wU.H ^lu
sees. She hastily puts doun the needle-
point and rises to go out onto the parade
ground. As I'm standing oft to one side, I
(an'l M-e n i-- ihat has disturbed her.
"t'lill" William Oiiierle orders.
' I jusl \%uke up, ' Kay explains as she
shakes hands. "I had an early call but
when I got here they didn't need me in
the first couple of shots so I went back
to sleep. "
"Um-humph," I comment brightly.
"Since when did you become such an ex-
pert embroiderer you can do needlepoint? "
"It's nothing," Kay smiles deprecaiingly.
"I just picked it up here on the set by
myself . . . I'm going a\\ay as soon as this
picture is finished, " she adds irrelevantly.
"How come? " I demand.
"I've made four pictures in a row and
I'm tired," she replies. "I have it in my
contract I get my lay-off all in a lump. If
I onlv get eight weeks I'm going to New
York for three ^^eeks, then to Palm Beach
and then to Havana. If I get more than
that I'm going to Europe."
For a moment I brighten as I think that
once again I'm free to lav my heart at
Barbara Stanwvck's feet. Then I remember
she hasn't \et tired of Robert Taylor. I'll
just ha\e to \vait my turn.
In the meantime.
This is Hinnphrey
In "John Meade's
Woman," Edward
Arnold and Fran-
cine Larrimore are
caught in the tragic
horror of a dust
there is "San Quentin."
Bogart's new starting
pictine. He and Sailor
Boy (Joe Sawyer) have
just arrived at San
Quentin. Joe is show-
ing Humph about. It's,
apparentlv. all new to
Mr. Bogart but it
seems to be an old
32
S II. V n R Screen
story to Joe.
"Pretty nice campus, huh?" Joe com-
ments sardonically.
"It's big." Bogart concedes.
"It looks big now," Sawyer comforts him,
"but after you been here for a stretch, you
begin to think you're in a telephone booth
with four other guys— and no telephone."
Bogart is just about to answer when
James Robbins and Al Hill, a couple of
other convicts, rush up.
"How are ya, Sailor Boy?" Robbins says
eagerly, extending his hand. "I heard you
wuz back. Been lookin' for yer. How's all
the Spring Street gang?"
"Fine," says Joe, shaking hands. "Pete's
having six months on the county. Duffy's
makin' book at a swell new joint. And
Louis— you remember Louis, with those
gunboats he called feet?— well, he went to
work on the docks, tripped over a hawser
and fell in the drink! He's still standin' on
the bottom waiting for someone to tell him
to come up."
"Did ya see Casey?" Al Hill puts in.
"Aw, fergit those slobs," Robbins bursts
out. "What about the dames? Say, did ya
see Gladys? Did she get my letter? Did
she "
"Naw," Sawyer lies. "I didn't see her."
"You're a fine pal," Robbins goes on ex-
citedly, "not to look her up."
"I heard she moved," Sawyer continues
lying. "You're just drivin' yerself stir crazy,
Mickey, thinking about that dame. Forget
her. She'll be so old when you get outa here
you wouldn't even know her from )our
grandmother!"
Ida Lupino and Preston
Foster in "Coast Patrol."
Mr. Robbins seems deeply im-
pressed with the unpleasant
truth of Sailor Boy's statement.
"It's tough on you guys," Mr.
Bogart, who has been taking all
this in, interrupts.
"You'll learn soon. Fish!" Al
Hill wises him up.
"Not me," says Bogart loftily.
"I'll be outa here like a shot. I
got pals that can pull wires."
"Honest, kid?" Robbins asks
eagerly. "Say, do you suppose
they could do anything for me?"
"Well, after I get out I'll see,"
Bogart promises patronizingly.
He doesn't know that everyone
who goes into stir thinks he's
going to be out like a shot and
that old timers bait them un-
mercifully.
... . . ^ , Oh, I forgot to men-
Virpma Gray and ^j^^ ^^^^ Q Brien,
Richard Arlen ^^^^^^ MacLane and
Secret Val ey," a j^^^ Sheridan are also
tangled plot of ^^^-^ ^^^^
gangsters, divorce them are working
and unfatt«ned ^ . although
I've met Mr. Bogart
and Mr. Sawyer at
least a dozen times they still don't know
me. So there's no use hanging around this
studio.
Columbia
TODAY, when I arrive, Fanya Graham
(and please note your name is spelled
correctly this month, madam— or at least,
it's spelled the way you're spelling it this
month) says, "I don't know if it's a good
idea to take you around today. We have
two pictures in production and I kno\\'
you'll never be able to keep them straight
in what passes for your mind."
I protest that I'll keep them straight if
I have to forget everything else I see—
which I promptly do.
The first of these is "Woman in Distress."
Dean Jagger, reporter on the New York
Dispatch, is always being scooped by Irene
Hervey (the new Mrs. Allan Jones), a re-
porter on the rival sheet. When a rumor
starts that Rembrandt's "Mona Bella" has
been discovered in the possession of an
elderly lady (none other than May Rol)-
son), Jaggcr's editor sends him and Arthur
Lolt (a former art student but now a
drunken reporter) on a plane to Maine to
investigate. Irene is sitting right across
from bean in the plane but she lias a book
up in front of her face so he can't see her.
"Give me that— that medicine bottle,"
Loft suggests to Dean.
"Not a drop till you give the painting
the once over," Dean announces firmh.
"Then you can get blotto. If it s the orii;;-
inal, we'll both get blotto."
"What men nnist endure for art.' Lolt
si'dis.
"Wise me up on Rembrandt and the
picture," Dean orders. "I might have to
write a story in a hurry."
"Well, my son," Loft begins, "Rembrandt
was a Dutchman— chiefly because he was
born in Holland."
"Fair enough," Jagger agrees.
"He lived in the seventeenth century-
married a rich girl named Saskia and used
her as a model for several canvasses. One
was in the manner of the Italian masters—
that's the Mona Bella."
"Which he painted deliberately to keep
us away from a Yankee double-header,"
Jagger scowls.
"Undoubtedly," Loft agrees.
James Cagney, James
Burke and Bernadene
Hayes in "Great Guy."
I turn to Fanya. "This is the most scin-
tillating dialogue I've heard in months," I
mutter sarcastically.
"Isn't it?" she agrees blandly. "The
writer read one of your articles and de-
cided to do the dialogue on his next script
in the same style. Let's get over on the
'Women of Glamour' set and see what's
doing there."
It's Melvyn Douglas' studio apartment.
He's an artist again, just as he was in
"Theodora Goes Wild," and it's his bed-
room again, just as it was in the other
picture when I visited the set.
"What's this picture about?" I inquire
brightly.
"It's the story of a prig who regenerates
an unfortunate girl," says Melvyn gravely.
Virginia Bruce is the — er — nightclub
singer, and I have never seen her look
more beautiful than she does in her plain
black velvet dinner dress with the little
puffed sleeves. Melvyn has been painting a
picture of her and trying to get her to
express certain emotions. She can't because
she doesn't feel them. Then, one night,
they're out together and he starts telling
her about his mother and father and their
great love for each other. Virginia is really
touched and as she listens the very emo-
tions Mel wants play across her face. "Pose
for me now!" he urges. She goes with him
into the studio and poses until four AM.
when she topples over in a faint. He picks
her up in his two strong arms, carries her
across the room, down the stairs into the
bedroom and lays her on the bed. Then he
sits on the edge of the bed, tenderly wa\ ing
a bottle of smelling salts back and forth
under her nose. But Mr. Douglas is in a
l^layful mood and when she doesn't respond
to the smelling salts as quickly as he thinks
she should, he puts that down, takes off
one of his shoes and gently waves that
under her nose. I mean to say it was really
finniy— he did it so solennilv.
Of comse, the take is spoiled. The next
take, they all gang up on Douglas. 1 hev
wait until he has carried Virginia all the
way down the stairs, across the room and
[Coiitiuiicd oil page 78]
fo.- Fj3Rua.11' 1937
33
THE GIRL IN A MILLION GLORIPyiNG
THE SHOW IN A MILLION!
A revelation in entertainment!
Scene upon scene of beauty
and splendorl
Glittering with luminaries from five
show-worlds!
Romance and fun! Melody and
drama!
AND SOMETHING EXHILA-
RATINGLY NEW AND EXCITING
TO THRILL YOU!...
700 glamorous girls dancing on skates
in dazzling ice-revels of breath-taking
beauty!
ADOLPHE MENJOU
JEAN HERSHOLT
NED SPARKS
DON AMECHE
RITZ BROTHERS
ARLINE JUDGE
BORRAH MINEVITCH
and his gang
DIXIE DUNBAR
LEAH RAY
SHIRLEY DEANE
Directed by Sidney Lanfield
Associate Producer Raymond Griffith
You've never seen anything like it before I And if you live to
he a million . . . you'll never see anything like it again!
1937'S
SPECTACU LAft
MUSICAL SMASH
SONGS YOU'LL REMEMBER
AS THE HITS OF THE YEAR! .. .
"One in a Million" "Who's
Afraid of love?" "The Moon-
lit Waltz" "We're Back
in Circulation Again
"Lovely Lady in
White"
34
WE - POINT -Wl
William
Powell
He Is TKe S crcen s
fication Of
ersoni
A GcntI
cntieman.
Bill Kas become the model
sophisflcafe and h!s suave and
cultured manner is admired and
perhaps copied by millions.
{Upper left) In "The Kennel
Murder Case," with Mary Astor,
he created Philo Vance and
won public approval for detec-
tive stories. These thrillers have
been produced in every mood,
but the comedy of "The Thin
Man" made a real success.
(Left) This scene is from the
sequel picture, "After The Thin
Man," showing Bill and Myrna
Loy. (Below) The bewhiskered
tramp is Bill again, as he ap-
peared in "My Man Godfrey."
study of poise and
grace has already
given Paula De
Cardo's dancing a
definite charm.
Hollywood Secures
Beautiful Girls And
TKen Trains TKem To
Forget All About It.
In "One In A Million," Ar-
line Judge gives of her
youth and beauty. (Right)
A scene from "Stolen Holi-
day." Kay Francis in a
wisp of an evening gown
with headdress of an ori-
ental simplicity.
June Lang has brought a
comeliness of face and a
figure of classic beauty to
the screen. Will these
prove a help or a hin-
drance?
iThe Rght
^GAINST SEL^
Consciousness
In ihe much discussed "Lloyds of
London," Madeleine Carroll ap-
peared in I8fh Century costumes.
In the costume ot today Miss Car-
roll is equally charming. She is
wearing a backless evening gown
in the latest mode, and
qualm.
THE public turns away
from girls, however
pretty, if they appear at
all conscious of themselves.
So Hollywood had to devise
a method to free these lovely
ladies from the trance of
their own thoughts and teach them to
forget all about their obvious charms.
When a pretty atid shapely young lady
arrives on the lot, she is ordered to the
studio, and in negligee or bathing suit
she is posed and photographed. After a
while the camera lens loses its dominion over her and she can
appear in ball gown or briefest of shorts without a pang of
false modesty.
Now petticoats by the million have been hung in the ward-
robes of oblivion, and the girl who strolls the beaches of Florida,
and the other winter resorts, dressed in a couple of bandana
handkerchiefs, is the one who can enter a ballroom or banquet
hall with never a thought of self; serene, poised and beautiful.
Another Hollywood victory.
Dolores Del Rio, the exotic beauty of
many pictures, dresses in the character of
her part with no self-consciousness what-
ever. Her poise is the envy of many
women.
(Left) Jean Par-
ker with the poise
and assurance of
the veteran that she
is. She has the per-
fect "streamlined
figure" — 5 ft. 3 in.
tall, weighs 105
pounds, with 33 in.
bust and 34 in. hips.
THERE IS Drama
WALK OF
(From top to bottom) Elizabeth Jenns and
Fredric March in "A Star Is Born." Janet Gay-
nor and March are co-starred. Tex Ritter and
Warren Richmond in "Song of the Gringo" — a
tense moment. Jerry Cowan and Henry Fonda
in "You Only Live Once." "The Plough and the
Stars" — Preston Foster and Barbara Stanwyck
in a story of the Irish Rebellion. Gertrude
Niesen and George Murphy in "Top of the
Tpwn."
"Maid of Salem," a story of the ,
early days of the Colonies — Halli-
well Hobbes and Claudette Colbert.
The famous Barrie play, "Quality Street"
with Kath arine Hepburn and Franchot Tone.
"Banjo On My Knee," a
shanty boat thriller.
(From top to bottom) Edmund Lowe and Elijsa
Landi in "The White Dragon." Phil Regan at the
controls in "Happy Go Lucky." "John Meade's
Woman," starring Edward Arnold. Conrad Nagel
and Eleanor Hunt in "Navy Spy." "Great Guy,"
played by James Cagney.
Dance If
you WOULD HA
Margo has been
welcomed on
screen, stage and
radio, but sfill she
keeps up her danc-
ing. It pays her
back in beauty.
IF A girl had a f>erfect figure, she wouldi
dance for joy and so keep the priceless
curves and dimples. Dancing is such won-
derful exercise lhac almost any girl improves F
her appearance if she participates. The ankle'
grows slim, the leg muscles arrive at the|
proper proportion and the torso becomes*
slim and beautiful. The more extreme ste[>s
of chorus dancing bring the best results. If
you kick at chorus work, okay— only kick
high and often.
t
Marjorle Raymond, !n "Hats
Off," weaves a number from
the rhythm of the music and
the song of joy in her heart.
(Left) In "Banjo On My
Knee," Barbara Stanwyck,
dancing with Buddy Ebsen, re-
calls the old Broadway night
club times when her dancing
costume permitted greater
freedom of motion. (Right)
It's "Ready, Willing and
Able," and Ruby Keeler and
Lee Dixon are dancing. They
are both professionals and
very expert.
(At extreme left) A tobacco brown chiffoi)]
favored fabric for the coming Spring) is ch^
by Virginia Bruce. Puffed sleeves and a skii
neckline are distinctive features and a cluste
yellow flowers at the waistline adds a brill:
touch of color . . . (Next) Anita Louise w!
the popular long-sleeved dinner gown, fashi<il
of black crepe and lustrous silver lame
(Below-right) Francine Larrimore borrows!
leg-of-mutton sleeves of a by-gone day, {
trasting black velvet with black chiffon ijs
effectively . . . (Extreme right) The Dalm^i
influence is felt in this long-sleeved black ci:.
gown embroidered in gold threads worn!
Julie Hayden. A silver fox cape, gold pf
and matching open-work sandals complete |i
ensemble.
THERE was a time, rji
an evening gown ii4
picture of a woman /
displayed to a faintly si
form divine this fashion!;
for the woman whose cl:
trying as it was unbeco
evening styles that are a
for eveiy woman who
to look her best in eith^i
most exquisite women fi
edge that they can wit
gowns which certain o<:
obligatory.
For Restaurant Dm=
ing Or TKe TKeatre
Less Formal Oos=
tumes y\re Oon=
sidercJ de ri^ueur.
Beauties
Screen
OF THE
"The Smartest Girl In Town" gave Ann Sothern tier
big opportunity. She delights in swanky new govms
and this one has, as you can see, a Sothern exposure.
(Upper right) Frances Farmer, of "Come And G«t
It" fame, has her career under control.
ONE of the big industries is devoted to the manufac-
ture and sale of preparations that work the magic
of Beauty. They have changed most every woman
in America and they are still at it, but back of all the
enticing advertisements and the glittering drug stores is
the motion picture business. For, if the thousands of
screens spread all over the country had not glorified some
of the prettiest girls, rewarding beauty, and surrounding
these lovely things with luxury and all the creature com-
forts, the rush for the beauty preparations would never
have gained the importance it has
now assumed. So the screen beau-
ties carry upon their shoulders not
only our entertainment but one of
the largest businesses.
They have changed the girls of
America but the boys continue to
approve of the present design.
Joan Bennett's captivating
sparkle is vibrant, as the press
agents say, with life and per-
sonality. Joan is fascinated with
a more generous make-up on
her lips. Do you like it?
The Beautiful Girls Of The
Screen Are The Inspiration
Of All The Other Girls Who
Buy Beauty Creams And L,ip=
sticks.
(Left) Virginia Bruce sets
a standard for wholesome
beauty. The girl of today
is particularly feminine if
she is a blonde.
Jean Muir grows more attractive and already
is included among the "prettiest" girls in pic-
tures. Her next is "Her Husband's Secretary."
Rochelle Hudson's beauty is quite silver foxy.
The primitive women dressed in the skins of
animals, now you can see why— imitating
Rochelle.
The beautiful and tal-
ented Ginger Rogers is
crowned the best dancer.
(Below) Betty Furness
got talked about for her
hats — now they are her
Specialty.
THE Crowned
Heads
OF I
HOLLYWOOD
every G ame Has Its King Or
Queen— The Peerage of Pictureland.
Buck Jones is
the King of
Riders in the .
picture col- -
ony.
THE members of the royal family are tireless in
keeping up their standing. This exclusive caste
knows that it is fatal for a star to drop out of
sight for very long, so every possible effort is made
to keep the famous name
before the public. No one
mentions dancing without
speaking of Ginger Rogers,
nor hunting without men-
tioning Clark Gable. They
y are the crowned heads of
their own racket.
Wherever a polo mallet
swings or a polo pony
races there Spencer
Tracy's name is known.
(Left) Aboard War-
ren William's auxiliary
motored schooner,
"Pegasus."
The Best Dressed Woman in Holl
wood is Kay Francis. The full leng
ermine cape fastens at the nec
line with a heavy braid fro
$2,000,000 is the rumored sum Columbia spent to film the fanciful
vuiy,nificeni e of this world-famous book. This gorgeous reproduction
of the lamasery of Shangri-La (above) seems to confirm this estimate.
Capra Captures Top Screen
Honors With
LOST HORIZON
By RUSSELL PATTERSON
'T^HAT man Capra has done il afiainl And when I say -afiain" I don t mean that his new
Columbia picture is just as good as "Mr. Deeds", ' It Happened One Xighi '. etc. 1 mean
it's better! "Lost Horizon " is so magnificent arlislicallx and so grijjpinfi dramaticailx that it
stands practically alone on m\- private and unolVicial recommended list t'or the month. I know
you've heard about this famous James Hilton best-seller and its unique stor\- of a secret
romantic paradise on the roof of the world. So 1 don't have to tell you what a stupendous job
it was to reproduce this fabulous Oriental "hideout" on the screen, and to |)ortra\ the amazing
romance that takes place within its walls. Hul Columbia. Cai)ra and Colman have done il -
done it so superbly that for my mone\ "Lost Horizon" is going to be one of tho.se talked-
about pictures that everybod>- just lias to see. The star role is the best thing Lvc seen Ronald
Colman do. and the supporting eflorts of Edward Everett Horton. Margo. H. H. Warner.
Jane Wyatt and thousands of others, plus Robert Riskin's exciting adaptation, all go to make
"Lost Horizon " a big picture in e\erv sen.se of the word. I m telling you -don t miss it!
'RISONER in a barbaric para-
ise, Conway is torn between
he bonds of civilization and
ore of his fascinating captor.
FASCINATING FA
ABOUT "LOST HORIZON
• H wai two yrari in the mok
• TIm cOft numbcri I1S0
• Two complete towns were er
lor the prodttctlen
• One let clone teoh ISO men
months to buiM
• Booti tronslcrted in 14 longuoges
KIDNAPING an unknown loret
(Ronald (olman) from the
other side of the earth, Sandra
(fane Wyatt) imprisons him
in her fabulous Oriental "hide-
out" on the roof of the world.
The Fox Studio is quite com-
plete, and the whole place
throbs with energy. The stu-
dio comprises 1 10 acres and
produces a film which meas-
ures less than an inch each
way. (Right) Betsy King
Ross is the World's Cham-
pion girl trick rider. She has
appeared with "Roan King
M" all over the world, and
when she decided to retire
the little horse, she gave
him to Shirley Temple for
her very own.
(Above) Ttilrfean year old
Deanne Ourbin takes singing
lessons from Andres de Segu-
rola, who was formerly a bari-
tone in the Metropolitan
Opera Company. Deanna is in
"Three Smart Girls." (Right)
Louise Fazenda in the wind
and the rain in "Ready, Wil-
ling and Able." The waterpipe
(center) brings the rain and
a wind machine lashes the
comedienne with a realistic
storm. All for a laugh.
500 HELEN HAD DATES &ALORE /
CE you get the Lux habit you
need never worry about OF-
FENDING. Lux takes away perspi-
ration odor completely — without
cake-soap rubbing or the harmful
alkali found in many
ordinary soaps. Safe
in water , safein Lux.
Removes perspiration odor— saves colors
Richard Arlen and Barry
Mackay. The checks and plaids
Indicate their standing in pic-
tures. Next, "The Great Barrier."
Michael Whalen
has a nice taste
In worsteds and
ties.
Loud!
CAN it be that the loud patterns in cloth appeal to the flam-
boyant souls of the players! After the critics have bestowed
laurel wreatTis upon the actor, that is no time for meekness.
It evidently takes arrogant designs to fit the success mood, or can
it be that the cameramen like to have something gay on which
to focus?
(Above) Cesar Ro-
mero resplendent in a
coat of many stripes
and checks. (Left
Fred Laurence dons a
quiet little number to
celebrate his Warner
Brothers' contract.
Week after week,
month after month,
Clark Gable comes
through in well-acted
parts which please
the critics, and does
his suit almost
plodel
Just
[ucKy
FreJ MarcK Is A Fine Player
Who Never Forgets The
Time F^e Got The Breaks.
By
A/laude C-KeatKam
HAVE )oii noticed ho^v the spotlight hovers on
Fiedric March? To paraphrase, it is the TIME
OF MARCH!
As Freddie and I talked it over one sunny afternoon,
recently, he refused to be impressed. He was in a gay,
bantering mood and wouldn't be serious about anything,
least of all, himself.
■'I Avas just lucky in getting the breaks," is the \vay
he summed it up.
Grabbing at this lead, I asked: "How much does an
actor's success depend upon luck?"
He replied, quickly: "Almost everything. It exerts an
enormous and far-reaching influence at every step of the
way, yet it is so elusive that you can't define it. I grew
up with the Horatio Alger idea that hard work and
honesty were the tools that won the prize. I thought of
luck as merely a foolish superstition. Then I went on the
stage and faced situations which only that something we
call luck could explain.
"I've worked hard and I've sacrificed, but so has every actor. I
managed to get ahead Avhile some of the others, with whom I
startecl, didn't make the grade, just because I bumped into the
right opportunity at the right moment.
"That's it, the element of Time, symbolizes my luck!" he ex-
claimed, exuberantly. "Today is the prelude of toiriorrow. No
success is a single experience, it is hooked up with a variety of
influences, and, looking back, I can see so many corners I turned
just at an opportune moment. It's a bit awing, isn't it?"
Life moves in cycles, and Freddie's good fortune really began
that happy August day when a Blessed Event dropped him into
the waiting cradle of the well-to-do Bickel family in Racine,
Wisconsin. Bickel is his real name, you know.
He insists he was the very Imp of .Satan as a youngster and
chuckled gleefully as he recalled some of his pranks, telling ho^^■
his nickname of Botlles was given him by the neighborhood gang
because he was the champion bottle finder in the exciting
scramble for old junk.
This early cycle passed safely, as did several others, then, grad-
uating from the Wisconsin University, he went to the New '\'ork
Ch\ Bank to take a training course. There he was stricken with
appendicitis.
Oddly enough, this turned into Time's Golden Moment for
Freddie.
He firmly believes if this hadn't happened right then and
there, he would today be tucked behind the money cage of a
small-town bank. Lying there in the hospital, he began visioning
himself as an actor, and the first thing he recalls after coining
out from the anesthetic, was the determination to chuck banking
in lavor of the stage.
"I never even went back to the bank," he confessed. "Instead,
1 started oiU to land a job and became an extra in Clcorgc Fit/-
maurice's film, 'Paying the Piper.' Then, because I \vantcd lo cat.
when I couldn't find screen work, I posed for illustrators am'
photographers.
"One day a crisis loomed, Hiuigry, and \viih i,ut one dime to
my name, I flipped the coin to see whclhn I'd sjjcnd it on a
sandwich or ]5hone an agency. The agenc\ won, I pla\e<l fair and,
pulling in my belt an extra notch, I phoned and learned that
Leon Gordon wanted me, so I spent the other nickle on the
sub\\ay going to
his studio where I
posed for three
hours, e a r n i n g
three much-needed
dollars."
Howe\er, Lady Luck hadn't
completed her day's program
for Freddie, all this was merely
the prcliminar\ e\eiu before
his Big Break, .\s he was leav-
ing the studio, (iordon cas-
iialh remarked that there \vas
an opening in "Deburau." at
the 15clasco Theatre. Forget-
ting about being hinigry, he
ran all the way to the man-
ager's ollice where he talked
hiinsclf into the pari, just
small one, but within twcniv
weeks he was jjlaying the ju\cnilc role in this po|ndar pla\,
"My first big i)art," said Freddie, "was in William Brath's ■Mie
Law Breaker.' and when he ollcrcd me a nice contract 1 turned
it down. This was one of the momentous occasions that changed
my life, but I had learned enough to kno^v I needed more experi-
ence, so I resoliUcly turned mv hack on [Continued on page 70]
He was excel-
le.it in "Lcs
M i s e r .1 b 1 e s "
and his per-
formance in
"Anthony Ad-
verse'' de-
lighted both
the critics and
fans. Fred
March carries
the big ones.
for February 1937
51
On the
Grand
Banks
Fictioni^ation of '^'^Captains Courageous/''
a Aletro = GoIJvvyn= AAaycr Production
of RuJyarJ Kipling's Famous Novel.
IN GLOUCESTER ihe houses dig their heels into
ledges of Cape Ann granite as they stare over the
harbor, watching the ships which are Gloucester's
life. The breeze off the gray Atlantic brings the reek
of drying fish from the flake yards below and salt that
tastes bitter on the lips. Nuzzling the piling of the
city's docks the fishing fleet patterns its mast against
bleak skies. They sway to the wash of distant surges,
the lean, shrewd schooners, smart like their Yankee
masters and the tubby, roly-poly Latin ladies of the
sea, painted in screaming blues and greens and
adorned with bands of crimson.
On the hill, above the ships, there are prim. New
England spires and among them the landmark of the
Portuguese sailor, the wooden statue of Our Lady of
the Good Voyage who cradles a baby ship in her arms.
Eastward, on the horizon, a faint smoke plimic tells
of the big liner taki(ig her bearings from Thatcher's
Island light before she turns on her heel to race
off to Europe.
This is a story of Gloucester ships and Gloucester
men that was written years ago by a small, quiet Eng-
lishman whose shrewd eyes could see deeper into the
hearts of ships and men than any story teller has
feen since.
53
B
y
Jack BccKdoit
(Left) Hdi- - ■
vey (Freddie Bar-
tholomew) makes friends
with Manuel (Spencer Tracy),
the fisherman who saved him from drown-
ing when he tumbled from the deck of an Atlan-
tic liner. (Above) Manuel tells the little fellow how to
clean the codfish.
Fog s\virled up from a glassy,
flat sea oft the Grand Banks.
The towering bow of the liner
ripped the cobweb curtain as
she clipped off the miles, her
siren roaring as she sped. Close
by, hidden by the steam of the
ocean's breathing, the We're
Here of Gloucester rode to
anchor, all her dories out, all
hands hard at it in tlie race to
fill her hold with cod and hali-
but.
Master Harvey Cheyne walked
beside his father on the liner's
gleaming white deck that was
as wide as Fifth Avenue. Master
Harvey was ten years old and
the perfect flowering of that
most obnoxious blossom, the
spoiled brat.
A good, sound boy's school in
Cloiinccticut could not cope with Master Harvey when his taiher
cliose to believe his lies as against the conservative statements of
his headmaster. So now Frank liurion Cheyne was taking his son
aljroad in the fatuous belief that English schools would suit him
Ixiter.
"Those boys wouldn't believe \ou owned this ship," said Master
Har\ey, indicating two )oungsters who were hard at a game of
ping-pong.
"I don't. I'm merely a directo! in the line "
"Well, you're chairman. Thai's the boss, isn't it? "
loudly for the bo\s to hear.
"Look, son," said the father of this problem child
some fun with the boys. I've got a
radio to answer. I'll pick you up later
and we'll go up on the captain's
bridge."
"Hear that?" grinned the obnoxious
youth. "My father's taking me up to
the captain ^vhen he gives him some
orders, later on!"
"Cushwah," said the first boy. His
companion added a Bronx checi.
"Play you doubles? " Harvey offered
grandly.
"Can't )ou see we're busy?"
"All right. Guess I'll get an ice
He said it
Harvey
Manuel
Disko
Mr. Cheyne
Dan
Uncle Salters
Priest
cream soda. A chocolate one with two balls of cream."
"You can't," they chorused in triumph. "The soda fountain
doesn't open till noon. "
"We'll see about that, " boasted Master Harvey. He started off,
followed by the boys who anticipated his speedy humiliation.
In this world Justice is a sluggard and Merit speaks in the
mild tones of reason, but the insistence of a spoiled brat whose
father is a director of a steamship line can make strong men
quail. The harassed purser gave an order and a steward opened
the soda fountain to serve Master Harvey and his guests. And
Master Harvey, waxing louder in his brassy triumph,
bet the steward he could down six ice cream
sodas in a row.
The steward, seething with indig-
nation at his overtime duty,
took him up with a
crafty grin. Si.x double
jigger sodas, rich in
\vhipped cream and cloy-
ing sirups and cracked
^ nuts went down Master
Harvey's gullet, the last
spoonfuls albeit with slower
and slower cadeirce while
Master Harvey's pallid face
took on queer, greenish
tinges.
The slumbering Atlantic, out-
raged by his ribaldry, shuddered
and the huge liner lifted, then
dropped, slowly, relentlessly down
and down.
"Look, he's gettin' sick," cried the
fust boy gleefully. "He's gonna bo
sick!"
' Hey, he's gonna be sick," chanted
the second guest.
"I am not," said Master Harvey. "I
guess r\ e got a right to go see my father,
haven't I?" Clutching at the tattered
renuiants of his grandiose manner he
vanished toward the deck. The two
youths fled after him, chanting in inno-
cent glee, "He's gonna be sick! "
Master Haivey was sick— hidden behind a lifeboat w^here he had
escaped from his companions.
The placard on the chain barrier around the lifeboat said pas-
sengers were not permitted beyond that point, biu what was that
to a youth whose father owned— or practically owned— the steam-
ship line!
There was no rail there, just an open space where the boat
could swing . . . and a drop over the towering steel sides of the
liner. Master Harvey Cheyne was too actively sick to care about
that imtil his giddy lurching sent him headlong overboard.
Roaring defiance of the fog the liner sped on and in the great,
foaming swath that stretched a mile astern of her bobbed a tin\.
black bit of flotsain, ten-year-old Har\ey Che)ne, struggling niaii-
fully to keep afloat.
A solitary dory crossed the liner's ^vake, its oilskin clad pas-
senger standing to his oars as he jiropelled it. It was Manuel's cnc
that spied the uplifted hand and Manuel's boat hook that tangleil
in the boy's clothing and dragged him into the dory. Manuel
turned him face down over the codfish heaped in his boat and
methodically went to work drubbing the salt water out of him.
^Vhen Harvey Cheyne was safely dry inside, though miserablv
wet without, Manuel lifted his voice. "Hi-i! Aboard the vessel! "
0(t in the fog a bell jangled fitfully; a man's voice shouted an
answering "Hi-i! " Grinning, Manuel took his bearings by the
hail and headed for the schooner We're Here.
"Fifteen )cars I been fisherman." he mused. "This liisi time I
catcha fccsh like )oul "
Master Har\ey Che\nc. siilf and sore from a tiioiough rollhig
o\er a keg, clad only in a man's \vool undershirt that ilragged to
his knees, waked to find liiinscif in a fo'castle bunk of a (douces-
lerman. The stink of fish \\as c\er\\\here and mingletl with it tin-
odors of food cooking in the gallev. Master Cheyne, giddv and
lunc empl\ and ollended in all his delicate sensibilities, sought oul
Ca|)tain Disko 'I roop in a rage.
"How long would it lake this tuh in
THE CAST get to Europe? "
"Dunno. Ain't ne\er tried to sail
there "
"\'()U take me there. r\c got to iiuci
mv father."
"That's a i)ity, son, but I'm afiaid it
can't be done."
"Fhen," said Hai\('\, "lake me to
New \ork."
Disko \\as a patient man. "Were
\M)ikin' on the Grand Banks." he ex-
Freddie Bartholomew
Spencer Tracy
. . . Lionel Barrymore
Melvyn Douglas
Mickey Rooncy
Charley Grapcwin
Jack La Rue
"Long Jack" John Carradinc
plained. "Ibis \Coutiuiicd on /'rii;
AFTER THE
THIN MAN
The Ace of
Mysteries— ilf-G-jlI
THE long awaited
sequel to "The
Thin Man" is here
at last, and unlike
most sequels it's just
as hilarious and ut-
terly nonsensical as
ihe original. And,
you amateur detec-
tives you, here is as
A toast to co-
starring. Fred
MacMurray
and Gladys
Swarthout.
CHAMPAGNE WALTZ
Mr. Zukor s Jubilee Picture— Far.
AND here's \\altz-mad ^'ienna again—
' except that this time it isn't before
the War and it isn't waltz-mad, the more's
the pity. Gladys Swarthout plays a de-
scendant of Johann Strauss and with her
grandfather she runs a waltz palace in
A'ienna, a feature of the entertainment
being her songs. It's highly successful until
two Americans, Fred MacMurray, a jazz
band orchestra leader, and his manager.
Jack Oakie, open up a jazz dance-hall right
next door. Their music is so hot that ^valtz-
mad Vienna goes jazz-mad pronto and the
Strausses lose their customers and tradi-
tions.
Of course Gladys and Fred fall in love-
he tells her he is the American consul in
Vienna— and then there is the big heart-
break scene when she discovers that he is
really Buzzy-the-boy-next-door-who-plays-
the-trombone. Fred returns to New York
where he gets a job singing for peanuts
in a honkytonk. Oakie brings the Strausses
to New York and puts them up in business
in a Blue Danube Waltz Palace ^^■hich is an
instantaneous hit due to its novelty. Chew-
ing-gum brings the lovers together again.
Unfortunately, the romance isn't all it
should be and the picture depends mostly
upon its comedv, of which it hasn't half
enough. Jack Oakie and \'i\ienne Osborne
as a phoney coimtess make an excellent
comedy team. Miss Swarthout sings beau-
tifully 'Taradise in Waltz Time" and
"Could I Be in Love?" The finale, the
(ombining of the "Blue Danulje ^Vallz"
and "Hold That Tiger," irked me consid-
erably. But maybe I just irk too easily.
RAINBOW ON THE RIVER
For the Entire Family- So/ Lesser-
Principal
HERE is a picture that gives you that
warm, glowing, peace-on-earth-good-
will-towards-men feeling, and I heartily ad-
vise you to see it. It's death to the mood
blue, and so pleasantly sentimental that it
^vill wrap itself around your heart. Bobby
Breen— and according to my figuring he is
the best of the chiM actors— plays a little
southern boy, orphaned by the Civil AVar,
who has been brought up by his ex-slave
mammy. Louise Beavers, in old New Or-
leans. But the parish priest persuades
Louise to let the little boy go to his grand-
mother "way up north," and though it
breaks her heart Louise delivers her little
charge to his cold, crochety grandmother
compared with whom the Earl of Dorin-
court was a tender kitten.
But, of course, little Bobby with his
boyish sweetness and lovely voice, wins over
the old lady completel)', and eventually the
two of them dash merrily off to New
Orleans to find his devoted mammy. May
Robson is magnificent as the grandmother
arid it is grand to have Louise Beavers in
a role T\orthv of her talents again. Benita
Hume is excellent as the snobbish mother
of little Marilyn Knowlden. who is also
heir to the grandmother's millions, and
Alan Mo^vbray as her hen-pecked husband
gives another of his perfect performances.
Charles Butter^^■orth plays the famih' butler
and Bobby's one friend in the big. cold
mansion.
Of course Bobby sings, glory be, for there
are not many things in this world as lieau-
tiful as Boljljy Breen's bovish soprano \oice.
In a chinch sequence he sings Schubert's
".\\'e Maria" so beautifull\' that it w'M
make tliink ^ou arc in hca\en. folloAved
bv "Hoh . Hoh . Hoh ." wiih a Iioys' choir
actoinpaiu iiig him. His loneliness in his
new hdiiic and his longing for his little
pi(kaninn\ pal Lihbcll (pla\cd by Stymie
Beard) brings lonh thicc Stephen Foster
songs, of which "Old Folks at Home" Avill
get you right under the heart. Then, too,
there's "Rainbow on the Ri\er." the
"Flower Song" and several others— not to
mention the Hall Johnson Choir too. For
that cozv feeling I recommend this to the
entire familv.
grim a mystery as you ever tried to unravel,
with enough suspense to keep you dangling
on the edge of your seats, and three per-
fectly startling murders. If you know "who
done it " before the final reel you're a bet-
ter man than Philo 'S'ance.
The story opens ^vith Bill Po^vell and
Myrna Loy, the most fascinating and
charmingly idiotic married couple on the
screen, returning to their home in San
Francisco after that hectic trip to New
York which was the highlight of the orig-
inal "Thin Man." All they ^^■ant is a little
peace and quiet and months and months
of inKlistvnbcd sleep— so what— so on their
very first night they become enmeshed in a
mystery that in\ol\es M\rna's own aristo-
cratic and terriblv snooty family.
Her cousin, Elissa Landi, has not heard
from her husband in three days and sus-
pects foul play. The search for him in-
volves his murder, as well as that of a
blackmailer and a gardener— and who do
you think did it? VVell, I'll not tell you.
The comedy situations, as before, are
magnificent with some of the clexerest
dialogue of the year. You'll lo\e the scene
where Asta s\\allo\vs a clue and M\rna and
Bill scramble madly to get it out of him.
THREE SMART GIRLS
A PerI'ECTly Grand Comedy— Universal
AND this is the picture that they are
■ raving about out Hollywood way. It
seems that Universal (which now describes
itself as the "new Universal") took an un-
known writer, an unknown producer, an
unknown director, and three unknown
girls, and without any "names" turned out
one of the gayest, smartest, most entertain-
ing comedies of the year. "Big Names?
Stars? Phooey," said the new Universal, "we
don't need 'em." And in star-conscious
Hollywood, that, my child, is Revolution.
Briefly, the story
concerns itself with
the goings-on of a
gay sugar daddy
(Charles Winning-
er) who falls for a
scheming gold-dig-
ger callecl "Pre-
cious" (Binnie
Barnes). His di-
vorced wife over in
Switzerland is still
in love with him,
so one day his three
daughters, whom
he hasn't seen in
ten years, decide to
rescue their father
GOLD DIGGERS OF 1937
GUARANTEFD TO ChEER lil'—
Warner Brothers
ONE of the most lavish of
the musicals, and one
of the best. Dick Powell
has never sinig better,
Joan Blondell has
never looked lovelier,
and Glenda Farrell
and Victor Moore
have never been
funnier— so what
more can you ask?
And besides, this
picture marks the
screen debut of
Lee Dixon who is
just about the
handsomest tap
dancer we've had to
date, and the boy
can dance too, on
steps, chairs, and any
old thing.
The plot is delight-
fully screwy with top-
notch dialogue — all about M
two theatrical crooks who in-
sure the life of their partner
for a million dollars in hopes
that the old boy will kick off soon
"Rainbow on the
River" (nice title),
a sentimental mu-
sical, with Bobby
Breen, May Robson
and Benita Hume.
from Precious' clutciics.
They descend upon him in
New York and break up
the romance by the indi-
rect approach method, and
arrange a reconciliation between their
parents. Very slight, but very luiuiy when
)oii see it.
Alice Brady as Precious' mother is Alice
Brady at her most amusing best and you
can't beat that. The three smart girls, all
destined for stardom, are Deanna Diul)in.
Nan Ciey and Barbara Read, and all from
the Universal stock company.
Little fourteen-year-old Dcaiuia Durbin
was "discovered" on a Sunday night pro-
gram at the Trocadero. She has abeady
made a name for herself on the Eddie
Canior Ijroadcast. She sings cxciuisitcly.
And now it seems she can act too.
But Dick Powell, a yoimg insurance agent
w ho sold him the niiilioii-dollar politN ,
is just as eager for him lo kcc|) alive, for
the longer lie li\cs the more money Dick
gets.
Victor Moore plays the producer, who
at fifty-nine is the worst of h) pochondriacs,
but aflei meeting Dick Powell, and reading
"Life Begins at Liftv-nine," and getting a
gander at Cilenda Farrell. the old boy lakes
a new lease on life. Of tourse there are
magiiilicent comedy situations, what with
Dick and Joan trying to keep him alive
and Osgood Perkins and Charles Bro\vn
trying to kill him.
Edith Fellowes and Bing Crosby
in "Pennies from Heaven." De-
lightful!
Deanna Durbin,
Nan Grey and Bar-
bara Read click in
"Three Smart
Girls," with Ray
Milland.
PENNIES
FROM HEAVEN
VViTir Bing Croshv
As .\ Troubador—
Col.
ING'S back in
town, girls, so tear
yourself away from
Mr. Spangler Brugh
(Bob Taylor to you)
for the nonce and
gi\e Bing a break.
\'oin' la\orite croon-
er, minus a bit of
poundage, has never
crooned better and
you'll go pleasantly
mad over the new
song liils he introduces in this picture. \i/..
"One I wo— Button Voiu' Shoe. " "Pennies
iioni ni'a\en." and "Let's Call a Heart a
Heart."
Bing ])lays a nioilern troubadotu', which
is a nice way of sa) ing a tramp, .\gainst his
will, he is adopted by a little orphan, Kditli
Fellowes, and her Granip, Donald Meek,
who li\e in a haiuUed house which they
inherit fiom a murderer.
A high point in the picture is when
Bing. in order to make money to support
Fditli, turns the liainiicd house iiuo a
'la\em and gi\es an opening party that's
[ConI i nurd on page Oi]
56
Silver Screen for February 1937
Menus For That
Party Mood !
FEBRUARY, for all it is the shortest
month of the year, is starred with ex-
cuses for parties. On the twelfth we have
Lincoln's birthday, on the fourteenth St.
Valentine's Day and on the twenty-second
Washington's birthday. Doesn't that leave
you breathless with possibilities for fun and
the excitement of planning unusual fetes
of the most diversified type?
But let us be gay, let us be modern and
above all, let us be romantic on St. Valen-
tine's Day. This latter can be accomplished
principally in our table decorations and, if
it is to be an evening party, by alluiing
costumes, with each guest wearing tiny
heart shaped masks. The napkins should be
folded square and sealed with red hearts.
When opened, Valentine fortunes tumble
out. Nut meats and Valentine mints can be
placed beside each plate in small heart
shaped paper dishes, and tall red candles,
interspersed with white ones, in effective
candlesticks will add much to the desired
effect.
Here is a menu which is excellent for
either a St. Valentine luncheon or a buffet
supper.
Menu
Crab Meat Patties
Hot Buttered Rolls
Olives Salted Walnuts Stuffed Celery
Tomato Jelly Salad
Caraway Crackers
Strawberry Pinwheels with Orgeat Custard
Coffee
CRAB MEAT PATTIES
Flake a large can of crab meat. Put in a
pan with a little butter and 2 tbsps. cook-
ing sherry. Toss until hot. Have ready 2
cups of fine cream sauce in double boiler.
Add crab meat to this. Season with salt,
pepper, and more sherry, if needed. Heat
small patty shells (bought from your
baker). Fill with mixture. Seive hot. This
can be made in a chafing dish, having all
ingredients assembled and ready on table.
Any shell fish may be used instead of crab.
To save time the rolls may be bought at
bakery and re-heated when needed or you
can make your own quickly with bisquick.
TOMATO JELLY SALAD
Heat 2 cups Crosse and Blackwell To-
mato Juice. Add 1 tbsp. sugar and 1 tsp.
salt. Add juice of 1 lemon and a dash of
highly seasoned prepared sauce and tabasco,
^dd 11/2 tbsps. Royal Aspic gelatine soaked
in cold water. Dissolve and strain. .Conceal
in individual heart shaped molds. To serve.
Love Apple Cake is a
luscious dessert for this
holiday feast.
St. Val entine Day
Offers An Oppor=
tunity To Oo Oay.
By
RutK Oortin
Anne Shirley,
having a grand
time rolling the
crust for her
Queen of Hearts
Pie.
unmold on lettuce and garnish with roses
of cottage cheese which has been whipped
with cream. Small curled anchovies or
chopped onion and sweet pickle may be
molded into the salad, and have aspic cool
before adding either of these ingredients.
For your buffet a nice way to present this
is in loaf form. To do this pour in a pan
a third of tomato mixture and let set, then
spread over it 1 cup chopped boiled ham
and add another third of tomato mixture.
When this has set spread with the whipped
cream and cottage cheese and add remain-
ing tomato mixture. In this form, un-
molded on a platter, the guests can serve
their own salad.
STRAWBERRY PINWHEELS
Cut from an unsliced loaf 4 thin slices of
bread lengthwise and remove crusts. Spread
each slice with heaviest whipped cream
colored red and sweetened with sugar. Roll
bread like a jelly roll, using 2 slices for
each roll. Wrap in waxed paper and chill
an hour or more. Slice each roll in 2 or 3
pieces, place on a plate and siuroimd each
pinwheel with chilled, sugared strawberries
which have been marinated for several
hours in refrigerator in brandy or sherry.
Make a custard by beating 3 eggs lightly,
add 1/2 cup sugar and stir into i pint of
scalded milk. Cook in double boiler until
custard coats spoon. Be careful not to over-
cook. Chill. Flavor Avith Orgeat cordial to
taste, or a few dro|5s of bitter almond.
Orgeat cordial is made from almonds and
is delicious. Pour over pinwheels and
berries.
For the very elaborate party where a
full supper is desired the following is not
only a grand combination of wholesome,
inexpensive, easily prepared foods but pos-
sesses at least three new ideas.
Menu
C & B Cream of Mushroom Soup with
Heart-shaped Toast
London Broil
Grilled Mushrooms, iMiglish AValnuts
Heart-shajied I'olalocs
Creamed Spinach
French Fried Carrot Chi]is
Small Tomatoes uiih Red Caviar Dressing
Queen of Hearts Pic or Love Apple Cake
Nuls Clolfec X'alentine Mints
Arrange all grilled ingredients on a
broiler. Slice large parboiled potatoes in
pieces about i/^ inch thick and cut from
slices medium sized hearts (use cutter). Dip
potato hearts, mushroom caps and walnut
halves in melted butter and place on back
of broiler because steak must be turned
often. It should require ten or fifteen min-
utes broiling on each side for a medium
well done steak, depending, of course, on
the thickness of the meat. When done ar-
range potato hearts on platter around steak
on edge of dish. Place mushroom caps be-
tween steak and hearts. Pour juice cooked
from meat over them for added flavor. Dot
sieak with butter and when melted sprinkle
minced parsley on top.
For the spinach, you can save yourself a
lot of time by buying the Birdseye brand.
One pound is equal to 3 pounds of fresh
spinach and there is no difference in flavor.
It cooks in about 2 minutes. Press cooked
spinach through a sieve, pour into it three
or four tablespoons melted butter and whip
until fluffy. The carrots are French fried
exactly as you would potato chips, i.e.: in
a French frying basket in deep, hot Crisco
or Spry.
^Vasii small tomatoes and scoop out the
centers. Fill with a mixture made of
cup red caviar (the flavor is more delicate
than the black), i tbsp. finely chopped
onion, i tbsp. chopped pimento, 2 hard
cooked eggs, chopped fine, 1/2 pint of your
fa\orite salad dressing.
QUEEN OF HEARTS PIE
Crust
2 cups flour 6 or 8 tbsps. cold water
1 tsp. salt % cup Crisco
Sift flour and salt. Cut in Crisco finelv
to distribute its richness. Add ivater slowly,
stirring so as to use as little as possible.
Divide into 2 balls. Roll each ball out on
floured board. Fit bottom crust into pie
plate. Pour in the following—
Filling
3 cups cranberries 1 1/^ cups sugar
J<3 cup pineapple juice i/o tsp. ginger
1 cup pineapple, diced
Clean cranberries. Cook with sugar, pine-
apple juice and ginger until they binst.
Remove from stove. Add drained pine-
[Continiied on page 60]
Silver Screen for February 1937
57
Miss Kathleen Williams: "A Pond's Cold Cream treatment makea my skin
ieel wonderful — just so fresh and invigorated. It smooths out little lines."
[OU'RE TWENTY. . .you're twenty-
five . . . you're thirty or more!
The years slip by quietly enough.
The things that tell it to the world are
— little lines and — a gradual coarsen-
ing of the skin's very texture.
Coarse pores and ugly, deepening
lines do more to add years to your face
than any other skin faults. What causes
them ? How can you ward them off.''
A Faulty Underskin —
Both come from a faulty underskin.
Pores grow larger when tiny oil glands
underneath get clogged . . . Lines form
when fibres underneath sag, lose their tone.
To keep these litde glands and fibres
functioning properly, you must invigorate
that underskin. You can — with regular
Pond's deep-skin treatments.
Pond's Cold Cream contains specially
processed oils. It goes deep into the pores,
clears them of make-up, dirt, clogging oils.
Then you pat more cold cream in briskly.
You feel the circulation waken. Your skin
tingles with new vigor.
modern young aristocrat, says
it's easy to have a lovely skin
in spite of sports and a whirl-
ing Lon<lon season. "I havf;
learned that Pond's is the
best way to avoid lines,
roughness, or coarse pores."
Day and night — this thor-
ough cleansing and rousing
with Pond's Cold Cream.
Soon cloggings cease. Pores
actually reduce. Under tis-
sues are toned, and lines
smooth out. You look )-ears younger!
Day and night — this simple care
Here's the simple treatment that hun-
dreds ot women follow, because it does
more than cleanse their skin: — •
Every night, pat on Pond's Cokl Crcani to
soften ami release (leep-lotlgeil dirt and make-
up. \^■ipe it all off. At once your skin looks
clearer! Now rouse your unilerskin. I'at in
more CKAm— briskly . The circulation stirs.
Glands waken. Tissues are invigorated.
Every morning (and before make-up) repeat
. . . \ our skin is smooth for powder — fresh, vital
looking. Your whole face is brighter, younger!
Start in at once to give your skin this in-
vigorating daily care. Get a jar today. Or,
send the coupon below. It brings you a special
9-treatment tube of Pond's Cold Cream.
SPECIAL 9-TREATMENT TUBE
ami .? other Pond's Hi-anty Aiits
POND'S, Dept. rSS-CB, Clinton, Conn.
Rush special tube of Pond's Cold Crc.iin, enough for
tre.itmenis. with penerous s.imples of 2 otiier Pond's
Creams and 5 difTerent siladcs of Pond's Face Powder.
I enclose 10(i to cover postage and packing.
Name -
Street
Citv _
.Statc_
CopyrlKlit, 1986. Pond'a Extract Company
58
Silver Screen for February 1937
John, Richard and Patience Abbe,
authors of "Around the World
in Eleven Years," visit Mary
Boland in Hollywood.
Is He A Stuffed Shirt?
[Coutiiuied from page 17]
Airliner bound from New York to Los
Angeles, I was comfortably snoozing in my
seat when the plane stopped at Omaha,
about one o'clock of a Simday morning.
All thought of sleep stopped instantly.
Such a racket as was going on. There must
have been a couple of thousand people
milling around the airport, which is a good
three miles from town and usually prac-
tically deserted at such hours.
"It's some movie star— Bob Taylor, I
think," the man across the aisle vouch-
safed. "Gee, it s lucky you didn't try to get
off. I got stepped on and my stomach
pushed in, and look at my hat," he said,
ruefully surveying a battered muddy
Stetson.
I looked out the window and sure
enough, there was Bob, his mother, some
gray-haired man and Dean Dorn of the
iM-G-M publicity department, trying to
make their way through the crowd with
the aid of airport attaches and policemen.
They were all excited. Bob was beaming
with enough smiles to light up a whole
United landing field and he kept repeat-
ing, "Gosh, they were great!" while Dean
kept shouting over the roar of the motor
details of the Nebraska homecoming. Mrs.
Brugh promptly became ill— the nervous
excitement was too much for her.
But Bob— well, he was exhausted and
went to sleep. Really, I'd liked to have
taken a picture of the screen's No. 1
glamour boy stretched out, perfectly re-
laxed, mouth open, snoring his head off as
the plane roared on through the night
toward Hollywood. He slept right through
a blizzard between Cheyenne and Salt Lake,
in fact, was the only one on board who
did sleep. The rest of us were resting gin-
gerly on the edge of our seats and peering
vainly through frosted windows for sign of
land, which was a long time coming.
Not until we were well into Nevada and
approaching California did Bob wake up
sufficiently to talk to me about his trip.
Meanwhile I got many details of what went
on from Dean and Mrs. Brugh. This was
Sunday morning; they had arrived in
Beatrice on Wednesday to find the whole
town had turned out, yelling and scream-
ing for Arlington. Some enterprising soul
had gone around and arranged to have
every whistle— some of w hich had not been
blown in nigh twenty years— steamed up
for the occasion. Bells were ringing— all
school bells and all church bells.
Well, they put Bob in this open touring
car and rode him through Lincoln and
Beatrice at the head of a parade, just as
they rode Lindbergh some years ago. I
don't know exactly why a movie star
should receive as affectionate a greeting
as a man who has flown the Atlantic, but
he did. (Well, I suppose you can say they
were both unspoiled, likeable lads who had
received great and sudden fame— for differ-
ent reasons— and had come home to find
themselves iniexpected heroes.)
After the parades, after the handshaking
(Bob split two of his fingers open) he had
to go up to the old Junior High School and
face those young demons, the school kids.
Here, really, was a test for a movie star!
Or anybody, for that matter.
The kids were all eyeing him closely
when he arrived at the High School and
more closely when he mounted the assem-
bly room rostrum to make a speech. What
would he say— would he go Hollywood
actor on them? Would he rub his hands
and say, "Now, fellows, before I went to
Hollywood, blah . . . blah . . . blah!"
If they were watching -Bob closely, don't
you think Bob wasn't watching them!
"I was really scared for the first time
since I had arrived in Beatrice," he con-
fessed to me. "I can't make speeches, but
I liked those kids and I wanted them to
like me. I suddenly realized that they were
all looking at me to see what I'd say or
do and I remembered how I used to feel
when some alumnus came tO' town and got
up to make a talk.
"So, although I wasn't sure quite what
to say, I told them the truth. That the last
time I had been upon that platform was
STAN WOUIDHT MMNT Mf
READ HOW
PIMPLES
ALMOST
RUINED
i INA'SDATE
FOR THE
PROM
he's marvelous] ISM^ he -rOOTHRlUUKJcJ WHV-I-VES HE
AND HE'S ASKED ME
DOWN FOR "THE PROM
NEXT MOMTM-OH,"nNA-
V YOU'RE GOING, TOO,
>&i AfJEN'T you - WITH
STAM ">
DID ASK ME-BLT;-
I-I don't THIMK;
i can go now ^^
iVe sot to be
HOME —
TINA DEAR,
WHAT IS
WRONG ?
fH_-TMESe AWFUL PIMPLES-
I JUST C- CAN'T HAVE STAN
SEE M-ME LIKE THIS -
THEY'RE HORRIBLE - HE'D
HATE ME -I KWOW-y
MV GOODNESS - WHaVS
GOING ON - VJHO'S GOING
TO HATE VOU TINA?
/ OH AUNT KATE,
DO YOU KNOW
HOW TO SET
RIO OF PtMPLES
JUST L.OOK
AT ME'..
^ wELL-r haven't been 4
NURSE 20 YEARS FOR i*
NOTHING. FLEISCHMANN'S J
YEAST IS WHAT ■you NEEOH
CHILD. EAT 3 CAKES i
EVEPy OA"/- AND THOSE ^1
PIMPLES WILL CLEAf? URr
J
Silver Screen for February 1937
59
when we dedicated the school building.
That I had been taking public speaking
but I was scared to death. That I had
worse stage fright than I have ever had
in Hollywood. And here I was back again,
having stage fright all over, in an even
more acute form!
"And then I pointed out the corner in
the orchestra pit where I used to sit:, when
I played the cello in the orchestra, and I
guess that was about all."
Another fine test that Bob went through
came on the night of the reception and
dance in his honor. By this time, some
dozen odd newspaper and wire service re-
porters and camera men had joined the
home town folks in the game of looking
at Bob Taylor and watching his reactions.
The reporters were anxious, most of all, to
see what girls Bob danced with. Prince of
Wales stuff? Sure, if not headline stuff, at
least good copy for the papers when Bob
picked out this pretty girl or that for a
dance.
But Bob tooled 'em again. He steered a
safe course. He just went around shaking
hands with the girls he used to know and
the ones he was meeting for the first time.
Just before the orchestra played "Home
Sweet Home," he asked the wife of his old
pal, Ed Weeks, for a turn around the floor.
He did try to make a private call on the
girl he used to beau. Vera Bascom. An alert
Omaha newshawk traced him by the car
license number and snapped his picture
just as he was leaving her house. But that
was all that he furnished in the way of
romantic thrills for the town.
The day he left he went to a football
game in Lincoln, and completely disrupted
the feminine rooting section, which instead
of following the frantic pleas of their
cheer leader to yell, "We want a touch-
do^^n!" screamed loudly in unison, "We
Carole Lombard, in "Swing High, Swing
Low," yells for help.
want Bob Taylor! ^Ve want Bob Taylor!"
But that was just fun.
Oh, it was a great trip for the Taylor
lad, not only because he had a good time
and because they gave him a great welcome
over which he was still beaming when I
saw him, but because he proved that right
now, in this year of 1936-37, despite his
sleigh ride to glory, he still isn't a stuffed
shirt. To quote a final flowing paragraph
from his admiring home town paper, The
Beatrice Sun: ,
"It takes a man leith a sold to be carried
to the giddy Iieights and still keep his feet
on the ground. A critical home town has
made a severe appraisal and are happy for
a kind verdict— his feet are safe on terra
fir ma."
GEE, TINA -AM I
YOU CMAtslQED
YOUR MIND AND
CAME -Y^KNOW, YOU
T PRETTieR EVERY
1 DAV
OH don't l love
AUNT KATE
FOR GETTING
ME TO EAT
THOSE YEAST
CAKES
DON'T LET ADOLESCENT PlfAPLtS
WRECK yOUR B(G "DATES"
PIMPLES cause countless girls and
boys to miss out on good times.
They are very common after the start
of adolescence, from about, 13 to 25. ■
At this time, important glands de-
velop and final growth takes
by clearing skin irritants
out of the blood
Copyright, I9jO, Staiidartl Uratids Incorporated
place. Disturbances occur in the body.
The skin gets oversensitive. Waste
poisons in the blood irritate this sen-
sitive skin — pimples appear.
Fleischmann's Yeast clears these
skin irritants out of the blood. Pim-
ples go! Eat 3 cakes daily,
one about V2 hour before
meals — plain, or in a little
water — until skin is entire-
ly clear. Start now!
60
Silver Screen for February 1937
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CLINGS TO THE
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the irritated area, (3) helps to loosen phlegm.
Get Smith Brothers'— zV'i safe! 554 and 60<f.
"IT CONTAINS
VITAMIN A''
This vitamin raises the re^
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throat to told and cough
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SMITH BROS.
COUGH SYRUP
■^■■INOW ON SALE IN CANADAH^H
WANTED- WOMEN^GIRLS
I Mail our Catalogs from your home. Experience unnecessary.
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I Write, enclosing stamped addressed envelope, for details.
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Movie Magic Makes Them Greater
[Continued from page 19]
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cause they were assigned to the right roles
and rightly presented. The same holds true
of Frank Morgan and Reginald Owen, and
Ted Healy is a case in point.
It seems to me that the perception of
the Coast is keener than the perception
of Broadway. The movie magic-makers
seem to be quicker on the trigger in spot-
ting a personality. That is the only expla-
nation for the quick success of a Gary
Grant or a Gene Raymond in pictures.
Both of these acted in Broadway shows
^vithout any great exclamations of delight
on the part of producers or critics. Holly-
wood made both of them into matinee
idols, capitalizing on their appeal to the
ladies. On Broadway, producers ignored
this quality completely and failed to play
it up and develop it into box-office cash.
One of the answers to Hollywood's
greater success in shaping a performer's
career, of course, is the terrific amount of
money that the major companies pour into
advertising campaigns. Broadway stage pro-
ducers haven't the money to keep driving
home a sales talk to the reading public,
and haven't the glamour of Hollywood to
add to the sales talk when they do deliver
it. Hollywood advertising and publicity is
conducted on a giant scale and across the
length and breadth of the country. Broad-
way producers must confine their mega-
phone to a radius of city blocks. That is
an important distinction. Fred Astaire was
a great star on the Stem, but he lacked
the huge audience that Hollywood placed
at his disposal immediately.
However, the record is not completely in
Hollywood's favor. I can indict the Coast
for its stupid casting of Alice Brady. She
was one of the finest actresses on Broad-
way, competent to play any part that
could be given to her in the movies better
than most actresses could play it. But the
Coast, through some amazing blunder, de-
cided to cast her as a snickering comedi-
enne. Instead of adding to her dramatic
stature, instead of taking advantage of this
fine talent, Hollywood reduced her to parts
which make Broadwayites wince with pain.
The Coast has done little to capitalize
on performers of proved worth like Ed
Wynn. Jack Pearl, Joe Penner, Sam Jaffee,
Jim Barton or George M. Cohan. Each of
these had something definite to offer Holly-
Avood, but the movie pundits had their
minds on something else at the moment.
Jack Haley, who was the No. 1 comic of
Broadway musical shows, has been buried
in a lot of atrocious picture parts. More
intelligent analysis of him, and a better
treatment would have yielded pay dirt
in Haley, because he is a great comedian
with proper material. "Pigskin Parade ' in-
dicates that they are finally waking up to
Haley's capabilities. Jack Benny has made
a lot of money in pictures, but the movies
haven't added anything to his radio repu-
tation. Closer analysis of Benny would give
the celluloid fashioners a greater screen
personality. Aline MacMahon, I think, has
been carelessly handled by the Coast. Like
others who \\'ent out from Broadway, she
Avas typed in Warner stock company roles,
and denied the opportunity to click big
in a role of substantial merit. Alfred Lunt
and Lynn Fontanne had more to give to
pictures than the industry dug out of them.
But for each of these that Hollywood has
miscast or misinterpreted, there are dozens
of instances in which the Coast has done
a grand job in the grand manner. Charles
Laughton, Franchot Tone, Donald Meek,
Grace Moore, Jeanette MacDonald, Ed^vard
G. Robinson, Margo— all of these can be
submitted as additional rebuttal. Holly-
wood squeezed the last ounce of effective-
ness from them, just as it keyed Edna May
Oliver correctly and made her the interna-
tional model of the prim, shrewish spinster
aunt.
I'm really glad that Margaret Sullavan
came back to Broadway and scoied a smash
hit in "Stage Door." For she is the timely and
topical illustration that the Coast, instead
of doing wrong by our Nell, developed her
into star material. So the movies can feel
elated that Miss Sullavan brought up the
entire conversation, because, upon investi-
gation, the record gives the Coast film fac-
tories a four-star rating in their analysis
and treatment of those capable players who
have made the 3,000-mile trip from Broad-
way.
Menus For That Party Mood!
[Continued from page 56]
apple. Cool. Cover with pie crust in the
top of which 3 heart-shaped pineapple
vents have been cut. Crimp edges firmly.
Bake in hot oven, 425° F. 30 minutes. If
you want to be really different make these
pies in individual pie pans with a single
heart-shaped vent, or you can even use
heart-shaped molds and bake, turning out
on small plates to serve.
LOVE APPLE CAKE
1/2 cup shortening 2 cups pastry flour
1 cup sugar
3 egg whites
1 teaspoon \ anilla
extract
3 teaspoons Royal
Baking Powder
14 teaspoon salt
% cup milk
Cream shortening; add sugar slowly,
beating in well; add unbeaten egg whites,
one at a time, beating well after each addi-
tion. Add flavoring. Sift together flour, bak-
ing powder and salt; add alternately with
milk to first mixture. Bake in 3 greased
8-inch layer cake pans in moderate oven
at 375° F. for about 25 minutes. Cool.
Spread Tomato Filling between layers.
Cover top and sides with frosting and dec-
orate with candy hearts. Makes i three-
layer cake.
TOMATO FILLING
1 cup unseasoned tomato juice
Grated rind of 1 lemon
% cup granulated sugar
21/0 teaspoons cornstarch
1 tablespoon butter
2 tablespoons lemon juice
Heat tomato juice with lemon rind. Mix
cornstarch and sugar and add tomato juice,
stirring all the time to prevent lumping.
Cook mixture until thick and clear, stirring
constantly. Add lemon juice and butter.
SEA'EN-MINUTE FROSTING
1 unbeaten egg white
7'8 cup granulated sugar
3 tablespoons cold water
1/, teaspoon \anilla extract
14 teaspoon Royal Baking Powder
Put first 3 ingredients in top of double
boiler. Place over boiling water; beat with
egg beater seven minutes or imtil thick.
Take from fire; add flavoring. Beat until
thick and nearly cold; add baking powder.
Continue to beat until thick enough to
spread on cake without running. Sufficient
for a loaf or 3-layer cake.
Silver Screen f o y February 1937
61
Reviews
\Continued from page 55]
tops in Hallo^^■e'en entertainment. During
tills sequence Louis Armstrong sings "Skel-
eton in the Closet" and scores mightily as
' singer and comedian. iiSH^HI^^^IHHHMP'"'''^HIlP''^ ^
Madge, in the ungrateful role of a social
worker, is the most charming and beautiful
"heavy" we have had for sometime. Little
Miss Fellowes, thank goodness, proves again
that she isn't just a cute child star— in fact
she does the best bit of acting among the
kiddies that we've seen since Bonita Gran-
x'ille in "These Three." After six reels ol
insulting each other, Madge and Bing
fall in love and become Edith's legal
guarilians.
BANJO ON MY KNEE
RoNrANCf ON rm; Mississii'i-i— 20/// Ceuliny-
Fox
A RIGHT merry little tale of river folk
on the Mississippi who have their own
ideas about manners and society. Barbara
Stanwyck (looking anything but chic in an
old sweater and a percale dress) plays Pe:ui.
a land girl, who marries Ernie Holley (Joel
McCrea) of the houseboat Holleys. Joel" has
to leave his bride a itw minutes after the
ceremony because he thinks he killed the
guy who dared to break river tradition by
kissing the bride.
From then on the story is confined to
their efforts at reunion. When Joel gets
high-and-mighty and leaves her the second
time Barbara runs away with a traveling
salesman (Walter Catlett) to New Orleans.
She is quickly followed by Newt Holley
(AValter Brennan) who feels that he must
keep an eye on his mule-headed daughter-
Clark Gable, surrounded by some of the
supporting cast in "Parnell," an adaptation
of the stage success.
in-law. now that Joel's run off again.
Buddy (Buddy Ebsen), another one of
the river folk, joins the Holleys in New'
Orleans and they put on a show at Minna
Gombell's French Quarter restaurant which
is a knock-out. Barbara and Buddy sing
and dance and Brennan plays his musical
"contraption." Of course Joel gets back
from Ha\ana in time for a happy ending,
after he has toin the joint up and landed
in jail.
The musical interpolations ni the pic-
ture are topnotch— especially the Hall
Johnson Choir's arrangement of the "St.
Louis Blues. " Walter Brennan unc[uestloii-
ably steals the picture. There's a grand
supporting cast which includes Helen \Vest-
ley, Hilda \'aughan and Katharine DeNfille
as river folk, Walter Catlett as a flirtatious
photographer, and Anthony Martin as an
entertainer who looks like Ric Cortez and
sings beautifulh.
3 WEEKS LATER . . THANKS TO COLGATE'S
NOW- NO BAD BREATH
behind his SPARKLING SMILE
MOST BAD BREATH BEGINS WITH THE TEETH!
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Colgate Dental Cream, because
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time, Colgate's soft, safe polish-
ing agent cleans and brightens
removes the cause — the decay- enamel — makes teeth sparkle!
62
VER Screen for February 1937
SKINNY?
LISTEN TO THIS
Thousands gain
10 TO 25 lbs.
this special
auiCK WAY
Now there's no need for thou-
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Doctors now know that the real
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Now with this new discovery
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Not only are thousands quickly
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This amazing new product,
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Mrs. Grundy Regrets
[Continued from page 24]
"Why, Ham," Bette will say, when they
arrive at a party, and are surrounded by
people, "you forgot to change your shoes!
You're still ^vearing your moccasins!"
Harmon ^vill pretend to be much embar-
rassed as he looks at his feet.
"Why, so I am!" he'll say. "Well, it's too
late to change now!"
^Vhen Leslie Howard doesn't want to
dance, whether he is going to a private
party, or to the Trocadero or Cocoanut
Grove, he keeps on his carpet slippers!
Richard Dix, despite all the rules recom-
mending cigarettes or cigars after dinner
at a party, always hauls out his old pipe
and smokes it. He says this works out to
advantage because other men, reluctant be-
cause of what is and isn't proper, usually
follow suit, and are grateful to him for
paving the way.
Dolores del Rio always sits on the floor
either at her own or other people's parties.
She also invariably prefers to ignore the
conventional ^\'ords supposed to be spoken
to a host and a hostess or either. She
merely says "Goodbye" or "Goodnight,"
ignoring the hackneyed phrases. Often
when the host or hostess is engaged in
games or talking to people, she leaves with-
out any farewell, but telephones or writes
a note a day or two later. She considers the
"I-had-a-giand-time" phrases bromidic and
hypocritical.
Irene Dunne always has the greatest sym-
pathy for hosts and hostesses because they
seem to fret and worry about whether or
not their guests are having a good time.
Because of this, she makes it a point to
entertain herself and stay out of their way.
Sometimes she has to watch herself lest
her host and hostess thinks she is snubbing
them. This happened recently at a large
party, after Irene had hidden out during
its ^vhole duration. She learned afterward
that her hosts felt very badly because they
believed she had not been at the party
at all!
Walter Pidgeon is so interested in books
that he always spends a goodly part of
his evening at a party in his host's library,
making no excuses, just sneaking away by
himself.
Binnie Barnes always takes Patricia Hay-
^vorth, a non-professional friend of hers, to
parties whether Patricia is invited or not.
She gets away with it because Miss Hay-
worth is an ornament and acquisition to
any party.
Charles Winninger invariably pulls a
flower out of the center piece on his host's
dining or drawing room table, and places
it in his lapel. But nobody ever can get
mad at Charlie.
Always scared to death for fear he will
bore people, George Brent lets the other
fello^v do the talking at a party. However,
when he took up flying he became so
rabid on the subject that he ivould but-
tonhole anybody he could nab and start
talking about aviation.
Pat O'Brien always has a new toast to
give at every dinner party.
Joe Cawthorn always gets a cro\vd of
men around him to sing the old songs
and tell stories.
John Barrymore gathers folks around
him and tells stories of his newspaper re-
porter days, as nobody else can tell them.
Mary Brian always dodges bridge.
Edward G. Robinson always helps wait
on his guests at a buffet supper party, no
matter how many servants he has in at-
tendance.
If given a new puzzle to do, Harold
Lloyd, even at his own parties, will pore
over it, ignoring everybody, imtil he has
worked it out.
Charlie Chaplin will start charades at
his own or anybody else's party on the
slightest excuse.
Joan Blondell never dances with anybody
at a party except Dick Powell because they
dance nicely together.
AV. C. Fields likes telling conundrums.
Tom Brown has a store of Irish yarns
he spins at parties.
Helen Hayes sometimes brings her sew-
ing if it's a woman's party.
In "'Waikiki 'Wedding," Bing Crosby (at right)
finds the hula hula art a shaky proposition.
VER Screen for February 1937
63
Lily Pons gets off in a corner and talks
music to anybody interested.
And Betty Furness often brings her knit-
ting to a party!
Joan Bennett is quite the most erudite
keeper of parlor games in the colony. It
was she who first seized upon "handles"
and "knock-knocks" and gave them vogue
in the film crowd. Guests at the Bennett
house are always sure of stirring entertain-
ment after dinner, whether it consists in
building things with strange materials or
knocking things off the ^valls with new-
fangled weapons.
As a fine musician, Irene Dunne uill
produce an evening of serene classicism at
the piano and everyone is happy. But for
the parties that require a bit more verve
and gusto, she has a stunt that never fails
to bring do^n the house. This consists in
playing "The Sailor's Hornpipe" with the
right hand, Rachmaninoff's "Prelude" with
the left hand, and singing "I'll be Down to
Get You in a Taxi, Honey" at the same
time.
One of the most spectacular party stunts
of Hollywood in recent years has been the
one-man imitation of a Scotch bagpipe
band playing at a benefit, and Stuart Erwin
held monopoly on it. But last year Stu
taught it to Ann Sothern and she has per-
fected the stimt to such a degree that
the comedian has retired completely from
the bagpipe field, o\ershadoued and dis-
gruntled.
The Treasure of the Few
[Continued from page 27]
rightly, that George Arliss always plays
George Arliss, whether he's dressed as
Richelieu, Rothschild, or the Sultan of
Turkey. But you can never say that Charles
Laughton always plays Charles Laughton.
He is an artist. It seems impossible to
believe that Henry VIII and Captain
Bligh could I)e the created work of the
same man. And it seems almost incredible
that the cruel, sadistic Captain Bligh of
"Mutiny on the Bounty" and the sincere,
lovable valet reciting Lincoln's Gettysburg
address in "Ruggles of Red Gap" could be
one and the same. When you think over
pictures that Laughton was in you do not
think of the movie actor Charles Laughton,
a quiet man with a bubbling sense of
humor and married to the exotic Elsa Lan-
chester, but you think, and vividly, of the
role he played in a certain picture that
appealed to you. It's keenly etched in your
memory.
I cannot forget the effeminate, nauseat-
ing Nero of "The Sign of the Cross," or
the merciless Captain Bligh defying the sea
in "Mutiny on the Bounty." Laugliton's
Javerl, the ever menacing policeman in
"Les Miserables," is conceded even by the
French to be the greatest Javert of all
times. It took imagination for Laughton to
conceive the magnificent menace he gave
the role. If he had been out every night
trying to run do^vn photographers to take
his picture for the rotogravure he wouldn't
have had so much time lor imagination.
And, just as you hate him in certain pic-
tures, you love him in others. His Henry
VIII was a vulgar but jolly old dear.
His Ruggles of Red Gap a darling. The
late Irving Thalberg was convinced that
Laughton could play Mr. Chips of '.'Good-
bye, Mr. Chips," one of the most gentle,
modest men ui literature. There are many
people who agree with Mr. Tiialbcrg, and
it is our great hope that Laughton will siill
be persuaded to p]ny the part when the
picture goes into production. From Captain
Bligh to Mr. Chips in one generation can
safely be called a gamiU.
Walter Brennan is another of the humble
actors whose part in a picture is always
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51LVER Screen j or February 1937
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outstanding, no matter how small. Bren-
nan came to Hollywood fifteen years ago.
But it was not until he was given a small
part in "Barbary Coast," where, as Old
Atrocity, a waterfront hobo without any
teeth, he practically walked away with the
picture. Sam Goldwyn immediately signed
him on a contract and when he was cast-
ing "Come and Get It" he found that he
had a natural for Swan Bostrum right
there on his own contract list— Walter
Brennan. Br(;nnan's characterization of the
Swede is one of the outstanding features of
the picture.
Twentieth Century immediately borrowed
him for a Tobacco Road part in "Banjo
On My Knee" and the rumor is that he
walks away with the picture, despite the
fact that it has Barbara Stanwyck for its
star. He plays Joel McCrea's father in the
picture, but you might be interested to
know that in real life he is in his middle
thirties and still a very young man. You
woiddn't catch any of our Wonder Boys
playing daddy to Joel McCrea, now would
you? But Walter Brennan is an actor, he
doesn.'t give a damn about age, beards,
and make-up. His desire is to make each
role he plays a complete character. Upon
the sad death of Chic Sale recently, Bren-
nan was rushed over to the Universal lot
to take Chic's part in "Blonde Dynamite."
When it comes to real honest to good-
ness acting Humphrey Bogart is a young
man for us to keep our eyes on. Well known
on the New York stage, Humphrey was
brought to Hollywood to play the gangster
in "Petrified Forest" and proceeded to
steal the notices on the picture right away
from Leslie Howard and Bette Davis. In
"Bullets and Ballots" he again played a
nasty gangster, and played it well, and of
course the idea might have gotten around
that Bogart could only play heavies. But
in "China Clipper" he played a "straight,"
in "Two Against the World" he played the
romantic lead, and now in "Black Legion"
he plays a very sympathetic, role, and it
seems that Mr. Bogart can bring the tears
just as easily as the hisses. With a romantic
lead under his belt Humphrey could have
been very temperamental, a la George Raft,
and refuse to play any more heavies, but
not that boy, he's an actor first, and a
movie star last. It might be fun to kiss
Anita Louise in the final fade-out, but
Humphrey prefers a three weeks' beard
and a bullet in the chest.
Every time you see George E, Stone in a
picture you know you're going to sec^a
fine bit of acting. George's parts are rarely
large but, thinking back over pictures that
he has been in, strangely enough it's
George's role and scenes you recall rather
than those of the hero. What do you re-
member of "Cimarron?" George's Jewish
peddler of course. And will you ever forget
his little artist who wanted to draw doves
in "Viva Villa?" One of the outstanding
performances in "Anthony Adverse" is his
stage driver.
Paul Muni doesn't care how much he
distorts his face, the more beard the better,
or how ugly he makes his body just so long
as producers, supervisors, and directors will
let him act. Paul Muni is second only to
Charles Laughton when it comes to pos-
sessing the gift of imagination which en-
ables him to create outstanding characters.
Muni has often been called the male Garbo
of Hollywood, for he is a most elusive
young man, and had rather have his eye.
teeth pulled than pose for photographers
or give interviews to the press. It's almost
impossible to believe that the same man
played Scarface and Wang, so far different
are the characterizations. Yes, "Scarface"
and "The Good Earth" would make a
pretty good gamut for an actor, too.
And, of course, speaking of gamuts in
characterizations there is always Lionel
Barrymore. But if we start on his roles
we'll be here all winter. Let's not, and say
we did.
When Spencer
Tracy needs a
vacation he
takes the mis-
sus and comes
to New York
to study plays.
Always an
artist.
The Stars And Their Flying Machines
[Continued from page 31]
husbands have all the fun. They climb
right in and tactfully refrain from side-
seat driving. Ray Milland's wife, having
more spare hours than be, has been the
expert in their household. She extracted a
promise from Ray that he'd only fly over
the airport. But when he got his pilot's
license the other day he had to dash off
somewhere, so he tore down to San Diego.
He was about to re-enter his ship when
suddenly out of the sky dropped his wife.
She just wanted to be sure he got there all
right!
Robert Cummings has graduated his first
pupil, and any day he expects to graduate
his uife. They fell in love when both of
them were acting in the Follies, and now
she is being as brave as he. Bob paid .fagoo
for his Portcrfield plane and it is costing
less in upkeep than his Dodge. The boys
around the hangars kidded him so much
about his partiality for vegetables— he in-
terrupts his flying at noon to drive ten
miles for a luncheon at a health cafeteria—
that they nicknamed his green plane "The
Spinach." Not to be outkidded. Bob has
had this tag painted spectacularly on his
pridc-and-joy crate.
In the last two years Ruth Chatterton
herself has done more to further commer-
cial aviation than any other single person
anywhere; her annual derby has demon-
strated that at least seventy-live planes can
be flown across the country in competition
and without any danger. She devotes not
only her own money, but her valuable time
as well, to encouraging people to try the
airways. She u'as the first actress to pilot a
Silver Screen for February 1937
65
Martlia Raye and Louis Da Pron
get their Grecian ballet mixed
up with some catch-as-catch-can
holds.
plane the entire distance from the /Atlantic
to the Pacific. She is a perfect model be-
cause, above ail else, she is an intelligent
amateur. Whatever Ruth has begun, from
riding to mastering French, she has kept at
with characteristic thoroughness.
When she vowed to excel in today's sport
she went at it conscientiously, absorbing
every minute detail. Consequently, she has
had no narrow escapes. The new cream-
and-red Stinson-Reliant she purchased in
November cost $12,900. Five may be com-
fortably accommodated in the broadcloth
cabin. Ruth has been adding all the special
gadgets, including a two-way radio, landing
light flares, and a complete blind-flying in-
strument. This radio-directed mechanism
enables her to tune in on a radiobeam
which automatically draws the plane to its
source. This alone is a .$5,000 investment;
it is precisely what is used on the China
Ch'pper.
Wallace Beery is the only other star with
this super-safety device. His powerful Bel-
lanca seats eight and he makes frecjuent
long business and pleasure jaunts. Mrs.
Beery and Carol Ann almost always accom-
pany him. A professional pilot is on his
payroll and now he has over .125,000 in-
volved. He's had some pulse-pounding mo-
ments when caught in the clouds in a
blanket of gray sleet. But snowy weather
can't daunt him.
Wherever I go all I hear is flying gossip.
George Brent admits he's still a bit shaky
from his latest experience. He was about
to land at Palo Alto when a radio structure
four hundred feet high loomed before him.
It was a mass of guy wires. Instinctively he
did the correct and only thing to do; some-
how he shot through. But when he looked
back and saw what miraculous maneuver-
ing he'd effected he eased do^vn with a
sickly feeling in the pit of his stomach.
Then he sold his plane. Six iveeks after-
wards it cracked up!
Universal had to cease all production
when Jimmy Dunn zoomed his new ship
gayly back and forth above the stages. His
upkeep on it is only nine cents a mile so
he was told he can well artord to go farther
away! When he isn't dedicating an airport
somewhere, he's bound for Ne^v Orleans.
He must have a damsel down in Dixie!
Once Paul Lukas was chatting with his
director, William AVellman. They learned
ihfv had participated in the identical his-
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Silver Screen for February 1937
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GEPPERT STUDIOS
toric air-fights in the World War. The
American army claimed Wellman and
Lukas was an Hungarian ace. Now Paul
is giving Ralph Bellamy the benefit of his
air knowledge. Dick Arlen, who at seven-
teen enlisted in the royal flying corps in
Canada, frequently rents a plane these Sun-
days. And Victor McLaglen, a war hero, has
established an air squadron as the newest
adjunct to his lighthorse cavalry.
And so the conversation on the sets and
at the parties goes. Ken Maynard is credited
with being the very first star to secure a
pilot's license. That was nine years ago,
and in the interval he's had practically a
new ship every year. He is the most adven-
turous flyer, too, continually departing for
South America to investigate the ancient
temples of the Incas.
Just to illustrate that actors don't have
to employ doubles, Robert Montgomery
and Robert Young took a plane up before
the impressed audience at a Long Beach
air fiesta. And I think Chester Morris draws
a palm for zealousness— he flew his own
plane when called upon to portray an
aviator in a picture!
The new clothes and the new luggage
that has to be bought for air journeys is
equalled only by the novelties and new
habits being born. Anita Louise is excep-
tionally glamorous in her chamois suede,
full-length, fitted coat and matching suede
cap. Merle Oberon has copyrighted her
auto-gyro style hat. Try tacking on three
propeller-like blades and maybe she won't
sue you! Dolores Del Rio has designed a
unique non-spillable makeup kit that is
fast catching on with the other actresses.
No longer need you fear that a star is
leaving Hollywood forever. The stage re-
claimed Brian Aherne, but it is a cinch he
wiU be back for more love stories. I know,
because he has stored his airplane at the
field near me.
Instead of collecting at ordinary cocktail
bars, the stars have started to throw ttieir
cocktail parties in chartered planes. Ann
Sothern began this stunt; when she had
eighteen friends up for the afternoon. And
Katherine Hepburn has revived picnicking
—who wouldn't want to fight ants and flies
it they could go along with her in the small
plane she hires for the day? The Douglas
Fairbankses have put San Francisco on the
map as a dinner spot. They invited half-
a-dozen couples for cocktails at their fa-
vorite airport. It was five p.m. when Doug
said, "Shall we fly to Frisco?" Shortly after
seven they were sitting down in a smart
hotel four hundred miles away.
If you are vacationing in a far-away
residence the modern method is to fetch
your guests by sending an airplane for
them. This is what Marion Davies does
when she asks sought-after souls to join
her at her ranch. Sometimes I wish I were
popular enough to have a ship dive down
and get me. Marion, I think I can break
aivay almost any day that suits you!
Ready for Love
[Continued from page 25]
picture colony?" And, for all her breath-
taking beauty, the question that arose in
my mind was how such extraordinary good
fortune had gravitated to her!
"I don't know," she answered slowly, as
though considering her dastardly deed for
the very first time. "I suppose it was be-
cause I'd just come from high school and
didn't know much of what it was all about.
And, too, because it was only very late
when Gloria Stuart withdrew from the cast
and I was actually given the role of
Hermia, which I understudied."
Not least among the strange incidents
which have crowded into her full young
life is the fact that she was born in Tokyo,
Japan, on July 1st, 1916, although only
three years later her parents returned to
America and eventually to Saratoga, Cali-
fornia. There she attended grammar school,
and, in rapid sequence, Notre Dame Con-
vent, Los Gatos Union High School and
then won a scholarship to Mills College at
Berkeley— which, because of higher histri-
onics, sire never took advantage of, though
not to her regret!
It was while she was at Los Gatos that
she was given the role of Puck (shades of
Mickey Rooney) in the school production
of "A Midsummer Night's Dream," and one
of Professor Max Reinhardt's better scouts
watched her work and decided that she'd
do nicely to understudy the role of Hermia,
which, without further ado, she proceeded
to do!
So much has happened to the little de
Havilland since! There has been a long
term contract, first for five years and then,
on her agent's advice, she signed for seven
years— and a long and impressive "financial
program" to say nothing of a formidable
list of picture successes which, in the last
two years, have included such amazing
roups de theatre as "A Midsummer Night's
Dream," "Captain Blood" and the memora-
ble ".Anthony Adverse." to say nothing of
her current and brilliant performance in
"The Charge of the Light Brigade. "
Olivia told me, amid much laughter,
how she had spent her last birthday fall-
ing in and out of a "river " on the lot at
AVarner's realistically enacting her part for
"The Light Brigade."
"How did you like playing with the
dashing Errol Flynn?" I asked.
"Delightful!" she assured me. "He is so
pleasant and such good fun that, in the
spirit of the whole thing, I didn't even
mind getting wet and drying off by turns! "
"AVell, it's good to know you're not going
temperamental on us!"
"I've made up ray mind to face mv fu-
ture with a practical viewpoint," she con-
fided. (It you could ever hear the word
"practical" coming from the unbelievablv
lovely Olivia!) "A star should realize she
has just so many years to work and be
popular and then "
"And then," I asked, "what is your real
objective? What have you ahva\s wanted
to do?"
"I used to want to be a teacher, an Eng-
lish teacher, probably because my father
was an English teacher who, because he
was practical, later took over a law firm.
But now," she finished impulsively, "I want
to act for the rest of mv lite! "—which is as
charmingly unpredictable an ans^ver as are
her moods!
In came the ^vaiter and before long we
were sitting do;vn in front of a hastih im-
pro\ised table and I was reaching for a
napkin.
Drawing it out briskly to Avhisk across
my lap I soon discovered, to m\ mixed
emotions, that it was the napkin which so
cozily had covered the toast, and looking
down I saw I was all over toast and so was
the rug.
I'm no de Havilland. I don't blush pret-
tily. Embarrassment with me is just that.
And toast on the rug is only one shade
Silver Screen for February 1937
Virginia Field, in "Lloyds of London," so enthralled the
critics and fans that a career in pictures is now a certainty.
better than toast ciiinibs in bed.
Then / came in for a surprise.
Olivia rose grandly to the occasion. She
said all the right things, assuring me that
she loathed toast, that it was the very bane
of her existence, that, indeed, I hacl done
her, in a manner of speaking, almost as
great a turn as had the intrepid Max
Reinhardt, who started her on her career!
In short, when I later met her mother, a
charming, cultured woman, who has also
been a dramatic coach, I realized that
breeding and background do tell. Here was
a little girl in modern clothes who, I felt,
coidd be suddenly quite at home in the
sweeping gowns and mannerisms of a grand
lady! Here, I felt sure, was the ans^ver to
the enigma of the so-called de Havilland
"luck." She was a natural born actress w'ho,
in the role of Hermia, had found a part
whicli fitted her talents, ability and breed-
ing as snugly as had the costumes her
smooth young curves!
Just then the telephone rang, as it was
doing continuously, and Olivia, who has no
secretary (because of her "financial pro-
gram"), answered it herself. Disguising her
voice she assured an imknown caller that
"Nobody is here." As she put the phone
down she wore the guiltiest of expressions
and her tongue curled from one side of her
mouth to the other like some very wicked
imp.
"I don't know what to do about them
all," she explained, as it rang again.
This time it was different.
Obviously it was a boy friend calling
"long distance," and, like some college
freshman, her excitement, as she held on,
was palpable. From her answers, which I
really tried not to hear— do you believe me?
—well I tried not to be too curious, he was
very anxious to see her, wanted to know if
she were coming to his town for personal
appearances? Olivia, now dignified and in
complete possession of the situation, told
him unfortunately she was not— and then,
after relating how much she had enjoyed
his letters, inquired if he were "happy"?
For one moment I fully realized how
serious is this business of being a bright,
new, shiny star with (at twenty) a contract
that seems to reach to the very border of
senility (twenty-five). And as she put the
receiver down I asked if she had many such
young worshippers?
"I have no suitors," she answered, guile-
lessly, the very use of the word showing
what an old-fashioned romanticist is this
charming and capable young modern! "And
I'm immensely grateful that's true. I meet
probably the most attractive and intelligent
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Silver Screen for February 1937
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men in Hollywood, but none has clicked
with me romantically, and I'm very thank-
ful for that at this stage of my career! My
friendships are confined to men on my own
lot because I'm so thoroughly tired when
the business of acting, posing for stills,
standing for fittings, being made up, hav-
ing my hair dressed, being interviewed,
studying my roles, having story conferences
with the director and all the other fas-
cinating details that go into picture-making
are through, I'm content to go straight
home to bed— and call it a day! (adver-
tisement)."
Her next part is in "Call It a Day," as
the elder of two sisters, a role which she
plays in real life.
'My own sister," she said, "wants to go
on the stage now, though she's still busy
at school and it's really too soon to know
if she is fitted for acting."
In "Call It a Day" Olivia is supposed to
be a young girl in love with Roland Young,
who plays a mature, much-sought-after ar-
tist for ivhora she poses. This role should
do much to popularize her in more modern
stories— of which she expects to do three
successively — returning then to costume
parts, which are her favorites.
"People," she says, "knew how to live a
century or two or three ago, graciously,
\\'ith artfulness and taste. ^Vhen I play in
costume pictures it seems I have returned
to those days and feel in sympathy and
tune with them."
There is a flow of warmth about this
young player that augurs well for her
dramatic future, for it is plain to see that
only the surface of her latent acting ability
has been tapped. And (old softie that I
am), I believe that she is sincerely grateful
love has not made more complex her al-
ready involved existence.
"I'm sure if I were to fall in love," she
admited, "that I'd be completely willing to
devote the rest of my life to mv husband
and forget, entirely, that preserit important
something known as my career! That is,
important only to myself. If I retired to-
morroi\' there would be five hundred others
to take my place. One must be practical!"
That word again! Somehow I think it is
a litany which she has learned against dis-
aster, against disappointment.
"What do you think of it all?"
"It has been a miracle," she answered
simply.
"Do miracles last? ' I meditated, more to
myself than for her consideration. "Can
one forever be the darling of the gods?"
And, half to herself, she answered:
"One must take what comes, with laugh-
ter. So far only the good has come, but
one shouldn't expect too much, just
hope. . . .'' Olivia, you can see, has as-
similated some of the serene fatefulness of
the land of Buddha, of the Orient which
gave her birth. "Besides," she added, "any-
one can entertain people— the really im-
portant thing is doing good— and being
happy.'
Happiness? Be assured she will find it,
tor her future is bright with promise and
just beyond the studio gates rides a knight
in shining armor. It is he who. eventually,
will play the leading role in Olivia's true
life story, and in his own way coin the
phrase "Call it a day!"
Loretta Young
[Continued from page 2i]
Loretta was only four, she played Fanny
AVard as a child in a Fanny Ward picture.
Then a fe^v years later she was cast for a
bit in a Mae Murray picture. Mae was so
charmed with the cute little tow-headed
child with the long lashes and exaggerated
dignity that she promptly offered to adopt
her— but even at that early age Loretta had
a mind of her own and she didn't want
to be adopted. Mae, upon learning that her
ambition was to be a dancer, sent her to
the Belcher school of dancing.
One afternoon when Loretta was four-
teen the Big Opportunity came. The phone
rang and it was the casting director from
First National calling for Polly Ann Young
to come over to the studio at once to take
a test for a part in "Naughty But Nice."'
Polly Ann was out of town, Betty Jane and
her mother were downtown shopping, but
Loretta had no intention of letting that
job slip out of the family, so as quickly as
she could she made it over to the studio
and persuaded Mervyn LeRoy to give her
a chance at the role. Colleen Moore was
the star of the picture, and like Mae Mur-
The beautiful home that Loretta Young,
the beautiful 2 3-year-old star, has provided
for her mother and sister.
Silver Screen for February 1937
69
ray, she was instantly attracted to the am-
bitious child. It was largely through her
influence that the studio ofTered Loretta a
long term contract. It ivas not until the
day the contract \\as signed that Mrs.
Voung discovered that the youngest and
most independent of her olTspring had not
l)een in school, for several ^^'eeks. It Avas
on that day too that Loretta changed her
name from Gretchen to Loretta— Colleen
Moore chose Loretta for her. Her family
and former friends still call her Gretch.
Six months before, Betty Jane had signed
a contract -with Paramount and at the
producer's suggestion had changed her
name to Sally Blane. The Youngs were on
easy street now, with plenty of contracts,
and plenty of names. In the coinse of
e\ents Mrs. Yoimg became Mrs. Belzer and
Georgianna was born.
At the age of sixteen Loretta fell madly
in love with a handsome yotmg leading
man on her lot, Grant Withers, and with-
out telling her family or her studio eloped
^vith him to Yiniia where she ivas mar-
ried. This brought on a whole batch of
disillusions for romance-loving Loretta and,
at the end of eight months, she ivas ready
to call the thing off and return to the
loving arms of her family— where she has
been ever since. Within the past two years
Polly Ann has married Carter Hermann,
and Sally Blane has married Norman Fos-
ter, and last June they had a baby which
they named Gretchen after Aunt Loretta.
Mammy, of "Gone With the AVind " fame,
would have adored having Loretta lor her
little white honeychild, for Loretta is daint)
to the highest degree. Even as a child she
never over-ate, begged for cake or candy
Kben visiting, or appeared ivithout every
hair and pleat in place. Today she is one
of the best dressed of the Glamour Girls.
She is mad about clothes and when she
goes on a shopping spree it's really some-
thing. The first thing Loretta notices when
she meets another woman is the shade of
her hose— and if Loretta doesn't consider
the shade perfect she nearly has a fit. If
she doesn't know you she'll have the fit
all to herself, but if she does know you
she'll say, "Why do you wear stockings like
that?" Loretta, more than any movie star
I know, has the woman's point of vie^v
(she'd have to have this after twenty-three
years in a family of girls) and she ^vill take
the Avoman's side in an arginnent every
time, but I have noticed at Hollywood
parties that men, not women, cluster around
Loretta. Professional jealousy, no doubt.
l.oretta's best bad fault, according to her
family, and they certainly ought to know,
is her complete indifference to anything on
the floor. Maybe she's too dainty, or maybe
she's just absent-minded, but Loretta will
not pick up anything she has dropped on
the fioor. Before Polly Ann and Sally mar-
ried they lived with Loretta in her beauti-
ful white Colonial house on Sunset Boule-
vard, and here one day was staged a pick-
up marathon. "Mother," said Sally and
Polly Ann, "we're darned tired of picking
up Grctchen's clothes. Her evening dress is
on the floor now, just where she dropijed
it when she came in last night. Let's see
how long it stays there." By actual coimt
the evening dress remained on the floor for
thirty-five days. There are no more mara-
thons, for Loretta has since acc|uired a
couple of maids who pick up things for
her. (Anent the maids, Loretta has to sa),
"When they saw those cute luiiforms I wore
as a maid in 'Private Number' they innne-
diately demanded that I get thenr new uni-
forms just like mine. I can't play a maid
again— it's too expensive.")
One morning, during her sixteenth year,
Polly .Ann and Sally almost fainted dead
awa) ^vhen they entered l.oretta's bedroom.
There she was busily picking up all her
clothes off the floor, and washing and iron-
ing them. "How strange," they said, "she's
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70
Silver Screen for FEBRUARi- 1937
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up to something." She ^\as— she eloped the
next day.
Sleep is one of Loretta's greatest prob-
lems. She cannot bear the slightest glint
of light when she is trying to go to sleep,
and as light will drift through Venetian
blinds even on the darkest night she has
solved the problem by sleeping in a black
masque. She cannot sleep on linen sheets
because they scratch her knees and elbows,
and so when she goes traveling or visiting
she takes along her own sheets. It all de-
pends upon the first thing that is said to
her in the mornings ivhether she starts the
day in a good mood or bad.
If you are a young male and contemplat-
ing a date with the lovely Loretta sometime
in the future, though heaven knows how
you're going to get around Eddie Suther-
land, you might find this tip very valuable.
Don't ever ask Loretta to meet you any
place, or don't ever even offer to send your
car for her. If you do, Loretta will do a
slow burn that won't advance the friend-
ship much. In fact you'll be lucky if you
even see Loretta again. Loretta's young iiien
have to call for her at her home in person
-or else she ivon't plav. Since she has been
"going with" Eddie Sutherland-it's almost
a }ear no^v— Loretta has become quite
friendly with Myrna Loy and Arthur Horn-
blo^\' ^\ho are close friends of Eddie's. The
two couples make a delightful foursome at
all the important social events in Holly-
^vood. Myrna, who for years ksls Holly-
^^■ood's best mystery woman (even a shade
better than Garbo), under the excellent
tutelage of Loretta and Eddie is now be-
coming one of our best party girls.
Loretta doesn't like football games, or
races, and she heartily dislikes amusement
parks. She is crazy about Donald Duck and
calls Connie Bennett Donald Duck. When
Loretta and Connie were cast for "Ladies
in Love ' everyone said, "My, my, there'll
be plenty of fireworks no^v. Just wait until
those two temperaments start clashing!" On
the contrary, Loretta and Connie, who had
only been casual acquaintances before,
finished the picture as the closest of friends.
Loretta is a very religious young girl, she
is generous to a fault, and adores children.
Because of her s^veetness and graciousness
she is a "favorite" with the Press. She is
painfully punctual about keeping her en-
gagements, loves to go down to the hospital
to watch operations, and can't bear to have
anyone interrupt her when she is telling
a story— even Dorothy Parker gets a cold
look when she interrupts with a Parkerism.
She will spend any amount for clothes, but
drives a second-hand car. She usually gets
what she wants around the studios, not by
demanding but by kidding. As she ex-
presses it, "I'm kidding on the square."
Loretta, today, at tiventy-three and a
T^^entieth Century Fox star, is a strange
contradiction of adult and child. She has
the poise and dignity and self-assurance of
a ivoman of thirty, but just let something
ivound that famous Young pride and
Loretta will sit in her mother's lap and cry
like a baby. Right now she is trying to
make up her mind as to whether she will
remain in pictures and try to become a
great actress, or retire from the screen,
marry, and devote her life to a home and
children. Loretta (at twenty-thiee) definitely
does not believe that you can combine a
career with marriage.
Just "Lucky"
[Continued from page 51]
..State
the temptation to remain in a Broadway
hit, placing but one part, and went to
Dayton, Ohio, where for t^venty-six weeks
I portrayed all kinds of roles, old men, gay
young lovers, and even villains. It was
grand training and I consider it a big op-
portunity that came at the right time.
"The next big break -svas ^vhen I went
to the famous Denver stock company at
Elitch Gardens, one summer, as leading
man and met Florence Eldridge, the star.
Again, Time was an ally. Now, just sup-
pose I had not gone to Denver until the
next season, or the next, who knows but
Florence might have fallen for some other
guy? But no, we met at the propitious hour
and dining the first rehearsal I tumbled
head over heels in love ^vith her. ^Ve were
married and have lived happily ever since,
just as in the fairy tales.
"Back in New York, Time again ga\c me
a SAvift shove. I was signed to go on tour
uith the Theatre Guild when Jed Harris
called me up and offered me the part of
Tony in 'The Royal Family.' Lord, how
I wanted that role! I knew better than
anyone that it was just the part for me
but I was committed to the Guild, so I
turned it down."
E\ery March fan will remember that
later on it was this very same pla), "The
Royal Family," that brought him to the
screen.
Once again, Freddie was playing a sinn-
mer engagement at the Elitch Gardens,
when his good friend, the late Paid Bern,
wrote mging that he come to Hollywood
at once, saying the talkies had swept over
the motion piciines and there \vcre few
actors ready to meet the new medium.
Then, on the very same da) came a wire
from Fred Butler, offering him the role of
Tony in the coast production of "The
Royal Family!"
"What a break that was," jubilantly ex-
claimed Freddie. "Can you understand my
elation? AVe opened 'The Royal Family'
before an enthusiastic audience in San
Francisco, and after a successful run we
came down to Los Angeles, and within
two days various producers were talking
contract with me. So, my film career was
auspiciously launched.
"Now— had I played in the original New
York company it ^vould have tinned into
just another role and ended there, but
\vaiting and gi\ing it here, at the very
moment the talkies had stirred up the
screen industry, ivas a thrilling bit of luck.
It put me o\er, so to speak, and was an-
other example of how the element of Time
has always boosted me along."
"Of all your pictures, which is your
favorite?" I asked.
" 'Laughter!' " he replied, promptly. "It
was a mad, merry film and I was such a
happy idiot all the ivay through. Anyway,
I like comedy and clowning better than
dramatics. My next favorite is 'Les Misera-
bles.' I ^^'as crazy over my role, for it cov-
ered thirty years of Jean A'aljean's life and
had guts and po^^■er, ivith terrific drama.
Do you know the part I liked best of all?
That brief comtroom sequence where I
plav the dullard ivhom the police believe
to be A'aljean. It ^vas the one Big Moment
in that down-trodden life, and he was
such a nice old fool, winking at the jury
and mistaking their ribald laughter for
friendliness."
Suddenly Freddie jumped to his feet and
(here in the spacious living room of his
Silver Screen for February 1937
71
beautiful Beverly Hills home, with the late
afternoon sun as a radiant spotlight, he
went through that entire scene. Believe me,
it was gripping and very, very stirring!
Time Marches On!
Another important step was "Anthony
Adverse," in which he played this wander-
ing hero, for, while he has been featured
and co-starred in many outstanding pic-
tures, this was the first time he was in-
dividually starred.
Not that this matters much to Freddie.
Seeing his name in Neons over the title of
a picture isn't as important to him as hav-
ing a good role in a good production, and
he' wouldn't even discuss it. He is one of
the most modest and imassuming players
in all Hollywood and, despite his brilliant
successes, he still wears the same size hat
he did in the early days. He prides him-
self that he always remembers that acting
is merely his profession, thi ^vay he earns
his living. Genial, vital, retaining his ideals,
nothing seems to quench the sheer joy and
enthusiasm he finds in living.
He is excited over his next picture, David
O. Selznick's Technicolor production of "A
Star Is Born," a modern drama laid in
Hollywood and with little Janet Gaynor as
the heroine.
He said: "Here's a good joke on me.
.\fter 'The Affairs of Cellini,' I decided
very definitely that I was through with
costume pictures for I was afraid audiences
would tire of them. Then along came 'Les
Miserables,' and I couldn't resist it, and
this was followed by 'Anna Karenina,' with
Greta Garbo. After 'The Road to Glory,'
'The Dark Angel,' and 'Anthony Adverse,'
there was 'Mary of Scotland.' Well, some-
^vhere along the way I found that costumes
of another period added to the illusion of
romance and intensified the drama."
When I asked Freddie if he thought
Badminton entices
the girls in shorts.
Patricia Ellis
loves the game
and any court
looks better when
she plays.
Romance A\-as changing during this highly
modernized era, he laughingly replied,
"Not at all. Romance will never change.
But— men must always be the seekers, for,
to them, the joy is in the chase. Excitement
isn't love. Love is fundamentally friend-
ship, plus sex, and it must be built on the
right basis or it kHI not last."
Adored by millions of screen fans, this
merry March gives his devotion to his own
Florence, and the two precious babies.
Being daddy to three-year-old Penny, and
to chubby little Tony— named Anthony,
after his favorite role in "The Royal
Family," is the happiest sequence in Fred-
die's March of Time!
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On The Grand Banks
[Continued from page 53]
AT LEADING'S & 10^ STORES
schooner's from Gloucester, Massachusetts.
We'll take you there after we're through
fishin'^ "
"/ don't want to go to Massachusetts!"
"Well now!"
"I guess you don't know who my father
is," the boy exploded. "My father is Frank
Burton Cheyne!" He looked about him,
expecting 'general consternation. Dories
were hauling alongside the schooner, fish
were coming up on deck in a flood. The
cleaning and salting gangs were hard at it.
"Well . . . don't you believe me?"
Nobody was paying any attention to
Harvey. Nobody had heard of Frank Bur-
ton Cheyne— and wouldn't have cared, if
they had heard. Fish were fish— and fishing
was that schooner's business.
Captain Disko found a moment to ex-
plain finally. "Even if your daddy was a
small part of what you say, it wouldn't be
right to gamble two weeks' good fishin'
against a yarn given out by an upset boy.
However, I'm a fair mindecl man— so while
you're aboard I'll pay you wages— three dol-
lars a month."
He took Harvey by the arm and led him
to a barrel half filled with cod livers. A
man squatted beside it was cutting more
livers expertly from the fish entrails tossed
on deck by the busy knives of the crew.
"Now," said Captain Disko kindly, "you
help Dan with them cod livers."
Frank Burton Cheyne's son gave one dis-
gusted look at the sliding gurry on deck
and screamed in a passion, "You think I'll
do that?"
The scene that followed was painful— but
principally to Master Harvey. He screamed
and he raged and only good natured grins
met his eye. He defied them all and de-
clared his father would put them in jail
as kidnapers.
Captain Disko who had been puzzling
over it, sighed at last: "I guess there's
nothin' else to do." Calmly and dispas-
sionately he slapped the hysterical face and
Master Harvey collapsed in a pile of cod-
fish.
AVhen night came down Harvey Cheyne
still lingered on deck, defiant, stubborn as
a mule. He A^'ould not lift his hand to help
work this ship . . . he would not!
In the fo'castle, grub was on the table.
Men were going below in shifts, men were
coming on deck again, discussing the
merits of Doc's cooking. Empty and woe-
begone, Harvey lingered, refusing to lift
his hand in work, forbidden to eat until
he did.
It was Manuel, his good natiued rescuer,
^vho lied for him at last. Har\ey had done
some work, he reported. He \vas entitled
to eat.
Put it up to a normal boy, no ^\ork, no
eats— and he'll work. But Master Harvey
Cheyne had the craft of the serpent and
the stubbornness of the mide— and Manuel,
for all his bluff aboiU throwing him back
into the sea again, had a soft heart. So,
for a few days. Master Harvey remained
a rebel.
But there is something even more potent
than hunger in reforming a boy— his ten-
dency to hero worship and his desire for
human companionship.
Aboard the We're Here, Harvey Chevne
was subject to a strict taboo. He ate, he
had a bunk to sleep in, but otherwise, for
the men of that busy crew he did not exist.
Even Manuel iiad as little to do with him
as was humanly possible.
Dories were swimg overside and fished
with trawl or haiidline; dories ^\e\e nested
home again and all hands split fish. Spare
times all hands chopped linit. Watches
were taken, sails trimmed, decks cleaned,
gear overhauled.
The chatter of busy men, all hearts set
on one task, to fill the hold with fish and
sail back to Gloucester, went on all about
him. Harvey, a small ghost, tried his best
to join in, airing his scorn of them. Nobody
heard him. They sang together as they
worked and he joined his voice . . . but
the others fell silent when he sang.
Manuel's indifference hurt worst of all.
A robust, jolly soul this Manuel who made
up songs and chanted them to the stars
while he kept watch; a top hand fisherman
though he fished alone. He had saved
Harvey's life; he had intervened to make
the boy physically comfortable. Now his
persistent sharp reminders began to con-
vince him that if he was not liked aboard,
it must be his own fault.
One day when he had undertake:! to
show Manuel that he knew how to chop
bait and nearly amputated his own hand,
Harvey capitulated.
"^Vell, I guess I want to do something,"
he mumbled.
"Sure!" his hero jeered. "But you only
want to do what you want to do! I tella
you what you do! You go below in galley
an' help Doc. You carry slops. You sweat
in galley before you theenk about bein'
fisherman."
"All right," said Harvey unexpectedly.
He marched forward and slid down into
the fo'castle galley, to reappear presently
with a pail of slops. Something in Harvey
was changing. For once he was facing
realities— and dealing with them. He wanted
to be a fisherman like Manuel and go with
Manuel as his dory mate. If he couldn't
accomplish that just by being Frank Bur-
ton Cheyne's son, then he would earn the
privilege by carrying slops.
Breeze succeeded calm, calm succeeded
breeze. Men said that Captain Disko could
think like a codfish and that was why he
could determine before anybody else off
which treacherous shoal the cod would be
feeding next. The We're Here sailed, an-
chored, sailed on again. Dories went out
mornings, nested home of nights. The sil-
ver flood of fish came slithering on deck
to be cleaned and stowed and salted and
The camera catches Jeanette
MacDonald as she is just about
to enter the set for a scene
in the long awaited "Maytime"
Silver Screen for February 1937
73
a rivalry grew bet\veen Manuel, who fished
hand line, alone, and Long Jack who fished
with a dory mate and trawl. Long Jack
didn't like Manuel and he regarded Harvey
as a Jonah and said so. The rivalry grew
bitter.
Harvey meantime carried slops and
peeled potatoes for Doc. Spare time, he
read a book about ships in Captain Disko's
cabin, learning the names of things and
\vhat they were for. Someday he would
ihow that Manuel!
"We might fill faster if our Jonah
catcher'd thro\v auay his hand line and
bend on a trawl for once!" Long Jack
growled at breakfast one morning.
"Vou theenk I don' catcha as much feesh
as you?" Manuel demanded.
"I ain't sayin' that "
"Maybe you just bump your head when
you leave bunk this morning, eh?"
"Or maybe you Portuguese just don't
know nothing about trawl fishing? " Long
Jack shot back.
"I tella you what I do," Manuel shouted
as Harvey poured his coffee. "I take Jonah
out weeth me today. I feesh hand line. I
teacha heem same time. And I bet we come
back weeth more feesh as you and Nate
togethersi"
While Harvey heard, amazed and de-
lighted, Long Jack demanded a wager and
it was made, Manuel's new safety razor
against Long Jack's new half dollar. Harvey
sped on deck, a crafty plan in mind.
He had learned how to work for what
he wanted, but Master Harvey Cheyne
knew nothing yet about good sportsman-
ship. On deck, unobserved by anybody, he
snarled the trawls in Long Jack's tub so
that trouble was bound to follow. He in-
tended only that he and Manuel should
win the bet and using foul means to do
it did not disturb his conscience, for he
had none.
Long Jack's trawl fouled, as Harvey
meant it to do. The big Yankee was
drawn half out of his dory into the sea
before Nate caught him. Three big halibut
hooks were embedded clear through the
flesh of Long Jack's arm.
Manuel saw, heard and grinned as he
called over the water, "Maybe next time
you get a dory mate what ain't old lady
mixed up in knitting needles, Nate! Eh!
That Longa Jack mad now!"
Harvey giggled. "I knew he would be.
That'll stop them fishing for a while, I
guess "
"What you mean, you knew?" Manuel's
sharp look darted to the boy. Master Har-
vey grinned. "When I heard you betting
this morning I sneaked up on deck and
tangled his trawl . . ."
He stopped, petrified suddenly by terror.
There ^\•as a look on Manuel's face that
boded trouble.
In grim silence the big Portuguese threw
back into the ocean the splendid .halibut
Harvey had just landed. "You go back tell
other feesh Manuel he got no dory mate-
he only got cheat. You tella them good
and loud!"
In silence he took the oars and headed
the dory toward the We're Here.
"But I just wanted you to win!" Harvey
cried.
Manuel said nothing while Harvey
pleaded. He landed the boy aljoard the
schooner, then rowed back to fish alone.
A terrified boy stood by that evening
when Captain Disko began cutting hooks
from Long Jack's arm. Manuel, loyal to
his dory mate, though he was a little cheat,
let Long Jack blame it on him and kept
his own counsel. Finally the infuriated
Yankee, roused by Manuel's smile, flew at
him with a knife. Harvey could stand no
more.
Fearful as he was of Long Jack, the lioy
came between them. "It wasn't Manuel. I
did it! I did it \ihile you were having
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74
Silver Screen for February 1937
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breakfast this morning. But I didn't mean
you should get the hooks in you this way.
Honest, I didn't! I just thought we'd have
a little fun and win the "
He darted suddenly away. Long Jack
after him, knife in hand. In a moment
Long Jack had him by the throat. There
was murder in the fisherman's eyes.
Manuel broke between them.
"You toucha that keed and I tear you
apart!" The good-natured Portuguese had
gone white and murderously mad. "Me,
Manuel talkin'," he shouted. "So don't
maka me mad, Jack. I get all sick inside.
Worse than likker I get "
Remnants of reason prompted Jack. He
turned to Disko, extending the arm with
the hooks embedded. "All right, start cut-
tin'," he growled.
A white faced, wistful boy sought out
Manuel in the fo'castle.
"I . . . I'm so ashamed!" he blurted.
"Sure," Manuel answered softly. "\Ve
gotta be ashamed once so we don't do
things again what we gotta be ashamed
of, see?"
Manuel's words were soothing music to
the boy's ears. Manuel was speaking to
him again; they were going to be dory
mates after all!
Captain Disko could think like a cod
and drive a ship like the Flying Dutchman,
but there was another Gloucester skipper
who could do as well. Captain Walt Cush-
man of the Jennie Cushman was Disko's
haunting nightmare.
When Disko smelled out new fishing
grounds, scarcely had they dropped anchor
before the Jennie Cushman drifted out of
the fog, close on his heels, her crew calling
sarcastic greetings over the water. When
Disko caught fish, the Cushman caught
fish too. It was a race bet^veen them, to fill
up and turn home for Gloucester.
Off the Grand Banks Disko found the
Jennie Cushman, arrived just before him.
This was the last lap of their race; the
final test. To fill the hold and be gone
first! Nothing else in life counted for as
much as that moment of triumph!
Dories went over, trawl and handlines
went down. Harvey, laboring beside Manuel,
fished with the best of them, a different
boy from the Master Harvey Cheyne who
had gone overboard a few weeks ago.
Manuel was his god. The We're Here, his
ship— the smartest, sweetest, swiftest ship
afloat! Her crew were his shipmates and
no finer men ever set a trawl or hauled a
sheet. A hook embedded in his arm, but
Harvey said nothing to Manuel. He could
stand it till the race was over, scorning to
waste time in having it cut out. Fish, that
was what they wanted, a hold full of fish
and so up anchor and homeward bound
for Gloucester!
Fish!
Days and nights were a mad world ruled
by fish. Men worked till they dropped from
exhaustion, staggered up to sluice their
naked bodies with icy brine, then \vorked
again. The tempo of it grew faster, always
faster. More fish and more, until the hold
brimmed and Disko, grinning at last, bent
a tarpaulin to the halyard and signaled
home his dories.
In triumph Disko slid into the dory
manned by Harvey and Manuel and started
a tour of the anchored fleet, offering vain-
gloriously to carry back any mail for
Gloucester.
"I know ■what you're goin' to say and I
don't want none o' your sarcasm," shouted
one irate captain. "We saw your flag and
heard your bell and I hope you founder
with all hands."
Disko waved airily. "Nice to have yoiu"
good wishes, John!"
A thin little man raced to the rail above
them. "Say Disko, if our next baby's born
afore I get back, talk Molly out of namin'
him Hubert, will you? She's so danged set
on callin' him Hubert "
"Another baby, Martin? Man, you ought
to stay at sea all the time!"
And Manuel added to the general laugh,
"That's ivhat he do if he stay on this
boat!"
But triumph died aborning with their
next call. "Thanks Disko," grinned the
skipper. "But we just come back from
rou'in' our mail over to the Jennie Cush-
man."
They glared at the Cushman, With jib
and mainsail set she was drifting through
the thin mists, getting under way. The
ensign fluttered up to her main peak as
she moved, signal that she was full and
heading for home.
There was nothing left for Disko Troop
to do but up anchor and after the Cush-
man. The dirty, thievin' land shark!
Hadn't signaled he was filled up. Sneakin'
his dories aboard; sneakin' out right under
their noses. W'ell, by thunder, he had
■Disko Troop to deal with! Sail, would he?
Disko would sail the bottom out of the
We're Here, before he took ^Valt Cush-
man's wake to Gloucester!
The Jennie Cushman showed her heels
in a freshening breeze that rose to a gale.
The We're Here followed, a bone in her
teeth, every inch of topsails swelled out
tight as a drum. Her lee rail under the
Cushman raced in a short cut across the
shoals. Disko gritted his teeth and took a
shorter short cut while the leadsman, read-
ing marks that made his hair stand on end
tried to remember how to pray.
"Watch me cut across his bow," 'W^alt
Cushman grinned and put the wheel do^vn.
"Thinks he'll make me budge, does he?"
Disko growled. "Yah . . . I'll budge like
a barnacle." He held her dead on for the
Jennie Cushman and schooner leaped at
schooner.
Tense men held their breath, watching
what seemed inevitable collision. Human
nature couldn't stand the strain, even
hardened fisherman nature.
"Lord's sake, Disko, here she comes!"
"Spit on her bowsprit when she goes by,
boys!" Disko grinned, and swerved not an
inch. And by inches only the two ships
passed, ^\'hite water sluicing off their lee
rails.
■Walt Cushman, seething with fury yelled
down the breeze, "/ had the right of way,
you old beach goat!"
Disko roared after him, "Then you must
have mislaid it somewheres. Aimin' to col-
lect insurance off that ^sreck of yours?"
A breeze, half a gale ... a gale! She
was ho^^■ling now, burying the We're Here
deep. Topmasts were straining perilously,
but Disko hung on.
In the fo'castle Manuel figured the
profits of his trip. "And I've got my nine
dollars ^vages," Harvey added proudly.
"Sure, we very reech men, now," said his
hero. "Ho^\' we spend it, eh?"
Manuel had it all figured out. First the
chinch store to buy candlesticks of gold so
he could burn fitting candles for his
father, lost at sea. Then a nifty purple
suit and cloth topped shoes with big pearl
buttons and a ne^\- tie w'nh yello^v flowers
in it. "And I walk down Duncan street and
I say, 'Hey, look girls— g/c/i.' Manuel, he's
in town again!' "
"Aw Manuel, you don't go with girls!"
Harvey's face grew long with disappoint-
ment.
"Sure, I go with girls," the fisherman
began. And then he sa-is- Harvey's look and
understood. Harvey would be left out of
that. "I think you're right, maybe," Manuel
agreed slo^^'ly. "I don't go with girls. Justa
you and me— we have fine time in Glouces-
ter, eh?"
Through the glass Disko watched the
Jennie Cushman and grinned with relief.
Walt was striking his topsails at last.
'You'd best do the same, Disko," Long
Silver Screen for February 1937
75
THE RIGHT AND
WRONG ABOUT
COLDS!
Facts It Will Pay You to Know!
The world smiles on Nelson
Eddy, and Nelson smiles right
back because the work he is
doing in "Maytime" is just down
his alley.
Jack growled almost under his breath.
"Since you'ie such a nervous galoot. Jack,
you can just go aloft and stand by to put
the foretops'l in gaskets."
Long Jack stared, "Ain't you goin' to
luff her first?"
"I'll luff her after you reach the mast-
head. We ain't heavin' to before we have
to!" Disko saw the fear in Long Jack's eyes
and sprang to the mast to go aloft himself.
It was Manuel who pushed him aside, in-
viting Jack to go with him. Long Jack took
up the challenge and they went together.
Harvey, watching from below, boasted,
"I'll bet Manuel's the best sailor in the
whole fishing fleet!"
The crack of rending timber drowned
his Avords. Long Jack slid do^vn the stay
and reached the deck. Manuel, a second too
late, Kenl overboard with the shattered
topmast.
^Vhen they brought the We're Here up
to the wind, Manuel floated, pinioned by
a twist of steel rope, slowly dying of the
coils that tightened about him.
It was too late to help. Every man
aboard, aching to give a helping hand,
realized that— and Manuel knew it.
One man aboard would not give up hope
and that was because he was a boy in
years— and a boy will not believe in death
until it happens. Harve)', gone overboard
after his dory mate, clung to the floating
raffle and encouraged him to the encl.
Other arms lifted him away then, and
carried him below to hide his sobs— for
it is not seemly that a man should cry.
Minus a topmast and defeated in her
race, the We're Here followed the Jennie
Cushman back to Gloucester. There, at
last, Frank Burton Cheyne set eyes upon
his son again. But it was a changed Harvey
Cheyne the father greeted. The boy had
learned about life and love and death. He
had learned to work and play lair with
all three. And Cheyne's heart swelled with
]iride at what he saw, for he knew now
that some day this boy would make a bet-
ter man than his father.
"THE most ?nov!e slarisli car in
Hollywood now belongs to Dick
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fairly shrieks with chroiniutn trim-
mings. Bet Clark Gable and Gary
Cooper are jealous.
'HE "Common Cold" is the scourge
of our civilization.
Every year it takes more in lives and
health and expense than any other ail-
ment to which we're subject.
The sad part of it is that much of the
misery caused by colds is due to care-
lessness or ignorance in treating colds.
A cold, as your doctor will tell you, is
an internal infection caused by a virus or
germ. In other words, regardless of the
locality of the symptoms, a cold is some-
thing lodged within the system.
Everything but the Right Thing!
The failure of many people to recog-
nize the true nature of a cold results in
much mistreatment of colds. More often
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76
Silver Screen for February 1937
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The Lady of Trills
[Continued from page 29]
fore the trumpet. Maybe next time I have
to be the bass drum." She laughed. "But
no, I do not think that will be so soon."
"They tell me, Miss Pons, that you are
married three times in your new picture,"
I interpolated.
"Yes, in Hollywood they must do every-
thing big. One time to be married in one
picture, that is nothing. It must be three
times, or we do not have the-how-you-say,
box-office?"
The talk of marriage reminded me of
Mr. Kostalanetz. "He was with you in
Hollywood every weekend, wasn't he?"
"Yes, but poor Maestro, he have to fly
back and fly forth. He have the broadcast
from New York twice a week, you know."
"You know " She interrupted herself
with a melodious giggle. "I am studying to
be a ballerina. Mais, oui! I have to work
very hard to be a good dancer. We do
'Coq d'Or' at the opera this year, and for
the first time the singers, we must all be
good dancers too. It will be much fun,
no?"
I guessed it would be. "And what else
will you do at the Metropolitan, Miss
Pons?"
"Well, they promise me I will not do any
more the what-you-call 'nuts' ladies. But
I don't believe them. No, Lee-Lee, she is
always crazy— in opera, I mean! Linda,
Lucia, Anina— all very much cuckoo." She
went up to the top of her brilliant colora-
tura range on the last word and accom-
panied it with a tiny finger's gesture in the
air adjacent to the tiny curl-crowned head.
"Maybe I do Cherubino— you know, the
'Marriage of Figaro.' I would like that
ho-kay." We both chuckled— Mademoiselle
evidently because she liked the so American
expression, I because I do not ever recall
having heard it so adorably intoned.
"And pictures?" I ventured.
"Pictures? Oh yes, I will make more pic-
tures. I have the two-year con-tract." The
difficult word hop-skip-and-jumped out. "I
go to Hollywood next year after my concert
tour in South America."
A somewhat befuddled Skye terrier
scampered into the room and put a halt
to the proceedings by climbing, without
further ceremony, onto his mistress's lap.
She gave his head a playful push and in
her best grand opera style introduced the
canine gentleman: "Mademoiselle— Pa-
nouche! Panouche his name means dirty
rag! He is a very dirty rag too, sometime.
But he is so cute. Y'ou like animals?"
Before I had a chance to reply, she
beamed, "I love them," stretching the word
love across the room and back. "I make
here a home for little deers in the winter
time."
"Little dears," I repeated, obviously
puzzled.
"You know, with the branches on their
heads." I was relieved. Her face lit up with
French enthusiasm as she told of her plans
for a deer sanctuary and of how she plans
to dedicate the Silvermine home to that
purpose. "That is why I like to live in the
country— the animals and the flowers. Oh,
you should see my flowers in the spring!
Just like in Cannes— that is where I was
born. Cannes, it is a 'ville de fleurs.' I will
make here, around my house, a 'ville de
fleurs' some day."
Then, suddenly glancing at a cherub-
flanked clock on the mantel-piece, she
jumped up, sending Panouche on his way.
"I am afraid 1 have to practice now. I must
say adieu, bonne amie."
As I sped back to Gotham along the leaf-
strewn roads of autumnal New England, I
though often of this last word of Mademoi-
selle's. I thought too, how many "amies"
she must have, among the millions of
Americans around whom her magical voice
has woven its spell of gladness!
Life Is Like That
[Continued from page 15]
past the photograph-murals of Paris in the
hall, and on to dance in the dining-room
above. However, they would not be re-
quired. The assumption seems to be that
you just rushed in from a distant job on
location and you arrive in what you hap-
pen to be wearing.
I have seen a girl shopping along Holly-
wood Boulevard in a mink coat worn over
a backless sunsuit and shorts. Men can go
almost anywhere at any time dressed in a
tweed jacket and flannels.
"Are the girls really that good looking?"
Far be it from me to tell you— it's all done
with lenses and lights. I made some sketches
of Miss Joan Bennett while she was work-
ing on a set. She looks exactly as she does
on the screen. If you think I am going to
tell you that Miss Dunne is all a matter
of make-up and movie magic, you are crazy.
Seeing them in person is just as good a
break as you ^vould think it would be.
There used to be a rumor that since all
the youth and beauty of the world went to
Hollywood the ones who failed to make
the grade worked in shops, waited on table
and filled the place with breath-taking and
head-spinning gorgeousness. Don't expect
to find something \vondcrful on every cor-
ner. I still think more beautiful girls can
be seen more freciuently aroimd New York.
"Where are all these Hollv\vood folk
when you don't happen to see them?"
They are working, resting, playing. They
work under the pressure of time and ner-
vous strain. It is done in the seclusion of
well-guarded studios. They want to save
their youth and good looks so they like to
sleep sometime. Like everyone else they
like to play with their own crowd in their
own places.
I met Miss Marjorie Gateson at a time
when she had to reach a studio at six
A.M., to be made up in time for work. She
got back to her hotel at dinner time and
soon disappeared to rest. ^V'ho wouldn't?
I wanted to shoot some pool with ^Valter
Connelly. That can be done when he is a
leisurely actor on Broad\\av. In Holly\\'ood
he was getting up about dawn to drive
about one hundred and fifty miles to work
on location up in the mountains. So, no pool.
When he gets a chance, after he has con-
victed a lot of lynchers as a district attorney
in a picture, ^Valter Abel goes out to Vic-
tor\ ille and rides in the Mojave desert with
his friend Cal Godshall who is chairman
of the annual non-professional rodeo. I
know what that is like. His horse t\vists in
and out bet\veen the spiny bushes and the
strange spiked Joshua Trees. Rose pink,
naked moimtains rise up from the hot sand
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Silver Screen for February 1937
77
touard a faint line of green ^\here the
timber begins. Above that are gleaming
snow peaks. The cattle men and their ^vives
and daughters dance well in the Green
Spot Cafe at night. Every one can take
movie stars easily in that town for all the
picture people who like a horse go there
in October for the Rodeo and ^^•atch the
co^vboys.
Some of these unfortunate actors run
down to Palm Springs and Indio \\here
there are bathing pools and luxury, famous
inns. They may tan in the sun or dance
beneath the date palms. Good fishing or
skiing can be had at various distances up
the surrounding mountains.
"Why thet\ are there any complaints?"
I will give )ou two guesses and tell you
mine.
The work is complicated with colossal
collaboration. The play^vright, Ho\vard
Lind.say, gave me a clue. He ivas fighting
a story that stuck on his typewriter. His
door opened and a funny looking gook put
in his head.
"Can you use anything with canary birds
in it?"
Howard said "No" and noted a touch of
disappointment on the face as it withdre^v
to try another author down the hall. He
realized it was a gag man who had thought
of something that would be screamingly
funny if done with canary birds. He ^vanted
a writer u'ho could fit it into his story.
Richard Connell, the writer who has re-
cently sold his book, "What Ho," for a
Gary Cooper picture, asked one of the
executives at the studio where he is work-
ing in Hollywood at present:
"I suppose it will be easy to get a real
husky Indian around here?"
"So and so is right in the next room,"
he was told, "he handles Indians. Ask him."
So, Dick went up to this guy and said:
"I understand you can find a real, big,
brawny Indian for this picture I'm \\'ork-
ing on?"
The man looked down his nose, aloof
and haughty. He replied: "I only handle
tribes."
"One hundred Chippe\^as or nothing,"
said Dick and went back to his typewriter.
Listed on the books of that studio was
an inhaliitant of HoUy^vood who offered
to the motion picture industry four trained
tarantidas.
There is no race of man, nor form of
knowledge or trick of skill that is not in
Hollywood on demand. Behind the studio
^valls are many business offices. In them are
the authors and their stories, the directors,
the actors, the camera men, the carpenters,
the designers of costinucs and sets, all the
people who get credit on your local screen
and hundrecls more you never hear about.
Between them they tear a lot of pet ideas
limb from limb. It must produce a very
personal, ultimate tension, particularly for
actors.
I don't know why anyone in particular
gets much blame for a poor picture or
praise for a good one when )0u realize how
many cooks stirred at the broth from its
conception to the cutting room. I don't
know ^vhy they do not spoil every broth
instead of turning out jobs that are, every
now and then. coni]ilete works of art. I
suppose ^Valt Disney's stuff, alone, is the
greatest conlril)uiion to international pleas-
lue since the controlled use of fire.
One thing more, but don't tell anyone
I said so. Most of those boys and girls have
made good in the big town before they
went out there. Walter 'Winchell or no,
there is a privacy about New York com-
pared with little places where everyone
knows what you had for breakfast and all
your errors from childhood on. Holly\vood
is a hick town compared with New York.
It must be irksome at times with the in-
cessant limelight on every small detail of
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Pictures On The Fire
[Continued from page 33]
laid her on the bed. Just as he reaches for
the smeHing salts the assistant director
walks between him and the camera. That
take, too, is spoiled, and he has to carry
her once more.
"At least," I remark to Gordon Wyles,
the director, "you're having fun on this
set."
"Yes," he nods. "I'm afraid we may have
our first serious moment at the preview."
"A very novel plot," I jeer to Fanya when
we've left the stage. "It's just like — "
" 'Ladies of Leisure' and half dozen other
pictures," she grins.
Looking eagerly forward to next month,
I leave her and trim my sails for—
R-K-O
ONLY one picture going over here. This
boasts the presence of Preston Foster,
Ida Lupino and Victor McLaglen and
is called "Coast Patrol." It could be
called "Captain Flagg and Sergeant Quirt"
except that Twentieth Century-Fox own
that title. Anyhow, that's what the story
is. Pres and Vic are always battling. The
only difference is that this time the girl
is Vic's daughter and he doesn't want Pres
for a son-in-law.
Vic isn't working in this scene but the
other two are. The scene is the living room
of his Cape Cod cottage, at New London,
Conn., where the coast guard is stationed.
Preston, as usual, is on the make. Ida
wants no part of him and has just told
him "Goodnight and GOODBYE" outside.
But when she gets inside the house, gropes
for the light and turns it on, there is Mr.
Foster sitting in one of the chairs.
"You forgot this," he grins, holding out
her bag.
"Mighty white of you to return it," she
snaps, taking it.
"I think so," he goes on easily. "Do
you always come into the house through
the window?"
"Yes," she squelches him. "It's a left-
over from my second
story days."
Preston rises and goes
to the door. "It's open"
—opening it to show
her— "I didn't want you
to ruin your stockings."
Ida lifts her skirt and
surveys her stockings.
"They're all right," she
tells him in a "Don't-
worry" tone.
"I'll say they are,"
Pres agrees, looking at
what fills out the stock-
ings. As she drops her
skirt, he continues, "I
knew a man who stayed
in a room twenty years
because he thought the
door was locked and
never tried it. You
should've tried it."
"I did try it," Ida ob-
jects as she crosses to
the door, "and it was
locked."
"Oh, no." Pres cor-
rects her. "I made sure.
Look." He steps out-
side, closing the door
behind him. She quickly
puts her hand out and
snaps the catch. Once
more Pres is on the out-
side looking in.
"You look ten years
yoimgcr with dark hair,"
i lie "to Ida.
"Thev told me at Paramount I look ten
years older," she says. "They said I'ni a
regular character actress."
"Dear," Preston interrupts, "when they
cast you with me that cinches it."
I kid around for awhile and start to
leave. "AVell, Dick," Pres calls after me,
"that's the fastest you've ever walked out
on me. LIsually you stay for at least one
take but this was only a rehearsal you saw."
Paramount
UlRST over here is "John Meade's
Woman"— B. P. Schulberg's first inde-
pendent production for Paramount release.
This one stars Edward Arnold, with Fran-
cine Larrimore in the leading supporting
role.
Mr. Arnold (and isn't he one of the
finest actors in pictures? I might add he's
also one of the most genuine people in
pictures) is a lumber tycoon who has
stripped the lumber sheds, thereby destroy-
ing the water ways so there is no water
stored up. When the dry season comes and
there is no water, the farmers start into
town, led by Miss Larrimore. I forgot to
mention Miss L and Mr. A have been wed
earlier in the picture, but they are not get-
ting along very well. If all reports of Miss
Larrimore's temperament are true, that's
easily understood, although it probably
hasn't anything to do with the plot. At the
moment, all she wants is to get even with
Arnold for something he has done— or
hasn't done. He is standing at the desk
in the lobby of the hotel in this little town
when the door bursts open and Miss Lar-
rimore stands there pointing at him like
an .\venging Fury. But the wind has
started up, increasing in intensitv and all
at once a hurricane springs into being. It
sweeps the men off the porch and Miss
Larrimore along with them.
Arnold rushes to the door to look for
his wife ^vith whom, oddly enough, he is
really in love. "Where is she?" he demands
Claudette Colbert, the ill-
starred Maid of Salem, is
tried for witchcraft by the
narrow-minded elders of the
community.
Silver Screen for February 1937
79
of George Bancroft, his lieutenant.
"She's here!" George shouts above the
ivind. "She was!"
But just then a crazy farmer staggers up
with a gun, intent on "getting" Arnold,
the cause of all their trouble. "I'm here,"
he yells.
Bancroft grapples with the farmer in an
effort to save Arnold, the gun goes off
and Bancroft lies bleeding on the ground
beside Eddie.
"TimI" Arnold yells. "Man, Man! Tim!"
And then Francine crawls over and
laughs in Arnold's ear. "He's dead!" she
yells, off her nut.
"Oh, God, bring him back," Arnold
moans.
"He won't!" Francine throws the hooks
into him.
"I'll burn in hell!" Arnold offers the
Lord. "I'll burn in hell!"
"You're in it!" Larrimore screams.
This is really the first big dust storm
that has ever been created for the movies
and I mean to say they have done them-
selves proud. I feel like rushing home and
taking a bath myself. But there are other
sets to be covered, so I restrain myself.
There is the ill-starred "Maid of Salem"
— Claudette Colbert's latest. Claudette was
in an accident during the production of
this picture and almost got bumped oft.
When she finally got well enough to go
back to work the strain was so great she
^sas having hysterics all the time. And now,
on top of all this, she's been accused of
\vitchcraft and is being tried. As a matter
of fact, all they have on her is that she is
happy in a day ^vhen it is considered sin-
ful to be happy. She has met Fred MacMur-
ray, a refugee from Virginia, with a price
on his head for killing a man. Naturally,
he being the hero, he didn't really commit
murder. He is only suspected. But, equally
naturally, he has to remain in hiding until
he's cleared. He teaches Claiidette to dance
the mazurka. Once she's dancing it by her-
self and when a little boy sees her and
asks what she's doing, she playfully tells
him she is dancing with a man. When the
town gets het up over the witch question,
it is assumed the man she was dancing
with was the devil, himself!
Claudette tries to explain all this but the
people don't umnt to believe her innocent.
"Mistress Clark," says one of the judges,
"you have told a strange story. If there
were such a man as you now claim, why
didn't you tell about him in the beginning?
Why did you deny his existence?"
"Because I believed Timothy had seen
him and could describe him," she replies,
her manner showing relief at his kindly
voice.
"Why shouldn't he describe him?" the
Judge goes on.
"Because he was a political refugee, in
hiding here," she explains.
"Ha!" another judge sneers. "An artful
tale!"
"Is he in hiding still? " the first judge
continues.
"He must be," Claudette answers, "or—
or he would come to me now."
"Is he known to anyone here?" the sec-
ond judge persists.
"What is his name?" one of the eldcis
puts in.
Claudette looks from one face to another,
becoming tense— panic-stricken.
"Can you tell us anything about him?"
the elder baits her.
"I cannot! I cannot betray him!" she
screams, like an animal at bay.
She is making a strong impression among
the spectators when Edward Ellis, another
elder, rises suddenly and breaks in fanati-
cally. "Of course, she cannot betray him!"
he shouts. "She speaks of her master— Satan
himself!"
That does it. Immediately there are cries
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It is hard enough on Claudette to have
to work in a scene like this in her present
condition without adding to her burdens
by forcing her to make small talk. So I
don't even go over to say "hello." Fred
MacMurray isn't working in this scene and
I don't know any of the others on the set.
But there is sure a swell cast— Harvey
Stephens, Gale Sondergaard, Louise Dresser,
Halliwell Hobbes, Edward Ellis, Beulah
Bondi, Donald Meek, Zeffie Tilbury, Bonita
Granville (the imp in "These Three") and
Virginia Weidler and Sterling Holloway.
20th Century-Fox
^^NE picture going out here, "Woman
Wise"— another newspaper story— fea-
turing Michael Whalen, Alan Dinehart, Ro-
chelle Hudson, Douglas Fowley, Chick
Chandler and Pat Flaherty.
The latter (who is really an old time
boxer) plays a boxer in the picture.
Whalen is a reporter (sports) who has been
taking cracks at Flaherty for something.
I believe he said fights were fixed.
Dinehart has arranged a private bout
between Whalen and Flaherty. Flaherty is
in the ring in his trunks, waiting for
Whalen.
Then Whalen breezes in. He apologizes
for being late. After a pleasant exchange
of insults he climbs into the ring.
"Which do you want," Dinehart asks
meaningly, "sixteen ounce gloves— or pil-
lows?"
"Regulation," Whalen cuts him off. "Six
ounces— and I wish it was your chin."
"Okay with me," Flaherty agrees. "Only
look here, Mr. Browne, I don't want to
hurt you. I got nothin' against you, ex-
ceptin' maybe those dirty cracks you made
about me and my daughter."
"And I've nothing against you," Whalen
agrees genially. "But with all due respect
to your past record, I'd rather buy you a
rocking chair for Christmas than knock
you horizontal."
"Well," Pat begins, "if that's all, why
don't we call it " he breaks off suddenly
as his forehead wrinkles and he turns to
Dinehart. "Hey, which way is horizontal?"
"The easiest way," Chick butts in, put-
ting his hands up to the side of his face.
"The sandman route. You know, take a
number from one to ten."
"Come on," says Pat furiously to Whalen.
He turns to Chick for a parting shot. "Start
counting— over himl" pointing to Whalen.
At Grand National
HTHERE are two pictures shooting out
^ here. One is "Secret Valley" starring
Richard Arlen. It is adapted from a Harold
Bell Wright novel and is a good old time
blood-ancl-thunder Western.
In this picture Virginia Gray, a New
York society girl, marries a gangster with-
out realizing what he is. She discovers it
two hours after they're married, ducks out
of the hotel, takes a train to Reno and
hits for a lawyer, expecting him to handle
the case. Well, as soon as the lawyer finds
out who her husband is he gets cold feet
and refuses to have anything to do with
it. Virginia goes to another la^vyer who
agrees to get the divorce but advises her
to get out of town and go live on a ranch
until her case comes up. He won't let her
go to a dude ranch because that's the first
place people would look for her. Instead,
he sends her to the ranch of a friend of
his. And whose ranch do you suppose it is?
None other than Dick's.
In the meantime the first lawyer, seeing
a chance to ace himself in with the under-
world, wires her husband that she's in
Reno. The husband and some of his hench-
men take a plane for Reno.
To complicate matters, this same lawyer
(the first one) holds a note signed by Dick's
father (or .f 10,000 and he says if Dick can't
pay it in a week he's going to get a judg-
ment against the ranch. Dick is worried
sick, I can tell you. It's noivhere near time
for the round-up but there's nothing to do
but' round up the cattle and sell them be-
fore they're fattened up.
He gets his cow-hands together and off
they start on the round-up. Virginia
doesn't want to be left alone at the ranch
so she stows away in the chuck wagon and
doesn't show her face until they pitch
camp. Dick is quite irked when he sees
her. She blithely announces she's a stow-
away so Dick says, "Well, you know what
they do with stowaways, don't you? They
make them work. Get busy with that stack
of dirty dishes and pans."
There's nothing for it but for Virginia
to dip her lily whites into the dirty dish-
water and get busy.
"As soon as I finish this picture," says
Dick grandly, "I start on another one
called 'The Devil's Highway' and as soon
as I finish that one I'm supposed to go to
Morocco to make one for Gaumont-
British."
"But you just got back from a six
months' location trip for them," I com-
plain.
"Isn't it wonderful?" Dick grins.
The other picture shooting out here is
"The Great Guy" starring James Cagney.
It's his first, needless to tell you, since he
won his suit from Warner Bros, and be-
came a Grand National star.
This is a story of the department of
Weights & Measures. I can't tell you the
whole story but the boss is sick and Jimmie
is in charge. The scene is his office. James
Burke works for the department and I
think Bernadine Hayes does, too. Anyhow,
Mr. Cagney has been on the make for her
without getting anywhere much. He leaves
her with Burke and sits down at his desk.
"Haile Selassie," Jimmie greets Burke
as he sits down.
"I'll be goin' now, Johnny," Burke an-
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Silver Scree for February 1937
81
nounces in a thick Irish brogue. "Don't be
workin' too hard. "
"See you tomorrow," Jim smiles. "And
try to be on time. "
"I'm always on time," Burke lies, and
goes off into a long spiel on the exceptions.
Jim has work to do and doesn't pay any
attention to Burke. Burke sees this and
grabs Jim's arm to attract his attention.
"We close at five-thirty," Jimmie re-
minds him.
'Don't work too hard," Burke repeats.
"I always say the only pleasure a man can
get out of his work is by doing as little
of it as possible. Unless it's a job that re-
quires work, in which event (grabbing
Jim's arm again) a man can always ciuit
his job and look for one "
"Good night!" Jim exclaims pointedly.
"Good nigln," he adds smilingly to Ber-
nadinc. "Take care of yourself."
"Don't worry about her," Burke laughs.
"She knows all the answers."
That's about all there is to this scene.
"Glad to be back at work?" I ask Jim.
"It's swell," he replies. "We've got a
great cast— Mae Clarke plays opposite me—
John Blystone, the director is fine, it's
Douglas MacLean's first production for
Grand National and he's doing a splendid
job of it, and I like the story. "
"'iou're really pleased with everything
about the picture?" I query.
"Perfectly," Jim answers.
"The millenium!" I yell and duck as
Jim brings up a haymaker from the floor.
There's one studio left
M-G-M
I think they've taken liberties ivith the
book, "Maytime," because when I saw the
play years ago there was no such French
cafe in it as this one I'm in now.
The time is 1865 and the place is packed.
Nelson Eddy and some friends of his (stu-
dents, all) are there, drunk as lords. Nelson
is on top of a table singing some song
(that wasn't in the stage play, either). He
hits a high note, holds it until his eyes
almost pop out of his head. "When he can't
hold it any longer, he falls over into the
outstretched arms of his friends. They hold
him aloft, going into a burlesque dance
across the room. Finally they stagger and
colla]3se in a heap. Eddy is catapulted
over to one of the tables. When he picks
himself up he is staring into the amused
face of Jeanette MacDonald.
I lake it that this is their first meeting.
The stage play was one of the loveliest
musicals that has ever been produced— and
one of the most successful, too, I might
add. It may be that the scene I saw is only
a sort of prologue they've added and the
original story remains pretty much intact.
If it does, you're in for a treat.
That about winds us up for this month
so, until next year, Adios!
BEUEVE IT OR NOT
F
ROM the Hollywood Reporter we
copy the folloiving, u'hich in turn
they copied from the London Daily
Express: "/ understand that the
Ministry of Transport is considering
a scheme for iciring off a large sec-
tion of the West End and closing it
to traffic. This compound wilt be re-
sented for Miss Marlene Dietricli,
the film actress, and those u'lio xvani
to look at her. She luill be flood-lit
every evening from seven to eight,
by kind permission of the Gas Light
and Coke Company. It is hoped that
this scheme luill enable the eccentric
miniority which is not interested in
Miss Dietrich to go about its busi-
ness or pleasures u'itliout interfer-
ence."
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82
Silver Screen February 193 7
A Movie Fan's Crossword Puzzle
By C-Karlotte Herbert
Pat O'Brien in "China Clipper"
NOW come the birthdays of our great-
est presidents, and these holidays
suggest a duty to the men who direct
the progress of motion pictures.
The screen has so successfully told the
biographies of some of the world's grate-
fully remembered men that it could logi-
cally take up a further development. That
is, have pictures that tell the stories of
some of the great IDEAS which have so
completely changed the world. Every idea
starts very small, and, as men put their
energies back of this idea, it gains in im-
portance until finally it sweeps across the
world and changes many lives. For ex-
ample, the writer believes that the thrilling
drama of the conquest of the air could be
made into a great picture.
The story of how the Wright Brothers,
Wilbur and Orville, from the humble set-
ting of their bicycle repair shop, conceived
the wonderful idea that man could fly is
most inspiring. The facts do not have to
be altered and glorified. Their school
teacher sister gave them the necessary
money and they went to the sand dunes
of Kitty Hawk to try out their ideas. Here
it was that they first flew. For the picture,
a plane exactly like their first one could
be made and flown. Make no mistake, there
is drama and human interest in this story.
We owe the discovery of flying to the
Wright Brothers and the screen should
give their story to the world.
The picture "China Clipper" was a suc-
cess everywhere. Now let us have a film
giving Orville Wright the credit which
dishonorable men have tried to take from
him.
There are many great inventions that
we use daily, and, like aviation, each began
with just a thought. Motion pictures, also
an American invention, should be the
medium of telling the people of today the
romance, imagination and drama of the
lives of the men who changed our daily
routines. Wc have met a number of inven-
tive pioneers and they were all singularly
quiet and modest men. The "idea" of one
of them in particular has saved thousands
of lives.
Now for pictures based on truth; thrill-
ing, dramatic, inspiring truth.
ACROSS
1. ■'Calamity Jane" in "The Plainsman"
4. Regards with strong approval
11. The valet in "The Smartest Girl in Town"
15. Mistake
16. "The Maid of Salem"
17. A shade tree
18. A number
20. Masculine name
21. Be inactive
22. Errol Flynn's brother in "Charge of the Light
Brigade"
23. Funeral dirges
24. French preposition
25. A hardy cereal
27. A beverage
28. Dry measure (abbr.)
29. Inclination of the head
32. Paddle
35. Her latest picture is "Go West, Young Man"
37. Elder (abbr.) ^
38. A photographic process
44. A degree (abbr.)
45. With Lee Tracy in "General Delivery"
47. Mrs. Errol Flynn
49. One of the "Three Smart Girls"
52. A successor of Mohammed
54. Type measure
55. Shortened form of masculine name
56. Choose by ballot
59. North latitude (abbr.)
60. Symbol for Tellurium
62. To stop or seize by the way
64. Star of "General Delivery"
66. A British film actress (initials)
67. Thoroughfare (abbr.)
68. Track worn by a wheel
70. In a right manner
73. Female of the deer
75. "Oiwin" in "Three Men on a Horse"
77. Companion
78. Southern state
81 . To be in pain
82. Gives assistance
83. With Bing Crosby in "Pennies from Heaven"
DOWN
1. He supplies much comedy in "Three Men on a
Horse"
2. Ireland
3. He stars in "Come and Get It"
4. To modify
5. A field flower
6. Be silent
7. An image of divinity
8. To steep
9. The queen of the Barrymorc clan
10. Fashion
12. A radio-active element
13. Island (poet.)
14. With Richard Dix in "The Depths Below"
19. A female sheep
21. Illicit Gold Buying (abbr.)
26. An age
27. Part of a circle
30. Musical instrument
31. He stars in "Winterset"
33. Endeavor earnestly
34. Fanciful
36. Make suitable
38. With Hepburn in "Quality Street"
39. A prefix
40. Expression of joy
41. Ordnance Department (abbr.)
42. A resinous substance
43. Small stream of water
46. Anna Held in "The Great Ziegfeld" (initials)
48. Symbol for Titanium
49. "The Man Who Lived Twice"
50. Her next picture is "No Hard Feelings"
51. Featured in "Come and Get It"
53. Mrs. Ralph Forbes
56. Letter of Greek alphabet
57. Speech of hesitancy
58. First name of popular comedian
61. Robert Kent's love interest in "King of the
Royal Mounted"
63. The blonde meanie in "Born to Dance"
65. Period of time
69. Exclamation of disgust
71. A call in driving animals
72. Touch lightly
74. Sash worn by Japanese women
75. Cry of a goat
76. An ugly old woman
79. The released prisoner in "Sworn Enemy"
(initials )
80. Opposite Joe E. Brown in "Easy Going"
(initials)
Answer to Last Month's
Puzzle
CI EiHHEiDgHraan m\
ELL I S
ETA
E A G L Fl
THE CUNrO PRESS, INC.. U. S. A.
fORA VATB
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HOBBY? Ydo.
ARTS ? ^/^i^z^^
■ /
ENTERTAINING ? ^
INTERIOR DECORATION ?
A CHAHMINC
PH I LAPELPHIilii
SPEAKS
ER MIND
Mrs. Anthony J. Drexel 3rd, of Philadelphia, New
York, and Nassau, photographed in the grand dining
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When dining, think of digestion tool
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Mrs. Alexander Black, Los Angeles
Miss Mary Byrd, Richmond
Mrs. Powell Cabot, Boston
Mrs. Thomas M. Carnegie, Jr., New York
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Mrs. William I. HoUingsworth, Jr.
Los Angeles
Mrs. Chiswell Dabney Langhorne
I irginia
Mrs. Jasper Morgan, iVeif York
Mrs. Nicholas G. Penniman III
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Miss Anne C. Rockefeller, Neiv York
Mrs, Brookfield Van Rensselaer
New York
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creen
March'
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white teeth and healthy gums. But how
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dull teeth and dingy gums— tragic evi-
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NEVER NEGLECT "PINK TOOTH BRUSH"
That first warning tinge of "pink" on
your tooth brush- how harmless it ap-
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ignored the warning of "PINK TOOTH BRUSH"
pears and yet how serious it can prove.
For trivial, trifling as it may seem— ig-
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When you see it— see your dentist. You
may not be in for serious trouble, but
your dentist is the only competent judge.
Usually, however, he will tell you that
yours is simply a case of gums that have
grown soft and sensitive under our mod-
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more resistance and work — and as so
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will respond to the healthful stimulation
of Ipana Tooth Paste and massage.
For Ipana is a modern
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Play saje! Adopt this common-sense
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Change to Ipana and massage today-
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smile of ench.antin? loveliness!
Silver Screhn
3
THE MOST Powerful LOVE STORY EVER FILMED!
...Of a Patriot Who Lost a Country When He Found a Woman
You thought "San Francisco" was exciting —
but wait ! You'll be thrilled to your finger-tips
when this mighty drama comes thundering
from the screen. A fiery romance with your two
favorite stars ! . . . CLARK GABLE— courageous,
masterful leader of a fighting nation . .
MYRNA LOY— the bewitching beauty in whose
arms he forgot the pain of leadership . . .
Answering the call of millions of picture-
goers M-G-M has brought them together in
the most dramatic heart-stabbing love story
of our time!
CLARK GABLE • MYRNA LOY
PJiLltM£]:.K.
A Metro-Goldwyn-Mayer production based on the great
stage play that thrilled Broadway for months, with
EDNA MAY OLIVER, BILLIE BURKE, and a great
M-G-M cast. Directed and produced by John Stalil.
4
Silver Screen
©ci
REFLECTING the MA '
MARCH 1937
Volume Seven
Number Five
ELIOTKEEN
Editor
Elizabeth Wilson Lenore Samuels Frank J. Carroll
Western Editor Assistant Editor Art Director
CONTENTS
STORIES AND ARTICLES P^ge
FUN IN MEXICO Ben Maddox 22
The Stars Seek Relaxation Below The Border
RANCHING DE LUXE! Annabelle Gillespie-Hayek 24
The Players Go Back To The Soil
PROJECTIONS Elizabeth Wilson 26
Kay Francis
WILD BOY OF SIBERIA Whitney Williams 28
Mischa Auer Conquers Hollywood
LADY LUCK SMILES W. Gertrude ^VALKER 30
And Michael Whalen Smiles Right Back Again
PUBLICITY DODGERS? Ed Sullivan 31
Do They Desire The Limelight Or Privacy?
NEVER GROW OLD Henry Willson 33
The Secret Of The Perennial Juveniles
PLAYERS WIN FABULOUS RICHES Liza 34
Screen Artists Are In The Money
"SITTING PRETTY-NO COMPLAINTS" Leon Surmelian 38
Many Broadway Actors Prefer Hollywood
p^j^g Thomas Foye 40
Freddie Bartholomew and Mickey Rooney
VILLAINS! > J'^^''^'^ "^'^'^'''^^ 57
The Excitement Of The Play Depends Upon The Menace
"BEYOND THE SHADOW OF A DOUBT" Jack Bechdolt 58
Fictionizalion of "We're on the jury"
MONTHLY FEATURES
The Opening Chorus • 5
"You re Telling Me?"
Tips on Pictures '°
Soup-The Basis of Many Dishes Ruth Corbin 14
How to Develop Your Beauty Mary Lee 18
Exercises That Give Loveliness
Topics for Gossips -\
Pictures on the Fire S. R. Mook 36
Looking Over The Lots And Studying The Studios
Reviews of Pictures Seen °'
A Movie Fan's Crossword Puzzle Charlotte Herbert 94
The Final Fling Eliot Keen 94
ART SECTION
We Point With Pride 4'
To Gary Cooper
That "Come-Hither" Look 42-43
The Magnetism In A Glance
Treasures Ahead! . . ■ • • -44-45
There Are Exciting Pictures For The Fans To Enjoj
Outdoors Belongs to Everyone! 46-47
Nature Is A Screen Favorite
Work for Beauty-Dance for Joy 4o-49
Health Pays Dividends In Happiness
Going South This Winfer? 50-51
Take A Fashion Tip From The Screen Players
Heaven Is in Your Arms 5-
The Ecstasy Of a Clinch
Hey! Be RefinedI 54-55
Every Hero Packs A Wallop
Camera Catches 5"
Players Ofj Parade
COVER PORTRAIT OL KAY IRANCIS BY MARJ.AND STONE
SILVER SCREEN Published monthlv bv Screcnland Macazine, Inc.. at K West 45th Street. New York, N. T.
V G Heimbuchcr President; J. S. MacDermott. Vice President: ,T. Superior. Secretary and Treasurer. Adver-
tising Offices- 45 West 4.5lh St.. New Yorlt; 400 North !\Iitlils;in Ave. riiiciico; nil S. Alexandria Ave.. Los
AnKCles Calif. Yearly subscriptions $1.00 in the I'nite.l Sl:itr^. il; .li'iH'iulrniliN Ciil.;! ;in.l Mexico; in
Canada - foreiEn $1 00 Changes of address must reach us five weeks in advance of the next issue. Be sure to oive
boththo old and ncvu address. Entered as secoml class mailer. ScpteiiiI.er T.t i;i:in. at tlie Post omco. New York
N Y' under the Act of March 3 1S70. Additional entry at CliieaKO, Illinois. Copyright 1937 by bcrocnlund
MaEazine, Inc. Printed in the V, ^S^^A^ ^^^^ ^^^^^^ CffiCULATIONS
Carole Lombard
A Letter From Liza
DEAR BOSS:
Well, that Hollywood is up to its
old tricks again, just playing parlor
games like mad. Hardly do you get your
after dinner brandy down these nights be-
fore your hostess blandly announces, "Now
we'll play Ghosts." And it's just too bad
for you if you are a slow-witted dope and
need time out for thinking, because these
movie stars go like lightning. Of course,
the favorite dinner table game is still cast-
ing "Gone With the Wind." Oh, I do wish
Mr. Selznick would hurry and start that
picture so I wouldn't have Bankhead, Hop-
kins and Davies hurled at me over the
entree.
If you're any place around Lionel
Barrymore when he's feeling playful you'll
probably find yourself in a harum-scarum
game of "In the Manner of the Word,"
and when you've seen Lionel act out "pre-
cariously" you've really seen something.
"Who Am I?" is the favorite with the
Colbert Clan and Claudette can keep you
guessing who she is for hours.
"Scrambled ^Vords" is guaranteed to
drive you hopelessly nuts in no time. Stuart -
Walker introduced this game to Holhwood
r.bout a year ago and since then there hn\e
been plenty of cases ready for the padded
cell. Beulah Bondi seems to be the best
at "Scrambled Words," with Carole Lom-
bard and Director \Valter Lang runners-
up. Funny that Carole who was cited as
one of the three exponents of unaffected
good "American" speech by Professor
Simons, noted speech authority of North-
western University, is now scrambling
words. It must be the effect of "Swing
High, Swing Low," which she has just
made. Jean Harlow and Bill Powell, who
are decidedly talented about games, can
think up a new brain twister every evening.
At Una Merkel's "Desert Island" still
reigns supreme. Of course Una, being a
sweet gal, will always say, "What ten people
would you like to have with you if vou
were ship-wrecked on a desert island?" But
sooner or later one of those nasty people
(myself, no doubt) will change it to, "W'hai
ten pet hates in Hollywood Avould yon like
to have isolated on a desert island? ' Re-
cently a new version of that game has
|)op]icd up in the betlcr play-rooms— it's
called "Casting the \Vorst Picture of the
Year. " The idea is to take the plot you
dislike most and cast il with the actors
\ou dislike most. You'd be surprised (and
so would the actors) to learn whM lead-
ing lady and what
leading man and
whdl juveniles usual-
ly get top billing.
Well, it's just ;iiiothei
way of gossii)iiig.
5
III „l„
' Jee
THE LOVE STORY WHICH CHANGED THE DESTINY OF AN
EMPIRE! THE PICTURE THE WORLD IS WAITING FOR!
. Direct from its sensational $2.00
runs in Hollywood and New York I
"Ring Twice
For Good Newii a
Ring Once S
fot Duosteil"
The critics~agreo . . . it's ringing TWICE
for you!
"Hiftraction!" cheers Walter Winchell!
"Huzzahs for 'Lloyds'!"shouts N. Y. Sun !
"Exciting asa bugle coll!" applau^sTi me!
IGDYSfflDl-nRONEPOlI
C. Aubrey Smith • Virginia Field
AND A MAMMOTH CAST
Directed by Henry King
Associate Producer Kenneth Macgowan
Darryl F. Zanuck
In Charge of Production
/ ^Vffl'SPI^L '^narge ol Production i^^H
j^ws \v\m (III m ssn^^
Silver Screen
■m HITS HRF
HE AIN'T BOT RHYTHVA^
ft'
^^Mif. NewYork's latest
real-life romance set to
Irving Berlin's music in a
show as big as the town . . .
as good as the songs!
'f'STOGUlBIINIEEOFTHEBESlIN tHlWM»-
Silver Screen
• Don't tell me about old-fashioned lax-
atives ! While I wasted time on them, my
constipation got worse. My breath was
offensive. Nightmares ruined my sleep.
Even the sight of food made me sick. My
complexion? Well, let's not go into that!
Then I did myself a big favor by taking
my druggist's tip. "Try FEEN-A-MINT,"
he said, "it's different!"
• When FEEN-A-MINT frees accumu-
lated wastes, life is brighter at once. Con-
stipation's bilious headaches go. Natural
appetite returns. A cleared intestine helps
bring back the natural joy of youth, the
normal sleep of childhood. Why not put
your self \n this thrilling picture? FEEN-A-
MINT tastes so good, acts so differently!
One of the big differ-
encesof delicious, mint-
flavored FEEN-A-MINT
is in the 3 minutes of chew-
ing. Scientists agree this helps makeFEEN-
A-MINT so dependable— so satisfactory.
Its benefits work g-r-a-d-u-a-l-l-y in the
lower bowel — not in the stomach. No grip-
ing or nausea. No break in sleep. The
favorite laxative of 16 million users. Eco-
nomical, too ! Write for free sample to
Dept.T-d, FEEN-A-MINT,
Newark, New
Jersey.
SliKhtly
hiKl^t-'i' i" ('iinuda.
//
^ou re
Telling
Me?
//
Air Your Views.
Write A Letter And
Tell TKe World.
^^^^
Editor, Letter P.\ge:
The color picture, "God's Country and
the Woman," with the many scenes of
forest and rivers, came out so brilliantly
that there is no question about it— color
pictures are more enjoyable. And in line
w'iih. the other improvements, George Brent,
with his little moustache, is better looking.
That goes for Gable, Errol Flynn, John
Boles and Ronald Colman, as well.
And now that all the handsome men
^^•ear these beautifiers, the rest of us
needn't worry about it. After all, they get
paid for being photographed and we are
supposed to get paid for something dif-
ferent.
I'm a salesman. Gimme that vacuum
cleaner!
George W. Peddler,
Chicago, 111.
Why not be original and grow one of
those "handle bar" moustaches— she'll love
it?
Dear Sir:
It seems that the "story" has a great deal
to do \\ith the successful picture. Why not
offer a prize for finding the best story suit-
able for a picture so that everyone can be
looking and reading to find the prize story?
How about it?
Renee Fontaine,
Miami, Fla.
How can an editor award the prize? Read
all the stories? Help.'
Dear Sir:
111 the city newspaper that we buy, a
letter I'oni a reader voiced a protest against
the stupid immigrants, who do not even
know the names of the early settlers of
this country who stood out in the days of
their lives and became legendary heroes to
subsequent generations.
The motion pictures that tell of Buffalo
Bill and Daniel Boone wiW perhaps make
I lie |3rcsent day naturalizctl Americans more
eager to he like the incu who made this
iaiul from the wilderness.
I am dcscentlcd from a Pilgrim who ar-
ri\cd ill llie good ship lortiine in iGai and
I (an'l help being ralhcr arrogant aboiii it.
I hi' people who dale back to the "Maiire-
tania" and the ".\ciuitania" probably de-
serve a screen drama glorifying their brave
Buddy Ebsen is
a dancer with
an individual
style of comedy.
His next pic-
ture will be
"Broadway Mel-
ody of 193 7."
ancestors. How about that, Mr. Zukor?
Carrie Ford,
Boston, Mass.
There -was a young felloitf by the name
of Lindbergh whose people came from
Sweden and who perhaps deserves mention.
Or, Farley from Ireland. Maybe he lived a
good screen story when he climbed up to
the rank of Postmaster General.
To the "You're Telling Me?" Dept.:
There is something happening to people
and I wonder if you folks of the movie
business realize it? I mean that those of us
who go a lot to the pictures find someone
Avho becomes important to them. I mean,
for example, I have lived in Litchfield
County, Conn., all my life and, of course, I
wouldn't kno-iv how to act if I ^vas to be
all of a sudden transferred to Holly\\-ood
or some public place in New York City.
Gary Cooper has become a pattern for me,
particularly in "Mr. Deeds." He has made
me feel that the secret of appearing well is
to stay just what I am. No putting on airs.
I guess you ^vouldn't understand this, but
I'll bet Gary ^vould.
Archie Upham,
Canaan, Conn.
Gary from Montana changed himself to fit
in with the people around him. That isn't
putting on airs. Should he have kept on
smolung a pipe? Well, maybe.
Dear Editor:
^V'hat I enjoy most on the screen are pic-
tures with laughs. I also like surprises.
There must be a lot of people \vho like
the same kind of pictures that I do. There
was "The Thin I\fan" and "It Happened
One Night" and then "Mr. Deeds Comes to
Town, " the film that Gary Cooper made.
On the strength of these successes, the pro-
ducing companies should feel safe in mak-
ing some more.
Everybody likes to laugh.
Are more comedies coming?
Horace Carroll,
San Antonio, Tex.
Modern comedies arc such a hit that all
the producers are planning to go hilarious.
It's a trend.
Family-
sized boxes
only
15c & 25c
8
S 1 I. V i: R S c R I; i; n
EHCER fOR lOUE
But Misfit Perfume Ruined Her Appeal!
UNTIL SHE FOUND THE Rm PERFUME
TO EXPRESS HER PERSONALITY
WHEN THE MUSIC STARTED and the boys took their partners for the first dance— there
I was again, just a wallflower. Was I blue? I was broken-hearted, utterly discour-
aged—crushed ! What could it be about me? I tried so hard. This was my final
effort to attract a partner who would be mine — who might be my escort — who
might . . . but what was the use? My lovely dress — a grand permanent and
facial just that afternoon ! I did look stunning— everyone said so. What was it about me
that was wrong? What did I lack, what did I say or do, or fail to do? Men actually
avoided me — or if they stopped to talk for a moment, never asked me for a dance!
COULD IT REALLY BE, as I had read, that the wrong perfume — one not suited to
my personality — might actually ruin my appeal ? I decided to try once more,
even though it meant discarding my expensive perfume, which / liked but
which, as the article I had been reading said, might be a mis-fit perfume.
I FILLED OUT the Personal Perfumers Chart and sent for a sample of Per-
sonal Perfume blended exclusively to fit my characteristics. I want to tell
you that the result has been absolutely miraculous. My perfume seems
to express the real me — its lovely fragrance seems to surround me
with love itself! And do my many present admirers notice it?
Indeed they do, although they might not know exactly what it
is that makes me more appealing. But / know the secret ! I have
my own private formula for lovel I have found the way to
popularity and new happiness in my first little sample vial
of Personal Perfume . . .
AN EXPERIENCE typical of many hundreds of true stories of
success with Personal Perfume told us in person and in
hundreds of letters now in our files.
mnDG FOR lOUE— BIEHDED FOR VOU!
FLOWERS ARE MADE FOR LOVE. Their fragrance is the essence of love, if used intelligenUy. The
exquisite woman knows that even the most costly perfume actually detracts from her feminine
appeal if it is not suited to her personality. Many fastidious women of means use only a
personal perfume blended precisely to their own personalities. But it is only now, after years
of experiment that it is possible for us to offer this method whereby the woman of modest
means may also have a perfume expecially blended to express her personality. The Chief
Perfumer of "Personal Perfumes" draws from all the fragrances of the world in order to
blend your perfume, and express j'ozir cliaraclertsltcs . . . using this Chart as his guide. Would
you care for a sample of your Personal Perfume? Fill in this interesting chart — mail it today!
Sample of your Personal Perfume SENT ON REQUEST
FILL OUT THIS CHART NOW- MAIL IT TODAY!
The best way to find out if a Personal Perfume blended especially to suit your characteristics,
attain your desires — is to try it! No charge is made for a generous sample. Send only 10 cents
of mailing and postage. Fill in the chart now! Mail it with 10c in coin TODAY!
will help you
to cover cost
inc
IS cfiST uufiSHinoTon ST.
^Indianapolis ••• Indiana
PERSONAL PERFUMERS. INC.. IS E. Washington St., Indianapolis, Ind. Dept. 102
Please blend a generous sample of Personal Perfume for me based on this chart which I have filled out
correctly, to the best of my knowledge. You agree to keep the personal information contained in this
chart absolutely confidential. I understand that my perfume is free, (except for 10c mailing costs which I
enclose) and that this request for a sample places me under no obligation.
Which of These words best describes your personality:
□VIVACIOUS DRETIRING □CHANGEABLE □HAPPY □MOODY
HEIGHT Weight. FAVORITE COLOR
Are You SINGLE MARRIED DIVORCED WIDOW
HAIR
□ Blonde
□ Black
□ Brown
□ Red
□ Auburn
□ Grey
EYES
□ Dark Blue
□ Light Blue
□ Grey
□ Brown
□ Hazel
□ Black
COMPLEXION
□Fair □Medium
□ Dark
What type of man do you most admire? .
Name
Address (Or R.F.D.)
Cily or Town .State
(Be sure to enclose 10 cents in coin to defray mailing costs)
Silver Screen
9
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Eugene Pallette
confides in John
Howard his opinion
of their picture,
"Easy To Take."
Ti PS On
Pictures
ACCUSED — Good. A British-made f lm starring
Douglas Fairbanks, Jr.. and Dolores Del Rio. The
scene is laid in Paris where Doug and Dolores are
playmg in a variety show. The leading lady is
killed and Dolores is accused of the murder. The
trial in the French court is highly effective. There
are some fine musical numbers woven in with the
tragic plot-theme.
AFTER THE THIN MAN— Excellent. Al-
though this IS not exactly on a par with its prede-
ces'sor, "The Thin Man," it provides a thoroughly
intriguing my.stery and some ingratiating comedy.
As before, William Powell and Jlyrna Loy play
the happily married crime-investigators with per-
fect ease and charm. Elissa Landi lends splendid
support.
BATTLE OF GREED— Good. The third of a
series of filmsi depicting historical incidents, this
one treats with the discovery of silver at Virginia
City. There's plenty of old-fashioned melodrama,
and abundant action and romance. Tom Keene
plays the lead.
CAPTAIN CALAMITY— So-so. George Hous-
ton is cast as the captain who pretends to have
found pirates' treasure on the South Sea Islands,
and then has every crook on the Islands gunning
for him so that they can collect the treasure them-
selves. The characters are over-drawn and the
theme is not worked out convincingly. (i\Iarian
Nixon, Vince Barnett, Roy D'Arcy).
CRACKUP— Good. Peter Lorre and Brian
Donlevy contribute excellent character portraits)
in this highly dramatic spy story centered around
the theft of a new American aviation invention.
Others in the fine cast are Thomas Beck, Ralph
Morgan, Kay Linaker, Helen Wood.
CRIMINAL LAWYER— Good. Lee Tracy is
cast in the title role, that of a sharpshooting at-
torney who is the mouthpiece for Eduardo Cianelli,
a gambler and criminal who leaves no doubt in
your mind that he means "business." There's
plenty of punch in this. (Margot Grahame, Betty
Lawford).
EASY TO TAKE — Fine. Thisi is perfectly swell
comedy, centering around the children's hour
program of a large broadcasting station. John
Howard plays a character similar to "Uncle Don"
of radio fame, and plays it with a fine sense of
humor. Eugene Pallette is equally good as his
manager, and Marsha Hunt, as his sweetheart,
never was lietter.
FLYING HOSTESS— Good. If you like action
and are air-minded yoit'll get a kick out of this
film and that means kids will go for it in a
big way. William Gargan plays an instructor to
air-hostesses and while doing so falls in love with
Judith Barrett, one of hisi pupils. (.\ndy Devine.
.\strid .Mlwyn).
GOD'S COUNTRY AND THE WOMAN -
Fine. I lu- lille slinuld onm incc \ nu that this is
a robust drama nf the I'luibcrwoods ; ;ttui. what is
more, it is most rlfn l i\ < lv iihotographod iu 'rcchni-
coliir. .\n cMrllrul r,is( is beaded by lle\erlv
Kolierts, George liicni. Uarton MacLanc, ICl
Brcndel and Koscoe i\tcs.
GOLD DIGGERS OF 1937 Good. A musical
extravaganza with a plot that cast;< Dick Powell
as a breezy insurance salesman, Victor Moore as
an eccentric theatrical producer, Glenda Farrell
as a wise chorine and Joan Blondell as an equally
wise stenographer. If in the mood for breezy
entertainment that doesn't strain the mind, here's
your film.
GREAT GUY — Fine. Jim Cagney makes a
spectacular return to the screen in an exciting
story about a crusade by the Weights and Measures
Department to stifle the short weight racket in
small neighborhood food markets. Mae Clark is
the romantic interest and the comedy is furnished
by the one and only Ed Brophy.
GREEN LIGHT— Fine. A story that will give
you food for thought and which offers an endless
subject for critical discussion. A fatal surgical
operation is laid at the door of a young doctor,
and this tragedy leads to a drastic change in the
lives of all concerned. (Errol Flynn, Anita Louise,
Walter Abel, Henry O'Neill, Margaret Lindsay).
JOIN THE MARINES— Amusing. This is a
swiftly-paced, brightly spoken comedy about an
Olympic javelin thrower who gets enmeshed with
a Marine Colonel's pretty daughter and decides
to join the Marines instead. It is an entertaining
yarn smartly acted by Paul Kelly, June Travis,
Reginald Denny, etc.
KING OF HOCKEY— So-so. As a second
feature on a double bill you may be able to accept
this with equanimity ; otherwise, it might make
you squirm. The plot, concerning a champion
hockey player, is filled with inconsistencies. Casit
includes Dick Purcell, Anne Nagle.
LADY FROM NOWHERE— Fair. Marv
Astor does not fare so well in this routine yarn
in which she plays a manicurist who happens to
be the only witness to a gangster killing, iSIary
runs away and poses as an heiress whose identity
finally becomes known through the work of a
newspaper man, Charles Quigley.
LOVE IN EXILE — Fair. As coincidence will
happen sometimes, this British-made film deaUi
with the abdication of a King because of his love
for <a foreign woman, but that's just where the
coincidence ends. With Clive Brook and pretty
Helen Vinson in the caat you ought to know that
the story works out to a liappy ending.
MAN WHO LIVED AGAIN— Weird. Boris
Karlofl' went to England to star in a picture and
wh.at do they give him? Just another spine-chiller
reminiscent of so many of his American films.
This one has to do with the transference of mind
and thought content from one person to another.
It's a theatrical idea, if you like that sort of
thing. (John Loder, Anna Lee).
_ MEN ARE NOT GODS— Interesting. Made in
England, this lilm stars Miriam Hopkins, with
some I'liglish names in the cast which should
couiU with i.liscriminatiiig audiences. The story
\-cers into tlie Somewhat familiar triangle idea, but
there's plenty of satirical comedy and also plenty
of good honest drama in it. (Gertrude Lawrence,
A. E. Matthews).
MIND YOUR OWN BUSINESS— Good. If
you're in the mood to laugh, see this liy all means.
Here we lia\'e Charlie Uuggles, prosaic conductor
of a newspaper column dealing with birds and
bees, suddenly catapulted into fame when his wife,
HOUSE OF ril\rV%J U NEW VORK
10
S 1 L V i; R S < R !■ r N
THE INSIDE STORY OF
"MAID OF SALEM"
By FRANK LLOYD
(Director of ''''Cavalcade", "TTie Sea HawJC,
''''Mutiny on the Bounty"^)
Naturally, ever since "Mutiny on
the Bounty" swept the country, I've
been on the lookout for another yarn
with the same sweep and power to bring
to the screen. I wanted a story with
plenty of drama and with plenty of
chance for me to direct big out of doors
scenes, the kind I get the most kick out of.
» Well, to make a long story short, I
found just such a yarn . . ."Maid of
Salem". Here is the story of a young girl
and a young lad who have the nerve to
fight off a whole town of fanatics who
try to break up their love ... a story
with the same drive and surge of
"Mutiny". For here love and courage
face the fanatic venom of a whole mob
of Captain Blighs.
» But finding a story is only half a di'
rector's battle. The next thing was to
find stars able to play the parts. I had
recently directed Claudette Colbert in
"Under Two Flags" and knew what she
could do in a highly emotional part.
Fortunately, I was able to cast her as the
stout'hearted little "Maid of Salem". A
hero? I needed a swashbuckling, hard'
boiled lad who could carve his way with
a cutlass through an armed mob, with a
grin on his face ... I found him. Fred
MacMurray, I honestly believe, does as
fine a job in this picture as any of the
heroes of my big adventure pictures. The
girls are going to say it's Fred's swellest
part.
» Last but not least a producer 'director
has got to have freedom to make a piC'
ture his own way. I, personally, want
my pictures absolutely authentic. If it's
an historical picture, I want my history
correct. Well, let me say, right here and
now. Paramount has made this, my first
picture for their company, the easiest I
have ever worked on. For they have told
me to spare no expense to make "Maid
of Salem" the most authentic, the most
powerful of my productions. So I think
when you see "Maid of Salem" you will
agree with me that it tops them all for
sheer entertainment.
Fran\ Lloyd looking for a new screen yarn.
Fran\Lloyd on the set luith Claudette Colbert as
the cameras start cran\ing for '''Maid of Salem'"'
A typical Lloyd action scene, a bunch of hard-boiled vagabonds
pitting their strength -against the courage of one tough lad and his
stout sword arm .
Claudette Colbert in her greatest part,
as theyoung J^cw England girl who dares
the ivrath of a ivhole countryside for the
love of her dashing Southern hero .
Fred MacMurray in lus first big historical role since ''The Texas
Rangers", as a swashbuckling Southern gentleman who can carve his
way through any mob with his good sword .
Advfrthemcnt.
Silver Screen
11
coum
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NAME
ADDRESS
Alice Brady, decides to write one of his columns
herself, a la Winchell.
MAN BETRAYED, A — Interegting. There is
a novel twist to this murder mystery when a group
of gangsters go out to solve the crime in order
to clear the name of an innocent victim. Prom-
inent in the cast are Kay Hughes, Eddie Nugin,
and Lloyd Hughes.
MYSTERIOUS CROSSING— Fair. The action
commences on a train ferry crossing the Mississippi
to New Orleans — a city which furnishes a romantic
background for the type of murder mystery this
turns out to be. (James Dunn, Andy Devine,
Jean Rogers).
OFF TO THE RACES— Fine. Another in the
series of films depicting that typical American
Family by the name of Jones. This one is just as
amusing as the earlier films and, in addition, has
an exciting horse race to hold your interest. Slim
Summerville and Russell Gleason have been added
to the cast which includes Spring Byington, Jed
Prouty and Shirley Deane.
PENNIES FROM HEAVEN— Fair. The plot
jumps around a bit but we finally _ arrive at the
point where Bing Crosby, a strolling vagabond
who sings on the street for a living, meets up
with that problem child, Edith Fellowes. Then
trouble starts to brew. But so long as the trotible
leads Bing to Madge Evans, why worry?
NIGHT WAITRESS— So-so. Margot Grahame
doesn't seem to be happily cast as the night
waitress of a cheap water front cafe, but, then
neither do some of the other actors seem to fit in
with their surroundings. Don't go out of your way
to see this.
RAINBOW ON THE RIVER— Fair. Women
will like this highly sentimental tale about a little
Southern waif (Bobby Breen) picked up after the
Civil War and reared by a negro mammy (Louise
Beavers). How he is brought North and placed
safely in the arms of his wealthy grandmother
furnishes the nucleus of the story. If you like boy
sopranos, don't pass this one up. (May Robson,
Alan Mowbray, Benita Hume).
TALK OF THE DEVIL— Fine. A British
mystery picture, featuring two popular American
players, Ricardo Cortez and Sally Eilers, that
is packed with terrific suspense. Basil Sydney, one
of the best of the English actors, comes through
with a fine performance.
THEY WANTED TO MARRY— Fair. This is
good, light entertainment, concerning the exploits
of an up and coming news photographer. In the
cast are Gordon Jones, Betty Furnesf, Henry
Kolker.
WAY OUT WEST— Amusing. This is rollick-
ing good fun for one of those casual off-evenings
when you don't feel like thinking about anything
seriously, but just want to giggle foolishly (which
nothing can stop you from doing) while watching
the crazy antics of Laurel and Hardy.
WESTERNER, THE— Good. This is the type
of stuff that the yotingsters who go to the movies
on Saturday afternoons eat up. Adults, with a
love of adventure and the wide open spaces, may
enjoy it also. Tim McCoy is the hero who buys a
dead-head ranch which causes him many a head-
ache. The love interest is Marion Shilling.
WINTERSET— Excellent. A beautifully pro-
duced and superbly acted film, but because the
theme is sombre in the extreme, dealing with the
vindication, sixteen years later, of a man electro-
cuted for murder, it will not appeal to a large
audience. (Bvirgess Meredith-Margo).
WOMAN WISE — Fair. This is a newspaper
yarn poised against the back-ground of a prize-fight
racket, said racket concerning the attempt of
nefarious schemers who pit "has been" fighters
against promising newcomers in order to clean up
on bets. (Michael Whalen, Alan Dinehart,
Rochelle Hudson).
The fox and the
pup are quite
friendly. They, and
Gary Grant, are in
Grace Moore's pic-
ture, "When You're
in Love."
"''"t^^"'" Coming Pictures
"Interlude" (Grace Moore) has been changed to "When You're in Love"
"Murder on the Mississippi" (James Dunn) has been changed to
"Mysterious Crossing"
"Coast Patrol" (Preston Foster) has been changed to
"Rougii, Ready, and Handsome"
"Lords of the Land" (Jean Muir) has been changed to "White Bondage"
"Tri.il Horse" (Barton MacLane) has been changed to. "Don't Pull Your Punches"
12
S I I. V 1- R S C R F. F. N
, VOVITH HAS ITS ff
Salute a stunning new
musical joyride pro-
duced with all the smart-
ness and variety and zest
Warner Bros, are famed for!
...A grand all-round show
...new dances. ..new song
hits . . . and girls galore! A
side-splitting story as new
as the New Year! . . .with
a star cast of favorites
willing and able to either
sing it or swing it! This riot
of rhythm and fun easily takes^^/
the screen honors of the month.
R E n D V,
UIILLinC
aJin B LE
Ray Enright directed... Bobby Connolly
arranged the dance ensembles . . . And
Johnny Mercer and Richard Whiting
wrote the 3 song hits —"Too Marvelous
for Words", ''Sentimental and Melan-
choly", and "Just a Quiet Evening
J^ouiie
FAZENDA
JENKINS
SHAW
HART
ALEXANDER ^
Silver Scrhhn
13
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Soup
THE BASIS OF
MANY DISHES
Billie Burke experiments with a new
recipe in the kitchen of her charming
home in Beverly Hills.
By RutK Corti
THE present day housekeeper does not
half appreciate the virtues of soup. She
is inclined to look upon it as a prelude
to a meal and hence to be gotten over \vith
as quickly as possible. Not only can soup
be made a nourishing one-dish meal, rich
in meat stock and vegetables, but com-
bined with other foods it has endless pos-
sibilities. The following St. Patrick's Day
menu is built around dishes made with
canned soups. It may, ho-\vever, be used
for any other time or occasion.
MENU
Cream of Green Pea Soup with
chopped parsley
Saltines
Meat roll ^vith Olive stuffing
Mushroom Gravy
Green beans
Jellied Cucumber Salad Drop Biscuits
Pistachio Ice Cream
Coffee Mints
Use canned Cream of Green Pea Soup
and sprinkle the top with finely chopped
parsley. The string beans may be either
canned (Libby's are excellent) or fresh and
must be dredged wixh melted butter. The
cuciunbcr salad may be made by adding
cucumbers to lime Jello, indi\idually
molded in shamrock shapes and served on
a lettuce leaf with mayonnaise, or with
small balls of cream cheese dipped in
crushed nuts.
MEAT ROLL WITH OLIVE STUFFING
Mix 1 lb. groiuul beef, i/o lb. ground
\eal, 1/2 lb. groiuul pork. 2 tsps. salt, 14
ts]i. pepper. Coxer a tutting board xvith
waxed pa])cr and jircss meat onto it in
a flat sheet aboiu Sxi 1 inches. In the center
of this form a roll, ihe length of the meat,
of a dressing made of 1 ibsp. chopped onion
which has been cooked in 2 tbsps. butter
luuil clear, and niixeil with cups
orbin
coarse dry bread crumbs, 1/2 tsp. salt, i
slightly beaten egg and 8 stuffed olives,
sliced, and moistened with, cup boiling
\vater. Roll meat around dressing, lifting
ivaxed paper and meat together, then pull-
ing paper free. Pinch edges of meat to-
gether. Place meat roll on oiled baking
pan with strips of Armour's Star bacon
over the top, and strips running around
loaf and almost touching. Bake at 325° F.
for 1 hour. Garnish plate with crisp bacon,
parsley and small stuffed olives. When you
serve cut betiveen bacon strips and pour
over each slice a liberal helping of—
MUSHROOM GRAVY
2 tbsps. butter or meat drippings
1 cup heated C.&B. Cream of Mushroom
Soup 2 tbsps. flour
y> cup canned mushrooms
2 bouillon cubes or i tbsp. Vigoral
Let butter or dripping melt in sauce
pan. Add flour and stir until light broxvn.
Add 1 cup Mushroom Soup, mushrooms,
bouillon cubes or X'igoral and stir until
thickened.
Used canned or fresh asparagus and
cover with a sauce made by thickening 1
can of Cream of Celery Soup \\ith a little
flour and milk. Sprinkle with chopped
parslcN .
This luenu preserves the St. Patiick's Day
coloring in dishes that are easy both to
eat and to prepare.
Soup can be made a handy aid to the
busy home maker. Cream of Klushroom is
excellent as the base of all a-la-king dishes
—simply add milk, chopped pituciuo and
green pepper, seasoning, and desired meat.
Be sure and parboil green pejjper for a
iew minutes first. .And try mixing this
soup with your favorite filling for green
peppers. It gives a new piquancy and rich-
ness. Thinly sliced potatoes covered with a
can of mushroom soup, sprinkled with
14
SlLVHR SCRnEN
The same mad-cap, riotous
spirit that set "My Man
Godfrey" apart from any
other picture makes this spec-
tacular musical DIFFERENT
from anything you've ever
seen! It tops them all!
Giant cast! . . Sparkling person-
alities!. . Seven 'Songs by that
never^miss hit team, McHugh
and Adamson! . . Breath-
catching gowns! . . Fun, frivol-
ity, frenzy! . . Music, mad-ivag-
gery, mirth and magnificence !
NEW UNIVERSAL PRESENTS
TOP OF THE TOWN
With a glittering galaxy of stage, screen and radio favorites including:
Doris Nolan • George Murphy • Hugh Herbert • Gregory Ratoff • Gertrude Niesen • Ella
Logan • Henry Armetta • Ray Mayer • Mischa Auer • The Three Sailors • Peggy Ryan
Gerald Oliver Smith • Jack Smart • Claude Gillingwater • Ernest Cossart ' .
Directed by Ralph Murphy • Associate ProdOcer Lou Brock
CHARLES R. ROGERS, Executive Producer
THE SCREEN HAS NEVER SEEN ANyiHING LIKE IT!
Silver Screen
15
/i. / /
• Fish cannot close their eyes. They rest but they
do not sleep* And this one is interesting, too;
How many women, out of hundreds recently inter-
viewed by mail, said — "Italian Balm acts quicker in
Overcoming chapped, dry, rough and red skin than
anything I ever used before." (Answer — 97 8/10%
of them.) And how many said — "Italian Balm is
less expensive to use than anything I ever used."
(Answer— 92 9/10% of them.)
If you have never tried it — now is the time to act.
Get a Vanity Bottle FREE. See for yourself why
the winter-sports-loving women of Canada have
preferred Italian Balm for over 40 years — and why,
in a recent large-city survey, Italian Balm was used
by more than three times as many famihes as any
other skin protector.
(*Authority : "Nuggets of Knowledge" — Geo. W. Stimp-
son. Pub., A. L. Burt Co.)
Italian Balm
THE ORIGINAL SKIN SOFTENER
CAMP ANA S.'^LES CO.
2603 Lincoln Highway, Batavia, HI.
Gentlemen: I have never tried
Italian Balm. Please send me Vanity
j ^^^^ bottle FREE and postpaid.
I Name
I Address
i City State
I Id Canada, Campaoa, Ltd., S-2603 Caledonia Road, Toronto
FOR MANXCURLS...OR J/^
/OR curls rhat caress with
the brigT^ touch of beauty, your
favorites ofvthe screen dress their
hair with "the^airlers used by the
starsi' Millions oTwomen follow this
Hollywood beauty hint... and so
more Hollywood Curlers are used
in homes everywhere than all other
curlers put together. Try this star
magic on your hair ... tonight II
Be sure to ask for then) by name.
3 FOR 10c AT 5c AND 10c STORES, NOTION COUNTERS
grated Chateau (Borden's) cheese and scal-
loped as usual is a new way to dress up
an old favorite. Or a few left over meats,
such as beef, may be diced, added to sliced
potatoes in a casserole Kith a can of
Heinz \'egetable-Beef Soup poured over it,
making an appetizing main dish.
Tomato soups are an old standby. Use
them in concentrated form instead of to-
mato sauce, the flavoring is always better.
Pour tomato soup over fish to be baked
or S^^•iss steak; serve it with browned onions
and green pepper over rice; in meat loaves;
in making frozen cheese salads or tomato
ring; with spaghetti, noodles or stnlfed
cabbage. Here are iwo splendid recipes
using tomato soup.
BRAISED LIVER
1 lb. calves liver
1/2 tsp. salt
4 tbsps. Crisco
■or Spry
2 medium sized
onions chopped
14 cup flour
Vs tsp. pepper
1 can tomato
soup
1 cup finely cut
celery
2 cups finely cut
carrots
Cut liver in 2-inch squares, salt, pepper
and roll in flour and brown in fat. Put in
casserole and brown vegetables in same fat.
Put all in a casserole and pour over it 1
can tomato soup. Bake in moderate oven
375°F., about an hour.
TOMATO SCALLOP
3 eggs
2 tsp. sugar
1 cup grated
cheese, (Kraft's)
2 cans tomato
soup
34 tsp. salt
About 6 slices of
bread
Bread Crumbs
Beat eggs, add tomato soup, sugar, salt
and cheese. Mix ivell. Arrange 2 slices of
bread in bottom of baking dish. Pour over
them I/; of tomato mixture. Repeat until
bread slices and mixture are used. Sprinkle
with bread crumbs, bake in moderate oven
375°F. about 30 minutes and garnish with
rings of hard cooked egg whites around
edge. Arrange yolks pressed through a sieve
in a mound in center.
Vary the usual way of making omelets
and cooking egss by using soup. For ex-
ample: poach eggs in tomato or mushroom
soup; remove eggs from mixture onto but-
tered toast and pour the sauce over them.
For your omelet— surround with a steam-
ing hot can of vegetable, onion or cream
of celery soup slightly thickened. Try cover-
ing sliced or halved hard cooked eggs ■(vith
tomato soup, mulligatawny or chicken
gumbo.
^'ou can make the best beef stew you
ever tasted by combining a can of tomato
soup, a can of vegetaljle or pepper pot soup
and a can of Coin Beef Hash and cooking
for aljout 1-, minutes under a medium
blaze.
KIPPER PIE
Place contents 2 cans condensed vege-
taljle soup in bottom of shallow leaking
disli. Drain canned kippered herrings on
alisorbcnt paper, place on top of soup.
Co\er with mashed potatoes and liake in
moderate oven, about 350° I. for 30 minutes.
Here is a new way to prepare steak.
STEAK CASSEROLE SUPREME
2 lbs. round i/, cup flour
steak 1/2 inch 1 tsp. salt
thick I can Heinz
2 tbsps. Crisco Onion Soup
or spry 1 can Heinz
i/g tsp. pepper Ciumbo Creole
Soup
Cut meat into desired number of serv-
ings. Pound flour into steak. Heat fat in
skillet and bro^vn meat on both sides.
Sprinkle with salt and pepper. Place in
casserole. Pour soup into skillet to remove
any fat that may be left, then pour over
meat in casserole. Cover tightly. Bake in
moderate oven 375 °F. about an hour, less
if meat is very tender. If sauce in casserole
becomes too thick thin with hot water.
Steak Casserole Su-
preme makes any table
look more appetizing.
Any of these soup dishes may be sub-
stituted for meat roll in your St. Patrick's
Menu if desired. All are good and made in
a jilfy. If. however, the party is the thing
and food only a minor consideration picked
up to\vard the close of the exening, serve
a hot, made on the spot open sandwich by
toasting slices of Ijread, butter well and
pour over each slice your guest's choice of
soups which have been prex iouslv thickened
in pans and only need reheating: sprinkle
with a generous amount of Kraft's \'elvetta
Cheese and run under broiler to brown. If
it is a very late meal it will be xvell to
serve with this Sanka Coffee, out of con-
sideration for the guests \>ith coffee nerves,
and Drop Biscuits.
DROP BISCUITS
I/2 teaspoon soda
2 teaspoons Cal-
umet baking
powder
2 tablespoons
shortening
(melted)
2 Clips flour
1 cup butter-
milk
I teaspoon salt
Put into flour the salt, soda and baking
poxvder. Sift into a mixing bowl, mix in
shortening, add milk and stir into a soft
dough. Put into hot. greased muffin tins
and bake ten to twelve minutes.
(Makes 12 biscuits).
Dear Reader of SILVER SCREEN:—
Many thanks to the many thousands of you who filled out and
sent in the questionnaire that was included in our January issue.
We are mailing the calendars, as we go to press, and hope you
will like yours. EDITOR.
16
S 1 L \' i ; R S c . R n 1; N
MAKE YOUR TEETH
sAine me s^i/is /
a<*i
■6 .<tHE
rite
vie
You're in good company if you use Calox ! Right up with
the stars !
And why not? You need a "starry" smile as much as any-
one ! Brilliant, shining teeth make any smile more thrilling
. . . help any career succeed. So concentrate on Calox ! It's
the powder that puts that polished sheen on teeth for
many of the screen's most dazzling, glamorous stars !
Use Calox at least twice daily. More often— if your teeth
stain easily— if you want to keep them twinkling, bright.
You'll find Calox-care a delightful, refreshing experi-
ence. As lovely Miriam Hopkins says, "It is so fine and soft
and smooth...! enjoy brushing my teeth with Calox."
COUNT THE REASONS FOR CALOX!
Calox is a preparation of pharmaceutical purity. It
cleanses safely. And doubly assures cleansing... hyxeleas-
ing live oxygen in the mouth. Oxygen is Nature's own
purifying agent. Calox helps neutralize mouth acids . . .
tends to strengthen gums. Made by McKesson & Robbins,
who have supplied physicians and hospitals since 1833.
McKesson & robbins, inc
FREE!
THE FAVORITE DENTIFRICE
OF HOLLYWOOD STARS
McKesson & Robbins, Inc., Brid,i;cport, Connecticut. Dept. D-1
Please send me free a week's trial of Calox Toot.'i Pow der.
Silver Scrf.i'n
17
Listen to the
Alka-Seltzer
National Born Dance
Every Saturday Night,
NBC Network
An A(ka-Seltxer Tobtet in o glass of water makes a
pleasant- tasting, alkalizing solution which contains
an anolgesic (sodium acetyl salicylate). You drink it
and it does two important things. Ftrst, becQUS« of
the analgesic, it brings quick, welcome relief from your
discomfort— and then because it is also olkaliiEing In
it* nature Alka-Seltier helps correct the cause of the
trouble when oBsociated with an excess acid condition.
AT All DRUG STORES — 30c atrf 60c Packages
Slighify Higher in Canada
Personal to Fat Girls! ~ Now you can slim
down your face and fiprui'O without strict dictinsr
or back-bieal<inK exercises. Just eat sensibly and
take 4 Marmola Prescription Tablets a day until
you have lost enouKh fat — then stop.
Marmola Prescription Tablets contain the same
element prescribed by most doctors in treatinK
their fat patients. Millions of people are usinK
them with success. Don't let others think you
have no spunk and that your will-power is as
flabby as your flesh. SUirt with Marmola today
and win the slender lovely figure riKhtl'ully yours.
How To Develop
Beauty
By A/lary Lee
Madgi
IF VOU haven't the urge to has
look as chic and charming in and
the new Spring styles as the
Holly ^vood stars do, you're
simply not human! But it takes
a good deal more than wishing to look
your loveliest as a "perfect 16" or a "de-
lectable 14" with the styles we're being of-
fered this year.
It takes will-power to keep that figure
under control so it'll do justice to the
shorter skirts (even evening gowns are com-
ing up from the floor to ankle-length), and
the moulded waistline that won't permit
rolls of excess flesh above or belo\v it.
In the picture on this page, you see how
Madge Evans keeps her slender waistline!
^)he is doing the side-to-side twist that
tightens up "tummy" muscles and discour-
ages extra pounds from settling aroimd the
waist. Arms folded behind her head hold
her chest up so there's an extra pull on
the abdomen muscles. And the legs held
straight ahead stretch out the "hamstrings,"
or tendons under the knees, so they'll be
flexible— a big help to good posture.
W'e give you our solemn promise you
won't regret it if you devote a little time
every day bet\\'een no^v and Easter to
getting )tour figure in shape. Begin by
taking stock of all your figure points, and
do it honestly. If you have access to a full-
length triple or double mirror, so that you
can get a complete viexv of your figure
from the front, side and back, it will help
a lot to show you the faults that should
i3e corrected.
Your first job is to learn ho^s- to make
the most of the figure you have by stand-
ing, sitting and walking correctly— or, in
other words, maintaining good posture.
Here's an excellent exercise to correct
\our posture: Stand against a flat ^vall with
\ our feet six inches away from it, toes
straight forward. Bend your knees and
slide down the ^vall until the small of yotu"
l)ack is flat against it. '\'oiu shoulders and
tlie back of yoiu' head should be touching
tlic wall. '\'our chin is straight forward in a
Hue parallel with the floor.
When you stand this way you should get
I he feeling that your "tiunm\" is drawn
ill. yotu' hips are tucked luider, dia]}hragm
and chest are elevated, shouklcrs are
slraight and relaxed, and your head is lifted
u|) lioin behind yoin- ears. Hold the po-
sition lor five minulcs.
Now siraighU'u your knees and push
yoin' feel l)ack without moving the rest
of yoin- body any more than you can help.
Keep the small of yoin- back Hat against
s Evans
1 figure the wall, with head and shoul-
keeps it ders touching. Then push your-
so. self for-ivard ivith your hands
until you're free from the wall,
not moving the rest of your
body. Now ^valk forward, toes straight
ahead and weight on the balls of your feet.
You will start ^vith perfect posture. Keep it
as long as you can.
Remember, good posture is a habit. You
must practice it e\ery day or several times
a day to make it come naturally. But it
certainly is ^vorth the effort!
The worst enemy to good posture, and
the vitality that does so much for beauty,
is "slouching." ^Vhen we're tired, we're all
inclined to slump, as if the force of gravity
were pulling us down. This isn't only un-
flattering to the figure, but it puts an extra
strain on nerves and frequently causes back-
aches. The exercise I've just told you is
grand to relieve strain on nerves and take
out the backache that coirres from fatigue.
AVhen you are sitting down, push the
end of your spine all the Ka\ back in your
chair. Then you can't slouch. You don't
have to sit "stiff as a ramrod." Y'ou may
lean forward or back^vard or any wa.y that
makes you most comfortable, and your back
will still be straight because you are giving
it the right start.
For a smooth ^vaistline, minus those
ruinous bulges fore and aft, get the habit
of pulling your hips down and under and
stretching up from behind ^our ears. This
automatically holds your "tummy" in and
straightens out the curve at the small of
your back, besides making your hips seem
smaller.
Most women bend their knees too much
when they are standing or walking. High
heels are partly to blame. AVhen you raise
your heels artificially high, it is natural
to bend your knees forward to keep your
body in balance. Try to keep your knees
straight and flexible at the same time. Turn
them out instead of in^vard. Besides benig
imattractive in themselves, "knock-knees"
make your thighs look larger.
Now we're going to tell yoti about some
exercises to correct some of the most com-
mon figure faults. It may stuprise you to
know that the chief cause of double chins
is not age or excess fat but the ^vay yoti
hold your head. If you let your shoulders
slump and carry your head too far for-
ward, you're doomed to have a double
chin sooner or later.
Here's a simple exercise to correct or pre-
vent double chin: Sit in a chair with the
end of your spine against the back. Fold
18
SlLVI'R SCRETN
your arms in front of your chest. Hold
vour head straight and steady, chin parallel
to the floor. Get that feeling of a string
attached to the back of your head, pulling
it up. Then raise your folded arms slowly
up and over your head, as far back as you
can get them. Be careful not to let your
head come forward as your arms go back.
Do this exercise 15 times a day. It's excel-
lent to lift the busts, too.
Now stand and grasp your hands over
your head so your arms, pressed close
against your ears, make a frame. Then,
with your knees straight, hips tucked under
and ''tummy" in, bend slowly from the
waist, first to the right side, then to the
left. Keep your head straight in the frame
of your arms, and don't bend your elbows.
This is a good exercise to keep a slender
waistline as well as to straighten your head
and shoulders, overcoming double chin.
Here is a grand exercise to lift the busts
without making them larger. Put your arms
forward, in line with your shoulders and
about a foot in front of your chest. Spread
your hands, with fingertips touching. Press
your fingertips together hard and then re-
lax them. Do this about 50 times a day. It
tightens up the muscles above your busts
and also the muscles on the under-side of
your arms, so they won't develop those
fatty bulges on top.
Rolling and slapping are the things to
reduce hips. Here's an exercise that will
gi\e you both: Lie flat on your back on a
hard floor, arms relaxed at your sides. Bend
one knee up and tuck the toes under the
opposite knee. Then roll the bent knee to
the opposite side, taking the hip along with
it, and flop back hard on the floor. Do this
25 times to each side.
The best way to reduce your "tummy,"
next to diet, is to tighten up the muscles.
Lie on your back. Place your hands under
your hips, palms down. Then bend both
knees to your chest, heels together. Lower
your legs very slowly until they are straight
out and about three inches above the floor,
then bend them back to your chest and
repeat 15 times.
Ankles and calves are hard to reduce, but
it can be done. The most effective exercise
we know is to sit with your legs crossed
and rotate the free foot around and around,
first outward a dozen times, then inward.
Do this as often as you can, especially when
you sit reading or sewing. It takes lots of
exercise to banish excess weight from your
ankles and calves.
For general weight reduction, you must
watch your diet carefully, but that is a
subject for an article by itself. There are
certain preparations that can be massaged
or patted into those over-fat parts to help
reduce them. Among the most effective are
Elizabeth Arden's Slenda-lines Lotion and
Dr. Hatch's Reducing Cream. They should
be applied after a hot bath, when the pores
are oj^en, and they must be used regularly
for results.
SHORT SKIRTS? NO!
famous
R-K-O,
\ArALTER PLUNKETT,
^ cosltime designer for
claims:
"If the Royal family and ladies of
the Court wear floor-length goiuns
for the Coronation and the social
affairs which mark the ex'ent, then
and only then, ivill the creators of
women's fashions halt their march to
the knee-length styles which made
caricatures of even beautiful women
in 7929," says Plunkett. "The /pap
fashions were the only ones in the
history of the world uihich were com-
pletely hideous. Hollywood designers
are set to resist to the last ditch the
adoption by screen stars of this type
of clothes."
Slick, Tangee c ^.^^^g most
to the or.e shade of blu _^ ^^^^^
^'''°!!^'okVnoi in keeping v^ith
pointed look . s n ^^p^
fashions of today
and cannot too, for it
THROUGH THE NIGHT. . .TANGEE LIPSTICK'S SPECIAL
CREAM BASE SOFTENS AND PROTECTS YOUR LIPS
Hn=i before you
"'^1"'- base protects and
special cream ^happn^g'
soothes, keeps Ups „„bedlin-
^--•rtirsroottofayUnted
ens.AwakejUbsm^^^^^ "morning
lips instead 01 tangee witb
look". Do not con use J-^^^ ^^^^
ordinary cosmetics y ^^atime.
,old should be removed a .^^^^
rr^^ Orrr -t and send
39. and SUO- ^ offering Tangee s
the coupon ^e\°r^ , ^.^ Set.
24-Hour Miracle Make vjp
Painted Glaring Lips
Worlds Most Famous Lipstick
ENDS THAT PAINTED LOOK
Tangee Cloiviiig Lips
BEWARE OF SUBSTITUTES!
There is only one Tangcc — don't
let anyone switch you. Be sure to
ask for TANGEE NATURAL. If
you prefer more color for evening
xvear, ask for Tangee Theatrical.
"24-HOUR MIRACLE MAKE-UP SET" SU37
The George W. Luft Company, 417 Fifth Avenue, New York City
Ru.sh "24-Hoiir Miracle Make-Up Set" of miniature Tangee Lipstick.
Rouge Compact. Creme Rouge, Face Powder. I enclose 10( (stamps or
coin). {Hi In Canada.)
Check Shade of Powder Desired: D Flesh □ Rachel D Light Rachel
N A ME
(Plo.lno Print)
ADDKESS-
riTY
Silver Screhn
19
Did yoo ever gi^e your Teetli a
More than 1/4 POUND
of tooth paste in the
double size tube • 40f^
Regular size tube ■ 25 <^
A TONIC FOR
THE GUMS
When used with massage
XpRAGRANT, stimulating— it gives your mouth
J- new freshness, your teeth new brilliance and
allure. You've got a delightful new treat ahead of you
if you will change to Listerine Tooth Paste.
This is the dentifrice so dainty, so refreshing, so
beautifying in effect that many exotic New York
models use no other. Living by their smiles, these
lovely women know all beauty aids— tooth paste in
particular— as few ordinary women can.
Their choice is to be expected; after all, Listerine
Tooth Paste is made by the famed makers of Listerine.
That guarantees its merit— its safety.
as Xew York Models do?
There's a Reason
Contained in this dentifrice is a rare combination of
gentle cleansers, satin-soft in texture, that were espe-
cially chosen by beauty experts, working with dental
authorities. No other tooth paste contains this exact
formula. They cleanse and brighten in a way that
makes ordinary dentifrices seem ineffective. Yet
Listerine Tooth Paste is safety itself.
Try it a month and see for yourself what a real
beauty aid it is.
Lambert Pharmacal Company, St. Louis, Mo.
20
S I L V i; R S C K !■ !■: N
ILVER
Screen
]OAN CRAWFORD is the latest of the
feminine stars in Hollywood to adopt
the famous "Juliet bob" which Norma
Shearer introduced in "Romeo and Juliet."
Joan wears this coiffure for evening in
"The Last of Mrs. Cheyney."
/^ONSTANCE BENNETT has closed her
^— ^ beautiful white Holmby Hills house
and flown to New York for an indefinite
stay. It is rumored that ivhen she returns
to Hollywood her plans to step into the
exclusive ranks, as the second woman mo-
tion picture producer, will have been com-
pleted. (Mary Pickford was the first.) Con-
nie, they say, is very rich, but smart busi-
ness woman that she is she prefers to pro-
duce pictures with other people's money,
not her own. She and Gilbert Roland are
missed at the Santa Anita racetrack this
year, for Connie was always one of the
ioudest to mourn her losses. Wonder what
ever became of Rattlebrains?
DON'T tell us that bloomers are coming
back in vogue? Oh, we suppose you are
much too young to remember the bloomer
^iils who used to cavort around the college
campus in the dear gone days when slacks
were considered unladylike. But Dolores
Del Rio, who is certainly Madame La Mode
in Hollywood, had all eyes in Palm Springs
recently glued on her when she appeared
in a pair of white pleated bloomers, softly
voluminous in angel-skin silk.
C^ARBO, it seems, always has wonderful
ideas aboiu going places and doing
tilings, and then, at the very last minute,
gets submerged in shyness. .She had every
intention of attending the gala premiere of
"Camille " which was held in Palm Springs,
California, and drove down to the desert
resort with Director George Cukor and
Laura Hope Crews. But at the last minute
she backed out and stayed in seclusion at
Eddie Goulding's ranch house while Cukor
and Miss Crews went to the theatre to take
bows.
People who claim to know say that the
Garbo-George Brent romance is as hot as
ever. And they say further that Garbo was
the reason George gave up his plane and
solo flying, which he was so enthusiastic
about. Romance or no romance, Garbo or
no Garbo, George Brent is definitely
"grounded."
OF course the big excitement in Holly-
wood now is whether or not Bob Tay-
lor and Barbara Stanwyck will get married.
After a good "lover's quarrel" not so long
ago, during which time Bob stepped out
with Ginger Rogers, the Taylor-Stan\vyck
romance became hotter than ever. Take our
word for it that's no publicity stunt. Bar-
bara's divorce from Frank Fay was final De-
cember 31, and so the two of them are now
perfectly free to marry. It's common gos-
sip that MetrO' does not wish Bob to marry
as it might mar his sex appeal with the
fans, and once before the studio broke
up a romance for him when he ^vas all set
to marry Irene Hervey. But Bob is an es-
talilished star now, and if Barbara says the
word, it's a good bet that he will drag her
to the altar. Barbara recently announced to
the press in general that there would not
be a wedding— but movie stars can not al-
ways be relied upon.
TF you \vish to be in the know on things
you must try out on your friends the new
"Lost Horizon " cocktail. Vic Thaete, of the
Saddle Bar X in Palm Springs, conceived
the new drink as a tribute to Ronald Col-
man, who spent several weeks at Palm
Springs on location for the picturization of
the [ames Hilton novel. 'Vodka is the base
of the "Lost Horizon" cocktail, and on the
vodka is poured nine li(|ueiiis, so that it
resembles a section of a rainbow. It's highly
potent, and don't say we didn't warn you.
HA'VE you seen the new "swing" evening
bags? Frances Langford introduced one
the other evening at the Trocadero. 'I he
bag was fashioned froin very fine gold
brocade and lasteiicd al the lop with ;i
Luise Ranier's perform-
ance in "The Great
Ziegfeld" was the choice
of the New York critics
— as the "Best of the
Year." She has just
recently married Broad-
way's radical play-
wright, Cliiford Odets.
large jeweled clip. It gets its name from the
fact that it savings free from the vvrist in
a manner that prevents any of its contents,
or itself, from slipping away.
\, IRGINIA BRUGES complexion is so
^ even that she can play a film role with-
otit make-up of any kind.
(^N THE cuff (where most of the Holly-
wood pictures are) is the nevvest place
for monograms according to Simone Simon,
she of the pout) lips.
HTlMES are changing again. Time was
^ when Hollyvvood wives used to beg
their husbands, at parties, to stop playing
poker and come on home, but now it
seems that it is the wives at the parties
who just can't be budged away from the
poker table. Joan Bennett is acclaimed the
best poker player among the women in
Hollywood.
/^LARK GABLE is a push-over for
"pans." Instead of making a scrap
book of ra\e notices and stories about him-
self, the way most of the stars do, Clark
has instructed his secretary to save onlv
the reviews in news]Dapers that "pan" him.
He claims he reads them carefully and
finds them very instructive.
IT'S just like old home ^veek on tlie
"Racketeers in Exile" set over at tlic
Columbia studios. ^Vynne Gii)son, a swell
actress who hasn't had the breaks latelv.
is being co-starred with George Baiuroft.
who aiso hasn't had the breaks laieh.
Wynne and Ck-orge used to linn out sensa-
tional pictures logctiier when they weie
teamed at I'aramoimt. And just to add to
tlie cliil)l)incss of it all, John Gallaudct.
Wy nne's lormer husband, has aiso been cast
foi an important part in the picture.
21
TKe Tourists And Supervisors In HollywooJ Put A.
Crimp In The Joy Of Life But Over The Line^ At
EnsenaJa^ The Players Find Days Of Happiness.
THE fun these Hollywood stars have!
Only now they spell it like this:
fiesta. And where they're having it and
with what vivid trimmings is the revelation
of the month.
The dashing leaders of the movie center
have just found the novel thrills that lie
across the line in Old Mexico. There they
are plunging into gay ad-
ventures that are tinged
with a fascinatingly dif-
ferent flavor. Last year they
put Palm Springs on the
map; but currently
the honeys of the
nation are leading
the trek to a far
more colorful win-
ter playground.
Between pictures
they're ^vhisking to
a suddenly conven-
ient foreign land of
beguiling langour
by motor, train,
and plane.
You may still be
singing s'^ving songs,
but Robert Taylor
has discovered "Cie-
lito Lindo" and
since he's gone so
Latin in his private
life the local girls
tell me he has even ex-
celled himself. Miriam
Hopkins, the impatient
one, flew to Mexico City
and learned that gondolas
go with the guitars there.
But when Dolores Del Rio,
the aristocratic flower of
that ancient capital, re-
turned on a triumphal
visit she was chased by a
bull! Warner Oland has
been feted by none other
than Diego Rivera, the
reno^vned painter of mu-
rals, for his literary ac-
complishments, and wait
until you hear who Una Merkel bumped
into in the sleepy hamlet of Ensenada!
Paul Muni has stumbled upon a complete
Czarist Russian settlement and when James
Dunn was half-way home in his airplane he
perceived that he had a baby boar as a
stowaway. It all goes to prove, however.
(Left) The breezes
of the Mexican re-
sort, in playful
mood, enhance the
beauty of Gloria
Stuart and Binnie
Barnes. (Below)
Mexican dancer at
Playa Ensenada,
where the now fa-
mous Margo got her
start.
FUN
I N
Honeymooners John-
ny Farrow and
Mrs. Farrow (Maur-
een O'Sullivan).
MEXICO
Betty Hill, King Vidor, Paul-
ette Goddard and Charles
Chaplin at the Mexican resort,
where happiness is in the air.
22
Ben
Maddox
The picturesque
musicians stroll
through the ho-
tel and grounds
for all to hear.
The Freddie
Marches and Ernst
Lubitschs at the
Playa Ensenada
Hotel in Old
Mexico.
that when you enter Mexico you are in for
a lot of surprises.
Bandits won't get you; they're practically
passe. The Mexican people are really ex-
traordinarily friendly and their courtesy is
particularly marked. The spirit of manana
is restful and the remnants of imperial yes-
teryears are intriguing. Each Saint's day is
spectacular. With their love of gaycty they
eagerly seize every opportunity to celebrate
with dancing, music and laughter.
From Hollyvvood it's only a three-hour
drive to the border and you don't need a
passport— juu a dollar for a tourist's per-
mit. Nat Pendleton is the only player who's
had trouble crossing ihe line. He was held
up for a lull hour. Then the official
begged the senor's pardon and admitted
that he finally had recollected that he'd
seen Nat in "The Great Ziegfeld." Be-
cause Nat's face was vaguely familiar,
the industrious fellow had been wildly
thumbing through his photos of wanted
men!
If you caught the picture "Border-
town" you have a good idea of the
Americanized hot spots con-
veniently located on the
Mexican side. Since airplane
elopements to Las Vegas have
become the style for impet-
uous lovers, Tia Juana has
slipped noticeably as the pop-
ular quick marriage counter.
However, Gail Patrick gave the justice of
the peace a fresh outlook by abruptly
descending upon him from the skies a lew
weeks ago for her wedding. The stars
piefer to swank it at Ensenada to sliun-
ming in the bordertowns, yet Dick Powell
and Joan Blondcll have been in Mexicali—
to gape at the flea circuses! The minute
performers there rip through acrobatic
routines attired in authentic Mexican cos-
tumes. Joan says she'd hate to have to be
the wardrobe woman.
Two hours of driving beyond Tia Juana
and you roll into luisenada, the de luxe
rendezvous for Hollywood celebrities. The
main highway has replaced the aggravating
old c o w p a t h
that used to be
such a fierce
route. Remem-
ber the film "In
Caliente?" Well,
Agua Caliente,
vvhere Mar go
first danced, is
closed; when the
government
banned gambling its vogue faded. Luckily
the operators of the swank hotel at En-
senada—and an Italian and an Irishman
are running this ultra-modern Spanish
palace— rated a very special permit and so
they have a magnificent casino as the at-
traction for those who want Monte Carlo
nights. Roulette is the reigning game, Init
I can't tell you who wins or loses oftenest.
On account of you might have an .Aunt
Minnie who would think it perfectly dread-
ful of your pet idol to take a chaiice.
The expensive, spravvling hotel with its
antiques and its elegance is right on the
beautiful, fourteen-mile crescent beach of
Todos Santos Bay. It vvas into this very
harbor that Cabrillo sailed in 1542 to take
formal possession of California, and it is
here that the first golf course in .America
wiK laid oiu by Britishers. The temperature
averages 72 the year around and yon walk
out three himdred feet into clear, waini
water before it is waist high. At Ensenada
it's the vogue to svvim at night, under a
limpid moon. There are no cold fog^. Trim
yachts are at anchor and a purple circle
of mountains forms the splendid backdioji.
Robert Montgomery and Charlie Earrell
ha\e initiated auto racing on tlie hard sand.
Botii biotigiit (lo\\ii their English cats and
away thcv skim. Gloria Stuart and her hus-
band, .Arthur Shcekman, turn up their
noses at speed. They had been dying for
[ConI i II lied on I'liiir ~i>]
23
Ranching De Luxe
for a happy and abundant life.
It may be that this spirit of romanticism
has so enamoured some of filmdom's fa-
vorites that they, too, wish to enter into
it. At any rate we know that every one in
Hollywood, who
Leo Carrillo is de-
scended from a Cali-
fornia pioneer family
and ranching is in
his blood. (Below)
The ranch of Paul
Muni is a dream come
true.
is able to do so,
is buying a ranch
on which to live
when the checks
cease to flow from
the studios. May-
be it's a spirit
of good business
JADED Hollywoodites have
reached the saturation point
of sophistication. As an an-
tidote they are going back to
the simple life, back to the
good earth, back to the ranches
where life is more complete,
secure and serene.
When, sometime ago, Leo
Carrillo established his ranch
with the theme "If I ever have
a home, as I sometimes may,
I'll suit my fancy in every
way," Hollywood was quick to
sense the true value of this
thought. Neither was it long
before many celebrities real-
ized that ranching could be
made a panacea for the ever-
present spirit of unrest that
pervades the Film City.
His own "Leo Carrillo
Ranchito," a magnificent place
located in the Santa Monica
Mountains, breathes a spirit of
the California of an earlier
day— a time when the aristo-
cratic Dons ruled \ast domains
drenched land. Leo, himself, is a
of the early Calilornia grandees, the Car-
rillos being one of California's first laniilics.
His spacious Spanish style ranch home,
nestled far back in a verdant canyon, em-
bodies the very spirit of roinance and the
glamour of that day when dark-eyed .senor-
itas were wooed by dashing cai)alleros— when
fiestas, l^arbaciies, and rodeos set the stage
stability, as well as a haven for rest and
recreation. The thinking people know that
this is as true today as during the time of
the Dons.
Leo Carrillo's closest neighbor was Will
Rogers and, as everybody knows, Will,
happy and serene on his own ranch, was
one ^vho ahvays championed the ranch idea.
He advised Joel McCrea, early in the lat-
ter's career as an actor, to "get back to the
.soil." "Own your own land," he said.
"Build on it, cultivate it, raise things on
it, make it support you. that is the only
thing that makes sense these days. If you
can get your livin' from the soil nobody
can take it away from you. It's the only
that gives a man security and happi-
^ !dless to say, Joel followed the advice
aday he and his wife Frances Dee own
utiful thousand-acre ranch in the San
n this sun-
descendant
sense that is overtaking then;. Again
it may be that they are following the
age-old philosophy that the beloved
Will Rogers gave to Joel McCrea. It's
really remarkable how his memory
lives on. No matter what the cause,
there's no denying the fact that Holly-
wood's stars arc coming to the realiza-
tion thai it is only the good earth that
c;ui furnish llieni witli securitx and
In the San Fernando
Valley, Ann Dvorak
is the proud owner
of a large ranch.
24
The Temperamental Players
nna telle
Oxllespic^
Hayclc
Fernando Valley, within
easy striking distance of
Hollywood. Here Joel and
Frances plan to live the
rest of their lives. Their ranch is stocked
with great numbers of pure-bred cattle and
the ranch is a self-supporting venture.
You'd hardly suspect the delicate, beau-
teous Frances of being a clodhopper at
heart but, just the same, her favorite rec-
reation is what she calls "working the
earth." On the ranch Frances has cleared
and cultivated a spot of garden-not the
The ranch of Joel McCrea and his lovely wife (Frances Dee)
was acquired when dearly loved Will Rogers advised its
purchase. (Center) A view from the house on Clarence
Brown's 3 60-acre ranch. The house has 40 rooms. Colossal!
flower garden with rare species which she
guards carefully in her own front yard-
but a rough and practical one. She raises
artichokes, peas, beans, and potatoes. She
works it, preferably in the early morning,
because she believes that the easiest way to
complete health is to have contact with
Mother Earth. Often, after a trying day at
the studio, she hurries home to a hoe.
Then, after a few minutes of cultivating,
her nerves relax and she returns to the
house a new person.
Today this back-to-the-soil movement is
sweeping over Hollywood like an old fash-
ioned prairie fire, and practically all
(inemaland is becoming ranch minded.
Fhere are a few who are not content with
just one ranch. For instance, Gary Cooper
and George Brent. Cooper is lord and
master of three large ranches, two being lo-
cated in the Cachella Val-
ley, near Palm Springs,
California; the other in
Montana. Brent rules
over two large tracts of
land, one of which is
near Encino, California.
The other, to which he
retires when he
wants to lose
himself in com-
plete isolation, is
a m y s t e r i o u s
hideaway some-
w h ere in the
Palm Springs
region. While
the actor is
Richard Dix,
ranch owner,
father of twins
and successful
actor.
there it is impossible to get in touch with
him, for he has no telephone, and no one
at the studio \vhere he is under contract
knows exactly where this desert retreat is
located. Ho^vever, it is known that among
other things which Brent raises on this
secret ranch deer is the most important,
and it is believed that he will eventualh
retire to this place as his real home.
Go with romantic Robert Taylor into
Coldwater Cannon, where he is construct-
ing a magnificent twelve-room bachelor
menage on his beautifully wooded rancho,
and you recognize in him a depth and
seriousness that spells something more than
a suggested flirtation at the Casanova or a
crowded dance floor at the Trocadero. Here
Taylor is contemplating the organization of
a dude ranch, on which to retire. Because
he loves riding and hunting he wants to
provide those things for his guests. Maybe
it was his love for horses that pla\ed a
great part in bringing about his friendship
with Barbara Stanwyck. Anyway, we know
that Barbara also lo\es horses.
Together she and Marian Marx, wife of
Zeppo, have im)3orted fifiy Kentucky thor-
oughbreds for their "Mar\vyck" ("Mar" for
Marian plus "w)ck"' for Stanwyck) ranch
located near X'an Nuys. Their plans call
for construction of a three-cjuarier mile
track, ^■iolet ray room, and all the finest
horse breeding facililies known to the king
ol sports. Possil)ly Barbara has the same
sort of plans as Taylor. What do )oii think?
Rumor has it that he-man Gable has
joined this imporlant coterie of (ilmdom's
leaders in tlic "i)ack-lo-the-land" move-
ment. It is rumored that negotiations have
been under ivay for his pmchasc of a
(aiile ranch aboin an hour's ride from
Sanliago, Chile. \c{ those in the know are
|)retly certain that Ciable will not \enture
to far away South .\meri<a. but will
:i<(|uiic \ast acreage in California with a
possible e\c lo tludc-ranching. Already he
owns, in companv wiih Robert Taylor,
\C.nnliinii i! i>ii /wtjr ''^L']
25
KAy FRANCIS
Snuggled in among
the trees is the un-
pretentious home of
Kay Francis. It is a
place removed from
the rush and bally-
hoo of the publicized
sections of Holly-
wood— the home of
a lady.
She works with the
concentration of an
artist and, between
pictures, she jour-
neys to far countries.
ON EVERY major studio lot in Holly-
wood there is a Quality Star. It's
part of the movie tradition. Now
these Quality Stars are not the most beau-
tiful women on the lot, rarely the most
popular at the box-office, and never the
best actresses, but strangely enough it is
they who knock down the biggest salaries
ancl ;vho cause great commotion in the
"front office" at the mere drop of an
eyelash.
They possess that elusive combination
of attributes that, added to a .dash of
beauty and a soupcon of personality,
makes Glamour. And Glamour, boys and
girls, is the most expensive thing in Hol-
lywood. It is the duty of these Quality Stars to give chic, good
taste and class to the cinema. First of all they must be able to
wear clothes so maddeningly beautiful and divinely ultra that
every female in the audience will bite her nails through sheer
envy; and secondly, they must be able to play lovely lonely ladies
of mystery, who make the big sacrifice for love, and who go
trailing off alone across the desert sands.
Ah, romance and glamour. ^Vomen cry for it, women pay for
it. The Quality Stars are definitely \vomen made stars. Paramoimt
has its Marlene Dietrich, Metro has its Greta Garbo, and Warners
has its Kay Francis. Now Kay isn't the most beautiful girl on the
AVarncrs contract list, she has never i)een included among the
Big Ten in the exhibitors' poll, and she certainly isn't the best
actress on the lot (Bette Davis can act rings around her any day),
but no matter how you look at it Kav has glamour and class.
She's the reigning queen of the VVarnei Brothers mo\ic kingdom
in the San Fernando \'allcy. She is the pride and joy of Orry-
Kelly, designer de luxe. She is the toast of the Bc\'erly Hills
smart set. And as sort of an anti-climax she is one of my favorite
actresses— on the screen.
I siijjpose you know all about Kay Francis "on the screen."
Beginning with "Gentlemen of ihe Press," back in she has
been in four or more pictures a year over since— of which "One
Way Passage" is her
best, "The Marriage
Playground" her
Avorst, and "Another Da\vn" her
latest— and iniless you were born
yesterday, and I doubt that, you
have seen a deal of Miss Francis
in the celluloid.
But what of Miss Francis in the flesh?
^Vell, now, there is a bit of quibbling.
There are those who say, "Have you been
rilzed by Ka) Francis today? " And those
who say, "I never hope to know a grander
gal," "Cold as dry ice," say the Press.
"Warm and generous," say her publicity
people. "Ciiarming," says Ian Hunter.
"Humph," says Claude Rains. .\nd if you
26
think I'm going to take sides you're crazy.
There are two things which magazine and newspaper writers
always want to intervie^v Kay Francis about— her love life and
clothes— and those happen to be the two subjects on which she is
just about as communicative as a clam. When a member of the
publicity department asks her if she will consent to have an in-
terview Kay will say, "If it's about pictures, yes. If it's about my
private affairs, no." She has the most terrific private life complex
I have ever seen in any actress. She's decidedly no gay extravert
of the gold fish bowl. "My private life is my own," says Kay, and
means it. .And completely entre nous, I think she's got something
there, but far be it from me to encourage it, because if all
celebrities were as tight-mouthed as Kay, where would I be?
Looking up at a curbstone somewhere, no doubt.
But, anyway, it really is a shame that she is so fussy about
her private life because she has had a highly interesting and
exciting one. Kay is a vital person. She is interested in people and
strange places, and has always been ready to embrace change and
adventure when they come her way. She is entirely of this world.
As Katherine Edwina Gibbs, Kay began that private life she is
so secretive about one January, not so many years ago, in Okla-
homa City, and the date was Friday the thirteenth. Being born in
Okahoma City was probably the only un-chic thing Kay ever did.
But before she was a year old her family had moved to Santa
Barbara, California, then to Los Angeles and Denver. When she
was four her actress mother, Katherine Clinton, the daughter of
a pioneer, decided to return to the stage and little Katherine— she
did not become Kay until she went on the stage herself— spent
her growing up years in one fashionable Eastern school after
another. She was "finished" at Miss Fuller's School for Girls at
Ossining and at the Cathedral School of Garden City.
Kay's earliest recollection of the theatre was when, at
the age of four, she was allowed to sit "out front" one
matinee day and watch her mother act. It was one of
those melodramas so much in vogue at that time, and
for the third act curtain her mother had to shoot her-
self. The shot rang out and the audience was frightfully
impressed— then through the tense atmosphere piped up
Kay's baby voice, "Mother's not really dead— she's only
acting." Kay received her best spanking to date and was
% ■ sent away to school.
^Vhen she had finished school Kay did a very sur-
prising thing for a beautiful young girl, with the
theatre in her blood— she entered a business college
and took a course in shorthand and typing. Grad-
uating from there she became secretary to the
financial secretary of Mrs. Dwight Morrow, and later to Mrs.
W. K. Vanderbilt. Kay had always liked politics, big business, and
international finance, so she rather fancied herself as a future
lady Wolf of Wall Street or woman of destiny or something. But
before she had caused a flurry in steel or cornered the market in
anything she had become a bit bored with it all and was off to
Europe.
"Business training," Kay declares, "teaches one not to volunteer
information. That, I suppose, is the secret of my well-known
reticence about ray own life. Thanks to my training in the busi-
ness world I keep a secretary-like silence about most of the matters
that concern my employer, who happens to be myself."
Well, of course, you can't keep an actress down fore\er, so
along about 1926 Kay decided, much to her mother's horror, to
take a fling at the theatre. She received valuable training in the
Stuart Walker Stock Company, playing in Cincinnati, Indian-
apolis, and Dayton— in fact, Kay gives Mr. Stuart ^Valker, now a
Paramount producer, all the credit for making an actress out
of her.
Returning to New York she played featured parts, but not
leads, in ""Venus," "Crime" (along with Sylvia Sidney and Chester
Morris), and with Walter Huston in "Elmer the Great." And then
the movies. It was in those gay pre-depression days of 1927 to
1930 that our Miss Francis practically became the belle of New
York. Charming, chic, poised, and the [Continued on page 80]
WiLDBoy OF Siberia
CONQUERS HOLLYWOOD
A/lischa A.uer Remembers The Days Wh.cn^
As An Exile/ And FriendlesS/ He FousKt
For Life As ainst jtarvation And TKe
Bitinq Cold Of The Russian Steppes.
By W^Kitney W^illiams
SOLEMN-VISAGED Hollywood is laughing.
Not alone laughing . . . but screaming
ivith hysterical glee.
Now, for such a state of affairs to happen in
this movie town of ours, where the lads and
lassies in-the-know DARE anybody to make
them even smile, is so startling an event that
something has to be done about it. And Holly-
wood's doing pul-lenty.
It has taken the raison d'etre (fancy French,
for "cause ") of the matter and skyrocketed him
to the object of everybody's affection. It has
pounced upon him, like a tiger on its kill, and
elevated him to a niche many a fading star
^vould give his very soul to once more attain.
In short, Hollywood is lionizing Mischa Auer,
the young man of our story, and from one not
too well known on the screen— although he's
been in the movie colony for nearly eight years
—this tall and lanky Russian overnight has be-
come one of its favored sons.
Why, you ask? What's the reason for Holly-
wood affixing its unanimous and fondest eye of
approval suddenly upon an actor who has been
in its midst for years?
All right, I'll tell you.
Think back— not too many months— to "My
Man Godfrey." To all intents and purposes, this
riotous film co-starred Carole Lombard and Bill
Po\vell. Fair enough ... it did. But it did more.
"My Man Gotlfrey" made Hollywood so
Mischa Auer-conscious that Mischa was hailed
as the real star of the picture. Not that he'd
admit it— you'd never catch him that way, this
sly Slav— but to the majority of the picture-wise
around the colony, and for the critics through-
out the land, he simply wrapped up the honors
and tucked them very neatly into his pocket.
Will )ou ever forget his imperson-
ation of that ape in the picture, as
he went into his monkey act with all
the feeling of a bewildered simian?
Can you ever erase from memoiy
how he struck the monkey pose,
shoulders hunched over and
long arms swinging ground-
ward, and,
w i t h bent
legs and fea-
tures con-
torted slap-
The poise he gives to
the character of Count
Arisztid in "Three
Smart Girls" testifies
to his background.
Across the limitless miles, the
robber boys sought safety
after a raid on the granary
of a rich peasant or "Kulak."
(Drawing by Trembath).
bang-ape-like, he swung about the
room, over furniture, up pillars and
ended by climbing the iron-grilled
gate?
Well, hardly.
All Hollywood gasped to its very
toes at Mischa's antics, too amazed
at first to quite believe its eyes. It
couldn't be Mischa . . . Mischa al-
ways had playpd either dark and
dirty glowering roles or parts deeply
dramatic. The night of the
big pre\iew it burst into a
mighty roar of thunderous
appreciation: laughter still
1^ ringing long after
the film had ended.
^1^^ When an actor can
^^H^ do that to as so-
28
phisticated and hard-boiled an assemblage
as one plays to in the cinema capital . . .
he's made.
Several months later, with the recollec-
tion of Mischa's performance lingering
vividly in their consciousness, the movie-
great— producers, directors, writers, stars— went to see the preview-
ing of Mary Pickford and Jesse L. Lasky's production of "The
Gay Desperado," starring the opera-singing Nino Martini.
As the film imreeled, a familiar, yet not too familiar, figure
inserted itself into the action ... a tall, serape-huddled. black
sombrero-topped Indian who stalked stolidly through scene after
scene, saying not a word. Suddenly, the identity of this wooden
individual was realized, and whh this circumstance the audience
as one man acclaimed him noisily, deafeningly. The Indian, who
from the first had created ripple after ripple of merriment, was
Mischa Auer!
Hollywood has taken other players to its heart ere this for some
very outstanding performances, but I can recall no incident in
which a more or less established actor or actress, a native of Holly-
wood for so many vears, has struck the chord that Mischa Auer
has touched. It is as though he has entered upon a new life. Cer-
tainly, Hollywood producers think so.
Immediately after he made his hit in "My Man Godfrey," every
studio in the business tried lo cast him in a comedy role. Pre-
viously, if anybody had mentioned, even in jest, that Auer might
be acceptable in a humorous vein, he would have been booed
right out of the studio. But that one part changed his whole future.
Basically. Mischa Auer, as sad-faced
a young man as ever set foot in our
capital of Cinemania, is a comedian,
and loves to clown and be gay. He is
the very antithesis of the character you
undoubtedly have fashioned for him,
through the medium of his screen
appearances prior to the Lombard-
PoucU feature.
"lor years I've tried to enter the
Forbidden icalm of comedy, but only
once ^\■as I given a chance." Mischa
sipped a brandy, and after each taste
of the lic[ueur put a small piece of
lemon dipped in powdered sugar-
Russian stvie, Mischa said— in(o his
mouth. "That was in Lily Pons' first
picture, 'I Dream
Too Much.' In
this I played a
musician who
■With Binnic hated music,
Barnes in the W ho a C C O m -
same picture. panied Miss
Mischa has Pons during her
proved himself first audition,
one of the great I'lOin the mis-
comedians of craljle nuisician
the screen. I was lo turn
into a raving enthusiast. Apparently, it went over so well
that everybody liked it; many called me up to tell me
how funny they thought that bit of action. But though
the studio praised it, nothing ever came of my clowning and I con-
tinued in heavy and dramatic roles."
Mischa Auer's preference for light characterization is a strange
connnentary on the man, for Mischa's early life in Russia scarcely
prepared him for such interpretation. By all rights, he should be
enacting still those highly dramatic roles for which he is best known,
for his existence in his homeland was beset with hardship and
suffering.
Born of the intelligentsia— his father, killed in the Russo-
Japanese War, held a high naval rank— Mischa was caught up in
the ^vhirlpool of the revolution and at the age of twelve, along
with two hundred other lads of his class, ranging in years from
eight to seventeen, was sent by the Bolshevists from his home in
St. Petersburg to a small settlement in Siberia ... to learn Com-
munism!
"It was a tiny place, with a long name, and just eighty miles
from where the Czar was assassinated," he tells you. "For a time,
we had things pretty much our own way, but gradually the food
gave out and we existed for months on nothing but rotten po-
tatoes, with living conditions absolutely intolerable. The ones
that sent us to this desolate spot forgot all about us and there
we were, the two hundred of us, with nothing to eat but those
damned rotten spuds." Mischa is quite American in his speech.
"Late one afternoon, a chap only a little older than I, an-
nounced he ^vas going out and beg around the countryside lor
food. There were plenty of Avealthy farmers at this time, and
several hours later he returned with a large sack filled ^vith bread
—fresli bread, too!— and large hunks of meat and all sorts of
vegetables. I tell you, we feasted that night, but two da\s later
the boy died, from the effects of over-stuffing. That's the condition
we were in.
"His success in foraging started others of us on the same path,
and before long large bands of us would descend upon the farmers
and demand to be fed. It got so we were a dangerous lot, for
when you're desperately hungry you're apt to do anything.
Eventually, after we had held up and robbed travellers of their
clothing— we were cold, freezing— and stoned farmers who would
not teed us, nearly killing a number, the government stepped in
and sent us home."
I mention the foregoing in such detail in an effort to give )0u
a word-picture of this actor's past— the Siberiair episode was only
one of many hazardous and agonizing experiences— and why it is
all the iBore surprising that he turns to comedy so readily and
with such gusto. At fourteen, because of the suffering he had
endured and the gruesome sights that were his daily lot, Mischa
thought and acteci like a man of thirty, as, indeed, did all Rus-
sian boys of that period.
"But I learned I he value of things, din ing all that while."
Mischa says. "Instead of acquiring the bitterness many could not
empty from their souls, I learned to e\aluaie that which sur-
rounded me. My mother taught me the tiuility of re\enge, and
the necessity for bccomnig a fatalist."
Mischa's mother died from the typhus she contracted while
administering to the sick in Constantinople. Following the lad s
rclurn from Sibciin. mother antl son soon fled to the soiuli of
Russia — the mother's name appealed on ihc BoKhe\'ist list of llio'-e
to be shot— and there Mischa fought in llic Urilish ranks against
the Russian Red armies. Some time later, he ami his motluT were
evacuated to the Turkish capital, and as a result of her humani-
tarian work in refugee hospitals the ladv |)asscd awav.
By selling a few jewels he had dung to in High!, tlic b()\. onh
fourteen, made his \\a\ to Iloience, [Coiiliniifd an jnigc 74]
29
Lady Luck Smiles
And AltcKael Whalen Smiles Rtsht
Back Again. Pier's As IrisK As The
Sivinteenth O'' A/larcK
By W. Gertrude V^allcer
LISTEN, if Michael Whalen comes in the cast of this play, I get
out. I refuse to work with him!"
This voice of resentment floated over the rows of cold,
empty seats, to the back of the little theatre where I was huddled
with the rest of the cast over an open fireplace. We had a good,
original play, an opening date, and a complete cast with the
e.xception of a leading man. We had tried and hadn't
been able to get a lead to meet the requirements.
The part needed a handsome, adventuresome
Irishman, who could also, incidentally
act!
Evidently someone had had
the nerve to suggest
Michael Whalen and
this was the answer
which came from the
comedian of the play,
but which was, seem-
ingly and silently, voiced
by the rest of the cast,
with the exception of
myself and the director-
producer. The director
was worried. I was in-
trigued. Who was this
Michael Whalen whom
no one wanted to work
with— and why? And what
His mother and two
sisters make a home
for him in Holly-
wood,
^vas his force,
even though at the
moment it ^vas obviously
insidious to a number of would-
be actors?
I soon found out the answers to each of my
questions, and subsequently, the cause of the re-
sentment. Michael had, they said, a certain reputation
for "tenipei anient." Although I did not condone tempera-
ment, I knew that there must be a reason for Mr. Whalen's in-
disposition and I desperately wanted to find out why. "Oh yes,"
they continued, "he's handsome and charming and has a beautiful
voice and can act and works hard at it, but he's temperamental
and indifferent and a 'devil' to work with."
But there is a much greater force which rules this universe for
good and it ^vas evidently ruling that night. The director and
myself had our way— Michael Whalen \\'as called to read the part
and accepted the invitation. He had just closed downtovvn in Los
Angeles, at the Mason Theatre, in O'Neill's, "The Hairy Ape,"
and was at leisure.
I'll never forget the next night when Mike was due at the
theatre. ^Ve were all waiting for his entrance into the auditorium,
expecting a perfectly timed "stagey entree," which vvould signify
that a temperamental, egotistical actor had con-
descendingly accepted the invitation to appear
with our small but ambitious group.
The rehearsal began. My "cue" hadn't been
spoken so I was sitting clown near the front
^vatching and waiting. I was so absorbed in the
progress of the first scene that I hadn't noticed
1 ^vas not alone, that I hadn't been alone for
quite a lew moments.
Smklcnly a hand tapped me upon the shoulder.
I turned, startled. A huge, friendly, but slightly
diHidcnt, smile met my amazed gaze. "Hello," it
said, "I'm Michael XVhalcn. I'm supposed to read
the part of Jerry. Do you know when I come in?"
I dill but I couldn't lell him. I just sat, staring.
I'in.illy his eves wrinkled up at the corners as they
ha\e a habit of doing [Contiuued on page 64]
30
when she visits New York, Claudette Colbert is
required to see interviewers and photographers.
DOES Clark Gable, visiting Broadway, like to have women tear
the lapels o([ his coat as a mark ot their idolatry? Did Dick
Powell and Joan Blondell enjoy their ballyhooed honeymoon
in New York? Does Connie Bennett deliberately arrive late at New
York theatres, in order to attract attention? Does Lorctta Young
like to sign autograjshs, or does she resent it? Are the dark-glasses
which Syhia Sidney wears on Broadway a deliberate attention-
teaser? Did Joan Crawford and Franchot Tone deliberately stage
their marriage in the east, or \vas the idea I'orccd on them? Are
movie stars piiblicity-cra/y?
Silting both as judge and jury, in my capacity as a Broadway
columnist, I see all of these glamorous Hollywood stars ])ass
before me at New York's night clubs and theaters and parties. Are
they exhibitionists? I've heard this question discussed hundreds
of times by movie fans, and some of the opinions would make
the hair stand straight on your scalp, unless you were as bald as
the eight ball.
The answers and conclusions which I have set down here are
expert. After all, this is my business. In the course of a week, I
get around to perhaps thirty-five supper clubs, night clubs and
hotel rooms and theaters. If a movie star is on Broadway or near
Publicity
Dodgers
Do The Stars Seek The Linie=
lisht Or Do They Yearn For
Some Privacy?
By Ed Sullivan
Sylvia Sidney is a
native New York-
er, but that does
not save her from
criticism.
i
it. I'll see him or her Avhen he or she doesn't realize I'm sitting in
judgment on his or her behavior. And from coinitless New Yorkers
will come letters to my desk, fortifying my impression with actual
experiences.
I never ^vould have kno-ivn that Barbara Stanwyck was sup-
porting a fatherless Long Island family but from a letter sent
to me by the parish priest. The doorman at the ^Valdorf told me
that Joan Crawford had bought clothes and shoes for five of
the maids at the hotel. The desk of a Broadway columnist is a
clearing house for all the news of all the celebrities who come
to Times Square. An expert diagnosis is not difficult Avhen you
understand all the information )ou gather.
It is only when Love, with a capital "L," moseys into the pic-
ture that a Broadway columnist finds anything to rap in the
behavior of Hollywood stars vacationing on the Main Stem. As
a general rule, the celluloid kings and queens relax and don't
take themselves too seriously when they arrive at Times Square.
The dafTy behavior of Joan Blondell and Dick Powell, ^vhen they
arrived at New York on their honeymoon and came sailing up
the bay with a fleet of tugs and airplanes, should not be charged
against them. I'm quite certain that both of them would ha\e
preferred to have sneaked into New York, seen the shows phning
in the Broadway theaters, completed their shopping and con-
fined the publicity to the conventional cocktail party, and flash-
light pictures whenever they appeared in public.
But there is something about Love that un-
balances the publicity olTices of the major com-
panies. Perhaps it is because the piiblicitv men
are lo\e-star\cd that thev thus react to a pictine
player's honevmoon. At any rate, and whatever
the reason, the boys who cook up the publicity
stunts get a fierce gleam in their eyes at the
opportiniitv lo get a [Coiiliiiiird un page 92]
Wherever Clark
Gable goes, there
go the news cam-
eras. But how he
can duck them!
^'TKe Bird Of Time Has But A Little Way
To Flutter And Ttie BirJ Is On The Wing/^
Never
Grow Old
Lson
Anne Shirley has seized upon the hurry-
ing days and won fame already . . . .
(Extreme right) Richard Cromwell has
a rule of living that
keeps him young ....
(Right) the clock has
stopped for Tom Brown
.... (Below) Eric Lin-
den has some fine per-
formances to his credit
and still he keeps his
boyish appearance.
y TOLLYWOOD is not to be com- ^ icnry
pared with the doting mother
^vho gazes fondly upon her
hulking, splay-footed, over-sized
son and sees in him the same
adorable dimpled darling who kept
her up nights while he whooped
his way through croup, measles and
skinned knees alike.
On the contrary, Hollywood is
more inclined to take one brief,
disillusioned peek at the gangly
ofEspring it once loved, and yell:
"Out of my life, Frankenstein!"
So, with a few sad examples be-
fore them, Hollywood youth unan-
imously agrees that "the trick is
not to grow up!"
Eric Linden is an out-
standing example of the
theory that "it pays to stay
young." "I'm stuck with the
kind of a face that will keep
me in the juvenile class until
I die of old age," Eric grins.
"I look as if I believe in
Santa Claus and the Easter
bunny. And Heaven help my
gentle soul if I ever discover
the cold, cruel facts of life! '
Eric is twenty-eight years
old, but he continues to
portray adolescent youth
even more convincingly than
yoimgsters half his age. Prob-
ably the greatest jol) of act-
ing he has ever done was in
"Ah, Wilderness," when he
played the part of a seven-
teen year old love-sick kid.
Only once has he stepped
out of character, and that
was in "Life Begins," when
he portrayed the tragic yoinig father so poignantly that chivalrous
ushers had to pilot weeping customers out of local nickelodeons
in a canoe. But roles like that are few and far between, and Eric
continues playing innocents abroad ad infinitum.
"With me. the trick of staying young is purely a mental process,"
Eric says. "You've got to have a 'young' slant on life. It's a little
difficult to explain. And don't get the idea that I sit around
reading Alger books and crimching lollipops to keep in character.
I like to gang around with the
youngsters, do the things the) do,
study their actions and reactions and
find out just ^vhat makes the adolescent
wheels go 'round. I'm lucky, too, in being
able to remember the moods and expressions
of my own early years. How I felt aboiU my
first straw hat, the first time I held a girl's hand
and stuff like that.
"Before going into 'Ah, Wilderness,' I reviewed the
agonies of my own first puppy love and tried to bring
the life-and-dealh grinuiess of il all into llie part I was pla)ing.
Believe me, this 'irot growing up' is serious busincssl"
Tom Brown thinks dilferently. "It takes a well-developed sense
of humor to pirt over the first-long-panls idea," he declares.
" 'Seveirleerr' laughs at life, wise-cracks its way through the
adolesccirt tragedies and, generally, turns hatrd-spriiigs all over
the place, for no reason at all."
So, jirvcirilc hi-jinks are the order of ilriiigs whh Tom. He
dairces. swims, rides, plays tennis, roller skates and \vlro()ps his
head off at the fights.
"I throw a nrean bean-bag. too." he grirrs. ".And if air) body
wants a 'fourth' for a game of Tost Office' ... I"
^'oii can't piir him dowir. If there was a pri/c for perpetual
molioir. 'roiri would \\in il. hands down \C.()>i I in iicd <ni fxiiic' ~>^]
33
Players Win
Fabulous Riches
The Actor In The Movies Is Born With A Talent. For Him
No Years Of Study Are Necessary^ And Luxury Is His Portion.
ByL
(Upper left) Robert
Taylor is really
gifted. (Left) To
many critics Bette
Davis is as great as
any actress in Amer-
ica. (Right)
In one pic-
ture Deanna
Durbin has
come into her
birthright.
have to wait for the world to "discover"
you thirty-five years after your death the
way the world did Cezanne.
That's the reason I always sulk and go
into a pet when I hear actors,
and I mean actresses, too, rav-
ing and ranting over thr'ir
hardships, viz., intervie\vs, au-
tographs, and income taxes. I
daresay poor Edgar Allan Poe,
starving in his little cottage up
in the Bronx, would have been
IF YOU are slightly on the in-
dolent side, and I have no doubt
but what you are, you will thrill
to this message that I, like a well
mannered medium, have for you.
Thanks to that amazing Hollywood,
those people with mysterious and
God-given gifts, people who feel the
flames of genius burning within, need
no longer spend years and years in
thankless apprenticeship, need no longer
die of starvation in a garret, unknown
unwanted, unappreciated.
Heavens no, thanks to that amazing
Holl)wood the artist can now die snugly
in a William Haines antique bed on a full
stomach. Acting, with the aid of the
camera, has become the easiest art in the
world. And if you feel that you will never
be happy until you have had a lling at the
arts, why all I've got to say is that if you
don't try acting you ought to have your
head examined.
Do you realize that the actor in Holly-
W'ood receives more money than the court
painter in England? 1 hat the poet laurcaie,
Mr. |ohn Masdield, is a pauper comi)arc(l
^vith piadically any cliaiader ailor in
Hollvwood? Do you reali/c ihal singers and
nuisidans rehearse, practice, vocali/c, and
run scales for years and years but that the
Katharine Hep-
bum did not
income of a musician have to wait
in a lifetime rarely fo'' her reward,
e (J u a 1 .s the m o n e y
that is to be made
b) an actor in Hollvwood in a year? Isn't
it perfectly cntlnalling! Lucky you, if you
select acting for your artistic expression.
(If you don't you're a dope.) Vou won t
only too glad to have had an
income for the government to
tax— but, after all, if you can
only get ten dollars for a poem
as great as "The Raven" you
can't expect the government
to be interested. Did it ever
occur to you that an actor is
paid more for one minute of
his time on the set than Poe
was paid for "The Raven," or
for that matter, for any of his
poems and stories?
and some of the other actors
who are always complaining,
think that over. Van Gogh
^vould have been %ery happy
indeed to have had someone ask for his
aiuograph: of coiuse, if someone had of-
fered to buy (during his lifetime) one of
his signed paintings he ivould have been
in seventh hea\en. And I suggest that
Franchot Tone, and some of the actors who
are always griping about aiuographs, think
that over. Ves, indeed, acting is the easiest,
and most remunerative, art in the \vorld.
34
For contrast. The library wing of Harold Lloyd's home,
the splendid approach and Harold himself. He brought
wholesome comedy to the screen and the public gladly paid.
The humble cottage in upper New
York City, where lived Edgar
Allan Poe, recognized as America's
pre-eminent writer.
\Vhcn an actress i3la)s a neat emotional
scene on the screen she usually has the
satisfaction, at a preview, of hearing the
audience hreak mto wild apphiuse. Some-
times the audience doesn't— sometimes it
giggles instead— and then the poor actress
sim|ily loams at the mouth and has fifty
million fits hecause she is tuiappreciated.
Bui, after all, let her consider that she only
spent two days on that scene and that
Beetho\en spent years and years on his
Filth .S)mphoiiy only to liave it booed
mercilessly by the public the night it was
first presented. When )our elforts of a life-
time are hissed tlicn )ou really know the
torture of a broken heart.
To obtain perfection in any art— except
the art of acting lor the cinema— takes
many long weaiy \ears and plenty of the
well known honest sweat. Nijinsky did not
l)ecome a graceful, beautiful dancer over
night. The Russian Ballet does not practice
a few weeks and then go on and clo their
number like the girls in a Bus Berkeley
ensemble. If you really \vant to suiter for
your art become a member of a ballet.
In "One Night of Love," the excellent
Grace Moore film of several seasons ago,
we saw just what a long apprenticeship a
singer must go through before she can face
the footlights of the Metropolitan. Study,
study, study, and darned expensive study,
too. Then when she becomes an adult with
a trained voice she can go out and get some
money— if she's lucky.
But take the case of little Deanna DurDin
in Hollywood. Deanna, age 14 or is it 17,
makes one pictine ("Three Smart Girls ")
and immediately is acclaimed by the entire
country. What with her radio and movie
contracts in the next iew years she will very
likely make more money before she is
twenty than Galli Curci did in all her years
at the Metropolitan.
Most of the painters |3ut in years of con-
centration before they even sell a can\as,
and they rareh ever, no matter how jjop-
ular they become, get into the big money
brackets. The\ nuist spend vears in art
school ijerfccling their leclini(|uc, years in
experimenting with colois, antl unless they
are fortunate enough to ha\e an inde-
pendent income they become fiillv ac-
cjuainted with the seamy side of life. And
the future? They never know. It's a com-
plete gamble. .As a matter of fact, a great
many of .America's most promising painters,
I have discovered, arc on WPA doles at
this time.
But a young kid like Tom Brown, he's
:;i I'm told, has trust fimds and annuities
so ananged that b\' the lime he is twenly-
five he can retire if he likes. Imagine, at
twent)-fi\e! Why an artist hasn't even be-
gun to get into his stride by t^ventv-five.
Jackie Coogan came of age not so long ago
and came into several cool millions of his
own money. There's no other art that 1
know of where kids can become million-
aires before they're hardh out of their
teens. Try to do it on \(nn \i(ilin.
.\s you well know scientists work des-
perately most of their li\cs belore thev ran
prove their ihcoiies. and somelinies the\
never do. RemenilKi . bonis I'astcur \vas an
old man, broken in health and bodv, be-
fore he was recogni/ed by the .-Vcadem\ in
France. He nc\er did have anv mone\. And
Einstein was well in the ncighboi hood ol
sixlv before he ])ro\ed his iheoiN.
lUil \oung Robert 'Fa^lor bad a theor\
that he was an actor. And it onh took him
a Ncai to pro\c his theory to Metro. He
didn't ha\c to go through years of appren-
liieship and struggle, he didn't ha\e lo
siudv and rehearse and go mad \\itli
despair. Me simply had to smile and look
handsome, and that was exactlv whal the
|)ul)li( \\anie(l. If the salarv of most of the
scientists in the United Slates, during the
year i9;i7, should be stacked up. it would
still look like a mere drop in the biukci
compared lo what Bob Taylor \\\)\ kiuuL
down during I he same lime.
\C,<)iil i inicd (III /v/yc 7-, I
35
Looking Over TKe Lots And
Studying The Studios W^itK
S. R. Mook
Joan Blondell and Fernand
Gravet, the French motion pic-
ture star, in a scene from "The
King and the Chorus Girl."
SO THE holidays ha\e come
and gone, leaving a rosy glow-
behind them, to say nothing
of eggnogg all over the divan
and a couple of glasses broken
out of the new set Dick and
Joby Arlen gave me, and also a
couple of cigarette burns on the
neu- carpet. But those are small
matters and everything is hunk\-
dory as I set out for
Paramount
TT'S rainy over the rest of Los
1 Angeles today but on Stage 6
at Paramount the sun is shin-
ing, for we are right in the mid-
dle of Panama where Carole
Lombard, in a very lovely and
very revealing gown, is being
married to Fred MacMurray.
One look at Carole and that guy
certainly knows what he's get-
ting. And he's getting all the
best of it, if you ask me.
There's certainly nothing no\el about the
plot but Carole and Fred lia\e a wav of
reading lines that makes )ou forget plot
and like it. In addition, there are the rab-
bitty Charles Bullcrworth and the crvptic
Jean Dixon to help things along.
When I come on ihc set Carole is reclin-
ing in a chair. "It s the Mook! " she screams,
pointing at me. Nalinallv all e\cs follow
her linger. Being a liinid soul I redden, trip
over a cable and land in a lump at her
feet. "The time I've wasted trving to n\akc
somcihing of you," she jibes.
"Well, I'm still al yom- feet," I come
back. "What you dohig In lluii i;cl ii|) at
tiiis lime of llie morning?"
"Mr. MacMunav and I are '^ettin'^ mu-
ricd," she inlorms me
Harry Carey, Frances Dee, Gary Cooper, George Raft and Olympe Bradna
in an amusing scene from "Souls at Sea."
"Shotgun wedding?" I ask sympatheticalh .
"Me?" she screams once more. "Ha! "
"// the arlisles don't mind," the director
interrupts, "I'd like to shoot the wedding."
"I'd like to shoot the groom," I nnitter,
glaring at MacMurray as I realize that
Carole is lost to me roie\er— again.
So they shoot the wedding. Tlie ccremonv
is in Spanish— or Mexican and an inter-
preter interprets it lor Carole and I red.
"\oi\ are now marry," he finishes.
Fred merely looks at the bride. "It's cus-
tomary to kiss the bride," Carole suggests,
so Fred gives her an inienthusiastic peck.
"Cm!" orders ihe director.
"I'll bet that's the first time \ou ever
had to remind a guy to kiss you," I grin
at Carole.
■■ V t\pi(al Mook crack!" she \ells. "r\e
been wailing for that ever since voii came."
Well, you earned it, toots. I'll' learn von
to trifle with mv affections.
Next we ha\e Gary Cooper, Frances Dee
and George Raft in "Souls at Sea. "
Now don't ask me what this is about
because e\en the i5eople who re working on
the picture don't know. The storv isn't
finished. ^Vouldn't vou think after' Para-
moimt \vrole olf .S900.000 on "Hotel Im-
peri.al," when Marlene Dietrich walked out
on it because she couldn't see the script,
that the\ would alwa\s ha\e it down in
black and white before thev started shoot-
ing? But, no! They go right on doing the
way ihe\'ve ahsays done'and mv co'linnn
and I can go to blazes as far as finding
out the plot.
36
All I know is Gary and Frances are
dancing in the salon of "The Star of Fin-
land" and so are George Raft and Olympe
Bradna.
"—and I have to confess to you, because
it's the only honest thing to do," Olympe
confesses. "You told me abotit yourself, who
you were and what you did— a merchant of
■ the high seas. A somebody who means
something in this world. And I've told you
nothing— who I am— or where I came from."
"You don't have to," George assures her.
"I know. You came from "
"The sky," Olympe finishes. "That was
nice of you. Fll always remember it. But
you don't knots', Powdah. I'm just a servant
—just a lady's maid. At least I was. I was
going to America just to— just to— I'm so
sorry, Powdah."
Just to what? I wonder. I hate all this
shilly-shallying. But George evidently knows.
He holds her eyes with his. Suddenly she
goes into his arms. There is a moment's
silence as his cheek caresses her hair.
"Did I ever tell you about the sunflower?"
he asks. "It looks up to the sun— just like
I'm doin' to you. Only the sun ain't nothin'
—and you are— you're Babsie."
Well, the captain (Harry Carey) is com-
ing down the stairs with his arms full of
bottles and bundles of food. He pays no
attention to George and Olympe but stops
alongside Gary and Frances, and I don't
blame him, although that's no crack at the
other two.
"The Captain is entertaining a few
choice guests tonight," he says with a
ivink, "and— don't tell this to a soul, but
he's decided you two are the choicest. Look
at it— sparkling Burgundy, Camembert,
Russian rye— and all for nothing. Is that
amazing?"
That Raft is no fool. He can smell food
farther than Pete DeGrasse can smell Wally
Hally. He stops dancing, grabs Olympe by
the hand and drags her up.
"Stupendous, captain," Gary is laughing,
"but really "
"Don't pay any attention to him. Cap-
tain," George cautions Carey. "He's aivfully
shy."
Carey looks quickly at Raft, then com-
pares the number of bottles under his arm.
Raft knows what he is thinking and says,
"An' he don't drink."
"Oh," Carey remarks in a relieved tone
(and how -^vell I know that feeling), "would
you two like to join me? '
"Thank you," says George gratefully.
The captain leads the way. George links
his arm in Gary's, his left hand still hold-
ing 'Lympe's and the four people start
after the captain. George looks up at Gary
and inquires, ".\in't I the clever one?"
The scene is over. Gary comes up and
shakes hands. "Have a good time in New
York?" I put it up to him.
"S\vel!," says Gary.
"I didn't read about any mobs tipping
over a taxi to get to you the
way they did Gable, " I jibe.
"Oh, Gables a hot shot. "
Gary grins. "I'm just an old
married man»"
There doesn't seem to be
any answer to that one so I
try a new tack. "Arlen's bought
a new boat. " I offer.
"You don't say so!" Gary
ejaculates. "Ho\\' is he? 1
haven't seen Buck in years.
Tell him to call me tip."
Next, we have "Clarence."
This is one of Booth Tarking-
ton's plays— and what a play!
If I live to be a thousand (God
[Coulinited on page 85]
Simone Simon and
James Stewart as the
famous lovers in
"Seventh Heaven."
This picture, which
brought Janet Gaynor
and Charles Farrell to
fame, offers a splendid
opportunity to these
newcomers.
37
TKe Players In Pictures Have Homes And
Families^ /\nd TKe Days Of ^^Sleeper Jumps^'^
A.nc[ ^^Living In A. Trunk^^ Are Over.
TS HOLLYWOOD really a factory-town of
I glorified wage slaves, where your favorites
lead a life of ballyhoo at so much per
week? Where, to be put under contract
means that the producer owns you body
and soul. Where even the labor laws pre-
vailing in steel and meat packing plants
do not exist. Where artists of fine sensi-
bilities are kicked about, trod upon, and
told, "Smile, darn you, smile."
Well, screen acting is not a perpetual
holiday in the palmy luxuriance of Beverly
Hills, with sun-baths, polo games and ten-
nis matches during the day, and prize-fights
and the Trocadero at night. It has its drau'-
back. It requires some work now and then—
at \vages up to eight or nine thousand
smackers a week.
We asked Edward Arnold, Charles Boyev,
Walter Connolly, and Brian Donlevv whdt
they really think of Holly^vood, to dra^v
up a credit and debit sheet of the movie
capital, listing its assets and liabilities as
compared to the stage. All four of them
have passed through the rigors of the the-
atre, and are actors of reputation.
"It isn't exactly an easy life we live out
here," Ed\\'ard Arnold said, "but I love it.
You see, I'm a family man, and for the first
time in my life I have a real home of my
own. I just bought a house— the otie thing
I've always ivanted but couldn't have.
Hollywood made it possible. There is a
title for your story, Leon. 'Holhnvood made
it possible!' " And the hefty .\rnold, who
shoved his compelling personality over the
screen as "Nero Wolfe" and "Diamond fini
Brady" and "General Cutter" and "Barney
Glasgow," shook ^vith a hearty laugh.
"I ahvays said to Mrs. yVrnold and the
kids— when I buy a house, I'll still have
money in the bank. As you kno^^■. I ^\ as
born in an eastside ten-
ement in New York. ^
My father died when I i
was 10, and five years
later my mother fol-
lowed him to the
grave, I don't want to
dramatize the difficul-
ties I had as a boy, but
I had to quit school at
10 and help support
my mother and four
brothers and sisters. I
didn't have a chance to
go through grammar
school." His powerful
blue eyes narrowed to
a steely gaze, and he
took a deep breath. "I
tried different trades,
but I didn't like them.
I had the acting bug.
When I \v a s 15 I
landed a job as juve-
nile understudy with a
.Shakespearean reper-
tory company, and
went on the road. I
was in stock eleven
years, touring the
country from Portland,
Maine, to Portland,
Oregon. My stock ca-
reer ended with a New
York play in which I
made (jinie a hit.
"In all the years I've
been in the theatre I
was never thrown out
of a hold for non-pay-
ment of rent, never
went hungry. I wish,
for your sake, I had a sob story to tell you!
Writers ask me: 'Has nothing ever happened
to you?' There is a lady who is doing a
story about me for the Saturday Evening
Post. The other night, we sat up imtil
about two o'clock in the morning, trying
to dig up incidents from my theatrical life
that would make interesting reading, but
darn it, I couldn't tell her anything. I al-
ways made good money, for a man of sim-
ple tastes. I have averaged as high as S430
a week in the theatre. 1 had a tough time
only in 1919. We were doing a war
play. It opened on November 5, and
on November 1 1 the armistice was
signed. Naturally, people didn't care
to see war plays any more, and I
foimd myself out of a job. I didn't
work for eight months. Our savings
ran pretty low, we had to borro^v
some money. I had married in Chi-
cago, in 1916. It's tough to be broke
when you have a wife and a baby
to take care of.
"Before Hollywood dis-
covered me, I was in pic-
tines for two years, with
the old Essanay Company
in Chicago. During this
period of my idleness I
went to see a motion pic-
ture agent in New York,
hoping tO' get some ^vork.
He laughed at me. He said
he couldn't jeopardize his
professional standing, that
he handled only big actors.
I had been a leading man
with the Essanay Company,
but what was Essanay com-
pared to Fox, the studio
where most of his clients
Edward Arnold studying a script
in the attractive dining room of
his Hollywood home. (Right)
Arnold, the always successful
actor, who has never been home-
less nor ever been hungry.
38
J
Sitting Pretty
No
TKere Is A Particular Charm
That An Actor In Pictures Aiust
Have. A/lany Players Arc Tested
For It But Few Can Deliver.
By L eon jurmeUan
Walter Connolly likes Hol-
lywood: "Here an actor has
more leisure than he can
have in New York." (Right)
Charles Boyer has a pleas-
ant word for us: "Ameri-
cans have a natural talent
for acting."
LAINT
were under coiilvact. No, he couldn't even
consider me. 1 was hurt. But 1 remembered
the advice an old newspaperman gave me
when 1 was a boy trying to make my way
through the world. He said, 'Son, never
lose your smile, never lose your sense of
humor, no matter what hajipcns.' I never
tried again to get into the movies. 'Some
day,' I said to myself, 'they will come after
me.' "
And they did. Arnold was in I.os Angeles
during the Olympic: Games, playing in a
.\ew \oTk show, "Whistling in the Dark,"
when several movie magnates yaniiTiercd
and dickeied lor his services, \ou know llic
rest. Today, he is one of the higtiesi paid
stars in the biisiness.
"But now that I can have the luxuries I
used to dream about, I don't go after them.
Too busy. That's the irony of my success!
"As you see, I have no grudge against
the theatre. I have only pleasant meinories,
and no regrets as a stage actor. You can't
accuse me of being s\veetened by the movie
coin. Compared to the stage actor, I don't
care how successful he might be, the movie
star leads an almost ideal existence. I can't
think of a better place to bring up my
children than Hollywood. They grew like
mushrooms after we moved out here. Holly-
wood has made it possible for me to give
them a home and other advantages I didn't
have as a boy. If the stage offered me the
same salary, I would still prefer the screen."
Charles Boyer is a stellar name on the
Parisian stage. He is a graduate of the
Sorbonne, where he studied philosophy, and
the famous Conservatoire of
Drama. His specialt) is inen-
tal rather than physical parts.
He has the same passion for
perfection in acting as Flau-
bert had for the niol jusle—
the exact word. He is noted
for his dramatic criticisms
and hook reviews in the
leading literary journals of France. An in-
terview with him is a lesson in the art of
acting.
"Not only the American cinema, but also
the American stage is tlie best in the
world," he told us in his fluent, even
though accented F^nglish, meanwhile han-
dling his cigarette in that elegant manner
which distinguishes the cultined cosmo-
polite. "The plays I saw in New York-
well, they were ierrific!" Boyer likes oin-
ihunderwords. "Believe me, the American
stage was a revelation to me. Americans
have a natmal talent for acting not |)os-
sessed bv aii\ otlui nation. 1 ha\'e oilcn
wondered win. It seems to me. the free
and eas\ maimer in which American chil-
Brian Donlevy
was born in
Ireland, but he
grew up in Wis-
consin.
dren grow has much to do with it.
"A French actor is likely to say, 'Sit
down!' in an elocutionary tone, as if speak-
ing some classic lines in the Comc^die Fran-
caise. An American actor will say simply
and natiually, 'Sit down.' Only by yeais of
study and practice does the French actor
develop an easy and natural style of de-
livery, ni grant that he may eventually go
beyond the American actor in interpreting
the characters he is playing, but when we
consider French actors and .\merican actors
as a whole, the superiority of the latter
cannot be denied.
"There is a tendency on the part of many
intellectuals to disparage the cinema, ancl
particularly the American cinema. This is
unfortiuiate, and to be deeply regretted.
The cinema is a new art form and does
not ha\e the experience and traditions of
the theatre, but it has already, within the
past few years, ]3roduced things of real
artiviic merit, and has magnificent poten-
tialities.
"We have some dramatic critics in
France, who may praise, now and then, a
French pictine, but never an American-
made ]iicturc. They believe Holly\\ood
films, being produced by factory methods
for mass consumption, cannot possibh have
artistic value. In in\ opinion, wide popular
ajjpeal is not onh against tiiie art, but is
a necessary condition of it. Because of this
narrow, prejudiced viewpoint the French
cinema suffers, and .Ameiican pictures con-
tinue to be the most popular in the world.
"I find com])letc artistic satisfaction in
the cinema. exce]it for one thing— I miss
that direct coiUact \vith the audience the
stage actor enjovs. To icnew this contact,
film actors should return to the theatre now
\C<>iil'nuicd on j^tii:'' 76]
39
Freddie Bartholomew
and Mickey Rooney
are planning great
things for the future.
FREDDIE BARTHOLOMEW and
Mickey Rooney, aged respectively
twelve and sixteen, are firm friends.
Freddie, as everybody knows, is English.
Mickey is Irish, American-born. They \ „
are just about as opposite in nature, ap- ! f
pearance and tastes as any two people
you can imagine.
But they have one bond in connnon.
They look to motion pictures for their
collective futures ... not as actors, as
you might very well think, but in posi-
tions behind the camera.
Freddie intends to be a writer.
Mickey has settled upon direction.
Now, for two such youthful members of the film colony already
to have definitely decided what they will be when they grow up,
considering the fact that they now are actors of more than usual
talent and with brilliant meccas beckoning, is exceptional, to say
the least. Ask the average juvenile of the screen toward what end
he is directing his energies and ten to one he'll pipe up that he
will continue his acting career. But not Freddie and Mickey.
"I would like very much to look at a screen production and to
know that it was I who conceived the story and the characters,"
says Fieddie, in his precise manner of speaking.
"I want to be able to look at a picture and say I was responsible
for its success," positively asserts the more practical-minded
Mickey.
An extraordinary parallel may be drawn between these two
friends, one so gentle in speech and actions, the other staccato-
speaking and thinking, intent every moment upon the joy of
action.
"As long as I can remember, I have wanted to write," Freddie
confides, earnestly. "When I saw my first cinema, oh .so many years
ago"— Freddie still has to grow a long gray beard-"I thought,
'Some day I will wiiie a slory sucii as this and people will "say
it is mine.' Ever since then I have planned to be a writer, al-
though I will say that for a while I almost decided to give it up
to become a jockey."
Freddie, as serious of mien as though he were a judge about to
pass sentence, sat very still while he commented upon this "life-
long" aspiration. He was dressed for his role in "Captains
Courageous," in rough, blue ivooien-^. .ind he i)errhed a ballereil
sou'wester on the hack of liis head.
Mickey, lounging nearby-boih are Icalmed in Metro's piciur-
ization of the Kipling sea classic— and garbed in similar aitire,
40
spoke up in an equally serious manner.
"When I appeared in my first picture I was
only four, but I remember that my ambition to
be a director dated from that day. Of course,
then, I suppose, I wanted to be a director be-
cause he gave orders. Now, though, I want to
be a director because he contributes something
definitely real to the screen and to progress."
Odd, how both these lads from their earliest
recollections have held the
thought . . . Freddie to be au-
thor, Mickey to be director, and
that the idea should have been
born at about the same period
in their respective careers.
Fully a year has passed since
they began to compare notes
about the future, their hopes,
their plans, their ambitions. It
started when they first met on
the "Little Lord Fauntleroy"
set, in ^vhich Freddie enacted
the title role and Mickey played
his bootblack-friend.
Freddie, at that time, still was
the reserved little boy of "David
Copperfield" memory. It re-
^ quired several weeks ere he and
" , Mickey reached the plane to
which they have held ever since,
for the English lad ^^•asn't ac-
customed to the frankness and
,. . ., , liail-fellow-well-met attitude that
distinguishes the American Mickey. But after the ice ^vas broken
they got along famously.
Mickey it was who first drew from Freddie his long-cherished
ideal. I reddie had never mentioned it to anybody besides his
Ainu Cissie and she had kept his secret iiniolate. For his part,
Mickey confessed his dream of days to come . . . and an even
stronger bond of friendship resulted. To the boys, directing and
writing ran in much the same channels.
Of course, both Freddie and his Aunt Ci.ssie have concentrated
upon his acting. Long ago the aunt, recognizing the spark of
genius in her young neiihew. encouraged the cultivation of his
unusual powers of concentraiion and'niemory and taught him
(luiion and elocution, including in her [Coiu'hnied on page 90]
His career begins: Scene from flie
silenf picture, "TKe Winning of
Barbara Worth."
In "Farewell to Arms," he played
opposite the famous actress, Helen
Hayes.
Gary
others
reached a level
in "Lives of
Lancer."
ibove all
I Bengal
"Mr. Deeds Goes To Town" — one
of the best pictures of I93fr—
in which Gary Cooper scored.
TO
Gary
Cooper
e pioneers of the West saw
ty after city grow from the
mpty wastelands and prairies,
d Gary has seen the em-
re of the screen grow from
even less inspiring beginnings.
HE HAS made so great
a number of pictures,
Gary is now educated
in the art. Naturally he has
seen himself on the screen
many a time, and if any-
thing will keep a man from
conceit that will.
Gary has found out the
priceless secret of screen
acting, which is that the
camera photographs the
actor's thoughts; so he acts
with his mind. When he
plays a given part it is
his mind that assumes the
personality of the character
called for. Thus Gary has
become one of the best
performers on the screen.
His next is
''Souls at
Sea," a story
of sailing-ship
days.
THAT
COME=HlTHER
Look
The Beauty Of W omen Is The Back=
Sround That Oives Promise And
Alakes The Provocative Olance Of The
Eyes Eloquent With \Varm Invitation.
(Above ) The always
lovely Loretta Young
sends her charm vibra-
tions over the wire.
(Left) Another of those
clever French mam'-
selles is Lily Pons.
Simone Simon is the
mystery qirl, but good
lucic will not long resist
her appealing glance.
And so she became en-
gaged fo be marrred!
No finer complimen-l'
can be given to Jeanette
MacDonald's capfivat-
ing personalify.
A PLAYER is in the business
of making faces, in a nice
way of course. If the girl in
the play is gay or glum, inquisitive
or intriguing, it is the business of
the actress to arrange her features
accordingly. And among all the ex-
pressions in the repertoire of an
actress, the look that fascinates,
that sjjeaks of love, and confesses
that all defenses are down and who
cares can illumine only the face of
a woman blessed with a mind and
soul capable of love.
(Above) June Lang has siren eyes, a will-
ing mouth and her actress reputation is
blooming. (Left) Jean Arthur is on her
third career and making good headway.
Her "come-hither" is magnetic.
Treasures Ahead!
There A^re Exciting Pictures
^^In The Can/'^ As They Say
In Hollywood/ For The Fatu
To Enjoy.
Now we can learn all aboul
Hollywood — in color, too.
"A Sfar Is Born," with
Fredric March and Janet
Gaynor, is a story of "what
could happen." (Below) In
"Elephant Boy," the ele-
phant, Kala Nag, lifts the
boy to the roof of a hut.
But gently.
Paul Robeson leas
the way in "Kint
Solomon's Mines.
Cedric Hardwick^
Roland Youn^
Anna Lee and Joh
Loder are in fh
cast.
A fa mous old
stage play, "The
Last of Mrs.
Cheyney,
to life again on
the screen. Rob-
ert Montgomery
and Joan Craw-
ford.
A London film,
"Men Are Not
Sods," with
A. E. Mathews
and M i r i a I
Hopkins.
Romany caravans in
" _ ^ "Wings of the Morn-
ing," an English pic-
ture in color.
Outdoors Belongs
Everyone!
The Sun Shines For
An -Nature Is A
Screen Favorite.
THE theatrical producer, with paint and canvas, tries to give stage
shows the feeling of outdoor settings. The only successes along these
lines are dark scenes. But, in the movies, the camera captures
natural backgrounds so truthfully that the screen seems almost like
a window through which we can look on land and sea. Some studios
spend royally on sets. This is fine for scene painters and designers, but
the atmosphere of reality on which the punch of the story depends is
best secured direct from nature. If a company could have the exclusive
right to natural backgrounds they would stampede the business. How-
ever "Outdoors Belongs To Everyone."
Clark Gable and
brilliant casi are mak-
ing "Parnell." A jaunf-
!ng-car and an Irish
homestead supply at-
mosphere.
Brian Aherne and Merle Oberon, in "Beloved Enemy," take
a walk midst the upland heather. (Below) Noah Beery,
Jr., and Julian Rivero in "Treve," a story of sheepherders
which gains our interest because of the natural setting.
Health Pays ends in
Happiness. Players Must
Keep In Perfect Condition.
THE ambitious girls of Pictureville have the
greatest respect for the screen and their
careers. They work patiently over every
muscle in their bodies seeking perfection. No
one is too limber or too graceful for the screen.
Then, when they
dance, they thrill with
the joy of motion.
Exercising with her
arms while she jumps
is Alice Faye's fa-
vorite beauty trick.
(Left) George
Murphy and Doris
Nolan dancing in
"Top of the Town,"
the Universal musi-
cal extravanganza.
(Right) 24 times be-
fore breakfast! Mel-
ba Marshall touches
her toes and keeps
her figure trim and
supple.
Although patrician Elissa
Land! chooses red flowers
on a white background, the
design ot her attractive
print is quite conservative.
A pleated flounce fastened
with a shirred ruff provides
a graceful dip to the skirt.
With this formal gown
Elissa wears a pearl neck-
lace and twin pearl brace-
lets.
Vivid prints in widely spaced designs are an exciting new
style this year. Mary Astor's strikingly simple gown has a
flower motif in Sicilian purple, Bagdad blue and Sun
orange on a natural linen background that should catch
and hold the roving eye.
Going South
This Winter?
If You Arc One Of Those Fortunates
Take A Fashion Tip From The Screen
Players Who F^ave Palm Sprinc^s Practi=
cally At Their Doorstep.
mm
$mmm
Deep "V" necklines are coming into
own again and here Madge Evans dei
strafes how becoming they can be. Her
printed crepe has a marine blue backgrC
with deep maroon and yellow flowers ( '
ing a startling color contrast. From a pie
bodice fitting snugly into the waistline,
skirt falls in graceful folds to the herr'
For sun bathing Eleanor Whit-
ney dons a one-piece play
suit boasting a bright red
jersey skirt buttoned down
the back for a change, and
topped by a printed linen
halter in nautical colors.
Like a dream
come true is
Gladys Swarthout
in this ethereal
gown of printed
black and white
organza, worn
over a slip of
blue that matches
the forgetmenots
which are en-
twined with two
brilliant red pop-
pies in her hair.
jlivia de Havilland is a devotee of the new,
jirinqly spaced vivid prints and has chosen
ichalk white heavy crepe with huge clusters
lush red roses, surrounded by deep green
aves, placed at fairly even intervals. Softly
aped green velvet fashions the medieval
ickline and the long, narrow skirtline is slit
the center to afford freedom while walking.
(Below) Two versions of the very latest in beach coats.
Jane Wyatt chooses the classic tailored model of white
"mencio" fastened down the front with amusing buttons
made of golf trees. With this she wears a Juliet cap of
white felt. Jean Rogers selects a fitted royal blue pique
with white cordings, and an enormous matching sun hat.
NOW that money is circulating freely once
again (or so they tell us) a great many of
you will be thinking of takmg one of those
fascinating tropical cruises. If you do, you will
want your wardrobe to include those intriguing
essentials which make life aboard ship a glorious
memory during the dull days after your return.
We didn't have space here to illustrate any after-
noon or formal
sports attire,
-I. . .m — but we have
included some
evening gowns
that will make
life under a
tropical moon
seem a thing of
beauty and a
joy forever. Also
some devastat-
ing l)each en-
seml)les that
will lure the
eyes of some sus-
ceptible beach-
comber from the
wintry North as
easily as they do
the rays of the
When Two Are L,ocke<I In
Tense Embrace Ecstasy Lives
Within The Circle Of
Your ArmS/ And All The
World Goes By Outside.
Dick Powell holds the
beautiful Madeleine
Carroll close to his heart
in a scene from "On the
Avenue."
(Below) Sonja Henie
and Don Ameche in
"One in a Million."
She skates fastest
where the ice is thin.
(Above) Lee Tracy and Margot Gra- I
hame in "Criniinal Lavryer." The
screen will be more entertaining now ;
that Lee is back. (Left) Helen Lynd
and Skeets Gallagher make love in a
spirit of fun. A scene from "Hats Off." i
EVERY story has lovers, and the
girls and men of Hollywood
accept their roles with non-
chalance. Each job is one more
palpitating round of hugs and
kisses, but to the player the love-
making is of desperate importance.
The girl who cannot contrive to
look quite in love, and radiate the
bliss of possessing the idol of her
heart, may just as well go back to
the old home town and marry the
Iiutcher.
Heaven Is
IN youR
Arms
Hit "passport bride" sicks the
Mexican gendarmes on Cory Grant
GRACE MOORE
Heads Hit List in New Song-Filled Triumph,
"When You^re In Love*'
Two thousand dollars for a husband!
That's the fee Louise Fuller, famed opera
star, paid a total stranger to marry her. And
that's the start of one of the most scintillat-
ing, side-splitting romances I've ever laughed
through — Grace Moore's stunning new hit,
"When You're In Love", with Cary Grant.
Of course, any film of Grace's is aces with
me. But "When You're In Love" is even sev-
eral notches better, to my way of thinking,
than "One Night of Love" or "The King
Steps Out".
The star who started a new style in song-
films hits som&new vocal
highs in music numbers
by Jerome Kern and
Dorothy Fields, which
include the soon-to-be-
famous "Our Song". jr.
The cast is loaded for ■ '% V
comedy with such nota-
bles as Cary Grant , Aline
MacMahon, Luis Al-
bemi, Henry Stephen-
son, Catherine Doucet, and Thomas Mitchell.
Robert Riskin, as I've already hinted,
delivered a fun-packed, fast-moving screen
play, and followed it up with the smartest
kind of direction, in collaboration with Harry
Lachman. And Columbia Pictures have
treated their talented star to an elaborate
production that hits scenic highspots from
New York to Mexico.
You can say I said that Grace Moore in
"When You're In Love" is my favorite
amusement of the month. It's way out in
front of the February hit parade.
:efined!
The Men Of The Screen
Scorn To Call In The Police^
The Army Or The Navy
When The Drama Calls
For Action. Every Hero
Packs A Wallop.
IF THE world we live in suddenly
began to behave like the movies, we
would all have to begin our student
days over again. We go through the
years with nary a dip on the jaw, nor
do we ever land on the button in our
daily round. Can it be that the screen
has a suggestion for a fuller life? Or
is it that action is better to watch than
to share? Bam!
In "A Star is Born," Fredric March
resents the Impolite actions of the
photographers and teaches them
a lesson.
mULD YOU BELIEVE IT —
I SPENT ^S2 LAST YEAR
ON STOCK/NGS!
OHHOWT
YOU
COULDN'r
/ FIGOKED IT ALL OC/T - 7M7
PA/RS A WEEK - 50^ A PAIR
1
\
V
THATS ^S2
AU RIGffT.
A LOT OF
MONEY
i
I'LL SAY IT IS- SO I PEOOED
TO TRY TO CUT DOWN ON
RUNS. AU LAST MONTH
I USED lUX
DID IT WORK i ^,
DOT?
L
YES, TyATS THE WONDER-
FUL THING. MY STOCKINGS
ARE LASTING TW/CE AS
LONG - lU SAVEABOLTT
$2.5 A YEAR
Si
GOSH. YOU CAN
BUY A LOT WTTH
$26. THINK ILL
I TRYiMX
I MYSELF
Ui
ONCE you stop to figure what
Lux can save you, you'll
never again want to risk using
just any old soap.
Lux has no harmful alkali as
ordinary soaps often have. With
Lux there's no injurious cake-soap
rubbing. Lux preserves the "live"
resilient quality stockings have
when new — so Luxed stockings
give instead of breaking easily
under strain — seldom go into runs.
This means they last much
longer, look lovelier, too.
— $AVt$
STOCKING
CLASTICITY
(Left) Paul Kelly plows a bit of
his 45 acre ranch. Evelyn Venable,
a visitor, drives the horses.
Camera Catches
(Above) Grace Moore and her husband,
Valentin Parera, kneeling in back of a
model, brought down !n scale, of the
new Brentwood home they will build.
Grace has brought down the house many
a time. "When You're In Love" is her
next picture.
(Right) Evelyn Knapp,
surf fishing.
Marguerite Clark visited
Dorothy Lamour at the
Parmount Studio. It is
16 years since she left
the movies.
AAore /KnA Dirtier
Scoundrels M ean
AAore Excitin3 /\ncl
Dramatic Pictures.
(Above) Humphrey Bo-
gart as he "menaced"
them in "The Petrified
Forest." (Center) The
dilapidated countenance
of Bruce Cabot in "Let
'Em Have It" was as
terrifying a one as the
screen has ever shown.
(Right) Barton MacLane
pursues his evil ways
gathering better and
better press criticisms.
WHEN Rosalind
Russell was first
assigned to the
title role in the film
version of George Kelly's
famous play, "Craig's
Wife," she threatened to
rebel. She didn't want
to play an imsympa-
thetic part, she said. No
one would love the sel-
fish creature who made
Mr. Craig's life miser-
able. But finally poor
Rosalind was persuaded
—and proceeded to give
the most decisive performance of
her career.
It's a familiar cry among the
bright stars of the Hollywood firm-
ament, male and female— "I would-
n't dare play such a despicable part!
My fans would never forgive me!"
But moviegoers are funny that
way. They reserve their loudest
cheers for such extraordinary char-
acters as Bette Davis' Mildred
'Of Human Bondage," Victor
McLaglen's "Informer," Paul Muni's
"Scarface," James Cagncy's "Public
Enemy," Jean Harlo\v's "Redheaded
Woman," Ruth Chalterton's Fni)i
Dodsu'orlli, and Humphrey Bo-
gart's Duke Maiilee of "Petrified Forest."
And, for all the stellar timidity, when a good actor gets his
hands on such a part, he tears into it with an irresistible gusto.
These heavy leads are meat for the actor— human beings presented
honestly as swaggciing egoists or pathetic wretches— ihcy are
richer, fuller characterizations than all the pale, heroic dmnniies
designed only to win moviegoers' \o\e.
It's a stubborn and foolish superslilion that an aclor endangers
his popularity b) thumbing his nose at audience sympathy. Count-
less reputations ha\e been built on hisses and boos, from that
ragged rapscallion, Wally Beery, to the swarthy scoundrel with
the delightfully harsh voice and sardonic smile kno^vn as Clark
Gable.
The villain in the movies is a very important guy. Eor the
movies so far have devoted most of their resources lo glorifying
the story of action, and the villain is the mainspring of melo-
drama. He is the source of all the action, the plotter of the plot.
If boy met girl and no debonair rascal or scheming cociuctte ever
came between them— if nobody stole the pnxious "papers," or
stealthily bumped olF the niillionaiie recluse, or got in the G-
men's hair, heroes and heroines might be happier, but movies
\vould be much duller.
The art of the cinema niav ha\e giowii up. Inn it hasn't oiu-
gio\vn the need for good olci-fashioned nu-naii', wheiliei x illainy
in the grand manner, or plain, lowbiow (liit\ work at tlu- cross-
roads.
The ace of today's heavies is Douglas Dumbrille. best known
for his Mohammed Khan in "The Li\'es of a Bengal Lancer"
and unscrupulous lawyer in "Mr. Deeds Goes lo Town." His
arrogant profile and fine voice are iierfccl equipment for vil-
lainy. He gives his nicely diU'erentiateil performances exactly (he
correct blend of suavity and brutal it v. He is not afraid to endow
his rogues with a romantic llaie. and \Ci>ii I i n iii-d on /wijc ir]]
57
//
Beyond the Shadow
Ftctioni^ation Of "We re On The Jury" An RKO=
Radio Picture Produced By Joseph Henry Steele. Screen
Play By Franklin Coen/ From The Original Play, Ladies
Of The Jury/' by Fred Ballard.
By
Jaclc BecKJolt
THE
Mrs. Dean Helen Broderick
Steve Bell Philip Huston
Mrs. Patterson Colleen Clare
Prosecutor Van Co&& . Frank M. Thomas
Clara Simpson Maxine Jennings
Judge Prime Robert McWade
MORNING sun, pouring through the
tall, modernistic windows, made
bright Judge Prime's court room
which is one of tiie numerous and varied
features of Ferndale's new municipal build-
ing. Roomy and spotlessly clean, its air
conditioning in winter and summer, its
decorations in quiet good taste combined
with dignity, the room is typical of the
building and the building is typical of
Ferndale, which would never be satisfied
with anything but the best and most mod-
ern in the way of public enterprise. Just as
Ferndale's tree-shaded, cluster-lighted streets
are lined by the most artistic and comfort-
able homes and buildings of every sort
necessary to a medium size, modern Amer-
ican city.
The sun, shedding its
rays with democratic
impartiality, fell alike
upon Judar ITcnrv
CAST
/. Clarejice Beaver. ... Victor Moore
Mrs. Clyde Louise Latimer
Attorney Williams . . . Vinton Haworth
Thomas Jeffrey Earle Foxe
Ephraim Allen Billy Gilbert
B. J. Martin Charles Middleton
court wait with poorly concealed impa-
tience, let us, like the sun, briefly survey
the scene.
A modern court of law, in its comfort-
able and artistic furnishings, its quiet, dig-
nified judge, its groups of well dressed,
prosperous looking lawyers and witnesses,
jurors and spectators it is typical of the
administration of justice in hundreds of
medium size cities, like Ferndale, u'hich
are scattered all
over America. It is
typical of America
herself. A law court.
happiness hangs in the balance. Witnesses
will tell stories, some of them true so far
as their capacity to observe can go; some
maliciously, murderously false. Behind the
neat green lawns and peaceful house fronts
of Ferndale, grim and ugly things have
happened and that jury of neighbors is
about to undertake a task that might well
baflle God Himself— to say what is false
and what is true.
But the bailiffs are
shouting for Mrs.
Dean and a Ijright
voice,alloutof
I)< .ui
( cui I
We
Dean.
twelfth
breath, answers at
last, "Yes, yes . . .
here I am!" Mrs.
Johnathan .Ashley
juror, has arrived in
Prime, a middle aged, dignified jurist, upon
the prosecuting attorney, the attorney Ibr
the defense, the audience and jurors and
upon the accused woman, Mrs. Romney
P. Patterson. In fact the genial and urbane
sun imjjartially beamed upon everybody
concerned in the business on hand, with
the exception of one— Mrs. Johnathan Ash-
ley Dean. The sun mis.sed Mrs. Dean, who
was the last juror to be drawn, becai:se
Mrs. Dean was late and had not yet reached
I he court room.
While the bailills are bawling Mrs.
Dean's name, and Judge Prime and his
but minus the gro-
tesquerie, the over-
crowding, the bad
ventilation, the bom-
bastic pomp and bewigged circumstance
that Charles Dickens delighted in writing
about and Daumier pictured. Its general
air of good natincd intelligence, its plain
ncighborliness, its minimum of bullying
formality make it seem anything biu a
tcrrif\ing place, or a theater for intense
drama.
\'et ihat quiet little woman silling be-
side her counsel— her nervous face still
young and ])rctiy— is accused of murdering
the huslxind she once promised to love
and cherish. Those various witnesses are
leady to lell against her shameful things.
The elc\en jurors, whispering together, are
waiting to decide and the dignified judge
is wailing to sentence.
A good man and a useful citizen has
been foully nuirdcred. A woman's life and
„.l
My
know Mrs. Johnathan Ashley
dear! The richest woman in
Ferndale and its social leader! Not that she
is just a social biuterfly. Goodness no!
.She realizes that living in Ferndale is a
privilege that must be paid for b^ giving
to the comnimiity one's very best thought
and ellorl. For instance, isn't she serving on
the jury? .She is a bit late, to be sure, but
she doesn't lose her poise. Mrs. Dean is
really the best poised woman in Fern-
dale. Always sweet, always cool headed,
always sure that, if what she is doing is
not the proper thing, her doing it will
make it so.
"Here I am," said Mrs. Dean
again. .She paused, out of breath, before
the raised desk ^vhere Judge Prime pre-
sided.
"Dear Judge Prime." said Mrs. Dean
graciously. "A thousand pardons. I'm so
sorry to be late, but it didn't worry me
because I remembered that Fred and Bertha
told you ai the Club last Sunday that they
were sailing this morning and I was quite
58
)F A
Doubt
//
The Jury Of Neighbors And
Friends Outwits The Schemes
Of The Guilty And Brings A
Alurderer To Justice.
sure you'd under-
stand. But do tell
me—"
"Please take the
witness stand,
Mrs. Dean."
"The witness stand?" Mrs. Dean gasped.
"Oh, but I thought I was invited to serve
on the jury."
"Quite so, Mrs. Dean," the judge sighed
patiently. "But you must be examined."
"Why, Judge Prime!" Mrs. Dean was
breathless with surprise and rising indigna-
tion. Examined! Right here in the court
room! Why Judge—"
"Before you can serve as a juror, Mrs.
Dean, you must be examined by counsel
for both sides."
"Why . . . Henry Prime!" Mrs. Dean
hadn't been examined since that time the
silly customs officers got the idea she was
trying lo smuggle pearls into the country.
And then she was examined by a matron.
And in a private room, not before a court.
But this wasn't a physical examination
after all. Just a friendly little talk witii
Mr. Van Cobb, the prosecutor, and nice
young Mr. Williams, the counsel for the
defense. Her answers satisfying both gentle-
men, she was told to take her place with
the jury.
There was a little delay about that lor
she had to instruct her maid, Antoinette, to
tell the chauffeur he need not wait and
to be sine to cancel her appointment with
the dressmaker. That over, she turned,
smiling, to the eleven men and womeii
who were to help her determine \vhether
or not little Mrs. Patterson had killed her
husband and should ])ay the penalty.
There was only one vacant chair in the
jury box and Juror No. ii had placed his
derby hat on it.
Juror No. 1 1 had been watching Mrs.
Dean intently since she came into the
court room. He was a round little button
(ij I man with a face
like a baby's. An excited,
pleased light of recogni-
tion came into his eyes
when he saw Mrs. Dean.
He tried with smiles and
glances to attract her at-
tention. As she took the
chair beside him, his
round face beamed like a
harvest moon. Then sud-
denly it looked like the
face of a baby stuck with
a pin.
Juror No. ii made a
frantic grab for his derby
hat. Mrs. Dean was too
quick for him. She al-
Helen Broderick as Mrs. Dean, Victor Moore
as "Pudgie," and Georgette Rhodes as
Antoinette in this story of crime and comedy.
The jury, supposedly at the scene of the crime,
checks up on how long it takes for a shower bath.
59
most sat on his hand and that would have
taken some explaining! As it was he heard
the expiring crackle o£ his derby under
Mrs. Dean's . . . well, under her and he
shuddered like one stricken.
Mrs. Dean smiled pleasantly to every-
body on the jury. Juror No. ii turned
beseeching eves on her. He wanted to tell
her she wsls sitting on his hat, but he felt
a little shv about it. Also he wanted to
tell her something else, much more excit-
ing and pleasant, but he ^vas shy about
that, too, so the best he could do was
offer her a cough drop which she refused
rather coldly.
"It's quite all right," he muttered help-
lessly, "but I do think you should know
me—"
"But of course I do," cried Mrs. Dean.
"My dear, vour face ... let me think . . .
vou remind' me of a face. . . . What is there
about you that I connect with myself?"
- Juror No. ii thought of his crushed hat
ing clothes, unshaved and apologetic. Clara
Simpson, the Patterson maid, identified him
as Mr. Patterson and he apologised for the
trouble he caused. He was back from hunt-
ing and had forgotten his key, he said and
the burglar alarm rang as he tried to open
the door.
A few minutes after the police had left,
Mrs. Patterson returned home. .A few min-
utes later still, the police weie called again.
Romnev Patterson had been murdered. The
maid, Clara Simpson, had discovered his
body on the floor of his room. Mrs. Pat-
terson was on her knees besiue it, wringing
her hands and crying hysterically, "Why
did I do it?"
Mr. ^'an Cobb, the prosecutor, said Mrs.
Patterson killed her husband. Her motive,
he argued, was the knowledge she would
inherit all his money.
He put Clara Simpson on the stand.
The maid told how Patterson came home
at 10.30. After the incident of the burglar
The brilliant principals of "A Star Is
Born" between scenes — Janet Gaynor,
Fred March and Adolphe Menjou.
connected with herself and winced.
"My dear! I have it! West Ferndale High
School! You are Pudgie Beaver!"
"J. Clarence Beaver," said the little man
quicklv. Since those days he had become
Ferndales most ambitious realtor and re-
minders of the old nickname were worse
than scratchy underwear.
"1 distinctly remember calling you Pud-
gie,' said Mrs. Dean archly and too loudly
for his comfort.
"And how you hated it when we called
you Skiinn," Beaver chuckled.
With that they were melting into mutual
reminiscenscs, both thinking wistfully of
those dear, lost days of youth in West Fern-
dale High. But ludge Prime's gavel inter-
rupted ilicm. The trial was ready to begin.
Mr. and Mrs. Romney P. Patterson had
occupied one of those comfortable bunga-
lows ivpical of the fine liomcs of Ferndale.
Mrs. Palleison was French by birth and
had been in the chorus when Mr. Patter-
son marrircl her. He was some years her
senior and sometimes they had (luaneled
over his jealousy.
.After one of these quarrels Patterson
went on a two weeks' hunling trip with his
cousin, Thomas Jeffrey. While he was away
Mrs. Paiicrson left his home.
The night of the minder, ai half past
ten, the ringing of a bin;4lar alarm l)vou<4lil
a police car 10 the Patterson home. 1 lie
police weie nu t bv a man dressed in Innit-
alarm, she said he went upstairs and took
a shower bath.
Pudgie Beaver who had been giving keen
attention interrupted here to ask if Pat-
terson had shaved and did Clara know
whether he shaved before or after taking
the shower. Some men shaved before and
some after, Pudgie explained. He wondered
which Mr. Patterson had done.
The lawyers and Judge Prime said the
question was out of order. And any^^•ay
Patterson had not shaved. His face was
still covered with heavy beard when the
bodv ^vas found.
Clara Simpson went on \\\lh the story.
She looked like a sweet, identic girl and she
gave her tcstimom alnl(l^t re! iictanth'. As
if she had no wish to liuit Mrs. Patterson.
Six or seven minutes after Patterson got
home, she said. Mrs. Patterson returned.
She went to her husband's room. Then
Clara said she heard the shot and rushed
10 the room. Mrs. Patterson was on her
knees beside the bodv. crving "Win did
I do it?" Then, said Clara. Mrs. Patterson
offered to pay her handsoniclx if she would
lie to the jjolicc about the alfair.
Mrs. Dean was tremendouslv interested
in it all. My dear, it was thrilling!
She asked Henry Prime— '^'our Honor,
that is— if lawvers for both sides were
sworn to tell nothing but the truth. He
said no. 1)111 she must a>-snme thev told the
truth. When Mis. Patterson interrupted
with vehement denials of what Clara and
the others testified, Mrs. Dean urged her
to be calm. She got into quite a conversa-
tion with the accused and when they lapsed
into French it created an uproar in court.
Judge Prime had to speak rather severely
to Mrs. Dean about that. But Mrs. Dean
kept on. She was particularly interested
in Clara Simpson. Clara had all the out-
^vard air of one telling painful truth re-
luctantly and yet Mrs. Dean didn't be-
lieve she was telling the truth.
She asked Mrs. Patterson if Clara had
been hired from an employment agency.
Mrs. Patterson told her that her husband's
cousin, Thomas Jeffrev had recommended
Clara to her. Mrs. Dean also learned that
Thomas Jeffrey would inherit all the dead
man's money in case Mrs. Patterson was
convicted of the murder.
Pudgie Beaver had a feeling that he had
not made a very brilliant showing during
the trial. He was used to making speeches
about the civic beauties of Ferndale at the
Wednesday Luncheon Club. He rather
fancied himself as a speechmaker. But ^vhen
he tried to put his question about Patter-
son's shaving he got all mixed up. He was
so darned nervous.
Pudgie heard Mrs. Patterson testifv that
she had not shot her husband. After her
fit of temper she said she returned home
just in time to hear the shot. She found
her husband stretched on the floor, the
revolver in his hand. She believed her
temporary desertion of him had driven him
to suicide and, reproached by her con-
science, cried out, "\Vhy did I do it? "
That sounded pretty fishy to Pudgie.
Mrs. Patterson was a tragic little figure
and he ^vas mighty sorry for her, but she
didn't convince him she told the truth.
By the time Judge Prime sent the jury
a^^ay to deliberate on the evidence, Pudgie
had an idea Mrs. Patterson was guilty.
But he was really more upset about Mrs.
Dean, sitting next to him, so innocent of
the hat she sat upon.
The jury got down to the business of
the \erdict. With every opinion expressed
Mrs. Deans amazement grew. Guilty!
Eight votes, nine votes, ten votes, eleven
votes— )es, even Pudgie \oted Guilty.
Eleven of them condemned that little Mrs.
Patterson for the murder of her husband.
Mrs. Dean's turn came. "Not guilty," she
cried. Her glance swept the startled faces
about the long table, defying them to con-
vince her. That was her opinion and she
meant to hold to it.
Eleven faces turned to her, their ex-
pressions reflecting the indignation and
contempt of eleven minds.
"I knew she was U ing. " said B. J. Martin,
the bigoted foreman. "She was nervous as
a cat."
"Her restlessness is a racial character-
istic," .said Mrs. Dean winningly. "She is
French—"
"Sure," said Steve Bell. "My wife— she's
dead now— she was French and she was
alwavs jumpy."
"Rubbisli, " said Mrs. Bottomlev.
"Mrs. Bottomley," said Mrs. Dean sweeth,
"have you known manv Latin people? "
"\o," said Mrs. Bottomlev, "and 1 don't
want to. Evervljodv knows what foreign
women are! "
Steve Bell turned angrv red and banged
his scratch pad on the table. "My v\ile
was a foreigner and she was as fine and
decent as anvbodv. She never plaved
around—"
"I wouldn't he so sure about that," began
Dr. .\lex Fields, the chiropractor, who
boasted he could tell all about anybody
bv his spine.
Mrs. Dean was thinkiii<.;. mv dear, liow
does one get eleven peo]3le— eleven varving
degrees of intelligence and fair mindedness
—to see things as one's own self sees them?
[ConlhiHcd on page 83]
60
THE PLOUGH AND THE STARS
AiXOTHER Film About the Irish
Rebellion— i?-A'-0
I — lERE is R-K-O's artistic successor to
^ ^ "Tlie Informer" and whether you will
like it or not all depends upon whether
you like Sean O'Casey's play of the Irish
rebellion. Some people go simply mad about
the Abbey Players and Sean O'Casey, and
some people don't. It's something you'll
have to decide for yourself.
Any^s'ay, Director John Ford has made of
the popular play a picture that is truly a
work of art. Preston Foster, giving the best
performance of his career, plays the young
Irish rebel who is torn between his devo-
tion to the cause of a free Ireland and his
beautiful love for his young wife. Barbara
Stanwyck is the young wife who loves her
husband so passionately that she fights an
hysterical battle to keep him with her.
The Irish Rebellion of 1916, the one the
play deals with, is quickly over and Pres-
ton, at the risk of his life, returns to his
wife by way of the roof tops of Dublin—
but her happiness is marked with doom as
he tells her "the struggle must go on until
Ireland is free."
Barbara, in a highly emotional role, is
excellent. Against the dramatic background
of civil war there are bits of comedy and
tragedy involving the families who live in
the same apartment house with Barbara
and Preston. There is the death of a little
consumptive waif, Bonita Granville, and
the sorrow of her gin-soaked mother, Una
O'Connor. Then there is the looting of the
shops of Dublin, played for comedy, espe-
cially by the alcoholic FiiUher. Barry Fitz-
gerald's Fluther and Eileen Crowe's scold-
ing neighbor provide the light moments of
the picture.
STOLEN HOLIDAY
Kay Francis Torn Between Loyalty and
Love— Warners
In her new picture, Kay Francis plays
•' the owner of the smartest dressmaking
establishment in Paris, so naturally this
enables her to \vear some of the most exotic
and expensive gowns you have ever seen
on the screen. Orry-Kelly, Warner Brothers'
talented designer, simply let himself go—
and, of course, there is no doubt about Kay
being able to wear clothes.
While she is still a model in a shop, Kay
is befriended by Claude Rains, an interna-
tional crook With big financial ideas, and
in exchange for a small favor Rains buys
lor Kay her own exclusive sho]3. They arc
just "good friends" of course, though he
has a way of getting very jealous il Ka\
looks at any other men. And that's exatiK
what she does while on a holiday in Switz-
erland—she falls completely in love ^vith
Ian HmUer of the English Embassy.
Then she is torn between loyally to the
man who has made her a wealthy woman,
and devotion to the man she loves. Ciom
]ilicalions pile one u])on another unlil
Rains is finally caught in the net of bis
own nefarious schemes, and Kay is allowed
to marry the man she loves.
THE HOLY TERROR
Starring the Prize Imp 01 the Scki t N—
2o//( Cenlury-Fox
1-JERE'S one of the belter Jane Withers
'■ '■ pictures and as jjackcd with laughs as
a plinu pudding with cinranls. Jane pla\s
the daughter of a na\al officer (John I'.hl-
ridge) at a naval base, and the fun she has
with the gobs is really something.
OF PICTURES
SEEN
Jane 'Witliers tkinking
up new pranks to play
in her current film,
"The Holy Terror."
ONE IN A MILLION
An Amusing Comedy Introducing the Ice-
Skatin(; Marvel oe the Day—
20th Century-Fox
WELL, fans, meet Miss Sonja Henie, the
Norwegian "three times winner" of
the Olympic skating championship, and
)oung and beautiful besides. And wdii until
^ou see Sonja skim across the ice, it's one
of the most beautiful sights you may ever
hope to see.
Fhe musical extravaganza ^vhich serves
10 introduce Sonja is dilferent and by dif-
ferent we mean it's an amazing, smash hit—
and my, my, what a relief to find fi\e \ aried
skating sequences taking the place of the
usual song and dance routines.
A perfectly grand cast includes Jean
Hersholt, Adolphe Menjou, Don Ameche,
the Ritz Brothers, Borrah Minnevitch and
his Harmonica Rascals, and Leah Ray.
ANNOUNCEMENT
P[/lTH (I radiant cover, espc-
^ daily posed by the caplh'al-
iiii^ SyU'ia Sidney, the April ivsitc
of Siiatr Scr|':1';n n<ill iipprar on
your fiivorile nexosslaud March
\lh.
'Projections," a popular jeal ure
Elizabeth ]\'il.son, will i)iclude
(I coniplele bioi^raplry of the cover
i^irl.
Slories of the glowing jiersou-
alilies of the players in the new
pictures will give added pleasure
Id \(iiir picture evenings.
Dill \iiu l:u(iw that the nu-u of
llie sirei'u enjoy the relaxaliou of
hunting between their studio as
sioiiuieutsf An interesting aicouul
nj llieir trips gives a new under-
standing oj the characlers of our
famous actors.
.Ill the Hollywood studios -.fill
be visited and a carelul suivey
will keep you informed mi the
jnctures that are being made.
Read Shaiu Scum \ fiir April.
CAMILLE
A Beautiful Production oe Du.mas'
Immortal Love Story— M-G-Af
"/"^ AMILLE," that sentimental old fa-
— vorite of four generations of play-
goers, has been revived once more by the
late Irving Thalberg as a fitting co-starring
picture for Greta Garbo and Robert Tay-
lor. Handsomely and lavishly produced, and
directed with warmth, color, and emotion
by George Cukor, this version of the old
classic is by far the best.
And Garbo— uhat a surprise! Of course
we knew that Garbo was beautiful and
glamorous, but she has never bowled anyone
o\er by her acting. But now, as the con-
sumptive Marguerite Gautier, party girl of
Paris, she rises to emotional heights that
leave you weak and weeping. Robert Taylor
also gives his finest performance to date as
the young Armand. and the Taylor-Garbo
lo\e scenes, my children, will be something
for the books. Goodness gracious, what a
lo\ er.
THE BLACK LEGION
Strong. MrAtY Melodrama— IT'or/fer
Brothers
REMEMBER how "I'm a Fugitive from
the Chain Gang" thrilled you? AVell.
this picture is even more thrilling. The re-
cent newspaper expose of the pseudo-
patriotic activities of the Black Legion
(who dress up in sheets like the Ku Klux
klan) inspired this very dramatic story
which direclor Archie Mavo has made into
a ])iclure with no punches inilled.
i he story deals with the disintegration
of an ordinary .\merican worker who, angry
berall^e a foreigner gets a promotion in his
laciory which he had set his heart upon,
falls an easy jirey to the insidious schemes
of the Black Legion. He joins the organi/a-
lion and the reign of terror begins. Fhere
is an exciting climax that will lia\c \oiir
hail' standing on end.
llumphiev liogart pla\s the Noung weak-
ling who becomes hopelessly enlangled witlt
the Legion, and gives a ihoronghlv \igorous
]>c'rfc)rinatue that will ]nit him righl iq)
tluTc with Paul Muni. And \\ hen vou arc
looking; .noinul Un \cadem\ Award win-
ners iu-\l \e.ii don't iorget Erin O'Brien-
Mdoic- five's :i Mio\ing. magnificent
poiliasal ol the mtmlerei's \onii'j wife.
61
Ranching
DE LUXE
[Continued from page 25]
Sam Wood, and a couple of other close
friends, a private duck hunting preserve
near Santa Barbara.
When the voluptuous Mae West says,
"Come up and see me sometime," she really
means "Come out and see me sometime."
Although everybody knows that Mac lives
in a luxurious penthouse atop a Hollywood
apartment house few know that she owns
a ranch near the historic old San Fernando
Mission. There she seems to spend most of
her time when not emoting belore the
cameras. Often she motors to the ranch in
the early morning and puts in a lull day
out of doors. She is proud of her hue pou)-
try, and spends much time in caring for her
flocks. Mae is also a truly enthusiastic
gardener. She loves to work among the
vines and stalks and to muddy her own
pretty hands with the soil. Now, is that a
surprise?
Richard Dix's "Haven," a
primitive hundred and sixty
acre hideaway, nestled in To-
panga Canyon in the rugged
Santa Monica Mountains, has
long furnished him \vith an ex-
cuse to get away from the
Cinema City. Here he raises
cattle, chickens and turkeys,
grows alfalfa and indulges to
his heart's content in dog rais-
ing, which is his favorite hobby.
Guinn (Big Boy) Williams shares
with Dix the Topanga Canyon
wilderness as the locale for his
ranch.
Midway between this famous
canyon and the sunny San Fer-
nando Valley, where many a
famous celebrity waters his own
garden crop, lies Director Clar-
ence Brown's big ranch, near
Calabassas. The outstanding fea-
ture at his place is a shooting
range where his friends Robert
Montgomery, Clark Gable, Spencer Tracy
and others often gather to enjoy the sport.
His is one of those ever welcome haciendas
where one can drop in any Sunday after-
noon and be assured of a fine welcome.
It is the San Fernando Valley, however,
that has proven to be the mecca ol ihe
majority of Hollywood's ranch minded
luminaries. This sun-kissed broad valley
lies just over the Hollywood hills and a
few miles to the north of the famed City
of Stars. Perhaps the reason for its pop-
ularity lies in the tact that it takes only
a matter of minutes to motor from studio
sets to the valley. Numbered among the
ardent devotees of this valley's beauties
are: W. C. Fields, Fred Stone, Charlie
Ruggles, Wallace Beery, Spencer Tracy,
Paul Muni, Edward Everett Hoiton, Buck
Jones, Ann Dvorak and Hugh Hcrljert.
There musi l)e something to that old
adage thai comedians need an audience to
laugh at their jokes. Surely that accounts
for the fact that so many of the comics
have located their ranches near one an-
other in the valley. l"or example, there's
goat raiser Hugh Hcrberl. cilins grower
f'.liailic Ruggles, and poullry iaiuicr Bob
Burns— all within easy reach of each oilier.
Strange how these comedians do ihiiii;s.
even in real life. When Edward F.xeicu
Horton began improving his valley raiuh
the first thing he constructed was ihe dog
house. Then he gradually led up to the
l)ain, and finally to the house itself, via a
sviiiriming pool, tennis court and a sunken
gaitlen. Ma\be he had the right idea
lliou^h, lor any old farmer will tell \ou
I hat his barn is more important than the
liouse. Oiiicn sabc?
Out oil the far ^^•esterIy fringe of the
\'all<\ can be found energetic Paul Kelly
and his wile, Dorotln' Macka^e. almost any
chn when (heir presence in the studios is
luil (Iciiiaiulcd. Paul is a firm beliexer in
ihe old si\\v hum iiiclhods. and he is con-
structing an old time icc-housc in which
10 stole his products and to cure his own
meals. Here is one ranch that will remain
in keeping with the spirit of the early
Caliloi iiiaiis. Paul l.iui;hs at the idea that
Francis Lederer enthusiastic-
ally gives away his crops.
(Left) Hugh Herbert finds
his relaxation in ranching by
actually working at it.
one has to be wealthy to enjox a
ranch. "I make my ranch pay for
itselt," he says. "\\'henever I want
to buy a new farm implement, I
bu\ whatever type the proceeds
Irom the ranch warrants. If I
want to buy a tractor I shop
around and get one at the price
I think I ought to pay or I don't
buy." .\nd businessman Kelly means exactly
what he says for at present he has the
ranch operating on a paying basis.
An actress who's keen enough to get
light out into the field and yvork on her
farm is ,-\nn Dvorak. You'd never suspect
that a girl with her fragile looks could be
so s])uiik\, Init, then, that's where you're
wiont;. Ann has always been delicate in
healili ami she hiuls work in the great out-
doors real insurance lor good health.
Studious Paul Muni has a home situated
in the Lenier of a walnut gto\e with an
alluiiii'4 swinnning pool adjacent to it.
To dale, howc\er, the Munis have confined
tlicii lanching aciiyities to hai\csling and
iiiarkeiiiig their abundant walnut crops.
.'\t one of the large studios the rancher-
actors gather in front of their dressing
looms almost daily and syvap the produce
ill which they specialize. Spencer Tracy
62
trades fine carrots with Wallace Beery for
chickens and lettuce. Director Clarence
Brown exchanges oranges, and diminutive
Frances Langford barters her radishes and
onions. Speaking of Frances, there's one girl
who is not content to confine her ranch
activities to the Golden State alone. She
is also interested in raising oranges in her
native Florida.
Francis Lederer likes the American mail
order method of doing business. When he
harvested his first crop of cabbages last
season, he sent samples to almost a thou-
sand of his friends. Later on his apricots
ripened and he repeated this maneuver.
Then surprise of surprises! When the al-
monds were harvested the same thing hap-
pened again. Who wouldn't like to be on
his mailing list?
Western hero George O'Brien says, "One
thing a fellow can't do is take his money
with him when he eventually goes." Hence
he is improving his fifty-acre ranch near
Inglewood and when he gets through with
it he will possess a real gentleman's estate.
He intends tO' install a new ranch house
and guest home, a swimming pool, modern
stables, and a new site for his rodeos.
Rugged Victor McLaglen, Academy Award
winner, chose the La Canada hills at the
base of the Sierra Madre Mountains for
his rancho, "Fairhaven." His is one of Cali-
fornia's most impressive and picturesque
ranches; in fact, we'll vote it in the class
with the Carrillo place. In addition to
regular ranching Vic keeps a large stable
of fine horses including eight thoroughbred
jumpers, and his favorite mount. Duchess.
He has a great variety of pets including
deer, dogs, and peacocks.
A short time ago lethargic Stepin
Fetchit entered the market for a large tract
of land in San Fernando valley. His idea
is to develop a modern home community,
to be known as "Harlemwood," for the
folk of his race. And if his plans go
through, boy oh boy, what a "Harlem-
wood" it may turn out to be!
But one must not come to the conclusion
that all the stars have chosen California
for their back-to-nature jaunts. Quite the
contrary. Some have gone far afield. Joan
Bennett and Lily Pons favor Ne^v England,
Janet Gaynor Hawaii, and James Cagney
wants a whole island to himself. The urge
for isolation seems to be predominant with
him and he should have plenty of it on his
island off the Massachusetts coast.
Lily Pons plans definitely to retire on
her farm in Connecticut within the next
five years. Joan Bennett and hubby Gene
Markey have located their place in the
aristocratic section of that same state. The
Markey dream is a perfect model farm, with
all the latest gadgets in machinery and lots
of contented co^vs. When they retire on
this beautiful farm they plan to go in for
large scale oyster cultivation— or was it
oyster plants?
Some time ago Madeleine Carroll turned
to romantic Spain and purchased a typical
feudal castle and estate known as "Castillo
Magdalena" m Catalonia, an ancient sec-
tion of northeastern Spain. Warner Baxter
has a great hankering to own an island up
in the vicinity of Vancouver or Victoria,
but Mrs. Baxter (Winifred Bryson) has not
given her wholehearted approval to War-
ner's romantic Robinson Crusoe yearning.
While dealings for it are not yet settled,
indications are that she will not be able
to withstand this back-to-the-soil campaign
which is being waged.
Certainly, at no time in the past has
Hollywood been so soil conscious. Security,
contentment and happiness were the re-
wards of those Hollywood favorites who
first initiated the ranch movement and now
the exodus from the city is in full swing,
and those stars who have not already pur-
chased tracts of land will do so very soon.
yet his work has enough of a sense of
humor or of proportion to fit into the
most realistic of films. Here is an adversary
formidable enough for even such a doughty
hero as Gary Cooper.
Dumbrille hasn't much competition in
his field. The suave and sinister type of
villain has an annoying way of reforming
just when he becomes most expert. Back
in the silents William Powell \vas tops, a
blackguard so gracefully graceless that you
couldn't blame our heroine for giving in.
Paul Lukas has the knack of combining
fine manners with convincing menace.
In the heroic person of Ronald Colman
there is a swell heavy going to waste.
Colman's film-acting career has actually
included three very dirty vil'.ains— the un-
scrupulous Lord Darlington in Lubitsch's
silent production of "Lady Windermere's
Fan," the lecherous count who piusued
poor Vilma Banky through the satirical
"Magic Flame," the pathetic debauchee of
"The Masquerader." And you may have
cimS [CniiliniU'd from page r,yl
noticed that in "Tale of Two Cities" Col-
man dwelt with especial relish on the more
rakish aspects of Dickens' romantic drunk-
ard.
But the ruffian who never takes the
trouble to put a civilized gloss upon his
villainy has a charm all his own. Ernest
Torrence is gratefully remembered as one
of the foremost of the unshaven, bullying
gentry, from "Tol'able David" to his lasl
success, "I Cover the Waterfront," which
belonged to him and not to Colbert, its
lovely star.
Remember the lusty interpretation that
Walter Huston, solid citi/en in "Docls-
worth," gave to Tram pas of "The Vir-
ginian," the ornery skunk who was forced
to smile when he said I hat.
This roughneck villain is most conunon
in the weslern and has cropped up again
in the ^vesicrn's first cousin, the crook-
film, still committing the ugliest crimes
with unfailing cheerfulness. Bruce Cabot's
drunken kidnapper in "Sho\v I iiem No
Mercy" had an ever-present, though per-
verted sense of humor. The bra/en ga\ety
of his lynch-mob leader in "Fury " made
audiences despise the fellow doubly.
Then there is big, red-headed Barton
MacLane, whose childish, swaggering bandit
of "Dr. Socrates" and genial racketeer of
"]5ulle(s or Ballots" were reminiscent of
the younger George Bancroft who climbed
to siardom as "the smiling villain."
It \vas a glorified \\estein, "I'hc Texas
Rangers," that gave the talkies' laughing
villain, Lloyd Nolan, his juiciest opjiortu-
niiy. The ingraliating Mr. Nolan, alter his
first hit as the martyred government ageni
of "G-Men," devoted his \ igorous simplicity
to a series of stalwart heroes. But nobody
noticed him luuil he sli|)ped olf thf
straight and narrow with his llower-fancv-
ing baby-killer in "Hig lirown F.\es."
If it weic true that hnalile rcMcs are tl.(
only \wn to po[)ulaiity, a do/en careci!
would lia\c died a-I)orning. Mvrna I.ov^
cuireiU success, thougli " I'liiii Man'
Vi
63
clinched it, really began when she played
Leslie Howard's voluptuous and possessive
wife in "The Animal Kingdom."
Gary Grant would still be an obscure
figure if it weren't lor his engaging rascal
in "Sylvia Scarlett" and his performance as
the treacherous husband of Harlow's
"Suzy."
Even Hollywood's younger generation
can bear witness to the box-office value of
villainy. Jane Withers is a star because she
was such a convincing meanie. Bonita
Granville was just another child^actress
until the brat in "These Three" inspired
all beholders with a wild desire to wring
her neck.
And yet the foolish superstition persists.
We still see players, who have won the re-
spect of all moviegoers with their honest
interpretations of character, donning a pair
of angel-wings and turning their backs for-
ever on parts that made them famous.
Jean Harlow, after hitting the top with
"Redheaded Woman," stealing "Red Dust"
from Gable and "Dinner at Eight" and
"China Seas" from a \vhole cast of stars,
has suddenly decided that only virtue pays.
Of course, no sensible person would sug-
gest that these stars should limit themselves
exclusively to villainy. There is nothing to
be said in favor of monotony of any sort;
a succession of roles too closely tailored to
the original pattern will harm any career;
and unsympathetic parts, being generally
more decisive than the heroic, would be-
come more obviously monotonous.
Jean Harlow, player of many
parts, will next be seen with
Robert Taylor in "The Man
in Possession."
But the star who refuses to play a strong
part simply because the character happens
to be unlovable is cheating himself.
Don't think I'm trying to persuade you
that movie villainy goes unpunished. At
the end, even the most cunning of villains
gets his just desserts.
Edward G. Robinson made his mark in
"Little Caesar" with his merciless and
highly amusing sketch of a conceited hood-
lum. About the same time, Humphrey
Bogart was doing a competent, thankless,
and inconspicuous job as the innocent
juvenile of "Up the River." In "Bullets or
Ballots" the tables were turned, and, in
spite of Robinson's robust portrayal of
the upholder of the law, the audience came
away remembering Bogart's nervous killer,
his voice which is a strangely expressive
monotone, his dark, harried countenance
with a curl to the upper lip that proves
so useful for sneering purposes.
Again and again the little drama of
retribution plays itself out. In "Dr. Socrates"
the erstwhile "Scarface," now a mere hero,
was condemned to watch desperado Barton
MacLane swagger off with his picture.
In "Counterfeit," Chester Alorris, who
has given some of the screen's most power-
ful heavy performances, had to make sac-
charine love to our heroine, while Lloyd
Nolan's blandly conscienceless menace took
care of the real drama of the story.
And these new villains will in their turn
be treated to a nice dose of the same bitter
medicine they have been dishing out to
other actors. All three, Bogart, Nolan, and
MacLane, are edging back toward conven-
tional heroics, and it won't be long before
they, too, may be forced to stand help-
lessly by while some other engaging ruffian
robs them of the glory.
Lady Luck Smiles [Contmued from page 30]
when he's amused, and he smiled again,
"Haven't we met before— some place? A
party— Christmas Eve? Remember?"
And all of a sudden I did remember. It
had only been a month previous. How
could I have forgotten? It ^vas a gala party
in the Hollywood Hills. I ^vas only present
an hour or so but I had met a good look-
ing genial boy who had been so charming
to everyone, yet had a shy quality about
him that one couldn't easily define or for-
get. Yet / had forgotten even his name.
It was because I never imagined on that
Christmas Eve that I was meeting another
in my same profession. There ■were none of
those things about this attractive Irishman
that would stamp him as an actor. No
seeming arrogance. No braggadocio. No
false sense of values. And so I had forgot-
ten the sweet boy who had impressed me
with his quiet sincerity.
Then, this night in the theatre four years
ago, as I saw him go into his part con-
scientiously, wholeheartedly, I wondered
and questioned the people who had said to
me, "Be\vare of working with Michael
\Vhalen. His temper will ruin not only your
part but everyone else's."
Well, after that second introduction and
during the first play we did together Mike
and I became good friends, as good friends
as I could really be with this boy whose
basic magnetism was his thoughtful silence,
which some persons ^vere wont to term,
"dumbness," and \vhich I can readily dis-
prove.
Michael's silence was due to something
that happened quite a few years ago when
he first came to Hollywood from New "^'ork.
Then he was a "bon vivant," full of life
and conviviality. As he told me the other
day, "I was a voracious reader of every good
book of modern non-fiction and fiction, as
well as the classics, and I wanted everyone
to know I lo\cd those things- good books,
good plays, good music (he plays the i)iano
well, himself, and sings, too), l)ut I found
people really didn't care. The more I talked
the less they listened. And I knew that they
were laughing at my earnestness and
na'ivete so I shut up like the proverbial
clam and thus I determined to remain.
And I foimd out, Gertrude, that it is true,
the less you talk the more people actually
listen when you do speak."
So much for Mike's "suggested stupidity."
During the shows I did ^\■\th him at the
"little theatre" previously mentioned, I had
occasion to see INIike's outbursts of tempera-
ment and the reason for them. I had occa-
sion to see what other actors had termed
his "indifference" to his co-workers on the
stage, and I had occasion to see what I
think is anyone's greatest virtue, his ability
to know how to work hard!
To begin with, Michael had his mental
difficulties as well as financial. He had had
"breaks" at major studios which had turned
into dire failures. Since his father passed
away, when Mike was seventeen, he had
dropped his college dreams of Penn State
and had gone to work and had worked for
other people, not himself, as I so well know.
He had met professed good friends in New
York City, befriended them when they came
to Hollywood, and was snubbed by them
^vhen they "arrived" in pictures.
He had been lonely, desperately lonely!
He had given all and gotten nothing, noth-
ing but unjust criticism. And what is more
unfortunate he had had, through the years,
no definite sustaining stability other than
his own kno\vledge that he ivould win. No
^vonder there were times when he was bit-
ter and temperamental. For example:
The night he had come storming back
to his dressing room, shouting and gestic-
ulating wildly, a bunch of kids in the front
row had talked all through a love scene
in the show, one of Mike's outstanding
scenes. It upset him. He was mad! He was
out of control! I couldn't sec the reason for
his mood at the time. I thought it selfish,
so 1 said, "Michael, you ought to be
ashamed."
He flared back at mc, "Mind your own
business! I ha\'c my own career to further.
\Vhat do you know about it anyway?"
"Nothing at all, Mike, only that you're
being terribly selfish."
And with that he threw his cane across
the dressing room. I was furious! I could
see no reason for that, and later I told him
so again, only a little more kindly. Naturally
he was contrite. And the same night, dur-
ing the next act, he came to me like a bad
little boy. and he said, "Look— I got a patch
in the seat of my pants and it's the only
dark suit I have. Do you think it'll sho^v
^\'hen I bend over?" With that he bent over
and we both went into gales of laughter.
"If the audience minds it," I said, "then
we'll make an announcement that, after
the show, we will take up a collection for
a new suit for our leading man."
"These aren't my collars, either," he said,
"s'pose we better tell them that, too?"
"And this isn't my dress," I added, "I
borrowed it from the director's aunt."
AVith that we were roaring again. And
that's been Mike's and my friendship-
laughter and tears, only infinitely more
laughter.
In the audience that night had been a
talent scout from M-G-M, principally to
note Michael's work, and it meant, per-
haps, a job for him and a job meant he
could possibly send for his sister, who was
ill and needed rest and quiet. A job meant,
also, that he, himself, could eat regularly
and buy some collars for his shirt, as well
as quit his job as houseboy in Beverly
Hills, where he worked for his board and
room and gardened for his voice lessons,
and most of all it meant that he would get
PAID for doing the work he loved, acting!
No -wonder he was upset because his scene
was ruined.
During the following years those emo-
tional upsets became less and less, until the
last sho\v I did with him (the show from
which came his 20th Centuv)-Fox contract)
the outbursts had almost stopped. They did
slop altogether when he got a contract for
steady work. One reason lor this was that
in the last year or so Mike had found a
peace of mind, a mental harmony that is
64
THE VARIED ACTIVITIES OF
MRS. LOUIS SWIFT. JR
MRS. LOUIS SWIFT, JR., of Chi-
cago's prominent family, is well-known
throughout the Middle West and East for her
vivid and active life. She entertains frequent-
ly with small, superbly appointed dinners.
"Camels," says Mrs. Swift, "contribute to
the success of my dinners. Their delicate
flavor suits the equally delicate flavors in
the food, and they also help digestion. I
always allow enough time between courses so
that every one may smoke a Camel through."
MRS. SWIFT DINES in the Casino
Room of Chicago's Congress Hotel. "Here,
too," says Joseph Spagat, Maitre de Cafe,
"Camels are the favorite cigarette."
A few of the distinguished
women who prefer
Camel's costlier tobaccos:
MRS. NICHOLAS BIDDLE, Philadelphia
MRS. ALEXANDER BLACK, Los Angeles
MRS. POWELL CABOT, Boston
MRS. THOMAS M. CARNEGIE, JR., New York
MRS. J. GARDNER COOLIDGE II, Boston
MRS. ANTHONY J. DREXEL 3rd. Philadelphia
MRS. CHISWELL DABNEY LANGHORNE, Virginia
MRS. NICHOLAS G. PENNIMAN III, Baltimore
MISS ANNE C. ROCKEFELLER, New York
MRS. BROOKFIELD VAN RENSSELAER, New York
FOR DIGESTIONS
AS A SPORTSWOMAN, Mrs. Swift is world famous. She spent dangerous
months in India and Africa hunting wild boars, tigers, elephants. In the States,
during the winter season when society is so engrossed with outdoor sports, Mrs.
Swift enjoys skiing. "It's fun," she says, "but requires healthy nerves. So Camels
are the only cigarette I care to smoke. They set me on my way feeling right."
CameVs aid to digestion. . . on your busy days!
MOST modern women lead quite
active lives. Preparing meals,
parent- teachers' activities, and so-
cial life are enough to tax nerves
and affect digestion. A pleasant way
to assist good digestion is to smoke
Camels during meals and after-
ward. Smoking Camels promotes
the natural flow of fluids so neces-
sary for good digestion. Alkalinity
increases. Tension eases. A com-
forting "lift" follows. Equally im-
portant is Camel's mildness. They
never get on your nerves, or tire
your taste. Smoke Camels for diges-
tion's sake— and better "busy days"!
CopyriKht, 1937. R. J. Rfynolda Tobacco Comp.my. Wltiston-Salem. Nurtli Curoliim
SMOKE
CAMELS!
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Discover the exciting new confidence that
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I
Jli
giving him a beautiful sense of values and
a poise that is found only in those who
strive to be finer inside as well as outside.
It isn't easy either to go to a swank
movie party like the one to which Mike
and I went when we were both more or
less financially embarrassed, and then be
insulted by a star whom you knew when
she wasn't a star. That night before we
entered the beautiful apartment on Wil-
shire Boulevard, Mike turned to me and
said, "Do you think I look all right in this
green suit? I'll bet they'll all be in tuxes."
I said, "Mike you always look grand."
He answered, "Thanks darling, I'll have
to, now, because even though the suit's too
large it's the only decent thing I've got to
put on, and they'll have to like it, too."
"It's not the suit you're selling, it's you."
We went in and most of the men were
in tuxes. I saw Mike smile, then wink at
me. I knew what he meant because he had
said it many times, "We may not have
many clothes, Gertie, but we still have our
sense of humor, which is the most im-
portant."
During the course of the evening a cer-
tain featured actress whom Mike had
known in New York before she had known
success was dancing with a well known pic-
ture boy, and Mike spoke to her pleasantly.
Suddenly he turned to a friend of his and
said, "I think I'll 'cut in' and dance with
So-and-So. I haven't seen her for years. I'd
like to talk with her."
I was dancing near actress So-and-So and
I heard her say, "Hurry, dance me away
quickly. Here comes that Michael Whalen!"
Mike didn't hear that, thank heaven, and
he cut in anyway. Today the same Miss So-
and-So has called Michael repeatedly, re-
questing his presence at her home but he
declines graciously. There are too many of
his old and tried friends who aren't in the
so-called limelight and who are sincere
when they invite him to their homes.
Michael always has given more on the
stage than he has ever gotten. His "indiffer-
ence" is an erroneous statement! I've seen
him go out of his way to give the scene
to whomever it belonged. I had a comedy
scene with him in the Shubert-Timony
show, "Common Flesh," which I had to
play with my back to the audience because
of the seating arrangement of the furniture
and the bad direction. Michael played
"straight out." The scene proved so hilari-
ously funny that Michael came to me one
night and said, "Gertie, it's your scene and
I want you to have it all. With my mug to
the audience it rather takes away from
your lines because they don't want to watch
me then, they want to watch you. And they
can't even hear you well enough with your
back to them."
Well, we worked alone until one a.m.
that night trying to fix the scene ourselves.
After we worked it out we two went out
together, as we had been doing on and off
for two or three years, and we had our in-
evitable midnight snack. While we were
gourmandizing, I said to Mike, "You're so
darned swell to other actors. I kno^v at
sometime in your life you must have been
'upstaged' frightfully." He smiled at me
but refused to answer.
I went on, "Now, tonight, that— leading
lady! Didn't she change her business en-
tirely and throw you completely o(t in the
last act?"
Mike grinned again, this time devilishly.
"Yes, and the funny thing is, iiistca l of
stealing the scene, she ruined her own ines
and business. You know, when you're light
and strive to be generous and someone
'cuts' you in one way or another they're
only hurting themselves."
Michael, in the six or seven shows I did
with him, which spanned four years, always
worked the hardest, thought the most, and
as I've said, talked the least.
Every night before Michael made an en-
trance he meditated for long minutes, out-
side the "scene door," or in his dressing
room, getting in character. The other mem-
bers of the cast made "cracks" about his
silent communion, voicing their comments
in burlesqued whispers. But he ignored
them and worked all the harder to create
his play character to the best of his ability.
There is a scene I want to recall that
happened about three years ago. Mike was
rather mentally low again from not receiv-
ing any paying theatre ^vork (in little
theatres and co-op shows you're usually
unpaid), and was contemplating leaving
town ivith a touring stock company when
he got a call from a certain director of a
stock school on a major studio lot. The
studio was going to do a play at a legiti-
mate theatre in Hollywood and was using
all of its stock "bit" players with the ex-
ception of this one particular part, a New
York playboy type— the second male lead.
The director was calling several good look-
ing, ambitious leading men, who were de-
serving of breaks, to read for the above
mentioned part. Everyone of importance at
the major studio would, no doubt, cover
the show and someone would be bound to
get a long term contract or a job out of
the play.
So, among the likely candidates for the
second lead was Michael. Then, of course,
he was unknown. The leading man of the
show, who was already under a small stock
contract to the studio giving the play, had
already been given his part. He was a
friend of Michael's; a pink cheeked, wavy
haired, handsome leading man who is noiv
cutting quite a figure for himself in pic-
tures. In fact he is L_ie iie plus ultra of
leading men. Then he, too, was an un-
knoivn.
Mike was called on the stage to read. He
asked the director if he could have a few
minutes in ivhich to look over the part. As
soon as he got the idea of the type of char-
acter he \vas reading he ^valked into the
scene with the character woman, who is
also well kno:vn now, and began his light
comedy interpretation.
In the micldle of the scene the director
got a signal from the producer to stop the
reading. The director walked over to
Michael and said, "That's enough, Mr.
Whalen. I'm sorry but the producer doesn't
seem to think you're the person for the
part. Thank you very much." And he took
the script from the astonished Michael's
hands, and continued with his other
business.
Michael ivould have gladly had the floor
open up and swallow him. He started to
say, "Well, but \vhat did I do that made
the interpretation seem so wrong?" But he
couldn't. He couldn't even see! He was that
humiliated. In front of a theatre fidl of
"would be " actors and actresses (and some
quite important ones too) he had been un-
fairly tested and fired by a producer who
didn't even have the decency to tell him,
himself.
He stood riveted in the center of the
stage, not knowing which way to go. Sud-
denly his eyes liglitcd on the back stage
where all of the rest of the cast were
gathered awaiting their cues. Feeling that
maybe they'd understand, he turnecl and
walked back stage and seated himself on a
"prop."
^Vhcn he finally decided to get up and
go home a girl friend of his (and a pic-
ture comedic'inic, now) called him solily.
He stopped! Sitiing with her was Mr. So-
and-So, who is now one of the favored
"white haired" children of pictures, and
who was then the slock actor who was
doing the lead in the play.
Mr. So-and-So smiled at Michael. Michael,
with all of I he insoui iaiu e he could muslcr,
retinncd the smile. Said girl friend turned
to Mr. So-and-So and, in front of Mike,
said, "Allen (we will call him that, any-
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^Please print pLiinly)
way), "do you know why Michael didn't get
that part he just read? Because he's such
a darned better actor than you are, that's
why!" Mr. So-and-So bowed his head in
embarrassment and said, "Yes, I know it!'
Soon after that, through that play, Mr.
So-and-So got his "break" and Mike met
him on the street months later. Michael
spoke. No recognition! Nothing!
Then, a year or so later, Mike got his
break. He met actor So-and-So again. Ah!
Recognition! The more pictures Michael
has made, the more recognition he gets
from friend actor, which is terribly Holly-
wood and terribly amusing.
Do you know what Michael said when I
asked him how he felt about the above
situation? He answered, quietly, and not
without sincere emotion, "Its all right.
He's got a lot to take in the way of fame.
And he's young yet. We can't censure him
too much. I merely feel sorry that he hasn't
grown in\vardly too. But I must admit he's
grown outwardly. He's really got some-
thing!"
"Got something? What?" I queried.
"That indefinable 'thing,' personality,
you might call it, that is so po\verful— "
"I know, Mike, but what is it?"
"Yes, ■\vhat is it? And why haven't I got
it? I'm not envious. I'm a fairly good look-
ing Irishman. I've worked hard to develop
a good voice. I still work hard at every-
thing I do. People like me I like people.
But ^vhat has he got that I haven't?"
"Nothing!" I said, and believed ray state-
ment.
"Oh, yes," Mike broke in, "I know differ-
ently. But I do know this, also, that I'll
work harder to last longer. That's a com-
pensation."
"Mike," I suddenly yelled, "I think I
have the answer to our problem. AV'ait!
Have you bought a new car yet?"
"No! I still have my little year old Chev-
rolet roadster. Muddy at that. None of the
girls will ride with me," he laughed.
"Do you plan getting that Zephyr we
talked about?"
"No, I can't, Gertie. Not yet. It isn't
necessary, really."
"What are you doing with your money? "
"^Vell, I'm saving a little and being a
family man with the rest of it."
"I see, Mike. Now I have my answer.
You're unselfish and generous. I've kno\vn
it from the beginning. All during vour
career you've thought of Claire because she
\\as ill. And you've thought of Dorothy and
your mother because you loved them and
you wanted them to have the things they
had before your father died. Is that right?"
"Yes, and I'm happier about their being
here than anything else in the world. Don't
you like mother?"
"Yes, Mike. I sincerely do. She's a charm-
ing, intelligent woman."
And she is, too. She resembles Pauline
Frederick and she's the best cook ever! She
does her own cooking now because she
loves to be occupied. In Philadelphia she
was a great welfare, civic and political
leader.
Dorothy and Claire, Mike's sisters, take
care of his fan mail and secretarial work
lor the same reason. They're not a lazy
family. Dorothy is beautiful, fragile. Claire
is extremely good looking, firm, stable and
so hospitable. And they're both highly in-
telligent and witty.
"Michael," 1 continued, "don't you see
that these great personalities, a lot of them,
are l)uilt on selfishness and ego? That is
their po\ver."
If that's triie I couldn't be a tremendous
personality, then. I must dilVuse my per-
sonality in my part.
"Just the other day, after finishing my
new |)icture in which I am featured with
Rocliclle Hudson as star. Miss Hudson
turned to nie and said. 'Mike, vou're wear-
ing u)urscU out. You \vork too hard. Just
Mr. and Mrs. Jack Oakie at
their home in Beverly Hills.
Jack will next be seen in
"Robber Barons."
relax and ooze personality, which you can
do. That's all they really want in this
business.'
"^Vel!, Gertrude, 1 can't do it! Further-
more I know that isn't all they ^vant or
they ivouldn't worship at Katharine Cor-
nell's. Helen Haves', Elizabeth Bergner's,
Charles Boyers, Charles Laughton's and
Luise Rainer's shrines. Those men and
women act! And I want to and will! I can't
just smile and look pretty. I must -(vork, as
\ou know I've always done."
"Mike, what are you going to do if—?"
"If pictures don't bring me the success
for which I'm striving?"
"Yes!"
"I'm going to New Y'ork again— and the
stage. I'm going to take every part they'll
give me, as long as it's a good part in which
I can develop myself, and I'm going to just
begin again. You know my ancestors were
not 'shanty Irish' nor lazy people. They
^vere all full of that adventure that I love!"
"Any of them, besides yourself, in the
theatre?"
"Yes, two of them tried the theatre. Our
families, both the Shovlin's (my father's
family) and the Whalen's (mother's) were
against the theatre. I'm terribly proud of
mv family and its accomplishments.
"Lately so many people have read stories
about me that suggest that I was the only
one of my family that had the nerve and
stamina to stick it out, to try to achieve!
It s wrong.
"My grandfather, Michael Whalen, was
burgess (mayor) of Avoca, Penn. He manu-
factured fire brick in Virginia, was an orig-
inal member of the company that supplied
water to all of Wyoming Valley, and had
several other local business interests. He
had an ice house from which was never
sold one piece of ice. Every summer it was
all given away to those who needed it.
"He also held open house every Sunday
for the entire countryside who dropped in
after church to have one of his prolonged
chicken breakfasts.
"Mv mother's mother was of the Murray
Clan. They were pioneers in the Anthracite
coal region. They moved there in the seven-
teen hundreds, when coal was first dis-
covered. They sunk the iMurrav Shaft, one
of the first and deepest in existence, and
todav the Murrav Breaker still stands and
still runs in the heart of AVilkcs-Barre.
Sort of like I'le town pinup. \ou know.
"Mv Grandfather Shovlin was in the
hotel business, retired, and lived to a ripe
68
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Silver Screen
69
Your personal history is yours to make
exciting and dramatic if you only
wish it. One way to do so is to wear
Evening in Paris Perfume, known
throughout the world as the fragrance
of romance. It's composed of a little
mystery ... a great deal of worldly
wisdom, glamour and gaiety.
The new Evening in Paris Compact
Rouge and Lipstick give your lips and
cheeks color that is the perfect sem-
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match every complexion type.
BOURJOIS
old age. I come from a large family. Those
that could not be educated have educated
themselves. Among them will be found doc-
tors, la^vyers, priests, teachers, politicians,
bank directors, professional and business
people of all types."
He stopped, caught his breath and
grinned, "I suppose I'm boring you but,
Gertie, I'm an Irishman and, as an Irish-
man, I know you'll forgive me a bit of
sentiment. And sentiment I will have for
those who are mine, and for places I have
kno^\•n and loved."
"What about your own father? "Was he
a Wooh^'orth store owner as other articles
have stated?"
"Why, no. The reason people have been
confused about that is because all of the
o^vners or executives of Newberry's and
Wooh\'orth's come from Wilkes-Barre.
"My father was a successful contractor
with a too adventuresome spirit. He was a
member of the city council and Chairman
of the Board of Health, and when I was
about sixteen he sold all of the property
Grandfather Shovlin had left him, even
mortgaged our own home, and then went
to Texas to buy an oil field."
"And did he?"
"He sunk one all right. He sunk his
money in a dry hole. Our family always
has been like that. Successful one minute,
broke the next, but invariably happy.
"Dad became ill in Texas. The doctor
pronounced him incurable and he came
a horse-and-buggy, but can you fancy such
trans;-.ortation in Beverly Hills? At En-
senada they hire what they declare is better
still— a horse and a wagon. Then they go
trotting up the beach, perched delightedly
on the wagon-seat. The other day they set
forth on a picnic and spent three hours
traveling seven miles.
Amazing contrasts are typical of Mexico
and you get a major jolt when you first
reach Ensenada. The village is as opposite
from the resort hotel as possible. It's a
couple of blocks a^vay and it's Mexican
simplicity itself, a few frame stores of no
architectural pretensions sufficing for the
trade of the happy peons. Burros ladened
with sticks of firewood and baskets of
vegetables meander down the streets.
The ^■illagers don't pester the stars and
neither do the other guests at the hotel.
In fact, Charlie Chaplin is so amiable that
he allo\vs strangers to kodak him and Paul-
ette Goddard whenever they wish; he once
turned do^vn Franchot Tone when his au-
tograph was requested, but Mexico mellows
him.
Honeymooners are entranced by the
magic calm and color that's combined at
Ensenada. Myrna Loy led olT b) marrying
there; Kav Hughes wanted to follow suit
recently, but when she and her groom ar-
ri\ed the magistrate was too involved with
the marine strike to be impressed with the
ingeuty of her love. She tinned aroiuid and
came l)ack! Maureen O'Sullixan declares
she had the world's finest honeymoon in
this ]iar;ulisc. Even Johnny AVcissmulicr
and Lupe \'elez have found the sunsets at
this seaside spa too \vonderfid. They spent
their second honeymoon here.
Una Merkel, who was married at Caliente
on a New Year's Day, has switched her
aiuHial repe;U lionc\ moon to Ensenada.
I'na was strolling one ilav \viien she no-
ticed an elderly woman. On second ghuice
back to Wilkes-Barre. We sold our home
and took him to Atlantic City where he
died eighteen months later."
"And vou? "
".And i, with my college hopes shattered
and Kith very little money, began my
search for that pot of gold.
"Starting as a stock boy in Woohvorth's,
I ivorked my way up to managership. When
m\ mother remarried I was free to quit.
And quit I did! I traveled from there to
NeA\- York, intending to go around the
world. You know, cattle boats and things?
But New York and the theatre claimed
me!"
"But -what about this other relative that
tried the theatre, and quit? It was a cousin,
wasn't it? I rather vaguely remember. What
was it he told you when you began your
career in the theatre?"
Mike's eyes twinkled, "He said, 'Michael,
mv bov. I tried it and had to give it up.
The theatre is the most difficult career a
person ever attempted. It's almost useless.
If you've got the stuff to stand the terrific
gaff, and if vou achieve a name in any part
of the theatre you're the bravest "Whalen
that ever trod these shores. And that, my
boy, is saying a mouthful!' "
And I guess Mike has said a mouthful
now. We know that he'll never bite off
more than he can chew because life has
taught him two very great lessons: humility,
and the lo^e of hard work!
it ivas her former eighth-grade history
teacher! From Kentucky to a dream cot-
tage here and a career as a novelist has
been some jump, but her old instructor has
not onlv made it but has adopted the cos-
tinne of the natives so that she appears one
of them.
A trip to Mexico sometimes kills fivo
birds with one fling. Foreign actors, who
have come to Holly^\'ood on temporary
quota permits, frequently renew their entrv
tickets bv sojourning awhile in handv Mex-
ico while their law\ers attend to the legal
procedures. Sonja Henie has lately done
this. Richard .-Vrlen cannilv sa^•ed §30,000
by \acationing for twenty-eight days at En-
senada—this is ^vhat he Avould ha\e had to
pay the state of California in income tax
had he not remained out of the state a full
six months. He'd been to England to make
a picture and he'd alreadv paid Uncle Sam
and Britain a generous stun.
Twenty miles from Ensenada, over ^vind-
ing dirt roads, is the supreiirely quaint
Russian farming colony Paul Muni raves
about. It seems that in 1905 a band of
Moujiks heard the rumbling of upheaval
and determined to transplant their belo\ed
Crimean customs to preserve them. They
settled in this haven, becoming Mexican
citizens. But they haven't lost a speck of
their identity; they li\e exactly as they used
to and so do their ciiildren. Aluni is much
impressed with their manner of living in
spite of no newspapers, no telephones, and
no radios. They forl)id them!
All down the dro\vs\, sunny Gulf of
Lower California the fishing and hiuiting
is grand. Gary Cooper can't let you listen
to how he hooked his giant tuna without
acting out how he lined the monster;
Clark Gable has been hunting at Guaymas,
further South. (CJroiicho Marx has been
having such checker bouts \\iih the mili-
tar) commander at Ensenada that he hasn't
Fun In Mexico
[Coiiliniied from page 23]
70
SiLvnR Screen
A
•RIDE
99
Neglect of
Feminine Daintiness had never
tarnished their Romance
OTHER WIVES envied her life-long
honeymoon . . . told their hus-
bands, often, how nice he was to her.
It is not easy to analyze the quali-
ties that make romance endure
through the years. Individuals are so
different. But, in one respect at least,
all husbands are alike. Lack of per-
fect personal cleanliness in a woman
is a fault they can never understand.
And few things are so apt to dampen
a man's affection.
Strangely enough, in many cases,
a woman is not, herself, aware of
neglect of proper feminine hygiene.
She would be shocked to learn that
she IS guilty of not being thoroughly
dainty. Yet, if the truth were known.
many a case of "incompatibility"
can be traced to this very fault.
If you have been seeking a means
of feminine hygiene that is whole-
some and cleanly, to promote inti-
mate daintiness, ask your doctor
about "Lysol" disinfectant. For more
than 50 years this scientific prepara-
tion has been used for feminine
hygiene by thousands of women.
"Lysol" disinfectant is known as
an effective germicide. Among the
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six essential qualities which "Lysol"
provides —
The 6 Special Features of Lysol
1. Non-caustic. . ."Lysol" in the proper dilu-
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2. Effectiveness... "Lysol" is active under
practical conditions ... in the presence ot
organic matter(such as dirt, mucus,serum, etc.)
3. Penetration... "Lysol" solutions spread
because of low surface tension, and thus vir -
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4. Economy. . ."Lysol," because it is concen-
trated, costs less than one cent an application
in the proper solution for feminine hygiene.
5. Odor... The cleanly odor of "Lysol" van-
ishes promptly after use.
6. Stability. . ."Lysol" keeps its/ii// strength
no matter how long it is kept, no matter how
often it is uncorked.
New! Lysol Hygienic Soap for hath, luwnis,
and complexion. Cleansing and deodorant.
FACTS ALL WOMEN SHOULD KNOW
I.KHN & FlNK I'rodlHts Clllp.,
Hl(,(.mlicl.l, J., U.S.A. Dept. 3-SS.
Sotr Dt'lrihtiUirs ol "l.y.-iol" ilisinfcit.mt.
I'lcisc sciul inc the l.o.ik ciilli-.l "l.^'SOI.
vs. GK.RM.S." with f:u ts :il>iiiit l. ininnir
hygicnc :iiul other uses ol "l.y.sol."
Nfimf_
FOR FEMININE HYGIENE
SlLVFR SCRCI'N
Streel_
City—
.Stale_
Copyritfht 1987 by Lchn & Fink I'roductii Corck
71
always
never
Put sweet, ripe color on your lips— by all
means. It thrills!. ..But remember, too, that
—lips must be soft, not dry— smooth, not
rough. Only smooth lips tempt romance.
Avoid Lipstick Parching.
Get protection along with warm color by
using Coty "Sub-Deb." It contains a special
softening ingredient, "Theobroma." Because
of its soothing presence, your lips are kept
soft and smooth. In five indelible shades.
^etvl "Air Spun" Rouge-50^. Torrents of
air blend its colors to life-like subtlety.
COTY
SUB-DEB LIPSTICK
Precious protection!... Coty melts eight drops
of "Theobroma" into every "Sub-Deb" Lip-
stick. This guards against lipstick parching.
had time to go on with the other curious
stars.)
The train that tears South through the
rugged gorges of the Sierra Madre range
is the daily treat to tlie natives, who gather
at all stops with pottery and serapes and
bubble glass that you can't help wanting.
You £eel as though you're on a continual
fete.
At Mazatlan, across from the tip of
Lower California, the Warren Williams
made a memorable trip up the estuary in
a small power boat. They soon got into a
dense tropical district and Mrs. ^Villiam
was achuiring the egrets lavishly until they
ran into a mess o£ alligators. She made
Warren turn around as fast as he could
maneuver the boat and she hasn't worn an
alligator shoe since. She shudders at the
very notion!
I he goal of the stars today is Mexico
City, which can be approached by the West
Coast or an interior train, by the excellent
new highway from Texas, or by regular
airplane service. The Buddy Ebsens drove
the entire ■\vay and report the highway all
it is said to be— only in the jungle terri-
tory there isn't a gas station every dozen
miles and so you'd best not be careless.
Historic and cosmopolitan Mexico City it-
self, atop a high plateau, is the end of the
new trail. There the actors who can get
away long enough are revelling in the
astonishing proximity of the ancient, the
simple, and the sophisticated forms of life.
Katherine De Mille had to be a Mexican
maiden in "Ramona" before she could
study up on the wa^s of Latin ladies, but
she's been down there catching up. Miriam
Hopkins has been talking about the Na-
tional Theatre, the world's finest play-
house, which cost .17,000.000. Its jewel-like
beauty has many unique features, but none
more spectacular than the curtain of glass.
The richly decorated cathedi'als dra\v all
the tourists, as do the pyramids that are
an hour-and-a-hal£'s drive distant. You
didn't know they had pyramids in Mexico?
They have, and they're as old as those in
Egy]3t! The Pyramid of the Sun dates back
lar before Cortez and the Montczumas.
AVhat has captivated Miriam the most,
thoiigli, is the (loaling gardens at Xochini-
iUo, near Mexico City. "You step into
gondolas and then drift through hea\cnly
canals for miles, for hoins! The\' ha\e din-
ing ])a\ilions with orchestras ^^•hcrc vou
tarr\. And guitars striuii so romantic-
ally'. . . !"
'iVhilc I. a Hopkins \\axes ]ioetic. Dolores
Del Rio smiles broadly as she reminisces.
As )oii know, she was real society in Mexico
('il\ when a Hollywood troupe xyem there
to film interiors. As a foremost hostess she
entertained for the stars and the director,
Edwin Carewe. He ^\as so struck by her
glamour that he offered her an opportunity
in Hollywood. Dolores seized it and the
rest has been obvious. Her father is still a
prominent banker in Mexico City and that
brings us to the complete tale of her ex-
perience with the forward bull. Of course
the proud authorities insisted that she be
guest of honor at the bull fights; graciously
she prepared to ackno^^iedge the ovation
by bowing from the arena. "Only some-
one," exclaims Dolores, "forgot to tell the
bull not to get excited!" The beast broke
loose unexpectedly and aimed straight for
the honoree. who had to scram like mad!
Warner Oland has bought an island of
seven thousand acres off the 'West Coast of
Mexico. On his Palmetto de la 'Virgin (its
name) he is raising cattle and cocoanuts—
always this strange contrast in Mexico! His
hacienda is a tar cry from Hollywood
Boule\ard. But, then, even in Mexico City
he hasn't been too annoyed by his picture
public. In fact, Diego Rivera, whose murals
have caused so much controversy, was awed
by ^Varner's literary fame but never men-
tioned his acting.
Many years ago Warner Oland trans-
lated Strindberg's works into English; wan-
dering into a tiny bookshop he ordered
some books and admitted that he had
translated their contents. News spread to
Rivera, who became desperately anxious to
meet such a distinguished writer. The
painter finally finagled a meeting with the
Olands in the bookstore and then enter-
tained them at his home. Besides his paint-
ings, Rivera had some valuable, ancient
Aztec idols thousands of years old. The
Olands admired them en\iously. When
they were getting on the train to lea\e the
city, a servant rushed up mysteriously with
a large package from Diego Rivera. "Hide
this until you get across the border!" Mr.
Oland put on his suavest Chan manner,
and now a rare Aztec idol decorates his
American home!
But evcr\ star doesn't take on Mexico in
style. Luise Rainer disappeared. For fi\e
days she toured Northern Mexico in an old
Ford. In slacks and a sweater and an old
coat, nobody recognized her. She slept at
auto camps— yes, near the line they have
them!— and altogether spent on!\ .'?i2 for
her fini.
You don't have to speak Spanish. In the
leading towns there's ahvays someone who
can gabble in English. But nevertheless I'm
going to brush u|3 on my Spanish gram-
mar. When a black-eyed senorita rolls her
eyes at me and inurnuirs sweet nothings.
I want to know cxacth \vhat she's j^ro-
po.sing. It nnght be onl\ an .Aztec idol!
72
S I L V 1; R Screen
Silver Screen
73
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Wild Boy of Siberia
Conquers Hollywood
[Continued from page- 29]
Ital), where a girlhood friend of his mother
was li\ing. This woman, ivife of a Floren-
tine atiovney, took (he boy in, and notified
his grandfather, Leopold Auer, in New
York, who immediately cabled passage
money.
Only since Mischa has been in America
has he gro\\'n to his present stature of six
feet two inches. Because of hardship and
malnutrition, he was less than five feet tall
when he joined his grandfather, the famed
music master who taught Zimbalist, Heifetz
and Elman, among others, the art of the
\iolin. Exen today, the effects of those early
years of strife are plainly evident.
Hollywood first saw this talented Russian
when he appeared with Bertha Kalich on
the Los Angeles stage in Sudermann's
"Magda" some eight years ago. Prior to
this, he had shown an early interest in the
theatre and played in a number of shows
on Broadway.
Returning to the film capital following
the completion of his stage tour, Mischa
discovered the man who had promised him
a contract with a studio had been dis-
charged two days before he arrived— and he
had less than two hundred dollars in his
pocket. 'SVhen this had gone the way of all
funds, he threw pride to the winds and
turned extra.
An amusing incident, although at the
lime it was far from funny, insofar as
Mischa was concerned, occurred during this
period of travail. Henry Hatha^vay, then
an assistant director, fired him from his
first "extra" job because he said Mischa
wasn't "the Russian type!" But Frank
Tuttle, the director, befriended him and
ga\e him work in every picture he made.
To chat with Mischa Auer in his hilltop
home, amid the luxurious surroundings he
lias provided for his American wife, his
n\o-and-one-half-year-old-son, Tony, and
himself, one \\'ould never suspect he had
ever known anything but an even-tenored
existence. His sense of humor is superb
and there is not the slightest suggestion
that he might be an actor. He rears cham-
pion Great Danes— Lars, his pet, weighing
only a measure less than a house, stretched
at our feet during the entire course of our
conversation and occasionally uttered yawn-
ing noises that suggested a noontime fac-
torv whistle. Mischa likewise owns up to a
fondness for cats. He is looking forward to
the lime he can amass sufficient wealth to
retire . . . then, he expects to do one of
about two dozen things, none of which he
kno^vs he will ever attempt. Meanwhile, he
teaches his ^vife Russian, and she responds
with lessons in draw^ poker.
You're going to see much of Mischa Auer.
He's the comedy find of the year and his
humor on the screen is so infectious that
it will continue to entertain the American
public for >ears to come. You'll laugh with
him in "That Girl from Paris," Lily Pons'
latest picture, in ^vhich he glories in the
cognomen of "Butch" Strogoll . . . watch
liiin Innlesque Hamlet in Universal's "Top
of the Town" in such a manner that even
the members of the company roared with
delight . . . and the potentialities of his
rule in Hal Roach's feature. "Pick a Star."
are sufficient to predict a brilliant perform-
ance Just as murder . . . comedy xcill out!
T A rclicaisal the other day one
of the chorus girls actually showed
vp leilh a pink ribbon tied around
her slidpety ankle so tliat she could
tell lier left foot from her right!
74
Silver Screhn
Players Win
Fabulous Riches
[Continued from page 35]
A writer hasn't begun to write until he
has plastered the walls of his room with
rejection slips. Most authors tuck away in
the bottom of the trunk a play and several
books before they happen to write some-
thing that catches a publisher's fancy. And
even then it might not catch the public's
fancy— and royalty checks do sort of depend
on the public's fancy.
George Bernard Shaw had five inipub-
lished plays on his hands, which no one
seemed to want, when he took over the
editorship of a magazine in England. The
company had no money with which to buy
original manuscripts so Shaw ran one of his
unpublished plays, and thereby caught the
attention of the English reading public.
Joseph Hergesheimer wrote for sixteen
years before he sold a single thing. O.
Henry went through the entire gamut of
debt and prison.
But little Simone Simon smiles prettily
in a French film and immediately she is
signed by Twentieth Century-Fox at more
money than O. Henry ever knew existed.
Gypsy Rose Lee strips as prettily as Simone
smiles and immediately every studio in
Hollywood dangles a contract under her
nose. 'What does Miss Lee do? Why nat-
urally she chooses the company that offers
the most money. She's no fool.
George Eliot was nearing forty before
she wrote her first novel. She had written
magazine articles before but no one paid
the slightest attention to her. Theodore
Dreiser fussed around his typewriter a
number of years before American readers
decided to get terribly thrilled over his
Glenda Farrell, Randolph Scott and Fay Wray enjoying
themselves. In Hollywood they even play enthusiastically.
"American Tragedy." And William Faulk-
ner of "Sanctuary" fame had by actual
coimt a collection of one hundred rejection
slips before any publisher would give him
a tumble. Only last winter George Santay-
ana, at the age of 72, had published his
first novel, "The Last Puritan." He had
been writing it for fifteen years.
Imagine anybody in Hollywood doing
anything at the age of 72. Mercy, nobody
in Hollywood is over 29. (Oh, I've got my
tongue in my cheek when I say that.)
That's the grand thing about the art of
acting for the cinema. You don't have to
spend your yoiuh building up to it. You
can be an artiste, you can have plenty of
money and public adulation and still be
in your twenties. I'm telling you it's the
easiest art in the world.
The modern young actor, or actress,
usually spends a year in a stock company,
or perhaps a "walk on" or a "bit" in a
New York play, or sings or dances in a
night club, or appears in a "little theatre"
play at the Pasadena Playhouse— and that's
about all the apprenticeship he or she
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Silver Screen
75
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A still show-
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needs. It's as simple as all that. Katharine
Hepburn was signed after she appeared in
a small part in a Broadway show, and so
were Ginger Rogers, Bette Davis, Kay
Francis, Joan Blondell and many others.
Tyrone Power, the new sensation in male
stars, was signed after the talent scouts saw
him in Cornell's "St. Joan. " He played two
small bits in Hollywood pictures and then
his third assignment was one of the plums
of 1936— the lead in "Lloyds of London."
Had Tyrone remained on the stage it prob-
ably would have been several years, with
plenty of trouping and stock in the mean-
time, before he got himself a big dramatic
lead. Things happen fast in the movies.
But don't let yourself be too taken in by
all this. Crashing Holly%vood isn't as easy
as I may have led you to believe. You see,
Hollywood doesn't insist upon a long ap-
prenticeship, and years and years of study,
BUT Hollywood does insist upon a talent,
and a mighty good talent too. Every little
kid isn't a ShiVley Temple. Every dancer
isn't an Eleanor Powell. Every Pomona col-
lege boy isn't a Robert Taylor. No, you've
got to have that talent, "gift" I believe the
actors like to call it, before you can expect
to become a part of the easiest art in the
world. But if you have that gift you don't
have to starve, unappreciated and un-
wanted, as the geniuses did of old. In
Hollywood you can have your cake and eat
it 100.
"Sitting Pretty — No Complaints"
[Continued from page 39]
and then. Every stage actor knows when
he is, and when he is not, in touch with
his audience. There is a mysterious force
operating between the two. Not until this
contact is established will he be able to
carry his audience with him. It isn't only
the player who acts. The audience acts too,
and the play is the joint product of both.
"The cinema has many advantages over
the theatre. Let me mention a few. A stage
play is never the same, it varies with each
performance. A screen play, on the other
hand, is permanent, fixed. The cinema ac-
tor, fiuthcrmore, has the whole world as
his audience. On the scteen )ou can have
\ast deserts, seas, mounlains, whole armies
in action. Its scope is far wider than that
of the theatre.
"iVIy contract with Mr. AVanger allows me
to spend six months out of c\ery year
abroad. This enables me to rcnc\v my as-
sociation with the Eiench ihcatie and
cinema, and many valuable friendships.
What more could a I rench actor wish?
Hoi 1\ wood is the paradise for actors. As a
l-.inopcan, I know what a jirccarious life
(he ascrage aclor in lunope leads. Holh-
wood is a lanlastic dream lo iheni. a place
of iiiciedilile wonders. In Kuiope. Holly-
wood has ten times the glamour it has for
the rest of this country. I have no com-
plaints; on the contrary I am deeply grate-
ful to .\mei ican audiences for accepting me
in straight dramatic roles in spite of my ac-
cent. I'm afraid, in France, an .-Xmerican
actor speaking as bad French as I do Eng-
lish would not be accepted except in
comedy. "
Said AValier Connolly, genial character
actor of stage and screen, who trooped \\ith
such famous personalities of the theatre as
Sothern and Marlowe before he became the
official daddy of the screen's loveliest
femmes:
"Year by \ear Hollywood is doing much
better things-pictures you really enjoy. I
get a real kick out of my parts. Producers
are tackling more worthwhile subjects, and
it's gvalihing to be associated with them.
It's ania/ing how film audiences have im-
proved (lining the past five or six years.
This business is 'way ahead of what it used
to be. Now everybody goes to pictures!
"Howexcr. from the standpoint of per-
sonal ego. I believe the stage oilers more
satisfaciion to any man who feels acting
is his profession. The screen is the direc-
tor's medium; the stage, the actor's. Of
76
S I I. V !•: K S c K I- n N
course, the author is a vitally important
person to both industries.
"Do I like working in Hollywood? Well,
last year I gave up my apartment in New
York and bought a house out here— a t\\-o-
story Spanish type building in Beverh
Hills, with a roof of red tiles and heavy
monastic doors. I love the olive trees in
the garden.
"So far as my association uith Hollywood
is concerned, it has been most pleasant. My
boss, Harry Cohn, has made things quite
comfortable for me. I can divide my time
between the stage and screen. I'm due to
return to New York right no^s— but as yet
I haven't found a play I like. Mr. Cohn
has been most liberal, damn s^^•eet, I should
say. I know, there are some places I should
probably feel miserable, but not in a studio
like Columbia. I feel that if you must com-
plain, you'd better do it in your beard."
His honest blue eyes t^vinkled, and he
rubbed a fatherly hand across the reddish
tan of his face.
"Holly\vood offers theactor a real home life,
unlimited sunshine, and much more leisure
than he could have in New York. If you are
playing in New York, you are engaged
every night, you can't take little trips, go
native on occasion, relax. No^v, tennis hap-
pens to be my hobby, but unfortimately I
had to give it up. I'm getting too old for
it, I guess. But I can sit in the peace of my
Beverly Hills garden and read, with all
those wonderful olive trees around me. I
like biographies, and I read an awful lot
of plays." He checked himself, then, lower-
ing his voice, "I'll receive ten more plays
after this goes to press. Play^vrights and
agents read fan magazines; you'd be sur-
prised to know how carefully! They miss
nothing.
"Holly^vood is the most cosmopolitan city
in the world. It has been truthfully said
that if you stand at the corner of 'Vine
Street and Hollywood Boulevard long
enough you will meet all your friends antl
acquaintances, from Paris and London and
Timbuktu. In Hollywood there are repre-
sentati\es from every artistic center in the
world, and you can't say yoii can't have
congenial conversation out here. Biu you
do miss the old pals you knew in your
leaner days.
"In the days when I started, 25 years
ago, engagements were plentiful. The stage
wasn't as crowded as it is now. Opportimi-
ties for young people have been washed up.
I didn't have any difficulties to speak of.
But I probably wouldn't be able to go
back and do the one-night stands I did in
my youth. Our \vages were small and we
had to sit up on trains rather than take
sleepers, but it wasn't a hardship then. So
today, conditions in the theatre being whiil
they are, Hollywood is a haven of refuge
for stage actors harassed by landlords and
bill collectors."
Brian Donlevy, a mild-voiced bland Irish-
man who writes poetry, but hates to admit
it, has one of the most colorful backgroiuids
of any actor in Hollywood. Born in Ire-
land, he was brought to this coinitry a
babe in arms, and grew up in Wisconsin.
He went to school in Beaver Dam, ^^hence
hails the curly-headed Fred MacMiuia). At
I |, Brian was with Pershing on his Mexican
Expedition, tooting an army bugle. He was
a husky lad, and passed for 18. He joined
the French flying service before America
entered the great war, and ^vas ^^'Olnlded
twice.
After the armistice, he spent a year at
.•\nnapolis, and then took up short story
\vriting at Columbia University. Leyen-
decker, the illustrator, picked him out of a
football crowd, as a perfect model for his
magazine cover and a(l\crtising ^\ork. His
handsome mug, with its ^vavy Inown hair
and resolute chin, has adorned se\cral
times the covers of the Satmday Evening
Post and other magazines. He broke into
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78
pictures as a sailor, and a week later was
cast in the stage production of Price
Glory, as one of its three memorable cor-
porals. After a long series of Broadway
productions, he came to seek his fortune
in Hollywood.
"I owe my success in pictures to Clark
Gable," he said, as we met him at 20th
Century-Fox Studio, where he is under
contract. "Clark always gives a good, sin-
cere performance, and I admire him very
much. Here is how he put me over— by the
way, what kind of a fellow is he in real
life? I've never met him."
We gave him our personal impressions
of the great screen lover. We were curious
to know how he helped Donlevy, and sus-
pected an Irish gag. But here's the story
as Donlevy tells it—
"When I came out here, I finally man-
aged to get a job in 'Barbary Coast.' Just
a tew lines. The director wanted to see me
in costume, so I went down to the ward-
robe department to get my outfit. As the
others were wearing rather flowery cos-
tumes, I ^vanted something very plain, just
to be distinctive. I had the part of the
killer, 'Knuckles.' The head of the Avard-
robe department dug out a black shirt,
worn by Gable in 'The Call of the Wild.'
That was exactly what I had in mind. I
found black boots, a black hat and a- black
suit. Everything I wore was black. I'm
superstitious. I was sure Gable's shirt would
bring me good luck. When I finished the
picture, I stole it. I have it at home now.
I wouldn't part with it for anything in the
world. "
As Spike, in "Mary Burns, Fugitive," he
made Hollywood Donlevy-conscious. Since
then he has appeared in four or five pic-
tures, and currently you can see him in
"High Tension" and "Crack Up," heading
the casts of both. Peter Lorre is co-featured
with him in "Crack Up." "I think it's a
swell picture," says Donlevy. _ "Lorre, by
the way, is a great comedian."
Donlevy would work in pictures even if
the stage offered him more money. "I like
to work hard, I don't care at what. In
Hollywood you have to get up at six o'clock
in the morning, and that's a mighty good
habit to develop after fourteen years on
the stage. Here is another reason why I
prefer the screen. I was in "What Price
Glory' over two years, touring the country.
When I got back to New York, people
asked me, 'Where in the world have you
been?' It took me eleven months to get
another job. Today I received a letter from
New Zealand, from a fan who has just seen
me in 'Barbary Coast.' You finish a picture,
take a vacation, and you aren't forgotten.
I or months, and even years, people see you
in all parts of the world. But frankly, I
miss hearing people laugh, comedy being
my specialty. I miss it like the dickens."
We asked him if he has ever been broke.
"Gosh, I've been broke more times than
\ou have years in your life! Once I had
offers for two plays, but ray agent talked
me out of one of them, and put me in the
other. It was called 'The Rainbow.' I took
a year's lease on a .15250 a moiuh apartment.
My salary was $225 a week. ^Ve had a burro
in the sho\\'. When we opened in New
York, the burro misbehaved on the stage,
and held up the show 18 minutes. Instead
of being the huge success we anticipated,
'The Rainbow' became a huge Hop. The
burro killed it. Most of the audience
walked out on the show. I \vent flat broke,
]iad to live on bran and water. One night,
with my rent liill in mv pocket, I walked
toward the Hudson River. On my wav, I
met the agent. I could have killed him.
1 told him' I was going to jump uuo the
river. He loaned me $200."
I asked him for a humorous experience.
"\Vell," he said, "the fminiesi tiling that
lias evei' luipiiciud in all my years in the
Silver Screen
Alice Faye as she will appear
in her next picture, "On
the Avenue."
theatre «as this: We were in the Court
Theatre, playing 'The Milky Way.' I was
'Speed McFarland,' a prize fighter and a
tough guy. Hugh O'Connell was 'Burleigh
Sullivan,' the milkman who became mid-
dleweight champion of the world. There
was one scene which required that we pidl
off his pants to see his biceps. Hugh had
forgotten to Avear his drawers, and ^ve
didn't know it. So you can imagine his mor-
tification when we pulled olT his pants! ^Ve
pulled them off, entirely, definitely. Now,
a thing like that can't happen on the
screen."
The days of bran and water are over for
Brian Donlew. 1 odav he lives in a Spanish
mansion in Beverly Hills, has two Philip-
pino servants, and ])ilots two shiny, power-
ful cars. Can you blame him for liking
Hollywood?
Never Grow Old
\C.onlinucd from page 33]
Freckles are a part of his stock in trade
so, with no schoolgirl complexion to worry
about, he Hops down on the beach and lets
Natine lake its course.
NVhen Tom was a honafide juvenile, only
sixteen \cais old, thcv stutk a mouslache
under his \ouililuI probo-ii- and put him
to work as leading, man opposite Joan
Blondcll and Sally Filers. Then, \vhen he
began to grow up, with the perversity that
is characteristic of this business, they shaved
him up and stuck him in the juvenile class.
And there he's been, cashing in on freckles
and an accent-on-youth, ever since.
Ever since, that is, until the present time,
when Tom is ably replacing Gene Ray-
mond in "Love Begins," and playing at
being grown up for a change.
Under the delectable nom de plume of
"Dawn O'Day," Anne Shirley stuck her little
pink toes into the movie game at a very
early age. Even the gangly period of ado-
lescence found her on the screen more or
less consistently. And it was good that she
kept in sight because, with the advent of
"Anne of Green Gables," there she was,
with everything the part called for.
"Not growing up is a matter of both
mental and physical discipline," Anne de-
cided. "So far, I haven't had to work very
hard at being young. It just comes natural.
But, if I'm to go on being S\\eet Sixteen
for years and years, then now is a good
time to prepare for a life of 'standing-with-
reluctant - feet -^\ here - the - brook - and - river -
meet.'
"I like parties, and dancing, and candy,
and just about everything that makes life
thrilling for high school girls. But I real-
ize that I have a job that calls for freshness
and youth. Fortunately, the rest of my
crowd is up against the same proposition,
so it isn't nearly so hard to give up a mid-
week party and get to bed at ten o'clock
when the rest of them are doing the same
thing.
"I don't like sophistication. It's a
grown-up affectation, and the most im-
poitant trick of not growing up is in being
entirely unaffected."
Anne likes to read and does a great deal
of it. "Don't let on," she whispered, "but
I still haven't gotten around to '.\nthony
.\dverse' or 'Gone AVith the Wind!' " AVhich
makes two of us.
Richard Crom^vell is twenty-seven years
old and doesn't care, who knows it. Ado-
lescence is his forte, and as long as the
industry wants it, Dick will dish it out.
Even when he has to tuck his long gray
beard inside his weskit to keep it out of
sight.
The job he did in "Lives of a Bengal
Lancer" will be remembered when Dick
is pushing himself around the Old Men's
Home in a rubber-tired wheel chair. As
with Linden, in "Life Begins," parts like
that don't fall off the tree \ery often. But,
when they do, the kids are right there and
ready to play them clear up to here.
"Not growing up is a matter of not being
bored, ever," Dick announced definitely.
"I have so many hobbies that I honestlv
haven't time to grow up. I write until I'm
tired of writing, and then I turn to
sculpting. Or drawing. Or making plastic
mastjues of my friends. And, in between,
I go for horseback rides, or bat out a couple
o£ games of tennis. If I ever run out of
something to do I'll probably fold up over-
night, like an accordion. And, hev! I'm
learning to play one of those things, too!
If I ever do grow up, accidentalh, I can
always try for a Major Bowes unit!"
Jackie Coogan, Wesley Barry, Mitzi
Green, Baby Peggy Montgomery, all of
these, and more, made the unfortunate mis-
take of outgrowing the "cutencss " that
spelled Box Office. And that, in Hollywood,
happens to be one of the major cardinal
sins.
It's nice to be young. Especially if some-
body is willing to pay you for being that
way. But it's a tough job, as well, and our
hat's off to the kids who are making good
at the difficult but interesting business of
"not growing up."
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79
FEEL FOR LITTLE BUMPS!
They Indicate Clogged Pores, the Beginning of Enlarged
Pores, Blackheads and Other Blemishes!
Don't trust to your eyes alone! Most skin
blemishes, like evil weeds, get well started un-
derground before they make their appearance
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Make this telling finger-tip test. It may save
you a lot of heartaches. Just rub your finger-
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ticular attention to the skin around your mouth,
your chin, your nose and your forehead.
Now — does your skin feel absolutely smooth
to your touch or do you notice anything like
little bumps or rough patches? If you do feel
anything like tiny bumps or rough spots, it's a
sign usually that your pores are clogged and
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pores, blackheads, whiteheads, "dirty-gray"
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A Penetrating Cream,
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Projections
[Continued from page 27]
niosi smartly dressed woman in any night
club, it is no wonder that men Avent mad
over her. At that time she lived ^vith two
girls in a small apartment near the corner
of 51st and Park and it speaks well for
their popularity that although they only
had t^vo rooms they had three telephones.
There was such nierrv, hectic jangling of
bells of an evening as you never heard— but
it was all for fun, and fun they really had.
Crazy, mad things. But Kay put an end to
madness, temporarily, the night of the
great Indoor Polo Match of East 51st Street,
when a two hundred pound football
player, in the excitement of the game, fell
on Kay and broke her collar bone.
Kay S^vann and Lois Long, her room-
mates, laughed heartily, but Kay didn't
think it was funny at all. Lois Long, ■who
later became Mrs. Peter .4rno, and still
later became the e,v-Mrs. Peter Arno and
the Xeic Yorker's famous Lipstick, visited
Kav in HollvAvood recently and Kay threw
a cocktail party for her that was quite the
gayest thing of the year. There were no
broken collar bones. Girls do grow up.
And what was Kay doing about all these
men who nere becoming raving maniacs for
love of her? She married a couple of them
and let the others sulk it out. Prior to
going on the stage she married young
Dwight Francis, hence her theatrical name
of Kav Francis, and people who knew her
then, when she was in her teens, say that
she was certainly the model wife. D\\ight
was from one of the Best Families, but
there wasn't much money for the young
married couple so they lived in a little
house in Pitisfield, Massachusetts, and the
future Glamour Girl of Warner Brothers
cooked three meals a day for her husband.
It was all very beautiful and simple.
Kav's second marriage t\'as to '\Villiam A.
Gaston of Boston, whose father was Mavor
of Boston and then Governor of Massachu-
setts. This marriage ended in a Paris di-
vorce court and Gaston later married Rosa-
mond Pinchot, Her third marriage was to
Kenneth McKenna of Canterbury, Xew
Hampshire, whom she met in Hollywood
one fine morning when he was introduced
to her as the leading man of her next
picture,
McKenna, Avell kno^v'n New York actor
t\-hose real name is Jo Mielziner, imme-
diately embarked on a ^\hirh\ ind courtship
and finally won a "Yes" out of Miss Francis
when she was recovering from an illness in
a Holly wood hospital. He drove her from
the hospital directly to the Los Angeles
City Hall, and got a ticket for speeding too.
where he bought a license. Then the two
of them, all alone, boarded his boat and
sailed awav for the island of Caialina.
\vhere they were married in the little town
of Avalon in January 1931.
Kenneth used to like to tell an amusing
story of their first rtight as Mr, and Mrs.
Jo Mielziner, It seems that he had stocked
the boat \vith proxisions, and Kay was all
excited o\er cooking their Avedding diinier
while they were anchored off Catalina. But
he had forgotten to put gasoline in the
sto\e tank and in the midst of Kay's culi-
nary display the darned thing sputtered
and went cold. There was no gasoline 011
the boat. "There must be gasoline some-
where," said Kay desperately, following it
with one of her most classic remarks: "Fate
wouldn't let this happen to me on mv
wedding night."
The Kcimeth McKennas spent their
lioncxmoon in the house where Janet Gav-
nor has IWed for the last few \cars, and
then were divorced. No one knew exactly
whv, and vou can be quite sure that tight-
mouthed Kay did not choose to enlighten
an\one, Ahcr her divorce Kay was seen
80
S I L V 1: R S C R 1; K N
At St. Moritz,
Kay Francis
enters into the
spirit of the
winter sports
resort.
often in Hollywood escorted from time to
time by William Powell, Ronald Colman
and Maurice Chevalier. They weren't ro-
mances—just good friends.
But for the last year she has been keep-
ing "steady company" with big. blonde,
anything but handsome Delmar Daves, a
one time lawyer who became a writer, and
whom Kay met on the Warners lot when
he wrote the script of one of her pictures.
There is much speculation in Hollywood as
to whether they will marry or not. Kay has
said many times that she will not marry
again until she is through with pictures—
her present contract with the Messrs.
Warner Brothers has three more years to go.
Before her recent departure for Europe,
and she has been to Europe more than any
other actress in Hollywood, she made a
statement for the Press. "I am not going
to get married while I am in pictures, "
said Miss Francis. Ten days later she was
on a plane for New York, where she was
joined by Delmar Daves, who, not by acci-
dent, caught the same boat she took for
France. When last heard of they were cele-
brating Christmas together at St. Moritz,
along with the Douglas Fairbanks and
Merle Oberon. Your guess is as good as
mine.
Next to intervie\vers who ask her about
her love life Kay loathes, with a fine and
beautiful loathing, fashion stills and gallery
sittings, in fact she just hates to have any
kind of portraits taken. Getting her into
the studio photographic gallery for a
fashion sitting is just about equal to ac-
complishing the impossible. The still
camera lens, for some reason or other,
brings out the worst in Kay and she can
usually be counted upon to go into a
temperamental rage and tell off everybody
in sight. And w'hen Kay gets angry she
does it thoroughly. Of course the night
after one of these stormy gallery sessions
Kay usually spends calling up everybody
she bawled odt and telling them quite
meekly that she is very, very sorry.
This fashion-fury of Kay's is probably a
hang-over from the hiniiiliation she suf-
fered when she first came to Hollywood.
Paramount had a new featured player who
was being sent out from New' York and
who, rumor had it, could wear clothes.
There must be a publicity campaign to
"put her over." Why not call her the B.'^st
Dressed Woman in Holly\vood and cause
a controversy with Connie Bennett an .1
Lilyan Tashman? Why not?
And so, when Kay got off the Chief in
Pasadena she found the station jammed
with trunks and luggage not her own and
a publicity department frantically snapping
her by trunks, on trunks, iu triniks. She
shuddered every time she picked up a
paper for weeks afterward. "Kay Francis,
the Best Dressed Woman, Talks About
Hats" . . . "How to Dress Smartly on
Nothing, by Kay Francis, Hollywood's Best
Dressed Star," etc., etc., etc. What the red
flag is to the bull the word Best Dressed
became to La Francis. But it stuck like
adhesive tape.
In publicity circles Kay Francis is still
the clothes horse of Hollywood. But, per-
versely enough, in the first scene of the first
How tke doctor chooses
from kundreds of laxatives
MOST of us recall, with gratitude,
some crisis in our lives when the
doctor's vigilance and skill proved price-
less beyond words. But many of us forget
that the doctor is equally on guard in
minor matters of health.
Consider a laxative, for example. It
may be news to you that the doctor has
a definite set of standards which a laxa-
tive must meet before he will approve
it. Check the specifications listed below.
How many of them will your own laxa-
tive meet'?
The doctor says that a laxative should
be: Dependable . . . Mild . . . Thorough
. . . Time-tested.
The doctor says that a laxative should
not: Over-act . . . Form a habit . . . Cause
stomach pains . . . Nauseate, or upset the
digestion.
Ex-Lax checks on ei;ery point listed
above. Meets the doctor's demands of a
laxative fairly and fully. No wonder so
many doctors use Ex-l.ax in tlieir own
liomes, for their own families. In fact,
Ex-Lax has made so many millions of
friends, that it is the most widely used
laxative in the world.
Convince yourself of the facts. Try
Ex-Lax. You'll find that it is mild . . . that
it is thorough. You'll discover that it does
not bring on stomach pains or nausea. On
the contrary, the easy comfortable action
of Ex-Lax will leave you with a pleasant
sense of freshness and well-being.
Children, particularly, are benefited
by Ex-Lax. Like the older folks, they
enjoy its delicious chocolate taste. At
all drug stores in 10c and 25c sizes. Or
write for a free sample to Ex-Lax, Dept.
S 37, F. 0. Box 170, Times-Plaza Sta-
tion, Brooklyn, N. Y.
When Nature forgets -remember
EX-LAX
THE ORIGINAL CHOCOLATED LAXATIVE
Silver Scrf, en
81
picture she made in Hollywood, "Danger-
ous Curves," starring Clara Bow, she wore
a tailored suit which had once been made
for Bebe Daniels and left behind in the
wardrobe department. And Miss Francis'
lines didn't coincide then, or now, with
those of Miss Daniels.
"Now how can I be the best dressed
woman in Hollywood," Kay once snapped
to an interviewer. "I buy only six dresses a
year." And that's quite true. She buys them
in New York and under no conditions wU\
she be photographed in them. They belong
to that sacred private life. Her house also
belongs to her private life. She will not
allow the studio to have a ""home sitting"
of it. In fact she permits them, and the
Press, to enter it as rarely as possible. It's
a charming, small frame house, in a quiet
section of Hollywood, and is simply and
tastefully furnished. She lives there alone.
The last time I saw Kay Francis she was
at the smart cocktail party ^vhich Merle
Oberon gave before leaving for England.
Kay ^vore a rather dowdy sports coat and
no hat. Hardly the Best Dressed Woman.
It is said in the market place, by those
ivho pretend to be in the know, that Kay
Francis is one of our richest movie stars.
When she is ready to retire she will be so
financially independent that she can thimib
her nose at anybody. The Francis ^veekly
stipend from Paramount and ^Varners has
not gone into Beverly Hills estates, Duesen-
bergs, yachts, race horses, furs and star
sapphires. On the contrary, it has gone into
annuities, trust funds, bonds and similar
little knick-knacks. Yes, for a pretty girl
Kay has been very intelligent.
Though "society" to her finger tips she
has always refused to live according to the
Hollywood tradition. When all the other
Glamour Girls go mad for Duesenbergs,
Rolls, and town cars Kay buys a Ford, and
not very often either. She drives it herself.
She has never had a chauffeur. Her one bit
of jewelry is a wrist watch, which she sort
of excuses by saying that it's a handy little
gadget. She has beautiful clothes of course,
though not the most expensive, and very
few of them.
She usually gives one big party a year
and in that way pays off all her social obli-
gations—the rest of the time she contents
herself w-ith small dinner parties of four
or six. The past year she has taken very
little interest in Hollywood's social whirl,
as she usually goes to a friend's cabin at
Lake Arro^^•head for the week-ends when
she is working, and as soon as her pictiues
are finished she dashes off to Europe.
These European trips are practically her
one great extravagance. She has chosen for
her friends the cream of the social set in
Hollywood— the Countess de Frasso, Mrs.
Samuel Goldivyn, Dick and Jessica Barthel-
mess, Ronnie Colman and 'VVilliam Powell
—and if she is of a mind to she can be one
of the gayest of the gay party girls, pro-
vided of course that there are no candid
cameras around to spy on her private life.
Her chief fault, people who ^vork with
her will tell you, are her moods. It seems
that she can sink rapidly into the very
depths of despair and despondency, and
the finther she sinks the more ill-tempered
she becomes. ^Vhen Miss Francis is in a
mood the "hired help" of the studio keep
their distance. But just to show you what
a contrary personality she has Miss Francis
is also one of the most thoughtful and
most generous of the movie stars to the
same "hired help." Her generosity is not
accompanied by a fanfare of trumpets and
banner lines in the newspapers. Her gener-
osity, my dears, belongs to that sacred
private life, and it took a deal of prying
about before I could discover it. Kay
Francis may be Hetty Green to the jewelry
salesmen and the real estate brokers, but
she's the Good Samaritan to many a bit of
broken humanity.
And here's a believe-it-or-not for you and
Mr. Ripley: Kay Francis who stands for all
that is glamorous and languorous on the
screen A\as once pushed about by the Mad
Marx Brothers in a harum scarum flicker
called "The Cocoanuts." How times do
change. Though she is one of the best read
of the movie stars, she has a perfect passion
for detective stories and never misses one
of them. She is crazy about small animals
and has a regular menagerie of dogs, with
a marked preference for dachshunds and
Scotties, as well as cats, gold-fish, canaries
and a parrot. George Brent gave her a
couple of pigeons but they weren't homing
pigeons and flew away.
She got a job as a model for clothes once
(before she went on the stage) but had to
give up modelling because her feet were
too small. Her feet aren't that big. Some-
body once told her she had bad legs so
she is very sensitive about them— but
they're really not bad at all. She has a
perfect back. She is also very sensitive about
that little trouble she has with her R's.
She has a keen sense of humor but often-
times has trouble telling a joke— somehow
or other the point comes out first, or else
there isn't any point. She loves bridge and
backgammon, isn't the athletic type, but
plays a very good game of tennis. The
last thing she did before leaving for Europe
in December was to have her legal name
changed from Katherine G. Mielziner to
Kay Francis. If she intends to marry Del-
mar Daves it seems she would hardly have
taken the trouble to go to court to secure
a legal name change which marriage ^vould
speedily change again. But don't ask me—
I know from nothing.
I
S I L V n
"Beyond The Shadow
Of A Doubt"
[Continued from page 60]
She began ^vith Pudgie. In memory of
the dear old days at Ferndale High, Pudgie
became her first convert. Sheer personal
charm ^von Pudgie over.
Marion Gordon was a different problem.
Mrs. Dean got Marion to agree to give her
dancing lessons in the ladies' lounge and
established a friendship. In the case of
Ephraim Allen, a disconsolate little musi-
cian who played first "second violin" in
the Ferndale Symphony orchestra, Mrs.
Dean, descended to sheer bribery. She in-
vited Allen to give a musicale at her house,
then suggested with emphasis that they
had better discuss details aflcr Mrs. Pat-
terson was acquitted. By the time the jury
was sent to a hotel for the night Mrs. Dean
had possession of six votes for acquittal.
When it came to practical politics, Mrs.
Johnathan Ashley Dean was no slouch.
Yes, Mrs. Dean was no slouch, but also
she was nobody's fool. She knew perfectly
well that six votes for and six against
meant only a divided jury and not an
acquittal. And it was complete vindication
she wanted for Mrs. Romney P. Patterson.
Mrs. Dean did a lot of thinking while
she was at the hotel with the rest of the
jury that night. Morning came, but no
solution. She was feeling rather doubtful
when she met Pudgie at the door of the
jury room next day. In his excitement at
meeting his old schoolmate again Pudgie
dropped his box of cough drops. Mrs.
Dean picked it up. On the cover was a
picture of two bearded gentlemen. Bush
Rochelle Hudson, who is lavishing her
youth and beauty upon "That I May Live."
& Bush, the throat ease kings.
Two bearded men!
In a flash the explanation of events
came to Mrs. Dean.
"Pudgie," she cried. "How long since
you've shaved? "
Pudgie scraped his hairy cheek apologet-
ically. "I guess it must be two days.
Skinny."
"And if you hadn't shaved for two weeks,
Pudgie, would you look anything like
this?"
"Maybe not quite as bad, but almost."
"I've got it all, now!" she cried. "You
v.'ere on the right track when you asked
if the murdered man had shaved!"
With the assistance of her maid, An-
toinette, and the bailiff, Mrs. Dean smug-
gled a note out of the jury room. It was
to the chief of detectives and asked him
to learn at ^vhat hour Thomas Jeffrey re-
turned home the night of the murder.
Jeffrey said it was two or three minutes
after ten-thirty, but was it?
Then she and Pudgie concocted a scheme.
It was a perfectly unethical scheme, en-
^T'LU WE DO - ^ OH VES - LET^-
TO THE MOVIESy THERE'S A
? WHAT — r-rn GRAND! —
V/HV CAMT THEY
ASK ME, TOO —
THEYhJEVER USED
TO LEAVE ME OUT
LIKE THIS -MAVBE
IT'S THESE
PIMPLES
HELLO RITA - BACK ) M-MOTHER I C-CAN'T BEAR IT
HOME SO SOON? I
THOUGHT VOU'D BE
OFF TO THE MOVIES, '
OR —
lANV LONGER -MY F-FACE LOOl^S
SO AWFUL THE G- GIRLS
don't ask me ANVWHECE
P- PLEASE C- can't I
S-STOP S-SCHOOL-
-OH - PLEASE...
: m I LOOKED BEFORE
took Fleischmann's
<ast. I couldn't bear to
ive people look at my
Wply face."
RITA NOW
—skin clear. "It is won-
derful the way Fleisch-
mann's Yeast got rid of
my pimples," she says.
0k )^
CLEARS UP ADOlBSCENTPIMPiES
AFTER the start of adolescence, from
^ about 13 to 25, or even longer, im-
portant glands develop and final growth
takes place. The entire body is disturbed.
The skin, especially, gets oversensitive.
Waste poisons in the blood irritate this
sensitive skin. Pimples break out.
Fleischmann's fresh Yeast clears these
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tirely conlrary to the rules and regulations
for juries, but, my dear, what did Mrs.
Dean care! She began it by demanding that
the jury be taken to the scene of the crime.
If they could prove to her that Romney
Patterson could arrive home, undress, take
a shower bath, dress again, all in the space
of seven miniUes as Clara Simpson testi-
fied, she promised to change her vote to
guilty and she was sure Mr. Beaver would
switch his \ote, too. ^Von by this promise,
the majority ot the jury voted to try the
exjjcrimcnt.
Of (ourse Judge Prime didn't know all
this. Henrv Prime \vould have put a stop
to it mIghiN cpiick. as Mrs. Dean very w'ell
knew. Nils. Dean took care of that by kid-
naping the jury. The jury traveled in her
limousine while Judge Prime, and the
two witnesses, Thomas Jelfrey and Clara
SiTupson went in police cats. Mrs. Dean's
chaulh ur managed to lose the other cars
and the jur\ found themselves in a submb
known as ilope \'allev, which was the
Inisiness cnlci prise of none other than
Pudgie Beaver ^^'hen not doing jury duty.
There was a model demonstration bimg-
alow in Hope \'alley, completely furnished.
Pudgie had had all the advertising signs
removed and \vhen they told the jury this
was the Patterson bungalow, nobody knew
that it was not.
"Now," said Pudgie impressively, "we
intend to show you that Mr. Patterson
could not have eniered the house, removed
his clothes, taken a shower, dried himself,
put on his pyjamas and robe all within
sc\cn miniues after his arrival as the maid
claims—"
"And just who is going to carry out this
ridiculous experiment?" snorted Mrs. Bot-
tomlcy.
"F.r' ... I think if Mr. Smith—" Pudgie
began hopcfulh. But Mrs. Dean cried. "Oh,
no, Pudgie! You're going to be the guinea
pig. \ou start from the lawn here, run
into the house, rini upstairs, take a sho^ver
and wc all will follow and time \oin- e\ery
action—"
"But Skinn\!" Pudgie's voice was a wail.
"I took a bath last night and— well, it's
like taking a bath in Macy's window!"
"Pudgie Beaver!" Mrs. Dean looked stern.
"This is a question of life and death—
"But Skinny, you've never seen me in
a shou'er!"
"PUDGIE!"
Pudgie gave her a despairing glance, read
no relenting in her, and got set, ready to
begin his race against tiirre.
^Vhen Judge Prime got to the real Pat-
terson bungalow aird found the jiuy had
been kidnaped he was furious. Police cars
^\ith the judge and witnesses raced to
Hope \'alley. 'They arrived in time to see
Pudgie Beaver dash into the model de-
monstration house, the entire jury racing
after him. Judge and officers follo^ved them
upstairs.
The jury was croAvded into a bedroom.
Mrs. Dean was holding a watch. In one
corner, behind a screen, was Pudgie, toss-
ing his articles of clothing into the air.
"Here goes my vest and now my tie—"
"Five mintites to go, Pudgie—"
"My shirt!"
"Foiu- and a half minutes to go—"
"Mv shoes—"
"^Vhat■s conring off here?" roared Judge
Prime.
"Mv pants. Your Honor!"
"Hurrv, Pudgie. Three and a half min-
utes—"
fudge Prime turned on Mrs. Dean. "\'u-
ginia .\shley Dean, you will please ex-
plain—"
"Be quiet, Henry. You're not in your
old court room— '
"Skinny, here goes my shorts!"
In a second of tense silence something
white flashed through the bathroonr door.
The shoner roared. Pudgie yelled as the
ice xvater came doAvn. Then he added, "AW
right. Skinny. Come in. The shower door's
closed." The jury rushed pell-mell into
the bathroom.
"\'irginia!" Judge Prime demanded.
She turned on him condescendingly. "It's
nothing to make all this fuss about, Henrv.
^Ve discovered that Jeffrey lied about the
burglar alarm. He fooled the police bv
representing himself as his cousin."
"^Vhy on earth should Mr. Jeffrey im-
personate his cousin?"
Pudgie's head thrust out above the top
of the half door to the shower. "Because
his cousin yvas dead," he said through chat-
tering teeth. "Jeffrey murdered him on the
yvay iDack from the hunting trip. He had to
make people think Patterson was alive to
prove his own alibi—"
"That's a lie!" Jeffrey shouted.
"Oh no, it isn't," Pudgie shouted. "\Vhen
the burglar alarm trapped you, you bribed
the maid to help vou out!"
"Nonsense! I left my cousin's house at
10.31."
"Did vou, my dear?" Mrs. Dean smiled.
She turned to her maid, who had just ar-
rived with an answer to the message she
had sent the detectives. Judge Prime read
it with her. Thomas Jeffrey had not re-
turned home until 1 1 o'clock that night.
On the strength ot that note Judge Prime
ordered Jeffrey's arrest on the charge of
m urder.
The bathroom was riotous with emotions.
The mystery had been solved. The guiltv
man was in' the toils. Little Mrs. Patterson
was proved guiltless. And Mrs. Dean had
engineered it all.
Pudgie's head and shoulders protruded
above the shower bath door. He looked
like a life si/e sculpture done in soap and
left half finished. His face was one vast,
white blob, his escs completely coveted.
"Skinny!" he shouted. "Hey . . . Skinnv!
I can't see a thing . . . Skinny!"
But Mrs. Dean didn't hear him. Every-
body was talking at once and she was en-
joying her triumph.
84
Silver Screen
PICTURES
ON THE
FIRE
[Continued from page 37]
forbid) I'll never forget the kick I got out
of seeing it on the stage. Alfred Lunt \vas
Clarence, Glenn Hunter was Bobby, Ro-
berta Arnold was Cora and Mary iloland
was Mrs. Wheeler. Now, we have Roscoe
Karns as Clarence, Eleanore Whitney as
Cora, Johnny Downs as Bobby and Spring
Byington as Mrs. Wheeler.
I have no fault to find with Roscoe Karns
as Clarence. I'm not even sure he won't be
better than Lunt. But, holy good God!
Johnny Downs and Eleanore Whitney in
two roles that could be so swell. And Para-
mount, with Mary Boland under contract,
putting Spring Byington into that part.
Miss Byington is one of my favorite ac-
tresses but anyone who knows anything
knows she's not right for that part. It'll
probably turn out to be a second-rate pic-
ture when it should be one of the year's
best.
Clarence has just been discharged from
the army. He was a mule-driver. He can't
get work. He is leaning disconsolately
against a taxi when Mr. Wheeler (Eugene
Pallette) comes out of his office, mistakes
Clarence for the taxi driver and orders
Clarence to drive hinr home. His home is
a bedlam. His wife is nuts. His daughter
is always in love with a phony and threat-
ening to commit suicide if they don't let
A scene from "The Last of Mrs. Cheyney."
Robert Montgomery, Joan Crawford and
Frank Morgan making the well-known
stage play into an up-to-date picture.
her have the man of her choice. His son
has kissed the maid and the maid is threat-
ening to sue him for breach of promise if
he doesn't make an honest ^voman of her.
They all fall heels over head in love with
Clarence and all he did was fix the hot-
water heater.
"I like your new suit, Clarence," Eleanore
raves on. '"i'ou always did seem an awfully
peculiar kind of soldier."
"That's what everyone keeps telling me,"
Karns admits.
You can see for yourself, it makes no
sense. But if you liked "Three Cornered
Moon" (and who didn't?), if you got any
fun out of "My Man Godfrey"— if you
chortled over "It Happened One Night"—
then see "Clarence."
That about winds us up at this studio
and, except for Spring Byington playing
A SWELL TIME in the out of doors is no
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There's a simple way popular girls know —
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BayH: "After Pond's
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Here's how a distinguished der-
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The skin feels harsh. These particles can l»e
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See this for yourself — with Pond's Van-
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Before make-up — Right after cleansiig
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Overnight — A()i)ly Pond's Vanishing Cream
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As von sleep, your skin gets softer.
Why skin feels "flaky"
Deail cells on the top ^
t>f your skin arc dried
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duke off. You can
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Name.
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C'oii.vriiihc. lua.". fund's Extract Company
Silver Screen
85
the Mary Boland part, I'm very weW
pleased with things over here, so we'll now
turn our attention to
'Warner Brothers
TV'E never known this studio to be busier
than it is today. First and foremost, of
course, there is Mervyn LeRoy's first pro-
duction on his own. It is called "The King
and the Chorus Girl" and is from an orig-
inal by Norman Krasna and— of all people!
— Groucho Marx. I can remember when
Norman used to work in the publicity office
at Warner Brothers and escort me about
the sets. Now he wears a camel's hair over-
coat and pulls down $2,000 a ■week. Life is
so wonderful, as I remarked last month
anent Harry Hamilton.
Joan Blondell is the chorus girl and
everybody who knows anything knows that
no one can play a chorus girl like Joan.
Fernand Gravet (Mervyn's new European
discovery) is the king who is bored with
being a king and who slips away to Paris
to live with Edward Everett Horton and
Mary Nash. I can remember, too, when
Mary was a big star in New York and so
was her sister Florence. And I can also re-
member taking Florence to the Claridge
one night and wondering next day how I
was going to eat the rest of the week, al-
though, I hasten to add, it ivas my own
fault because Florence, understanding soul
that she is, said, "Don't spend more than
you can afford. I'd just as soon go to a
hamburger stand."
All of ivhich, of coiu'se, has nothing to
do with the case in point, which is that
King Gravet is inclined to do too much el-
bo^v bending, so, ^vhen he shows an in-
terest in Joan, Eddie and Mary engage Joan
to enter upon a professional romance with
Fernand and keep him sober. The only
trouble is, he falls in love with her and
asks her to marry him. She tells him she
can't— that she's already engaged to an
American architect (Alan Mowbray). To
lend credence to this surprising story she
produces her pseudo-fiance, who is in real-
ity a waiter at a restaurant. Fernand bears
up heroically while she's with him but as
soon as they're parted he goes to the res-
taurant and gets himself blind drunk. Of
course, it has to be the restaurant where
Alan works. Next day Joan is on the king's
yacht telling him goodbye— (and you should
see the costume she tells him goodbye in.
A little thing of her own but, boy, howdy!
I mean to say it will knock your eye out)—
when Alan is announced. He comes in with
a hat and coat.
"What do you want?" Fernand demands
vm graciously.
"You left these in our restaurant last
night, your majesty," Alan says. "I heard
you were sailing today and as there was a
wallet in one of the pockets which I
thought might contain some valuable
papers, I brought them to you. Service with
a smile is the motto of our restaurant," giv-
ing him a sickly smile.
"Oh, Donald," Joan breathes, "you're
here!" She turns to Fernand. "This is Don-
ald—my fiance. I asked him to stop by for
me."
"How is your grandmother?" Fernand
inquires with mock solicitude.
"My grandmother?" Alan repeats in
amazement.
"Yes," says Fernand. "In Brussels."
"You remember your grandmother— in
Brussels," Joan interrupts hastily, stressing
the "Brussels" and vainly hoping .Alan
catch on she's told Gravet a whopping lie.
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you JUST LEAVE EVERYTHING TO
YOUR "AUNT" WENDy,4(^
BUT WENDV...
YOU KNOW
I'M COLORLESS
SO YOU SEE, DARLING, YOU LL
HAVE TO MARRY MEI
(TO HERStL'F) WENDy'S THE DARLING'
86
Silver Screen
"I haven't any grandmother," Alan spills
the beans.
"Oh," Joan sympathizes. "Well, it had
to happen, I suppose, and everything hap-
pens for the best. And, anyway, you were
expecting it, weren't you?"
You can imagine that Alan is quite be-
wildered by all this and he doesn't know
quite what to say.
"You'll never know what you've done for
me, Donald," Fernand assures him, slipping
him a bill. "Take this."
"Thank you, your Majesty," Alan beams
and turns to Joan. "And thank you, Miss
Ellis, for all you've done for me," he
finishes.
"Can you swim," Gravet demands of him
suddenly.
"I don't know, your Majesty," Mowbray
says. "I've never tried."
"Well, you'd better go now if you don't
want to learn," Fernand snaps, at the end
of his patience.
"Cut!" yells Mervyn and turns to me:
"This boy (indicating Fernand) is going to
be a sensation. You watch. And he isn't
going to be a sensation that the studio
makes. I'm not letting them ballyhoo him.
I'm going to let the public discover him."
Good boy, Mervyn. I think more stars
have been ruined by studios trying to force
them down the public's throat than such
tactics have ever made. And I believe you're
right this time. I think Gravet has ^vhat it
takes.
But that dress Joan has on. That is
really something. And Joan, too, let me
remark in a loud aside, also has what it
takes.
"Marked Woman" stars Bette Davis and
Humphrey Bogart and features Isabel
Jewell, Lola Lane, Raymond Hatton, Mayo
Methot, Rosalind Marquis, Eduardo Cian-
nelli and Teddy Hart (the little guy in
"Three Men on a Horse").
Apparently the girls live more by their
wits than their labors and Mr. Ciannelli
is a gangster of some sort lurking in the
background. He must be on the make for
one of the girls. It's morning but Lola and
Mayo are in evening gowns. Bette is in a
red crepe wool dress of an outmoded style
and Isabel is in a bathrobe. They're talk-
ing of this and that and Isabel is keeping
her own counsel and looking like the cat
that swallowed the canary all the time.
Suddenly Lola catches sight of her expres-
sion and does a double-take.
"And just where did you disappear to
last night that makes you so smug?" she
inquires.
"I spent a very charming evening with
Mister Manning, (Ciannelli)," Isabel re-
plies loftily.
The news is like a bombshell. Even Mary
(Bette) hasn't known about this. They all
stare at her (Isabel) in mingled surprise
and disapproval. Lola gives a significant,
foreboding grunt as though the wind had
been knocked out of her.
"UmphI" she says.
Isabel starts to flounce out of the room
but Bette follows her. "You're a
Emmy Lou," Bette states.
"Don't kid yourself," Isabel flares.
Just then there is a loud knock on the
door and Hart comes in with a suitcase
almost as big as he is. He puts it down on
the floor, extends his arms and beams im-
partially on them all.
"Girls— good morning," he greets them.
"Don't you believe in knocking twice? "
Mayo wants to know.
"Don't you believe in paying once? " he
counters.
"No!" says Lola promptly.
And the scene is over. "Hi'ya, toots, " I
begin to Lola.
"Can't stop," she says, grabbing her coat
and hat and beating it. "I'm late for court
now. I'm getting my divorce today."
fool.
No
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Silver Screen
87
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Far be it from me to stand in the way
of a divorce so I shake liands witli Isabel
and tell her she looks like a sixteen year
old kid in that bathrobe (which she does)
and I leave.
I am walking along, thinking heavily,
when suddenly an arm is tucked through
mine. I look around and there is Anita.
"What happened to you?" she asks.
"Wh-why," I stutter, "you were ^vorking
and I thought if I was to get through I
better hurry. Nice bracelet you've got on,"
I add hurriedly hoping to change the sub-
ject. "Where'd you get it?"
"You know blamed well where I got it,"
she grins.
And then it all comes back. Tom Brown
gave it to her when they were all in all to
each other. It's a double gold chain and a
lot of little bangles with the name of a
picture and date on each. Every time she
gave what Tom considered a good per-
formance he'd have the name of the pic-
ture and the date they saw it engraved on
a bangle and hang it on the bracelet. I
examine it closely. All the pictures are old
ones.
"You must not have given any good per-
formances lately," I kid her.
"Lovers once but strangers now," Anita
inurmurs or, at least, that's what I thi>2k
she said.
So the ragging continues all through
lunch with me on the receiving end of most
of it, because Anita can dish it out, too.
After lunch, there being nothing more to
see here e.xcept a Western that I don't
care about and "The Prince and The Pau-
per" which I'll tell you about next month,
I go on over to
20th Century-Fox
nr HERE are five pictures going here. One
^ of them— "Nancy Steele Is Missing"— is on
location. The next one "On the Avenue,"
starring Dick Po-ivell, I'll tell you about
next month, too.
BUT— \ve now come to "Seventh Heaven."
James Stewart is playing Charlie Farrell's
old role and Simone Simon is playing Janet
Gaynor's. I just have a hunch that Jimmie
is going to be every bit as good in this neiv
version as Charlie ^vas in the old one.
You may or may not remember it's the
story of a girl (Simone) who lives Kiih her
sister in an attic. The sister beats her with
a black snake whip and keeps her in a state
of constant terror. The girl who lives im an
attic is always looking do'ivn. Jimmie, a
server %vorker, lives in an attic and is always
looking up.
Simone flees from one of her sister's beat-
ings, meets Jimmie and he takes her home
with him.
They are just coming in. There is very
little furniture— a bed in an alcove, a few
chairs, a chest of drawers, a table with a
gas plate on it and some cooking utensils.
Through the -window the moonlight
streams— and the reflected lights of the
city.
"First, you must come here," Chico says,
leading her to the window. A plank on
the window sill leads across a narrow open
space to the adjoining building. His attic
is six flights up fiom the street. All around
are other attics inhabited by Chico's friends.
Bevond it all there is a panorama of
jumbled roof-tops and far a\vav is the dome
of St. Coeur. Lights blink in the ^\■indo^^•s.
It is breath-taking.
"If you Avork in the sewer all day at
night you want to be as close to the stars
;is vou can." Chico explains. Then he
ponUs to the plank. "That's my back door."
Diane looks fearfully at the alleyway far
below. She mo\cs liack suddenly and as
vhc does so she dislodges a flowerpot which
falls 10 the street with a crash. Some people
look up, shout, shake their fists angrily.
Frightened, she shrinks fmthcr back. But
Chi(o steps bra\elv out on the |ilank and
looks down into I he street. He wa\cs his
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Silver Screen
hand in contemptuous dismissal of the
people.
There is a lot more to the scene, as he
tries to teach her to overcome her fear of
everything. I look on enthralled.
But eventually the scene is finished. The
spell is broken and Jimmie comes over to
shake hands.
"Just saw your friend Fonda," I an-
nounce.
"How's he?" Jim asks, and then, without
waiting lor an ans^ver. "We're all going out
there for a party on Washington's Birth-
day and help his new daughter celebrate.
We don't know which of us will imper-
sonate George."
"I kno\v which one won't," I state, e)e-
ing Jimmie scathingly.
"I guess I can make up, can't I?" Jimmie
mutters sulkily.
As I said, the spell is broken so I proceed
to another stage where "Time Out for
Romance" (isn't that a swell title?) is work-
ing.
This one has Claire Trevor and Michael
Whalen in it. I think Claire is an adven-
turess. Mike is driving a car in a caravan
out to the West Coast. I've forgotten what
happens but he sneaks Claire into the car
—which is strictly against the rules.
She has evidently been telling him her
story because he says indifferently, "BtU
haven't you any relatives anywhere?"
"No one," she answers dramatically.
"That's why it means so much when people
are kind to me— like you've been."
"I'd like to give you a lift to the coast
but I can't take the chance," he says un-
easily. "You understand?"
"Why, certainly," she smiles. "You've
been more than generous already."
"Got 'ny money?" he asks, even more im-
comfortably.
"Oh, plenty," Claire replies ingenuously.
Arthur Treacher, in the latest of
the "Jeeves" series, introduces a
new type of alarm clock.
"Two dollars and sixty cents."
There is a lot more to the scene. Before
it's finished he has loaned her |io which
she promises to repay with interest— and
does. But what kind of interest Mike never
dreamed.
"How's the house coming?" I ask Claire.
"Ob, swell," she breathes ecstatically.
"The living room and dining room are the
only rooms really finished but I'm having
a marvelous time picking out the rest of
the stuff. It's all I really live for."
"Another dream of mine blasted," I com-
ment.
"What did you say?" Claire asks.
"Nothing," I respond disconsolately and
wander on to the next set which is another
of the "Jeeves" stories featuring Arthur
Treacher.
Evidently Mr. Treacher has made quite a
night of it. He is asleep in bed. Efforts of
his valet (George Cooper) to rouse him
having failed, Mr. Cooper puts a rooster
on the foot of Arthur's bed. The rooster's
crowing wakens him. He looks up, sees the
rooster and thinks he has the D.T's.
Picture-making is a funny business. Even
the roosters have voice doubles. The rooster
on the bed doesn't crow at all. It is another
rooster off-scene that crows. When I ask
\vhy, the rooster's owner explains that the
one that does the crowing is a fighting cock
and all he has to do is see another cock
and he crows. The one on the bed is a fat
slob who, apparently, isn't bothered about
anything.
"Well, why don't you put the one that
cro^vs on the bed?" I inquire.
"The other one is better looking," is the
retort.
That's all there is here so we'll jaunt
over to
M-G-M
"A DAY AT THE RACES" has finally
^ ^ started shooting again but I've
already told you about that, so we'll turn
our attention to
"Parnell." This is a story of the great
Irish statesman (played by Mr. Clark
Gable), and his fight to get Home Rule
tor Ireland. It ought to be a great picture,
except that I'm so sick of costume pictures
I could gag every time I see a pair of side-
burns. However, that's merely a personal
reaction and this was a sensationally suc-
cessful play.
The scene I see is one of the most im-
portant in the picture, but it is a political
harangue and there's no sense giving you
the dialogue since I can't tell you every-
thing that leads up to it. Suffice it to say
that the one and only Myrna Loy is Gable's
heartbeat in this picture and the unwitting
cause of his downfall.
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"Captains Courageous " starring Spencer
Tracy and Freddie Bartholomew is still on
location so that leaves only "The Last of
Mrs. Cheyney."
This time Joan Crawford is playing Mrs.
C. But Joan isn't ^vorking today. Neither
is William Powell. Neither are Frank
Morgan, Nigel Bruce, Jessie Ralph or
Benita Hume.
But Robert Montgomery is. And Phyllis
Claire.
The scene is one of the most beautiful
ever built. It's like one of those old English
gardens you see in pictures. A lily pond
with a fountain at the back. "Walks
bordered with gladioli and peonies. On
the porch are Bob and Phyllis. He is smok-
ing a cigarette.
"Come on," Phyllis urges, linking her
arm in his. "They want you to play."
"Sorry," Bob demurs. "I forgot to bring
my piano."
"Idiot!" she laughs. "They're playing a
game of questions and answers and there's
one I want to ask you."
"Am I in love with Mrs. Cheyney?" Bob
anticipates soberly.
"How'd you know?" she demands.
"Because you've been trying to ask me
ever since we got here. As everybody is ex-
pected to contribute something to a week-
end party, my contribution is this— I think
I am."
"To what extent?" she persists.
"I don't know," sadly.
"What are the symptoms?"
"I've suddenly discovered a liking for
little children," he confesses.
"Umm," she says quietly. "That sounds
like the real thing."
Pals
[Continued from page 40]
instruction the study of what literature she
thought would be beneficial to the advance-
ment of his career. Freddie accepted all
this, but through his own initiative under-
took the arduous task of learning to write.
For some years now he has turned out
stories, keeping the screen ever in mind.
For one so young to have pmsued this ac-
tivity as long as he has, proves that Fred-
die is no ordinary twelve-year-old youngster.
Observers long have noted that, unlike
the majority of other children on sets,
Mickey does not spend his time, when not
actually before the camera, in play but in
sitting beside the director, or near him, and
watching him direct a scene. While other
boys are pitching ball, or engaging in some
form of sport, Mickey steadfastly refuses to
leave the set and devotes his entire atten-
tion to the wheels of production.
During the past few years certain direc-
tors, knowing his desire to be one of them,
have taken the time to explain their reasons
for doing a bit of action in some particular
manner. W. S. Van Dyke, especially, has
taken Mickey under his capable wing, and
whenever the lad has appeared in one of
his pictures has been known frequently to
ask him how he would direct a certain
scene.
Separated following the completion of
"Little Lord Fauntleroy," Freddie and
Mickey joined forces again in "The Devil
Is a Sissy" and, more recently, in "Captauis
Courageous," renewing their discussions of
the fiiture. Eacli now is more intent than
ever in arriving at his goal.
How can any child such as Freddie, only
twelve years old, have reached so momen-
tous a decision regarding the future, you
ask? How can he know his mind suinciently
well to say what he will or \vill not do in
years to conic?
I can only repeat that Freddie Bar-
tholomew is no ordinary lad of t\vehe. He
possesses the mint! of one wise far iieyond
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his years and his reasoning powers have
been developed to an extraordinary degree.
.■\t home, he is especially interested in
anything mechanical, particularly in trxing
to fathom the principle of radio, but sooner
or later he invariably turns to either read-
ing or writing. His tutor claims he pos-
sesses a natural gift of expression second to
no boy he has ever known, and, judging
by the stvle and text of his compositions,
he seems destined to realize his ambition
to be a writer.
Fascinated by the stirring dramas he
hears over the air-lanes, his acti\e mind
sets to work in try ing to adapt them to the
screen.
"\'er\ often, I will listen to a serial for
se\eral nights, then take up the thread of
the plot from there and write my own
90
Silver Screen
story," Freddie explains liis favorite pastime.
"Sometimes the action o£ my story is very
much lilce that of the radio; more often,
though, I enter new fields and my hero
and heroine perform in entirely different
ways from the characters in the radio
story."
There can be little doubt that these exer-
cises will materially influence his future,
for Freddie is learning to write through the
most practical route.
At sixteen Mickey Rooney declares: "By
the time I'm twenty or twenty-one I'll be
ready to direct. I've been in hundreds of
pictures— almost seventy-five during the past
two years alone— and I've always made a
point of observing carefully. I think I know
my moods, my tempo, how to properly
characterize a part, from a director's view-
point, and I'd be willing to step into a
director's shoes tomorrow. But I realize
mv age is against me, so I'm content to
wait.
"I am, however, getting a lot of practical
experience. Mr. Bernie Hyman, the pro-
ducer, months ago told me I might sit in
on story conferences whenever he and
others were thrashing out the problems
confronting them on a picture and I've
learned a lot from these meetings. I never
speak out, of course, but I've compared my
ideas with theirs and many a time they've
been the same.
"Then, too, several of my friends and
myself are producing a picture, just for the
fun of it, on i6-millimeter film. I'm direct-
ing this. It's a wild melodrama, and with-
out any dialogue, but it's a chance at
practical directing experience."
A natural-born organizer and leader,
Mickey captains a football team and is
about to form a basketball five. He heads,
too, a bowling team of youths several years
his senior, and is the leader of a swing-
band orchestra, which plays at college
dances and ^vherever an engagement can
be found. Pretty good, for a young chap
only sixteen . . . and he still has time to
study the methods of the different directors
on the Metro-Goldwyn lot where he is
under long-term contract.
"Before I become a director I \\'ant to
put in sexeral years at college," he tells
you. "I don't care particularly about a
degree, but I do want to take subjects that
will help me in my work. Naturally, I'll
take as many dramatic courses as I can."
Insofar as his learning how to act is
concerned, Mickey need attend no drama
classes. He is hailed as one of the cleverest
juvenile actors on the screen today, and
■ivhen Max Reinhardt presented his spec-
tacle of "A Midsummer Night's Dream" in
the Hollywood Bowl several seasons ago
Mickey enacted the part of Puck and gar-
nered every honor.
Not once, but many times, have Freddie
and Mickey talked over the possibility of
Freddie writing the first story for Mickey
to direct. Each holds a tremendous admira-
tion for the other, both personally and
professionally. That they later may be as-
sociated in such a venture seems not at all
beyond the realm of reason. Freddie, the
visionary; Mickey, the practical-thinking
. . . what better combination for the future.
Just as, today, they stand at the peak of
their profession, so tomorrow may see them
working as a team. It's only conjectural, of
course . . . but there's nothing problematical
about their respective futures. Just watch
their smoke!
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\Continued from page 32]
full column on Dan Cupid.
The Joan Crawford-Franchot Tone mar-
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their fault— the publicity offices cooked up
or brewed every detail of it. Insisting that
they wanted to be married quietly and far
from observers, Joan and Franchot sought
privacy at the Waldorf-Astoria Hotel, of
all places. Here again, Love with a capi-
tal "L" had moseyed into the publicity
orbit, and while it was good publicity for
M. G. M., it ^vas in bad taste. Mary Pick-
ford and Buddy Rogers, on the other hand,
proved that such a situation could be
handled graceftdly and tactfully, without
offending the cameramen and newspaper
interviewers. They posed for pictures, sub-
mitted to interviews and then retreated
to a privacy which was a genuine wish
to be left alone. Margaret Sullavan and
Henry Fonda, once married to each other,
showed equal desire for privacy when
they were married to others recently. Miss
Sullavan slipped away between shows to
marry Leland Hayward, the manager of
Katharine Hepburn; Fonda, quietly and
without any fuss, married a society girl.
In 990 cases out of 1,000, I have found
that the Hollywood stars prefer the under-
tones to the overtones of publicity. This is
doubly remarkable because they are en-
gaged in a business which places a high
premium on personal publicity.
The answer to this is partially that
when the movie stars reach New York they
are on a vacation. They want to get a^vay
from any suggestion of their work, and it
is hard, wearing work, despite the glamour
\vhich attaches to it. Publicity is a re-
minder of labor, so they avoid ballyhoo.
Not very successfully, as a matter of fact.
Claudette Colbert, the last time she was
in New York, told me that in three days
she had had appointments for forty-six
interviews— magazines, daily papers, Sun-
day sections, radio scribblers. Each of these
interviewers is a potentially powerful
enemy, each has to be treated nicely for
fear of rubbing one of them the -svrong
way, so it is a strain on tact and gracious-
ness as well as a physical ordeal. They must
dine at the homes of certain big officials
of their company. It may be boring, but
it is better not to offend the biggies.
Once these interviews and social obliga-
tions are out of the way, a femme star
must pose for fashion pictures for what-
ever publications have been contacted by
the home publicity offices. If it is an
M. G. M. star, there will be at least one
appearance on Station ^VHN. controlled
by Loew's. The poAverful ne-ivspapers of
the country must be catered to. If they are
running a contest or a promotion sho^v at
the moment, the movie critic has a right
to feel offended if the visiting star does
not, at least take a bow. As a result, the
ino\ie queen or king \isiting Broadwav
does not have to seek publicity, because
it seeks them out, and e\eniually, after
they have discharged all of the jobs \\'ished
on them, they just -want to be left alone.
Clark Gable, on e\ery New York ap-
|)carance, has kept himself out of the glare
of the spotlight completely. I ha\'c seen him
in Broadway night clubs, apparently en-
joying himself most when he is hidden
at a lalile in the middle of the house.
I know that Clark Gable is certainly not
enjoying himself when frenzied women
storm his car outside a New York theater,
demolish the fenders and almost tear the
clothes off his back. I played a week in
Raliimoie \aude\'ille shortly after Clark
(lahle had played there with tlic Ril/
Brothers. I.oew disuict iiiaiiagcr. Bill
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Silver ScREnN
Saxon, was telling me the incredible things
that had happened to Gable while he was
in the Maryland city. Police reserves had
to be called out at the railroad station
on his arrival to guard him from being
sawed in half by the girls, who later in-
vaded the floor of his hotel. Gable s^vitched
to another Baltimore hotel, signed his
name as "Goldberg" on the hotel register
and went back and forth to the theater
all week long, without attracting any at-
tention in the hotel lobby.
I asked Loretta Young once if she minded
signing autographs for her fans: "I only
mind the first one," she said, and then
explained what she meant. "If any of us
in the movies could withdraw to a se-
cluded spot and sign ten or fifteen auto-
graphs, that would be perfectly all right.
But the autograph-seeker grabs you just
as you're going into a theater, or a res-
taurant, or on Broadway. Now just as
soon as you start signing an autograph,
the trouble starts. People passing by im-
mediately stop, their attention arrested.
In a moment, instead of one autograph
seeker, you have hundreds milling around
you. As the crowd grows, taxicabs pull up
to the curb to see what is going on. If
you are entering a theater, with a party
of friends, you feel like a perfect fool,
honestly. You don't like to tell the auto-
graph-seekers to run away, because that
will hurt their feelings; yet, on the other
hand, your friends can't go into the theater
until you join them, and the crowd blocks
the entrance so completely that other
theater-goers are scowling and muttering."
It is for this reason that when the Hol-
lywood stars arrive in New York, they
prefer the Colony Club, El Morocco, "21,"
the St. Regis and the Plaza Persian Room.
In these places, they are never bothered
by autograph hunters and they are never
introduced from the floor. When they go
to the Hollywood, the Cotton Club or the
Paradise, they most certainly will be in-
troduced and spotlighted. They generally
effect a compromise, however, by asking
the Masters of Ceremonies to accompany
the introduction with a request to the
other diners not to besiege them for auto-
graphs. This never works out happily, as,
once it is learned they are in the place,
it is every man and girl for himself, and
the devil take the hindmost.
Fred Astaire does not spend a great
deal of time in New York proper on his
infrequent trips east. However, he told me
that on his first trip back to Manhattan
after his initial picture, he hadn't realized
how intense was the enthusiasm of movie
fans: "I went up to Saks to do some shop-
ping," he recalled, "and a woman came
up next to me, stared in my face and
shrieked: 'My God— he dances with Ginger
Rogers.' In a minute, women were run-
ning from all over the store to look at
me and I never felt so^ silly in all my life.
I had been a dancer all my life around
New York, and nothing like that ever hap-
pened. One picture and I was a freak
attraction." The genuine modesty of As-
taire finds excellent reflection in this
typical reaction.
Yet, despite the fact that in 999 out of
1,000 cases the movie stars behave them-
selves quietly along Broadway, they must
ever be careful, because their slightest
mistake will be red-lettered. Constance
Bennett took a terrific rapping because she
arrived late at a Broad^vay theater, and
had to stumble over a quarter of a row
of sulky knees to her seat. "There were
fifty other people just as late," Miss Ben-
nett protested, and not without reason.
"but because I was from the movies, I
was held up as a horrible example. They
said I was disrespectful to the cast— nuts!!
As a matter of fact, I had dinner at the
home of some friends, the dinner was
served late and I couldn't very well get
up and leave the table before my hostess."
Sylvia Sidney has been rapped for wear-
ing dark glasses around Ne^^' York. Hun-
dreds, perhaps thousands of New Yorkers
«'ear dark glasses without being abused for
it. She is a movie star and as such evi-
dently is fair game for any criticism.
Herbert Marshall apparently enjoys him-
self thoroughly in New York, attends plays
and parties, and yet never attracts atten-
tion by any personal absurdity. Jimmy
Cagney, Mervyn Le Roy, Lewis Milestone,
Robert Montgomery, Paul Muni and Ed-
^vard G. Robinson drop into town fre-
quently and behave normally. There are
hundreds of fights in Broad^vay night
clubs, but because he was from the movies,
Johnny Weissmuller was pilloried because
he was on the outskirts of a scrap that
resulted in a black eye for a naval lieu-
tenant at the Stork Club. Actually it
wasn't his fault, but names make news.
No, I'm afraid that as a reporter, I
must conclude that left to their own de-
vices the picture stars mind their own
business very successfully when they come
to Broadway. I see them all, and the net
impression is that they do not seek pub-
licity, but that, on the contrary, it seeks
them. Only when the publicity offices of
the various companies step in and propose
"stunts" for the visiting stars, do they get
into trouble. For these publicity stunts are
always in bad taste. The stars themselves
always display good taste, and on Broad-
way, at least, they can match their public
lives with that of any man, or ivoman.
Margaret Lmdsay, Warner Bros Star appearing opposite Errol Flynn and Anita Louise in Warner Bros.- Cosmopolitan Picture "Green Light"
S I L V H R S c R i; i; N
93
RECENTLY a picture was shown in Ne^v
York ivliich created quite some excite-
ment. It Has "Slalom," an Austrian
film, and «'as really delightful to see. The
theatre was well-filled and you could sense
the wave of joy that went over the audience.
That picture reached into our emotional
nerve centers and stirred us all. ^Ve felt
happy to be alive; we tingled to join in
the sport. The comical fellows on the screen
would be surprised to know that they v.on
a place in our hearts. It was a skiing
picture, not of jumping exhibitions, but
with a story— a comedy. Mountainsides
covered with snow and skiis like ivings!
There was no well-known star featured,
but a star doesn't always make a picture.
There was in this picture the essential of
screen entertainment— and that is motion.
It was a love story, but even that did not
matter. The secret of this screen success
lies in the beauty of the scenery and, also,
it is due to the fascination of seeing in
action a ne^\' and thrilling sort of life.
America is going in for skiis. Ski trains
leave New York for the mountains of Ne^v
Hampslnre every week-end. Skiis, and the
costumes necessary for this sport, are on
sale every^vhere, and after seeing this pic-
ture ^\•e can imderstand the reason.
Picttnes deserve success that have the
excitement of movement, and that also
awaken in us love for youth and health
and the glorious sport of living— forgotten
perhaps in the routine of our daily grind.
See "Slalom," then get your skiis and
find yourself a mountain. It's colossal!
There is another picture to help on the
new fad. It ^vas made jn the Austiian
Tyrol by Hannes Schneider, the world's
champion skier, and shows, as one of its
features, three skiers leaving a grapevine
design miles long on the side of a sno^v-
covered mountain!
Much of our pleasure in seeing foreign
films may come from the fact that we do
not understand the languages used, so they
have for us "silent" picture charm. 'We
enjoyed the reality of "Janosik" and the
natural beauties of the mountains of
Czechoslovakia, but we did not enjoy scenes
of lashings and nightmarish close-ups of
torture.
AVhich brings us to the fact that pic-
uues llial ha\c pleasant emotional turmoil
and suspense like "Mr. Deeds Goes To
last year's best picture, gi\e us
I he mosl pleasure.
"That Girl from Paris," the new Lily
Pons' picture, has imagination, marvelous
comedy, singing that is wonderful, and,
through it all, high entertainment values.
So there is, lo this year's credit so far,
one delightful evening for the millions of
mo\ie fans.
A Movie Fan's Crossword Puzzle
By Cliarlotte Hertert
ACROSS
1. Near at hand
2. The desert messenger in "The Garden of Allah "
11. Paid publicity
13. Mimic
14. Exhausted
15. Tall growing cereal grass
17. He is appearing in "San Queniin"
19. With Judith Barrett in "The Flying Hostess"
21. The editor in "More Than a Secretary"
22. In "The Luckiest Girl in the World"
25. Exact reasoning
26. Pronoun
27. To exist
28. Upon
30. Personal pronoun
31. The monk in "The Garden of Allah"
34. Simpleton (abbr.)
36. Forebodings
40. The assassin in "Winterset"
44. Gramp in "Pennies from Heaven"
47. A beverage
48. A large powerful snake
49. Mrs. Charles Laughton
51. Organs of hearing
52. New Brunswick (abbr.)
54. Stannum (abbr.)
55. An emperor
56. She returns to the screen in "Camille '
59. The wealthy Artemus Todd in "Love Letters ot
a Star"
63. With James Dunn in "Come Closer Folks"
64. She makes her screen debut in "One in s
Million' '
67. A Metro player (abbr.)
68. Unit of electricity
70. Companion
71. Priestly garment
72. Title of respect (abbr.)
73. A month ( abbr. )
75. Organ of sight
76. The liquid juice of plants
79. The sun god
80. Heavenly (Fr.)
83. Type measure
85. She was grand in "Come and Get It"
86. Joel McCrea's father in "Banjo on my Knee"
DOWN
1. He sang in "Rainbow on the River"
2. A favorite in "Our Gang" comedies
3. Verified statement (abbr.)
4. Neuter pronoun
5. The coloratura soprano in 'That Girl trom
Paris' '
6. A medical degree (abbr.)
7. Mazic West in "More Than a Secretary
8. Thoroughfare (abbr.)
9. Mountains in Russia
10. The lover in "Lloyds of London"
12. A series of rhythmic movements
13. Era
16. To urge on
18. Raven (Heb.)
20. Endeavors
22. Pronoun
23. Man's name
24. Toward ,
27. With Merle Oberon in "Beloved Enemy
29. A new star in "Top of the Town"
32. Her right name is Queenie Thompson
33. Stage, radio and movie star (initials)
34. A number
35. February (abbr.)
37. A measure of distance (abbr.)
38. His next picture will be "Maytirae"
39. The doctor in "Ladies in Love"
41. A book for holding photographs ^
42. The graceful dancer in "The Garden of Allah'
43. The White Hunter
45. Each (abbr.)
46. Famous radio singer (initials)
49. A conjunction (Fr.)
50. Continent of Western Hemisphere (abbr.)
53. Dressed
57. Part of a coat
58. Small bodies of land (poet.)
60. In "Devil Is a Sissy"
61. A couch
62. Therefore
64. A well-known comedian (initials)
65. The amusing dancer in "Banjo on my Knee"
66. A mischievous child
69. Refined
^1. "That Girl from Paris" is his latest picture
74. Pray (L.)
77. Mrs. Roger Pryor
78. Because
81. Suffix used to form plurals
82. Hero of "Rosebowl" (initials)
84. Within
Answer to Last Month's
Puzzle
94
THE CUNEO PRESS, INC., U. S.A.
She has fh,,
amf goocf sense,
Cmvdette Colbert
STAR OF PARAMOUNT'S
"Ma/c/ of Salem"
She keeps her complexion
exquisite— guards against
Cosmetic Sl<in— with this
simple care . • •
USE COSMETICS? Of course I do," says
lovely Claudette Colbert. "But I always
use Lux Toilet Soap!"
9 out of 10 other lovely screen stars use this
famous soap. Lux Toilet Soap guards against
Cosmetic Skin — enlarged pores, tiny blemishes.
Its ACTIVE lather goes deep into the pores,
thoroughly removes dust, dirt, stale cosmetics.
Use Lux Toilet Soap before you renew make-
up during the day, ALWAYS before you go to
bed. "Soft, smooth skin is very important to
charm!" says Claudette Colbert.
YOU CAN'T DO THAT!
r
s.
tr e e n
April
9
Sylvia Sidney
SONG TITLE PRIZE CONTEST
REFRESHING AS A SHOWER, THIS
Exotic New York models
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teeth bewitching
Fragrant, satin-soft, milky white...
such is the solution that sweeps your
mouth and teeth when you employ
Listerine Tooth Paste as your beauty
aid. It's as refreshing as a shower!
Why don't you emulate the lovely
women of studio and screen, who
know beauty aids as few women
can? Why not have your teeth look-
ing their best? Change to Listerine
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it will do for you. You will never
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There's a Reason
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Do not take our word for it; let
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LAMBERT PHARMACALCO.,5aLo»«
A TONIC FOR THE GUMS
WHEN USED WITH MASSAGE
JEAN: Last year she couldn't get a date — now look at her!
MARGE: Somebody must have told her what her trouble* was.
*There's nothing like LISTERINE to check halitosis {unpleasant breath), the unforgivable social fault
forgotten Women
by DORIS KAY
I SEE them every day . . . dozens
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They are seldom invited out and
when men do call they rarely call
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I've seen many a witty woman who
didn't get around much. Not be-
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prettiest young girls are the least
popular. Not because they are fat
or old; I've known women heavy as
trucks and grey as beavers but still
greatly sought after. What then is
the reason?
Nine times out of ten, these for-
gotten girls are not fastidious about
the condition of their breath — and
if there's one thing for which others
drop a woman or a man it is hali-
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How silly a woman is to permit
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with an agreeable deodorant such
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KEEP YOUR BREATH
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Almost everyone has halitosis (bad breath)
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And it is the unforgivable social fault.
People simply don't want you around
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SiLVLR Screen
A MetTo-
Goldwyn -Mayer
Picture Directed by
VICTOR FLEMING
THE MOST EXCITING PICTURE
SINCE "MUTINY ON THE BOUNTY"
Again— as in the stirring "Mutiny"—
you live the roaring drama of men against
the sea. You share the struggles, the heart-
aches, the laughter of courageous souls
who leave the women they love to dare the
wrath of the angry waves . . . men in con-
flict with their destiny enacting the most
thrilling story the screen could offer. A
brilliant triumph that takes rank with the
greatest pictures M-G-M has given you!
4
Silver Scrfen
~6 1537 ^
REFLECTlNG/^e MAGIC o/HOL,LyWOOD
©CIB 3 2 89 2 2
APRIL 1937
Volume Seven
Number Six /
ELIOT KEEN
Editor
Elizabeth Wilson Lenore Samuels Frank J. Carroll
Westerri Editor Assistant Editor Art Director
CONTENTS
STORIES AND ARTICLES Page
SONG TITLE PRIZE CONTEST lo
THE BIG MOMENT Liza i6
There Comes A Time When Life Is At Its Peak
GIRLS THEY WON'T SEE AGAIN Katherine Albert i8
Types The Hollywood Bachelors Avoid
ELUDING STARDOM Gladys Hall so
Metvyn Douglas Is Not Interested In Long Term Contracts
CREAM OF THE CROP Maude Cheatham 22
Every Year Hollywood Harvests The Ambitious Beginners
PROJECTIONS ;.. Elizabeth Wilson 24
Sylvia Sidney
VOICES IN THE UPPER AIR Ed Sullivan 26
Adventures In Broadcasting
LOVE IN A HIDEAWAY Jack Bechdolt 28
Fictionization of ' Fifty RoaJs To Tov.'n"
KING COMIC Virginia Wood 31
Jacli Oakie Rules The Screen World Of Humor
"YOU CAN T DO THAT! " Mark Dowling 32
The Stars Have To Submit To Many Restrictions
"AN INSIDE JOB?" Charles Darnton 34
Frances Farmer Has Always Had Her Heart Set On Acting
ROMANCING! Francis Heacock 51
A Short Short Story
SHOOTING STARS Ben Maddox 54
Some Players A,s Happiest When They Can Go Hunting
MONTHLY FEATURES
The Opening Chorus 5
"You're Telling Me?" 6
Tips on Pictures 8
Winners of the Joe E. Brown Trade Mark Contest 11
Fish and Salad Days ■ Ruth Corbin 12
Lighter Meals Are In Order At This Season Of The Year
Topics for Gossips 15
Pictures on the Fire S. R. Mook 52
On The Sound Stages Many Movies Are Taking Form
Revie\vs of Pictures Seen 56
A Movie Fan's Crossword Pu/zle Charlotte Herbert 82
The Final Fling Eliot Keen 82
ART SECTION
^VE Point With Pride 35
Fred MacMurray
Beautiful Women and Powerful Men 36-3?
The Battle Of The Sexes
April Showers of New Spring Pictures 38-39
The Art of Lying About Love! ... 40-4'
Our National Pastime
Accent on Spring! 42-43
Hoiv To Greet The First Warm Days
In Hollywood Thfy Call It Working 44-4,5
The Varied Angles of Studio Life
Hollywood Day and Night 46-4'7
The Stars Know How To Relax
Camera Catches 4^
Pictures Taken When The Players Are Out Of Pose
Good Players Nf\fr Look at the Lens 50
A Good Rule To Follow
COVER PORTRAIT OF SYLVIA SIDNEY BY MARLAND STONE,
SILVER SCREEN. Plll]li^ll^cl monllilv hv SirccnliimlMnKiiz.ini'. Inr., nl 15 West 45111 Street. Kew York. N. Y'.
V G Heinibuobcr, Presidcni ; .7. S SlncDu mull , Virc I'ri'siili'rit ; .1. Superior. Seerelary nnd /Treasurer. Adver-
tising Offlees: 45 West 45th St.. Ne« Ynrk : Kill X.irll) .Ml.liiKan Ave., riiieiiso; 5ni) W. Slxtli St.. Los
AiiKeles Calif. Yearly sutjseriptlrirn .Tl.HO in ll-.e ''iiiled Slales. ils deTieniieriiies. Culia ani Mexico; $1.50 In
Canada; foreign Jl.fiO. Changes of address must reach us five weeks in advance of the next iauc. Be sure to give
both the old and new address. Enlered as second ela-s mailer. Seplernlier -l:;. \'.i:m. at the Pi^t OfTiee. New Y'orl<.
N. Y., under tlie Art of Man il 3. 1S7I>. .Adilit ional entry at ChieaKO. Illinois. Copyriglit 1037 by Sereenlniid
Magazine. Inc. I'rinted in the 1\ S. ,\.
:\rE-Mi!i;ii audit uvueau or circulations
Ike O
penmg
o r u s
David Niven
A Letter From Liza
DEAR BOSS:
And ^vho do you think I saw
munching crumpets at the Brown
Derby the other noontime? None other
than the lady of the lovelorn, Beatrice
Fairfax, herself in person. Miss Fairfax, as
you well know, has been giving advice on
love problems for )ears, and is in the Avay
of being an authority on matters pertain-
ing to the emotions. But just like a post-
man on a holiday there she sat in the
Brown Derby eagerly watching love in
bloom in Holh wood, and when it blooms
in Hollywood, oh boy, it blossonrs.
In one booth were Loretta Young and
David Niven, and what goes on there?
David, of course, used to be Merle Oberon's
really and truly, but Merle went to Eng-
land amidst a great enthusiasm for Brian
Aherne. Eddie Sutherland, Loretta's boy
friend for months and months, went East,
and immediately Loretta and David sort of
got together. AVhat will happen when Eddie
gets back? Maybe Beatrice Fairfax knows.
I don't.
In another booth, and practically holding
hands right out in front of you, were
Miriam Hopkins and Anatol Litvak, the
European director Avhom Miriam met
abroad last fall, and who is directing her
in her ne\vest picture. There is a decided
rumor going about that Mirianr and Mr.
Litvak intend getting married this spring-
but mercy, I can't remember a spring that
Miriam wasn't on the verge of marrying
somebody. The spring does that to her.
But she alwavs reco\'ers before she iriakes
the altar, AVhy? Maybe Miss Fairfax knows.
I don't.
Oilier romancing couples being given the
once over by the lovelorn lady were
Gertrude, Niesen and Craig Reynolds. Bar-
bara Stanwyck and Robert Taylor ("Garbo
loves Robert Tavlor '— nerts), Kay Francis
and Delmar Da\cs, .\h"ce Faye and Tony
Martin, Glciida Farrell and ijrew Eberson.
Ginger Rogers and Jimmy Stewart, and
Tyrone Power and Rochelle Hudson. Of
course Rothellc will tell you sweetly thai
she is merely slanding in for Sonja Henie
until that talenied skating girl can leturn
from her ]5ersonal a])|)carance tour, bul
judging from ihe loNcHght in Tyrone's eye
I wouldn't be knowint; al)out that. .Vnd.
I'm afraid, neither would Miss Fairfax.
• Constipation got me down so badly that I was
mean to the very people I liked best. I just
couldn't help it. Certain laxatives were so re-
pulsive that I hated to take them. I hadn't yet
learned how to avoid out-of-date "dosing." Then
I found out something I'll always remember.
• In desperation I con-
sulted my druggist. He
advised FEEN-A-MINT.
"It's different!" he said. I
tried it— found it tasted just like delicious chew-
ing gum. Thanks to FEEN-A-MINT, life be-
came so different. All of me felt better at once.
Exit sickish feeling, headache, "blues." I sang
with joy to see the color in my cheeks. My
mirror whispered —"You're yourself again!"
y
/
ou re
Telling Me?
• Now life is so different for this girl, just as
it is for over 16 million other FEEN - A-MINT
users. FEEN-A-MINT is thorough, satisfying.
The chewing is what helps make it so wonder-
fully dependable. Acts gently in the lower bowel,
not in the stomach. No griping, no nausea. Not
habit-forming. Economical. Delicious flavor and
dependability make it the favorite at all ages.
Sample free. Write Dept.T-9, FEEN-A-MINT,
Newark, N. J.
Family-
sized boxes
only
15c & 25c
Slightly higher in Canada
Tell The World What
You Think And
Start A Riot.
1NJ 'Lloyds of London,' Miss Carroll is
the loveliest woman I have ever seen!"
writes Katharine White of Engle^vood,
N. J. "She is breath-takingly beautiful—
and to top that— her acting is marvelous.
May she continue to shine across the Amer-
ican screen and delight us for a long, long
time to come."
She has an inescapable refinement that
once upon a time was rare indeed on the
movie screen.
"Why do we have to sit through such
short subjects as band presentations on the
screen?" asks Chester Gordon of 14th
Street, Greeley, Colo. "Watching a musician
play his violin, or another his trombone,
may be some producers' idea of entertain-
ment, but to me it is just radio stuff that
can be heard at home."
"Short Subject" must mean short on plot
and action.
" 'The President's Mystery' could more
appropriately have been titled 'Saga of the
Canned Peaches'," writes Elspeth Tenchbrai
of Queen's Chapel Road, Mount Rainier,
Md. "Even when the hero, Henry Wil-
coxon, is in danger of the electric chair, it
is treated as of secondary importance: the
chief concern is to prevent the Peaches
from falling into the hands of a hungry
mob. True, there was one scene of Henry
in a white sports s^veater, bounding around
on some rocks, that compensated a Wil-
coxon fan like me for an hour of banality.
Why were they so stingy with scenes like
that and so generous with scenes showing
Canned Peaches? Canned Peaches don't
excite the ladies. The rest of us want to
see a big, handsome feller having himself
a time."
Revealed! Tlie lure of the movies!
"When will producers learn that we fans
like a musical comedy with a story," writes
Kathryn Handy Fuller of Grand St.,
Winona, Minn. "They must think we are
morons when they cover up lack of plot
with 'colossal, stupenclous extravaganza.' 1
mean sailors who act like musical comedy
stars and speak in chorus, losing all
naturalness; lovers who break into song- in-
Romney Brent and Elisabeth
Bergner in "Dreaming Lips"
— whatever those are.
stead of making love as a he-man does who
wants to win a wife. Yes, I am speaking of
'Born to Dance,' but other musical come-
dies have the same failing. Pardon me,
Jasper, my smelling salts. And was the tour
through a model house by Eleanor and
Jimmy supposed to be a hot scene? It had
nothing to do with the plot and bored
me stiff.
"We may pack the theatres at a musical
comedy, but it is because we hope each
time that there will be, besides music and
dancing, a good ston\"
Ah! You can't whistle a story!
"After Jack Benny had radio under con-
trol, he easily put himself over on the
screen," writes Jerry Manfred of '\Veeha\\-
ken, N. J Jack found that the same per-
sonality which rang the bell on the air
waves was just as warmly ^\'elcoined in the
pictures. Perhaps there will be a revival
of humorous pictures now that a leadino^
man is available." °
Jack to the rescue.
"I wonder if the readers of the letter
page know of a sales record that is now
in the making? I am in the music depart-
ment of a big store and I knou'," writes
Lester Regan of New York, N. Y. "The
'Pennies From Heaven' song has already
sold 300,000 copies and may hit 500,000 in
the United States alone. This is very nearly
the lecord for a film song.
"While these figures prove the catchy
quality of the song, it may also be said to
establish the loyal way that Bing Crosby's
fans turn out for his pictures, stay home
for his broadcasts and pay money for his
songs."
When Bing sings he practically starts an
industry, including clerks, composers, print-
ers and paper makers. His next piclure,
"Wdikiki Weddir.g" will put a grass slurt
on every Crosby fan.
Speaking of song titles and picture titles,
Madeline Ham of Cincinnati, O., writes: "A
compliment to 'Three on a Latchkey.' the
])ictinc that RKO announces. Isn't that an
intriguing title?"
Good enough for the Title Guaranty Co.
6
Silver Screen
how to play the hot
trumpet in Panama
easy lessons
in
"Listen, Carole, till you've heard Old
Maestro MacMurray play 'I Hear a Call
to Arms*. . . you jusl haven't lioeJ ..."
"Arrest him, gendarme! Si, senor dis-
turbing la peace with sis instrumento . . .
more hot playing an si senor quick start a
revolution! II"
CAROLE LOMBARD
FRED MacMURRAY
SWINO H/OH
SWING LOW"
uj/fk Charles Butterworth • Jean Dixon
Dorothy Lamour* Harvey Stephens
Directed by Mitchell Leisen
A Paramount Picture
"Olcay, Fred. You're wonderful all right.
I never heard sweeter notes. But cut it out,
will you, before you break my heart. "
"Yeah . . some hot trumpet player you are.
Here you get Carole in a worse jam than
you did in ' 'Hands Across the Table
and ' ' The Princess Comes Across.
Silver Screen
7
Give teeth the Double
Protection they need
IF you are now using an ordinary tooth
paste, your teeth may be white and
sparkling; but unless your gtims are
sound and healthy, you are running the
risk of serious dental trouble.
Forhan's Tooth Paste was developed
by an eminent dental surgeon to do both
vital jobs — clean teeth and safeguard
gums.
End half-way care today by adopting
this simple method: Brush your teeth
with Forhan's, then massage a little into
the gums, just as dentists advise. Note
how it stimulates the gums, how fresh
and clean the whole mouth feels! Buy
Forhan's today. The big, new tube saves
you money. Also sold in Canada.
FORMULA OF R. J. FORHAN, D.D.S.
Forhan^
{1
CAMILLE— Splendid. The
Pans of Alexander Dumas
(1850) is captured perfectly in
this profoundly moving story of
the tragic lady of the camellias
who loved not wisely but too
well. Garbo holds her own with
tragediennes of the past who played
Robert Taylor does right nobly by
lover.
A scene from "The Love
Trap," with Ricardo
Cortez tempting Gai.l
Patrick with a lavaliere.
many great
this role, and
Armand, her
Does I CLEANS TEETH
COW^Oflsig^yjgg. ^^^^
SPARKLING EYES
HYPNOTIZE
A iVIAN!
Eyes that hold a man entranced must be
clear, brilliant! Men are disillusioned when
your eyes look tired, drawn, dull. Use Ibath
(a physician's formula) to step up brilliance!
It helps to clear, soothe, deepen that starry
luster! Your eyes feel younger... instantly!
At drug stores, 50^.
McKesson & Robbins
ibath
CLARENCE— Good. Booth Tarkington wrote
this mouth-twitching httle comedy about a returned
soldier who is practically adopted by a nitwit
family, the members of which he saves from many
scandalous escapades. (Roscoe Karns, Spring
Byington, Eleanore Whitney, Johnny Downs).
COUNTRY GENTLEMAN— Fair. Olsen and
Johnson the popular comic vaudeville team, play
the leads in this small-town comedy about an oil-
well promotion that just about plays havoc with
the peaceful inmates of the local soldiers' home.
(Lila Lee, Joyce Compton).
CRIMINAL LAWYER— Fair. A courtroom
melodrama with the interest centered around the
racketeer lawyer who, when he becomes District
Attorney, suddenly becomes quite virtuous. An
outstanding cast includes Lee Tracy, Betty Law-
ford, Eduardo Cianelli and Margot Grahame.
FIRE OVER ENGLAND— Excellent. England
certainly turns out beautifully produced historical
ftlms and this story of Queen Elizabeth during her
controvery with Spain is one to take its place
alongside of Catherine the Great. Flora Robson
is EHzabeth, Raymond Massey is Philip of Spain,
with Laurence Olivier supplying the romance.
GREEN LIGHT— Fine. A story that will give
you food for thought and which offers an endless
subject for critical discussion. A fatal surgical
operation is laid at the door of a young doctor,
and this tragedy leads to a drastic change in the
lives of all concerned. (Errol Flynn, Anita Louise,
Walter Abel, Henry O'Neill, Margaret Lindsay).
LET'S MAKE A MILLION— Fair. A genial
yarn about a soldier whose war-bonus becomes a
bone of contention among his relatives and friends.
Finally the worm turns and the soldier recaptures
his precious money and makes everybody sit up
and say "uncle." (Ed. Everett Horton— Charlotte
Wynters).
NOBODY'S BABY— Amusing comedy with
music. Here we find a poor baby in the predica-
ment of having both parents disclaim it because
the news may hurt their professional standing.
The situation leads the plot along many hilarious
grooves, with Patsy Kellv and Lyda Robert! grab-
bing much of the laugliter. (Rosina Lawrence,
Lynne Overman, Bob .\rmstrong).
ON THE AVENUE— Fine. A musical that
satirizes the richest girl in the worlil, both in
licr inilihc and private life. Madeleine Carroll plays
I he "richest girl" with Dick I'owell and Alice Fave
attending Id the music. (George Barbier, The Ritz
Uros., Alan Mowbray).
Silver Screen
PLOUGH AND THE
STARS, THE— Fine. Another
drama of the Irish Rebellion —
the one which occurred in 1916
■ — taken from the brilliant play
of Sean O'Casey. This has been
compared to the prize-winning "Informer" of last
year, but we think it lags a good many steps
behind that masterpiece. (Barbara Stanwyck,
Preston Foster).
PARK AVENUE LOGGER— Good. Handsome
George O'Brien is the virile Easterner who is
sent to his father's western logging camp to get
a few well needed knocks. He not only gets the
knocks but manages to save a rival logger from
rum and ends up by marrying the man's daughter.
,^.PLAINSMAN, THE— Splendid. Mr. Cecil De-
Mille has given us a visual picture of that robust
pioneer. Wild Bill Hickok, which will not soon
be forgotten. In this epic western, we also meet
up with such famous historical characters as
Calamity .Tane and Buffalo Bill, . . . what more
could anybody ask? (Gary Cooper, Jean Arthur).
PENROD & SAM— Fair. Two of our favorite
characters, immortalized in fiction by Booth Tark-
ington, reach the screen as nothing more nor less
than boy scouts playing at being G men. Kids will
J'lfe this film, however, as it has plenty of action
Billy Mauch and Harry Watson play the title roles.
SHE'S DANGEROUS— Fair. A rather time-
worn melodrama centering around a beautiful
woman detective who gets pretty deeply involved
when she poses as a crook in order to round up
a notorious gang of bond thieves. (Tala Birell
Walter Pigeon, Cesar Romero).
STOLEN HOLIDAY— Fair. This story of the
glamorous model, who is befriended by a suave
international crook and then falls in love with a
British diplomat, may please matinee audiences-
meaning women! (Kay Francis, Claude Rains
Ian Hunter).
THREE SMART GIRLS— Excellent, -\lthough
the plot of this comedy is slim, the production it-
self IS engagingly handled and the performances
of the cast leave nothing to be desired. Deanna
Durbin. the charming 14 year old singer, makes
a promising picture debut, supported by Alice
Brady, Binnie Barnes, Charles Winninger, etc.
THUNDER IN THE CITY— Good. A British
film starring Rd. (i. Robinson as the hustling
American salesman who tries to inject his methods
mto conservative English business enterprises. This
proves unequal for him and provides many amus-
ing situations. (Lull Desti, Constance Collier,
Nigel Bruce).
TWO WISE MAIDS— Interesting. This will
take you back to the dear old golden rule days
Ahson Skipworth and Polly Moran are two school-
marms who find it tough bucking up against
competition with younger and more attractive
teachers. Jackie Searle makes matters worse
by lying aliout thcni in addition. Hut all's well
that ends well. Supporting cast is excellent.
HAIL HIS ROYAL HIGH (DE HO) NESS!
Filmdom crowns a new king of romance! ... as an international idol
comes to the screen in the mirth-packed story of a democratic ex-King
on a rollicking hunt for a Queen of Hearts to share his throne of love!
JBST
ovt
YOVr
1N_
IN
-AN
Of
stah
THE
Baited 'TJ ^y^^^
See a real French re-
vue with the world's ^
lavellest mademoi-
selles singing those'
reigning hits of the air
by Werner R Heymann
and Ted Koehler
"FOR YOU"
"ON THE RUE DE LA PAIX"
Silver Scrhkn
Jessie
MATTHEWS
in her dancing-est
musical picture
HEAD OVER
HEELS in LOVE
With two new dashing
leading men. Songs by
Gordon and Revel. You
just can't afford to miss it.
Coming to your favorite theatre
\Troduction
Lovely Gertrude Nieson, Smging
Star in ''^Top Of The "[own/- Inspires
This Co ntest.
Can you
Think Of A
Song TiTLEf
THE idea of a song is expressed
in the -ivords o£ the title. The
refrain of the chorus is usually
the same as the title. If you can
put down on the coupon two titles that
suggest amusing songs, touching songs, love
songs, or any other kind that appeals to
you, you may win one of these prizes.
Vou cTo not have to write the music or
the -words of the song or chorus. Just write
the song title and Universal Pictures Cor-
poration, sponsor of this contest, which is
looking for interesting ideas for its new
musical, will do the rest.
A song to be popular irrust be easy to
understand, and e.xpress something to each
one of us personally. Write t^^o titles of this
nature and you will stand a good chance to
\vin. In "Top of the Town," Gertrude
Xiesen sings "Blame It On The Rhumba,"
"Jamboree" and "Where Are You?"
Win One Of The
57 Prires With
Titles Straight From
Your Heart
The next musical films that Uni\ersal
Pictures Corporation will produce are rich
in romance and theatrical atmosphere, and
songs ^vill be required for all of them.
Can you ^vrite song titles that will irrspire
the song writers and win you a prize?
All that you have to submit in this contest
are two titles that arouse interest. Some
of the characters in these new films, which
may help to suggest song titles to you, are
a business man in love, an heiress, an oil
man and people connected with the theatre
—and don't forget that love songs are al-
\\a\s popular.
"I've Got To Be Kissed" is a song from
"Top of the To^vn." Can't you tliink of
some cute ideas like that?
Capitali~c Your Sentimental Side And I^ct
Yotir Humor Have Its Fling — And Win!
USE THIS COUPON TO
SEND IN
YOUR
ENTRIES
(■Write Plainly)
TITLE NO. 1
TITLE NO. 2 . . .
Submitted bv
Street
State
Send to Song
Title Contest
Editor
c/o SILVER SCREEN, 45
"W. 45th St.,
New Yo
rk, N. Y.
10
Silver Screen
PRIZES TO BE
AWARDED
FOR SONG TITLES
First Prize $100.00
Second Prize 50.00
5 Third Prizes of $10.00
each 50.00
50 Fourth Prizes of $1.00
each 50.00
TOTAL CASH PRIZES $2 50.00
CONDITIONS
the coupon and write
1. Fill out
plainly.
2. You must submit two titles on
each coupon. No single title will
be considered. The prizes will be
awarded for the best pair of titles.
3. This contest will close at midnight
April 13, 1937.
4. The prize winning titles become
the property of Universal Pictures
Corporation.
5. In order that all SILVER SCREEN
readers may have an equal oppor-
tunity, these prizes will be awarded
for titles only, and no consideration
will be given titles accompanied by
lyrics or music.
6. Universal Pictures Corporation does
not agree to use any of these titles
within any specific time.
7. In the event of ties the prize tied
for will go to each tying contestant.
8. No correspondence concerning this
contest will be entered into nor
any titles returned.
Winners of the
Joe E- Brown
Trade Mark Contest
FIRST PRIZE — $200.
George F. Young, Box 543, Arcade Station,
Los Angeles, Calif.
SECOND PRIZE — $100.
Lorraine Tracy, Malta, Idaho.
THIRD PRIZE — $5 0.
Mrs. L A. Mendel, 121 Westchester Ave.,
White Plains, N. Y.
FOURTH PRIZE — $2 5.
Hairy W. Gruver. 152 Lafayette St., York, Pa.
FIFTH PRIZES — (5) $10. each
Al Handler, 1620 S.W. 3rd St., Miami, Fla.
Herbert Benson, 150 Waterston Ave., Quincy, Mass.
Keitli Blal<e, 18 Grand St., Gloversville, N. Y.
F. O. Thompson, 1818 N. New Hampshire Ave.,
Los Angeles, Calif.
Leon Bidwell, R. F. D., Henrietta, N. Y.
SIXTH PRIZES — (15) $5. each
Rosa A. Maginnis, 1640 Chase Ave., Chicago, 111.
Mrs. Clarence Hall, 3017 Woodland Ave., Louis-
ville, Ky.
David Arthur, 513 Chew St., AUentown, Pa.
Jack E. Thornburgh, 706 S. 4th Ave., Yakima, Wash,
teroy D. Pynn, 1402 Charles St., LaCrosse, Wise.
Mary C. Rothkopf, Orchard Court, Riverhead, N. Y.
Gertfude Osborne, 1565 S. Center Blvd., Spring.
field, Ohio.
R. Larko, 110 Wilson St., Larksville, Pa.
Margaret Mackensen, 219 S. A St., McAlester, Okla.
Mrs. H. Larscn, 2802 N. Mason, Tacoma, Wash.
Max Hodge, Fletcher Hall, Ann Arbor, Midi.
Mayme Brady, 1022 Nicollet Ave., Minneapolis,
Minn.
Dorothy Starry, Louisburg, Kan.
Louis M. Hefti, Emerson Hill, Staten Island, N. Y.
Mrs. Nettie O'Dwyer, 14069 Strathmoor Ave.,
Detroit, Mich.
Ms/ CoMs
are INHAIED !
\ _^ ^ -
It's the 10-second Germ-Killer, even diluted with % water
PEPSODENT ANTISEPTIC
Makes your dollar go 3 times as far!
• How do germs enter your body? How
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"YoH inhale most colds!" say authorities.
Millions of germs are breathed-in every day
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Kill the germs
The health of yourself and your family may
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. So effective is Pepsodent that, in tests on
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Pepsodent is "the thrifty antiseptic." For it
is a 10-Second Germ-Killer
even when diluted with %
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as lon^, makes your dollar
go 3 times as far.
7 ANTISEPTIC
3
OTHER
BOTTUS
lEadihc kinds
LASTS 3 TIMES AS LONG.. YOUR DOLLAR GOES 3 TIMES AS FAR ! ^
Silver Screen
11
COUGHS
TAKE THE SYRUP T HAT
CLINGS TO THE
COUGH ZONE
If you have a cough (due to a cold) remem-
ber this common sense fact:— a cough medi-
cine should do its work where the cotigh is
lodged . . . right in the throat. That's why
Smith Brothers Cough Syrup is a thick, heavy
syrup. // clings to the cough zone. There it
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irritated area, (3) helps to loosen phlegm.
Get Smith Brothers'! 35^' and 60^.
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This vitamin raises the re-
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it.
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NAME
ADDRESS
Florence Rice fixes
up a cold snack
for herself in the
dinette of her
beach home.
LtsKter Meals Are In
Order At TKis S eason
Of TKe Year.
By Ruth Corbin
THIS is a good time to try out your
favorite seafood recipes. There are many
excellent ways of preparing fish aside
from baking, pan frying or broiling. Of
course, these regulation methods cannot be
improved upon with such fish as trout,
mackerel, bass and others of this type, but
the following dishes either with left over,
canned or starting with the raw fish itself,
are delightful and tasty departures for the
woman who likes to add variety to her
meals. With these I have included a few
salad and spaghetti recipes which are nice
accompaniments to seafood.
BOILED FISH WITH EGG SAUCE
2 or 3 lbs. haddock or cod
2 tsp. salt
14 tsp. peppercorns
1 bay leaf
1 sliced onion
1 stalk celery
2 tbsps. butter
2 tbsps. flour
3/j cup fish stock
'/i cup e\aporated milk, Borden's
Minced parsley
1 hard cooked egg
^Vash fish and wrap in a piece of cheese
cloth or parchment paper. Place on rack in
ketlle. co\cr with boiling \vater, add .sea-
soning and simmer 20 to 30 minutes. Lift
out carefully, place on hot platter, remove
skin and scr\c with egg sauce made by
blending l)ultcr and flour, adding stock and
milk and cooking, stirring const;intl\ until
sauce thickens. Season with salt and pepper,
add egg and scr\'e.
SALMON TIMBALE
In the top of a double boiler blend %
cups milk, |/j cup dry bread crumbs and 3
tbsps. butler; cook 5 iiiinuies. .Vdd 1 cup
drained, flaked, canned salmon, 1 tbsp.
minced paisley, 2 slightly beaten eggs, salt
and cayenne pepper to taste. Line buttered
individual molds ^vith pimento; fill 2/3 full
nith salmon mixture. Set in a pan of hot
water, cover with oiled paper, bake 20 to 30
minutes in slow oven, 325 F. Serve with a
shrimp or mushroom sauce or with none at
all. Serves 6. This is a very decorative dish
when it comes to the table.
FISH FILLETS, GREEN OLIVE SAUCE
Cover fish fillets with boiling water, add
a few sprigs of parsley, small piece of bay
leaf, a few slices of carrot, celery leaves,
salt and pepper. Simmer about 10 minutes.
Remove fish to a hot platter and keep hot.
Strain liquid to use in sauce, made as fol-
lows:
4 tbsps. butter
1 cup fish stock
14 cup stuffed olives cut in strips
2 tbsps. flour
1 tsp. lemon juice
Salt and pepper
Melt 2 tbsps. butter and blend in flour.
Add fish stock gradually and bring to boil-
ing point, stirring constantly. Add rest of
butter, a little at a time. Add lemon juice,
olives and seasoning. Pour over fish.
Two of the nicest and most unusual
salads I have ever found are given below.
They will make a success of any meal.
SPINACH AND TUNA SALAD
1 cup fresh, finely chopped spinach
1 small onion, minced
Lettuce
1/1 cup French dressing
1 cup fineh chopped Tuna fish
Sliced olives
Parsley sprigs
Prepare spinach and pour French dress-
ing over it. .\llo^^• to stand one-half hour in
refrigerator. Mix in onion and Tuna lish.
Ser\e on lettuce and garnish with slices of
stuffed sliced olive and sprigs of parsley.
SPAGHETTI SALAD
1 package sjiaghetti
2 bell pcp|jcrs
2 eggs, boiled
1 cup grated American cheese, Kraft
2 medium size potatoes
12
S 1 L V i; R S C R H E N
2 very small onions
1 cup celery
1 can pimentos
Hellman's Mayonnaise
Break spaghetti in inch length pieces,
boil in salted ivater. Dice potatoes and boil.
Cut bell peppers, celery, eggs, onions and
pimentos in small pieces. Mix all ingre-
dients with Mayonnaise and cheese and
serve on lettuce leaf. Sprinkle grated cheese
and paprika over top.
Today it is smart to serve a mixed green
salad and here is a combination hard to
beat. Take young dandelion greens, water
cress, pale lettuce leaves and circles of
tender radish. Make your dressing of 2 parts
of the best imported olive oil, i part Crosse
and Blackwell's cider or tarragon vinegar,
a little salt, a bit of sugar and the heel of
a French loaf of bread rubbed with garlic
and tossed about during the mixing and 2
portions— more or less— of good Roquefort
cheese crumbled into bits. Mix and toss well
SMELTS (Russian Style)
2 lbs. med. size smelts
1 cup dry white wine
Juice 1 lemon
6 ozs. mayonnaise
1 cucumber
Clean smelts, place in shallow pan, add
\vhite wine and lemon juice, cover, bring to
a boil and simmer about 3 minutes. Re-
move from pan and arrange on a cold
platter. Continue boiling licjuid until only
about 1 tbsp. is left; add this to mayonnaise.
AVhen smelts are cold cover with mayonnaise
and garnish yvith cucumber .salad. This is a
new and delightful way to prepare smelts.
If you have ever been faced with the
problem of sauce for fish these three will
be a welcome addition to your recipe files.
They add just the proper touch and are
easy to make. Black Duller Sauce is made
by taking 2 ozs. butter and cooking in a
frying pan until light brown. To this add
2 tbsps. finely chopped parsley and 1 tbsp.
vinegar. Do not cook more than 1 minute.
Anchovy Sauce is made by blending 1 tsp.
anchovy paste with 1/2 P'""^ plain white
sauce in a small sauce pan and heating.
Savory While Sauce is made by boiling 1
pint milk, 1 shallot, 1 tsp. mixed herbs,
salt, pepper, bayleaf and 3 peppercorns.
In a second pan melt 2 ozs. butter and stir
in 11/2 ozs. flour. Cook but do not bro\\n.
Add hot milk mixture and stir until it
boils, then simmer 15 minutes. Strain
through a fine strainer and reheat.
A Picture With Another Name Would
Be Better — Maybe!
THE OlD
TITLES:
AND THE NEW
"Escadrille" (Paul Muni) has been
changed to "The Woman 1 Love"
"Man In Possession" (Robert Taylor)
has been changed to
"Personal Property"
"The Stones Cry Out" (John How-
ard) has been changed to
"The Doctor's Discovery"
"The Robber Barons" (Edward Ar-
nold) has been changed to
"The Toast of New York"
"The Last Slaver" (Warner Baxter)
has been chinged to "Slave Ship"
"Miss Customs Agent" (Constance
Worth) has been changed to
"China Passage"
"When Love Is New" (Virginia
Bruce) has been changed to .
"When Love Is Young"
"Person to Person Call" (Gloria
Stuart) has been changed to
"Girl Overboard"
LITTLE ''COAL MINES"
IN YOUR SKIN!
THAT'S WHAT BLACKHEADS REALLY ARE!
Here's How to Deal with Them
do^vn in size. Responding to Nature, they reduce
themselves to their original, invisible smallness.
I'll Pay for a Test!
Let me prove to you the soundness of the Lady
Esther Face Cream method. Just mail me your
name and address and I'll send you a purse-
size tube of Lady Esther Face Cream postpaid
and free.
To hasten results, use up the whole tube at
one time. Put on one application of the cream
after another. Leave on each application for 5
minutes before removing. The whole job will
only take 15 minutes.
Notice how soft your skin is after this cleans
ing. That shows you are softening the dirt
within the pores — dirt that has probably been
there for months or longer.
As you continue the daily use of Lady Esther
Face Cream, you make this waxy dirt softer
and softer and more and more of it comes out.
Finally, your pores are relieved of their long-
standing burden.
Clean Pores Become Small
As you relieve the pores, they come down in
size. They become smaller and smaller each
day, until they have regained their original
smallness and you no longer can see them with
the naked eye.You can almost see the improve-
ment taking place in your skin.
Act Nowl
But start proving this to yourself at my ex-
pense. Mail coupon today for your free purse-
size tube of Lady Esther Face Cream.
Those little black specks that keep showing
up in your skin — do you know what they
really are?
They're nothing more than little "coal
mines" in your skin!
They're imbedded dirt — dirt that has found
its way deeply into your pores.
This dirt isn't easily removed, as you know,
or you wouldn't have blackheads.
Like Black Little Candles In Your Skin
This dirt is stiff and waxy. It's a combination of
fatty waste from the body, dust, soot and dead
skin cells.
It forms little plugs or wedges in your pores
that stop them up and make them larger and
larger.
It's the blackened tops of these wedges that
you see as blackheads.
These waxy wedges must be dissolved to be
removed. That's the only correct and scientific
way to deal with them. You can't just moisten
them. You can't just loosen them. They must
actually be dissolved.
When dissolved, they can be removed with a
simple wiping of the face which is the right
way! Wlien you try to squeeze them out or
steam them out, you do more harm than good.
You destroy delicate skin tissue and make tiny
scars in your skin. Not only that, you make the
pores still larger so they can collect still more dirt.
Dissolves Waxy Dirt
Lady Esther Face Cream deals with this waxy
dirt in the scientitic way.
It softens it — dissolves it. It makes
it so soft that a very light wiping of
your skin takes it off.
There is no taxing of your skin, no
stretching of your pores.
When your pores are completely
cleansed of the plugging malicr,
blackheads automatically disai)pcar.
Also your pores automatically come • City.
FREE
(You can paste this on a penny postcard) ('i2)
Lody EslluT, 2062 Ridge Avenue, Evanston, Illinois
Please send me liy return mail .1 purse-si/.e lube of Ludy
Esther Four-Purpoee Face Cream; also all live shades of your Face
Powder.
Address^
(If you live in Canada, write Lady Esther, Ltd., Toronto, Ont.)
SiLVHR ScRnnN
13
news • • •
• • • wlieit tikis romantic trio
make their new kind of love!
Sweethearts wKo might as well
live in glass houses . . . their kisses
crash the headlines and their
nights of romance sell "Extras'
in the morning! When they thrill
. . - the world thrills with them . . .
and so will you ! — especially over
Tyrone Power, the new star sen-
sation of "Lloyds of London" in
a role even more sensational '
14
Silver Screen
Silver
Screen
Topics
For Gossip
[ UISE RAINER and Clifford Odets have
J— I' evidently decided to be Hollywood's
most unconventional married couple. They
are to have their own separate domiciles
so that when they are working they can
concentrate on their respective careers. If
Odets wants to work late at night or early
in the morning, as playwrights have a habit
of doing, he doesn't have to worry about
disturbing Luise, who, on the other hand,
can act all over the house when she is in
the throes of a picture without upsetting
Odets. This was last tried by Claudette
Colbert and Norman Foster and didn't
seem to work out so well after six years.
But in the case of Fannie Hurst and her
husband it has worked beautifully for over
fifteen years.
T ILI DESTE, xvho co-stars with Edward G.
■L-< Robinson in "Thunder Over the City,"
an English picture, is a little uncertain in
her use of the Anglo-Saxon tongue. Re-
cently signed on a contract by Columbia in
Hollywood she told the publicity depart-
ment, "One thing I cannot do. I positively
cannot slim."
KENT TAYLOR is showing his favorite
fan letter around Hollywood. It reads:
"Dear Mr. Taylor-I saw your last picture
six times. You were marvelous. Please send
me an autographed cushion."
WELL, there's just no telling what
some people will do. One of the wait-
ers at the Brown Derby is so movie-star-
mad that he buys all the star-used table-
cloths from the restaurant for his collec-
tion. Among his pet exhibits is a tablecloth
with a drawing of a cow by Tyrone Power,
another with an impromptu joke hastily
written down by Eddie Cantor, a game of
tit-tat-toe between Joe E. Brown and
Arthur Treacher, the first two lines of a
poem by Robert Taylor, and a stock market
ticker drawn by Ben Bernie.
/~^LIVIA DE HAVILLAND has won ex-
actly twenty-five inter-frateinity Ijeauiy
contests staged at various colleges and uni-
\crsities throughout the country. Fifty mil-
lion freshmen can't be wrong.
WHEN Alice Faye was asked by an
interviewer what 1936 had taught her.
Mice answered: "That love is news." Which
is pretty smart of Alice. She and Tony
Martin are still in the clinches.
WHEN Kay Francis returned to Holly-
wood after her recent European
ramble she brought her friends do/eus of
hand-made Tyrolean dolls, beautifully out-
fitted, and each doll is
equipped with an amaz-
ing yodel. By the by,
Kay returned to Holly-
wood a whole month
before she had to start
a picture, something she
has never done before.
Is Europe slipping?
#— "
'Turn about is fair play, says Hollywood.
^ Margaret Sullavan up and married Kath-
arine Hepburn's best boy friend, so now
Katie gets Maggie's Broadway play "Stage
Door" to star in for RKO. It is generally
conceded by tlie wise guys of cinema city
that that little commotion in Chicago over
Howard Hughes, the record-breaking avi-
ator-producer-playboy, might just be a bit
of publicity to help put Katie's play ("Jane
Eyre") over. Publicity or not, we wouldn't
be knowing, but we do know that Hughes
has flown Hepburn East in his plane sev-
eral times and they are quite palsy.
And you've heard by now, we rather
imagine, that Miss Sullavan is going to pre-
sent her agent-husband, Leland Heyward,
with an heir.
._.<^._,
"Jean HARLOW will wear her enormous
star sapphire in "Personal Property."
It's only 152 carats, and guaranteed to be
the biggest star sapphire in Hollywood. A
present from William Powell.
CUNDAYS never find Barbara Stanwyck
and Bob Taylor in Hollywood. At the
crack of dawn they are oil for Barbara's
ranch in San Fernando Valley where she
and Marian Marx are breeding horses to
sell to racing stables. Bob and Barbara
like to ride, though "nothing fancy" says
Barbara. But right now they are doing
more painting than riding— there're miles
and miles of fence to be painted. At the
end of a Simday on Barbara's ranch Bob
looks more like an old cowhand from the
Rio Grande than he does like Miss Garbo's
Armand.
AiMN SOTHERN is the first in Holly-
^'.vood to )C(c'ive a gift from that strange
collection known as Surrealist art, recently
exhibited at the Museum of Modern Art in
"Oh, look! Peggy
O'Connor — that's me
— is appearing in 'Two
Shall Meet.' Gee whiz!"
New York City. Ann's gift was purchased
for her by her husband, Roger Pryor, on
one of his hurried trips to New York, and
features a group of loosely related objects,
which include a whiskbroom, a hatband,
the whisker of a cat, and a gilded thumb
tack. The painting is appropriately titled
Sensation a la Mode and Ann has placed
it in the cellar where it will not upset the
servants.
» — — .
VY/'HEN Dick Cromwell returned from
Europe he brought with him Su-
zanne Eisendieck's "Entr'acte," an oil paint-
ing which he purchased in London and
now regards as one of his most cherished
possessions. And so, with his own new por-
traits of Katharine Hepburn as Mary of
Scotland, Katherine Cornell as Juliet, and
Garbo as Camille, Dick recently held a
combination sho\ving and cocktail party
at his hillside home, with everybody hav-
ing much fun except Dick himself who had
just had his sinus opeiated on.
THERE is a great flurry of house-building
going on in Hollywood now. People
who h'dxe never o\vnecl a house before all
of a suddcji ^vant to be landed gentry.
Ginger Rogers is one of the latest to build,
and bought her property frotn Harold
Lloyd on the top of Be\crly Crest. Her
house \vill be a typical farmhouse, she de-
clares, with nothing Holly\\oodish about it
except a leiuiis court and a swimming pool.
• — —
T^HE color scheme of Garbo's new dress-
ing room is Cjuile a departure from the
drab gray and brown she has always pre-
ferred. This lime she has chosen red and
white and her furniture is modernized
French. ^L^ybe she is going to be a gay girl
after all.
15
To Everyone
Tfiere Oomes
/\ Time
W^Ken Life
Is At Its Peak
By L
THE
Bette Davis one
day saw her life
blossom and her
whole future
change.
Moment
VANITY, Vanity, all is Vanity, sighs Rembrandt (superbly
played to the teeth by Charles Laiighton) as he paints
another picture of himself in the final fade-out of England's
magnificent production based on the life of the Dutch Master.
This remarlc was not very original of Rembrandt, it had been said
many times before by better authorities, and it certainly has
been said many times since. It seems to be rather generally con-
ceded that whatever "all" is, all is Vanity But non-conformist
that I am I now raise my thin piping voice in protest. All may
be Vanity in your town, and in yours, and in Mr. Rembrandt's,
but in Hollywood all is not Vanity, no, my children, all is
Emotion.
That is the unique characteristic of Hollywood. It is an emo-
tional town. Everything is based on emotions. I suppose it's
because the place is all cluttered up with a lot of artists, an
emotional race at best, who have just enough of the divine spark
in them, and just enough of the ham, to make them go com-
pletely nuts at the drop of a hat.
In the world outside of Hollywood success for a girl, I am
reliably informed by some Easlern jjcople I met at the racetrack,
consists of a fine husbatid, a bcauliful home, a family, and niontv
in the l)ank. The big moment in her life then is ihal occasion
when the realization comes that some of these desirable luiglus
have been taken. But the big moment in the life of a Hollwvoocl
16
glamour girl rarely has anything to
do with a husband, a home, family,
and money in the bank. Perhaps if
you have nothing else to do right
now. and pretencl you haven't be-
cause I am very sensitive, you might
find it interesting to in\estigate with
me the big moments in the lives of
a few of the more glamorous stars,
viz., Janet Gaynor, Bette Da\is, and
Jean Arthur.
"The biggest moment in my life," Janet told me on the set
of "A Star Is Born," in which pictme Janet goes comedicinie
again and plays a movie star, "ihe biggest moment in mv life
was the night of the world premiere of "Seventh Heaven'— Mav 8,
1927, I'll never forget that date— at the Carthay Circle Theatre
in Los Angeles. The big thrill, for me, and it was a wonderful
sensation, came at the end of the picture when the audience, as
one person, expressed its approval of the production with thun-
derous applause. I knew then that the picture was a success, and,
in a \aguc way, I realized what it would mean to me and my
lutuie oil tiie screen.
" riie lirsl time I sn \v the stnge pioductioii of 'Seventh Heu\en'
in I, OS Angeles I was eager to play the part of Diane. The idea
lingocd in my mind all
ihi'out;!! the years. I wanted
to poiLiay that role more than
anything else— it was ni\ fa-
\(niie wish, the thing nearest
my heart. And, 1 believe my
next biggest moment was the
time Winfieid Sheehan told me
1 was to play the part. I
couldn't sleep for nights, I was
JO happy. And when I actually
began work on the picture, directed by Frank Borzage, it
was like a dream come true.
"But that night at the Carthay Circle will remain forever
the highlight in niy life. There I ^vas— an unknown player—
and to feel that I had really won a niche for myself on the
screen, at last, was an experience that comes but once in a
lifetime. AVhile I felt the greatest exultation, I also felt very
thankful and extremely grateful to everyone concerned in
the work— and I still do!"
Janet, you perhaps don't kno-\v, was assigned to the role
of Diane without ever having had a test for the part. Frank
Borzage ^vent on the set of "The Return of Peter Grimm
one day when Janet was making a scene under the direction
of Victor Schertzinger. As Kathie, she was seated at the
piano playing a conrposition for Peter in a sequence where
he is ill, and as she played and smiled, the tears were in her
eyes. Borzage was so impressed he spoke to producer Sheehan
about the little Gaynor girl. Incidentally, tor the records,
this was one of the first times in pictures that a girl had
smiled through tears, and so famous did it become that for
months afterwards they referred to the performance at the
studios as "doing a Gaynor."
Later on, when the great director Murnau came to Holly-
wood to direct "Sunrise" for Fox, he ran off "Peter Grimm,"
among other productions, with a view to selecting his fem-
inine lead, and believe it or not, he too was so impressed
with Janet's "smiling through tears" scene that he imme-
diately deirianded her for his picture. "Sunrise" was six
months in the making and Borzage waited nearly a year
before Janet was available for "Seventh Heaven"— just to
show you how much he wanted her. "Seventh Heaven" was
released before "Sunrise," so many people have thought
"Seventh Heaven" was made first. Janet came to "Seventh
Heaven" with' all the priceless knowledge of screen acting
which she had gained through her long association with
Murnau, whom Death claimed about five years ago in an
automobile accident on the Malibu road, en route to Santa
Barbara.
Getting fired is rather an emotional experience. But get-
ting asked back by the same company that fired you with a
big raise in salary is exen a more emotional experience. Few
girls have the chance to feel this excruciatingly pleasant
sensation either in Hollywood or in the outside world, an:l
I didn't need those Eastern people at the racetrack to tell
me that. It's been a pet ambition of many of us, alas. But
Jean Arthur actually experienced it, and she admits that it
was a grand and glorious feeling, in fact she's selected it for
her big moment.
.\s you probably know, some five years or so ago fean
Arthur was under contract to Paramount but the only kind
of roles she ever got to play were sweet little ingenue.
"I was nothing but a prop ingenue," said Jean with con-
tempt. "I either had to register fright, very prettily of course,
while Mr. William Powell uncovered the murder, or else I
had to smile sweetly in the background while Clara Bok,
Dick Arlen, Gary Cooper and everybody else on the lot did
things. And they laughed at me Avhen
I suggested that I might like to act
sometimes too."
When her contract expired Para-
mount failed to show the slightest in-
\ terest (this is the equivalent of being
fired in Hollywood), so Jean, pretty sore
about the whole thing, packed her bags
and left for New York with a nuts-to-
you to the cinema. Despite Ne^v York's
objection to movie trained ingenues
from Hollywood, Jean, after she had
had time to nurse her wounds, had no
trouble at all in getting herself cast in
"Foreign Affairs" with Osgood Perkins
and Dorothy Gish. The play Avas \vell
recei\ed by the critics, and so was Joan
After that she pla)ed in "The Man \Vho
Reclaimed His Head," "Txvcnty-fne
Dollars a \Veek," and "The Curtain
Rises. " Her hurt with Hollywood son
of appeased by then, she decided to
lake herself a \acation with her familv
on the roast, ^\'hile here Columbia in-
duced her to sign a
contract with them,
and afier lier appear-
ance in "The \\'hole
Town's "I alking" with
I'.ddic Robinson. Hollv-
\\ood. sat up straight
and took notice of the
little Arthur girl who
used to smile so sweet-
ly while Mr. Powell
\C())il. on paf^c 72]
(In oval) J.inct Gay-
nor, the girl for whom
the tide has never re-
ceded since her great
moment. (Left) Life
has been very thrilling
for Jean Arthur, ever
since the day when her
dream came true.
17
i Girls They Won
The Bachelor/
Have Their Pi
The Girls B
The flowers were O. K. but
the romance did not blossom.
(Right) The girl knew what
she wanted but she got the air.
THIS story actually began the night one of the nicest kids I
know swung himself into the living room of his home where
four of us— including his mother and father— were playing
bridge. And it made us feel not nearly so Older Generation as we
thought we were when he confided a problem.
"What does a girl expect when you date her?" he asked, giving
the ottoman before the fire a vigorous kick. "I've been saving up
two weeks for tonight. I got her a smooth corsage and took her
dancing at that new place on the Shore Road. But she started
to beef the minute we got in . . . Didn't like where the table
was— well, I can't afford to give the head waiter a couple of bucks
for a table right on the floor. She didn't like the music— and told
me how much better the band was where she went last week.
She didn't like . . . oh, why go on? Say, what's the matter with
girls? Why don't they give us a break?"
"And yet I'll bet you take that same girl out again," the lad's
father said, doubling my six spade bid.
"I'll take that bet— anything you say. No sir, that noise like a
chicken after a worm was me scratching Isobel off my list."
And, although it was no time to think of anything but how
to play that little slam doubled and \ ulnerable, I began to think
about this Isobel. I thought about how she was going to feel when
a lot of boys started scratching her off the list and her evening
dresses hung in her closet quietly going out
of style while she wrote letters to good old
Bee Fairfax asking why she wasn't popular
any more.
"There are many Isobels in the world,
plenty of girls who think that their pres-
ence—no matter how grudging— is all that
is required of them when a lad takes them
out. And at the risk of being accused of
sedition to my own sex I see the lad's side.
After all, he puts up the money for the
date, he makes the plans, calls for you and
brings you home. It seems to me that no
matter what happens you get the best of
the bargain. So it's as little as you can do
to make the evening a pleasant one.
But, instead of being a traitor to my sex
I'm a philanthropist lor I decided then and
there— we went set two because of my think-
ing about Isobel and her kind— that I'd go
straight to the source and find out from
Hollywood's most fascinating young bach-
elors just what they expect from the girls
they date— how a girl should behave to
make herself popular. Robert Taylor
^\'hen all the material was gathered
I discovered that opinions differed. So
the best way for you girls to apply
Hollywood male psychology to your
own case is to know what type of boy
is taking you out, find his prototype
among Hollywood men and in that
^vav you'll know how to behave to get
dates.
Robert Taylor speaks from long ex-
perience, and some bitterness. He has
dated some of the most charming girls
in town— Irene Hervey, Cecelia Parker, ;
Janet Gaynor, Eleanore Whitney and
now, of course, Barbara Stanw)ck. I think you can look at Bob
(and apparently that's what hundreds of thousands of girls
throughout the country are running to the nearest pictme em-
porium to do) and tell he's no cheap skate. That's right. Today
Robert Taylor shows a girl a grand time because he remembers
those gaunt, hungry days when he and Irene Hervey did the town
on about fifty cents.
Now Bob can afford the Troc every night. But it really doesn't
matter about the money. A boy pays a girl a nice compliment
Eric Linden
Owen Davis,
18
(Left) A girl, a pet dog and
a man saying "Never Again."
(Above) She tried to
brighten up the evening
but then it went sour.
cier-the-skin from
wants appreciation
^vhen he takes her
out and it's up to
her to show some
appieciation.
Bob Taylor, like
his brothers-un-
Maine to Mexico,
too. "It burns me
up," he said, slapping make-up on his
handsome brow, "to bring a girl a
couple of orchids that I've carefully
selected, that I've gone to the trouble
of having made up into a nice corsage,
and then have her take them as if they
were some tired old geraniums, saying,
in that bored voice, 'Oh, so nice of you.
Thanks.'
"I think girls do that to impress you,
to make you think they're used to hav-
ing a truck load of orchids drive up to
the house every day. Maybe they've got
Erik Rhodes
/ The orchestra
was swell, the
floor was fine,
but the girl was
a sitter-outer!
some cockeyed notion that they don't want to 'spoil' a
man. But nobody is spoiled by a little enthusiasm and
appreciation. It doesn't hurt her to break down and
thank a guy sincerely for the flowers he brings."
It's pretty hard to think of anything else but him
when you're talking to Bob Taylor, but I forced my-
self to think of Isobel and the corsage my )oung
friend took her. They weren't orchids. (Only rich boys
like Bob Taylor can afford such flowers.) But the cost
of the corsage doesn't matter. The attitude is what
counts. Soap weed or camillias, graciousness is expected.
Bob doesn't like a girl who talks too much. She should be
dressed neatly and with taste but never in a flashy manner. And
he, along with every other man in the -world, hates to see his
girl make up in public.
Bob's girl must be a good sport (that describes Barbara Stan-
wyck all right) and more interested in him than in the place he
takes her to. He can't abide the demanding t\pe. In other words,
the petty golddigger can do her panning in another stream.
It infuriates Bob when the girl says, " Oh. let's not go there
—nobody -iviil be there. Let's go where the crowd is."
"That's like a glass of cold water right in the face," said Bob
pat ing in some cold ^vater with the grease paint. "Maybe I'm
wrong but when a girl pulls that I get the idea it's not me she
likes but a lot of other people. Oh yes, she must be a good dancer."
Eleanor Powell seems to think that Jimmy Ste\vart is just about
ri ht as an escort. A lot of others think so, too. Jimmy isn't hand-
some, in the strictest sense of that none too strict word, but he
has charm and humor.
"When I date a girl," he said, "she's got to be ready for any-
thing. She's got to be as crazy as I am. Maybe that's because I am
nuts but I say what's the use of a date unless you can forget every
trouble you ever had and cut loose. \V'hen
a girl isn't game for anything, when she
doesn't feel like getting u]3 from a table
at the Troc and going to the beach to ride
roller coasters then I sav it's s]:)inach."
There's another question that I think ihc
girls would like to know about. I took a
sort of straw vote on the matter not only
from the Hollywood bachelors Inn from
other attractive lads not in the pittiue
business.
Suppose yoin- dale wants to kiss yoti whew
he takes yoti home. Well, what ol ii? Is lhai
an) reason for getting on u)ur high horse
and roller skates and sa\ing, later. "Now
honestly what does he expect?"
If he's a nice, atlra<ti\e \oung man who
isn't going to take advantage of a kiss (and
certainly if you're smart )ou can tell what
K)rt he is after a couple of horns in his
society) then what's so wrong about it?
Girls make a lot of luniccessarv fuss o\cr
a good night kiss. To mosi decent lads it's
a laiily casual gesiiue of friendship and
\Coiil ill iii tl on Jitigc OS I
James Stewart
19
L LI D 1 N G
Melvyn is footloose
and happy a true
artist.
^xTARE
Melvyn Douglas Has
Never SurrendereJ His
Freedom. Long Term Con=
traets Do Not Interest Him.
By GUJys Hall
MELVYN DOUGLAS is a thief.
He steals applause and critical
acclaim and he either tosses them to
the dogs or over the back fence.
He is, in a word, a picture stealer.
For about once every year, for some time
past, Melvyn appears in a picture and im-
mediately the hair rises on the Holhwood
head and all of the best adjectives are
toted out. There are mutterings of "A new
star has risen! Gable and Cooper and Flynn
had better look to their laurels! Watch this
man Douglas!" And then the hair flattens
do\\'n and all there is to ^vatch is Melvyn
Douglas' dust. For the man himself is gone.
This has been going on and on until it
has attained the proportions of a mystery
which should be solved.
Think back and you'll understand what
I mean.
He made "As You Desire Me" with
Garbo— and Hollywood prophesied the rise
of a new star. Yet nothing happened.
He made "She Married Her Boss" with
Claudette Colbert and this time, said
Hollywood, there could be no doubt about
it. Douglas had "arrived." He was all set.
The dearth of handsome male stars was to
be lessened by one. Claudette, they re-
minded themselves, had proven herself a
"lucky star" for the men who played op-
posite her. Look at what happened to
Charles Boyer, Fred MacMurray and Clark
Gable when they were teamed with Claud-
ette . . . stardom for the first two, the
Academy award for Clark.
But no. For, again, Douglas picked up his
tent and, like the Arab, stole silently away.
He made "Mary Burns, Fugitive" with
Sylvia Sidney. He made "The Lone Wolf
Returns" with Gail Patrick. More recently
he made "The Gorgeous Hussy" with Joan
Crawford, "Theodora Goes Wild" with
Irene Dunne, and has just finished "Women
of Glamour" with Virginia Bruce, and will
soon be at work on "Angel," together with
Marlcne Dietrich and Her!)ert Marshall. It
was when "Gorgeous Hussy" was being
previewed that an eminent critic whispered
to mc "Am I crazy or is this Melvyn
Douglas taking the picture right home in
his pocket with him?" And I answered
20
"He's gone home with it."
So what?
Will he remain in Hollywood? AVill he,
figuratively speaking of course, bedeck him-
self with the jewels ht steals, with the fame
and fan fervor he has earned? Or will he,
yet again, vanish from the scene and the
screen, i eject the fruits of his triumphs?
I put the question up to him frankly.
I said, "You steal the jewels. What do you
do with them? Don't you want them?"
"No," answered Melvyn Douglas.
And his gray eyes, his strong nose, his
tanned skin and resolute mouth bespoke a
man who might well steal the jewels, find
them paste and reject them.
He doesn't look like an actor, this Mel-
vyn Douglas. He looks as though he might
be a surgeon, a prosecuting attorney, a
mining engineer, a diplomat. A man of
strong mind and strong hands, relentless
courage and a fierce integrity— that is Mel-
vyn Douglas.
"So you don't want all this?" I said,
waving a hand around the de luxe dressing
room suite on the Columbia lot, taking in
the stacks of fan mail, the piles of photo-
graphs waiting to be autographed, the
packets of press clippings on "Theoclora,"
the rows of costumes hanging in the ward-
robes, the make-up boxes, the whole purple
panoply of stardom.
"No," said Melvyn Douglas again, "not
if I have to have it at the price of some-
thing I want much move— my own in-
tegrity.
"I am a fortunate man as I see it. But I
suppose I might be considered an unfor-
tunate man, as the world sees it.
"I am fortunate because I don't want
anything Hollywood can give me one half
so much as I want the inner satisfaction
of doing what / believe in doing. I know
this sounds phoney, fine talk for the sake
of talking. But I am entirely sincere about
it. I mean it.
"Perhaps I can clear up the 'mystery,' as
you call it, by telling you something about
myself— something of which I have never
spoken before.
"I was born in Macon, Georgia, von
know, thai stronghold of conservatism and
iron-bound traditions.
"My father was a
Russian. His name ^vas
Edward Hesselberg. He
Avas a well known con-
cert pianist and com-
poser. My mother was
Lena Schackelford of
Kentucky, of Scotch
and English descent. Making my brother
and me, then, half Russian.
"I had a lonely childhood. We were
always on the outside of things. People
didn't take us in. ^Ve had to develop re-
sources within ourselves. And ^\■e did.
"I staged much alone. I ^vanted to be a
poet. I figured that a poet need not be
dependent on worldly contacts. A poet
could sit secluded in his attic and put his
heart on paper. Paper «ould not reject
his heart and all its feelings. I thought of
Byron with his club foot, the sickly Keats,
the ostracized Shelley— yes, no doubt of it,
my place was \vith the poets.
"I read omniverously. I learned that it's
what a man is within himself that makes
for happiness or the reverse. I learned that
the acclaim which the world has to give
is not one-tenth so important as what the
man is within himself. I learned that lesson
early. I believe it still.
"I had to be self-sufficient, you see. I had
to believe that the «orld of ideas is more
vital than the \\o\\A of people. I did be-
lieve that. And I still do. I played John
Randolph in 'The Gorgeous Hussv' with
deep conviction because ! am kin to him
in that I, too, -(vould sacrifice fa\our and
even love for an ideal. I have the makings
of a fanatic.
"I had to store up treas,ures within my-
self. I knew then, as I know now. that
these are the only treasures \vhich are in-
corruptililc.
"I gained a sort of contempt for ^^'hat
my neighboins thought or did or had to
say about me. It wasn't important what
anyone thought about me so long as what
I thought aboiU myself was all right.
"This," said Mcl\\n Douglas, "is the real
stor\ of me, the whole siorv of what I
am today and will continue to be tomorrow
and tomorrow. It was
born in my blood, it
was bred in m) bone, it
gre\\ with my growth.
"I took the name ol
Douglas, when I began
to have some success on
the stage, tor obvious
reasons," smiled Melvyn.
"The name of Hessel-
berg ^vould not lend it-
self to electric lights. I
have some legitimate
right to the name of
Douglas. For during my
childhood my mother
told me grim and ex- i''*''" f'<"i<2
citing tales of the 'Black
Douglas' of Scotland
from which clan she was descended.
"AVhen, at first, I wanted to be a poet
my mother and father objected. My father
wanted me to follow in his footsteps. My
mother ad\ocated the legal profession. My
father used subtle influences to persuade
me to his calling. He saw to it that I at-
tended all of the better concerts: walked,
so to speak, with Brahms and Beethoven
and Mozart and \Vagncr.
"My mother, on the other hand, took me
to court as often as possible so that, when-
e\er a big case was being tried, I might
hear famous attorneys pleading, cross-
examining.
"This friendly tug of war between my
parents was good for me. It strengthened
and emphasized my determination lo be
only \vhat / wanted to be, to do only what
I wanted to do. It has stood me in clcfmite
good stead here in Holly^vood. For when
agents and producers are advising and
cajoling me to do those things in which I
do not believe, I am, again, the small boy
With his wife, Helen Ga-
hagan, the well-known ac-
tress, and their son, Peter.
(Above) A scene from
"Women of Glamour," with
Virginia Bruce.
who, at a concert,
said to himself, 'No,
this is not for me!'
. . . who, in court,
thought, 'No. no, I
do not belong here!'
"I spent my boyhood in various schools
about the country and one school year in
Germany. My father was on toiu", you see,
and the family went with him. This also
contributed to my isolation, socialh. I
couldn't make many real friends. \Vc didn't
stay long enough in any one place. I had
very liltle spending mone> . few indtilgcnccs.
And so I have nc\er (k\rl()|icd an) tasie
for hixiny. I watched n'ly father doing the
thing he loved bcft in I he world. And I
f,a\v that he was salislied with \ery little
because he ^vas doing the thing he loved.
"It ^vas when I ^vas in school in Toronto,
Canada, that I made my first attempt lo
rim :\\\i\y from what I was doing. I tried
to join the armv via Ihc Scotch Highland-
ers. I lied about my age. But I didn't get
away with it. My parents found me and,
firmly, took me home again.
"It was while we were in Lincoln.
Nebraska, later on that my father, being
director of music at the High School there,
was asked if he ^vould have any objections
to his son appearing in the school drama-
tics. No objections forthcoming 1 appeared
in several high school plays. My first ap-
pearance on any stage was as a Hindu in
'The Little Princess.'
"But again I ran away. Then, as now.
that inner voice, that prompter, call it
what you will, urged me, saying 'Enough
of this! Get out! Get a\vay! Escape!' And
that time I succeeded. I enlisted and spent
the Avar years in a medical corps at Fort
Lewis, Washington, .^nd there I developed
a tremendous admiration for surgery, for
medicine. I thought of entering medical
school \vhen, if ever, the Armistice should
be signed."
"But after my 'honorable discliarge'
from the .^rmy I was visiting in Chicago
and there ran into an old acquaintance (an
actor who had starred throughout the
Middle West) who had seen me in school
pla\s. His name was 'William Owen. He
prevailed upon me to join his school of
acting. I did. I was given personal coach-
ing, did parts in plays produced and, later,
Owen organized a repertory troupe to play
the Middle "West again. I learned, later,
that his real reason for oi-ganizing the
troupe \vas to give me an opportunity to
gain actual stage experience.
"This was in 1919. We
did Shakespearean pro-
ductions. My first profes-
sional role was that of
Bassanio in 'The Mer-
chant of Venice.' And for
the next eight or nine
years we toured and did
Shakespeare. I spent two
years with Jessie Bonstelle.
Later, in Madison, ^Vis-
consin, I owned and
managed my own com-
pany. I was doing weW.
Gaining a reputation.
Sa\'ing money. Everything
rosy. Suddenly. I got what
the poets would name the
'call,' what the layman
\\ould call the 'itch'— 1
drew out of the bank the
few thoirsand dollars 1
had laboriously saved,
paid otT my company and
went around tlie world. I
threw it all overboard,
the' years of work and
training, the name I was
beginning to make, the
money I had saved.
"Sounds a trifle fantas-
tic, doesn't it?" laughed
Melvyn. "But if you want
me to tell you the ^\hole
truth about m\self I must
tell you the deepest truth
in me which is that I've
got to be satisfied with
whdt I am doing or its no go and / go.
.^nd big money, glamorous fame and recog-
nition do not satisfy me tnilcss I know
these things are soundly backed up.
"It wasn't until 1928 that Broadwax and
I finally got together, and I played the
pi\n of Ace ^Volfgang in 'A Free Soul.'
Clark CJable plaiicd that part later on the
screen.
"I m.'Hle se\cral jjlavs— 'The Silver Cord'
with Laura Ho))c Crews, 'jealousy' with
Fav Bainter, '1 he Command To Lo\c.'
'The Comeback,' 'Tonight or Never' and
some others.
"Fhe last named marked the biggest
milestone in my life. It was the last play
I")a\ id Bclasco exer jiroduccd. And starring
in it was Helen [Continued on page 61]
21
Every y^car HoIIy-=
wood Harvests TKe
Cream
(Below) Doris
Nolan has
shown those
qualities that
the critica
public warmly
supports.
BELIE^'E it or not, talent, real talent, is
scarce! This is what every motion pic-
ture studio is discovering as the search
for new stars goes on at a frantic pace. The
tremendous demands made by the screen,
the stage and radio, during the past few
years, have sent scouts scurrying into the
world's by-ways looking for personalities
that will please the entertainment public.
The screen offers the greatest test; it re-
quires a combination of peculiarly exacting
qualities to win fa\or and be developed
into popular star material.
Selecting a cast has become a hectic busi-
ness and the big shots, such as Gary Cooper,
Jean Harlow, Clark Gable, Pat O'Brien,
Joan Cra^vtord, Herbert Marshall, Jean
Arthur, William Powell, and others of this
brilliant group, would each have to be
quintuplets to fill all the roles offered to
them.
There's another reason why it is neces-
sary to unearth new talent. Time takes its
toll and the scintillaters of today may be
slipping tomorro\v; producers must be
ready to replace them. The screen joins the
historic cry, the King is dead, long live the
King! When a star's light begins to fade,
few ivait for the curtain to fall, they
quickly change their allegiance to a new
idol. Fame goes that way.
What is it that makes a player click and
become a cinema star? No one knows. The
best ans\ver seems to be personnlily ; that
mysterious, indi\idual essence that lilts one
person from tlie surrounding throngs and
places him among the stars. The very
clusiveness of personality intensifies its
power; you either have it or you haven't.
It is delniitti) something that is born in
one. It may be developed or it may be
stilled, but it can never be created.
Last year markeil the discovery of Robert
Taylor, Errol Flynn, Frances Farmer, Elea-
nor Po^vell and James Ste\\art, all of Avhom
have become established favorites, and as
this is the season of prophesying, let's do a
little on t>ur own. I believe that Tyrone
Power, Jr., Doris Nolan, Sonja Henie, Tilly
Losch, ^Vayne Morris and Dorothy Lamour
will be the cream of the present crop and
destined to reach the top during the next
twelve months. ^Vhy? Because each of these
players clicked decisively in their very first
picture. They stood out as distinct personal-
ities, focusing attention and stirring the im-
agination to such an extent that they are
receiving, literally, bushels of fan mail.
While differing widely in background,
temperament and talents, these young play-
ers are linked together by a bond of sim-
iliar experiences, consisting of training since
youth, dogged determination, and courage
—a sublime sort of courasje that nothinsr
can break.
There's Tyrone Po\\'er, for instance. He
captured rave notices in his first U\o pic-
tures but the great moment came uhcn he
was chosen to play the leading role in
"Lloyds of London," the ambitious Twen-
tieth Century-Fox production. As the ro-
mantic young idealist, Jonathan Blake, he
passed beyond the probationary period
entirely, (lis|)laying the magnetic quality
that sk\r(Kkclcd him to instantaneous star-
dom. His portrayal nas amazinglv sincere.
12
IE
Crop
assured and force-
ful.
This tall, hand
some youth was
born in Cincinnati,
Ohio, in 1914, the
son of well-knoAvn
theatrical parents.
From the first he
was destined for
the stage and had
his start, wliile still
very young, with
Fritz Leiber's Shakespearean company. Years
of hard work, sacrifices, even hunger,
fostered his talents. He had enough troubles
to make him understand and visualize hu.
man emotions, and so, became a real actor.
It was at his blackest hour, while occupy-
ing a spare room in the home of his friend,
Michael Strange, who donated it to him
until he could get a job, that Tyrone was
"discovered" by Katharine Cornell. Miss
Cornell was appearing on Broadway in
'Tlowers of the Forest," and not having the
price of a ticket, he decided to call on the
manager, Stanley Ghilkey, whom he knew
sliglitlv, and ask for a pass. Before he could
open ills lips, Ghilkey was asking him to
become understudy for Bmgcss Meredith,
the leading ni;in. llien, handing him a pass,
urged thai he (.juh the show that night.
So liis luck bewail, llis undiistiidy period
was brief and soon he was ap|Haring prom-
ineniiy with Miss Cornell in. "Romeo and
Julici," and in "St. Joan." It was during
the rini of "St. Joan" that
Tyrone was signed by the
Dorothy Lamour far-\ isioned Darryl /.a-
emerged from nuck, production chief of
the jungle as a IWenticth Century-Fox
princess, and studio.
now the ituture Despite his sensational
is a royal road, success in "Llo)ds of
London," this shy, imaginative boy is keep-
ing his head and going right along in the
business of scoring again in his new pic-
tures, "Love is News," and "Cafe Metro-
pole." His romantic appeal is definite. With
a soft, well modulated voice, eyes that are
warm and sympathetic, Tyrone is every
woman's sweetheart and may become the
screen's next Great Lover.
Up to now his emotions have been stirred
only by ambition and rosy dreams, but to-
day he frankly admits he is in love 'with
sweet little Sonja Henie. Whether this ro-
mance will ever reach the wedding bells
stage is a question; both are very yotmg
and both are just starting on promising
careers. They go every\vhere together, fre-
quently accoinpanied by Tyrone's pretty
young mother and Sonja's parents, and it
is a gay five-some that attends footboll
games, picture previews, and even the
bright night spots.
Doris Nolan is another prize package,
clicking in her very first film, "The Man I
Marry." Hearing the applause, Uni\ersal
studio signed her to a long-term contract
and rushed her into the leading role of the
elaborate musical extravaganza, "Top of
the Town," and now she's emoting opposite
John Boles in "As Good As Married." It is
all very exciting. Yet back of this sudden
success are years of hard work, sprinkled
with discouragements and heartbreaking
delays, but Doris is blest, not only ^vith
ability, but with a buoyant, joyous disposi-
tion and has taken every knock squarely
on the chin. She allows nothing to get her
down, her persistence overcomes every
hurdle.
Born in New Rochelle, New York, in
1916, Doris early determined to become an
actress and has nc\er wa\ered from this
plan. She apjjcared in school plays, she
studied acting and e\erylliing j)crtaining to
the thcalic, htcamc associated ^vith (he
famous Provinccto^vn Theatre, and made
her first big hit in the leading feminine
role in "The Late Christo|)her Bean." at
the Clifton Hollow Theatre, in Pough-
keepsie. New York.
It was here she look a set ecu lest, was
sent to Hollywood under contract to a lead-
ing studio but for some reason was never
pill into a pitturc. [Coiilnincd on page 70]
23
SYLVIA SIDNEY
IT HAS long been an unwritten law among the writers of
Holly wood— we fondly reler to ciirseh es as writers though
from time to time disajjjjointcd movie stars have ex-
pressed grave doubts— that stories anent Sylvia Sidnev should
be written not with the tongue in the cheek but practically
half way down the throat, causing sighs, sobs, choking
noises, and a definite inner contemolation.
Just as vi'e must be a:\fully gay- and cute ^vhen we ^vrite
about Lombard, frightfully chic and clever -when kg de-
scribe the goings-on of the Misses Hopkins and Dunne,
and overwhelmingly superlative when we give our all to
Dietrich and Garbo, it seems that when our typewriters go
rat-a-tating two hundred and fifty -i^-ords to a page about
Sidney, we must become as tense, as emotional, as turgidly
tragic as the last act of an .Ibsen drama.
How many times, how many, too many, have ^\'e written
"that lonely child of sorro\v" . . . "that sublime emotional
force" . . . "that brooding sadness which surrounds her like
a wall", . . . and don't forget
"poignancy," that's a swell Sylvia
Sidney word.
Now I'm sure 1 don't kno\v
why we should go so grandilo-
quently beautiful and sad over
Sylvia— except that she is the
greatest emotional actress on the
screen today, and it's probably
just our way of showing great
respect and admiration for her
art. But Ibsen's last acts, ivith
people rushing out into the night
to destroy themselves, alwaxs bore
me, and Sylvia doesn't, and even
though she is the greatest emo-
tional actress on the screen today
I see no reason why she shouldn't
be written about in a swing
tempo.
The close friends of that
"lonely child of sorroiv" utter up
little prayers continually that
Sylvia will never become involved
in a murder mystery. It will take
no Hercule Poirot, no
Philo 'Vance, no charming
Mr. Nick Charles, to dis-
cover that Sylvia was
the mysterious ivoman in
black who dined in the
late Mr. So-and-So's apart-
ment the night a bullet
lodged in his brain. For
once Sylvia has dined any
place, once she has even
sat any place for a tew
minutes, the rankest ama-
teur in the sleuthing
racket can establish her
identity.
Sylvia is one of those
nervous people who just
cannot make her hands
relax and the moment
she sits down her long
slender fingers reach for
something to tear up.
She specializes on small
packets of paper matches
—first she will shred all
the matches, putting them
into a pile, and then
she'll shred the cardboard
(Above) Sylvia at
the time she played
her first stage role
— "Prunella." (Be-
low) Little Sylvia
at the age of six.
covering. When the matches give
out, bits of paper ^vill do. If you
are a tidy soul and Miss Sidney
drops in for tea you'll just hope
and pray that she will bring her
knitting.
But what she does to those
matches is nothing compared
with what she does to the bread at the dinner table.
Syhia will not eat the soft part of the bread, onlv the
crusts, so she immediately digs out all the middle— if
she sees you watching her she gives you that famous
crinkh smile and simply sa\s, "I ha\"c been a proper girl
all m\ lilc. now I do as I please." There was that famous
Russian dinner party in Hollywood once— black bread
was SL'i\cd in the Russian tradition— where a dis-
tingiiislictl actress fresh from the British shores, and
natmallv ignorant of the maimers of Sylvia Sidney, sud-
denly looked down during the flaming shashlick and
shrieked, "Mercy, bugs!"
■When Syhia is in Hollywood— she always goes to
New '\ork bciweeii jjicturcs— she lives in the very smart
Colonial House ^vherc she keeps an apartment, most
24
attracti\eh fiunishecl, which consists of a Hving room, cHning
room, kitchen, bedroom, chessing room and library. Here you will
find hundreds ot book.s, none of them "props" and none of them
with elegaiit de luxe bindings, but all of them with the pages cut
and slightly mus.sed from reading. Don't ever start a conversation
on literature, music, or art with Miss Sidney unless you are def-
initely capable of holding your own.
In the \er\ smart Colonial House live other movie stars who
do not \\ant to be bothered \vith a house, and also rich people
from the East who get a big kick out of writing the folks back
home: "Guess who lives in the apartment above ours? That
adorable Sylvia Sidney! Isn't it thrilling!" But I regret to say that
it is only thrilling during the first few weeks— just wait until
Syhia starts ^valking! Then the poor rich people from the Tast
wonder if it hadn't been better after all to take the apartment
under the nondescript Joneses, not nearly so exciting, but at least
more restful. For that "sublime emotional force," "that flame of
genius thai biuns within"— or maybe it's just those fifteen cups of
coffee she drank during the day— will not let Sylvia sleep. So
when she can't sleep she walks. Back and forth, back and forth,
for hours on end. "I can think of more things I should do at two
in the morning," says Sylvia, "so I just get up and walk around
the apartment while I try to soh'e my enormous problems. ^V'hat
problems? Oh, ^vllethcr I shall call up Walter (that's her boss)
or wait and let him call irie up. Big things like that." And then
she gives you the crinkly smile again.
Bv the time eight has come along Sylvia has been up so long
that she feels that the day is nearly over, orders her lunch, and
begins to call up her friends, of 'ivhom Gretchen Messer, Para-
mount fashion editor, is probably the most long suffering. S'
ah\a\s says politely. "Did I wake you?" but before you can s
"■\'ou certainly did," Sylvia has started chatting away like
debutante at her debut ball.
She also has the amazing habit of suddenly going
some place, like Havana, London, or Newark, without
lelling anyone of her departure. But at five or six o'clock
some bleak dawn she will call her friends
and inform them of her whereabouts. Last
Christmas, for some reason, she went to
Quebec. So before sun-up Christmas morn
she called up people with dreadful hang-
overs in Holly-
wood and gave
them this; "Did I
wake you? Merry
Christmas, I'm in Quebec. Oh you know Quebec. Canada— Quin-
tuplets." \Vhen they got around to asking her ^vhat she was doing
in Quebec she merely laughed and hung up.
The location at Big Bear of "The Trail of the Lonesome Pine,"
which was just a pain in the neck to the rest of the cast, was
seventh heaven for Sylvia. While the other actors and working
crews were snarling and griping because they had to get up before
five to get the best results with Technicolor Sylvia would spring
out of bed, build her fire, break the ice in the water pitcher, down
five cups of coffee and be on the icy set as chipper as a meadow
lark. It was on this location that Sylvia spent her honeymoon.
Although she has never been a problem actress— she is adored
by studio grips, hairdressers, directors and publicity departments
because of her thoughtfulness, cooperation and entire lack of
temperament— nevertheless our little Sylvia was definitely a
Problem Child. A Problem Child being, of course, a child whom
adults fail to understand. She was born in Ne\v York City on a
humid August morning in 1910.
Her patents li\'ed in the populous Bronx district and just by
sticking her head out of the door little Sylvia with her grave
green eyes, black lashes and heart-shaped face could have had
dozens of little playmates, but it was soon evident to her distressed
mother that her child did not care for the friendship of children.
Neither did she care for dolls.
"School will fix all that," said Bea Sidney, hopefully, and as
soon as Salvia was old enough she was sent to kindergarten. She
spent exactly one hour in a little red chair making pictures with
a piece of chalk, then she got
^ up, went to the coat room, put
on her hat, and started for the
door. "But school isn't over,
dear," said the teacher. "I want
Sylvia Sidney with
Henry Fonda in a
scene from "You
Only Live Once."
to go home." said
Sylvia (she might
have grown up to be
Garbo) and home she
went. That deter-
mination is still a
distinct Sidney char-
acteristic. When she
wants to do anything
she does it.
Of course there were
other schools for Sylvia,
))lcni\ of them, but she
never liked school because
she felt she was always
being imprisoned. \Vhen
she was about nine she
staged the first sit-down
strike. Slic had been sent I<> a private school, to see if that would
make her more sociable, aiul al dinner e\ery e\ening of course
the kids were ser\ed bread and butler. S\l\ia has never been able
to stand the taste of biiller, and al home her mother and father
ne\(r insisted upon her eating it. One of the teachers deiennineii
to break her sjjirii by foxuig her to eat butter on her bread, so
every evening at dinncT she found a new piece of bread and
butler added 10 the jjortions she had left [Coniinucd on 65]
25
Vo ICES In
Upper
(Upper right) Jack Benny
is head man on the air.
(Left) Wallace Beery has
the famous seriousness of
a comedian. (Right) When
Joan Crawford goes on
the air her experience
gives her poise. (Below)
The screen popularity of
Clark Gable gives him
prestige on any program.
THE greatest performance Joan
Crawford ever ga\'e? \ou ino\ie
fans can win bets on that one, be-
cause Miss Crawford's outstanding
performance wasn't registered on a
movie set, or in a night club. She
acliieved it, this epic performance,
iifi Studio No. I, of the Columbia
Broadcasting System, on Madison
Avenue, New York City, and there is an in-
teresting story woven into it, which will give
you a fresh slant on the trouping courage
of this youthful veteran of the screen.
She had been engaged to appear on the
Monday Theatre of the Air program over
the C.B.S. network. Harris Kirk, who ivas
then the program director for this particular
feature, tells me he didn't know exactly what
to expect from the screen's glamour girl. He
feared that she'd be teiuperamental, perhaps
a trifle superior to this new medium of enter-
tainment. But, at any event, he looked for-
ward eagerly to meeting her, no matter how
unpleasant the ordeal subsequently might
prove. To his amazement. Miss Crawford
came in somewhat shyly and difiidently. "I
don't know much about this," she told him,
"and I wish you fellows would help me out."
She couldn't have hit on a phrase with more
magic in it, because from then on, every-
bocly in the studio was in her corner. What
they had learned from experience was hers to
be tapped, and I dare say that no broadcast
ever ^vent through the C.B.S. channels
marked by so much genuine cooperation.
There was only one thing Joan insisted
upon. She said that she didn't feel comfort-
able in her high heeled shoes, and \\anted to
know if it would be all right to take off her
shoes and work in stockinged feet. Kirk as-
sured her that this would be perfectly al
right, so she walked o\er to a cliair, exposed
a dazzling flash of silken calf and returned
to the mike. "I'd better get you a rug to
stand on," suggested Kirk, but il de\cloped,
after the rug was placed in position, that as
she shifted her weight the rug skidded on
the floor. So Kirk put another rug over it
and then crudely stitched tlicm together with
the sort of piirs you occasionally sec in horse
blankets, huge things that might easily dis-
embowel a liorse, instead of holdinn his
(Above) Edward G. Robinson has
a "personality voice." (Right)
Lovely Loretta Young broadcasts,
but alas, television isn't ready
yet. (Upper right) The inimitable
George Burns and Gracie Allen,
everybody's favorite comic team.
26
BroaJcastmg Has To Be Right TKe First Time/ A4istakes Cannot Be
Corrected— ^^Nor All Your Tears WasK Out A Word Of It/^
By Ed Su
covering to-
gether. But it
worked. The
one rug, an-
chored to the
other, gave her a perfect footing in her
stockinged feet.
The broadcast started. Joan must have
felt that everybody was rooting for her,
Ijccause she turned in a magnificent job.
The men in the control room were
l)caining; Kirk was delighted. Then the
Tiipt called for her to back away from
I he mike, so that her voice faded in the
distance. Kirk heard a metallic rasp, and
lo liis horror, as he looked down where
the noise originated, he saw one of the
horse-blanket pins had sprung froin its
catch, and was directly in her path. Un-
able to call out a warning because the
mike was still alive, and too far away to
intercept her. Kirk ^vatched Joan's stock-
inged foot go up in the air and then de-
scend squarely on the ugly pointed pin.
Outside of the quiver that shook her, a
physical reflex she couldn't control, Joan
didn't express the shock of that sudden,
piercing stab in nnv way. With the pin
buried deep in the sole of her foot, she
stood there while the announcer signed
off, not knowing what had happenetl but
obeying the age-old diclimi of the theatre,
that the show must carry on to a success-
ful conclusion.
George Raft at a radio
mike delivers the goods.
(Extreme left) The voice
of Fred Astaire rivals the
popularity of his dancing
feet. (Below) Charles
Butterworth, a comedian
in any medium!
Kirk was at her side the
minute they went off the
air. Hastily he extracted the
blade of the pin, and called
hurriedly for a page boy to
bring iodine and a bandage.
From that moment on,
C.B.S. had a new conception
of Joan Crawford, and woe
ig betide anyone who steps into
—/ Fl any studio where Kirk is
working and starts rapping
the Crawford girl. He says
it was the most thrilling ex-
hibition of courage and
showmanship he has ever
seen, and radio has seen a
lot of famous movie person-
ages and world celebs under
pressure.
Radio spends a lot of
money to bring these movie
stars into your parlor. Clark
Gable's $6,000 fee for a sin-
j,le guest appearance is tops,
according to advertising
agency men familiar with
the money actually paid.
Marlene Dietrich and Joan
Crawford would rank sec-
ond, in the neighborhood
j,ooo. I asked one of the bigger
. York advertising agencies what
they would pay for a single radio ap-
pearance of Greta Garbo: "For her
first appearance, we'd give her $10,-
000." That is an interesting index to
Garbo's continued popularity, because
Mae West asked $10,000 from radio,
and nobody offered to pay it.
N.B.C. and C.B.S. attaches have
their own memories of broadcasts in
which movie stars participated. Clark
Gable, arriving east with two pairs
of shoes, showed up at the studio with
two LEFT shoes. Autograph hunters
had swiped the right shoes. Lionel
Barrymore gave them nervous pros-
tration. Supposed to arrive for a
Thursday rehearsal, he arrived Sat-
urday and blamed it on bad flying
conditions. His story was that he took
a train, but later investigation proved
that if he'd taken a train, as he said,
he wouldn't have arrived until Mon-
day. The radio moguls never have
been able to decipher that mystery.
Jack Oakie balked at rehearsals for
radio on his eastern appearance.
After three rehearsals, he grumbled:
"AVhat are you guys going to put on—
a radio program or a road show?" The
memory of Oakie's loud overcoats and
jackets still makes C.B.S. attaches
reach for smelling sails. Bob Mont-
gomery is voted by radio veterans as
the most entertaining of all studio
11
ivan
guests, a good-natured guy who doesn't
take himself seriously. ZaSu Pitts, in order
to get in the mood for her broadcast, rode
up and down town all afternoon in the
subway. All of them react differently but
all confess that the microphone terrifies
them.
Hollywood stars boldly barge into New
York City, unflinchingly face the battery of
newspaper cameras, fearlessly sit down at
boring dinner tables, gallantly meet the
serried ranks of screen magazine scribblers,
unhesitatingly dare the Broadway auto-
graph hunters to pull the clothes from their
backs— but when they enter the hushed
broadcast rooms of the New York Studios of
N.B.C. or C.B.S., that tiny microphone, in-
scrutable and mute, gives them the jitters.
Johh Barrymore, a veteran performer, was
not immune to the microphone fright that
overtakes the greatest names and personali-
ties in flickers. He had rehearsed diligently
and well at the advertising agency, but when
he walked into the broadcasting studio, he
took one look at the metallic little filter
through which he ^vas to address his pas-
sionate speeches, and said: "Gentlemen— I
am not a cowardly man, and I have looked
into the eyes of cold and sullen audiences
in theatres, but there is something so com-
pletely impersonal and so sneeringly elo-
quent about the microphone that I feel
an immediate urge for a drink." The studio
attendants were not astonished at the re-
quest, for the drink was produced immedi-
ately. They have seen gamei: fellows than
John Barrymore bulldozed by a microphone,
because these movie stars who are grabbed
for a single guest appearance in New York
rarely have had a great deal of radio ex-
perience.
There is a tension and an unnatural hush
in a radio studio that is well-calculated to
upset the most poised person. The program
director, with his eye glued to the clock and
his arm ready to signal that you're on the
air, has something of the eerie quality of
Robert Elliott, the tall, gaunt man of mys-
tery who periodically visits Sing Sing to pull
the switch that electrifies those sit-down
strikers who sit in the electric chair. The
metallic grimness of the microphone adds
to the suggestion that there is deep-seated
hostility in the immediate area. The hushed,
staring audience that is so unlike any other
audience, adds to the performer's uneasiness.
The lynx-eyed men in the control room,
looking out through their glass windows, as
if they were about ready to discharge the
bolts of electricity which they subdue or
intensify, become faiUastic figures if you
have a ready imagination. Small ^vonder
that Barrymore asked for a drink.
When the mo\ ic stars reach the N.B.C.
or C.B.S. studios in New York, they not only
are conscious of these physical depressants,
but there is a more important reason foi
ilu ir discomfort. The movies, which permit
lakes and retakes of any scene if a performer
laliers, is no training ground for radio,
which demands that the first perfoiinance
must be letter perfect. The radio, tniiike
the movies, offers no retake. .\ perlormci
\Cii\)lln\n"' (11! I>(i!i<' ~[]]
27
Love In A
Hideaway
Ann Sothern and Don Amecfie play the parts of the impetuous
lovers, Millicent and Peter, in this fiction story of "Fifty Roads to
Town," a 20th Century-Fox Production.
OVER a crude mountain road a very pretty young girl with
a will of her own was limping on her way out of the frying
pan into the fire. Or, to dress an old figure of speech
in words more appropriate to the occasion, Millicent Kendall was
leaping cut of the frigidaire into the wintry blast.
It was cold up around Hogback Mountain. The last leaves of
jummer scuttled before an icy blast. The last tourists of summer
had departed weeks ago. The resort hotels had closed; the summer
cabins stood dark and empty. That delightfully rural section of
New York state was curling up for its long winter sleep. The
road that Millicent traveled was certainly the last one that any
girl in her right mind would choose to travel alone, carrying a
heavy suitcase tucked under her arm.
She glanced fearfully over her shoulder as she stumbled along.
Every snapping twig and strange, sly noise of the forest was a fresh
al arm that made her hurry faster. The mud that squashed over
her silver sandals was half frozen. The wind lashed about her bare
legs and flapped the skirt of a silk nightgown that draped her
shivering body. Over the nightgown she wore a sports coat. She
had pulled a jaunty soft hat over her lovely hair. That was all
the wardrobe she had time to assemble ivhen she ran away from
home to marry the man she had set her heart upon.
Millicent's papa was a cyclonic captain of big business. He
didn't often say no tg her, but when he said she could not marry
LeRoy Smedley, a night club manager, he meant it. When Milli-
cent said to him that she was going to marry LeRoy, she meant
it, too. When an irresistible force meets an immovable object one
is very apt to discover a girl like Millicent limping along a deso-
late mountain road clad in silver sandals and a silk nightgoivn and
looking anxiously over her shoulder.
What Millicent feared to discover leering over her shoulder was
the face of an irate motor cop. He had hailed her for speeding
on the state highway. She stepped on the gas. He pursued. There
ivas an unfortunate moment when she knocked his cap off and
ran over it. Chased by the cop she darted up a side road. At
the end of the side road was a resort hotel just closing its doors.
While she tarried to use the telephone and notify the waiting
bridegroom in Rochester that she would be late, owing to cop
trouble, the irate cop caught up with her and seized the car.
Millicent kept on running away, but now on foot.
She was thinking a whole lot less about her romance with LeRoy
Smedley and a lot more about her chances of finding a cabin
when, suddenly, she found one.
It was a substantial affair built of logs. It had an impressive
rough stone chimney from which smoke was pouring. Peerino- in
she could see a fine fire on the wide fieldstone hearth and a room
filled with easy chairs and a comfortable couch; walls covered
^vith trophies of the chase, a radio, a phonogiaph, electric lights.
Millicent flattened her cute little nose against the window "and
heaved a mighty sigh of relief.
Nobody was in sight when she ventured in the door, but the
roar of water in a zinc lined shower bath, the gasp and gurgle
of a human voice and eventually tl:e joyous caroling of a mas-
culine bather promised her a welcome.
She was hesitating when the waterfall ceased, the jo)ous carol-
ing ended and a naked young man backed out of the bath,
groping vainly for the to\vel he' had left ready on a chair.
Millicent ^^■alchcd anxiously. He kept groping in the wrong
direction. Soap had blinded him.
"Right Ix-hind you," she prompted and clapped a hand to
her mouth, embarrassed by her daring.
The stranger leaped as leaps the wild tarpon uhen pinged by
the hai poon. He snatched the towel and cleared his eyes of soap.
^V'licn he saw his visitor was a young lady he draped himself
hasiilv, but when he turned about he was holding a pistol and
he looked as if he might fire it.
"I didn't expect you so soon. Step over to ihc fire." He meant
business. She obeyed. "Vou have a legal docmnont," he snap|)cd.
"Well, ha\e you?" Now she undcistood. .\ dctccti\e! One of the
jjack her lather was sure to set on her trail, "^■cs," she agreeil
28
faintly, her hand clasping the mar-
riage license she and LeRoy had
obtained in New York.
"Put it in the fire!"
She glared at him. She would
not! But that pistol meant business.
With a sob she tossed her ticket
to romance into the flames. "You
needn't think you've stopped me,"
she muttered. "I'll get another one!"
"By the time you get another,
I'll be so far away they'll never
find me."
"Find you!" What did he mean?
As heaven was her witness she had
not wanted to find him ... or
ever would. "You're working for
my father, aren't you? You're trying
to stop me from marrying LeRoy
Smedley aren't you?"
His ans\ver was a burst of laugh-
ter. "What are you doing here?"
she demanded.
"We won't go into that now."
His manner was firm.
"AVell, no^^' that you've spoiled
everything," she said bitterly, "I'll
be going . . . and spoil a few 'things
for you."
The pistol waved promptly. "Oh,
no you don't," he snapped. "You're
staying."
"But why?"
"Because," said the young man
patiently, as one
who reasons with
an inferior in-
telligence, "be-
cause if I let
you go, you'll
talk. And I'm
wanted by the
police."
So that was it!
He was a gang-
ster! This was
his hideout!
Millicent stared about her with fresh understandincr. u looked
like a hixunous hideout. And he looked like an unusual "ano^ster.
Not bad looking. Rather intelligent and with a su""e^tion of
a nice sense of humor which he displayed at the moment "I'll
bet you re hungry," he smiled. "Let's see ^vhat there is in the
kitchen.
He had been dressing while thev talked. Now he appeared
from behind the couch. He knelt liclore the chair where she sat
and deftly removed one sihe. sandal from her foot, "lust so
>ou wont take a notion to run away," he explained sweetly
In the cupboard they found ca\iar, hearts ol artichokes and
salime crackers. There was also a carton of tins of rattlesnake
meat on a top shelf, biu they voted against that
Peter Nostrand-that was the gangster's name-set the tabic.
I he summer camp to which both had helped themselves un-
invited contained all the little refinements in the way of china
and glass^vare. The repast of artichoke hearts and caviar looked
imprcssne.
In honor of dinner Millicent chained her clothes at last. In
her hurry she had put oiilv an evening dress in her ba-' It
lesealed a great deal more of the original Millicent than the
ni;4 ituown had, hut it was the best she could do and Peter's eves
vaid that he appreciated it.
Millicent slipped
on an evening
gown, daring
and smart, and
as Peter watched
her she turned
on the radio and
floated bewitch-
ingly before him.
TKe Lonely Cattn In The
A/lountains Sheltered A. Run=
away Girl And A Stranger
Trapped By Beauty.
By Jack BecKJolt
The roaring fire on the hearth made the room
warm, but the blood in her veins was icy cold with
terror. Dangerous Dutch Nelson! Suave and well
bred he seemed to be, but Peter Nostrand was
Dutch Nelson the killer . . . and she was spending
the night with him, alone in a mountain cabin!
Dinner was done. Peter looked at his wrist watch.
The hours had slipped by with Millicent's company
to speed them. Time for bed.
She was stretched on the couch. The firelight
flickered on her face, glowed in her dreaming eyes.
His voice broke into her meditations. "There's only
one bedroom, you know. Tell you what let's do.
We'll gamble for it—"
He explained to her the match game. Each player
had three half matches. In his hand he hides one,
two or three, or none as he chooses. Then each
guesses the total number of matches. Peter won.
"I wish you'd take the bedroom," he sighed,
"You'll be more comfortable—"
She smiled at him from the couch. "I'm very
comfortable here—"
He turned on her with a snap. "Get into that
bedroom," he said and to her sinprise she foimd
herself rising to obey. "Who'd ever believe an Am-
erican girl would ever take orders from anyone but
a foreigner," she murmured amazed.
He whirled on her. "What are you mumbling
about?"
She raced for the bedroom door. He reached it
as she did. Just for the moment, lulled by his
pleasant manner, his sense of humor, his courtesy,
she had forgotten that this ^vas Dutch Nelson, gang-
ster and killer. Now she remembered!
One hand on the door, she turned to face him.
a badly scared girl who was trying to look non-
chalant.
His face was threatening. His hand was in the
pocket where he had slipped the pistol. Now it
pressed something into her hand . . . the pistol!
"Take good care of that," he said. "It's the only
one I have." He closed the door between them.
Millicent, leaning against the door to regain her
normal breathing, heard him tinn away at last.
"Goodnight," he called sotti)'. [Cont. on next page]
Dinner was a success. Peter Nostrand had
exactly what she sus]iected, a delightful
bcnse of humor and definite charm. Cov-
ertly she studied him. And wondered. A
gangster? She couldn't believe it.
"I've got a bottle of vodka in my bag."
His rising interrupted her speculations.
"It ought to go nicely ^vith caviar."
"A little music would help too," Milli-
cent thought. She turned on the radio as
he left the room. Suddenly, interrupting
a broadcast of dance music, came a news
flash:
Dangerous Dutch Nelson, notorious
gangster is believed to have found a hide-
out near Hoglxtck Mountain in the North-
ern part of the state.
Police are determinedly
searching — " Officers reached
She heard his step re- the cabin but
turning. She silenced the two lovers
the radio and moved no longer feared
hastily away from it. the future.
"Goodnight," she answered just as soltly.
iMorning sun flooded the kitchen of the
cabin. Millicent wns alone. Peter had de-
pri\ed her of one slipper to raalce sure
she didn't get away, then had gone rabbit
hunting. He was tired of caviar.
She was splashing water over the dishes
when she heard the kitchen door open
and inquired without looking, "Did the
mighty hunter slay any ferocious rabbits?"
"Got one," answered a strange dra^^l.
"But he ain't very fee-rocious."
She whirled about to discover a tall,
gangling newcoiner in a coonskin cap,
mackinaw, overalls and high boots, Ed
Henry, a wandering native of the district. He
was dangling a burlap sack in which was
something. "Mornin" Ma'am," he grinned.
She flew to him, her eyes beseechino.
"Will you help me
get away from
here? There's a *
man here. He
threatens to shoot
me if I try to leave.
He's a gangster!"
"Feller's got a
gun, you say?"
"Yes. He's not
here now. He went
out to shoot
rabbits."
Ed Henry
chuckled apprecia-
tively. "He'd better
have a license!
Sheriff'll give him
heck if he catches
him shooting rab-
bits without a
license — "
"Will you please
listen to me!" she
screamed. She
poured out the
details. Slowly Ed
Henry began to
take it in. Girl
looked like she was
scared, all right.
Feller was a gang-
ster. And he'd
locked her slipper
in. his suitcase. Ed
considered it, got
an idea and began
to search the suit-
case for her slipper,
finding a bottle of
good Scotch that
interested him a
lot. He had just
found the slipper
when Peter r e -
turned without a
rabbit, but still in
possession of the
gun. ' >
"I reckon I'd
better be getting,"
Ed said uneasily.
"My w i f e ' 1 1 be
w o r r y i n ' about
me—"
"You'll stay,"
Peter said. "You'll stay imtil I'm ready to
let you go. I didn't ask you to come here."
Baffled and furious Millicent turned on
him. "You've just about sold yoiuself on the
idea that you're the seven wonders of the
underworld, but I'm through being scared—"
Just then the burlap bag that stood be-
side her bare feet gave a distinct wriggle.
She leaped back with a wild cry.
"I hit it with a stick," Ed Henry ex-
plained. "Guess I just stunned it." Out
of the open bag hopped a large cotton-
tail rabbit.
"The poor little thing!" Millicent cried
indignantly. She was cuddling the rabbit
in her arms.
"I was figurin' to cat it for supper." Ed
30
sighed with genuine longing in his voice.
"And so you shall, " Peter agreed. "I'm
sure we'll all enjoy it."
"But Where's the rabbit got to?"
They saw Millicent just emerging from
her bedroom. "Where's the rabbit?" they
chorused.
She put her finger to her lips. "Shush!
It's asleep!"
Ed Henry shook his head
in discouragement. "Had
my face all set for rabbit,"
he mourned, "but shucks,
ivhen a girl tells you you
can't have somethin' in this
country, you just got to
get along without it!"
Ed was right. They
dined again that night on
good view of the proceedings from her
couch. It ^\-as like watching an agile com-
petitor in a sack race. Peter's perseverance
was equalled only by his modest observ-
ance of the conventions. He ivoiild keep
that blanket swathed about him and when
finally it landed him crashing on the floor
she was obliged to turn her face to the wall
to hide her chortles. In furious silence Peter
Scene from Marlene Dietrich's latest
picture, "Knight Without Armor."
Robert Donat, famous for "Thirty-nine
Steps" and "The Ghost Goes West," is
co-starred.
caviar, hearts of artichoke and saltine
wafers. Ed didn't mind, but Peter and
Millicent were getting rather fed up
on them. As for the rabbit, it remained in
the bedroom, guarded by Millicent.
They played the match game for the
bedroom. Ed Henry won it. "Kind of a
kid's game," he thought. "Don't seem to
be much to it."
That left Peter and Millicent to share
the living room together. Millicent was all
right. She had the couch. It was a wide,
comfortable couch, as good as any bed.
Peter, s^vathed for the night in folds of
blanket labored in vain to maneuver two
chairs at proper intervals so he could ex-
tend him.self across them. Millicent had a
Quiet descended on the cabin. There was
a lovely calm, broken only by the snores
of Ed Henry in the bedroom. But still
Millicent did not sleep.
She lay on the couch, staring into the
dark, wondering about Peter. \\'ha.t a pity
he was a gangster!
Peter sat upright in his chair, wondering
about Millicent. Planted far across the
room as he was, he felt himself much too
close to Millicent for proper peace of mind.
Out of the darkness came a soft sigh and
Millicent's musing whisper, "I could kill
you!"
From the window where Peter's cigarette
glowed like a heart beat in the blackness
came his soft answer, "I could kill yon!"
In New York printing presses roared.
Headlines screamed COUNTRY COMBED
FOR MISSING HEIRESS. Police teletypes
chattered, "Millicent Kendall, daughter of
Jerome Q. Kendall . . . reward! . . Dan-
gerous Dutch Nelson. Racketeer killer. Re-
ward! . . . Millicent Kendall . . . Dutch
Nelson . . . Reward . . . Regard . .
The county sheriff glued his ear to the
telephone. "Up around Hogback, )ou say?
I'll put a posse onto it. And what? Dutch
Nelson? Seen up oin- way! Reckon I'd better
put two posses onto it!"
^Vhcn Peter peered out of his shower-
bath next morning he was surprised to find
^Iilliccnt directing (he mu/7le of Ihc family
pistol at hiin. He had to con\ince the girl
by dcmonstrntion that the gun ^^'as not
loaded before she let him out to dress.
{Condiiiicd on page 74]
Jack is a born com-
edian. He comes by
it naturally and his
success grows stead-
ily. Laugh that off!
King Comic
Jack Oakic Rules The Screen
XX-^ or! J Of Humor And Pictures
Are Belter If He's In Them.
By \/irg{nia Wood
MR. OAKIE \vas in \crv fine fettle the
day I saw him recently. He's so ex-
cited about his new radio program,
it's \ery diflicult to get him to talk about
anything else. Mr. Oakic, I might \enture
to say, is sitting on lop of tlic world at
the moment, ^vith his brand new bride, a
lo\cly new house which sits up on top of a
high hill overlooking the Pacific, a new
pictine contract and his radio xvork. It's
almost hard to \isualize him as I first knew
liim, ten years ago.
It was in Henry's Restaurant, Holly-
wood's first real rcslamaiu before the
Brown Derliy, Sardi's, the \'endome and all
the currently po]3ular cafes had even been
thought of. Henry's started out as a little
sandwich stand, but at the time I speak of
it had been enlarged several times, with
plenty of tables for the fast-multiplying
movie colony. Jack was with his agent
(iliibbcd "fiesh pedler" by the Oakie') and
he had just come out to Hollywood to take
a job at Fox as part of a comedy team
known as McNamara and Cohen. Mc-
Xamara had passed away a few weeks be-
fore and the studio had been testing
]jractically every young Irish boy in the
country for the part.
"It's a cinch," the agent was telling me.
"Oakie is perfect for the part."
But the so-called "cinch" didn't dexeloj).
Jack was heart-broken when studio olTicials
(old him the bad news. He would have
packed up his bags at a moment's notice
if the agent hadn't encomaged him to siaN.
"They told me you lia\c somelhing all
right, " he confided to the discom aged bo\ ,
"bin the\ ihink you're more of the heaw
t\pe!"
Two \ears later. I ran into jack on the
I'aramoiuit lot. He was still pretty shv
still not quite as sure of
himself as he would have
you believe from his wise-
cracking, what-do-I-care at-
titude. To this day. Jack
resents a little having any-
one find out what a senti.
mental softie he is, but I
discovered it quite early in
the game, so he can't fool
me. I know him too well.
Rummaging around in the old
files at the studio the other day, I
discovered soirie things about Jack
that even I didn't know. I ran
across a questionnaire— one of those
biographical sheets each player is
obliged to fill out upon being
signed to a studio contract. Let me
give you a thumbnail sketch of the
Jack Oakie you'd never suspect be-
hind all the wisecracks.
His favorite fiction author was
Theodore Dreiser and Eugene
O'Neill his favorite playwright.
Victor Herbert was his favorite
composer. "An American Tragedy"
was his favorite novel, "The Stu-
dent Prince" his best-liked musical,
and of the operas he preferred
"Carmen." Kipling's "If" was his
favorite poem and the greatest mo-
ment in his life was "when he re-
ceived a letter from his mother."
He also went on to say that he
liked a man who looked him di-
rectly in the eye and preferred a
woman to be modest.
AVhich strikes me as being a
pretty good insight into the char-
acter of this tap-dancing comedian
upon his arrival in Holly^^'Ood—
idealistic, homesick but determined.
Because even in those days, Jack
had only one idea in the back of
his head and that was to be a comedian.
You all know how Jack was fired from
his first job as a messenger boy in 'Wall
Street because he "clowned too much." He
just wasn't cut out to be a business man.
That quick wit and ever-ready quip just
didn't go over. In one rapid jump Jack got
himself a job back-stage in a theater and
was takiirg tap-dancing lessons so he could
team up with Lulu McConnell, which
eventually led him to a natioir-wide tour
of the country in vaudeville, and then to
Broadway.
And can that boy dance! I recall one
evening when I was clining at the Cocoanut
Grove with a party of friends. Jack was
there with his mother. He came over to the
table and asked me to dance. And to say
I was swept off my feet is putting it mildly.
I found myself floating aroimd that floor
like I'd never done before and doing the
most intricate steps in the bargain.
That reminds me of Jack's mother. Lead-
ing the sort of lives they did, what with
Jack's father dying when he was just a
inmk young kid, Mrs. OITield and her boy
had been more than ordinarily close. So it's
small wonder that Jack missed her so much
when he first came to this strange movie
^vorld called Hollywood. And the very first
thing Jack did, when he was assured that
Paiamoinit was going to take up his option
and renew his contract, was to send for
Mrs. Olficld ( Jack's real name, by the way).
.\nd his very first act. when he got the
raise in pa) which ensued was to buy her
a mink coat for Christmas.
The\ were really li\ing in \ery moderate
circinnstanccs at tlial time, having a small,
plainly fiunisheil a]iartment near the
studio, bm Jack has always felt that noth-
ing was too good for his mother and even
though he had to economize for weeks
thereafter, her Christmas present was the
besi money ( ould bu^ .
\\\\\. tinu- weiu on aiul came the adxeni
\(:illlli)!IIC(l III! jMgC 67]
31
TRe StarS/ In Spite Of TKeir Fame Unas,
Have To SLitmit To A4any Restrictions.
you can't calk about politics or go on
a trip or play polo— or jump horses.
You are requested not to discuss con-
troversial subjects of any nature. You'd be
forbidden, for instance, to hold forth your
cherished opinions on Mrs. Simpson, the
Duke of Windsor, President Roosevelt, the
Supreme Court, strikes, or even the state
of things in Russia, Spain, or Kalamazoo,
Mich.
It is unwise to strike up friendships with
casual acquaintances, write letters to
strangers except in the most guarded terms,
or invite your own close friends to the
place where you work.
You can't get married, order lunch, take
a drink before dinner, give a party, go
on a diet, or even let people know Jiow
happily married you are without first con-
sulting half a dozen people to find out
if it's all right.
These arc not the by-la^vs of a penal
colony or the rules for young ladies in Miss
Finchley's School for Girls. They're just a
few of the unwritten laws of Hollywood,
and all our best picture stars obey them
religiously— or else!
Having worked behind the scenes in a
publicity office, this writer can tell you that
while some of the rules may sound silly,
they're dictated by sound common sense. If
a producer is bringing out some tough-
looking hombre in a gangster role, for
instance, he isn't too anxious for the public
to find out that he's really a gentle soul-
like Boris Karloff, or has the jitters every
time a gun is thrust into his hands for
picture purposes, like Akim Tamiroff or
//
Cant
Do
That!
//
By
A4arl< Dowling
gomery isn't allowed to shave off the
mustache he grew for a role in "Thunder,"
It's becoming.
Feminine stars, in many cases, can't even
rush out to a nearby shop and choose any
little frock that hits their fancy. Carole
Lombard must be dressed by Tra\ is Banton,
ace Paramount designer, or not at all. Joan
Cra^\ford and Jean Harlow, except on rare
occasions, wear the creations of Adrian of
Metro.
The soundness of this policy is proved by
the case of Ann Harding, whom -ivriters
once called "mousey" and even downright
frumpy. One interviewer, scheduled to meet
Ann outside a certain theater, ^vaited half
an hour for the star and then departed in
a huff, never guessing that the plain looking
woman \\aiting beside her could be a
glamorous movie queeni) Then the studio
Ann Harding always repre-
sents the studios, and so they
take great interest in her ap-
pearance. (Above) Dick Pow-
ell may drive a car, but not a
pony — it's in the contract.
Jack LaRue.
Similarly, because producers
think you like to see them "true
to type," Anita Louise and many
other girlish ingenues are for-
bidden to smoke in public, and
Anita, in order to keep that
ethereal charm, must not gain
weight. It's in her contract.
Victor Moore, on the other hand, must
his tummy up to certain proportions
or his career is over, so stuffing at meal
times is compulsory for this popuhu
comedian.
r,\cn more drastic are the rules for-
liidding stars to tinker with their own
faces. Jean Harlow staged a near-battle
with studio officials before winning the
nglil to go biownclte. Dou<>lass Mont-
Boris Karloff has a happy
home life, but the studio has
something to say about that.
arranged, as tactfully as possible,
for Ann to be gowned in pretties
of tlieir own choosing, even off-
screen, and she blossomed forth
immediately as one of our most
effectively dressed \vomen!"
In .some cases, the don'ts" are dictated by
the stars themselves, just as if their official
guardians couldn't think up enough re-
strictions. Gary Cooper will not be photo-
graphed in his own living room— it's much
too grand, and might tear down the public
conception of him as a homespun hero!
Carole Lombard, belie\e it or not. has
to curtail her love of party giving. AVhen-
ever she does give one, it's so original and
so much is printed about the allair that
more than one party a year might make
oin- Carole seem too frivolous for public
fancy!
Polo, on the other hand, is strictly for-
liidden by studio heads because of the
danger invohed. Paul Kelly can't play any
more since one ill-fated afternoon, when he
was riding on the same field with Gordon
32
She won her de-
mand for freedom
from a studio edict,
and now Jean Har-
low is happy and
the battle forgot-
ten. (Below) Carole
Lombard can't get
dressed except as
the studio com-
mands.
So now you can understand why several
stars aren't even allowed to discuss their
own ideas, and, before every interview, they
are presented with a neatly typewritten
page of opinions which they are ordered
to memorize, and give forth as their own.
Freedom of action to most of us, is even
more valuable than freedom of speech. And
it's just as desirable to those cinema satel-
lites you've been envying. You should have
seen Ralph Bellamy's face the other day
when he discovered that before visiting his
own Raquet Club at Palm Springs over
the weekend he had to ask permission of
Columbia's director Al Green, producer
Riskin, and president Harry Cohn.
In Hollywood, you see, vacations aren't
vacations at all. They're "lay-offs," and the
studio may terminate them any time at all,
without notice. Before leaving Hollywood
for any reason, a star must ask permission
VVestcott, the rising young actor who
was killed. Dick Powell and Gene
Raymond also find polo taboo in
their contracts. And when it ^vas
discovered that Gene likes to jump,
too, that was promptly forbidden.
Sometimes the iniwritten laws are dic-
tated by policy for the whole industry.
Jean Harlow, Myrna Loy and others were
forbidden to discuss Mrs. Simpson for
fear the British public might be offended,
no matter what they said. Olfend any
large group of be-
lievers in anything
—and you lose
fans!
Similarly, movie
stars are the only ^
Americans denied
the right of free
speech at election
times. Come out
lor the Democrats
(;ind most of them
^vanted to) and a
lot of Republicans
will henceforth avoid \our pictures. Yes,
lliere still are a few Republicans. This
rule doesn't apply to comedians like Eddie
Cantor or the late Will Rogers.
The Hays office, obligingly enough, has
compiled huge folders ol these "don'ts" for
reasons of policy, including such tips to
picture-makers as: Don't show gangster
films in Nova Scotia. Don't show kissing
scenes of more than three seconds in Ire-
land. Don't send Mae West pictures to
Japan. She lowers, according to the
Japanese, the prestige of white women in
the Orient! Don't show love scenes in the
Orient but insert, instead, a few hundred
feet of a couple of birds twittering fondly
on a bough, whenever love scenes are
meant to take place . . . of all things.
Boris Karloff can't make horror pictures
fur England. 'I he^ ban em. China dislikes
pictures that portray miliiaiv figiues as
"barbarous or inhuman."
M e \ i c o . o r i g i n a 1 1 y |
enough, puts its foot \§
down on movies which
"might lend to gi\e the lower middle class
a defeatist spirit. " \ oii figure out that one
— Hollywood can't!
Ma\be the rules soiuid silly, but Avhenever
she breaks them, some little starlet discovers
they were laid down for a reason. One
lovely actress lost fervor when the public
taste turned toward well-curved cuties. She
was too thin and Ciarboish. Consequently a
\vell-]:)laimcd |3ul)licity campaign was
started to preseiu her as a lady who had
gained needed pounds ihiough an unusual
(lift of her own de\ ising. E\ei > thing went
beautifully and fan letters began pouring
in— till the star confided to some stray
re]5orter that she "hadn't any special diet
at all anti hadn't gained so manv pountls
anxway!" Ehat one misplaced btnsi of
honesty ruined everxthin".
of al least three e\e(iiii\es, and even then
he ma\ be called back to work the minute
his plane lands in New York.
Bachelor stars find their actions more
restricted than any others. Gary Grant.
Nelson Eddy and Bob Taylor, to mention
a few, can't even autograph pictines to
fetninine fans unless they use the huh's
full name. Photographs signed "To Dorothy
from Star" have ended up too often in the
clinches of sh\sicr knvyers!
For similar reasons, stars do not give
rides to casual hitch-hikers, no matter how
kindly their inteiuions. They refrain from
signing autograph books with the same
signatine that appears on their checks. They
don't dare hetome loo friendly \viih gush-
ing fans who tinti out. often enough, to be
\('.()iiliinic(l 1)11 jxigc ().|]
33
■
Tkc OKarming Frances
Farmer Has y\lways
HaJ Fier Heart Set
On /\cting.
One way to over-
come stage fright
(which is fear of
the audience) is to
first work as a the-
ater usher.
Inside
By
L^Karles Darnton
BURGLARIOUSLY speaking, she's an in-
side job. That is to say— with all due
apology where fair exchange is no rob-
bery—she thinks inside, she feels inside, she
acts inside.
Outside, Frances Farmer is the last per-
son in the world you'd take to be an
actress. She puts on no airs, and when it
comes to putting on clothes the plainer
the better. Hollywood hasn't touched her,
not even laid an enamelled finger on her.
She wears her nails as God made them.
Her face restores a slipping faith in soap
and water. There's no trace of make-up, no
lick of lipstick. She's appallingly clean. And
she looks, with all her lair-haired, blue-
eyed charm lighted up by clear intelligence,
like a business girl.
"I've always worked," she tells you
simply.
Somehow, you know this. But there are
other things about her you don't knoiv.
You can't, for the life of you, associate her
with either the faintly purjile roudincss
of the dance hall singer or the \\a\en
purity of the fluffy
daughter she played
with equal conviction in
"Come and Get It. " You
find her to be just an earnest young
woman. But, with hearty remembrance of
the first of her dual roles, you hopefully
ask at the cafe, to which she has led you,
if she will have a cocktail.
"Would it seem funny," she \vonders, "if
I had tea and toast?"
WeU, it just goes to sho^v you can't be-
lieve everything you see in the pictures.
Good old Lotto, for example, tossing off a
drink with one hand and putting a knock-
out drop into Barney's with the other.
Evidently it's all in the day's work. All
the more reason, then, to get right do\vn
to work.
"^Ve were very poor." she frankly tells
you, "so I had to work my ^vay through
school. That was all right. I didn't miiid
so long as I got w hat I was after, an educa-
tion. AVhile going lo Wasliinglon Uni\er-
sity in Seattle I did all sorts of things. lor
one, I was a waitress. That meant getting
up at six in the morning to get on the
job. It made a pretty long dav, for at night
I Avas an usher in a m<)\ ic llicater at thirtv-
si\ cents an hour. Then I here \\ cr(' a few
things on the side that helped out. Occa-
sionally I'd do an ad\'ertising skit on the
radio and get three dollars for fifteen min-
utes. Now and then I was also a model. In
the summer I worked t\\elve hours a day
at Mt. Ranier as a waitress for twenty-five
dollars a month. In that way I kept going."
She pauses to break a bit of toast, while
you sit there and marvel at her confirmed
industry.
"Oh, that \vas nothing," she assures you.
"The only thing that tired me at all was
being a balcony usher, which kept me run-
ning up and down stairs."
Still, vou imagine, she mirst have stopped
long enough to look at the screen from
time to time and po.ssibly get an ins])ira-
tion for the work she now is doing so
strikinglv. But she shakes her head, with:
"No. The only picture I remember seeing
there was one in \vhich Herbert Marshall
asked. '\Vhat is lo\e?' Then he proceeded
lo answer the (]ueslion, whereu|3on Coiniie
Bennett said, ' l hanks for the truth, bitter
as it is,' I nearly fell out of the balconv."
Her laugh, qnict as her \oice. gets the
right-of-\^av thiough tea and toast. Chok-
ing down your own unholy mirth. \ou
sinmi.sc that the observant usher may have
[€,<■!» tin m d on [mgc 62]
34
Helen Vin-
son in "Love
in Exile."
HO WERS
OF NEW
Spring Pictures
(Left) Minna Gombell, Wallace Beery
and Warner Baxter in "Slav© Ship."
(Below) Edward Arnold and Frances
Farmer in "Toast of New York," a story
based on the life of the notorious stock
promoter, Jim Fislt.
(Above) Beverly Roberts, Warren Hull
and Jean Muir present the modern
problem, "Her Husband's Secretary."
The Art
OF
LyiNQ
Gary Grant and
Grace Moore in
"When You're In
Love." If Is the un-
smiling kind of love
that counts. (Below)
Joe E. Brown in
"When's Your Birth-
day?" sings with
emotion for Suzanne
Kaaren, even to his
littk finger.
(Below) Fredric March and Janet Gaynor in "A Star
Is Bom." The picture is in color. They use their great
skill to tell the story of an ambitious girl in Hollywood.
(Below) Roscoe Karns and Charlotte Wyn-
ters in "Clarence." Comedy lies close to
intensity and Roscoe puckers too much.
Kbout
Love!
'^^A/len W^ere Deceivers Ever/^
On TKe Per suasiveness
Of Screen Eovers Depends Our
Belief In TKe Plot Of The Story.
Every Adoring Glance Must
Testify To The Charm Of The
Eeading E^^dy.
(Left) Henry Fonda
and Annabella in the
picture, "Wings of
the Morning," which
was made in Eng-
land. (Below) Ralph
Bellamy and pretty
Ida Lupino in the
merry play, "Weather
Or No."
ACTORS have specialties. Some glower
about with baleful and cruel glances,
filled with high-powered menace,
while others, with grimaces and gestures,
register their dumb consternation— all in
the interests of comedy. It is the lovers,
however, who must reveal the surge through
their systems of the ennobling, uplifting
and transforming power of Love. If the
audience does not believe in the sincerity
of their passion then all is lost. The most
devastating passion seems only mechanical
and, alas, kisses smack of hypocrisy.
Every girl comes to understand the charm
of a modest maiden yielding, and, thanks
to the screen, no gay Lothario whose line
is a trifle crude succeeds in awaking the
heart of a girl who has learned about love
in the temples of the movies.
Ad
English girls wear''
country clothes withi
assurance and gracej^
and Nova Pilbeam,
the lovely starlet, is
no exception. Tan
herring bone tweedi
flecked with colorl
fashions this suit
detailed in red'
suede. The jacket haS|
"shooting" pockets;
and there is a
culotte skirt. Her
scarf is a combina-i
tion of red, tan and
brown silk.
(Left) Irene Hervey favors a
black crinkled crepe tunic
frock, boasting an infinitesimal
white satin collar, and belt and
buttons of cut steel for her
first "without-a-coat" costume.
All her accessories are black.
(Left) A 1937 version of the
tailored suit model which has
become a classic in American
fashion annals, is worn by
Rochelle Hudson. Although the
material is pre-war twill, the
color is the flattering new
stone-blue. Her accessories are
in a deeper blue.
You can't answer the enchanting call of Spring
without a new hat. (Above) Mary Carlisle goes
a-partying in a beguiling black shiny straw with
a "come hither" veil with chenille dots. (Next)
Rosalind Marquis' pill box is of black belting rib-
bon with a nosegay of old-fashioned flowers set
at the front, and a sapphire blue velvet band
tying in a bow at the back.
NOW that winter has gone with the wind, our thoughts turn to
practical street clothes that will take us through days of brilliant
sunshine, with just a passing nod to sullen skies, without which
no normal Spring would be complete.
When planning your wardrobe it's a good idea to look farther afield
and remember that the suits' and coats and frocks that are seasonable
now, can be put to just as good advantage in late August and early
September when summer is on the wane and the chill in the air makes
frivolous linens and silks in pastel shades inadequate and lacking in
chic. Barring the hats, all the costumes shown here would nicely
answer this double purpose.
liT On Spring 1
I
How To Greet TKose First Lovely
Days WKen TKe Air Is Lil<e W^ine
KnJ Nature Beckons WitK A Smile.
(Below) The "classic" felt, good any season of the year, is sponsored
by Barbara Stanwyck in beige trimmed with brown grosgrain ribbon.
(Center) Three versions of the effective new sailor hats, which should
prove a boon to all girls who loathe off-the-face models. Bette Davis'
is of carnelian hued milan, with rhinestone clip and matching velvet
band. Carl Hughes and Olivia de Haviland like the turned down brims,
the first of black milan with Scarlett Green ribbon trimmed crown, and the
second of grey felt with contrasting navy blue ribbon and veil trimming.
oht) On the
ntest pretext
'ia de Haviland
s this commodi-
I utility coat of
|y and brick-red
lely-checked nov-
!' woolen, with
k-red accessories,
inter) But Beverly
lerts gets a so-
sticated thrill
>n she wears this
realist suit with
{swallow-tail coat
jgrey worsted and
|ck and grey pin-
Ipad skirt. A tail-
ed white satin
fuse and black
kessories go with
\ outfit. (Next)
:ille Ball is all for
mour in her pine
ten tweed suit
h its box coat and
^resting shoulder
atment. Her ac-
isories are beige.
IN HOLLYWOOD THE)
CALL IT Working
An au-fograph collecfor gets
to Gary Cooper and asks for
a signature, while George Raft
looks on and laughs. They are
together in "Souls At Sea."
Being Active Before Tfi'
Ccmieras Is Only A Pai
Of A Movie Player's Ut'
Shirley Temple finds amusement with her
director, William E. Seiter.
(Left) Buddy Eb-
sen brings his
lunch. His danc-
ing forbids his
eating very much,
anyway. (Right)
Between scenes,
Carole Lombard
kneels on the
floor as she talks
with Charles But-
terworth.
Cameraman Karl Freund discusses "angles"
with Clark Gable on the "Parnell" set.
Dick Powell and Madeleine
Carroll read and converse
about pictures, pictures, pic-
tures . . . then go back to
making one.
Producer Balcon (left) and Jessie Mat-
thews at a conference in an English studio.
KM
Just imaginel Betty Furness knitting on
a sweater between shots at M-G-M.
(Left) Henry Fonda getting a supply
of the health giving rays of the Cali-
fornia sun while the scene is being
readied. (Above) A studio wait woos
Edward Everett Norton to slumber.
(Right) Two hours for lunch, so John
Trent takes Ruth Colman to Palm
Springs, 100 miles away, for lunch.
Pilot Captain Trent brought her back
on time.
FEW realize the hours and hours of preparation and rehearsal
required to make each scene of a picture. Almost every visitor
finds the cast waiting for something. The delay may he due
to the cameraman. He may be changing the position of a lamp,
or the property man may be checking over details. Usually
the cast is patiently waiting the call to go on the set.
It is all a part of picture making.
r
THE making of pic-
tures is not only an
art but a job de-
manding long hours
and endless patience.
The players have to be
fit and in a mood for
make-believe, and, of
these requirements,
good health is most
important. Every day
the tennis courts ring
with the sound of their
play, for that is the
way to health. They
splash in the pools
and work in their
gardens to keep their
beautiful figures al-
ways ready for the all-
seeing camera lens.
But when night
comes the stars and
players meet to laugh,
to dance and to talk
studio gossip.
Day is the time for
players to work at pre-
tending and Night is
the time for sincerity
and friendship.
(Top) Virginia Weidler
with her scooter and
Benny Bartlett on skates
play hard and fast.
(Above) Rochelle Hud-
son on "Silver King,"
her new bike — it is sil-
ver-plated.
ow) Martha O'Dris-
coll in a gay printed
cretonne swim-suit.
ndNight
Judith Barrett wearing a
delightful three-piece play-
time ensemble. Bluebirds
and ships a-saillng! (Below)
Eleanore Whitney in a ten-
nis suit consisting of white
linen shorts and turquoise
blue angora jumper.
( Right ) Virginia
Bruce in a scene
from "When Love Is
You ng" — it's the
spirit of Hollywood's
night spots.
( Below, right)
Elissa Landi
among her roses.
OandiJ Oam=
era SKots Taken
Ken T K e
Players A re
Out Of Pose.
How do you think
Loretta Young gets
covered with mud
when the script
requires it? Simple
as rolling off a log.
Camera
Catches
3
(Above) California had
snow on the orange
trees, and even the
screen stars were chilly.
So-oo the property man
fixed up a stove (in
foreground). (Right)
Virginia Weidler up
against a sit-down strike
for more bones.
(Above)
Trench dd
take any chJ
He is bodyj
for Jane
and Jane
quite safe!
happy!
A RAVISHING REVOLUTION in SCREEN REVELRY
Startlingly New! Daringly Different! Screamingly Funny!
The Biggest Stars of Tomorrow in the Picture of Today!
THE NEW UNIVERSALIS
Busy With Entertainment!
George Murphy • Doris Nolan f ^
Hugh Herbert * Gregory RatoflF
Gertrude Niesen • Ella Logan
Henry Armetta • Ray Mayer
MIschaAuer • The Three Sailors
Peggy Ryan • Gerald Oliver
Smith • Jack Smart • Claude
Gillingwater • Ernest Cossart
LOU BROCK
Associate Producer
RALPH MURPHY
Director
Songs You'll Rave About!
"\ Feel That Foolish Feeling
Coming On" • "There Are
No Two Ways About It"
"Blame It On The Rhumba"
"Fireman Save My Child"
"I've Got To Be Kissed"
"Top Of The Town"
"Where Are You?" "Jamboree"
CHARLES R. ROGERS p"^:':;;
V
•A
<8^
>1
i
Good Players Never Look %e Lens
Many A
Player
Knows
What Not
To Do To
Keep In
Character.
IN A make-believe world, the actors
go through vicissitudes and many
dangers, meeting each new and
controlling circumstance with the
Charles Boyer^
and Jean Arthur
in "History Is
Made At Night."
And how head-
waiters can Iciss!
appropriate emotion. The feeling of
reality grows as the natural human
emotions are registered, and the
audience comes to believe in the
genuineness of the incidents as the
character switches from the boldness
of frenzy or grief to more subtle
reactions prompted by emotions less
obvious. For example, doubt may
appear to steal into the mind of the,
character if the actor simply turns
the eyes from side to side slowly.
If the eyes of the actor look into
the lens, the veil is torn, and
the character instead of being in
the setting of the story, suddenly j
seems to, be looking right at you.'
Then the. illusion is shattered and
the make-believe ends.
(Above) In "The
Woman I Love,"
Miriam Hopkins and
Paul Muni live over
again a wartime ro-
mance. (Right) Wil-
liam Gargan and
Wendy Barrie in
"Breezing Home"
stop breezing for a
kiss on the brow.
IT WAS night and it was
cold; bitterly so. Southern
California was experienc-
ing one of those "unusual"
climatic sieges that give the
chamber of commerce and
the populace in general
goose pimples.
Nevertheless, motion pic-
ture production schedules
being what they are— irre-
vocable unless it rains when
the schedule says dry weather
—the crew and part of the
cast of Warners' "The Go-
Getter" were huddled on the
bank of the extensive arti-
ficial lake that spreads over
one corner of the studio back
lot.
Busby Berkeley alone
seemed to have the ambi-
tion to move about in an
effort to keep warm. He
walked back and forth along
the bank, occasionally glanc-
ing down the darkened
street that led to the studio
proper, then consulting his
wrist watch.
"Here comes Anita Louise
now," said Assistant Director
Russ Saunders as a coupe
hove into sight.
"G o o d," re-
plied Berkeley.
"W here's
George Brent?"
"He's on his
way," answered
Saunders.
"G o o d," re-
peated the di-
rector. "Hello,
Anita," he add-
ed as the blonde
actress ap-
proached him.
"G o o d e V e-
n i n g," Miss
Louise shuddered, "Nice
warm weather we're having,
eh?"
Berkeley shivered. "Yeah,"
he agreed. "Lovely. I wouldn't
be surprised if it'd snow be-
fore the night's over."
"Here's Brent now," sang
out the assistant director.
The director and the Irish
actor exchanged greetings.
"Well," said Berkeley, "this
being our first day, or maybe
I should say night, we'd bet-
ter recapitulate. This is the
scene where you and your
bride, Anita, have jumped
off a China-bound steamer
twenty miles out of the Golden Gate. Cappy Ricks wants you
back in San Francisco urgently and the captain of the boat re-
fuses to turn back, so you jump overboard and he drops a life
raft for you. That's where we pick you up, floating on tiie raft.
You've had a little spat on the steamer, but it's all patched up
and you're lovey-dovey again.
"Now this lake is the Pacific Ocean," Berkeley went on, "and
there's your raft." He indicated the craft moored to a short
pier at the edge of the lake. "Come on now, let's go."
Brent gave the director a sad look.
"Listen, Buzz," he pleaded, "Couldn't ue start the picture at
the beginning and move indoors where it's warm instead of com-
mencing at the end and freezing
out here?"
'"Sorry," Berkeley apologized. . — > j
"but our first interior set won't f ^^-^^^ I ^4.^ ( )
be ready until tomorrow." \^ O/npLete
B
y Francis
Brent mournfully shed his
overcoat and muffler and fol-
lowed Miss Louise onto the
raft.
Berkeley turned to a couple
of workmen who were stand-
ing nearby with buckets of
ivater.
"Douse 'em," he said.
The workmen started
toward the end of the pier.
Brent saw them
coming with their
\vater buckets.
"Hey, Avait a
minute!" he pro-
tested "What's
this." "You can't
jump into the Pa-
cific without get-
ting wet, can you?"
Berkeley inquired.
"Well, no," agreed
Brent. ''But
couldn't we pretend
like we've been sit-
ting on the raft
long enough to dry
"Nope. It won't do. Charlie
Winninger, who is playing
Cappy Ricks, is on his way
out to rescue you in a speed
boat. You wouldn't have had
time to dry out."
"Oh, well . . ." Brent
spread his hands in sur-
render and held his breath
while the workmen dumped
a bucket of water on him.
They ivere a little hesitant
about subjecting Miss Louise
to the same treatment but
she told them to go ahead
and merely gave a little
shriek as the previously
warmed water struck her.
"O. K. George," Berkeley
shouted. "Take Anita in
) our arms and kiss her. Then
look into her eyes for a mo-
ment and kiss her again.
Then kiss her once more,
quickly. We'll flash a light
on you like the spotlight of
a speedboat then and that
will be your cut."
The camera rolled and the
scene started.
''Action!" yelled the direc-
tor.
Brent kissed Miss Louise,
looked at her for a moment,
then kissed her once more.
As he started to kiss her the
third time, a big artificial
wa\e struck the raft and he
lost his balance.
"Cut!" shouted Berkeley. "What's the matter, George?"
"It's rough out here, ' replied the actor.
"Try it again," directed Berkeley.
Brent anci Miss Louise re[jeated the action,
wasn't satisfied.
''Once more. ' he yelled.
Again the phi\crs went through the scene.
''Pretty good," acknowicdt;cd Berkeley, "but I thinl
a better one. Tr) it again."
This time the director \vas satisfied. He told the [ilayers to come
ashore and they were pulled in.
Wet and shi\ering they approached the camera while ^^■ard-
robc men and women wrapped
heavy blankets around them.
7-rT -jp^ .Vnd that ^vas the strange be-
lllQ 1/ ^ Cin ginning of Hoi l\ \\ ood s latest
rlLj JL cASt- lomaiite.
The Gossip Writers Have Told You
That Anita Louise And George Brent
Are Aflame — But Here Is The First
Story Telling You How They Met . . .
Heacock
but the director
we can sjet
51
"The Woman I Love" )s
in work here. This- one stars
Miriam Hopkins and fea-
tures Louis Hayvvard.
Likewise, and too, this is
very near the beginning of
On The Sound Stases Many Movies
Are Takins Form; You Will See Them
At Your Theatre In A Few Weeks.
. OFTEN wonder if there'll ever come a the next stage.
time when Lll be lucky enough to find
•I only one picture going at most studios
and none at some of the others. 1 wonder
and wonder and a jeering voice from out
of the nowhere sneers, "Lucky day!"
Until that lucky day arrives, I can only
do my duty and take you with me to
R-K-O
INSTEAD of the one picture T
1 had hoped to find going there
are gobs of them— but gobs. There
is the Fred Astaire-Ginger Rogers
picture, tentatively titled "Stepping
Toes," but ni tell you about that
one next month because neither of
them are working today.
There is "The Toast of New York,"
and ril tell you about that one
now, although it's just starting. It
stars Edward Arnold, Frances Farm-
er and Gary Grant. Y ou'll recall the
first two in "Come and Get It."
Andrea Leeds is a temperamental
French actress and Frances is her
maid. Arnold and Grant are both
on the make for Andrea. They re
always tangling over something-
Arnold and Grant, I mean. When
she goes out with Gary, Eddie, get-
ting a glimpse of Frances, suggests
she put on some of Andrea's clothes
and make a night of it with him.
After some coaxing, Frances lets
herself be persuaded and we pick
them up at the Astor House dining
room. They're really going to town
when suddenly Frances looks up
and sees Andrea charging towards
them, her face like a thundercloud.
"Here she comes," Frances whis-
pers in terror.
Eddie laughs and reaches into
his pocket. "I got some ammuni-
tion," he comforts her.
By this time Andrea is at their
table with Gary in back of her,
grinning like an ape.
"You make a fool of Fleurique,
eh?" Andrea screams, snatching a
bunch of grapes off the table and
drawing back her arm preparatory to let-
ting Frances have them in the face. Gary
grabs her arm and takes the grapes a^vay.
She gives him a dirty look and returns to
the attack. "You steal my clotheeng, eh?"
she screams.
But just then Eddie takes another bunch
of grapes off the plate and offers them to
her. "Throw these. " he suggests.
She snatches them out of his hand and
is just about to hurl them when she no-
tices a yellow backed bill stuck in between
the grapes.
"If you don't want to throw them, eat
some," Eddie advi.ses. "They'll cool you olf
wonderfully."
Andrea can't take her eyes off the money,
"r theenk I lend you my gown for tonight,"
she says sweetly to Frances.
And then Gary takes charge of things.
"Well, now that we're all friends, let's get
together," he suggests in his best con man
style.
"Cut!" calls the director.
"Hey!" Gary yells catching sight of me.
"You must have gone out of your way to
keep from mentioning me in your 'Medals
and Birds' this year."
"The editor must have cut you out," I
explain. "I'm sure 1 gave sou a bird."
"Why, you " Gary laiiuhs snauliiiig up
another bunch of grapes, bul l>v ilial lime
1 am well out the door and on iii\ wa\ to
this picture. Hayward is a young officer in
the French Escadrille. The night before he
is to leave for the front he goes to a Pans
theatre. He meets a beautiful young dame
who later introduces herself to him as Denis
LaValle (la Hop).
A German air raid interrupts the per-
formance. Miriam is knocked unconscious
as the audience and players stampede for
the basement. Hayward manages to drag
her to the orchestra pit where she regains
consciousness after a little.
"Are you all right?" he asks.
"Yes," she smiles, "thanks. Where are
we?"
He plucks the strings of the harp stand-
ing beside them. "From the looks of it,
we might be in heaven," he answers. "Ac-
tually,' we re in the orchestra pit."
",\re you on leave?" she goes on.
"No," he admits after a slight hesitation.
"1 haven't been to the front yet but," en-
lluisiasticallv, "it won't be long now. 1 only
hope it won't be over before I get there. "
"Would that be so terrible-to miss it
all?" she queries, a little mockery in her
voice. . ,
"It zvonld have been lerribic-il I d gone
up yesterday instead of tomoi ro\v. " he
answers wilh a disarming smile. "I'd have
missed voii."
I wanted to say "hello" to Miriam whom
I haven't seen since she returned from
abroad but you
can't go busting
up to a girl who's
just been trompled
and knocked un
conscious so I s:
"hello" to Hayward
instead.
By
S. R. Mook
Barbara Stan-
wyck and Joel
McCrea in a
story concern-
ing the drama
of the medical
profession, "In-
ternes Can't
Take Money."
(Below) Scene
from ""Waikiki
■Wedding," Bing
Crosby's next
picture, w 1
th
Shirley Ross,
Martha Raye and
Bob Burns.
On the adjoining ^
stage I find a pictuie *
going called "Wings ol
Mercy," featuring J< Im
Beal, Jane \Valsh and Phil
Huston. *
"Get off my set, " Beal yells ^
catching sight of me.
/ know Johnny is kidding
but the company doesn't and
they all stand gaping at me.
"If you can t come to see m\
bride and me in our home, you
can t coine on the set," he shouts
at the top of his voice. ,^
"Sssh, Johnny," I .shout back.
"Somebody will o\erhear you."
"Everything was very quiet and
peaceful around here until xoii came
on the set." l ew Landers, the director.
Initis in. ■■Win is there always turmoil
wheiexer sou are?"
"1 nuess it s because I have such a d\
iiainic personalilN," 1 admit modestly.
52
"Well, park your personality in that
chair, will you, so we can get on with this
scene."
So they start the scene. It is an operating
room. Dr. Beal is performing an operation
for appendicitis on Phil. They're old
friends so he only gives Phil a local opera-
tion and Phil watches with a great deal of
interest— as you can imagine. Both of them
are smiling at something John said in the
last scene.
"How am I going to hold this pose if
you make cracks like that? " Phil asks.
"You should see the crack I just made
in you," John comes back.
"How about my taking a look?" Phil
wants to know because he would probably
be the first man who ever saw his own
insides.
"You can admire yourself later," John
tells him.
"I only wanted to see if you'd carved
your initials on me," Phil explains in an
injured tone.
"I tried to carve a picture of a pro-
peller," John informs him.
"Well, anyways, I know now how a
Thanksgiving turkey feels," Phil grins.
"I don't know why I should have to
listen to complaints about our service,"
John squelches him. "How do you want
this— hemstitched or buttonholed?"
"What! No' zippers?" Phil mocks.
"There's a neat piece of embroidery,"
John says, handing the needle and thread
to the nurse. "Take good care of this guy
and no matter how much he yells, don't
feed him steaks."
"Yes, doctor," she smiles.
"Cut!" Lew orders.
"You know, Mr. Beal'
nurse, who is on loan
from one of the
hospitals and
who is
making her picture debut and finale in
this one scene, suggests, "when you hand
me the needle if you'd look at me instead
of Mr. Huston I could get a better re-action
when I say, 'Yes, doctor!' "
And she's serious, too!
John explains politely that the director
has instructed him to look at Phil.
"The movies are sure wonderful," he
says to me. "When the Group Theatre
produced 'Men in White' they studied for
months how to hold the knives before they
would give a performance. I had a g:oo
o'clock call this morning and by 9:10 I
practically had Phil's appendix in a bottle."
"How many times have you removed it
so far?" I query.
"This was the third," John tells me.
Next we come to "China Passage." This
features Constance Worth (an Australian
actress making her American debut in this
opus), Vincton Haworth, Leslie Fenton and
Gordon Jones. It's about a diamond theft.
Most of the action takes place on board
a liner going from Shanghai to San Fran-
cisco by way of Honolulu. There are more
murders than you can shake a stick at. Jane
is a customs agent working incognito and
Ha^vorth is a soldier of fortune who had
caliinet and her eyes widen. The door to
the cabinet is open and inside can be seen
a tray with one glass on it. "Tommy, go to
Captain Williams and explain everything,"
she orders, suddenly businesslike. "Have
him round up Dr. Feng Tu, Anthony
Durand, Harvey Dinwiddie and Philip
Burton. And I want you here, too."
"What do you want >ne here for?" he
asks suspiciously.
"I just couldn't get along without you,"
she replies evenly.
He looks at her peculiarly, turns and
quickly leaves the cabin. She goes to the
liquor cabinet, picks up the highball glass,
using a handkerchief to avoid blurring
any fingerprints that might be on the glass.
She holds it up to the light. Faintly visible
are a set of fingerprints!
"For Pete's sake!" a voice at my elbow
hisses.
I look around and there's Gordon Jones.
"Look," he says, "how about going down
to San Diego with me for a couple of days
when I finish this picture. I know a lot of
people there and we can have some fun."
"I don't think I'd better," I object. "I'm
on the wagon and you know how it is when
you go visiting."
"Invitation's withdrawn," Gordon snaps.
been hired to de-
liver the missing
diamond to a Chi-
nese war lord. I
can't gi\c you the entire plot but another
sus])ccl has just been found dead— poison
in "her wliiskcy glass— by Haworth and Miss
Worth.
"Why don't you give it uj), Jane?"
Haworth linns soberly to Constance, "he-
lore something hapi)cns to you. Your drink-
ing theory sounds pretty wild, anyway."
She seems to find somctliing j)cciiliar in
his attitude. She glances toward the liquor
"You're bad enough when you have
a couple of drinks but you're worse
when you don't."
"Gosh," I ^vhine. "I try so hard
to make ever)body happy and all
I get is abuse."
The expletive Gordon shot at me
is not one he learned at home— nor
in the Hays office either. As I said before,
this is not my day at R-K-O so I wend in\
^vay to
Columbia
FANMAG FANIA is in rare form today
so my spirits begin to lift a little and
when I learn the first picture we're to see
is "Weather or No" featuring Ida Liipino
and Reginald Denny they lift some more.
But alas and alack, when we get out to
the set there is a sign, "Positively no visitors
on this set."
"Hnim," Fanmag Fania iiiunnuis. "It
says 'Positively.' That's bad. Bui )iiii wait
here and LU see."
So she goes in and presently she comes
out again— all smiles. "Come on," she says,
"Miss Lupino and Mr. Alfred Greene, the
director, are making a special dispensation
for )ou."
"Miss Lup Mr. Greene are ," I start
sputtering. Me, being kept off one of their
sets! Ha!
We get inside and pretty soon Ida and I
[CoiUiinu'd on page 7G]
53
There Are Some Players In Pictures
Who AvotJ Swank AnJ Are Hap=
piest When They Can Go Hunting.
THE virile streak has hit Hollywood's star set! The screen's fash-
ionables, forever looking for fresh thrills, have all of a sudden
discerned that they've been suppressing a fundamental instinct
all along. They've found the peerless hobby is hunting.
lis bye-bye to the blase Boulevard, with the great outdoors spec-
tacularly in. Dawn is again the start rather than the end of the
perfect day. Boldly stalking wild beasts and birds is more of a kick
than a dozen Tom and Jerrys. Encourage a Hollywood male and he'll
bring home a specimen of nature in the raw. Airplanes whisk the
ambitious alar: Fred Astaire flew to Mexico for a deer and returned
with— a turkey!— his only kill.
Now the better heart-throbs fit custom-made guns into the curve
of their shoulders, instead of pretty profiles. Jaiuity expeditions are
begun immediately after a picture is previewed. A glamor girl who
plucks a duck-when skinning it is the latest method— is passe,
Franchot Tone tips Joan Crawford. Because Holly\v'ood is alwavs so
delighllullv dizzy, Wallace Beery hunts in tremendous style while
Cllaik Gable, the parlor panic, rattles out of town in an old Ford.
Wonder of \vonders, Taylor is no longer the only tropin the local
ladies think of. Yes, even the mo\ie women are out to prove what a
man they are!
I find Lombard, ihe luxurious, roughing it. She has stopped collecting
sapphires; jewels reek of last month's artificialities. Carole is fast
becoming a crack shot with the gun Gable brought her specially from
New \'ork. He and Beery are teaming up for the big timbers of
I(1:iIk) shortly, to bag more mouniain lion. Carole, not to be outdone,
swears that when she finishes her next epic she's going to pack up
I'ielilsie, her loyal (iiii Fiiilav, and stage a safari to Idaho that'll be
a scnsalidir Ciable can't call her a sissy! She needs
a di\ine bear rug for her boudoir— black, because
all white is common, don't vou think? And, by
Ihe explosive o,,,,!. sht-'ll shoot it herself. (I have secretly advised
whir of a g.ime Fieldsie lo tuck in a cannon, just in case.)
bird IS music to 1 |,e tall tales vou hear in Hollvwood of the
the ears of Dick xillage's mighty hunting spree have been dulv
sified, the clique graded. Unquestionably Wally
Shooting
Fred Stone is an ar-
dent hunter. He is
delighted that he did
not shoot his dog.
Beery and Fred Stone are
matchless. Gary Cooper and
Clark Gable are Numbers
Three and Four, Gary being
the one actor who's plunged
into Darkest Africa.
If you want a superb duck
dinner, invite Robert Taylor
himself. He'll actually bring
the duck, personally
grounded. Bob is a novice,
but he's caught on zippily.
It's wise to join a duck club.
Who do you suppose showed
him the ropes? None other
than Clark Gable, who can
be this regular even to his
closest rival. "Clark took me
to his club in the Antelope
"Valley," Bob says. "I thought
he was very irked with me
when we got behind the
blinds to shoot. He kept
calling, 'Get down!' Every
time he yelled, I'd crouch
more; I was practically ready to settle on my stomach and I
felt a fool when we quit to go inside for hot coffee. I apologized
for being so dumb and Clark gasped, 'Why, I wasn't bawling you
out. I was hollering at that stupid guy who kept standing up
and scaring the ducks away!' "
The more time and money you have, the higher your rating
is liable to be. Wally Beery has lengthy vacations between films;
he never drinks or gambles or parties and so believes he's justified
in spending what he pleases for the finest in hunting equipment.
After his most recent characterization was on celluloid he was
gone six weeks. He flew to Boise
in his own new airplane, and
^ M» his chauffeur had been sent on
By Ben Madd
ox
ahead to meet him there with his tony station-wagon. In it were
groceries, balloon-silk tents that withstand snow, a portable
electric plant for light at night, and Wally's favorite guns.
A splendid shot, Wally scorns fancy automatics. He never traps,
incidentally. The two of them adventured up the Salmon River
to almost unexplored districts. When he returned, aglow with
renewed vigor, happy as a kid, he had a mountain lion, a bear,
and an elk and a moose. Since then he's purchased a couple of
hundred forest acres there in Idaho, replete with wild game.
This patch of primeval paradise is a three-day journey by mule
pack from the nearest road: Wally will be able to fl\ directly to
his own landing field in seven hours, clear from Hollywood.
It's not true that Mrs. Cooper objects violently to Gary's hunt-
ing. She merely figures that the eighty trophies he garnered
in Africa, plus his reminders of his youthful excursions into the
woods of Montana and his relics from his later lion hunts in the
Kiabab Forest of Arizona, shouldn't be mounted in every room
in the house. So Gary has given in and consolidated, as it were.
I never tire of listening to his African experiences. He won't
talk about love, but he will open up on this great chapter in
his life. He regained his health when he made that trip.
"I stood on a hill and looked over the Serengeti plains, the most
marvelous hunting grounds in the ^vorld. There were herds on
all sides towards three horizons, a hundred thousand wild animals
literally within sight! I flew four thousand miles up the Nile
from Cairo in four days, the guest of friends who have a farm
on the very border of the wildest country. A quick glance down
at the pyramids and King Tut's tomb and further on we skimmed
over wild elephants. ^Ve hunted in autos— that was surprise one.
In Africa horses are at a premium.
But there aren't highways by any
means; we simply jogged over trails.
There were five white folk and
twenty blacks, and I had seven
guns. I bagged an oryx, a lesser-
kudo, and two gazelles before I
began to be lucky with lions. To
my amazement, I came upon one
lion in the act of eating a lion
cub it had killed. Fortunately,
when it charged at me I got it
within [Conlinued on page 59]
(Left) Paul Kelly experi-
ences the tense joy of the
hunt 9,000 feet up in the
Sierra Madre Mountains.
(Center) Both Clark Ga-
ble and Gary Cooper de-
light in skeet shooting
when work keeps them
away from the game trails
of the jungle and moun-
tain heights. (Below) Eva-
lyn Knapp and Milburn
Stone ready for the day's
sport in Imperial Valley,
55
REVIEWS
OF PICTURES SEEN
THE GOOD EARTH
A Film That Digs Deep Into the Roots
OF China— M-G-M
A\T^ LAST, after many months of arduous
^ preparation, "The Good Earth" is
ready for release. I am happy to report
that the picture brilHantly embodies all the
elements which made Pearl Buck's story of
China a much beloved best seller of the last
few years. If you loved the book, and it
seems that every one did, you will go
quietly and pleasantly mad over the pic-
ture, which was conceived and produced
by the late Irving Thalberg, and stands as
his' greatest achie\'ement.
You will be thrilled to the core by the
superb photogTaphy and
sound effects— the swarm-
ing of the locusts is so
terror inspiring that it
surpasses the earthquake
in "San Francisco." Then
there is the exodus of the
famine stricken people of
the North to the fertile
fields of the South, there
is the frenzied revolution
in the city followed by
the hysterical looting of
the rich palaces, and the
great winds and rains
that lash the wheat and
rice, bringing agony to
the hearts of the farmers.
Photographed in sepia
and magnificently directed
by Sidney Franklin, all
these scenes are unforget-
table. And unforgettable,
too, is the beautiful per-
formance of Luise Rainer
in the role of O-lan, the
self-sacrificing Chinese
wife and mother— we don't
have to look any further
for next year's Academy
Award. Rainer's emotional
portrayal of O-lan will simply tear you to
pieces by its very sincerity and honesty. She
has managed to do what few Hollywood
stars ever do, she has completely submerged
her own glamorous personality in the char-
acter of O-lan, and for this she deserves the
greatest praise Deserving of raves, too, is
the distinguished performance of Paul
Muni as Wang, the farmer, a performance
you will long remember. Credit, too,
Charlie Grapewin as the old father, Walter
Connolly as the amusing and lazy uncle,
Tilly Losch as the exotic second wife,
Chingwah Lee as Wang's close friend, Keye
Luke as the elder son and Roland Lui as
the young son. It is a production you will
not \vant to miss.
MAID OF SALEM
A Bit of Old New lLNv,L.\ND~Paramoimt
TN CL.^UDETTE COLBERT'S new picture
—and it has been much too long a time
between Colbert pictures— she is romantically
teamed once more with Fred MacMiuray.
Handsomely produced and directed with
sincerity and honesty by Frank Lloyd, this
picture tells the thrilling story of witch-
craft in Salem in 1692, when Cotton Mather
was number one rabble rouscr in America.
As every school kid knows from his his-
tory books innocent ]icople were actually
hanged as witches on hangman's hill in
old Salem, and with gripjMng aiuhenticity
Ruby Keeler
and Carol
Hughes are en-
thralled by the
burlesque rec-
itation of
Louise Fa-
ze n d a in
"Ready, Will-
ing and Able."
Ray Milland and
the alluring Heather
Angel involved in
the dramatic story
of "Bulldog Drum-
mond Escapes."
the story relates the events leading up to
this frenzied mob hysteria.
Claudette plays a beautiful Puritan maid
who loves a bit of lace on her bonnet and
a gavotte in the woods with a handsome
man even though the elders of the church
disapprove heartily. In a friend's fishing
shack she meets Fred MacMurray, a gay,
devil-may-care rebel from 'Virginia with a
price on his head, and it is in loyalty to
him that she cannot save herself when she
is accused of being a witch. During her
nerve-wracking trial scenes Claudette proves
once again that she is a great dramatic
actress, and her emotional plea for justice
will tear you in pieces.
The supporting cast fairly crackles with
fine performances Bonita Granville plays
again a malicious, ncuiotic child whose lies
start all the trouble. Dominated by her are
little Virginia Weidler and Bennie Bartlett.
Gi\ing authentic portrayals are Madame
Sul-Te-Wan as a negro slave, Harvey
Stephens as the village doctor. Gale Son-
dergaard as his jealous wite, Beulah Bondi
as the frustrated wife of stern elder Edward
Ellis, Sterling Hollo\vay as a conceited
suitor, Pedro de Cordoba as a fanatic in-
stigator, and many others.
WINGS OF THE MORNING
Till: Si'OKT or KiNcs— Cciil luy-fox
FRE'S a treat for you horsc-Iovcrs! The
English Derby (and don't forget to
H
say darby) done in Tech-
nicolor for the first tiirie.
And there are no doubts
about these "locations "
being authentic for the
picture was made in Eng-
land and Ireland, and
that beautiful countrxside
for once in its life isn't
Chino, California.
The story concerns the
intermarriage between a
gipsy queen and an Irish
nobleman. The husband
is killed and the gipsy
wife goes to Spain to re-
appear fifty years later
\vith a beautiful great
grand-daughter. The rest
of the very charming and
casual plot relates the
romance of the grand-
daughter with a young
Canadian interested in
horses.
Henry Fonda plays the
Canadian and looks
mighty handsome in
Technicolor. (It was while he was in Eng-
land makuig this picture that he met and
fell in lo\e with the present Mrs. Fonda.)
A Latin star named Annabella, who is
quite easy on the eye, plays both the gipsy
queen and the great grand-daughter.
OUTCAST
A Splendid Drama of Misdirected Revenge
~Par(iniou7it
This picture carries on the good ^vork
started by"Fury "and folloxved up recent-
ly by the powerful "Black Legion." It, too,
hits hard at bigotry and intolerance and
ne\er once pulls its punches.
■Warren AVilliam plays a young doctor
who is falsely accused of the murder of
his best friend's wife. It is proved that she
died of an o\er-dose of a sedative and
he is acquitted, but his friend still believes
him guilty and in revenge ruins his ca-
reer.
The doctor then settles in a western
town and becomes the close friend of law-
yer Lewis Stone. He again works up a good
practice, when suddenly the sister of his
former friend appears to carry on her
brother's rcxenge. But, after talking with
lawyer Stone and doctor William, she finds
that she has done the doctor a great wrong
—and they fall in love.
Then an ignorant and hateful woman
(Esther Dale), who becomes jealous of her
56
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57
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small son's love for the doctor, in a moment
of fury tears out the breathing tube which
has been inserted in her boy's throat by
the doctor to keep him alive. The boy
dies, William is blamed, and rabble rousers
begin their dirty work.
The picture is thrillingly tense here, as
the mobs gather to lynch William and his
sweetheart. The lynching is averted at the
last moment by Lewis Stone's magnificent
pleading with the mobsters for the life ot
his doctor-friend.
Produced by Emanuel Coh^, it is a high-
ly dramatic picture that will rouse you
right out of your lethargy. Karen Morley
is splendid as the girl who falls in love
with Warren William, who, incidentally,
gives his best performance in this picture.
BULLDOG DRUMMOND
ESCAPES
Our Favorite Detective Does a Come-
back—Pa ra m ount
DULLDOG Drummond's back again. And
^ that's good news to all the mystery story
lovers who like to have their sleuthing
done with a bit of British finesse. This
time Ray Milland, debonair and likable,
plays the English detective who knows not
the meaning of the word fear.
Driving along the moors one foggy night
Drummond hears the last gasp of a mur-
dered man, and meets a damsel in distress.
With his pal and co-worker (Reginald
Denny) and his impeccable valet (E. E.
Clive), Drummond defies the police and
Scotland Yard while he captures one of
the cleverest crooks in England.
Heather Angel is lovely as the damsel
in distress and Porter Hall (I have never
forgiven him for shooting Gary Cooper in
"The Plainsman") makes a first rate men-
ace all done up in a villainous beard. Sir
Guy Standing plays the police commissioner
with delightful humor.
A DOCTOR'S DIARY
The Medical Profession Unmasked—
Paramount
TNTRODUCING John Trent, who once
^ piloted a TWA plane from Kansas City to
Los Angeles for a living and who was "dis-
covered" several months ago by Producer
Ben Schulberg on one of his plane trips
East. And, judging from the raves of the
studio, John Trent is definitely "grounded"
now and well on his way to t)ecoming the
next Gable.
For his celluloid debut Trent is cast as
a poor resident doctor in a very rich and
hoity toity hospital, where it seems that
physicians' false ethics and money grabbing
take precedence over the welfare of their
patients, particularly their charity patients.
An operation, delayed three days because
of the silly whim of a wealthy patient,
causes a child violin prodigy, a charity case,
to lose the use of his right arm.
His frantic mother sues, and Doctor
Trent sick to death of hospital chi chi of-
fers to testify for her. It's a lovely scandal,
but it is all straightened out in the end
when Trent bargains ^^•ith the hospital
heads to change his testimony if thev will
allo^v him to return to the hospital to
continue his experiments on a serum for
infantile paiahsis. And another operation
is pel lornicd on the child prodigy, success-
ful ihis time, so that ever) thing comes out
viglit.
1 here's a love story, of course, with
Doctor Trent throvving over his rich bene-
factor's daughter in favor of a nurse who
got filed lor speaking her mind. Helen
Buigcss is excellent as the nurse and so
is Ra llould, another Freddie Bartholomew,
as the >oiiihriil violinist, (.eorge Bancroft
and Sidney Blackiiicr arc splendid as doc-
tors. ^■es, we of the Hollvwoods think that
Mr. Schulberg lias really lound soiiiclhiii"
there in the personable John Trent. But
what the medical profession will think of
Mr. Schulberg's expose is something else
again.
MAMA STEPS OUT
One Last Fling— M-G-M
|— lERE'S the antique one about the mid-
^ ^ die-aged wife who wants one last fling
and takes her Dodsworth husband to Europe
to absorb old world culture. Guy Kibbee
plays the husband who loathes art and
culture and can hardly wait to get back
to Fort Wa\ne.
Alice Brady is the flattery wife and of
course she gets swamped in gigolos and
is pretty glad to get back to Fort \Vayne,
too. Betty Furness and Stanley Morner, as
a couple of topical Americans, look after
the love interest. Heather Thatcher, Ivan
Lebedeff and Gregory Gaye are the decad-
ent Europeans. The last time you saw this
plot it made a better picture.
READY, >XqLLING AND ABLE
A Most Entertaining Musical— n"fl)-;(fr
Brothers
Another of the famous Wamer Broth-
»ers musicals all dressed up with delight-
ful, singable music and excellent gags. The
dance routines are better than usual though
I don t like dancing on typewriter keys
(where will they dance next?) even when
Ruby Keeler does the dancing.
The story concerns a couple of impover-
ished young song writers who finally man-
age to get Ijacking for their newest musical
comedy provided they can get Jane Clark,
a popular London torch singer, to play the
lead. Ross Alexander and Lee Dixon, the
song-writing team, then go out for her and
through the bungling of a chiseling agent
get her name on a contract. But it turns
out to be another Jane Clark, an American
girl returning from Europe. The backing
is withdrawn when it is learned that Jane
Clark isn't the Jane Clark, and the rest of
the highly hilarious picture deals with the
efforts of all involved to get the real torch
singer to come to America and play the
part.
Ruby Keeler, as the American Jane Clark,
is prettier and more animated than ever
before, handling her comedy lines extreme-
ly well, and dancing beautifully. Ross Alex-
ander, as the song writer who falls in love
with Ruby, is excellent and his loss to films
is indeed most regiettable. Louise Fazenda.
who has a scene in which she does her
Shakespearean repertoire, will have you in
hysterics.
YOU ONLY LIVE ONCE
A Tr.vcedv AVithout Glamorous Trappings
—United Artists
Door Sylvla Sidney, she never gets awav
■'■ from the Big House— either she's behind
bars or else she's in love with a guv behind
bars. This time it's the latter and the guy
is Henry Fonda, and he has been sent to
prison three times thru no fault of his own.
On his third release he and Svhia are
married, and he gets a job and is deter-
mined to go straight. But Fate is against
him. He is framed in a daring bank rob-
bery and the murder of eight men. Sen-
tenced to the chair, he contrives an in-
genious jail-break, and in getting away
kills his cinlv friend, the prison chaplain.
Sylvia joins him and they live like hunted
animals for v\ecks. Afcrcv. how thev Miller.
Sylvia has a baby and Henrv broods over
the death of his friend. They are both shot
down as they reach the border.
This is what is called a strongly emo-
tional drama of legal injustice— but 1 think
\ou will agree with me that Director Fritz
1 ang (lie who directed "Fmy") piled it
on hit thick this time.
58
Silver Screhn
Shooting Stars
[Continued from page 55]
seventy yards of myself!
"But," grins Gary, blue eyes a-t\vinkle,
"my supreme moment wasn't with those
cats. It was with a nastier customer that
likes to pop out of the tall grass, a
rhinoceros. The first thing you learn about
hunting is to be certain the ^vind blows
from the animal towards you; otherwise
it'll sniff you and you're It. Well, this
rhino caught us short and flashed thun-
deringly at the tree behind which I jumped.
Afraid? I'll say! I couldn't budge! But it
miscalculated and snapped the tree, four
feet from me, in two. A rhino on a rampage
is speedier than a race horse, but it required
a quarter of a mile to slow down and
realize it had missed!"
Errol Flynn has a reservoir of anecdotes,
too. Often he had to hunt to exist when he
was larking it in New Guinea. I prefer his
episode of the stolen wild sheep. For two
days he and four companions hadn't eaten;
the cut-off through the mountains had been
a serious error. Then some one of them
shot a tiny wild sheep— they cut for it and
Errol drew the high card. He skinned it
and hung it up, then big-heartedly sallied
forth for half an hour to assist the others
who had a notion wild pigs were in the
offing. When the famished Flynn got back
a wild animal of unknown residence had
devoured his dinner.
Hollywood victory has allowed Clark
Gable to hunt. Until he was a success in
pictures he was too busy searching for jobs
to have the opportunity. Now he even has
a coat from a caugar he shot! He has a
hideaway in an isolated sector of the
At a premiere
recently Deanna
Durbin received
star honors.
Arizona mountains, bunking there with
a backwoods family in their log cabin. They
don't dream he is a celebrity and pappy
democratically steers the genial \isitor from
the city to the most fruitful ranges. Clark's
had his last year's Valentine reconditioned
(the white Ford roadster of ancient vintage
that Carole Lombard gave him) and,
painted an inconspicuous black, it's good
enough for him. A buddy who runs a
garage has sho\vn him what to do if he
has any mechanical calamities among the
lone pines, and so in the rumble seat he
totes an assortment of spare parts. He asked
an M-G-M prop man to accompany him
on his most recent trip.
Of course, target practice is the initial
move towards becoming one of the gang
now. Dick Powell has propped l^ull's-eyes
against his hedge and is scoring notably.
Ruby Keeler is being taught how to hold a
rifle so it won't knock her silly. Paul Kelly
has invented .two systems which work, for
they've turned his wife into a veritable
Annie Oakley. He can hold dove shoots
right on his home farm, which is colossal
convenience, and so he's concocted a dove
throw, a trap which tosses an imitation dove
into the air. Also, he's designed paper
deer screens of true size and these he
frames ^vith hushes. "Most deer are killed
within a hundred vards," he explains after
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you jokingly inquire if you're to be blind-
folded and advised to pin a tail on to his
pseudo deer. "By standing over there and
practicing you're preparing for the real
thing!"
Irvin S. Cobb and Leo Carrillo are sail-
ing next month for Singapore to go lion
hunting with the fabulously wealthy Sultan
of Jahore. A Danish doctor has insisted that
Gable be his honor guest on his game-filled
estate. But studio schedules are the reason
for the popularity of handy quarries. Guns
are taken on location if there's a possibility
of sniping in spare hours. There are wild
boar on San Clemente Island, two hours'
yachting distance from Hollywood. Deer
are extremely plentiful in California and
within easy drives. But deer hunting is
different in that the hills are covered with
mesquite and scrub oak and you use
binoculars from a height, to spot your deer,
rather than tracking them. And if you've
decided venison is too dry you're not taking
it off the stove soon enough. Chalk that up
to Glenda Farrell. Evalyn Knapp dons
shorts and a bra top when she goes after
a covey of quail in the warm Imperial
"Valley— putting S. A. into the sport!
The first time you tog out eager for
action you may have unanticipated thrills.
Victor Moore escorted his young son to
a duck festival in Mexico. The child bagged
the limit and daddy, funny man, got one.
However, Victor won a rattlesnake, in his
bed in camp. Carol Hughes, on the verge
of pressing the trigger at an elusive quail,
had a hunch. She dropped her eyes. A
rattlesnake was poised to strike at her!
But she had a boy-friend in to^v and it
all demonstrates that a maid should not
venture forth alone. Carol's ambitious for
cougar, but Bette Davis, who accompanies
her husband up into the High Sierras,
promises to scream fiercely if a lion so
much as materializes across the widest
canyon and the deepest river.
Craig Reynolds is back from duck-deviltry
in Montana. Wading up a stream ^vith a
chum, he happened to turn around. His
pal was stock still, obviously terrified. Craig
ran to him and then stared up at the
bank, too. A huge black bear (you could
have snagged this one easy as anvthing,
Carole Lombard!) was on his hind feet, his
paws up - for a spring. With no shot of
bear calil^er, the lads ran like you-know-
what and-praise be, this was an indifferent
bear.
"Buck fever " attacks amateur hunters.
The appearance of a buck momentarily
paralyzes them and they haven't enough
sense to shoot. Donald AVoods invested in
the swankiest of outfits and hied North to
Mount Lassen. He was so shocked when a
big buck paused for a bow that he stepped
backwards hastily, and onto a skunk.
Warner Baxter can beat that, however. A
movie inagazine scribe inspired him about
the deer in Colorado. So Warner remem-
bered his trap-shooting prowess, bought all
the equipment everyone suggested, and
then ivhen he saw his deer he became so
excited he not only didn't shoot but he
slipped between two boulders and broke
his leg! He had to be carried for miles
and is just recovering from limping.
Sceptic Hugh Herbert, who'll take a Mor-
ris chair any day, was pested by Guy Kibbee
about this hunting craze. Eventually Hugh
iveakened, though he didn't feel he should.
A day and a half's driving and four of
them were at June Lake. It was freezing.
It thundered outside and in the cabin the
three jolly hunters snored so that Hugh
couldn't get a wink of sleep. Early in the
morning he crept out and paid an idle bov
$75 to drive him to Hollywood that very
instant.
Be sure you secure your hunting license
before you follow in these famous foot-
steps. An average gun will cost around ,'^45,
but one built to your measure by a master
gunsmith will be about %\'^o. And remember
I told you: if you're charged by a ram-
bunctious lion, Gary Cooper says to aim
just back of his shoulders.
Should you flop and have to fool vour
friends, be smarter than Ralph Bellamy'. He
rose at dawn at Palm Springs day before
yesterday and drove a hundred and fifiv
miles to an asserted quail paradise. He \vas
\villing to give this gag a whirl. He fired
away four hours— in vain! But he had
eighteen illustrious guests waiting to dine
with him; wearily he sneaked into a
butcher shop in the desert town and bought
eighteen quail. He ordered his cook to
sprinkle a few bits of shell in the bird<;,
casually. He'd thoughtfully scooped up a
pocketful of buck shot. There was con-
siderable huzzahing for Ralph's prowess
until several stellar guests bit into samples
of shell in their mashed potatoes!
"Whenever they see a camera they have to
live up to their reputations. Ethel Merman
and Pat O'Brien in good-natured tomfoolery.
60
Eluding Stardom
[Continued from page 21]
Gahagan who is now my wife. It is char-
acteristic of Helen, it is indicative of the
fact that we are akin, that she married me
when she did, against Belasco's advice,
knowing, as she did, his dishke of his stars
marrying while in production.
"Then, a little later, I made 'Tonight
or Never' for the screen, with Gloria Swan-
son. This play, then, was my debut into
matiimony and also my debut on the
screen.
"Both Helen and I feel exactly the same
about life and about the way it shoidd be
lived. Neither of us will do what we do
not believe in doing. Neither of us care
for fame or money so much as we care lor
our oun integrity. We have a young son,
Peter Gahagan Douglas, aged two, and we
want to make his future secure, of course.
But not too secure. We want to give him
a heritage which is more valuable than
inherited wealth— independence, the right
to carve out his own destiny with his own
hands and brain.
"We believe that living life "vitally and
deeply is more important than walking any
treadmill, even an ermine carpeted tread-
mill for a princely wage. The richest
tapestries are woven of many threads and
many colors. We want to make our life
that kind of a tapestry.
"We get, Helen, and I, a kick out of
many contrasting things. We both have a
reverential admiration for the late Elcanora
Duse, for instance, but we also admire pro-
foundly the antics of W. C. Fields and
Jimmy Savo. We're keen about Shakespeare
(and read him aloud to one another) but
we admire him not because he's a 'classic'
and should be admired but because he's
lustful and eloquent and alive, though
dead. We follow the 'Skippy' cartoons faith-
fully. We're mad for symphony concerts
and nut sundaes. We read Dostoievsky and
Shelley and The New Yorker. We play
tennis and bridge and Michigan rimimy.
^Ve like to live in New York, Hollywood,
Northern Italy, Pekin. We don't want to
o^^n a home anywhere. People don't own
homes, the homes own them. We have two
dogs, a Scotty and a Cocker Spaniel and
they are our only real responsibilities and
ties. We have to 'arrange about them'
whenever we want to pick up and go.
Peter, of course, gets picked up and goes
with us. He and I are going to fly to New
York at any moment now, to visit Helen.
"We see all the good pictures and study
performances. I like old coats and trousers
and can't stand conventional suits that
'match.' I always notice the hands and the
eyes of people I first meet. They tell the
tale. I have to have seven hours' sleep a
night to feel fit— it's a good life, this, smiled
Melvyn gravely, "if you squeeze it hard
enough and get oixt the essential juices.
"When I first came to -Hollywood I made
too many pictures in too brief a space of
time. I wasn't satisfied with what I was
doing. I had a good contract with good
figures written upon it. I tore it up, figura-
tively speaking, and went back East. I did
a play or two. I directed Helen in 'Moor
Born,' a play aljout two Bronte sisters.
AVhen I've 'disappeared' or 'run away' I
have, really, only disappeared from the
Holl)wood scene.
"I've made a few pictures I've liked. But
I've left Hollywood after those pictures be-
cause there were, at the time, no other
pictures available that interested me. I
could have 'made pictures.' I could have
made money. That isn't what I aui after.
"I have signed a contract with Metro-
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Silver Screen
61
Gold\\ yn-Mayer. I signed it afier a long
period of contract-postpojiing on my part.
Because I've never felt that contracts were
my meat. I'm also under contract to do
uvo or three pictures a year for Columbia
when and as thev want me. I hope it works
out. It all looks good. I£ it is, I remain.
If not I shall seek release from contracts
and Helen and I will take another of our
belated honeymoons. We've had one or
nvo already.
"I think, really," said Melvyn over the
last of our cigarettes and tea, "I think that
I've performed vivisection upon myself,
taken myself apart so that you may see
how I 'tick.' The 'mystery,' you see, is
really no mystery at all. For, reduced to
simple terms, I am merely a man who will
do only what satisfies him, that's all."
A scene from
Frances Farm-
er's latest pic-
t u r e , "The
Toast of New
York," with
Edward Ar-
nold.
noticed reactions of audiences ^vhich since
have proved of value to her as an actress.
But again her head goes horizontal and
her words follow suit:
"When I started going to the university
my mind w'as made up to be an actress. I
majored in drama and took part in debates
just to get used to an audience, more or
less. I always thought of it in relation to
the stage, never to the screen. But I was
in deadly fear of an audience from the
time I took part in a school play. Most
kids began with elocution lessons, but I
started right out of the blue. What I was
afraid of was being mediocre. Before my
first attempt I had hysterics for six hours.
An Inside Job ?
[Conlinued from page 34]
My state of mind was largely due to my
experience as usher in a movie theater.
There I developed a complete hatred of
audiences. Their comments made me real-
ize that to them pla)ing on the screen was
not at all a matter of acting, but wholly
one of personality. I never heard them
speak of anything but the looks and the
clothes of the actors and actresses.
"As I was interested in acting, their re-
marks made me feel utterly hopeless so far
as the screen was concerned. I've always
had a reverence for the theater. It never
entered my head to make any money out
of acting. As a matter of fact I was almost
horrified, when I got my Paramount con-
tract, at the thought of being paid for
something I had ahvays \vanted to do."
You are puzzled at Miss Farmer's finan-
cial indifference, in Hollywood of all
places, until she explains:
"If it were only for money I wouldn't be
in the picture business, because money in
itself doesn't mean anything to me. Once a
girl gets into pictures she may feel this to
be the easiest way to make money, provided
people like her personality, and maybe it
is. But ^^•hat she's doing isn't acting, it's
merely cashing in on her personality. The
same is true of a man. But a woman is
emotionally equipped from birth for act-
ing—ivhich a man isn't. This makes such a
Ck^j' EfeiQHB
IT WCMtC COS? TOIt $S gACM PmVAU lUHOit TO ilAKf^
mm STSPf f« ARTHUR MUSSJAV^ NEW YORK STUWO
mmmmmmmmmmmmmmmBmmmmmammmmmm
4 WEEKS LATER
LOOk^ DAD, I'vE PASTED
in the last label
can't wait to set TVIAT
arthur murray dance
—r BOOK. My I'M GLAD
,ffT{\ Rita sot me to
'1 EAT YEAST
IT FIXED ^
YOUR PACE
UP Flh^E-
i'll say/
62
SiLVKR Screen
big difference that it seems to me a man
has to work harder to get anyuhere on the
screen. To a woman exhibitionism— in itself
really a part of acting— is natural. If she is
paid for it she's just that much ahead. But
this doesn't mean she's an actress. It simply
means she gets a break."
Granting as much, you assume that this
most candid young woman across the table
from you had to get a "break" before she
could get her heart's desire.
"Mine was an accident," she discloses.
"In Seattle I happened to win a newspaper
contest which gave me a free trip to Russia.
Most of my six weeks there I spent at the
Moscow Art Theatre seeing acting such as
I had never seen before. It wasn't acting,
it was reality. Real people were doing real
things. I shall never forget one actor.
Through a long scene, with others talking,
he sat silent at one side of the stage, almost
in the wings, just staring at a letter which
had brought him tragedy. Yet he seemed
to be the only person on that stage. Now
that was acting. It was acting from inside,
with thinking and feeling behind it, the
only kind of acting that really counts. But
I don't think it could be done on the
screen, with all the distracting cutting back
and forth of scenes. It needs, most of all,
the warmth and feel of flesh-and-blood.
Yet, curiously, it was through that Rus-
sian's acting that I got into pictures. In
New York, on my way back, I told a friend
about it. My enthusiasm captured his in-
terest, so much so that he arranged to have
Paramount make a screen test of me. Odd
how things come about. If that hadn't
happened I don't know what I'd be doing
now."
What you know is that Miss Farmer is
doing more than any other comparative
newcomer to the screen, especially since her
flesh-and-blood Lotta in "Come and Get
It."
Phil Huston and Anne Shirley
enjoy regular pool plunges. Anne
is starring in "She Sang for Her
Supper."
"I've known women like that, worked
with them," she tells you much to your
surprise. "But it took me some time to
find just the right one. Finally, I found
my model for Lotta in a Hollywood beer
parlor. Unless you go to places of that kind
you can't believe that people of that sort
exist. One night I went with my husband
(the singer. Lief Erickson, likewise in pic-
tures) into a place on Highland Avenue—
and there she was! I knew she was right
the moment I spotted her. Then she
spotted us. We were so busy listening to
her song and watching her gestures, botli
suggesting an amateur Mae West, that Ave
hadn't ordered anything. Noticing this, she
came over to our table, asking, 'What's the
matter with you poor kids, broke?' Just to
see what she would do, we let her think
so. 'Don't let it worry you if you're down
on your luck,' she said. 'Even the sun has
its ups and downs.' Slithering into a chair,
she called to a passing waiter, "Hey, Sieg-
fried, bring three beers— and don't let their
collars choke 'em to death!' She was pretty
tight, but a good sort, and I liked her im
m'ensely. When I told her we were married
she was touched by the romantic idea of
husband and wife being out on a lark
together.
"I didn't tell her it was work that had
brought me there. In her sentimental mood
she began reciting poetry. Then she said
she wioie poems herself, and reaching into
the neck of a pathetic evening gown she
dre^\- out several scribbled on the backs of
bills of fare. They were like Eddie Guest's,
all about the home. She asked if ^ve were
keeping house and, told that we were, gave
me several recipes— good ones, too. I gave
her our telephone number and address,
and she said she was coming up to the
house and cook dinner for us. But I never
heard from her. Sad, those people."
Sad as the Lotta taken bodily from that
beer hall and brought to the screen, years
and all. But putting years on for her or
taking them ofl: for the daughter apparently
had meant nothing to Miss Farmer, whose
age might be . . .
"I'm t^venty-three," she lets you know. "I
imagined Lotta to be between thirty and
thirty-five, and her daughter about eighteen.
It was the mother who interested me, not
the girl. And in playing her the important
thing was the ^voman's background. It must
have been rather like that of the Holly-
wood beer parlor singer, whose old-fash-
ioned name seemed to ha\e come out of
to Clear up your I'ljj'd mmmd^is
WIN ropuwm !
r
SALLYS
PIMPLES
RUINED
HER
6CX)D
TIMES
UNTIL
OHSALLV.THAT^
SILLV. isn't it,
RH
NO IT isn't. HICtCIES spoil
EVERVTHING. I KMOyf7. 1
HAD 'EM UNTIL. I BESAM
EATING FLEISCHMAMN'S
VEAST. TRY IT SALLY -
IF YOU EAT •» CAKES EVER/
OAV AND STICK TO IT- iM
SURE
TME/'LLl
SO [
IWANT5CAKES
OF FLEISCHMANN'S
VEAST- 0H,WHATS
THIS?
ithaYs the fleischmann
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how to get a copv of
arthur murray s new
dance book
GET THIS FREE FLEISCHMANN
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It's easy to become a good dancer
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• Remember — this book is NOT
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Labels. Paste these on the
FLEISCHMANN DANCE
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Send it in — the book is yours!
// your grocer has no Dance
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of paper. Be sure to enclose your
name and address. Mail labels to
Fleischmann's Yeast, 701 Wash-
ington St., New York City. (This
offer good until August 31, 1937.)
(Details of securing Dance Book dilTer slightly
in states W^est of Denver and in Canada, see
newspapers or ask your local grocer.)
'0
Silver Screen
"Eat it regularly," says Dr. R. E. Lee, famous
physician, "and Fleischmann's Yeast will
help clear up ADOLESCENT PIMPLES."
• After the start of adolescence— from about
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63
MY THROAT HAS FOUND
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lavendar. When she told me it I \vanted
to cry. 0£ course, \\omen of her type
change, so I was careful not to play Lotto
too much on the sentimental side. I had
to keep in mind the life into which she
had drifted, for all her reactions depended
on it Avhen she was told that Barney had
gone away to marry another woman. No\\
it struck me that the natural thing for her
to do in that situation would be to get
drunk. But Samuel Goldwyn wouldn't
allow it. To him all women in pictures are
virgins, no matter what their environment,
and he solemnly assured me that it
wouldn't be nice for a virgin to get drunk."
She smiles indulgentlv, then adds;
"So that part of my work went for noth-
ing. But I'm not discouraged. I'm going to
keep on trying to do real things. I want
to do them on the stage when I've finished
my six-year picture contract. In the mean-
time I realize I must make the most of my
Hollywood ^\'ork."
And, taking her at her word, you realize
this Farmer in Hollywood is making hay
w hile her sun shines.
Frances came to our attention first in
"Rhvthm on the Range" and, in spite of
the ifact that her role was slight, made a
forcible dent in our memory, so that ivhen
she came along a little later as the tragic
Lotta we already knew and liked her. No^v,
when we see her again as "The Toast of
the Town," it ^\'ill be like welcoming an
old friend. Considering that she's a com-
parative newcomer to the screen, her record
is— to use an old Ho!ly^^'ood bromide—
phenomenal!
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'You Can't Do That!"
[Continued from page 33]
originators of \aiious types of blackmail
plots.
Some stars may— and do— suffer from re-
strictions forbidding the cup that cheers,
especially in public places. This includes
visits to night spots and other gay hang-
outs, and applies especially to Hollywood's
younger generation.
For the glamour queens, on the other
hand, sophistication is sometimes com-
pulsory. Bette Davis, nothing if not original,
taboos for herself anything smacking of
domestic science. Neither she nor Loretta
Young can let their public know anything
about their activities at home, or in the
kitchen.
Children, marriage, and happy home
lives were once forbidden for glamorou'^
stars, but Norma Shearer courageously
smashed that taboo ivhen she had a baby
and still retained popular favor. But even
now, such male stars as Joel McCrea, John
Boles and others prefer not to have theii
yoimgsters photographed.
Strangely enough, too much emphasis on
a happy home life is now taboo for such
stellar lights as Joan Crawlord and Franchot
Tone and Lili Damita and Errol Flynn. It
divorce comes along, and we've learned to
expect it from e\en the most de\oted
couples, the lo\ey-dovey stories would
backfire and make Joan and Lili look
foolish.
Taboo-makers were thrust in a quandary
\vhen Hollywood acquired a brand new race
track at Santa Anita, right in their own
back yard. Should gambling be banned? Joe
E. Brown worked out the problem for
himself. He owns race horses, but minimizes
the betting angle. Nobody cares how many
stories arc told about his Sunday visits to
his fom-footcd pals whh pockets laden with
64
sugar, but Joe E. keeps mum on his win-
nings or losses when Nellie and Dobbin
leap from their starting posts. Any mark of
sophistication is "out" for Joe E.
Probably the most embarrassing "can't"
for picture players is the one that forbids
inviting their best friends to watch them
on the set. We're thinking of one lovely
opera star and her vitriolic remarks when
her house-guests, a Lord and Lady from
abroad, ^vere forbidden to visit her dressing-
room on the set after she personally invited
them. "No visitors on Sound Stages" is
an iron-clad rule. Even a titled nobleman
may sneeze— and ruin the sound track!
These are just a few of the restrictions
placed upon the thoughts, actions and
speech of your movie favorites. Hundreds
of others could be mentioned, proving the
life of a screen sweetheart is just one
"don't" after another. Even celluloid vil-
lains must be "men without countries,"
since the tiniest foreign lands grow in-
dignant when unsympathetic characters are
represented as being of their nationality.
And even when she's retired to the
privacy of her own boudoir, a glamorous
star still suffers under a taboo as she
reviews the doings of the day. Can you
guess it? Of course! She is not permitted to
keep a diary!
Una Merkel and Anna May
"Wong attend a Hollywood
party given, for the benefit
of the flood relief fund.
Projections
• [Continued from page 25]
from evenings before. Finally she felt that
she was being walled in by bread and but-
ler, suffocated by it, her fury increased, her
mother was called, and Sylvia ^vent back to
public school. She still doesn't eat butter
on her bread, or on anything.
When she was fifteen, and a pupil at a
Brooklyn high school, Sylvia decided that
she could wait no longer to start that
career that she had phumed for herself
ever since she was old enough to know
^vhat a theatre wna. Her parents had real-
ized for five years that they had a taiciued
daughter, so when S\l\ia announced cpiite
definitely that she \vas ilirough with school
Poets have sung thousands of words to the
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musicians have been inspired by its lovehness
. . . But it remained for Bourjois to bring its
charm and beauty to yoi/ in the romantic per-
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power to mould their destinies, to make the
romantic things they want to happen come true
... A sure way to win charm for yourself and
thus to invite romance is to wear the perfume
that charms . . . Evening in Paris, by Bourjois.
o U It J o I s
65
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her latlier gave lier a check for a hundred
dollars, the enrollment lee in the dramatic
school of the Theatre Guild.
With a hundred and fifty others Sylvia
began studying stage technique, which in-
cluded everything from lighting effects to
selling tickets at the l)ox office. At the end
of eight months there were only t^venty
left. Winthrop Ames was the directing
genius, and the organization listed as
sponsors such brilliant and progressive
names as Helen Westley, Philip Moeller,
Lynn Fontanne and Alfred Lunt.
Sylvia was given the title role in "Prun-
ella," the Guild School's graduating play,
which proved the delight of the 1925
Broadway season. The play was sent on
tour ^vith Winifred Lenihan in charge, and
naturally Miss Lenihan had to have dis-
cipline, and naturally our little Miss Sid-
ney couldn't take orders from Miss Lenihan
any more than she could from her former
■'chool teachers. Sylvia stayed out til! past
eleven one night and Miss Lenihan fired
her from the troupe.
"I don't care," said Sylvia to herself and
kneiv she was l)ing, "I can get jobs by my-
self." But no one \vould give her a job. At
sixteen she decided she was a failure, and
was wondering just how to end it all, when
to her surprise she landed a job in "The
Challenge of Youth," for which she was
supposed to receive a weekly salary of one
hundred and fifty dollars. She decided that
instead of poison she would buy herself a
leopard skin coat. The play ran exactly two
weeks, and Sylvia had an unpaid for fur
coat on her hands.
Sylvia's plays after that had a habit of
opening and closing rather abruptly. She
attracted a deal of attention in "Crime" in
which she played a whimsical role. "Crime"
you may recall had in its cast several other
young people who were destined to become
famous in Hollywood— Kay Francis, Chester
Morris, Kay Johnson and Douglass Mont-
gomery.
Then came stock in Denver where she
played opposite Freddie March for fourteen
weeks. From there she came to Hollywood
on a Fox contract but her first picture,
"Through Dilterent Eyes," was far from
being successful. Deciding that she was a
failure once more, S)lvia returned to
Broadway in the dumps. Soon afterwards
she was cast as the girl in "Bad Girl,"
opposite Paul Kelly. The play was a hit
and Sylvia was an overnigfit sensation.
Movie scouts were hunting like mad for
new faces (particularly faces that could
talk) at that time, so it wasn't long before
B. P. Schulberg had signed Sylvia on a
Param.ount contract to replace Clara Bow,
the "It" girl, who was retiring from the
screen.
When "City Streets," her first picture on
her new contract, was released Paramount
discovered that they did not have another
Clara Bow, but an entirely new person-
ality, a dramatic star of great emotional
ability. At twenty-one Salvia Sidne) 's name
was on the marcjuce of nearly every theatre
in the world. Acclaim! Renown! Wealth!
Adoration! So what? So Syh ia continued to
lead the same kind of life she had alwa\s
led, calling herself a lailinc one minute
and a success the next, depending upon her
mood, making few friends because she only
wanls a frw Iriends. wnikinj; hard because
it is part of lu-i . .ind rebelling a^.iinst all
forms of iinprisonnicni . (hi clii conxentions,
and people w iili bii il-lu.iins. She is now
under contract Ui Waller Wanger, has re-
cently completed "Vou Only Live Once "
with Henry Fonda (no pun intended), and
is looking forward to appearing in "Wutli-
ering Heights" with Charles Boyer.
Along with that butter phobia (which
also includes milk and cream) Sylvia grew
up with an allergic to the color red. Red
\\ould throw her into a frenzy at a mo-
ment's notice. But lately she claims she
has been able to overcome her aversion
to red. "I don't know why. I just dis-
covered that things looked prettier \vith a
dash of red."
As mentioned before, she often drinks
fifteen cups of coffee a day, smokes in-
cessantly out of a long holder and xvonders
why she is so nervous. She never drinks,
except a little wine occasionally on anni-
versaries, adores early morning horseback
rides, and when she is making a jjicture she
knits continuously (which is fortunate in-
deed for the studio, else she would shred
the sets). She swears she doesn't bite her
nails, but she does.
She loves a choice bit of gossip, as who
doesn't? And generally gets it at the hair-
dresser's, as who doesn't? But she only likes
to gossip with people who are tree souls,
like herself, who do not salaam to Wealth
or Name or Position. She has discovered
that the hairdressers in Holhwood are the
freest of the free souls. So when she feels
like an honest talk with an honest person
she has her hair \vaved. As soon as she gets
back to her apartment she goes to the bath-
room and with a wet comb completely
combs out the wave. As she goes to one
of the best "beauty salons" in town her
honest talks are rather expensi\e. But lion-
esty, dear reader, is a rare thing in Holly-
wood. Sylvia Sidney isn't the only one \vho
knows that.
Although her gags and pranks are not
publicized as those of Carole Lombard are,
Sylvia in her quiet little way is one of our
better pranksters. Yes, that "lonely child
of sorrow" can think up some very em-
barrassing jokes to play on people. 'We
have no space to go into them here but
there is a dignified vice president who re-
ceived a pig in a gay box at his bank one
morning, not long ago, who is sitting up
nights now trying to figure out some \\av
of getting even with Miss Sidney.
Two things are always guaranteed to
make her furious. (This might be a tip
to the banker.) She cannot bear to have her
picture taken by a candid camera photog-
rapher and a mutterer drives her insane.
She has a very fine temper which flares up
at the most unexpected moments, but being
a swell gal she never takes it out on an\ -
one else. She usually kicks a door or
smashes something, and then she feels bet-
ter. "I keep telling myself," savs Svhia.
"that I have my temper under control, but
it isn't true at all."
In October 1935, much to everyone's sur-
prise, she eloped to Arizona by plane and
married Bennett Cerf, popular New York
publisher. But by February 1936 she had
applied to the California courts for a di-
vorce—\\'hich was effective this past Febru-
ary. S\l\ia is now free to marry again and
her name is being linked with B. P. Schul-
berg, producer, and \\ith Norman Kiasna.
writer. "Just Iriends," says S\lvia. .And I
think she means it. Naturally Svhia had
too much sense and too much good taste
to give out inierviexvs on whv she dixorced
Bennett Ccrl, so Holhwood is still spcciilal-
ing and gossiping in the Holhwood man-
ner, but it seems that not e\en the
hairdressers know.
OIXCj Jiis b'll to aid the stale iiiolor x'eliiclr
ilcjxirliitciU It) till down sjxcdx diid reckless
dr're'ni!^. lU ne lidviiiond li/c piil a i:^<wernor on
his (iiy u'hi( li will iicl I'ei iiiil him Id liatiel on the
liioliu'iiY.^ Id^lei llidit lhiil\'lr,'( miles j>ey hour.
66
S 1 1. V I-; R S c K I- 1; N
A scene from "Stepping Toes" with William Brisbane,
Ginger Rogers and Fred Astaire. What? No dancing!
King Comic
[Continued from page 31]
of talking pictures. Jack became more pop-
ular than ever. He was rushed right from
one picture to another, "mugging" his way
to fame. And as he progressed he had one
idea in mind— to be a good comedian. Un-
like most comics, Jack has never aspired to
do serious roles, although Ernst Lubitsch
has always maintained that he would make
a marvelous tragedian. With which expert
opinion I heartily concur. But no one has
ever been able to convince Jack himself
that he should do "dramedy," as he calls it.
"A touch of dramedy here and there is
okay," he'll tell you. "But can you imagine
Oakie killing the people in black tights,
whiffling 'Wherefore goest thou, big boy?'
That's swell for a lean and handsome guy
like Leslie Howard, but not for Mrs.
Oakie's favorite son."
Funny thing about Jack. You're always
discovering things about him. Of course,
it's only recently that anyone has ever been
able to get him to say a serious word about
anything at all. I remember spending a
whole afternoon on the set with an inter-
viewer several years ago, trying to get him
to seriously answer one question. We had
a lot of fun and he gave out plenty of
wisecracks, but he never did answer that
question.
During this interview we were sitting up
at the bar in the new Oakie home, cur-
rently referred to as "Sloppy Jack's Joint."
Jack stood behind the bar, mixing drinks
and drinking coca cola. That's his favorite
beverage, nowadays. There was something
different about Jack, it struck me. For one
thing, his sweat shirt of the old days ^vas
gone. In its place he wore a good-looking
white polo shirt, brown t^veed coat and tan
trousers. A white carnation was in his
buttonhole— out of the garden, we were
informed. Incidentally, it's his favorite
flower.
"I was just wondering about how you
study your lines," I began. "Do you really
study them at home, or what's the pro-
cedure?"
"Well, you know," he said thoughtfully,
"I've always found I get along better if I
never see a script until I get on the set.
All I want them to do is tell me what the
scene is about and I say my own lines
spontaneously. It seems to me the trouble
with most people is that they're afraid to
be natural on the screen. Of course," he
grinned, "the script girls have a lot of
trouble with me. They never can find out
where I'm at because I don't say the things
they've got written down there. But when
a director knows me, he usually lets me
say what I want. Sounds better to him than
something they've written for me. I can act
better when I can be myself. Just toss the
lines out to the audience and let 'em fall
where they may. When you study them too
much or take them too seriously, you lose
that spontaneity."
^Vliat doctors tell you
to
look i(
SOMETIMES a simple little question put
to your doctor will reveal how thor-
oughly he guards your health— ei;en in
minor matters.
Just take the question of laxatives, for
instance. You may be surprised to learn
that doctors are deeply concerned about
this subject. So much so, in fact, that be-
fore they will give any laxative their ap-
proval, that laxative must meet their own
strict specifications.
Read the following requirements. And
ask yourself, "Does my laxative qualify
on every point? "
The doctor says that a laxative should be:
Dependable . . . Mild . . . Thorough . . .
Time-tested.
The doctor says that a laxative should
not: Over-act . . . Form a habit . . . Cause
stomach pains . . . Nauseate, or upset the
digestion.
Now — remember this! Ex-Lax meets
every one of these demands . . . meets them
so fairly that many doctors use it in their
own homes, for their own families !
or in a laxative
• 9
Ex-Lax is intended to help, not interfere
with Nature. That is why you'll find it so
mild and gentle. Ex-Lax does not over-act.
It does not "force" or cause stomach
pains. Its easy, comfortable action leaves
you feeling better— /oo/cmg better— with a
greater zest for enjoying life.
Children, of course, find such action es-
pecially beneficial. For the requirements
laid down by the doctor are doubly im-
portant to a child.
And Ex-Lax is a real pleasure to take. It
tastes just like delicious chocolate. Once
you try it you will be through with nasty,
druggy-tasting cathartics for good. ... At
all drug stores— 10c and 25c. If you pre-
fer to try Ex-Lax at our expense, write for
free sample to Ex-Lax, Dept. S47, Box
170, Times-Plaza Sta., Brooklyn, N. Y.
When Nature forgets — remember
EX- LAX
THE ORIGINAL CHOCOLATED LAXATIVE
Silver Screen
67
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"■What about dramatic scenes, like in
'Fast Company' when they pull that dum-
my mike on you when you're talking to
your mother?" I ^^•anted to knou-. "And the
time in 'Stolen Harmony' when you find
that Judith Allen is in love with Bing
Crosby instead of )ou and the swell scenes
in 'Shoot the 'Works' and 'Call of the Wild'
—didn't you rehearse them, either?"
"Nope, " said my favorite dramedian
firmly. "I just got 'em to tell me what the
scene was about and then did it. 'Bring a
lump to their throats and make 'em cough
it up with a laugh,' I always say."
We got to talking about Jack's latest
picture, "That Girl from Paris."
"That Lily Pons— she's swell!" Jack en-
thused. "See that picture up on the mantel
she gave me? Gosh, it was swell ivorking
with her. She didn't care how much we
gagged in the picture. Remember that line
of mine— 'Kill the People'? W'tW, she wanted
to know what it meant. ^Vhen thev n-ere
shooting the scene where she leaves the
show to go to the Metropolitan the\ were
stuck for a line for her to say. I suggeste.'.
my line— just for a laugh. So she said it—
and boy, did it get a laugh when she said
'Keel the pipple' with that fun^iv accent
of hers I"
Just then \'enita came in— you know, the
new Mrs. Oakie. She'd been shopping. Buv-
ing moulds for frozen desserts and an apron
for the cook.
^Ve walked across the lovely red brick
patio, o\erlooking a s^\•imming pool, and
into the sun room.
I sort of hated to leave. They're nice
people, those young Oakies.
"Did you see my Christmas present?'
\'enita called after me after I had said
goodbye. "Look at it as you go out. It's
in the dri\ewav."
And sure enough, it was. A long, slim
black car -with \\-hite sidewalls on the tires
Nice enough, if you ask me. But probab!\
not an\ too good for the Oakies at that, if
vou ask me, too.
Girls They Won't See Again
[Continued frotn page 19]
nothing more. If you give it any other
interpretation by wild protestations then
you can put do^\-n the results as your own
fault.
.\nd that isn't my opinion. That's what
the most popular bachelors in Hollywood
say about it.
Erik Rhodes loathes a girl who likes to
gossip. "The type that pans more attractive
girls is found in every town," he told me
while nonchalantly tapping his boots -with
a riding crop (and it wasn't a prop either
for Erik is a real horseman) "but it seems
to me, particularly in Hollywood, there are
dozens of little stock actresses who sit at a
table and give the works to all the celeb-
rities present.
"You should hear that type. 'Look at that
old battle-ax over there,' she'll say. 'AVhy,
my dear, her face is so wrinkled they have
to photograph her through a Navajo
blanket." That gets me down.
"But I certainly don't want a ga-ga girl.
That 'mama-what-is-beer' stuff is out \\hh
me. I like a certain amount of sophistica-
tion, but I mean real sophistication and
not the superficial kind.
""What I try to do is to pick the right
girl for the right place. If it's a dressy affair
I take a girl who shows off well and looks
grand. If it's a party where there is going
to be a lot of liquor I take a girl who
knows how to drink and when to stop. No
man in the world can stand a woman who
gets really tight.
"But the thing I can't take is the girl
who puts lip stick on and then smears it
off her finger on the napkin. Somebodv else
can date the girl after that— not me."
By the way, Katherine DeMille is Erik's
idea of a swell girl who behaves exactly
right under all circumstances.
Yoir\c probably seen candid camera shots
of tall, dark and handsome )oung Johnnie
Do^vns beauing such glamor belles as Elea-
nore ^Vhitney and Marsha Hunt. There's
usualh a big smile on Johnnie's face but
that's a prop for the cameraman. Actualh",
figures are running through Johnnie's head
and they're not the figures the girls he
takes out are cutting.
"For," said Johnnie, and he \vas more
serious than he's c\er been in the mo\ics,
"to dale a girl today means parting wiih
too much hard earned cash. I don't blame
the girls, I blame the system. Thev're vic-
tims of it. but we men are ^vorse viciims.
"Did you ever stop to figine out what it
costs a gii\ 10 s]iend an evening in a girl's
company? "
I said no, I hadn't.
"^\'ell, it s between ten and twenty-fixe
bucks. I ask you, isn't that too much?
"So I say give me the good old fashioned
girl who still labors under the impression
that a good time can be had without all
the modern trimmings heaped on by schem-
ing merchants. If a date means anything
to a girl then cabs, flowers, expensive hotels
for dancing and food shouldn't be neces-
sary."
Young Owen Davis, Jr., is content if the
girl friend just doesn't make a scene in
public.
Owen is a swell kid. Ask Anne Shirlev
whether that's right or not. He lacks Bob
Taylor's intensity and ferociousness when
he's on a subject about which he feeK
deeply, but he has the most winning smile
in Hollyxvood and a sort of bovish timiditv
that does things to the Great ^iother Heart
lurking in every woman from seventeen to
seventy.
"If a girl can't dance," Owen confided.
"I just crack a joke and say— well, I guess
I'm pretty terrible myself and how about
sitting; this out and have a iew laughs
watching the other dopes. Gee, nothing
matters much if you can have a lot of
laughs."
".And doesn't anything make \ou mad? "
I proded.
"You bet!" (Oh, the lads have their opin-
ions, make no mistake.) "It makes me sore
as a sick cat to have a girl start a scene
about the location of the table or the serv-
ice we're getting— or something like that.
I think some girls do it to show how clexer
and sophisticated the\ are. AVhat they really
show is just bad breeding. And anyhow,
if soitiething is wrong it's the guy's job to
do the bawling out. It makes you feel like
a dope in front of a head waiter for your
girl to complain. Say, you're supposed to be
the big he-man.
"An\how the xvhole idea of a date is
just to have fun and be natural. And if a
girl is smart and wants to be dated again
she'll fall in with the man's mood, site ll
watch to see what he likes and what isn't
making a hit with him.
"Oh. I get along with most girls. I h:i\c
a swell time."
Thcv called him on the set just then. He
■was almost before the cameras when he
came running back. "I forgot," he said
breathlessly, "there's another thing that
drives me nuts. I can t stand having' a girl
HOUSE OF ^ *^ ^ ^ ^ NEW YORK
68
Silver Screkn
International
Friendly families — Mr. and Mrs. Frank
J. Ross (Jean Arthur) and Mr. and
Mrs. Charles Boyer (Pat Paterson).
talk about her animals— you know, going
on for hours telling me what cute things
her dog or her cat did. That's when I get
bored . . . Yes, I'm coming."
Owen has had his share of dating ex-
perience. Before Anne Shirley, there was
Florence Rice, Mary Rogers (Will's daugh-
ter), Miriam Hopkins, Margaret Callahan
and "Virginia Fields— to name a few.
Over on the Paramount lot I had to fight
my way through a crowd of girls to come
within shouting distance of Tom Brown.
And if I gave you the list of lassies he's
squired hither and thither there wouldn't
be room for another word of this story.
He didn't say whether or not every girl
he goes out with is his ideal but he expects
a girl to be vivacious, natural and attrac-
tive. Besides she must dance well, be up on
the new shows and know something about
the busuiess he's in.
"I've gone out with a lot of girls,"— and
that, dear reader, is rank understatement—
"but one of the best scouts I ever dated
was Anne Shirley. I hate anybody who isn't
a good sport. By good sport I mean an un-
affected, sincere girl who always seems to
get a kick out of being asked out whether
it's the Cocoanut Grove or just a hike in
the hills.
"I can't stand girls who use too much
make-up," continued Tom, "and I hate
them when they get that— you know that
'startled fawn' attitude. Or girls who give
the ritz to old friends.
"But don't get me wrong. I'm not crazy
about the home body type. I think a career
for a girl is swell. A girl can be ambitious
and interested in her work— Anne is— and
still have a grand sense of humor and be
a pal. But if a girl gets sulky and dis-
agreeable on a date with me it's good-bye
and I'm picking up my hat. They don't
interest me by being sophisticated and
bored."
Young Eric Linden is a different type
from Bob Taylor, Erik Rhodes, Owen
Davis or Tom Brown. The Hollywood
night spots can go fall in the middle of
a De Mille set for all Eric cares. His idea
of an amusing evening is the Ballet Russe
(and Eric knows how to pronounce it) a
symphony concert or an intense discussion
about books, poetry, music. Yet he knows
how to order a dinner perfectly and never
forgets to be gallant ancl courteous.
If you went out with Eric there's one
thing you would have to be— and that's
intelligent. And the thing you couldn't be
—and ever get another date with him— is ?
petty gossip. Let a girl be catty towarc
another girl, let her repeat to him the
latest hot rumor that has the town ablaze
and— well!— her telephone may ring again
but Eric won't be at the other end of the
wire.
So there you are, girls— a little lesson in
popularity. And it occurs to me that you
boys should organize a small vote-of-thanks
club for your Hollywood brothers who have
been honest enough to give some silly girls
the sort of straight-forward talking to they
deserve.
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Featured in 20th-
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"That I May Live"
COPYRIGHT 1937, RICHARD HUONUT
mflRvcious^ ^./^v mflKJUP
/y RICHARD HUDNUT
PARIS • lONDON ■ NEW YORK • TORONTO • BUENOS AIRES • MEXICO CITY • BERLIN
Silver Screen
69
"6*/ Mother/
IVELOST
MY
JOB/
^HE job she needs so badly. The job she
worked so hard to get. And what makes it
even worse, the job which she is so well qualified to fill!
The tragic part of it is that she doesn't know why she
lost it. For employers will never tell a girl the real reason
when it is a personal fault of hers.
Underarm perspiration odor is an annoyance men will
not tolerate in a girl, either in business or in social life.
And why should they, when it is so easy to avoid —
with Mum!
Quick and easy to use. Half a minute is all it takes to
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Soothing to skin. It's soothing to the skin, too. You can
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Doesn't prevent natural perspiration. And another im-
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Remember, a fresh daintiness of person, free from the
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W
9
MUM TAKES THE ODOR OUT OF PERSPIRATION
Cream of the Crop
[Continued from page 23]
and after six idle months Doris returned
to New York. Along came Al G. 'Woods ivho
gave her the big boost by putting her in
the leading role of "The Night of January
1 6th," which opened at the Ambassador
Theatre, in New York, September 15, 1935.
Her success was immediate and the play
became one of the season's big hits.
Again tested for the screen, she signed
with Universal, and the day after her ar-
rival in Hollywood she started her first pic-
ture, "The Man I Marry," and -iras off on
her s^^-ift race to fame.
Blonde Sonja Henie, who comes from
Osla, Norway, via ice-skating champion,
ships, invites extravagant superlatives. She's
a real find.
Sonja's story is thrilling. Balancing her-
self on skates for the first time on Christmas
day, when she ivas six, she has spent the
mtervening years mastering the intricate
figures. Now, at twenty-two, she stands at
the very top of this art, being ten-times
^vorld ice-skating champion and three-times
Olympic champion. Her unprecedented suc-
cess in her first picture, "One In A Mil-
lion," is one of the season's triumphs. Her
new film, "Hans Brinker and The Silver
Skates" kiU be a dazzling encore, with the
little queen of ice miracles entering a world
of fantasy in \\hich her blonde loveliness
and skill will be given full play. So, Sonja
joins the preferred group who will add to
cinema history.
Slim, Viennese Tilly Losch scored in her
first film, David Selznicks Technicolor pro-
duction, "The Garden of Allah," w here her
native dance in the Arabian cafe, flaming
with sensuous beauty and intensitv, became
one of the high spots in the desert love
drama. So vivid and vital was she that the
late Irving Thalberg took one look at the
picture and signed her for the role of
Lotus, youthful s^veetheart in "The Good
Earth. "It is an ideal part for Tillv, one
that is bound to sweep her to fame.
At the age of five she began taking
ballet lessons, making her debut in the
\'ienna grand opera while still in her teens.
She has danced in all the European capitals
and i\as brought to Ne^v York bv Max
Reinhardt. No\\- she has a seven year con-
tract with Metro-Goldwyn-Mayer ' and her
next picture wiU probablv be a talking
version of the early Garbo sensation, "The
Flesh and the Devil," with Clark Gable and
Robert Tavlor. In this Tilly will forsake
her dancing and emerge as a dramatic
actress. She has no regrets, as she feels she
has gone as far as she can with the dance,
while the dramatic field will never be fullv
explored. Tilly has car\ed a niche all her
own. She's mysterious, baffling. She is ro-
mance—and d\namite!
It's goodlooking, twenty-two year old
\Vayne Morris who is the white hope at the
\Varner Brothers studio. A few months ago
he made his film debut in "China Clipper. "
He clicked so definitely that he was put
into "King of Hockey," then, "Don't Pull
Your Piuiches." \'iewing this latter film,
the studio e\ecuti\es sa\\' ^Vayne's skill in
dealing wicked right-hand punches and
they arose as one man, to give him the title
role in their big production, "Kid Gala-
had." This definitely puts him among the
stars.
A nati\e son of Los .4ngeles, yet \Va\ne
didn't reach the studios until he had put
in long, hard years learning to act. He has
a record of more than lortv stage plaxs at
the famous Pasadena Pla\ house, which pavs
in honors and experience rather than
checks. Through a remarkable singleness of
|)inposc and ilownright grit, he won a con-
tract wiih \\'arncrs.
70
Silver Screen
Admitting he's a bit breathless over his
sudden success, he told me, "My chief re-
action is gratitude. I realize I got the
breaks, I was in the front line when oppor-
tunity came, and it so happened that each
picture built right up to "Kid Galahad,'
which I've just finished. It couldn't have
been planned more perfectly. I've a long
way to go but belie\'e me, nothing is going
to stop me!"
The sixth on the list is the luscious
Dorothy Lamour, born away doun in Xew
Orleans, a real southern heartbreaker. It was
when she was five that she first proved a
trouper, for she won a basket of groceries
at a neighborhood theatre's amateur night,
doing a song and dance number.
Her climb to success has been a hard one.
There were beauty contests that brought
no rewards, there were months uorking as
a model and also as elevator girl at Mar.
shall Fields' Department store in Chicago.
Then, because she had a voice, she won a
chance to sing at a popular hotel's celebrity
night, and Herb Kay, the well known or-
chestra leader, immediately engaged her
to sing with his organization. She remained
with it for three years, then married Mr.
Kay, to continue the contract for life. In
the meantime, she became a radio star with
the National Broadcasting System, singing
on the Shell hour. It was when her outlet
over NBC was changed that Dorothy came
to Hollywood, where Paramoimt scouts
signed her to play the leading role in "The
Jungle Princess."
Her unique beauty, with its mysterious,
haunting quality, illuminated this Malay
drama and she was hailed a star. Despite
the hardships she encountered, such as
wrestling with tigers and monkeys, jumping
into icy lakes, living for weeks in a location
camp in the high mountains, and -ivalking
some five miles a day in her bare feet,
Dorothy's enthusiasm for acting never
waned. She'll be seen next pla\ing a promi-
nent part with Fred MacMurrav and Carole
Lombard in "Swing High, Swing Low,"
which will reveal more and more of the
glamorous Lamour's abilities.
With a piquant face, a body beautiful,
a certain sex appeal, a sweet femininity and
a voice of unusual charm, Dorothy is on
her wa.)' to garner many laurels.
So here are the six whom I believe will
become topnotchers dining the coming
year: T)rone Po^ver, the lad who inherited
a famous stage name, Sonja Henie, the Nor-
wegian skating champion, Tilly Losch, a
dancer from old Vienna, Doris Nolan, the
determined, 'Wayne Morris, with his vibrant
youth and infectious grin, and the radio
singer, Dorothy Lamour. Each brings an
intriguing, a "different" personality to \iew,
each has the stufi from ^vhich stars are
made. This is what the screen is crving for!
Eric Linden and Cecilia
Parker are making a picture
for Grand National. It is
called "Two Shall Meet."
KEEPS TEETH WHITE
MOUTH HEALTHY
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^he affir herMothefs smile
DENTYNE WAKES UP UZY MOUTHS
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may rob you of the fine healthy teeth
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You can keep that mouth-happy smile
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A FLAVOR THAT MAKES CHEWING
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The Big Moment
[Continued from page 17]
unraveled clues.
After "Mr. Deeds Goes to Town" Jean
was naturally the hit of the town. And
then it happened. Cecil B. De Mille and
Paramount ^vere in a huddle over "The
Plainsman"— it seems that there was only
one person in Hollywood who could play
Calamity Jane, and that was Jean Arthur.
And, too, Paramount was quite naturally
eager to team Jean with Gary again, after
their terrific box-office success in "Mr.
Deeds."
Jean Arthur was in a s\vell spot. The
studio that had once dropped her without
even so much as a "Pardon us ' was now
figuratively on its knees begging her to
come back. Being human, Jean got a big
thrill out of it. I do not know the financial
deal she made with Paramount to do the
picture but there are rumors to the effect
that not only did she salve her wounded
pride, but she did all right towards salving
her bank account. And wasn't she swell as
Calamity Jane?
"The biggest thrill in my life," Bette
Davis told me as she caught her breath
bet^veen "takes" of "Marked Women," "was
the night my mother called me long dis-
tance from New York and told me about
the opening there of 'Of Human Bondage.'
She told me how the audience had ap-
plauded at the end of the picture, and
little scraps of conversation she had over-
heard, and how proud she had felt to be
my mother. Then she read me the re-
views from the early morning editions of
the New York papers. I drank in every
word. As I realized that I had made a
definite impression with my characteriza-
tion of Mildred, a new ^vorld seemed to
open to me.
"Leslie Howard, when I was cast in the
part, threw up his hands in despair. 'Can
any American manage that peculiar cock-
ney accent necessary for that type of Eng-
lish girl?' He assured me that he had con-
fidence in my ability to act the role, but
he had grave doubts about the accent. And
if Mildred had a phony accent the picture
would be completely ruined. I made up my
mind I would master that Cockney dialect
if it was the last thing I ever did.
"I asked an Englishwoman, familiar with
the way such girls as Mildred spoke, to live
in the house with me and watch my accent.
Morning, noon, and night I worked on it
—I even answered the telephone with it—
and naturally I nearly drove my family
mad. Poor Ham (Bette's husband, Harmon
Nelson) walked out of the house more than
once and severe he'd never come back until
I stopped being Mildred. You have no idea
how my family suffered. But Mildred meant
everything to me. I ^\as to sink or swim
with' Mildred.
"It was ^vorth it, though, when I found
that I had mastered the accent suRicientlv
to win the praise of those most interested,
and Leslie was the first to coi>gratulate me
and to say that he was sorry he had
doubted my ability. So, when the ciitics ac-
cepted me so graciously, and my mother
read me some of the Ne^v York notices, I
can truthfully say that up to that time
nothing had given me such a thrill of
sheer happiness— and nothing is truer than
that sense of happiness which comes from
acknowledgment of work that you believe
to have been well done.
"Mildred was such an odd character—
everything seemed wrong about her— and
she did not seem to have one redeeming
quality. People said I was a fool to ivant
to play her, but she was a challenge to
my imagination. I was fed up 'W'ith the tvpe
of stories I had been doing and tvhen the
chance came to play such a character I
jumped at it. I knew if I failed it might
be the end of my career. That is another
reason why I felt the thrill of a lifetime
when I knew that I had run the risk of
badly denting my career and had come
out with flying colors.
"If you ^vant a second big moment in
mv life I think it was recently when I
returned from that rather eventful trip
abroad. After those awful months of fight-
ing in the English law courts^ I found my-
self nearing New York harbor. I felt a
wave of happiness surging over me. and a
sense of great peace. "
Anna Sten gives .-1 surprise party in a cafe
and uses the microphone to greet her guests,
'while Ben Bernie provides the musical setting.
72
Silver Screen
Voices in the
Upper Air
[Continued from page 27]
must put everything he has on one pitch
and trust that it cuts squarely across the
plate. The movie star is acutely conscious
of this when he steps before the micro-
phone, and he or she is not prepared lor
it. Radio has no private cutting-room.
Whatever shoddy work is done is exposed
to every Hving room in the coimtry.
Loretta Young, when she broadcast in
New York, was pretty nearly a nervous
wreck. Only a telegram from her kid sister
saved the day, a telegram that was deli\ered
just before Loretta went to the mike:
"Youth of country listening in. Toots," gaily
wired the kid sister, "keep it clean." The
humor of the warning to keep it clean
stripped Loretta of all her nervousness and
she turned in an excellent job. Fred Astaire,
now a radio star in his own right, made
his first radio appearance on the Rudy \'al-
lee hour while he was playing in "Band
Wagon." He and Adele Astaire sang, and
the tremolo of nervousness was so pro-
nounced in her voice that you could picture
her mental distress at the ordeal. Lupe \'e-
lez made her first broadcast on my program
some years back. As she finished her song,
Lupe stepped back and quite una\\-are that
the microphone could pick up her voice
as she retreated from it, said: "That was
lousy." There was a horrified silence from
the C.B.S. engineers as the frank ad lib
spattered out on the air, coast to coast.
Quite a few of the movie stars made their
debut in radio under my sponsorship. Jack
Benny, today the top man on the air, made
his first appearance at C.B.S. on a program
I was master of ceremony-ing for Gerardine.
Benny, in that first program, used the same
type of self-kidding humor that is the hall-
mark of his work today, so don't ever be-
lieve those who tell you that his radio suc-
cess was the product of a script ^vriter's clev-
erness. In his first program with me, he
indicated the route he'd pursue.
Sonja Henie impressed the broadcasters
as a nice-fat-cheeked girl. She sho^ved up
with her parents and they follo\ved her all
over the studio. Roland Young won a
rating as a "right guy" in radio by his
treatment of Donald Dickson, a new sing-
ing find. Dickson never had read lines on a
broadcast. Young took him aside and
coached him in delivery for twenty minutes.
Radio marked him down as a 100 percenter.
George M. Cohan was so overcome by emo-
tion when he was broadcasting his "Song
and Dance Man" that the program ran one
minute and thirty seconds be)ond its allotted
time. He evidently saw in the play a parallel
to his own lile and he was ^vee])ing openly
when he came to the nostalgic passages.
Jimmy Durante made his radio debut on my
program; so did Jack Pearl and 7\lice Brady.
I don't remember anything particularly sig-
nificant about these occasions, save Miss
Brady appearing just one minute before we
went on the air. She explained casually that
she had stopped to buy a cute dog she'd
seen in a shop.
Gracie Alien, of Burns and Allen, doesn't
have to be funny olf the screen. On her last
trip east, an autograph fiend halted her for
an autograph as she was leaving the broad-
casting studio: "Sign yoiu' name please,
Miss Allen," said the girl, opening a book
to two l)lank pages: "Which page will I sign?"
asked Gracie seriously but ihe girl believed
Miss Allen was cracking a joke: "How do
you like that?" giggled the youngster. ''She
doesn't even know what page to sign." Tiiis
information, relayed to the other autogra|)li
seekers out near the elevator, procluccd
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Silver Screen
73
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spasms of mirth: "Boy, she's a card," said
the elevator operator. So convinced are they
that Gracie is dopey that anything she says
innocently is seized as support for that con-
viction.
Ed^vard G. Robinson appeared with me
on one broadcast. I was impressed with tlie
serious manner in which he went over the
script, changing a ^vord here, altering a
plirase there. Each change he made ivas
shrewd and sho-svmanly. Georgie Raft, on
one of my programs, Avas ill at ease when
pinned do'is'n to a script. He talks much
more freely \\'hen he is permitted to ad lib.
Raft knows exactly what the public likes
to hear a movie star say. That night, he
based his appearance on 'Wilson Mizner's
i\ arning to "Be nice to the people you meet
on the way up, because they're the same
people you must meet on the \\ay do^\•n."
It was tremendously effective in its modestv.
Radio, of course, is an old chore to Eddie
Cantor. Most amusing sidelight in the Can-
tor broadcasts from New York is ivhat goes
on before a program. He headquarters at
the 'Warwick Hotel, and his suite is over-
run by song pluggers, song writers, gag men,
friends of a friend of the family, agents—
in fact, so vast is the volume of foot traffic
in his suite that it is difficult to find Cantor.
^Vallace Beery surprised the radio pundits
by being very quiet and reserved. Charlie
Buttenvorth is the same a^vay from the
radio as he is in the actual prograin, droll,
oddly awk^vard in speech and gesture. Leo
Carrillo is best remembered by New York
radio stations because he invited every one
he came in contact with to visit him on
his California ranch. If all the people he
in\ited actually accepted, he'd need a ranch
as huge as San Simeon to accommodate them.
However, the radio studios, convinced
that movie stars definitely have the glamour
that the networks need, are shifting more
and more to the west. C.B.S. already has
opened a Coast broadcasting station. AVOR-
>Iutual has joined the Don Lee stations
to its web, and N.B.C. shortly will have a
big station outside of Los Angeles. The
onrush of television makes it imperative
for the big chains to be on the ground in
Holly'\\ood, to take advantage of the stars
who headquarter there, and, as a result,
fewer and fewer movie star programs are
originating from New York. The Rudy Val-
lee program, the Joe Cook program— these
are about the last of the big guest star
features which are holding out against the
new trend to the western celluloid coast.
But, though the radio empire is moving
west^sard, the movie stars have left a lot
of memories for the N.B.C. and C.B.S. boys
in Ne^v York, who worked with all of them
on their eastern trips.
Love in a Hideaway
[Continued from page 30]
"AVhy did you start our morning that
wa\?" he ivanted to kno\\'.
"Because I realized how dangerous it
would be to spend another night here."
Her candid eyes grew confused. "I mean,"
she added hastily, "the \veather. It's liable
to snow. Snow is serious. You heard what
Mr. Henry said last night—"
That reminded Peter of something. "Mr.
Henry's keeping remarkably cpiiet this
morning!" He strode to the bedroom and
opened the door. "He's gone!"
"Yes," said Millicent calmly. "I sent him
for the police. ^Vould you like a cup of
coffee before you go?"
"But I thought voii weie hiding out tioin
the ]Dolice yourself?"
She shrugged. "AW they can do is re-
turn me to my family. I choose to be re-
turned. AVhat about the coffee? "
In dour silence he gathered up his gini
and liis siiilcasc. Al tlic kitclien door he
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Remedy is Made at Home
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74
Silver Scrhen
paused to growl his answer, "I don't want
any of your coffee. I don't want any ot
you!"
He meant it; he was leaving her alone.
In vain she followed him to his car, begging
for a lift as far as the state road. Peter was
mad. The car shot away down the moun-
tain trail.
Millicent went back into the cabin. She
felt lonesome without Peter. She wished
she hadn't been so smart about sending Ed
Henry for help. Maybe Peter was a gang-
ster, but still . . .
She heard a car returning to the cabin.
She smiled. Peter was coming back. She
waited for him in the cabin, smiling to
herself. The door opened. He came in.
"Forget something?" she inquired airily.
Peter didn't answer. No wonder. This
was not Peter. This was a short, barrel
shaped man buttoned into a heavy winter
coat, a hat brim drawn across his eyes.
"Where's the mug?" he inciuired in a voice
like the creak ot a rusty hinge. Dutch Nel-
son had dropped in for a visit.
The gangster planted Millicent on the
couch while he searched the cabin. In the
midst of that search another car was heard.
The door opened again. Peter walked in.
He had returned to offer Millicent a lift
back to town.
"This looks like a good hideaway," said
Dutch ^\•hen explanations had been made.
"We're all gonna stay here."
Peter began to laugh.
"What's funny, Mug?"
"Your picking this place for a safe hide-
out when there's a flock of cops on the
way!"
Dutch thought it over. His car stood
near the kitchen door. He fired two bullets
into the gas tank.
"Now pack me up some grub," he or-
dered. "I'm taking your car. Make it
snappy."
Millicent and Peter carried the carton
of tinned rattlesnake meat to his car. He
was welcome to it. Dutch had the engine
going. He left without a word of farewell.
Night had returned to the cabin again.
The police Millicent sent for had not come.
It looked now as if they might never come
for winter, long threatening over Hogback
Mountain had loosed a blizzard that howled
3 fiend's chorus about the cabin and piled
the drifts up to its roof.
Peter glowed about the firelit room.
"\V'hat do we do about dinner?" he de-
manded.
"If I see caviar again tonight I'll scream,"
Millicent moaned.
"If you see it again ... if I see it again
. . ." He turned on her, hard with resolu-
tion. "I'm sorry, but the rabbit has got to
go-"
Mildred sprang to defend the bedroom
door. Her lip trembled piteously; her eyes
were moist. "No . . . please . . . don't . . ."
"The rabbit has got to go!" Peter re-
Fictionization of "Fifty Roads To
Town," Comedy Drama, Produced
b\ 80th Century-Fox and Directed by
Norman Taurog. Screen Play by Wil-
liam Conselman and George Marion,
Jr., From the Novel by Louis Fred-
erick Nebei.
THE CAST
Millicent Kendall Ann Sothern
Peter Nostrand Don Ameche
Sheriff Dow John Qualen
Dutch Nelson Douglas Fowley
Henry Slim Summerville
Henry's Wife Jane Darwell
Percy Stepin Fetchit
LeRoy Smedley Allan Lane
CREAIE A
11
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Silver Screen
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iterated, his voice like the crack of doom
Gun in hand he swept open the bedioom
door. On the floor lay the rabbit and about
her clustered fifteen small bundles of cot-
tony white— fifteen little rabbit strangers.
Peter put away the gun with a sigh. "A
triumph of Mother over Menu," he
groaned.
There was a long silence. Peter stared
gloomily at the caviar and the plate of
saltine crackers and the tinned hearts of
artichoke. Millicent watched Peter. She said
at last, softly "Peter, why are you hiding
from the police?"
He shrugged. He was going to tell the
truth. "I'm rimning away from a divorce
case."
She stiffened. "Your oivn?"
"No! Just a witness. The two people
involved ivere friends of mine. I didn't
want to have to testify."
"So you were the oilier man!"
"Yes," he sighed. "But quite innocently.
One night, very late, they had a terrific
quarrel. She came to me for advice. And
the husband came after her!" He sighed.
"I'm the sort of fellow who stops to watch
two other fellows fighting and winds up in
the hospital while they are shaking hands."
He rose to put another log on the fire.
Millicent's eyes followed him. Her eyes
^vere amused— and tender.
"Did anyone ever tell you you're pretty
swell?" she whispered.
"Huh?" said Peter, deafened by his own
wood chopping.
"Nothing. Skip it."
The snow had stopped. Dawn was break-
ing, a pallid, chill, gray light that showed
the snowbound cabin and the leafless
woods and shadowy figures of men sneak-
ing all about it.
The SherilT whispered to his chief deputy,
as they waited for daylight in a shack a
short distance front the cabin. "This feller
might try to use the girl as a shield. Be
careful not to hit her. But if he shoots
first, let him have everything xve've got . .
Later Peter peered from a windoiv. He
had a glimpse of a figure darkling behind
a tree. "Hey!" he shouted.- "Millicent, it s a
hunter or somebody! We're saved! I ll signat
him."
He pointed the pistol skyward and fired
rapidly. From outside came a prolonged
rattle like coal going down a shoot.
^Vindo^\' glass burst. Pictures dropped from
the walls. Wood splinters filled the air.
Above the clatter of destruction came the
demoniac whine of flying lead. A machine
gun went into action and began car\ing
designs on the front door. Tear gas bombs
rained against the cabin and their noxious
fumes drifted back into the forest to choke
the men who threw tliem.
Millicent staggered from sleep, still
^vrapped in rugs and blankets. Peter
grabbed her and hmied her to the floor.
He threw himself fiat beside her. Around
them dishes continued to shatter, tinware
crashed from the shelves. Sixteen frenzied
rabbits galloped back and forth across them
as they pressed their faces to the floor.
Her lips close to Peter's ear so that she
could be heard, Millicent demanded, "What
is this?"
"\Vere saved!" Peter shouted. "It's the
cro\vd that came to rescue you."
"AVhat are you laughing at?" she gasped.
"At myself. Here I'm looking at the first
girl I've ever lo^■ed in all my life and it
look's like it's going to be the last."
Millicent's face was beautiful. Joy shone
from her eyes. "Peter! Do you reallv love
me? Peter, I'm so glad! Because from no\v
on, it doesn't matter!"
^Vith that they kissed. The bullets con-
tinued to whine so long as the posse that
had come tO' get Dutch Nelson had car-
tridges left. The tear gas bombs continued
to thud against the log walls. The rabbits
kept on galloping about them. Peter and
Millicent didn't care. People in ]o\e clon't
mind things like that.
Dick Mook
(center) chat-
ters with Reg-
inald Denny
and Ida Lu-
pine.
Pictures On The Fire
[Continued from page 53]
are practically on each other's necks and
I am likewise saying a polite "How-do-you-
do?" to Reginald Denny, who is not quite
so polite and says something like, "Where
the hell have you been?"
So I start to explain but then Ir\'ing
Lippman, the still man, comes up and
wants a picture of Ida and her mother,
who looks more like her sister.
"Nothing doing. I should say not!" ex-
claims Mrs. Lupino. "I haven't been to a
beauty parlor in a week and my hair looks
as though I had on a fright \vig."
"Stow that stuff, Weenie," Ida orders
sternly, "and get over iiere. We've no tunc
for prima donnas on this set."
So Mrs. Lupino seats herself next to
Ida. "Every time I try to retire," she ex-
plains dramatically, "they force me back
into the limelight."
AU I can say is, on the surface there's
certainly nothing so old-fashioned about
her.
The scene is the LIniversity Club. Pol-
itics and weather bureaus are all mixed up
in it together. Ida's father is the politician
and Denny is the weather man. It's a cute
scene but it's much too long to give you.
The moment it's finished Ida rushes up.
"Darling. \ou'll ha\e to forgi\e me for
dashing olf biu I only ha\e an hour for
lunch and r\e got to go look at a liousc.
I'm about to be put out of mv old one."
76
Silver Screen
Ida shoots me a dirty look. "No!" she
says shortly.
"Forget to pay the rent?" I suggest.
"No!" testily.
""Then why move?" I ask, determined to
be helpful.
"The owners want to occupy it them-
selves. Mr. Nosenbaum," she squelches me.
With Ida gone there's no sense staying
here so I move on to
Paramount
TF I am cherishing a hope of finding things
^ quiet over here, said hope is soon dis-
sipated. There are four pictures working
besides one with Lynne Overman and
Roscoe Karns that seems to have got lost.
No one knows where it's shooting.
Irrelevantly I think of a song of a few
years ago that went something like this:
"Go wash an el-e-phant
If you wanta do some-thing big"
How the deuce could anything, like a whole
company of people get lost in the relatively
small space of a studio?
Pondering over such inconsistencies I
come upon the set of a picture called "In-
ternes Can't Take Money." And who—
whom, I mean— do you suppose are playing
the leads? Well, it ain't nobody else but
Barbara Stanwyck and Joel McCrea.
"Dick!" Babsie screeches catching sight
of me and completely spoiling a take.
"Who is that man?" the director asks
Barbara in an ominous tone.
"That," Barbara answers succinctly, "is
Dick Mook. And," she adds impressively, "a
mighty fine writer, let me tell you."
And that, dear public, is just one of the
thousand reasons I love Barbara Stanwyck.
While they're "lining up" I might as
well give you the story. Joel is an interne.
He meets Barbara, a laundry worker, when
she comes to the free clinic with a burn
on her arm. Later he goes to a saloon with
another interne who has been dismissed,
to commiserate with him.
Joel sees Barbara talking to a gangster.
Barbara is pleading with the gangster to
tell her where her baby is. She lost track
of the baby while doing two years in the
penitentiary because one of her husband's
accomplices crawled to her apartment to
die. "The gangster tells her it will cost
.■Si.ooo to find out where the baby is.
As they talk, Lloyd Nolan, a big-shot
gangster, enters with blood dripping from
his arm. He faints and Joel takes him into
a back room and performs an emergency
operation. Next day Barbara pleads with
the gangster again and the time her call
on him requires makes her late to work
and she loses her job.
Joel drops into the saloon before calling
on Barbara and is handed an envelope. Ar-
riving at her apartment with groceries, he
opens the packet and finds fi.ooo— from
Nolan for saving his arm. Barbara's eyes
gleam with hope as she sees the dough
but the hope goes glimmering when Joel
tells her he must return it— that internes
can't take money.
By this time they're sitting at the table.
Joel is gorging like a starved man but Bar-
bara is just picking at her food.
"You haven't known me very long," Bar-
bara says suddenly. "If I were to ask you
something—" but she stops.
"Sure," Joel agrees, stuffing his mouth
full and totally unaware of her nervousness.
"What?"
"If I were to ask you," Barbara goes on
slowly, because it's a tough thing to ask.
Then she stops hopelessly. "But you'd want
to know why and I can't tell you. Honest I
can't. But, please believe me, it means more
than anything in the world to me."
"What does?" Joel inquires, suddenly
realizing her earnestness.
"That money!" she cries, risking every-
thing. "Don't give it back. Lend it to me."
Joel almost— but not quite— drops his fork
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in astonishment. "I'll pay you back," she
continues, her voice mounting ^vith excite-
ment. "Honest I will. I'll pay you $20 a
week tmtil every cent's paid."
"That money has to go back where it
came from— right away," he retorts, return-
ing to his food.
"You must think I'm crazy, arguing like
this," she persists in a low tone, "but the
money doesn't mean a thing to you if
you're going to give it back. And it doesn't
mean a thing to them. I wish," she finishes
simply, "I could tell you what it means
to me."
"It's like I told you a ^vhile ago," Joel
interrupts. "Internes just can't take money.
We agree not to ^vhen we get our ap-
pointments. It's because the patient who
can't pay is entitled to an even break, too.
Orherwise it would mean discrimination.
Don't you see?"
"Sure," she agrees tonelessly. "I see."
"No hard feelings?" he assumes.
"Forget it," she admonishes him.
They take the scene half dozen times
because the script requires Joel to gorge
and he can't stuff his mouth full and gel
it down in time to speak his lines.
I whittle off the end of a match and
offer it to him in lieu of a toothpick but
it seems leading men are not supposed to
use toothpicks. It robs them of their
glamor.
Everything I do or say today seems
doomed to misinterpretation so I shake
hands sadly and pursue my lonely way to
the next stage
"^Vaikiki ^Vedding" is shooting here.
This is Bing Crosby's latest starrer. Re-
member "We re Not Dressing?" This is the
same type story. It's about Bing as manager
or owner of a pineapple ranch in Hawaii,
a girl (Shirley Ross) who wins a contest
his company conducts, Martha Raye (her
stenographer) and Bob Burns (Bing s pal).
As Shirley is on her way to the boat to
return to the States a sailor hands her a
necklace, asks her to take it to San Fran-
cisco and give it to him when he leaves the
boat. A policeman approaches, the sailor
runs away and the natives are eyeing the
necklace mysteriously. They are kidnaping
Shirley when Crosby arrives and takes the
entire party to his boat to settle the affair.
It seems the necklace contains the stolen
Pearl of Pele and the goddess is very angry.
I get this far and panic seizes me. I've
lost all the rest of my notes on Paramount,
with the dialogue. It's the first time in all
my set-trotting experience such a thing has
happened. It just goes to shoiv I'm as
human as stars are. It comforts me to think
we have that in common, anyhow.
I get on to the next set where "High,
Wide and Handsome" starring Irene Dunne
is in work. She, her father (Raymond
Walburn) and William Frawley are tour-
ing the country selling a patent medicine
which is nothing but crude oil. Someone
exposes them and the enraged townspeople
burn up their wagon. Randolph Scott and
his mother (Elizabeth Patterson) take pity
on them and take them into their home to
spend the night. Irene wakes in the morn-
ing. The sun is streaming through the
^vindow, the canary is singing, the odor
of flowers comes through the windo\s- and
life seems to be just about bursting. She
gets off the divan where she' has slept and
I note with surprise that Irene is one
actress who really takes off her shoes
and stockings when she goes to bed (in
pictures). She goes to the window, looks
out and finds that other birds beside the
canary arc singing. So Irene bursts right
into song with them. That is where Para-
mount should have spotted that number
called "I Feel A Song Coming On" that
Alice Fa\e sang in "Every Night at Eight."
Unfortunately, the)'re not doing the re-
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cording of Irene's number today. There is
just the bit of pantomime I've described.
.•\s Irene feels a bit self-conscious in her
blue cotton nightie 1 leave for
Universal
T'HERE'S one picture going out here,
"The Stones Cry Out." The scene is the
interior of a Pullman car. John Howard is
sitting there quietly reading \vhen the
porter and conductor stop beside him.
"Pardon me, " the porter apologizes, "but
is you all a doctah?"
"Yes," Howard admits. "'SVhy?"
The porter turns to the conductor. "I
tole you he wuz a doctah," he announces
triumphantly. "I spotted him de minute I
saw him by dat HI' black bag."
"There's a man in the next car needs
medical attention," the conductor e.xplains
to John. "Looks like a stroke."
"I'll take a look at him." Howard offers,
rising and picking up his bag.
That "you all" gets me. Southerners
don't say "you all" \vhen addressing one
person but you can't make a lot of pig-
headed 'Yankees understand that,
I stalk indignantly off the set.
At 'Warner Brothers
TT seems there are at least a dozen pic-
^ tures shooting here but, thank heaven
and -Mlah, I've told you about all of them
but one.
"The Prince and The Pauper" is a pic-
turization of Mark Twain's immortal Narn.
It's aboiu a prince and a pauper ivho look
78
Silver Scri-fn
alike. The prince is tired of his constricted
life and when he meets the pauper and
notes the resemblance, he insists they
change clothes. Before they can change
back again the king (Montagu Love) realiz-
ing he is dying sends for the Prince. Billy
Mauch (the pauper) has been acting
strangely for a prince. Badly frightened, he
is escorted by a legion of lords and ladies
in waiting to the royal bedchamber. He
walks past the low-bowing groups who in-
spect him curiously and covertly.
Great notables walk on either side of
him, making him lean upon them and so
steady his steps. Behind them follow the
court physician and some servants. They
approach the king's door which swings
open as they arrive. Billy's eyes fall on the
king and he falters a little, frightened by
the dour visage of the old ogre ^vhom he,
as yet, does not know to be the king. He is
Vinton Haworth and Constance
■Worth in "China Passage."
gently forced into the room. As the door
is closed all bow.
"Cut!" calls William Keighley, the di-
lector, and turns to the man in charge of
the door. "Shut the door when they come
in and you go out with it. At least, you
go out when you close the door." Then he
turns to Billy. "Billy, look around a little
when you first come in and don't see the
king the instant you get into the room.
Try it again."
•So they try it again.
"Edward," King Love begins—
"Tom, sir," Billy ventiues.
"Come, lad, would )ou den) that I'm
your father?"
Love smiles, but he is on the point of
tears thinking his own son doesn't know
him.
"Oh, yes, sire," Billy blurts out. "I
\\ouldn't dare let anyone think such a
thing."
"Wliat envenomed irony fate has wrought
that he doesn't know his own father," Love
philosophizes to the lord pathetically.
"But I do, your Majesty," Billy protests.
"A thief he is, and sorely mean to my
mother."
Lve heard all this talk about no one
being able to tell these t\vins ajxirt. I think
/ can. Billy has a twinkle in his eye I'lat
Bobby hasn't. But a few minutes laier
Bobby, who isn't working today, gets
tickled over something and he has the same
twinkle. If he and Billy should change
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clothes today I don't believe their o^\■n
motlier would know it. It's small wonder
King Love doesn't realize tire prank that
has been played upon him.
That being all there is at Warners, we'll
proceed to ■
2 0tli Century-Fox
I'VE alread-j- told you of "Seventh Heaven."
^ "Slave Ship" teatining ^\'arner Baxter
and Wallace Beery is closed so I'll tell
you about that one next month. Likewise
"AVake up and Live," starring \Valter
■\Vinchell, Ben Bernie, Alice Faye and Claire
Tre\or.
But, ^vorse luck, there are still two
others shooting. First there is "Dead Yes-
terday." This is a cops and robbers story
and you know what they are when you try
to go into the plot. All I know is the set
is a hospital room. William Demarest is
in bed and the doctor (Sig Rumann) is
there ^vith him. In the room, I mean, not
the bed.
"And you say no one came near you?"
Rumann questions.
"Not a soul," Demarest replies. And then
he begins to burn up. "Say," he demands,
"were you trying to operate on another guy
to take out 7ny appendix? What kind of—
well, for the love of— aw, get away from
me!"
Just then the door bursts open and a
nurse (Sally Blane), half hysterical, flies in
closely followed by another nurse (Joan
Davis who is called Duffy).
"^Vhere is he?" she cries to Riunann. "Dr.
Triggert, ivhere is he? Is he all right?"
"Is ^\'ho all right?" Rumann asks, puzzled.
"Allen Tracy?"
"Yes, Allen Tracy," Sally gasps.
Sally is so-o-o beautiful I'd like to stop
and chin whh her and find out all abotit
her new baby but it's getting so-o-o late
and they go right into another take. So-o-o
I 231'oceed to the next set.
The second one is "That I May Live"
by David Lamson. Rochelle Hudson,
Robert Kent and J. Edward Bromberg are
featured. Mr. Bromberg is kno^^'n as "Tex."
I can think of him as a lot of things but
somehow not as "Tex." However, there he
is and you'll take him as "Tex" and like
him.
They've just driven up to an auto camp.
"When the proprietor finds that Bob and
Rocky are not married he won't rent them
a cabin. Finally he rents the cabin for
Rocky and Kent doubles up in the trailer
with Tex.
"It's no good," "Tex" Bromberg opines,
sitting on the edge of his cot, smoking.
"Great Guy" brought James
Cagney back to the screen,
and he got a rousing welcome
from the fans.
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80
Silver Screen
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
bile into your bowels daily. If this bile is not flow-
ing freely, your food doesn't digest. It just decays
in the bowels. Gas bloats up your stomach. You get
constipated. Your whole system is poisoned and
you feel sour, sunk and the world looks punk.
Laxatives are only makeshifts. A mere bowel
movement doesn't get at the cause. It takes those
good, old Carter's Little Liver Pills to get these
two pounds of bile flowing freely and make you
feel "up and up". Harmless, gentle, yet amazing
in making bile flow freely. Ask for Carter's Little
Liver Pills by name. Stubbornly refuse anything
else. 25c.
^ADDRESS ENVELOPES AT HOME
Sparetime; substantial weekly pay. Experience
necessary. Dignified work. Stamp brings details.
EMPLOYMENT MGR.
Dept. PL, Box 523, Jackson, Tenn.
un-l
Rid of
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acne, Blackheads, Oily Skin, etc.
Write at once for Great News about Sensational Home
Treatment for clearing skin of unsightly PimpleB, Acne,
Blackheada, Enlarged Poreg, Oily Skin and other blemiahee.
Discovery of Famous Skin Specialist used privately for years
with marvelous success. Sent on Trial. Yon Eisk Nothing.
roirST send for Free Booklet At Once. Don't suffer
■ flCC embarrassment any longer. WRITE TODAY.
SEBOLINE CO., Dept. 29, Box 2408, Kansas City, Mo.
WANTED: NEW WRITERS!
Earn while learning! Write for maga-
zines, books, newspapers, etc! FREE liter-
ature! No obligation! U. S. SCHOOL OF
WRITING.
Dept. SM. 20 West 60th St.. N. Y. C.
HOW TO ENTER THE MOVIES!
After fourteen months of intensive research
we now offer to aspirants for a movie career
the intelligent procedure to adopt in attempt-
ing to enter the movies. In addition to this
information, we will answer any six questions
on the subject of entering the motion picture
field. 50c complete.
ROSS FRISCO
172 Tremont St..
Boston, Mass
PERFUME PUFF
Pierce with pin, puff is instantly saturated with lorely
fhalideur perfume, long, lasting odor. Makes nice sachet
bag or powder pulT, assorted colors, 15c each or Two for
2oc. Perfumes, sachet, perfumed novelties, etc. List free.
J. Kammerer, Dept. G-2, Box 574, Terre Haute, Ind.
HIGH BLOOD PRESSURE
$1.00 Treatment for Only 25c
CONCENTRATED GARLIC TABLETS— Pure vegetable
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Medical Scientists prove that regular use of tliese tablets
in many cases helps to lower High Blood Pressure and
relieve headaches and dizziness. Mail this ad with
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Address Dept. 231,
DEARBORN PRODUCTS, 510 N. Dearborn St., Chicago
WOMEN WANTED/^'g*^^
Address & Mail postcards for us. Wo pay
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stamps. FUI.L Details FREK. Write
DOROTHEA COSMETICS
HYNES Dept. S CALIFORNIA
ORIGINAL
POEMS
SONGS
For Immediate Consideration
Send Poems to
Columbian Music Publishers
Dept. 13B Toronto, Can,
"You're here and she's there, so you're both
alone. Why don't you get married? "
"On what? " Bob wants to know.
"Do you think it's cheaper to hire a
cabin for one instead of two? Or maybe
you like my company better than hers?"
"No," Bob admits. "If I had a job—"
"If you're married and ain't got a job,
at least you got a wife," the practical "Tex"
explains. "But if you're single and ain't
got a wife or a job— you got nothing."
And that, my fraands, is what you might
call Hindu philosophy. Or is it Chinese?
That's about the crop except for
M-G-M
" A DAY AT THE RACES" with the
Marx Brothers, "Maytime" with
Nelson Eddy and Jeanette MacDonald, and
"Parnell " with Clark Gable and Myrna
Loy. I have already told you about.
"Espionage" with Edmund Lowe and
Madge Evans is not shooting today because
Mr. Lowe has the flu. So there is only one
left.
One of these is "Personal Property."
Jean Harlow and Robert Taylor are the
interested parties. Originally Robert Mont-
gomery and Irene Purcell played in this
and it was one of the grandest comedies
M-G-M ever turned out. Don't miss it.
This scene I see is right at the beginning of
the picture.
I have seen Jean in many costumes and
under many conditions but I have never
seen her in anything approaching the gown
she has on today. No! Not even in "Hell's
Angels." It is white chiffon with but one
(count it— ONE!) shoulder strap. The other
side stays up as best it can and it does
all right, too. Jean is looking what you
might call positively radiant. She is hang-
ing on the 'phone listening to some reme-
dies Cora VVitherspoon is giving her for her
cold. Cora is a tiresome, gossipy old woman
but her daughter (Maria Shelton) is Jean's
close friend.
"Oh, no, don't repeat it," Jean implores
into the 'phone. "I'll remember. And
thanks a lot. And about those tickets—"
The doorbell starts ringing and her maid,
Una O'Connor, goes to answer it.
"Just the same," Jean goes on into the
'phone, "I hope you'll forgive me. That's
sweet of you. I'll see you both tomorrow
night. Don't forgeL All right. All right.
Goodbye," she coos sweetly and bangs up
the receiver. She glares at it viciously as
she repeats "Goodbye!"
Then she reaches for her cocktail but
before she can touch it Una hurries ex-
citedly in. "The police! The police!" Una
screams in excitement.
"Eine!" Jean mocks, rising and forgetting
her drink.
"Cut!" calls Van Dyke, the director.
"Hello," Jean says graciously, extending
her hand to me.
Leave me tell you, my fine people, it
takes a real artiste to be gracious and noth-
ing more in a gown like that.
And that, my public, is how this month
ends— on the lilting high C with which I
like to say "Goodbye."
THE CLOTHES' HORSES
rHOSE designers have been se-
lecting again! Orij-Kelly of
Warner Brothers. Travis Bantnn of
Paramount , and Edivard Stevenson
of RKO put their heads together
not long ago and unanimously
selected for the three best dressed
women in Hollywood Kay Francis,
Claiuletle Colbert and Norma
Shearer, l ite runner-ups luere Carole
Lombard, Joan Crawford, Dolores
Del Rio and Gladys Sxuarthout.
Corns Come Back Bigger, Uglier
- unless removed Root"^ and All
9 Don't take chances by paring corns at home.
Corns come back bigger, uglier, more painful than
ever, unless removed Root and All. End that corn for
good with this new, double-action Blue-Jay method.
Pain stops instantly, by removing the pressure. Then
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corn plaster, held snugly in place by Wet-Pruf ad-
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BLUE-JAY
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'^"A plug of dead cells root-like in form and position. If
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out the wrinkles and crow's feet that mar
your beauty — while you sleep. Absolutely harmless—
pie and easy to use — a toilet necessity.
O D Wrinkle Eradicators
^ and Frowners
Made in two styles— ERADICATORS for
FROWNERS for between the eyes. Sold
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3Sc. If your dealer's stock is exhausted,
paid, on receipt of price.
I ines in the face,
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THE B & P CO.
P. O. Box 2632
(Two Women)
Lakewood, O.
GIANT
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START AT HOME!
Use small pond to begin.
Expand with the increase. WE
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Iready doing. Free frog book.
AMERICAN FROG CANNING CO.
Dept.(107-DJ New Orleans. La.
Burns, Blisters,
Scratches, etc.
. 'To relieve soreness-
hasten healing — help
prevent infection — ap^ply_
at once, mild,rel'
Sample free. Resinol, Dept. 2-P, Balto. Md.
t„,UNDEVELOPED?
GAIN 15 LBS.l DEVELOP 3 IN.!
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The Star Doveloping System. Iron Mountain, Mich.
1937 Government Jobs
start $1260 to $2100 a Year
nn
0
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with list of miiivv posKinns and
particulars telling liow to get tlicm.
FRANKLrN INSTITUTE
Dept. A265 Roclicster, N. Y.
Silver Screen
81
LUISE RAIXER'S great pei forniaiice in
"The Good Earth" was not marred by
the desire on her part to appear, at
least once, as the beautiful girl that she is.
She really threw herself unreservedly into
the part of the timid down-trodden coolie
woman. The complete unself-consciousness
of Rainer in the role was marvelous. She
bent down, hiding her face, as the woman,
O-lan, Avould have done in life, completely
disregarding the camera.
However, in humble ]i%'es it is the
nobility of thought that moulds the faces
of the poor into the outlines of loveliness.
Because of this, Rainer appears at times
transfigured and her face shines with true
Beauty.
AND now to boast a little about this
. magazine, particularly concerning an
important feature that will be in Silver
Screen next month. W'e do not pretend to
introduce you to Dana Burnet. You two
have met before. You have read his stories
in all the best magazines, you have seen
his plays on Broadway and his scenarios
on the screen. Dana Burnet now lives in
Hollywood and his typewriter is going
like a machine gun, capturing the im-
portant and colorful doings in the studios
and lining them up against sheets of paper.
AW right! All right! We admit we are
enthusiastic. 'VVe will leave the rest for you
to discover for yourself next month.
How's that, Dana? Is that editorial gusto,
or what?
* * * «
THERE is a ^var that never ceases. It goes
cn day and night in Hollywood— the
scheming, blackguards of the underworld
against the highly paid placers of the
studios. The story of the various swindles
makes one realize the risks that are a part
of the life of each popular star. Read Helen
Louise ^Valker's article on this subject in
Silver Screen for May.
Also in the May issue, Elizabeth Wilson
writes a "Projection" of Madge Evans that
makes our well-loved Madge dearer than
ever.
Did you think those perfectly propor-
tioned girls just grew that ;vay? Read
about the many exercises that are used by
the players to prepare their beautiful
figures for the severe test of the summer
beaches. It's a Ben Maddox story.
The studios hum with activity and S. R.
Mook listens to the din. He hears the
voices of the directors and the banter of
the actors. Read his survey of the new
productions in the making in "Pictures on
the Fire."
* * * *
\'ou don't mind if we drop a hint?
A /Movie Fan's Crossword Puzzle
By CKarlotte Herbert
53
59
60
J
1
66
71
75
78
tun OR.
ACROSS
1 The dim-witted worker in "Black Legion"
6 Tree
9 Loved by Don Ameche in "One in a Million"
14 Exclusively
15 The originator of "Come up and see me
sometime"
16 'Weird
17 Now working in "The Prince and the Pauper"
19 One wielding an ax
21 Patrons of a restaurant
23 An American humorist
2 5 He portrayed "Daniel Boone'
2/ Thoroughfares (abbr.)
28 Buffalo Bill in "The Plainsman"
31 Public roads (abbr.)
32 Meadow
34 Associate of Arts (abbr.)
35 Ruby Keeler's husband
37 A beast of burden
39 Within
40 "Tarzan"
45 A three-toed sloth
46 Direction of compass
47 Head coverings
48 An opera by 'Verdi
49 Measure of length (abbr.)
50 Beverage
51 One or the submarine divers in "Depths Below"
52 The twenty-third letter of Greek alphabet
53 "The Jungle Princess" (initials)
54 Parent
56 Like
57 North 'Western State fabbr.)
59 To whom Merle Oberon seems devoted
61 French article
63 Masculine pronoun
64 "Old Hutch"
66 The doctor in "Ladies in Love"
67 A very special friend of Robert Taylor's
70 Royal Academy of Arts (abbr.)
71 Either
72 "John Meade's Woman"
74 North River (abbr.)
75 Janet in "Great Guy"
76 He recently returned to the screen
78 Request
79 With George Brent in "God's Country and
the Woman"
80 Part of verb "to be"
DO'WN
1 Hopalong Cassidy
2 Upon
3 Tne newspaper woman
4 Now making "Danger, Men Working"
5 Plural of that
6 Type measure
7 The pathetic widow in "After the Thin Man"
a Personal pronoun
9 Handsome tap dancer in "Gold Diggers of
1937"
10 Approaches
11 The snobbish mother in "Rainbow on the River'
12 SufBx
13 Lovely Universal player
18 Method of transportation (abbr.)
20 Team mate of Charles Ruggles (initials)
22 The novehst in "Theodora Goes Wild"
23 Expression of sorrow
24 Jacob's brother (Bib.)
26 Short written composition
29 Young girl
30 Spanish cooking pot
32 Cecilia Parker's beau in "Old Hutch"
33 The innocent prisoner in "We Who Are About
to Die"
36 Radicals
38 Excellent in "You Only Live Once"
40 Sports reporter in "Woman Wise"
41 Separate article
42 The hostess in "Fugitive in the Sky"
43 Borders of the mouth
44 Bride of Clifford Odets
53 The faithful sweetheart in "We Who Are About
to Die"
55 Wing-shaped
56 Pertaining to aeronautics
58 The fourteen year old star of "Three Smart Girls"
60 Sacred images
62 To wander
63 Thigh of a hog
65 More unusual
67 A former world's heavyweight champion
68 To wait for
69 Curved lines
72 Popular male player (initials)
73 Every (abbr.)
75 Country north of the U. S.
77 Pronoun
Answer to Last Month's
Puzzle
'Smart Blonde"
82
THE CUNEO PRESS, INC., U. S. A.
"EklTBD/IVlS tells you how
to protect
Daintiness
"You girls who want to be pop-
ular—remember this: No man
can resist the charm of perfect
daintiness. The least fault
against it spoils romance.
HAVE you ever thought before
of what this lovely screen star
says? The charm that's most appeal-
ing of all — perfect daintiness from
head to toe — is a charm within the
reach of any girl.
A regular Lux Toilet Soap beauty
bath will leave you refreshed — skin
sweet — pores freed of hidden traces
of stale perspiration by ACTIVE
lather. Your skin will have a delicate,
clinging fragrance that makes peo-
ple want to be near you — even if
they don't know why!
Try the simple, inexpensive way
Bette Davis has chosen to make sure
of daintiness. She is one of many
screen stars, famous the world over,
who use gentle Lux Toilet Soap.
You're sure to find it works for you.
/Theeasiestmostael^htf;;;-^'^
♦° protect da'"''-,;V ACTIVE lo.he.
Lux Toilet So«P- _ fragrant
STAR
9 out of 1 0 screen stars use
this gentle soap with ACTIVE
lather. You can keep your
skin soft and smooth the
easy Hollywood way.
'bOUWD-THE-WORLD C/tl-EWD;%R
OF A C/%lirOKMI/\ lADV
Dinner parties in the Pasadena house
Midnight snacks at Hollywood's "Tree"
Bridge and Polo at Midwick
Sailing and aquaplaning at Montecito
Santa Barbara for tennis and horseback
New York for important "opening nights"
Winter jaunts to Mexico, the West Indies, or Europe
Annual visit to her husband's estate in Kauai, Hawaii
THE beautiful Mrs. Spalding, shown on her husband's
sloop "Hurulu," is a skilled yachtswoman. Her enjoy-
ment of the sea illustrates her charming zest for life.
She travels, she entertains, and smokes Camels — as
many as she pleases. "Camels are so mild," she says,
"they never get on my nerves. And everybody knows
how they help digestion!" Smoking Camels sets up a
natural, abundant flow of digestive fluids — alkaline di-
gestive fluids — and thus encourages good digestion.
At the right, Mrs. Spalding enjoys a late supper in Hol-
lywood's Trocadero, whose host, Billy Wilkerson, says:
"Camels are certainly the popular cigarette here."
Camels are made from
finer, MORE EXPENSIVE
TOBACCOS -Turkish
and Domestic— than any
other popular brand.
Copyright. 1937. R. J. Reynolds Tobacco Company. WinsLon-Salem. N. C.
A few of the distinguished women
who prefer Camel's costlier tohaccos:
Mrs. Nicholas Biddle, Philadelphia . Mrs. Alexander Black, Los Angeles
Mrs. Powell Cabot, Boston . Mrs. Thomas M. Carnegie, Jr., ^ew York
Mrs. J. Gardner Coolidge 2nd, Boston
Mrs. Anthony J. Drexel 3rd, Philadelphia
Mrs. Chiswell Dabnoy Langhorne, Virginia . Mrs. Jasper Morgan, New York
Mrs. Nicholas G. Penniinan III, Baltimore . Miss Anne C. Rockefeller, New York
Mrs. LdTiis Swift, Jr., Chicago . Mrs. Brookfield Van Rensselaer, New York
II
i
DIGESTION'S SAKE_SMOKE CAMELS
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