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Full text of "Silver Screen (May-Oct 1938)"

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.loc.gov/rr/mopic 

Recorded Sound Reference Center 
www.loc.gov/rr/record 



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TRUE STORY OF A HOLLYWOOD GIRL 




ilver 



creen 



May 




SAND LEADERS KNOW THE ANSWERS 



SSI 





NEW CQAST*TO'COAST^ . 
NAIL POLISH COLOR SENSATION 




Joan Bennett, Charming Star of "I Met My 
Love Again," a Walter Wanger Production. 



SAYS JOAN BENNETT 



I'VE adopted this gorgeous new Glazo shade for my very own," ex- 
claims Miss Bennett, known for her flawless taste as well as her 
beauty. "Tropic is the most exciting nail polish creation in years!" 

TROPIC brings flattering warmth to every skin-tone— a subtle accent 
to smart spring costume colors. And, because it is Glazo's new Perfected 
Polish, TROPIC wears perfectly for days! 

TROPIC is sweeping the country! Warm, provocative, glowing— it is 
the essence of spring— a prophecy of exciting new clothes, new places. 

As Joan Bennett says: "Find out for yourself what fun it is to wear!" 

Your approval of Glazo's shades will include not only Tropic, but also 
the new Congo, Spice and Cabana. Vary them with fashion-approved 
Thistle, Suntan, Old Rose, Russet, Dahlia, Flame, Shell and Natural. 

Lead Fashion— Wear TROPIC Now 

Your favorite toilet goods counter— in every city and town from coast-to- 
coast— is featuring Glazo's latest color sensation. See how TROPIC adds 
new beauty to your hands and a new zest to your life! 

For a perfect manicure, apply TROPIC after using Glazo Polish 
Remover and Cuticle Remover. Extra-large sizes at all drug counters, 25£. 

GLAZO 



GLAZO'S J£ 



uv 




2 
3 



New Glazo gives you these three conclusive 
points of superiority: 

LONG WEAR— the New Glazo wears for 
days and days without peeling, chipping or 
fading ! Slightly heavier for extra "coverage," 
it meets the demand for a polish that really 
dings to the nails ! 

EASE OF APPLICATION — every drop in 
the bottle goes on easily, evenly. It will not 
streak or run ; dries quickly. 
BRILLIANT LUSTRE— 
won't fade in sun or water. 



Glazo's Perfected Polish 
gives all 3 points of excel- 
lence to these new shades: 

TROPIC — lovely with 
all spring costume colors. 
CONGO -perfect for 
bright shades and prints. 
SPICE — wear it with 
grey, pastels and all blues. 
CABANA — gay with 
beige, yellow, green, black. 




GLAZO 



TROPIC 



...AND MEN CAN BE SUCH 

AWFUL GOSSIPS TOO / 




Let's face the truth about 
UNDERARM PERSPIRATION ODOR 



MEN DO TALK about girls behind 
their backs— although they won't 
admit it. Is a girl pretty, a good sport, 
a smooth dancer? The answer quickly 
goes the rounds! 

They talk about other things, -too. 
About the girls they hate to dance with 
—the girls they simply won't take out. 
For a girl must be more than pretty and 
smart. She'll never make a hit with men 
unless she is truly sweet— nice to be near. 

Unpopularity often begins with the 
first hint of underarm odor. This is one 
fault that men can't stand — one fault 
they can't forgive. Yet any girl may 
offend this way, if she trusts her bath 
alone to keep her fresh! 

Smart girls— popular girls— don't take 
chances! They know a bath only takes 



care of past perspiration— -that they still 
need Mum, to prevent odor to come. 

MUM LASTS ALL DAY! All day or all eve- 
ning long, Mum's protection is sure. 

MUM IS SAFE! Mum does not stop health- 
ful perspiration. Even after underarm shav- 



ing it never irritates the skin. And Mum 
is completely harmless to fabrics— safe to 
apply even after you're dressed. 

MUM IS QUICK! One half minute is all it 
takes for a dab of Mum under each arm! 
To be a girl men like to have around, use 
Mum every day and after every bath. 

FOR THIS IMPORTANT USE, TOO 
Thousands of women use Mum for Sanitary Nap- 
kins because they know Mum is so gentle, so sure! 
Don't risk embarrassment! Always use Mum! 



HOURS AFTER YOUR BATH MUM STILL KEEPS YOU SWEET 




TAKES THE ODOR OUT OF PERSPIRATION 



Silver Screen 



3 



(£)C1B 375038 



The CZ)pening ^-noru 




Gene Raymond 

A LETTER FROM LIZA 

DEAR BOSS: 
I am amazed and annoyed and con- 
fused—and not the least' bit happy 
about it all. Now I don't want to be a 
kill-joy, not me the glad girl, but I just 
must complain a little in my gentle, sweet, 
neurotic manner. 

I am amazed because such a nice, in- 
telligent young actor as Gene Raymond 
should be so persnickerty about stories 
written about him. Gene, like Nelson Eddy, 
insists upon having stories submitted to him 
before the writer sends them in to the fan 
magazines. And they say when Gene gets 
hold of a pencil he simply goes hog-wild. 

Many are the anecdotes told around town 
about Gene and his editing phobia, but 
the most amazing concerns a story written 
recently by one of the better male writers 
who had a sentence that read: "In Holly- 
wood eligible and unattached males don't 
grow on gooseberry bushes." Gene, with 
a flourish of pencil, scratched out "goose- 
berry." Is there anything wrong about 
"gooseberry"? It's made every dictionary 
for a long, long time. It's in awfully good 
standing with the Purists, and the Hays 
office. Perhaps Gene should stick to his 
acting. 

I am annoyed . . . because actors who 
go to previews are often so chatty that it 
is difficult to hear what is being said on 
the screen. At the "Jezebel" preview the 
other night I had to sit behind the party- 
throwing Basil Rathbones, who enjoyed the 
picture so thoroughly that not only did 
they discuss it with each other quite audibly 
during the entire preview, but they had 
to point at the screen during tense mo- 
ments. I thought screen-pointers had gone 
out with title readers and the dodo bird. 

Mrs. Rathbone wore a little inverted 
flower pot number with quite a wild 
cluster of feathers sprouting up from it. 
The pot plus the feathers (Gene, where is 
your pencil) must have added a goodly 
foot or so to Mrs. Rathbones height— and 
need it be said that she did not remove 
the hat. And me a Bette Davis pushover. 
I tell you I became a wild young thing, 
fit to be tied. As Basil left his seat at the 
end of the preview he said, for the benefit 
of all who were interested, "This is really 
a great picture." I said "I wouldn't know" 
and sulked something awful. 

I am confused— because people, even very 
sane, sensible people, often call me Liza 
the Louse. 




REFLECTING the MAGIC o/HOUyWOOD 



MAY, 1938 



Volume Eight 
Number Seven 




ELIOT KEEN 

Editor 

Elizabeth Wilson Lenore Samuels Frank J. Carroll 

Western Editor Assistant Editor Art Director 



CONTENTS 

STORIES AND ARTICLES Page 

STARS, STALLIONS AND STABLES Jack Holland 16 

DRESS UP AND LIVE Helen Louise Walker iS 

TRUE STORY OF A HOLLYWOOD GIRL As told to Ed Churchill 20 

PROJECTION OF DON AMECHE Elizabeth Wilson 22 

ON LOCATION Whitney Williams 24 

THREE LANES TO FAME Ben Maddox 26 

FLASHSHOTS Jerome Zerbe 28 

BAND LEADERS KNOW THE ANSWERS Ruth Arell 30 

AGILITY— JOY— AND GINGER! Ed Sullivan 32 

VACANT LOTTIE! Fri.dric and Fanny Hatton 51 

THEY DON'T DO THAT Schuyler Lane 54 

MOTHER'S DAY Gordon R. Silver 56 

ONE OF THE BEST Phyllis-Marie Arthur 59 

MONTHLY FEATURES 

The Opening Chorus 4 

Tips On Pictures 6 

Pictures On The Fire S. R. Mook 8 

Topics For Gossips 15 

Photographs Demand Special Make-Up Mary Lee 58 

Reviews Of Pictures 60 

Club Luncheons Ruth Corbin 62 

A Movie Fan's Crossword Puzzle Charlotte Herbert 82 

The Final Fling 82 

ART SECTION 

We Point With Pride 35 

The Magnetism Of Beauty 36-37 

Clips From Hollywood's Candid Camera News Reel 38-39 

"The Fire Of Spring" 40-41 

Maid In America 42-43 

Coming Hours Of Entertainment 44-45 

Sequences In Motion 46-47 

The Screen Is Now A Clown Circus . . . 48 

"Action— Lights— Camera" 50 

COVER PORTRAIT OF GINGER ROGERS BY MARLAND STOXE 



SII.VEIt SCHKKN. Published nionihlv hv Screenland Magazine, Inc., at 45 West 45th Sirn't. New York, N Y". 
V. G. Heimbucher, President; J. s. MacDernw.-tt, Vice President; .1. Superior. Secretary ami Treasurer. Adver- 
tising Offlees: 45 Wis! 45th St. . New Y'ork; 411 North Michigan Ave.. Chicago; 530 W. Sixth St.. Los 
Angeles, Calif. Manuscripts and drawings must he accompanied by return postage. They will receive careful 
attention hut Sh.vki: SCRKRN assumes no responsibility for their safety. Yearly subscriptions SI. 00 in the 
United states, its dependencies, Cuba and Mexico: $1.50 in Canada; foreign $1.00. Changes of address must 
reach us five weoks in advance of the next issue. Be sure to give both the old and new address. Entered as 
second class matter. September 1030. at the Post Office, New Y'ork. N. Y'.. under the Act of March 3. 1870. 
Additional entry at Chicago, Illinois. Copyright 193S hv Screei'laml Magazine. Inc. Printed in the U. S. A. 
MEMBER AUDIT BUREAU OF CIRCULATIONS 



DANDRUFF ITCH? 



it 




Use This Antiseptic 
Scalp Treatment 

Skin specialists generally agree that effective 
treatment must include (1) regular cleansing 
of scalp; (2) killing germs that spread infec- 
tion; (3) stimulating circulation of the scalp; 
(4) lubrication of the scalp to prevent dryness. 

To Accomplish This Is Easy With 
The Zonite Antiseptic Treatment 

Just add 2 tablespoons of Zonite to each 
quart of water in basin . . . Then do this: — 

1. Massage head for 3 minutes with this 
Zonite solution. ( This gives hair and 
scalp an antiseptic cleansing — stimu- 
lates scalp — kills all germs at con tact.) 

2. Lather head with any good soap shampoo, 
using same Zonite solution. ( This cuts 
oil and grease in hair and scalp — loosens 
dirt and dandruff scales. J 

3. Rinse very thoroughly. (Your head is now 
clean — your scalp free from scales.) 

4. If scalp is dry, massage in any preferred 
scalp oil. ( This relieves dryness.) 

RESULTS: By using this simple antiseptic 
shampoo treatment regularly (twice every 
week at first) you do what skin specialists 
say is necessary, if you want to rid yourself 
of dandruff itch and nasty scalp odors. We 
believe that if you are faithful, you will be 
delighted with results. 

TRIAL OFFER — For a real trial bottle of Zo- 
nite, mailed to you postpaid, send 10^ to Zonite 
516 New Brunswick, _^s*C\ New Jersey 

U. S. A. 




ZONITE Is 




ADVENTURES OF TOM SAWYER, THE — 

Fine. This Mark Twain classic, we are glad to say, 
was filmed (in Technicolor) with the Mark Twain 
touch, which means that it is a simple, human and 
very tender account of those heart-warming young- 
sters, (Tom, Huck Finn and Becky Thatcher) who 
seemed to have such a perfectly grand time on the 
banks of the Mississippi about a hundred years ago. 
(May Robson, Victor Jory, David Holt). 

ADVENTURES OF MARCO POLO — Fine. 
A lavish super-special, depicting in thrilling and 
spectacular fashion life in the 13th Century, when 
Marco Polo, the Venetian adventurer, journeyed 
to the court of the great Kublai Khan in China, 
and, among other exciting intrigues, indulged in a 
romance with the Khan's lovely daughter, Sigrid 
Gurie. (Gary Cooper, Basil Rathbone). 

AFFAIRS OF MAUPASSANT— Fine. Filmed 
in Vienna, with German dialogue, this episode in 
the life of that French master of the short-story, 
Guy de Maupassant, in which he falls in love 
with the brilliant Russian patron of the arts, Marie 
Bashkirtseff, is fine dramatic entertainment. The 
setting is Paris in the '80's, and Offenbach's 
"Orpheus In The Underworld" provides a touch- 
ing musical background. (Hans Jaray, Lili Dar- 
vas). Catch this at your nearest "art" theater. 

BARONESS AND THE BUTLER, THE— 

Fair. A comedy in the Continental drawing-room 
style, in which William Powell, the almost perfect 
butler, wins a seat in Parliament, much to the 
astonishment of his "master," the Prime Minister 
(Henry Stephenson). The setting is Budapest, and 
Powell's romance with the Prime Minister's mar- 
ried daughter, Annabella, gives a certain charm and 
sparkle to the film. 

BELOVED BRAT, THE — Fair. Our favorite 

problem girl, Bonita Granville, plays the title role, 
that of a wealthy brat, so totally spoiled and over- 
bearing that she's finally sent to a reform school. 
Here she is utterly transformed by the kindly treat- 
ment accorded her by the matron, played by 
Dolores Costello. 

BRINGING UP BABY— Amusing. The digni- 
fied and ofttimes tragic Katherine Hepburn goes 
slapstick on us now — and in the grand manner, 
tool With Cary Grant (a serious paleontologist) 
to capture for a husband, the scatterbrained 
Katherine sets herself a job that combines event- 
ually all the delirious antics allotted this type of 
picture. (Chas. Ruggles, May Robson). 

CRIME OF DR. HALLET, THE— Good. The 
medical profession goes slightly berserk for a while 
in the tropics, but Dr. Ralph Bellamy, desiring to 
right a great wrong, assumes the personality and 
name of his dead assistant (who had invented an 
important serum) and carries on a great work. 
There's plenty of romantic interest in the person 
of Josephine Hutchinson. 

DANGEROUS TO KNOW— Only fair. The 
strength of this somewhat time-worn gangster film 
lies in the casting of Akim TamirofF and Anna May 
Wong in the leading roles — that of a big-shot 
politician and his so-called hostess. Melodrama of 
a somewhat lurid sort abounds, although there is a 
certain amount of love interest to offset it. (Gail 
Patrick, Harvey Stephens, Roscoe Karns). 

EVERYBODY SING— Good entertainment. 
When Judy Garland gets expelled from school for 
singing jazz she brings you home to as screwy a 
family as you have yet met in a season of screwy 
comedies. But you'll find the domestic pyrotechnics 
delightful especially when they're set off by such 
joyous comedians as Fanny Brice, Reginald Owen, 
Billie Burke, Allan Jones, etc. 



Claire Dodd is 
trying to make 
Gladys Swarth- 
out feel rela- 
tively unimpor- 
tant in the eyes 
of romantic John 
Boles, but she's 
not succeeding 
very well. 



HAWAII CALLS— Good. If you're in a mellow, 
sentimental mood, this comedy-adventure yarn 
should be your choice. As the title indicates the 
locale is the romantic islands of Hawaii, and Bobby 
Breen, the boy soprano, sings sweetly throughout 
while charming every member of the cast, native 
and American alike. (Ned Sparks, Irvin Cobb, 
Gloria Holden). 

LOVE, HONOR AND BEHAVE— Fair. 
Here we have that popular matinee idol, Wayne 
Morris, cast as a slightly too-sure-of-himself Yale 
tennis champ, who has a hard time ridding him- 
self of a mother complex, in spite of his early mar- 
riage to Priscilla Lane. Cave-man tactics at the 
end bring the drifting Priscilla back to his arms. 
(Barbara O'Neill, Mona Barrie). 

MIDNIGHT INTRUDER— So-so. This can be 
accepted on a dual bill that features a top-ranking 
film. The plot has to do with a couple of compara- 
tively shiftless young men who risk their last cent 
at the racetrack, and, while hitchhiking to nowhere 
in particular, run into a fairly exciting series of 
adventures. (Louis Hayward, Eric Linden, Bar- 
bara Read). 

OF HUMAN HEARTS— Fine. A tender, ex- 
quisitely sentimental story of the conflict existing 
within the domestic circle of an intolerant circuit 
riding preacher, whose son wishes to save the 
bodies of men instead of their souls. The period 
is just before and during the Civil War and there 
is one memorable scene in which Abraham Lincoln 
stands out more impressively than ever before in 
films. (Walter Huston, Jame9 Stewart, Beulah 
Bondi). 

OUTSIDE OF PARADISE— Good. You will 
enjoy this filmusical which teams Phil Regan and 
the amusing Penny Singleton. Phil inherits an 
Irish castle and proceeds to turn part of it into a 
night club. Amid many tuneful melodies and 
effective dance routines, and the usual romantic 
complications, the plot pursues its way to the 
inevitable happy ending. 

ROMANCE IN THE DARK— Good. Gladys 
Swarthout gets her first decent film break in this 
colorful comedy with music. The locale is Hungary, 
with John Boles cast as an operatic tenor, John 
Barrymore an impresario with lusty ideas, and 
Swarthout a girl from the country with warbling 
ambitions and plenty of "yumph 1" 

SALLY, IRENE, AND MARY— Fair. It's too 

bad this remake of a very successful silent movie 
(originally a successful musical comedy) suffers 
sadly by comparison, in spite of a cast that does 
its most to make it otherwise. The story concerns 
three manicurists who have been bitten by the stage 
bug, and there's plenty of singing, dancing and 
general merriment while they're traveling the un- 
certain road to glory. ("Alice Faye, Marjorit 
Weaver, Gregory Ratoff, Jimmy Durante). 

WIDE OPEN FACES— Good. A field day for 
Joe E. Brown fans. In this deliberately absurd 
take-off on the familiar gangster theme, Joe gets 
involved with G-Men and crooks with equal 
aplomb, and the laughs come along quick and sure, 
without any pretension of pseudo-smartness. (Jane 
Wyman, Alison Skipworth, Sidney Toler). 

WIFE OF GENERAL LING— Interesting. A 
British film that may come unheralded but which 
should create plenty of word-of-mouth critical 
appreciation. It is strongly dramatic (the British 
are at their best when it comes to secret agent 
plots) and features a gifted actor by the name of 
Griffith Jones. The dialogue is smart and surround- 
ing cast quite good. 




9.3 Times More Active 

than any other popular, non-poisonous 
antiseptic— by standard laboratory tests 



6 



Silver Screen 





APPEARING IN COLUMBIA'S 

THERE'S ALWAYS A 
WOMAN" 



enUventbcbe glC of 



yout color b«m 

Ulg^ eY ° bec^e the 
loveliness & e U f elite. 

colo^-^Ublenas 
easily-^- 

L - kuPer-lndel^ 

M^ F ^Vvoi colorbaI ' 
monysb^J aUunn g 




Taclor $ 



^iiollijivooJ 



.AVE your powder, rouge and lipstick in color 
harmony to accent the natural beauty of your type, then you'll 
have the real secret of make-up," is the advice of Hollywood's 
famous screen stars. 

Whether you are blonde or brunette, brownette or red- 
head, there is a particular color harmony make-up for you, 
created by Max Factor, Hollywood's make-up genius. It 
consists of harmonized shades of powder, rouge and lip- 
stick that will actually do wonders in making you look 
more attractive, more beautiful. 

So discover this make-up secret of the stars today. . .share 
the luxury of color harmony make-up now available at 
nominal prices. Note coupon for special make-up test. 

' s \-e W ! Max Factor's Invisible Make-Up Foundation 
keeps your make-up smooth and lovely from morning till night. 

« " i r.inN^I tYtl> ■ : 1 • 

• MAX FACTOR, Max Factor's Make-Up Studio, Hollywood: 

• Send Pursc-Sizc Box of Powder «nd Rouge Sampler in my color harmony shade; 
, alto Lipstick Color Sampler, fot.r shades. I enclose ten cents for posr» R c and 

• handling. Alio send me my Color Harmony Make-Up Chan and ■IS-nage 

• Illustrated lnstfuction Book, "Tic Nric An of Soiitly Makr-Up". FREE 

J 17-5-41 

• NAME 



STREET- 




Silver Screen 



7 




Use 

PEPSODENT 

ANTISEPTIC 

...the. fO-geco*d 

In Germ-Killing 
Power • . . One 
bottle Pepsodent 

tic equals 

three bottles of 
ordinary kinds 




Even wben diluted with 2 parts 
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MAKES YOUR MONEY GO 
3 TIMES AS FAR! 





"The Amazing Dr. Clitterhouse 
has another good part for 
Edward G. Robinson. 
Claire Trevor goes crim- 
inal, since someone 
has to. 



Men At Work" And 
Stars Brightly Shining. 
S. R. Mook Visits 
The Sets. 




WHAT doldrums 
this industry 
is in! My, oh, ^li- 
my! The makers of 
movies evidently do 
not realize that this 

benign frame of mind I'm in can't last 
forever. As long as it is lasting, though, let 
me say that what .there is this month 
seems good. Once again— 

Warner Brothers 

is the only studio where there is much 
doing. 

First we have the one and only Kay 
Francis in a little number called "Secrets 
of An Actress." It's the first time Kay has 
faced a camera since last September and 
even the camera looks happy. I don't know 
the story of the picture. I only know that 
Kay is the daughter of an actor— I suppose 
she's an actress herself— and Ian Hunter is 
meeting her for the first time. The meeting 
isn't important— except to him. But, boy, 
oh, boy! Does she look elegant. 

"Now, you're not going already," she says 
when the scene is finished— just as though 
it mattered to her. "I haven't seen jou in 
months." 

"Tell me about your house," I coax her. 

"Well, it's finally finished, all but the liv- 
ing room. I've done that over three times 
and I'm on the fourth go-round now. I 
just can't get it to suit me." 

And then I remember that Kay has just 
got herself engaged. Another of m\ idols 
lost to me forever. Another near-sighted 
female who has let me slip through her 
fingers. 



The next picture 
over here is "The 
!j||P^ Amazing Dr. Clitter- 

house" starring Ed- 
ward G . Robinson 
and Claire Trevor. I 
have never been one to stand up and cheer 
for Mr. Robinson (he does plenty of that 
for himself) but I must admit in all fairness 
(and I can be fair— if there's a gallery— 
and if I'm pressed) that in "A Slight Case 
of Murder" and also in this one he's giving 
a performance that even I can't carp about. 

He is a scientist who is vitally interested 
in the reaction of the criminal mind at the 
time of a crime. So he allies himself with 
the detective force and then proceeds to 
get into the den of a bunch of crooks, of 
which Claire (whose picture name is Jo 
Keller) is the head. The "den" is Claire's 
apartment, and SOME apartment it i.., let 
me tell you. Whoever said that crime 
doesn't pay, never got a load of this outfit. 
And Claire— well, this being a family maga- 
zine I can't say how Claire affects me but 
the outfit she has on certainly doesn't do 
anything to lessen my admiration tor her. 

Robinson, to bait her and worm himself 
into the confidence of the gang, has come 
up there with a pocket full of jewelry. 
"Thirty." Claire offers. 
"Forty," he demands. 
"We'll compromise at thirty-two," she 
suggests. 

"We'll compromise at thirty-eight," he 
agrees. 

"You're taking all the profit out of 
crime." she informs him with a sad. sad 
sigh, "but— it's a deal." She slarls to pick 



8 



Silver Screen 



up the jewels but he stops her politely. 

"My terms— not that I don't trust you— 
are strictly cash," he reminds her. 

"You don't take any chances, do you?" 
she smiles. 

"In an occupation as full of chances as 
mine, it's no use taking unnecessary 
chances," he says. "As far as my coming 
here with all this on me," waving his hand 
towards the jewels, "at your and the 
others' first sight of it, I had the upper 
hand— psychologically speaking— and that's 
all anyone can ask for." 

By this time Claire has gone into the 
bedroom, leaving the door open. She went 
to get the money. "I like your style, Pro- 
fessor," she laughs. 

"And I yours," he calls back. 

"No reason why we couldn't join up— 
professionally," she hints. 

"Of course— professionally. No reason," 
he agrees. 

"Everyone you met in '920' is an expert 
in his line," she informs him, coming back 
into the room with the money in an en- 
velope. "Here's your cash, Professor. Rocks 
is the boss— he knows combinations. Okay 
is a wizard when it comes to burglar alarms. 
Popus is the best ice expert in the East. All 
top men." 

After all, Mr. Robinson is only human. 
He joins the gang— professionally. If it were 
me, I'd go whole hog. But then, Eddie has 
a wife and kid and a collection of paint- 
ings. Me? I'm a realist. I can't see why any- 
one would want a measly painting when 
he could have Claire— 



Unfortunately, I can't stand moping here 
all day so I move on to the next set. It 
happens to be "When were you born?" 
This 'un features Anna May Wong, Lola 
Lane and Margaret Lindsey. There are men 
in it, too, but none of them are well known. 
It's a murder mystery and Anna May is an 
astrologist. She predicts James Stephenson's 
death and when he really is killed she is 
suspected. To clear herself she solves the 
mystery by astrology. 

This scene is the bar in the ship and 
Lola has just spied Anna May off in the 
distance. She leaves her drink and her 
gempmun friend and hurries over to Anna 
May. The thing that gets me about this 
scene is that Stuart Holmes is the bar- 
tender. In the early days of pictures Mr. H 
was the suavest villain the screen knew. 
He was the Roy O'Arcy (whatever became 
of him, anyhow?), the Adolphe Menjou, the 
George Raft and William Powell of his day. 
Now he is portly, almost bald and has a 
fringe of white hair around his pate— but 
he's still a good actor. 



The last picture on this lot is "Four's A 
Crowd" with Errol Flynn, Walter Connolly, 
Olivia DeHavilland and Rosalind Russell. 
Honest to pete, the way Louella Parsons, 
Ed Sullivan and I go on writing month in 
and month out, trying to tell these people 
how to get a little system into movie mak- 
ing—and no one pays the slightest attention 
to any of us— is enough to try the patience 
of Job. I've reminded them time and again 
that Paramount lost almost a million dol- 
lars on "Hotel Imperial" because Dietrich 
wouldn't finish it after Lubitsch was taken 
off, and she hadn't seen the completed 
script before she started it. I've told them 
they should never put a picture into pro- 
duction until the script is finished. But they 
go right ahead doing as they've always 
done— shooting from the cuff. 

Here this picture is over half finished 
and no one knows what it's about. Or if 
they do, they're certainly making a mystery 
of it. All / know (and you're welcome to 
any information / have) is that Mr. Flynn, 
Miss DeHavilland and Miss Russell are in 
bathing suits (oh, well, it'll be summer 
when the picture is released) and Mr. Con- 
nolly is in street clothes and all steamed up. 




WHEN WORK PILES UP 

...the use of chewing gum 
helps lessen fatigue, im- 
prove alertness and men- 
tal efficiency. 

BEECHIES are the 
"candy-coated" variety in 
your choice of flavors . . . 
Peppermint, P 
Spearmint. 



Always worth stopping for 



Silver Screen 



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"Young man," he sputters to Errol, "I 
give you two minutes to leave my prop- 
erty!" Only he calls it "proppity." 

"Why, Mr. Dillingwell?" Errol counters, 
although he has planned just such a scene 
as this. 

Olivia is making frantic gestures to tell 
Errol that Connolly means it. 

There may be better actors than Mr. 
Connolly in the business but I defy anyone 
to find a better sputterer. "I have enter- 
tained rats under my roof in my time, "he 
wheezes and I begin to fear he is carrying 
this sputtering business too far for the 
sake of art. He looks apoplectic. "But none 
to compare to you!" he thunders. 

"What do you mean, sir?" Errol counters, 
thinking this is all part of the scene he had 
planned. He passes between Connolly and 
Olivia, prods the latter and whispers in the 
former's ear, "Nice going." 

"Don't whisper at me," Connolly sput- 
ters. "Get out of here!" 

Errol passes back between them and 
prods Olivia again. "Join in." • 

Olivia automatically repeats a well re- 
hearsed line— but in a very weak voice: 
"And to think you made love to me only 
to trick my protector. Grandfather, are you 
going to stand by and see me used as a 
tool?" 

"Don't talk nonsense," Connolly sputters 
to Olivia and wheels on Errol, sputtering 
some more: "So you're the one who wants 
to make me into a saint, are you— you— 
after conducting a whole campaign to make 
me the most hated man in America." 

Well, of course, if Errol has gone that 
far there's an excuse for Mi. Connolly's 
sputtering. 

"It's all my fault," Miss Russell inter- 
poses quietly. 

It all reminds me of Jello's (how about 
a couple of tickets to the broadcast, Jello?; 
recipe for chocolate pudding: "Boil and stir 
until it begins to thicken and then let it 
cool." 

I always say— yeah, you've heard that 
before. I know, but it's still a good line- 
quantity is what counts. So, As R-K-O is 
the next most active studio we'll turn our 
footsteps thirtherward. 

R-K-O 

'"WlVACIOUS LADY" starring Ginger 
* Rogers and James Stewart is still 
shooting. But you've heard about that. In 



addition, there are "Go Chase Yourself" 
(and the same to you, Mr. R-K-O) with 
Joe Penner, Lucille Ball and Vicki Lester. 
The Lester dame is an eyeful and the Ball 
dame sorta gets me. Also, there is "The 
Saint in New York" with Louis Hayward 
and Kay Sutton. I've heard of Miss Sutton 
(isn't she another socialite entering pic- 
tures?) but she has never had the pleasure 
(?) of meeting me so the score is still o-o. 

To get on with "Chase Y'ourself." Mr. P. 
is a bank teller, more interested in noon- 
ing than telling and more interested in 
raffles and lotteries than crooning. He wins 
a trailer, which, although he has no car, 
doesn't discourage him. But it irks his wife 
(Lucille Ball). She tells him to go sleep 
in it. That same afternoon he has unwit- 
tingly given three crooks a tip (he would!) 
and they rob the bank. Pursued by police, 
they notice Joe's trailer and swiftly attach 
it to their car, assuming (and rightly) it 
will disarm suspicion (that English is 
RKO's— not mine). 

Oh, phooey. The plot is just too compli- 
cated. But Lucille, in trying to follow Joe 
gets herself locked in jail, along with Frit/ 
1 eld (who is engaged to the Lester). And 
that's where / come in. 

Eddie Cline is directing and wherever 
Eddie is, there's fun. 

"Are you one of the Mauch Twins?" he 
demands seriously. 

"Yes!" I answer, determined not to be 
made a fool of— again. 

"Which one?" he insists. 

"The older one," I retort cleverly and 
everybody laughs— even I. 

"Huh!" says Eddie and then he really 
grows clever. "This is the Jail-O program," 
he announces and starts singing, "J-zI-I-L- 
L-O." 

"Play, Phil," comes in a voice suspiciously 
like Mary Livingston's but it's really Lu- 
cille's. And then she says, "Jack— where 
were you last night?" 

"Why do you ask me a question like 
that, Mary?" Cline takes it up. 

"You know, you big lug," she squelches 
him. 

"Did you hear from your mother, Mary?" 
he asks, ignoring the inference. 
"Yes," says Lucille. 

"Is it a long letter?" Cline inquires ap- 
prehensively. 

"Yes," says Lucille. "I'll read it to \ou." 
Then suddenly she breaks oif this foolish- 




Rosalind Russell, Walter Connolly, Olivia de Havilland and 
Errol Flynn working out the theory that "Four's a Crowd." 



10 



Silvf. r Screen 



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POWER • FAYE • AMECHE 

ALICE ANDY BRIAN 

BRADY - DEVINE • DONLEVY 

Phyllis BROOKS • Tom BROWN • Sidney BLACKMER 
Berton CHURCHILL • June STOREY • Paul HURST 

Directed by HENRY KING 

Associate Producer Kenneth Macgowan • Screen play by' 
Lamar Trotti and Sonya Levien ■ Based on a story by Niven 
Bucch • Music&LyricsbyGordon&Revel.Pollack&Mitchell 



Silver Screen 



11 




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ness and says, "Let's go— my ashes are 
ready." 

So they go into a take. She and Feld are 
behind the bars and Arthur Stone (as the 
warden) is in front of them listening to the 
radio, enjoying the "Visit Your Neighbor'' 
program. Lucille and Fritz are obviously 
annoyed by the radio. Throughout the 
scene Penner's song is coming clearly over 
the air, revealing he is being held captive 
in the Sunshine Trailer Camp. 

"That radio," Fritz snorts (first Con- 
nolly sputtering and now Feld snorting. 
What a life), "he is an infernal machine." 

"You're in jail," Ball remarks laconically 
(good word, that). "It's a new form of 
punishment." 

Mr. Stone ignores them. 

"That voice!" Fritz storms. "Turn it off. 
Even for calling pigs it is not good." 

Suddenly Lucille recognizes Penner's 
voice (who wouldn't, I'd like to know— 
and no cracks about mine, either!) "War- 
den! Warden!" she yells. 

With complete disgust, Stone turns the 
radio o(f. 

"Don't turn it off," Ball screams. "I've got 
to listen." 

"Turn it off! Turn it on!" Stone mocks. 
'It's off and it stays off!" 



Forlornly I pick my way to the other 
stage— the one where "The Saint" is shoot- 
ing, the Saint being Mr. Louis Hayward. 
I've thought many things about Mr. Hay- 
ward but never that he was a saint. Movie 
Magic, I guess. It would seem (yeah, you've 
heard that one before, too, and you'll hear 
it again) that the Saint, whose picture name 
is Simon Templar, is a sort of modern 
Robin Hood who goes around bumping olf 
criminals whom the law either doesn't 
convict at all or else pardons after they 
have been convicted. In a crime ridden 
city (why, bless me, it's New York!) a com- 
mittee of law abiding citizens suggests they 
contact the Saint and get him to bump 
off a few gangsters in his own quiet and 
inimitable way. He disposes of No. 1 and 
then the gangsters (among them Jack 
Carson and Paul Guilfovle) discover him, 
kidnap him and drive him out into the 
country to dispose of him. 

"Last stop, ' Carson announces, halting 
the car. 

"This is the place?" Hayward inquires, 
getting out. 

"This is the place," Carson nods, prod- 
ding him to move on a few steps until 
they reach a large tree. 

"I'm disappointed," Hayward quips. 





Charles Judels, Nan Grey, Harlan Briggs, May Boley and 
Tom Jenks in a scene of domestic bliss in "Reckless Living." 



"Warden," Lucille cajoles desperately, 
"how would you like to make that $5,000 
reward?" pointing to a poster of Penner's 
kidnapers (in justice to the RKO scenario 
writers I must point out that the reward 
is for the bank robbers and not for Pen- 
ner). 

"Huh!" Stone grunts, looking up. 

"You can be the man to capture my 
husband and his mob of kidnapers." she 
coaxes. (Did I tell you that because his 
trailer is attached to the bank robbers' 
car, Joey Boy is supposed to be the head 
of the mob?) 

"How do you know where he is?" Stone 
counters. 

Lucille takes her cue and becomes pretty 
breezy. "Did you ever know a gunman's 
moll who couldn't locate the hide-out?" 
she demands, flicking the ashes from her 
cigarette in his face. And that's what she 
meant when she said her ashes were ready. 

"That's good." Cline says, "print it." 

"More," I yell. 

"Shut up," says Cline, "you're only in 
on a raincheck." 
And that's that! 



"When they executed Mary, Queen of Scots, 
thev built a fine, beautiful scaffold with 
great noblemen watching." 

"Times 've changed," Carson vouchsafes. 
"There ain't much to it these days. I guess 
this'll do. Just stand up by that tree." He 
turns to Guilfovle: "Come on. Hymie. it's 
your turn." And with that he calmly seats 
himself on a fallen log about five yards 
away. Havward stands with his back to the 
tree as Guilfovle Hymie approaches. Hymie 
unbuttons Louis' jacket and then his shirt. 

"The heart is on this side," Louis offers, 
indicating his left breast. 

"I know," Guilfovle mutters, "but some 
fellows started wearing bullet proof vests." 

"Ah, would / were invulnerable, too!" 
Havward sighs. 

"Invulnerable? What's that?" Hymie 
asks quickly. 

"l ook it up sometime, Hymie," Hay'warjj 
suggests. 

Well, as another saint once said to a 
sinner, alter trying a sample, there's not 
much to it after all. In fact, that's about 
all there is today. 

So I breeze over to— 



12 



Silver Screen 




Paramount 

'Y^OCOANUT GROVE" with Fred Mac- 
^— ' Murray and Harriet Hilliard, and 
"Tropic Holiday" with Ray Milland and 
Dorothy Lamour, I've already told you 
about. That leaves "You and Me" and 
there's not much to that, either. Just Mr. 
George Raft and Mr. Warren Hymer walk- 
ing down a street muttering to each other 
and I can't hear what they're talking about. 
So I proceed to- 
Universal 

ONE lone, lorn picture shooting here. 
'Tis called "Reckless Living" and I 
think 'tis a racetrack picture, but here 
again, alas, we have a picture with an un- 
finished story. Howsomever, it's near the 
start o£ the picture. The scene is a boarding 
house run by May Boley (there's an actress 
for you!) and three of her boarders are 
sitting at the breakfast table. They are 
Charles Judels, Harlan Briggs and Tom 
Jenks (and there's a comedian for you!) 

The boys (well, it's a mixed crowd— 
Jenks is still practically a boy) haven't 
money to pay their bill and they are trying 
to soft-soap May by spilling a little blarney. 
But May puts them in their places by 
telling them she was married to an Irish- 
man for thirty-five years— a gent who could 
REALLY lay it on. And with that she 
goes over and puts her arm alfectionately 
around a gold bust of her late soft-soaper. 
If I had a gold bust of anything I'd handle 
it affectionately, too. 

"And they still talk about him, Mother 
Ryan," Judels coos. 

"What a horseman he was!" Briggs takes 
it up. 

"Horseman!" exclaims Jenks indignantly. 
"Why, when Rosy Ryan passed on, purses 
were made up from Caliente to Hialiah to 
build that statue!" 

May is touched— even as you and I. 
Proudly she gives Frank some more pan- 
cakes. 

"That memento cost $3,000 if it cost a 
nickel!" Frank opines. 

"And not nearly enough for a testi- 
monial to Rosy," Briggs sighs. "Rosy! Re- 
member how they used to say: 

'The field is large and the start is bad, 

And the green colt runs as he can—' " 
May takes up the chant. 
" 'But see the weight he packs, my lad, 

'Ere you brand him an also-ran!' 

"What's all this talk about also-rans?" 
Nan Grey smiles as she comes in the door. 
"You look like a bunch of winners to me." 

Of course, one can never be sure but 
there are those who hint darkly that Nan 
is still the love of Wayne Morris' life de- 
spite his professed engagement to Priscilla 
[Continued on page 81] 



"AFTER A MATINEE of my latest 
Broadway show, a friend brought his 
sister to my dressing room to see me . . . 




"GIRLS MUST LOOK their best to 
win success. Although pretty, her 
lips were rough and dry. When she 
asked my advice about her career . . . 



"SHE WANTED TO BE an actress- 
was understudying the star in another 
play. She had talent, but . . ." 




"I TOLD HER that I thought she 
would benefit by using a special lip- 
stick praised by many stage and screen 
beauties. Later she phoned me . . . " 




HELLO, MR. LUKAS! LAST NIGHT 
I MADE A BIG HIT IN THE STAR'S 
ROLE! AND I GIVE CREDIT FOR MY 
PERFORMANCE TO THE KISSPROOF 
LIPSTICK YOU TOLD ME ABOUT. 
ITS BEAUTY-CREAM BASE KEEPS 
MY LIPS SOFT AND SMOOTH..GAVE 
ME CONFIDENCE BY MAKING ME 



roof Lipstick in 5 luscious c f\ ^ 
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us trial sizes at all 10# stores. 



^LOOK 



ssproo 

^T^loXUrhL LIPSTICK OMLc/ ROUGE 




SCENAKIO UY PAUL LUKAS 



Silver Screen 



13 



FINAL, TITLES 

of 

NEW PICTURES 

"Wooden Wedding" (Robert Mont- 
gomery) has been changed to 

"The First Hundred Years" 
"Certified" (Joan Fontaine) 

has been changed to 

"Maid's Night Out" 
"Life on the Waterfront" (Wallace 
Beery) has been changed to 

"Port of Seven Seas" 
"All Rights Reserved" (Errol Flynn) 

has been changed to 

"Four's a Crowd" 
"Lovely Lady" (Kay Francis) 

has been changed to 

"Secrets of an Actress" 




Even your best friend 
won't tell you 



EDNA was simply crushed by 
Charlie's curt note barren 
of explanation. True, she and 
Charlie frequently had "lovers' 
spats," but these were not enough 
to warrant breaking their engage- 
ment. Disheartened and puzzled, 
she sought Louise, her best friend. 
Perhaps she'd offer some explana- 
tion. Louise could, too; could 
have related in a flash what the 
trouble was . . . but she didn't; the 
subject is so delicate that even 
your best friend won't tell you. 

HOW'S YOUR BREATH TODAY? 

You may be guilty of halitosis (bad 
breath) this very moment and yet be 
unaware of it. That's the insidious 
thing about this offensive condition; 
you yourself never know when you 
have it, but others do and snub you 
unmercifully. 

Don't run the risk of offending 
others needlessly. You can sweeten 
your breath by merely using Listerine 
Antiseptic, the remarkable deodorant 



with the delightful taste. Rinse the 
mouth with it every morning and 
every night, and between times before 
business and social engagements. 

As it cleanses the entire oral cavity, 
Listerine Antiseptic kills outright 
millions of odor-producing bacteria. 
At the same time it halts the fermen- 
tation of tiny food particles skipped 
by the tooth brush (a major cause of 
odors) then overcomes the odors 
themselves. Remember, when treat- 
ing breath conditions you need a real 
deodorant that is also safe; ask for 
Listerine — and see that you get it. 

If all men and women would take 
the delightful precaution of using 
Listerine, there would be fewer brok- 
en "dates" and waning friendships 
in the social world — fewer curt re- 
buffs in this world of business. 

Lambert Pharmacol Company 
St. Louis, Mo. 

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(Bad Breath) 




WHAT PUT PATTY IN THE MOVIES? 




POWDER IN THE FORM 
OF DENTAL CREAM 



WATCH your dentist next time 
your teeth. Note how he makes h 
into a paste. 

Similarly, for your convenience we 
the safest dental powders into a paste, 
easy to put on the brush. 



In' cloaus 
is powder 

"cream" 
which is 



You get the cleansing power of powder . . . 
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Paste. It keeps your teeth sparkling and lustrous. 
Cleans and polishes them to gleaming whiteness. 

No wonder it is the favorite of glamour girls 
who live by their smiles. 



14 



Silver Screen 



S I LV E R 

Screen 



Richard Ar- 
I e n, Alice 
Brady, Dick 
Foran and 
Harriet Hil- 
Iiard. 



T 



opics 



For G 




ossips 



THE Margaret Lindsay-Alfred Gwynne Vanderbilt romance is 
one of the hottest in town. Cesar Romero and Ethel Merman 
are romancing at present - because the studio says it's good 
publicity— but those publicity matches sometimes turn out 
seriously. 

T"HE birds are singing and the sun is shining and life is indeed 
* a beautiful thing for Nana Earles, personal maid to Alice 
Brady. As a birthday present and a little token of appreciation 
for many years of faithful and devoted service, Alice gave Nana 
a $1500 plush-mounted, hand-carved antique bed. The bed stands 
in regal splendor upon a magnificent Axminster carpet, also 
a gift from Alice, and when Nana crawls from the silken sheets 
each morning she says that "it's just like climbing out of de 
bosom of a cloud." You can be sure that Nana's new finery has 
Central Avenue Society (Los Angeles' Harlem) green with envy. 

IT MUST be the Dietrich influence! Could hardly believe my 
* eyes when I saw Harriet Hilliard dancing at the Troc in a 
large black cartwheel of milan with a shallow crown and a vivid 
trimming which was the exact replica of a big, red apple! Mar- 
lene now signs her letters, "With love from a Sad Apple." 

THE piece de resistance at the Warner Club annual party this 
year was the showing of a choice collection of the year's "Blow- 
ups." "Blow-ups" consist of the things actors say when they can't 
remember their lines. The cameras and sound tracks go on 
recording until the director says, "Cut," and that extra dialogue 
is often priceless. 

Claudette Colbert, Kay Francis, Bette Davis, Carole Lombard, 
Paul Muni and Humphrey Bogart were among those caught 
unawares. And was it fun! It was Dick 
Foran's "blow-up," however, that had 
everyone in hysterics. Dick was shown 
having a little difficulty with a horse. 
"I can't get on the damned horse," said 
Dick with feeling. 



VY/ENDY BARRIES cigarettes 
* * have red tips to match lip- 
stick and nail enamel. It makes a 
nifty smoking ensemble and much 
neater than a smeared red cig- 
arette butt. 

#— » 

TAILORS all over the land re- 
* cently picked Jack Benny as 
one of the best dressed men in 
America, which has subjected 
Jack to a heap of heckling from 
his Hollywood pals. They want 
to know if he is going to play 
one of the models In his new pic- 
ture "Artist and Models." 

.A FTER doing thirty perform- 
■* * ances every week on a per- 
sonal appearance tour, Mischa 
Auer says he will never again 
kick about it being hard work 
to appear in pictures. And 
Mischa's face is still red on ac- 
count of that joke he pulled off 
recently on Hollywood Boulevard 
—a joke that didn't come off. 

He saw Hugh Herbert walking 
down the street in front of him 
with a very pretty blonde. So 
Mischa galloped up behind him, 
touched him on the shoulder 







At; 




UOR some time a 
l persistent insurance 
agent has been trying 
to sell Dick Alien additional in- 
surance, and won't take no for 
an answer. So-o, Dick resorted to 
the good old run-around. Now the 
agent has rented a house across 
the street from Dick and lies in 
wait for him with a lot of high 
pressure salesmanship. 

Saying '4io" is the hardest 
thing Dick does. He prefers to 
climb over the back fence and be 
picked up by his chauffeur, who 
ostentatiously leaves by the front 
gate, driving an empty car. 



and said "Woo Woo." The only trouble about the whole thing 
was thai the man wasn't Hugh Herbert. 

JOAN BENNETT, whose hobby is collecting salt and pepper 
— ' shakers, recently received from a woman in the East a set that 
once belonged to Sarah Bernhardt. 

T/~AY FRANCIS who has been married to William Gaston, John 
^ Meehan, F. Dwight Francis and Kenneth MacKenna has 
recently announced her engagement and approaching nuptials to 
Baton Raven Erik Barnekow. He is a German and has a respons- 
ible position in the airplane business. She met him last summer 
at one of Countess di Erasso's parties. Delmar Daves, the young 
writer who has been Kay's constant escort for a couple of years 
now. is back in circulation, as we so crudely put it in the cinema 
city. 



1 5 



STARS, STA 



The Players Are Eager 
For The Thrills That 
The Sporting Bloods 
Of High So ciety Enjoy. 
All You Have To Do 
Is Buy A H orse. 



I roan. 




Spencer Tracy trying to get 
acquainted with "Two Socks," 
a born aristocrat. 



'HEY RE off! A beautiful flash of 
black, tan. white, and grey! 
The race is on! And there go the 
fond hopes of Hollywood clown the 
track! There is real rhythm in the 
pounding of the hoofs on the turf. 
Clumpety - clump! Clumpety - clump! 
The beat of the hoofs and the beat 
in the hearts of the hopefuls on the 
sidelines, and in the heart of each star- 
each hoping his horse will "hurry back." 

Yes, there is really something to that cry of "hurry back." 
Walter Connolly told me his trainer always yells that to the jockey 
aboard a Connolly horse just before the race begins. It is the cry 
of every star who owns a racer, but, in most cases, either the 
jockey doesn't hear or else the horse is in no particular hurry. 
The names of Hollywood are race enthusiasts, but the net result 
is not very encouraging, for red ink seems to run like blood on 
the balance sheets. Yet, not to be discouraged, the fever is in the 
stars' blood. They keep buying more horses. And they continue 
to hope that, some bright sunny day, their colors will cross the 
line— a winner! And most of them would be plenty pleased if 
their steed placed or even ran third. 

Hollywood has definitely gone horse minded! The names of the 
stars who own horses, either for racing or for other purposes, read 
like the Blue Book of the film industry. Besides the fond hope for 
wins, however, there are sympathetic gestures, expressions of life- 
long love for the animals, all reasons for the rapid entrance of 
Cinemaville's greats into the "sport of kings." 

Of the many stars who own or are buying race horses, perhaps 
the most avid of all is Bing Crosby, who is, by the way, a Kentucky 
Colonel— no less! (Of course, Bing admits there are an awful lot of 
Kentucky Colonels, but it's fun having a title anyway). He has 
perhaps the largest stable among the Hollywood "biggies," for 
under his colors are thirty perspiring and hopeful horses. And, 
too, he has a race track at Del Mar, a part of which is shared 
by Pat O'Brien and others. Then there are 130 acres in the same 

community for 
breeding pur- 
poses that fly 
the Crosby ban- 
ners, for Bing 
hopes to breed 
a horse that will 




win the Kentucky 
Derby some day. 
Although his luck 
on local tracks 
has been rather 
spasmodic, who 
knows — he may 
have a D e r b y 
winner before any 
of us realize. 

Bing is prob- 
ably the most "ribbed" 
actor at the tracks, but 
this story told to me 
proves he can take it. It 
was after a race, and as 
Bing was walking away 
from the cashier booth, 
he met Jack Oakie. "How 
did you do today, Bing?" 
Oakie asked. "Swell." re- 
plied the crooner. "I 
broke even, and did I 
need it!" 

Bing may be a loser at 
times. Anyone will grant 
you that. But he has had 
winners. There was a 





Carole Lombard and 
"Pico," a favorite on her 
ranch. 



16 



AND STABLES 



B 



y 



Jack Holland 




(Above, left) At 
her San Fernando 
Valley ranch, 
Frances Dee makes 
pets of Bonanza and 
Little Bunky. 
(Above,right) Andy 
Devine and his son 
discussing the new 
Shetland pony. 



time, not so long ago, when he 
had gone through almost an 
entire season without a win. 
Then, the day before the last 
race of the meeting, he ran a 
new member of his stable. 
"Aunt Kitty." She was a real 
long shot, and Bing was 
mainly interested in trying her 
out. Well, to make a long 
story short, "Aunt Kitty" 
proved a bombshell. She won 
and paid $71.40 for a $2 ticket. 
Crosby started to dance. Then he started 
to faint. He ended by looking white as a 
sheet and merely standing with his mouth 
open. His mother, who was with him. 
watched her son's antics, then looked at 
the sweater she had knitted for him for 
Christmas. 

"I know why you won," she said sud- 
denly. "You've got that sweater on wrong- 
side out." 

Then there is the other story, though 
not such a pleasant one for Bing. He owned 
a horse called "Uncle Gus," which had been 
in the Crosby stables for two years. It had 
a great record— of crushing defeats. Bing 
was prevailed upon to sell the animal, but 
he refused, and continued to enter him 
again and again. Finally, however, Bing 
listened to advice and entered "Uncle Gus" 
in a claims race at Bay Meadows a couple 
of months ago. The horse lost and Bing 
sold it. Later, "Uncle Gus" ran at Santa 
Anita. And the result? He romped home, 
a rank outsider, to win, paying 17 to 1. 

Bing really loves horses. He is one of the few stars who get up 
at six a. m. to work out his stallions. He can be seen sitting on a 
fence in a ludicrous position, clocking off the seconds as his horse 
goes by. But Bing is also in this business for at least the price 
of the feed bill. As he says, "I don't mind buying hay lor 1 he 
horses, but I do hate to lose a bet on them after I've bought the 
hay. Even a $2 bet. It's the principle of the thing. The horses 
have no loyalty. You'd think they'd get out and run their heads 
off after the fine treatment they get, but no; they're too brave— 
they chase all the other horses." 

Another terrific racing enthusiast and owner is Walter Connolly, 
and also one who admires the work Bing is trying to do. Wallet 
has always loved horses, from the time when he was a mere lad 




on his father's farm in 
Ireland. He has always 
wanted a stable of his 
own, so now his dream 
has come true at last. 
He and Frank Lloyd, 
producer-director, have 
a stable together. 

Walter and I were 
talking together in the 
Turf Club a few days 
ago at Santa Anita. I 
happened to ask him how 
his bets were coming. 
"All right," he replied. "I 
just bet on a horse that hasn't 
been doing well at all, and he 
came in to pay off. You see, 
the jockey who was riding the 
animal [Continued on page 73J 



IP 



(Above, left) 
Bing Crosby 
and one of his 
thorough- 
breds. (Left) 
Joe E. Brown 
is an enthu- 
siastic racing 
man. He gets 
full return 
for his invest- 
mcnts just 
seeing his 
colors flash- 
ing pr.»t. 



17 



SS UP 

ND / 

'VE/ 



Believe It Or Not 
— Clothes En = 
hance A. Lady s 
Charms. 




IT'S all too confusing, this problem of 
women's clothes on the Pacific Coast! 
Bathing suits and play suits have 
grown scantier and scantier to the 
breath-taking point. The strapless eve- 
ning frock knocked us for a loop and 
intrigued our curiosity only a short 
time ago, as the crow flies. How in the 
world, we wondered, did the girls keep 
the things up? Gleeful columnists who 

have visited Palm Springs this season have been vying with one 
another in prophecies about whether the completely topless 
feminine play suit would make its appearance in 1939 or in 1940. 
The stulfed-shirt conservatives are holding out for 1940. 

Meanwhile, evening dresses— at least the skirts of them— have 
become more and more voluminous. So voluminous, in fact, that 
it is difficult to understand how a lady can dance in them at all. 
It's a mere nothing, my dears, to learn (on one of those trips to 
the ladies' powdering room) that the famous glamour girl you've 
glimpsed at the Trocadero is wearing lour stilt satin petticoats 
(shades of my grandmother— petlicoals!) under the twenty yards 
ot swirling pleated chiffon which comprise her skirt. 

What's more, the chits arc wearing old fashioned whalebone 
some place where you can't see it. Those almost invisible waist- 
lines aren't mere accidents of nature or the results of serious 
malnutrition. If your slim dancing partner seems to be out of 
breath after a lew short turns about the floor, don't act surprised 
and don't make any tunny tracks. She is probably laced, under- 
neath those dainty gewgaws. 10 the rib-breaking point. Lead hei 
quietly lo a chair, get her some water and some smelling sabs 
(jusl as 1 hey did in the old-fashioned novels) and all will probably 



be well after a little while. 

Adrian, who designs a lot of 
these startling costumes, seems 
to feel a trifle sorry for the darl- 
ings who wear them. "After a 
girl has spent hours basking on 
the sand (desert or beach), get- 
ting publicly sunburned on parts 
of her anatomy which her 
mother wouldn't even have men- 
tioned, it must be a comfort to 
her to wrap herself in as elab- 
orate a package as possible when 
she goes out for the evening. 
It is," he adds, thoughtfully, 
"much more becoming to her, 
too! A woman has more gla- 
mour when she is partially 
covered. . ." 

Into the hands of these gen- 
tlemen—the dress designers— the 
glamorous ladies are delivered 
anil theirs (the gentlemen's) is the task of swathing the glamorous 
ladies in gowns which will enhance, create or emphasize the allure 
which is so important at the box-office, rhese mostly unsung 
heroes ol the sketch boards, scissors ami needles arc- probably quite 
as responsible for the success of Glamour as is any talent scout, 
dramatic coach, director or producer. And these experts are 
unanimous in the belief that putting clothes on a glamorous girl 
is more important than taking them off her— for box-office 



18 






Top, center — Layers of white net 
make Joan Fontaine look too, too 
divine. (Page Elsa Maxwell). 
Next, The draped shoulder cape 
adds a wistful note to Irene 
Dunne's sophisticated evening 
gown. Above, Merle Oberon's 
lovely chest and shoulders lend 
themselves perfectly to these dar- 
ing, strapless models. Left, in 
"This Woman Is Dangerous" Kay 
Francis wears a filmy black 
chiffon frock that attracts one's 
eye immediately because of the 
unique scroll design on the slim- 
fitting basque. 



f purposes at any rate. 

Consider for a moment. 
Joan Crawford has recently 
acquired a sports outfit— brown 
canvas shorts, a yellow shirt, 
galluses. She has great fun 
m / wearing these things while she 

frolics at home. But do you 
think Adrian will let her wear 
any such thing in a picture? 
You know he won't. 

Edward Stevenson, head de- 
signer at RKO, has designed 
costumes for some of the love- 
liest women on the screen. He 
told me, "When the American 
women discovered that they 
could uncover almost their entire selves and 
say that it was in the interests of health— 
they did it! They were a trifle disappointed 
when no one was especially excited about 
the increasing expanses of visible bare flesh. 
The Europeans have always known that a 
shoulder, half concealed by black lace, was 
more exciting than a completely bare shoul- 
der, that a leg, encased in a sheer stocking, 
looked lovelier than that same leg with noth- 
ing on it. 

"When they give us a really exciting, 
glamorous scene, we put yards and yards of 
material on the actress. Women everywhere 
are beginning to catch on, I think. A year 
ago they thought that the briefest play suit 
was the thing to wear on the beach. Now 
they are covering up the play suit or the 
bathing suit with cotton 'beach coats' which 
reach their ankles and which are as cleverly 
cut, as carefully fitted, as the most expensive 
evening frock!" 

A year and a half or so ago, Warner 
Brothers' Orry Kelly concocted a frock for 
Dolores del Rio, for the picture, "Meet the 
Duchess," which was all skirt and practicalh 
no lop. The yards of silver-shot white tafteta 
which made up the lower part of the dress 
would have reached from here to where you 
are sitting. The top was almost non-existent 
and architects came from everywhere to peer 
at it and to ponder on what-in-the-world 
held it up. Orry says [Continued on page 75] 



19 



Dixie Davis Reveals The Lips And Downs She 
Encountered While Carving Out A C areer For 
Herself In One Of The /Most Fascinating 
Professions In Tke World. 



WHAT girl of fifteen has not had a 
dream of becoming a glamorous mo- 
tion picture star? 
I too, like you— and you— and you— had the 
same dream, but it came to naught. 

I find, in retrospect, that my "career years" 
were harder than I imagined because the 
heartaches were softened by hope then. 

No longer am I one of the glamour girls 
of Hollywood. I stopped being colorful, put 
away the greasepaint and went back to work. 
In my present position as field secretary to 
Cecil B. DeMille, I have found the glamour 
I sought— but from behind the camera. 

In years of bucking the Hollywood acting 
business, I've learned a great many things. I 
look at the players who work in front of the 
cameras today, see them facing the trial of 
hours and days ahead, and I smile under- 
standing^'. My own exper ience makes me do 
this. I feel safe in saying 
that the chances are one 
thousand to one against 
screen success for anyone 
coming to Hollywood, and 
that the chances of success 
after getting any kind of 
contract are about fifty to 
one. 

There is nothing so un- 
certain as the career of a 
motion picture player. 
There are responsibilities, 
and there are hopes and 
heartaches, there are end- 
less hours of waiting . . . 
waiting . . . only to have 
more heartaches. 

I was born in Dallas, 
Texas. When I was seven, 
I was taken out of convent 
school, and with my par- 
ents travelled to San Diego, 
California. My father pur- 
chased an extensive piece 
of land here, as a specula- 
tion, and it proved to be 
just that. Soon after, the 
land was gone, and so was 
father. 

After the divorce, faced 
with supporting both of us, 
Mother resumed dressmak- 
ing, and during the last 
few years at school, I cash- 
iered in the school cafe to 
earn a few additional 
dollars. 

On graduation from the 
Russ High School in San 
Diego, I entered the Sawyer 
School of Secretaries. 

The story of my career in 
motion pictures actually be- 
gins when my mother, 
through some friends, met 
a relative of David Wark 
Griffith, the great director 

of silent days. This relative came to our modest bungalow, cast 
an appraising eye at me, and pronounced those words which have 
since been heard 'round the world: 
"You ought to be in pictures!" 

From then until my graduation from secretarial school, mother 
and I thought of nothing else, talked of nothing else, saved every 
penny we could, and finally with a few hundred dollars and high 
hopes, trained from San Diego to Long Beach, where we felt living 
expenses would be cheaper than in Hollywood. 

Every day at 5:15 a. 111. I rose and came to Hollywood, made 
the rounds of casting offices only to meet with disappointment. 
I saw that if 1 was going to get into pictures I'd have to work 




some other "angle." So— I took 
a job with an insurance com- 
pany to supply enough money 
on which mother and I could 
move to Hollywood. All the time 
I could get away from the office. 
I spent haunting the studios, 
which evidently didn't mind being haunted at all. This and an- 
other job lasted for two years. 

Finally, through a friend I got a break! I received an offer of 
a job in pictures'. Now, I felt my goal was just about reached! 
Demmy Lamson, an agent, who was going into business, had 
interviewed a score of girls, and had found them wanting. 

Mr. Lamson interviewed me— 1 sold him Dixie Davis, potential 
actress, as a secretary. 

"Picture aspirations?" he asked. 

I was afraid I wouldn't get the job if I confessed, so I said: "No." 

I asked for thirty-five dollars a week, and got it. More money 
than I'd ever made in mv life. I found myself virtually running 
his office. What hours! Seven-thirty in the morning until seven 
o'clock or later at night. Nobody in motion pictures seems 10 
worry about hours. I watched Mr. Lamson sell talent to producers 
and ached all over. I was sine / could lie sold. 

About this time, another agent offered me a job visiting casting 
offices at the studio, selling talent. 1 snapped it up. Fate seemed 



20 



to be on my side. At last I was actually getting inside studios! 
"I'll sell myself," I said— silently. 

I did. One day Jack Votion, then casting director at Paramount, 
said to me: 

"Dixie, if you ever get out of a job, I'll put vou in pictures." 
That was on Wednesday. On Thursday morning I reported: 
"I'm out of work." 

My first "role" was worth $10 a day. The picture was "Wet 
Paint" starring Raymond Griffith. I was told to appear in an eve- 
ning gown and wrap. I did. I wore a white one my mother had 
made. Also robin's egg blue kid pumps. Running over rocks and 
newly plowed ground proved a little too much for my evening 
dress and blue kid pumps. At the end of the day, they were 
ruined; I think this was my first major disillusionment. But I 
had a lot of rebound in those days. Next, I went to Coronado 
Beach, a resort near San Diego. Ten days this time. At ten dollars, 
per. The studio supplied my wardrobe, and I had a grand time! 

Then one of those things happened. A 
break at last! 

A star I'd met approached me at the 
Montmartre Cafe, a then fashionable film 
eating place. 

"I want to place you under personal 
contract," he said. "I think you have 
terrific possibilities I'll give you fifty 
dollars a week, every week. Whenever I 
place you, I'll take the difference." 



Then he turned away. I was frightened to death. I found out 
later that this was his technique, and that he wasn't disgusted 
with me before I'd even started, which I thought was the case. 

I was given to understand if the test wasn't any good, they'd 
make another, with a good possibility of a contract. However, 
when it was learned I was under personal contract, negotiations 
were dropped. Studios seem averse to exploiting a new plaver who 
is under contract to anyone other than the studio— they prefer 
having full supervision over the beginner's career. 

The actor who held my contract later went to Europe and my 
contract was allowed to lapse. 

By this time I'd spent so much money "putting on an act" that 
I was in worse financial condition than I had been at the start of 
what was then known as my career. I had no job at all. I tried 
extra work. One casting director told me: 

"We would have given 
you a call for an extra job, 
but we thought that be- 
cause you'd been under 
contract you wouldn't care 

to do that sort of work." ^itf$Kk ML 





As Told To 
Edward Ckurchill 



i 



What I didn't 
know was that he 
had wind of the 
fact that Sidney Ol- 
cott, the director, 
who was about to 
make a picture 
starring Richard 
Barthelmess, had 
seen me during a 
luncheon at this 
very cafe and be- 
lieved I was just 
the girl he had 
been seeking for 
the feminine lead. My benefac- 
tor stood a chance of making a 
nice profit right now. Mr. Olcott 
made a test of me. It was satis- 
factory. My break had come at 
last. . . . But another girl got 
the part. 

So, I received fifty dollars a 
week. Full of the idea of living 

up to in) contract, I moved into a more expensive apartment. I 
had to have more clothes, I had to entertain, so I thought, and 
that cost money. Full page adds in all the trade papers stated that 
I was "new and different" and made the fiat statement quoting 
the sponsoring star: 
"I believe I have the find of the season." 

Even today, more than ten years later, when I am working on 
a set and anyone comes up behind me and repeats that line. I 
still blush. 

Jack Warner next ordered a test of me. The director who made 
the test told his crew: 
"Okav, bovs— start in." 



Cecil Be DeMille 
and Fred March on 
"The Buccaneer" 
set, and Dixie, who 
is now DeMille's 
personal script girl. 



At that moment, any 
kind of work looked 
good. I explained to 
everyone I'd be an 
extra, and gladly. But 
nothing happened. My 
mother scraped to- 
gether enough to open 
a rooming house. Just 
before she succeeded 
in doing this. I was 
on a set watching Mai 
St. Clair, the director, 
make "Gentlemen Pre- 
fer Blondes." Mr. St. 
Clair needed someone 
to double Ruth Tay- 
lor's hands. 

"Maybe you'd do it 
—just as a lark," he 
said, apologetically. 
"Yes— for a lark," I said. But I didn't laugh when I said it. 
We talked and I told him the truth. He hired me as his sec re- 
tary. That lasted for two months, until the picture was over. Then 
he didn't need a secretary. 

After leaving Mr. St. Clair, I started doing extra work, but with 
more success than before. By (his time, I knew a great many 
people. In Holhwood, the more people you know in the industry, 
the more work you are able to obtain. 

Actually I averaged, as an extra, about $150 a month for the 
next few years. However, the expense of maintaining niv place as 
a top ranking "chess girl" added up to within a tew dollars of 
what I made. A very extensive wardrobe is absolutely necessary. 
My hair had to be perfectly groomed at all limes which meant 
having it "done" at least twice a week, and sometimes oftener. 
Cleaning bills looked like the war debt. In short, extra work 
doesn't pay. Ibis year's reports indicate that ol the 17.000 extras 
only one made $60 a week, and the [Continued mi page 66] 



2 I 



PROJECTION OF 

DON AMECHE 

By 

Elizabeth Wil son 



BACK in 1936, soon after Don Ameche arrived in Hollywood, 
a prominent producer on the Twentieth Century-Fox lot said 
one night to a writer at the Clover Club: "We have a young 
Italian lad on the lot who has a marvelous radio voice, and he 
can act with it better than John Barrymore ever thought of doing. 
He's as handsome as Robert Montgomery, and, get this, he's as 
pious as a monk. He has the male lead in Ramona but when the 
director got stuck at the Mass part in the marriage ceremony 
because the altar boys couldn't recite Latin, he offered to stand 
off stage and recite the prayers! He has an almost spiritual quality 
to his voice. I predict that after he makes six pictures he'll be a 
big number at the box-office. Watch him." 

The prominent producer hit a bull's eye with his prediction as 
is evidenced in a review printed in Time Magazine. Said the 
Time critic of Don's sixth picture, "Fifty Roads to Town:" "It is 
a pleasant little farce, designed to exhibit as fetchingly as possible 
the qualifications of Producer Darryl Zanuck's latest discovery, 
Indian-blooded Don Ameche, whose fan mail at Twentieth Cen- 
tury-Fox is second only to Shirley Temple's." 

Though quite accurate as regards the fan mail the Time critic 
slipped up badly on Don's lineage. He hasn't even a corpuscle of 
Indian blood. When asked how the rumor got around Don said: 
"Some one must have heard me say that my two kids, Donnie and 
Ronnie, are wild little Indians." 

Don's father is Dominic Felix Ameche (The name was originally 
Amici but became Americanized when the little Amicis started in 
public school) and he was born in the beautiful vineyard country 
near Rome, Italy. Don's mother, whose maiden name was Barbara 
Etta Hertol, comes from 
Springfield, Illinois, with 
a background of Ger- 
man and Scotch-Irish 
ancestry. 

Don is the second 
oldest of eight children 
—four boys and four 
girls. Mr. Ameche was 
a saloonkeeper in Keno- 
sha, Wisconsin, when 
the little Ameches were 
growing up, and Don is 
very pleased to tell you ym 
that his father was "the M 
best saloonkeeper in 1 
Wisconsin. No man ever 
left his saloon drunk; 
and, because I think 
that gives father one 
leg on fame, I see no 
reason to keep it dark." 
Don's frankness is one of his 
most charming characteristics. 
"I have the finest folks in the 
world," he used to tell his pals 
when he was a boy, "and some 
day I'm going to do things for 
them." 

Don has certainly made his 
promise good. His first movie 
pay check was spent on a ranch 
tor his parents, who today live 
very near the fourteen acres that 
Don has bought for himself in 
the San Fernando Valley. 

Besides his family Don has 
three great loves — the good 
earth, gambling, and radio. Don 
thinks that if people would only live in the 
country where they can smell and feel the earth, 
and see things grow and die and return to seed, 
the) would understand God's plan lor the uni- 
verse much better, and that there would be fewer 
suicides and neurotic wretches. Don never wants 



to live in Chicago or New York again, he wants 
to live the rest of his life on his California 
ranch, where he can step out of his front door 
and dig his hands and feet into the soil. Per- 
haps that is the reason he is such a sane and 
peaceful young man, he keeps both feet on the 
ground— and his own ground too, fourteen fertile 
acres of it. 

Gambling, strangely enough, is his second 
great love. He adores gambling, always has, e^er 




Don Ameche's career 
h.is a way of boost 
have the goods 
suits him. Don 
ran. (Right) Tyro 
in "Alexander's Ragtime 

in front of the came 



22 



since he was a kid. There must have been a very sporting ancestor 
somewhere back there on the branches of the Ameche family tree, 
probably Julius Caesar himself, who said, "The die is cast." For 
Don, more than any other person I have ever met, has inherited 
not only the love, but the temperament for gambling. He is 
generally accepted as the best of the picture colony. 

When he was a boy of twelve at St. Berchman's, a parochial 
seminary in Marion, Iowa, Don considerably upset the school 
discipline by teaching all the other little boys how to make bets 
on the outcome of the World Series. The bets were usually made 
with desserts and Don very often had more ice cream than he 
could eat. When poverty pinched, as it usually did the day after 
he received his allowance from home, Don's agile mind could 
always be counted on to conceive a new betting scheme, with odds 
in his favor, that would carry him along, and tidily too, until the 
next allowance day. 

He admits he is not very lucky at the Santa Anita track, though 
he never misses a chance to go when he isn't working. "I'm a 
sucker for a tip," he says sadly, "anybody's tip." What with playing 
"tips" and "long shots" he fares rather badly. He's much more 
lucky with poker, which he considers the most interesting of card 
games. Several nights a week you can find Don bending over the 
roulette table or the "crap" table of one 
of the smart gambling clubs in Holly- 
wood. Sometimes he wins— sometimes he 
loses. He and his wife have worked out 
a system. He is allowed to lose just so 





(Top) With his son, Donnie. 
(Above The lawn mower 
marathon. The Ameche home 
is in the background. (Left) 
Don and his wife, Honore. 
They fell in love thirteen 
years ago. Marriage had to 
wait. However, they were 
wed six years ago. 



much and then he must stay 
away from the clubs until he 
saves up money on his own ac- 
count. When he is "on parole" 
Mr. Ameche is a very sad young 
man. Nothing seems to interest him then. 

He is terribly enthusiastic about radio, which, after all 
was his "first love" in the entertainment field. It was radio 
that came to his aid after he had been knocked around 
pretty brutally by the New York stage and was sort of 
blue and discouraged about the whole thing. 

Don was on the retreat to his hometown Kenosha, Wis- 
consin, ("I can always get a job there in the mattiess 
factory, I have before") when he ran into some of his old 
friends from his stock company days who said, "Stick 
around, Don. There're plenty of opportunities in Chicago 
now. For instance, there's a big audition over at the 
broadcasting company's studios tomorrow. You've got a 
swell voice. Why not try out?" 

"There'll be a million people there," objected Don. 
Then— "But I guess it won't hurt to be the million-and- 
first!" 

The million-and-first made radio history, Two days 



after the audiiion Don was called to play a part in 
"The Empire Builders." Next to "Amos and Andy" 
he has been on the air longer in one series than any other radio 
star. He has been the star of the cast of "Little Theatre Off Times 
Square," he has played in "Betty and Bob," in "Rin Tin Tin," 
"Foreign Legion," "Grand Hotel," and for five years he was with 
"The First Nighter"— which he resigned from last May to take 
over the Chase and Sanborn Hour. A recent radio canvass brought 
forth the fact that he is the Number One Dramatic Star of the 
air lanes. 

Although Don would never be one to belittle pictures he thinks 
that radio is the greatest form of entertainment in the world. 
Pictures are limited in their scope, he says, they can only enter- 
tain people in towns and cities where there are movie houses— 
but radio penetrates into the backwoods and the very fringe of 
civilization. But, especially does he like it because of the comfort 
and cheer it brings to the sick and the bed-ridden, and the lonely 
folk doomed to spend dreary days in dismal rooms. 

He thinks there has been too much muddling and meddling 
with radio by the wrong people, that it has succeeded "in spite of 
itself," but he has great faith in its future, and he wishes to do 
his part towards making it the perfect form of entertainment that 
it can be. 

With almost school-boy enthusiasm he worships Edgar Bergen 
and Charlie McCarthy, and admits that it still makes him skk 
at his stomach to see Edgar fold up Charlie, pull a bag over his 
head, and store him away in a valise at the end of the broadcast. 
Of all the stars who have appeared with him on his program he 
thinks that Barbara Stanwyck is the swellest person and the most 
talented actress. [Continued on page 7(1] 



23 



I'VE just lately returned from Mexico. 
I went down there into the land of 
manana, to do a location yarn on Para- 
mount's "Tropic Holiday." 

Seventy miles below the border lies 
the little town of Ensenada, popular 
mecca of film folk, and my own des- 
tination. It is one of the old towns of 
Mexico. As I rounded a final bend of 
the mountain reaching down to the sea, 
the spectacle that met my eye was posi- 
tively breath-taking. A sprawling hamlet 
of square old adobe and weathered frame 
houses, Ensenada nestles on the shore of 
the most beautiful bay in all Mexico. 

The Playa Ensenada, where I made my 
headquarters, is a palace of old-world 
loveliness, where the charm of Spain 
blends with the more modern Western 
tastes, and there the exuberant Martha 
Raye— already tropical in white and red, 
with a bolero jacket— bounded out to 
meet me. 

"Oh, boy," she exclaimed, in a tone 
that only Martha can use, "here I've come 
all the way down into Mexico, and all 
the good-looking soldiers in the place 
rush up to Tia Juana. Just when I was 
in the mood to make eyes at a general, 
too." She drooped, in mock despair. 

The story of "Tropic Holiday" unfolds 
in the pleasant little village of Rosario, 
in the lush semi-tropics of Southern Mex- 
ico. It was to gain atmospheric and 
background scenes that Martha, Bob 

Burns, Dorothy Lamour, Ray Milland and the rest of the com- 
pany had journeyed down to Ensenada, several hundred miles 
from Hollywood, on the west coast of Mexico— Baja California. 
It was like stepping into another world, with dark-skinned natives 
strumming on guitars, their excited voices shouting in Spanish, 
and a general atmosphere of foreignness prevailing everywhere. 

"It's a sort of comedy, I'd say, friend," confided Bob Burns, 
who plays a candidate for senator from Oklahoma— The Indians' 
Choice, no less. Bob was garbed in white linen, with brown and 
white huarachas (Mexican sandals) and a huge compaign button, 
four inches in diameter, bearing his picture was pinned to his 
coat lapel. 

We were out on a rocky promontory overlooking the ocean, 
and three or four handsome young native fishermen in appro- 
priate costumes were gazing intently across the water toward 
the horizon, while others, in the background, were singing in 
Spanish the haunting melody of "Tonight Will Live Forever." 
The scene represented the opening of the Fiesta del Tortu^ 
the celebration in honor of the big turtles of the sea coming back 
from deep water, and Latin gaiety was in the air. 

"I'm down here in Mexico— in the story, of course— to win my 
childhood sweetheart, Martha Raye, who's workin' for a writer- 
feller. But I don't win her so easy, see . . . Martha's got romance 
in her soul and she insists that I sweep her off her feet. I'm not 
so much at this sweepin' stuff, but I pursue her, anyway, dressed 
up like a Mexican circus tent. She thinks she's head over heels 
in love with a bull-fightin'-gent, but really she's in love with me." 

"Oh, Bobbie-Wobbie, of course I love you," Martha broke in. 
"You see," turning to me, "I'm here in Rosario with Ray Milland, 
who's a scenario writer from Hollywood trying to do a story with 
a Mexican setting. I'm his secretary. He doesn't like it down here, 
but his boss in Hollywood insists that he stay until he finishes." 

"Then, I come into the picture," olfered Dorothy Lamour, look- 
ing pretty in her gay Mexican colors. This is Dorothy's first big 
part where she wears clothes. In "The Jungle Princess," "Hur- 
ricane" and "Her Jungle Love," she affected nothing but a brief 
sarong, picturesque but exceedingly scanty. You'll like her as 
the singing Manuela. "To fend oil the attention of many suitors 
in my father's tavern, The Inn of the Little Lantern, where I 
serve customers wine, I tell them I have a date with the Amer- 
icano. When he is leaving after talking on the telephone to 
Hollywood, I link my arm in his and we go for a walk along the 
beach. He tells me he knows all about writing of love. I tell him 
he knows nothing. I fall in love with him, then, and pretty 
soon he feels that same way about me." 

"Yeah," Ray contributed, with a grin, "and my Hollywood 
sweetheart, the gal whom I'm supposed to marry, flies down to 
get me when she hears about Dorothy— or Manuela— and there's 
the devil to pay in the way of a merry mix-up." 

"As I said, friend, before all these interruptions." Bob con- 
tinued, "some may call it a comedy. Especially, when the) sec 
Martha here trying to fight a bull to win the love of her Mex- 
ican matador . . ." 

"Looky," suddenly shrieked the light of his dreams . . . 
"TURTLES!" 

"Las Tortugas! . . . Las Tortugas!" shouted the fishermen. 
Looking out to sea, we saw scores of giant turtles driving 




through the water 
shoreward. It was a 
scene such as few 
are privileged to 
glimpse. 

Instantly, all was 
confusion. While 
the cameras turned, 
the Mexicans dove 
into the water, to 
capture the prizes, 

and even small children, shedding their 
clothing as they ran toward the surf, en- 
tered into the spirit of the chase. While bells 
tolled the welcome message that the turtles, 
or tortugas, had arrived, other natives re- 
mained on shore, singing and shouting, to 
sjreet their comrades with delight as they dras 



igged 

up onto the beach and overturned them. On the 
will be nisjht shots, with bonfires burning. 



huge turtles 
screen, these 

scenes will be night shots, with bonfires burning, but actually, 
of course, they were filmed during the day, through blue filters. 

Martha and Bob circulated talkatively among the milling crowd. 
Suddenly, there was shrill laughter, directed at the towering 
Burns. 

"NOW what'd I do?" the comedian demanded, of no one 
in particular. 

Michael Visaroff, the Russian actor, who plays Dorothy's padre, 
good-naturedly explained . . . "You said 'goodbye,' when you 
meant 'Hello.' " 

Bob looked sheepish. "Well, I never," he chuckled, hauling a 
small Spanish dictionery out of his pocket. "Darn these funny 
languages, anyhow. Guess I looked at the wrong page." 

On the way back to the hotel, Martha was pensive. "Gee," 
she murmured, "wish I had a hamburger. That's what I miss 
down here." 

"Tropic Holiday" should score a knockout when it is ready 
for the public. It is high comedy, with Martha and Bob at their 
funniest; lilting romance, uniting again the lovely Lamour and 
the handsome Milland; and a song-fest that undoubtedly will 
be long remembered. 

For these songs, Paramount brought from Mexico Augustin 
Lara, the Irving Berlin of Mexico, who has composed music for 
the picture that undoubtedly will usher in a new melodic vogue. 
And lo further earn out the feeling of this music, Tito Gui/ar, 
most famous of all Mexican opera singers, will sing these songs 
. . . as well as woo the only too willing, romantic-minded Martha, 
in his role of the Mexican matador. 1 ilo is the IK in Bob Burns' 
ointment of happiness. 



24 




know, if such a thing were in prospect for YOU. Those scenes 
are action I'm looking forward to, when the company returns 
to Hollywood. They'll he shot out on the ranch. Of course, 
Martha will be exposed to no actual danger, but just to be near 
those snorting creatures, who'd love to gore the hand that feeds 
'em, is enough to give a tender maid like our Marthy chills. 

Outside the hotel one morning, as the company was piling 
into cars preparatory to starting for location, stood several shaggy- 
haired burros. You know . . . the kind that always are dropping 
off to sleep, with one long ear hanging down over an eye. 

Well, on this particular dawning, Dorothy Lamour was seized 
with sudden inspiration. "Come on, Martha," she called ... "I 
dare you to ride one of those cunning little ponies with me to 
location. The hotel won't mind." 

'Okey-dcke," responded the sprightly Martha, always ready for 
lets." 

While the company grinningly waited, the 
two girls, neither of whom had ever seen a 
burro before, climbed aboard their mounts. 
This was Life, as it should be led . . . novel 
and calm and peaceful. 

"Whatsa matter with 'em?" Martha plain- 
tively wanted to know, a moment later, when 
repeated heel-pounding in her burro's ribs 
failed to stir the little animal. 

"Mine won't budge, either," wailed the 
Lamour. 

Bob Burns helped the girls dismount. "Those 
i t tie fellers never move more'n half a mile^ 
an hour," he explained . . . "if you can get 'em 
to start." Dorothy and Martha entered the car 
again, without a word, as the entire company 
guffawed. 

Many of the townspeople were generally on 
hand to watch the shooting of scenes. These 
Mexicans were a distinct— and drab— contrast to 
their fellow-countrymen who appeared in the 
picture. Those acting before the camera wore 
white, with red sashes and wide sombreros 
whereas the spectators were dressed in conven- 
tional American clothing. A few of the women 
had black scarfs thrown over their heads. 

"Tropic Holiday" will really educate Yankee 
film fans in a Mexico 
they didn't know ex- 
isted. It's a Mexico 
which has no cactus, 
no red mountains, no 
castanets, no bandits. 
Rather, it is a land of 



A motion picture company on location always is interesting 
in its individual personal tastes, and this one was no different 
from other troupes I've been with. 

On those mornings when they weren't called for shooting, Dor- 
othy Lamour devoted much of her time to exploring the numerous 
curio and pottery shops on the single main street of Ensenada: 
Ray Milland tried to converse in Spanish— and otherwise— with 
the fishermen repairing enormous nets hundreds of feet square, on 
the beach; Bob Burns divided his time between watching the 
gawky pelicans out on the end of the wharf and walking through 
the older section of the town, along the crooked streets that 
seemingly had been laid out with no particular plan; and Martha 
Raye scampered from hotel to town and back again with alarm- 
ing rapidity. There's no restraining that gal. 

"Oh, boy," she told me— she generally prefaces every remark 
with this exclamation— "am I nervous, though. I have to fight 
a bull . . . and what do / know about fighting bulls!" At the 
moment, she was thumbing through a thick volume devoted to 
the gentle art, and she looked none too happy. Well, would >()! 



Bob Burns cast as a politician- 
they're always funny. 



people, their costumes brilliant, their women among the most 
beautiful in Latin America. 

It's the Mexico of magic names like Tehuantcpec and Oaxaca— 
where the dark-eyed senoritas do not rhumba or do the tango. 
Their music is the dreamier waltz and the throbbing bolero. And 
that's the kind of music that Augustin Lara wrote for the picture. 

The interesting head-dresses worn by extra-women playing in 
the picture captured my curiosity, and I found there was an ex- 
planatory legend that accounted for them. These head-dresses are 
made of starched lace which frames the face, while Colds of muslin 
dangle down (he back. The legend is this; Once long ago a ship 
was wrecked on this particular coast and a chest of baby clothes 
was washed ashore. The long, lace-trimmed dresses struck the 
native women as being too elegant for los ninittos, babies to you. 
and so ilu\ put them on as hats and the custom has prevailed 
ever since. 



25 




Rosemary is the sen- 
timental one, but 
she is working to- 
ward success that is 
very real. 



Priscilla is fragile, 
but mad about 
sports and that in- 
eludes W a y n e 
Morris. 




THREE girls in such luck! 
I know how you feel. Three sisters on a glamour bust in 
Hollywood. Turning the town of towns upside down together, 
while they're so young and can respond to all the thrills that 
are wonderful . . . don't some folks get all the breaks? 

At twenty, Rosemary Lane has already been teamed with Dick 
Powell, and now comes her chance in the same direction with 
Rudy Vallee. Priscilla Lane, aged nineteen, has already inherited 
that spot as Dick's leading lady. And more. She has whizzed 
through three films opposite Wayne Morris. More, still, she's cap- 
tured Wayne's much sought-after heart; he's in a fog about her. 
This off-screen feat would put her ahead of Rosemary, that is, it 
would if you overlooked Rosemary's extra-curricular accomplish- 
ment. She's secured the featured niche with Dick Powell in 
Warners' big radio show, thus increasing her own particular 
vogue by singing to millions of people every week. 

But no wonder these two newcomers are stars overnight! Their 
older sister Lola, who was set as an 
actress, had only to lift her finger. If 
you're pretty and have pull, it's a cinch. 
Those lucky Lanes. That's what you 
think, and you think wrong! 

For the story behind the present 
prominence of these extraordinary sisters 
isn't as simple as that at all. It isn't the 
ancient Cinderella tale, tripled. They 
aren't beautiful but dumb, Rosemary 
and Pat, with a siren sister who knew 
a producer, who was ready, willing, and 
able to deal out soft contracts. They're 
so darn attractive, when you 
see them about Hollywood, 
that you can be forgiven if 
you suppose their looks alone 
turned the trick. Rosemary's 
eyes are violet like Lola's, 



There Are AAany 
^oung And L^ovely OirL 
^vVho Have Sought The Elusive 
Bubble Of S uccess. But Tke Lane 
Sisters Are Doing A4ore Than Seek Their 
Fortunes — They Are A/laldng A Oood 
Story As They Oo Along. 

By 

Ben MaJd OX 





Soon their fame will reach all 
over the world like the milky 
way. That, too, is made up of 
stars! 



26 



and she is also a rusty blonde and five-feet four. Pat's an inch- 
and-a-half smaller, with great blue eyes and golden hair. All three 
are stunning, but it wasn't this which made them famous. 

Three smart girls then? Yes, Hollywood's three smarter girls, 
literally. They're brimming over with health. They go places with 
fascinating men, whenever they wish. They're all doing exactly 
.what they want to do. And that's success. But they are living as 
they desire only because of ambition that capitalized on talent, 
because of an amazing willingness to earn their places in the sun. 
They defeated mediocrity with the old-fashioned, but sure-fire 
weapon. Determination! 

I believe you should know their background. It's important to 
them, for they've always remembered it. They are small-town 
girls, the Lanes. Indianola, in Southern Iowa, boasts of thirty- 
five hundred inhabitants when it isn't bragging about being their 
original home. It's quite an everyday, good-natured village where 
children grow up in average circumstances. But even more than 
a thousand miles from New York or Hollywood, girls can dream. 

There are, as a 
matter for the records, .^m*^ 
two other sisters be- 
sides this movie three- 
some. There were no 
luxuries, with a family 
of five, until Lola and 
Leota, the eldest, pro- 
vided them. It was 
Lola and Leota, now 
in their latter twen- 
ties, who were the first 





A girl must 
qualify in SO 
many ways — 
poise, rhythm, 
grace and 
figure — and 
Rosema ry is 
mistress of 
them all. 





of the girls to bank on themselves. They 
wanted to get somewhere in the world, to 
have really nice things, meet exciting 
people. They had hunches they could 
contribute something themselves. Lola 
decided college would be the initial step 
for herself. There was no money to send 
her, but that didn't faze her. During 
high school she'd already been earning 
money by playing the organ at the local 
theatre. She arranged to earn her college 
expenses. The girls' mother, whom the) 
affectionately call Cora, has been their 
guide and source of inspiration. Cora's 
constant faith in them, her daily watch 
word, "You must never say I can't, but 
I'll try!" guided Lola, and later the rest of them. They couldn't 
fail with Cora back of them. 

So Lola enrolled at Simpson College and shone in ihc class 
plays, sang in the operettas. She had a tennis serve that was 



practically terrific, and beaux that were 
matrimonial. But she longed to become an 
actress. Her Methodist relatives said no. 
Anyhow, how can you become an actress 
in Iowa? Margaret Lindsay, from Dubuque, 
had money enough to train in New York City, then go to England 
and acquire an impressive British reputation. Lola had no such 
advantage. 

' But there is, in small towns, such a thing as the Chautauqua," 
she recollects with a smile. "I explained that I could play the 
piano and sing most— er, educationally. I was signed, consequently, 
at $40 a week. I didn't dare announce this news immediately. I 
had to wind up my college-going first, before bringing up this 
alternative. I broke a rule or two; that seemed the quickest out! 
I informed the family that the Chautauqua wasn't like being an 
actress, and found thai was the truth, to my sorrow. I heard that 
Gus Edwards discovered young people for his revues. So I bor- 
rowed $200, commandeered Leota. wrote Mr. Edwards that we 
were coming to New York to sing and dance for him, and olf 
we went!" (Leota, the eldest Lane, is now preparing for grand 
opera and her loyal sisters prefer her recordings to all others.) 
Two years in big-time vaudeville, a fine role in a Broadway 
musical, and Hollywood picked Lola for pictures. She was nine- 
teen when she arrived in California, the same age Pat is now. 

Whenever Lola went home foi a visit Rosemary, especially, 
arrayed herself in the expensive stellar wardrobe; clothes are 
Lola's one extravagance and her taste is so excellent that, in 
Hollywood, she ranks with Carole Lombard in personal style. Pat, 
being the tomboy, swooped in and out, but made up her mind 
just as definitely as Rosemary did about becoming a movie star, 
loo. Rosemary and Pat, strictly speaking, made their debuts bilg- 
ing in a Des Moines theatre as a personal appearance stunt when 
one of Lola's films opened there. 

It was more pleasant at the Lane house after Lola clicked. A 
devoted family, ihej shared her triumphs thanks 10 a (low ol 
letters and little gilts. There was no working-after -school lor the 
Lanes now. Rosemary could attend Simpson withoul scheming for 
tuition. Lola saw 10 thai. When she enured college, remarkably 
young, Rosemary joined one ol the best national sororities. She 
was in the plays and operettas, as Lola had been. She is far more 
athletic, however. Besides tennis, therefore, she wenl oui for the 
hockey, track, and soccer teams. She even studied, on the side, 
both singing and piano. Furthermore, her grades were so keen she 
was voted into the honor society, 

Meanwhile Pal chose a dramatic school [Continued <>n page 78] 



27 




crome 



He Prowls The Night Clubs Until Dawn's Early 
Light. Then The Flashes Are Seen No .More — 
New York Quiets D own .And 2^erte Counts 
Over The Big Ones He Shot That Night. 




J 



(Top) Mary Boland leaves 
"21" after lunch. (Center) 
Francis Lederer and Margo. 
(Above) Tullio Carminatti 
dancing with Mrs. Harrison 
Williams, a lady known to 
fame. 



UST as every American wants to 
go to Hollywod, so every movie 
star when given a holiday makes 
a bee-line for New York. Brian 
Aherne flew in from ten clays at 
Palm Beach (where he was a great 
social lion) in his own plane, which 
is an open Waco Biplane. As he has 
no radio, he just trusts to luck and 
gets his weather reports at each 
airport he lands at. Brian is quite 
shy of snapshots, and I am finding 
that the photograph magazines are 
making all the players very wary 
indeed. Knowing what time he was 
coming to my apartment I sat at 
the window and waited. When he 
appeared at four-thirty I sneaked 
this shot without benefit of flash 
bulb. The next day he was off again 
in his plane for Hollywood. 

Mary Boland is another star who 
came on for only a few days. She 
was full of enthusiasm over her 
new house, which was being built 
when I was on the coast hist sum- 
mer, and which she moved into before 
Christinas. When I saw Mary she had just 
been lunching at New Yoik's famous "21" 
Club, where all celebrities lunch and dine 
and wave their hankies and yoo hoo across 
the room at one another. 

That same morning I'd dropped in 
around noon at the Hole! Lombardy to 
see Adrienne Ames, and found her propped 



(Above) Wallace Ford caught as he 
was heartily welcomed at El Morocco. 
(Top, right) Adrienne Ames breakfasts 
in bed. (Right) Gertrude Niesen has 
her hand read. Miss Cole, her secretary, 
takes it all down. 




28 





Mr. and Mrs. Lawrence 
Tibbett and socialite 
Herman Sartorius. (Be- 
low) Henry Armetta, 
far from the cameras, 
and John Perona, owner 
of £1 Morocco. 




(Above) Gertrude Law- 
rence and Director Wil- 
liam K. Howard. (Right) 
Jane Wyatt talks with her 
friend, Mrs. Stephen Et- 
nier, whose book "On Gil- 
bert Head" is a best seller. 

up in bed having break- 
fast. That is, if you call 
having a bowl of fresh 
fruit and a cup of tea, 
breakfast. Adrienne had 
been to Conde Nast's 
large and beautiful party 
for Ina Claire the night 
before. Mr. Nast is fa- 
mous for getting all the 
celebrities to his parties, 
and others I saw that 
night were Margo and 
Francis Lederer, Frances 
Farmer and Lief Erickson. Margo 
and Francis Lederer came down 
to El Morocco later on. Margo 
had some bad luck when she first 
came East. They went down to 
Long Island for a week-end, and 
in a moment of madness she ate 
Caviar blintzes for breakfast and 
it didn't agree with her at all, 
with the result that she was laid up in 
bed lor four days. 

Gertude Niesen had her hands read 
one night by Julienne, who is well-known 
in New York as a palmist. Julienne told 
her that she is an extreme example of 
imagination and temperament and often 
distrusts her own decisions and desires when 
a crucial moment arrives. She also told 
her that when a great attachment, which 
she had in her early twenties, came to 
an end, it had a good influence on her 
life. 

That great character actor, Henry Ar- 
metta, was another enthusiastic New Yor 
vacationer. He came in many times to El 
Morocco to have dinner with his old friend, 
John Perona. who runs that fabulous glitter 
spot. On Sunday nights, the celebrities 
who are there arc presented and asked to 
take a bow, and Armetta's drew greater 
applause than almost anyone else's, al- 
though the group who made their hows 
included G r a c e 
Moore, Eleanor 
Powell. Gloria 
Swanson, Ralph 
Bell a m v a n d 
dozens of others. 
[Coht. on [>. C6J 



Brian Ahernc. He 
flew into New York 
in his own plane, 
and came to call on 
the author. 




29 



(Left) Rudy Vallee gives some straight 
from the shoulder advice. (Above) 
Emery Deutsch says: "Above all things, 
be considerate." (Right) Guy Lom- 
bardo thinks pseudo-sophistication is 
the cause of many a rift. 



TF YOU know your movies, you know the good old formula for 
romance is boy meets girl, boy loses girl, boy wins girl. But 
what, I ask you, has anyone done about providing a lush third 

act for boy meets girl, girl loses boy? 

Nothing at all, for scenario writers simply refuse to believe it 

could happen although you and I know it does and much too 

often, too. 

All alone by the telephone that doesn't ring . . . with only the 
radio for company . . . and the tantalizing dance rhythms that 
come out of the loudspeaker serving only as a poignant reminder 
of how you've been overlooked . . . nobody to take you out danc- 
ing or to come in and dance with you . . . perfectly swell music 
just being wasted while you wonder why he hasn't called you 
again. . . . 

Frankly, I hadn't thought that such a "forgotten girl" could 
exist in this day and age when presumably every modern miss 
knows all the answers. But she does, and Benny Goodman, the 
swing magician, got me to thinking about her. 

Sometime ago I dropped in to see him at the Pennsylvania 
Hotel's Manhattan Room where the younger crowd was making 
merry to his mad music. "Seems like everyone in town is here," 
said I, "and I suppose those that aren't here are listening in. 
Say, it's quite a thought to know that all over the country boys 
and girls are dancing to this same music and having just as much 
fun out of getting it by radio as this crowd has in getting it in 
person." 

"It I could only be sure everyone listening in was dancing, I'd 
be happy," Benny replied, "but I'm wondering how many are 
hearing this music with heavy hearts, wondering why they are 
listening alone. They are girls, of course, unwanted for the night 
and ignorant of why. Stick around until intermission and I'll tell 
you what I mean." 

Naturally I was bursting with curiosity when Benny finally 
came over to my table. He noticed it and grinned. And like a good 
scout, he didn't keep me long in suspense. 

"You know, we orchestra leaders see a lot of what's going on," 
he began, "and I'm sure if ypu question the other boys with the 
baton, they could give you some unexpected lowdown on the ways 
of a girl with her 'date.' When a fellow dances past with his girl, 
we've a ringside view on how he reacts to her charms, and more 
than once I've spotted a budding romance. From the same spot 
I can also see when the going is not so good and I've come to the 
conclusion that in a majority of cases the girl herself is her own 
romance-wrecker. The pity of it is that she so seldom realizes it. 

"Take the case of the couple that brought all of this on. He 
and she were a grand looking pair. I saw them when they first 
entered the room and I could tell that they hadn't known each 
other long but that they would like to. He was most attentive 
at dinner and she was a little darling. Sort of hung on every 
word he said. Then they got up to dance. They were good dancers; 
their steps matched perfectly. But, and this is a big but, she was 
a head-on-the-shoulder dancer. And she hadn't paid particular 
attention to her cosmetics. All through the dance he kept trying 
to rub the stuff off his coat lapel and the grins of the people 
around, who saw what he was doing, actually made him miserable. 
Of course he shouldn't have been so sensitive but tbe fact remains 



that he was. So much so that he cut short the evening and prob- 
ably cut out that girl forever. I just saw him with someone else. 
In the meantime, the first girl is probably at home listening alone 
to the radio, brokenhearted, wondering what happened. I wish 
I could tell her. Say, maybe you could write an article about it!" 

What Benny Goodman had to say was certainly food for 
thought. Since then I talked to many other boys with the baton, 
orchestra leaders you've come to know and like as friends who 
come into your home via radio, and set your toes to tapping with 
their tingling tunes. What they had to say more than bore out 
Benny's contention. These radio friends of yours have observed 
and now pass on to you many unexpected reasons why girl loses 
boy. And they have found these reasons to be true no matter 
where they played— the supper clubs of Hollywood, the night 
spots of New York, or college dances— human nature appears to 
be the same everywhere. 

Now then, if you've been out for one-date-only with a boy you 
particularly liked and he hasn't asked for another, if you'll be 
honest with yourself you may find out why right here. Of course 
it may be too late to do anything about the flame that just went 
out of your life, but, you don't have to let history repeat itself, 
when the next likely lad comes along. 

For, according to Rudy Vallee, "There's a girl a fellow takes out 
once— just once— and never again. She may be as pretty as a pic- 
ture and wear clothes like a model, but if she embarrasses him in 
public, she's through. Why an otherwise smart and sensible girl 
thinks it necessary to coo and simper, is beyond me. A fellow may 
like baby talk in a secluded nook, but when a girl baby-talks to 
him on the dance floor so that other couples stop and giggle, he 
wants to do a fade-out. In fact, I'd say don't talk while dancing; 
it spoils your glamour. And for heaven's sake, don't, don't tell him 
about the last time you were at this place and with whom. He'll 
resent playing stooge to your memories. More girls talk themselves 
out of a date than by any other single thing they do." 

Well, that certainly is getting it straight from the shoulder, 
from Rudy to you. The moral would be to save up the chatter 
for when you are alone and concentrate on dancing when you get 
up to dance. 

On the other hand, don't go to extremes. That's just as bad. 
"Don't be such a swing enthusiast," warns Tommy Dorsey, "that 
you insist upon your partner joining you in fancy steps. He may 
not know any and won't enjoy being shown. Even a poor dancer 
thinks he is good. It's best to leave him in his blissful ignorance. 
I once saw a man leave the floor in a rage because his girl insisted 
upon showing him a trick step and emphasized it by telling him 
how beautifully another fellow did it. If you don't like his danc- 
ing, you needn't go again. In that case you will have the satisfac- 
tion of saying no to him instead of finding that he has dropped 
you. An evening isn't a lifetime. Why not be a good sport for a 
couple of hours?" 

And this business of being a good sport extends in several other 
directions, as Ben Bernie points out: "I think flirting with other 
men in the room burns the boy friend up faster than anything 
else. Don't let your eyes wander from him to everyone else in the 
room so that he gets the impression you're bored. That may be 
all right in a movie plot, but it doesn't draw dividends in real 
life. And don't make a play for the musicians. I've seen many a 
girl deliberately stall in front of the band and flirt with one of 
the boys who just has to keep on smiling even though her partner 
looks murderous. The boys call that being used as 'jealousy bait' 



30 




(Above) Benny Goodman never 
misses a trick even when he's 
wowing them with a hot number. 
(Right) Glen Gray warns girls 
against too much "kid stuff." (Be- 
low) Raymond Paige and Russ 
Morgan tell frankly who's at 
fault when a dancing couple loses 
the swing of romance. 



Tommy Dorsey 
asks: "Why 
not be a good 
sport for a 
couple of 
hours?" 



but there's nothing they can do 
about it. Certainly the girl ought 
to be courteous enough to the fel- 
low who is trying to give her a 
good time, by paying some atten- 
tion to him." 

Lack of consideration for her 
escort's physical comfort was 
stressed by three leaders of 
dance orchestras — Raymond 
Paige, Russ Morgan, and Emery 
Deutsch— as a good reason why 
a girl doesn't get asked out a 
second time. And from the way 
they put it, it sounds reasonable. 
See if you don't agree. 

Says Raymond Paige, "One of 
the best ways to alienate your boy 
friend is to carry a miniature 
wardrobe trunk onto the dance floor and then ask him to 'hold 
my bag, if you don't mind.' He may say he doesn't mind but 
he certainly does and forever after he'll tab you as the girl who 
loaded him down like a porter when dancing. Surely no sane girl 
wants a boy to have such a 'heavy thought' about her." 

"Don't use perfume to the point where it works against you," 
cautions Russ who makes music-in-the-Morgan manner. "I've 
seen many a young man go through a dance in a death-like struggle 
for some fresh air. And if he's been nice enough to send you 
flowers, why keep him at arm's length to preserve a corsage that 
must inevitably be crushed? You can be sure he'll regret having 
sent them if he's compelled to preserve them at the expense of 
hogging a crowded dance floor." 

In the opinion of Emeiy Deutsch, one of the unwritten laws of 
romance is an attitude of appreciation. "Don't be afraid to let 
your boy friend know you are having a good time," he advises. 
"Tell him so. But above all, be considerate of his tomorrow. 
Don't insist upon staying for just a few more dances when he is 
dying on his feet and thinking of how early he has to be up I he- 
next morning. A fellow is apt to think a girl is greedy if she 
can't leave before getting the, very last dance, and from that he may 
get the idea that she is grasping in other things as well, and 
fight shy of her." 

Well, my dear, have you seen your reflection in any of these 
pictures? There are others, too, that may hint to you of how you 
got off the right track. 

Take moods, for instance. Men are very much in earnest about 
their moods. Have you spoiled one of his tender ones? That's 




serious, according to Guy 
Lombardo, who states: 
"When her beau is feel- 
ing dreamy and senti- 
mental, why does a girl 
break the spell? Instead of 
remaining the sweet, nat- 
ural girl he knows in the 
sunlight, she becomes a 
changling under electric 
lights and floors him with 
a sophisticated swagger 
and a line of chattel In 
for a Noel Coward hero- 
ine. Chances are he'll get 
to thinking she is a hard- 
boiled baby and will 
write her olf as a mis- 
take he'll not make 
again." 

Maybe it's drinking— or 
not taking a chink— that 
caused the rift. Both have 
to lie handled gracefully 
and can be, if you pay 
attention to Glen Gray 
who cautions: "Don't 
[Continued on page t'6] 




William Stevenson, 
Ginger Rogers, 
James Ellison and 
Martha Walsh in 
the strange atti- 
tudes of "Shag," 
with the 
kick and 
all. Ginger 
thinks the 
squat is 
funny. 





The dancing of Ginger 
, Rogers and Fred As- 

H'f' -w Cure sent the world 

dance crazy. 

TF YOU would be- 

I come an actress, ™ 

first learn how to 
dance. Is that the 

lesson to be learned from the startling success of Ginger Rogers? 
There is much to buttress the argument that dancing gives poise 
and fluidity to a performer, teaches him or her how to walk and 
what to do with awkward hands, teaches timing, suggests grace- 
fulness and builds up a pantomimic repertoire that is of vast 
value in acting. Certainly Ginger Rogers owes much to dancing, 
for if it had not been for winning a Texas Charleston contest 
she would not have reached vaudeville, and if she had not reached 
\audeville she never would have graduated to a distinguished 
partnership with Fred Astaire. 




32 





Ginger in "Vivacious 
Lady." She now rates as 
an actress, too. It was 
dancing that gave her as- 
surance, without which 
all stagecraft is hopelessly 
lost. A 



~F The Public 

Is "Big 

Appling/' 
The S creen Go es 
In For The Ballet ; 
Everybody Is Dancing/ 
And Ginger Rogers Is To 
Blame. 



Ginger is not the only dancer 
who has graduated to loftier 
things as the result of a dancing 
background. Jeanette MacDonald 
started as a chorus girl under 
Ned Wayburn, on the stage of 
the Capitol Theatre, New York. Joan Crawford started out as a 
dancer in the Club Richman, at New York. So did Barbara Stan- 
wyck, at Club Anatole. Jim Cagney was a hoofer, so was Joan 
Blondell, so were George Raft, Ricardo Cortez, Cesar Romero 
and George Stone. Alice Faye started as a Chester Hale dancing 
girl at the Capitol Theatre, the same stage which spurted Jean- 
ette MacDonald into the big-time. 

There's plenty of evidence to support the idea that dancing 
gives a vital something to a performer. Myrna Loy started as a 
Fanchon and Marco chorine, on the stage of Grauman's Chinese 
Theatre, here in Hollywood. John Barrymore was a dancing 
juvenile in such shows as "Stubborn Cinderella" before he became 
an emotional performer. Judy Garland was noted for her dancing, 
long before she grew famous as a singer. Irene Dunne, Loretta 
Young, Carole Lombard and Marlene Dietrich are four of the 
smoothest dancers in the picture colony. 

What, exactly, does dancing give to a person? I'd say the most 
important asset any dancer receives is assurance, and all acting 
is predicated on the assurance of a performer. If you have sat 
in a theatre and suffered as a tyro struggles to do something on 
a stage, you will understand what I'm driving at. A performer 





who can't convey assurance and authority is 
the most frightful misfit in the theatre. So 
dancing gives the keystone of stagecraft. 

It gives a performer another vital thing- 
tempo. The stage is predicated on tempo. Lines 
must be read in tempo, or they might better 
not be read at all. Shakespeare, who was a 
wise one on the stage, said it all, when he had 
Hamlet tell the strolling players: "Speak the 
peech, I pray you, as I pronounced it to you, trippingly on the 
tongue: but if you mouth it, as many of you players do, I had 
as lief the town-crier spoke my lines. Nor do not saw the air 
too much with your hand, thus, but use all gently; for in the 
very torrent, tempest, and, as I may say, the whirlwind of passion, 
you must acquire and beget a temperance that may give it 
smoothness." 

"Trippingly," said Shakespeare, and there he told a later stage 
generation about the necessity for tempo in acting. Dancing gives 
a performer a natural tempo, and teaches him also not to "saw 
the air," but to act smoothly. So it can be said that dancing 
teaches a person what to do, and also the things NOT to do. 

What it did for Ginger Rogers, I think, was to discipline her 
body when she was young. It gave her a fine pair of legs, a body 
that is pleasant to look upon, a graceful carriage. All of these are 
fundamental things if you wish to go on the stage, and funda- 
mentals are important. The profession acknowledges its debt to 
Terpsichore in full. 

Having admitted so much however, let us not go overboard and 
say that dancing goes beyond that, in its contribution to acting, 
for I seriously doubt it. I'd say, for instance, that of the men, 
Charles Laughton, Paul Muni and Spencer Tracy are the most 
accomplished and versatile actors in Hollywood. Not one of them 
can dance a lick and it is to be doubted that even Lloyds, of 
London, would insure Laughton's life or limbs if he ever took a 
whirl at "The Big Apple." Greta Garbo is one of the 
fine actresses of Hollywood. She does not dance. 
Eleanor Powell, a GREAT dancer, is a very poor 
actress, if you wish further to defeat the idea. 

No, I'll admit that dancing can aid a performer in 
getting started, but the evidence is overpowering that 
it is not indispensable. Katharine Cornell, Helen Hayes, 
Ina Claire, Lynn Fontanne, 
Elizabeth Bergner— these are 
better than average actresses 
but I doubt that the five of 
them, dancing in relays, 
could ever manage to win a 
dancing prize. 

What you can believe is 



OIL! T v. 
By JOy^AND 
uiiu GINGER! 




Tap dancing 
has given Gin- 
ger a beauti- 
ful body and 
shapely legs. 



33 




Jeanette 
Donald was a 
dancer, but she 
sang her way to 
the heights. 



that when a person turns to 
dancing, he or she is ex- 
pressing an oblique desire 
for the stage, and so it is 
not surprising that, later, 
you see them gratifying 
that desire by becoming ac- 
. tors or actresses. 

The most important fac- 
tor in the success of Ginger Rogers, I would 
say, is in her head and heart, for there is 
intelligence in the one and courage in the 
other. Intelligence to guide ambition, and 
courage to keep ambition alive. In the pos- 
session of those two assets, intelligence and 
heart, she resembles most closely that other 
Charleston dancer, Joan Crawford. You 
could take the careers of these two girls and 
draw a parallel that would be fairly as- 
tonishing, even to the accident of birth that 
started them both out Trom Missouri and 
Texas. The same high courage is present 
in both of them and you can believe that 
they would have been comparably success- 
ful in anything they attempted. 

I've started out a lot of young performers 
on the road to stardom. I say that in all 
modesty because calling attention to talent 
is one of the obligations of a columnist. 
The point I'm making is that if a per- 
former is NOT intelligent, it is better to 
ignore him, or her, because all the atten- 
tion-calling in the world will not aid a 
stupid person. Stupid people are never 
successful, in any line, and the stage and 
the screen is no exception. 

It was the mental alertness of Ginger 
Rogers that made possible her fine per- 
formance in "Stage Door." For it was 
mental alertness that made her note certain 
things while working with Fred Astaire, 
and store them away in her mind for ref- 
erence. She learned something about 
comedy from him, she learned certain 
camera tricks that are invaluable. When she 
went into that picture, she carried before 
the camera an air of authority that she 
needed opposite Katharine Hepburn. If you 
will i hi nk back to the picture, you'll recall 
that Miss Rogers, in scenes with Miss Hep- 
burn, didn't yield to her, and there are few 
young actresses out here who can hold at- 
tention on the screen while K. Hepburn is 
occupying it with them. 



So it is the 
same quality that 
made Ginger 
Rogers successful 
as a dancer that 
has made her suc- 
cessful as an ac- 
tress, and determ- 
ination is not the 
least of the as- 
sembly. 

Ginger has 
travelled a long 
way from the 
stage of the Ma- 
jestic Theatre, in Fort Worth, Texas, where 
she won the Charleston contest that quali- 
fied her to compete in the finals at Dallas. 
The prize for winning was several weeks' 
booking on the Inter-State Circuit through 
Texas, but by that time, the stage bug had 
bitten her deeply and she was booked in 
Detroit, Chicago, Pittsburgh and other 
vaudeville towns. The act was called "Gin- 
ger Rogers and the Redheads'' and while 
audiences did not tear down ceilings, it was 
a good small-time act. Not too good, at 
that, because her companion redheads got 
tired of the stage and went back to Texas! 
Had her courage faltered then. Ginger 
would have, quit with them, but she didn't. 



Joan Crawford, 
once a dancer 
also. (Center) 
James Cagney's 
famous, pugna- 
cious screen character 
owed no debt to Jimmie, 
the hoofer. (Below) 
Alice Faye, another lady 
of many talents. 



As a single act, Ginger 
continued on to Mem- 
phis and St. Louis and 
then got a wire from 
Paul Ash to join him at 
the Para- 
:^st mount The- 
jfjt atre, in New 
f York City. A 
■ less coura- 
geous kid 
would have 
turned down 
that impor- 
tant offer, 
because Ash 
wanted her 
to replace 
Helen Kane, 
whose"Boop- 
boop-aDoop" 
style of sing- 
i n g had 
Broadway on" its ear. 
Significant again that 
Ginger decided to "fol- 
low" Helen Kane. 

Compared to riotous 
Helen Kane, Ginger was 
just mildly successful in 
the New York and 
Brooklyn houses of Para- 
mount, but Broadway is 
a great showcase for any performer, and 
Bert Kalmar and Harry Ruby signed her 
for a bit part in "Top Speed," a musical 
comedy. This led to "Girl Crazy" and she 
was on the way to a picture contract with 
Pathe. This led to a contract with War- 
ner's, but after using her for one big close- 
up in "Gold Diggers of 1933," they let her 
go. 

Then Fred Astaire came to the mov ies. 
The girl who was to be selected as his 
partner was headed lor stardom in a big 
way. I. utk played a big part in her selec- 
[Continued on page 64] 



34 





To Clark Gable 



Claudette Colbert and Clark 
Gable in the very successful 
"It Happened One Night." 





A LL the misguided promotion ideas that usually leave 
y \ the actor booked for Oblivion were tried on Clark 
Gable, but he out-lasted them all. He was Great- 
Lovered and Parnelled, but he is still one of the best bets 
at the box-office. Whether he is cast in a part like Chris- 
tian on the Bounty or a lead in "It Happened One Night." 
he does his darndest and leaves it up to you. And there is 
his secret— he gives you all he's got, and who can give 
morel 



!Top) In "Mutiny on the Bounty." 
Center) With Jeanette Mac- 
Donald in "San Francisco." 
(Above) His latest picture, 
"Test Pilot," in which he co- 
stars with Myrna Loy and 
Spencer Tracy. (Right) Clark 
at heart loves solitude and 
frequently takes a rest from 
Hollywood. He switches to 
glamorous fish. 




In The Lists Of The 
"Ten Best," Clark 
Gable Is AI ways 
Amons Those Present. 



(Above) Is it in 
the deep mystery 
of her eyes that 
Olympe Bradno's 

?lamour ties? 
Right) Doris Wes- 
ton. Her charm is 
in her infectious 
smile. (Above, 
right) The dear 
gray eyes of June 
Lang are her chief 
attraction. 




MAGNETISM 
OF BEAUTY 

y\ Lovely Woman 



Radiates Cna rm I 



a MONG the thousands of audiences that 
r\ nightly attend the picture shows are scat- 
* V tered the prettiest girls in the world. 
How they have dreamed of a future in the movies 
—a lifetime of fame, of comfort, of luxury! 

The picture ends and the dreams slip away, 
but still the one nagging question haunts them, 
"What have they got that I haven't got?" 

There are dozens of answers, all correct. The 
screen girls have beautiful faces, but with their 
comeliness there is also the mysterious 
quality of allure, glamour or charm, Loretta 
or whatever you choose to call it. has 



Young 
wistful 



appeal. 



Sentimental customs are dear to the men of 
the army. Dorothy Lamour is surprised to 
learn that she has been selected as the 
"Sweetheart of the Regiment," whatever that 
is. Lieutenant M. A. Haguewood of the Ex- 
pendables, famous Los Angeles regiment of 
the Army Reserve Corps, brings the docu- 
ments. Now what? 



a 



Wad: 



a 
o 



a 
a 
o 
a 



v 



a 
a 



so 



a 



tou^ 



a 



i *« c<ls TW* 9° rie 



flo* erS 



Or 



a 
o 



9/-. 



">-/< 



a* 



<-0y 



YJ*>'h 



7 °e t , 



ft 



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f=3- 



3 



THE imagination of millions of people is in- 
trigued when something happens to one of 
the well-known stars. Wherever he goes, or 
whatever he does, the great gallery, the public, 
is always right there eager for a word or a look- 
see. So cameras are everywhere and the players 
move about upon their appointed ways to the 
accompaniment of flashing lights, happy in the 
thought that the public is still interested. 

Because of the lurking cameras a player must 
not drink too much nor can he row with his 
wife in public. There are disadvantages to being 
good copy for the news reels. 



Olympe Bradna holding a crown valued at $200,000. It is a 
replica made by a New York jeweler of a crown included 
among the Russian Crown jewels. Jack Roth, studio police 
officer, is assigned to guard it, along with four other 
policemen. The thief who steals it will get crowned! 



a 

di 



3 



^ameras A/iade This City Famous And 
he Reputations Of Its Colorful Citizens 
Are Developed In The Dark Rooms 
Of Photographers. 



a 
a 
a 
o 



sponson«9 



Norma Shearer with Hunt Stromberg, who is bringing Marie 
Antoinette to the screen, and Director W. S. Van Dylte. 
Norma's gown, which was designed by Adrian, is an authen- 
tic replica of one worn by the French queen. It is called the 
rocket gown because its design was inspired by fireworks 
so popular with the French people during the 18th Century. 



\ 



a 



d 



Pat O'Brien's mother and father, with his aunt and uncle, 
pose for the camera in the beautiful Beverly Hills home of 
the Warner Brothers star. An improvement on the spiritual 
quality of an Irish clan has never been discovered and in 
the blood of all of Pat's people pulses the pride of family 
as well as a drop or two of the River Shannon. 



a 



a 



The candid ^^^^^ 

p "Hci^ i About A*. ■ hmr ^"H'ntie" 

°"< 1«*S „"'""'• ho, %** •*<.,. 



o. 



o 



o, 



Irvin Cobb, the author of some of American 
literature's greatest stories — "The Belled 
Buzzard," for example — reads his latest effort 
to Director Eddie Cline. Musical Director 
Raymond Paige seems fascinated by Irv's plot. 




/^OME, fill the cup," sang the 
Persian Tentmaker. and so, as 
Spring comes round the lads 
and lassies of the picture-making world 
put their heads together to register 
the tender passion. It is the crucial 
test, and sad is the lot of the actor 
who cannot express the worshipful 
gentleness of a man in love. 




(Far left) The beautiful French 
star, Danielle Darrieux, in her 
first American designed eve- 
ning frock, a daring combina- 
tion of black taffeta and white 
silk marquisette with cutout in- 
serts of black embroidery on 
the bouffant skirt. (Left) Lark- 
spur blue satin embroidered 
with a tiny pattern of gold 
leaves, and draped artfully to 
the right side, is distinctive 
and eye-compelling when worn 
by Barbara Read. Her match- 
ing short cape is lavishly 
trimmed with white fox. (Right) 
The Chinese influence predom- 
inates in this silk paisley print 
which Betty Furness designed 
and made for herself. A zipper 
fastens the gown up the side, 
from hem to urtderarm. (Next) 
Mexico is responsible for Mary 
Brodel's intriguing dinner en- 
semble which makes her the 
cynosure of all eyes. The loose- 
ly draped skirt is of bachelor 
button blue chiffon topped off 
with a full-sleeved blouse of 
flamingo red. A chiquitg hat 
of matching blue straw is worn 
over a red bandana. (Good 
for summer resorts.) 



Maid in America 



All Tne WorU Over Sne Is P raised I" 
Her OooJ Taste And Smart Appearance 





(Above) Crisp taffeta striped 
in hyacynth tones accented 
with black fashions this dirndl 
model favored by Anita 
Louise. Charming for informal 
cruise wear. (Left) Although 
Franciska Gaal is one of our 
recent Continental "finds," she 
looks like a typical American 
girl in her crisp white organdy 
frock, made shirtwaist fashion, 
with fine tucks and self-covered 
buttons adding the only deco- 
rative note. Her underslip is 
of lustrous shell pink satin and 
is a very important feature of 
this dainty and extraordinarily 
sheer costume. 



EVEN Paris, that proud fashion- 
center of the world, snatches a 
glance across the ocean these days 
to see what the American girl is wear- 
ing. For it recently has come to realize 
that Hollywood is a competitor to be 
reckoned with. 

Seasoned travellers are always the 
first to admit that no matter how chic 
the Continental woman may be the 
American girl has nothing to fear by 
contrast. And no matter how little she 
has to spend she seems to have a knack 
of looking tremendously smart and as 
fresh as the morning breeze. 

The Hollywood designers, realizing 
that America combines so many races 
in one, subtly borrow ideas from other 
lands with splendid results. As you can 
see from these illustrations, there is an 
infinite variety of styles and no sug- 
gestion of monotony. No wonder Paris 
views us with admiration, or, should 
we say, with alarm? 



(Above, right) For warm afternoons Barbara Read keeps cool in 
white silk jersey with a colorful flower and bird design worn with 
a heavy crepe sash of deep green and blue. Frances Robinson 
chooses crepe with a delicate yellow background and a leaf 
design in rich brown, red and green. (Below) Cynthia Westlake 
in a wrap-around Tahitian print in hand-blocked cotton. Muted 
rose and off-grey tones are combined with great success. 




Coming Hours 




Dick Powell, Ann Sheridan and Pat Warner Baxter and Arleen Whale n in 

O'Brien in "The Cowboy from Brooklyn." "Kidnapped." 




Lewis Stone and Olympe Bradna in Claude Rains, Fay Bainter and Bonita 

"Stolen Holiday." Granville in "White Banners." 




Robert Montgomery and Binnie Barnes 
in "The First Hundred Years." 



Franchot Tone, Robert Young and 
Robert Taylor in "Three Comrades." 



Of 



Entertainment 




Charles Winninger and Alice Brady in 
"Goodbye Broadway." 



John Lite! and Frank McHugh in "Little 
Lady Luck." 




Loretta Young and Richard Greene in 
"Four Men And A Prayer." 



Paul Kelly and Lola Lane in "Torchy 
Blane in Panama." 



SEQUENCES IN MOTION 




Joan Blondell arouses the sleeping lion Phyllis Brooks makes every pho- "Ask the lamp on the corner if I haven't 

in Melvyn Douglas. The fair charmer tographer seem smarter. The emo- told him I love you," sings Tito Guiiar 

appeals to his kind heart or something. tions that distort her lovely face as "Tropic Holiday" starts on its joyous 

But drawing herself up to her full height - - ° re i us * al sincere as love in the way. "The Lamp on the Corner." Swell 

she sends the lion back to the zoo. heart of a mother-in-law. name for a bar. What'll you have? 



I 




The life raft is only a mattress ... in case he 
feels a nap coming on. 



* [Stocking Appeal] 



I They couldn't help 
noticing Betty's 
great big RUN • • • 



JToOR BETTY! Just as she 
had captured the two most at- 
tractive men in the room, that 
awful run had to pop. It made her 
look so dowdy . . . killed S. A.* 

Why not cut down runs . . . 
guard S. A. . . . with Lux? Lux 
saves the elasticity of stockings so 
the silk can stretch without snap- 
ping so easily — then spring back 
into shape. You cut down runs, 
avoid wrinkles, wobbly seams. 

Cake-soap rubbing and soaps 
with harmful alkali weaken elas- 
ticity, rob you of S. A. Lux has 
no harmful alkali. Buy the big 
box for extra economy. 



>4 



(RigM) Irene Dunne as she 
throw* herself into "The Joy of 
Living." She outranks most of 
the comediennes. (Below) When 
Bob Hope introduces Ben Blue 
to the air, he raises his hat. 
Such dignity! 



i. 



. r 



\ 



A Sense Of Humor In Holly- 
wood Means Money In The 
Bank. 



■ 



Hugh Herbert and Allen Jenkins in 
"Golddiggers in Paris." Hugh's com- 
edy is styled, unique— he's a per- 
sonality clown. Our old friend Jenkins 
is good, too. 



.41 *r 



19*11 



mat M 



Cory Grant and 
Katharine Hep- 
burn with the 
leopard who is 
"baby" to them. 
Anything for a 
laugh. (Right) 
Victor McLag- 
len and Esther 
Muir in "Battle 
of Broadway." 
The fun seems 
one-sided. 
(Left) Alan 
Mowbray has clicked in com- 
edy. He's terrific! 



HIGH-POWERED drama 
is gasping on the ropes, 
for comedy has made 
good in the picture ring. No 
matter how screwy the stories 
the movie theatres resound 
with laughter, and even re- 
viewers have difficulty in not 
bursting right out laughing. 
People seem to find grins 
and giggles more entertain- 
ing than tears. Only tempo- 
. rarily, however. Soon we will 
' he biting our nails again in 
dramatic suspense. 



UK 




/ DON'T TELL A SOUL!. . . 



CAROLE 



FERNAND 



LOMBARD^GRAVET 




Every Hour In 
Hollywood Leads 
Up To The lime 
When The Cam= 
eras Start Turnins. 



Better than a movie is a 
movie in the making. The 
crowd thinks so, anyway, 
as they watch Myrna Loy, 
Clark Gable and Spencer 
Tracy do a scene for "Test 
Pilot" at Lindbergh Field 
in San Diego. 




Director Fritz Lang crouches down 
to smooth Sylvia Sidney's make-up. 
Ceaseless care makes good pictures. 



Harold Lloyd and 
Lionel Stander at 
work in "Professor 
Beware." Raymond 
Walburn watches 
from the automo- 
bile while Director 
Nugent looks on. 



Action-Lights 




(Above, right) Bor- 
rah Minnevitch's life 
hangs by a thread 
and Jane Withers 
has designs on that. 
Fortunately her knife 
is only rubber. 
(Right) Freddie 
Bartholomew, War- 
ner Baxter, Arleen 
Whalenand Reginald 
Owen between shots 
of "Kidnapped." 
(Left) Gangway! 
The Mauch Twins 
hear the call to 
lunch. 




They Called Her Beautiful 
But Dumb — Yet She 
Wowed Them Just The 
Same! 




"What you don't know about 
New York debutantes will fill a 
couple of libraries! Now listen." 



Illustrated by 
Lloyd y^right 



VACANT LOTTIE! 



By Frederic and Fanny f~ latton 



JOE ROSS, wreathed in his own importance and the smoke of 
his specially-made cigar, watched through this dual haze the 
effect his words were having on Nicholas Martin, a playwright 
newly arrived in the West from that lane of incandescent horrors 
known as Broadway. 

They were seated in the restaurant of the Hollywood studio of 
Excelsior Pictures, Inc., an organization known as widely for this 
young executive's personal fame as for its success in the indepen- 
dent field. Though Joe Ross was no longer a stripling he still 
liked to hear himself referred to as the Boy Wonder of the Cinema. 

The author from Manhattan seemed to be suffering an acute 
form of mental indigestion. As a matter of fact he was trying to 
rid his brain of the producer's suggestion that Carlotta Lee be 
starred in the talking picture version of his recent stage success, 
"The Dizzy Age." He was tempted at the moment to take this 
illiterate prodigy over his knee and spank him. He smiled bitterly 
instead. 

Carlotta Lee indeed! The typical beautiful-but-dumb girl of 
the screen. The butt of a thousand-and-one Hollywood jokes. 
Vacant Lottie! Symbol of the empty mind from coast to coast! 

Ross glanced up and saw a pretty, red-haired girl walk into the 
dining room. "Why here's my sweetheart right now." He waved 
his hand and called out, "Honey, come over here." 

Carlotta Lee sauntered across. " 'Lo, Joe, what's on your mind?" 

"I want you to meet Mr. Martin, the famous author from 
Broadway." 

The girl's languid lack of interest stiffened to obvious artifici- 
ality. Taking the chair the producer drew out for her she nodded 
haughtily to Martin and then talked across his chest to her 
employer. 

"Who'd you say your friend was?" 

"Nicholas Martin, THE Martin. You know, the guy that wrote 
'The Dizzy Age,' which is to be your next picture." 

"Oh yeah? Well, what am I supposed to do? Burst out singin' 
or somethin?" 

The playwright cringed. The girl's high, wiry drawl, her self- 
conscious pose, her garish garments, set his whole being on edge. 
He didn't believe anything lived so crude and impossible, sin- 



was soon on her feet again, tossing a "See you sometime" to Ross. 
Evidently she had forgotten that the author existed. 

She posed as if before a very large audience, gathering her 
exceptional fox scarf about her white throat, and then moved off 
in a mannequin-like progress to another table. To Martin she 
seemed like a statue carved out of flagrantly colored ice cream 
and sprinkled with salt, cold and inedible. 

The producer turned a shrewd eye on his scowling guest. 

"I know what you're thinkin', but you're wrong. You figure 
your heroine is a swell Park Avenue Gwendolyn and that Lottie is 
just a day-bloomin' Hollywood cactus. But don't worry, Miss 
Manning will take care of all that." 

"And who is Miss Manning?" 

"Elsie Manning, the old Broadway star of the long-ago before 
you and me. I found her out here a few years ago tryin' to get 
extra work. I hired her, figurin' it wouldn't do Lottie no harm to 
have a set of brains handy. Manning rehearses my little star for 
every piece and kinda hypnotizes her into the role." 

Martin shrugged his shoulders. "It will take more than hypno- 
tism to make a New York Junior Leaguer out of Miss Lee!" 

"All right," Ross agreed, "if you don't want Lottie you don't 
have to have her. Hollywood is lousy with gals. We'll find some- 
body else. Tell you what you do, ride up with me lo Santa Bar- 
bara this evening. I've got a company up there that's gone sour 
on location. We'll talk cast on the way. 

The producer signed the check and left Mai l in ai the table. 
As he passed Carlotta Lee he leaned down and whispered in her 
ear. "I want lo see you in about ten minutes." 

Back in his office Ross sat down at a continent of Circassian 
walnut desk and punched a contact. He was answered at once 
by his chief secretary on the communicator. 

"Cancel all my appointments for this afternoon and have Miss 
Manning in here pronto, shoo oil all the directors and writers and 
any other tripe that's on my trail. I'm goin' i<> Santa Barbara." 

A moment later he was talking through the same instrumenl to 
Milton Browne, his mosl dependable stall writer. 

"Say, Milt, stop workin' on whatever you're doin' and be ready 
to take charge ol young Martin, the bird that wrote The Dizzy 



5 1 



Age.' Pack him off to Catalina or Arrowhead for about ten days 
and see if you can knock out a script and dialogue continuity." 
"Okay, Boss," Browne's voice came back. 

"I'm takin' the lad up to Santa Barbara with me today. He's 
fussy and I want to feel my way around him. And Milt, don't 
mention Lottie Lee's name in his presence. She gives him cramps!" 

Elsie Manning walked into his office as Ross turned away from 
the communicator. 

"Sit down, Sister, I've got a little job for you." 

The gray-haired actress took the chair he indicated. 

"Do you think you can make what a snooty New Yorker would 
call a lady outa Lottie Lee in ten days?" 

A quizzical smile broke over Miss Manning's lined face. "There 
never were any female apostles, Mr. Ross, and the age of miracles 
has passed." 

He grinned at her confidently. "Listen, you haven't flopped on 
me yet and I wanta make this 'Dizzy Age' flicker a smash in the 
eye— and the ear! And think this over— the Almighty was a male 
and only used up one day fashionin' the first woman. A smart 
girl like you ought to be able to make a lady in ten!" 

"Flatterer! Well, after that bouquet, I'll have to try. But it will 
take all of my time— and 
all of Carlotta's." 

"Sure, Mike. Now this 
is what I want you to do." 
He leaned over close to 
her and murmured his 
instructions. When Miss 
Manning rose to go she 
had agreed to everything 
he asked, as she always 
did. Glancing around as 
she went to the ante- 
room she saw Carlotta 
Lee slipping into the of- 
fice through the private 
entrance from the back 
stairway. 

"Say, Brainless," the 
producer began without 
ceremony, "you sure got 
off on the wrong foot 
with young Martin! What 
was the idea of that tank- 
town Ritz you pulled on 
him just now down in 
the cafe?" 

She dropped into a 
chair and started to ex- 
plain. "I was just acting 
like a New York debu- 
tante so he could get an 
idea of the swell way I'm 
going to act his opera for 
him." 

"Yeah? Well, what you 
don't know about New 
debutantes would 
couple of libraries! 
listen with both 
brain cells and get 
I'm goin' to tell 
I've ordered Miss 
Manning to curry and 
comb you and pull the 
burrs outa your back hair." 

Carlotta's red hair 
bristled away from the 
edges of her trick hat, but 
Ross continued. "And you 
do what the old gal tells 

you or I'll knock your dumb dome into the original mortar and 
saw-dust!" 

"Say, that's a hell of a way to talk to a lady!" 

"That's just the trouble— you ain't no lady! But you gotta be- 
in ten days! Get me?" 

"Joe, you are probably the rudest and crudest man in the 
motion picture business, which makes you the international cham- 
pion in both respects!" 

"All right, Sweetheart, I may be a little rough with you now 
and then, but my one idea from the first day I saw you has been 
to make you the biggest star in the business. And if you're honest 
you'll admit I never kicked you without kickin' you up." 

He paused and looked her over carefully. "You're goin' to be a 
brunette for this number. No class to blondes. I want to see you 
dark and slinky, quiet, slow, three seconds between every move, 
voice low and- easy on the r's. Manning will tell you all about it." 

"But what will I say when I meet Mr. Martin again?" 

"Just pretend you never saw him. He won't know you with a 
black mane anyway. We'll introduce you to him under another 
name and it will be up to you to vamp him Before lie gels the 
bad news." 



Late in the afternoon the producer's long English car was rolling 
as evenly as a Pullman over the concrete of the Roosevelt High- 
way beside the blue Pacific, well on the way to Santa Barbara. 

Joe Ross glanced at Nicholas Martin and knew just what was 
going through the author's mind. "People come out from the East 
and hate California until they get a flash of this." 

Martin drew in a long breath of the haunted breeze. "I can 
understand that. I've never seen a more beautiful stretch of water. 
And that air is tanged with a spicy something. It all seems like 
a huge stage set, with real mountains and a living ocean. But no 
union electrician could catch that light effect." 

The sun was already beginning to sink through lilac bands of 
mist towards the remote sea edge, taking on incredible shapes as 
it dropped down. Now it looked like a huge Japanese lantern of 
gold, top and base flattened; again it took the outline of a 
Grecian urn; then it collapsed to a coppery bar that tossed for 
a moment on the serrate horizon line before it abruptly dis- 
appeared. 

Joe Ross lit one of his long cigars and began to recall the past. 
"Funny the way things break. Six years ago I was nothin' but 
a lousy assistant director gettin' seventy -five a week when I was 



York 
fill a 
Now 
your 
what 
you. 




workin' — and mostly 
I wasn't. Now that is 
just about tobacco 
money." 

He nursed his 
cigar a little and then went on. "I remember 
one noon sunnin' myself with other unem- 
ployed talent in front of a bank in Holly- 
wood, where a lot of directors and producers 

had accounts, hopin' somebody would notice me and say, 'Joe, 
you're just the man I'm lookin' for.' 

"All of a sudden I got my twin spots on a lens natural. She had 
that jaunty, half-starved look that a castin' director would have 
caught half a block off. I braced her with. Don't get me wrong 
kid, but are you in the pictures?' She gave me a sharp, quick look 
outa a pair of big lamps that was just naturally framed to give 
the camera a mean jolt and snapped back at me, 'What's that 
to you?' 

"I knew I had it comin' to me, bein' on the set as you might 
say without no pass from the gateman, but I was intrigued enough 
ro keep in the closeup. 'I ain't no 5000-a-week director,' I told 



52 



her,' but maybe I can help towards a career if you're interested. 
I got connections and I can make good.' 

" 'All right, Mister Lasky-Metro-De Mille,' she cracked back, 
'where do we go from here?' 

"So I grabbed her by the elbow and piloted her into a beanery. 
In half an hour she had satisfied her hunger and I had her sig- 
nature to a five-year option on her professional services written 
out on the o.p. side of the hash list. 

"As luck would have I ran into Eddie Collins the same after- 
noon. He was producin' on his own down in that part of Holly- 
wood they called Death Valley and needed somethin' like Clara 
Bow for seventy-five a week. Well, to take a few sequences out of 
a long story me and my find both went on the pay roll. She had 
picked a fancy moniker for herself and was expectin' to flirt with 
fame as Dolores Jocelyn Beaumont but when the flicker went to 
the small-fry exhibitors Collins billed her as Carlotta Lee and the 
name stuck. The five-reeler was made in twelve workin' days at 
a print cost of $7,500 and grossed Eddie over $25,000 when all the 
returns were in. 

"Lottie was just camera fodder, photographin' like a million 
dollars. We strung along with Collins for a while and the gal 
was meek as Mary's little ba-ba. I was sittin' pretty, particularly 
as I went and got a smart lawyer to draw up a real contract with 
Lottie that she signed when our agreement down in Death Valley 
ran out. By that time Lottie was learnin' that there were reviews 
in newspapers as well as comic strips. I worked her up into the 
second-string studios on single picture arrangements and at the 
end of the year all the big boys were hearin' about her and talkin' 
options with me. But I took my time and waited for the right 
kind of offer. Sammy Fishbein, president of the Excelsior outfit, 




tin settled down on 
sand beside her and 
mured: "A penny 
r your thoughts." 



finally came across with it and I signed Lottie up with him for 
$2,500 a week, with increases every six months up to $5,000. 

"I went in as supervisor on all of Lottie's pictures at a salary 
I never dreamed of gettin' when I hit Holly wood. I guess the kid 
realized what I had gotten for her, because when we came out 
of the Excelsior office after signin' up she was awful nice to me. 
But that didn't last long. Funny what $2500 a week will do to 
a green kid. Pretty soon Lottie was so ornery I couldn't do a thing 
with her. First thing I knew she was regardin' me as nothin' but 
a leak in the pipe of prosperity and I sure took to watchin' my 
step. One day Sammy Fishbein appeared on the stage where we 
were workin' and somethin' told me the big sock was comin' 
my way. 

"Sammy sailed right up to me. 'Mr. Ross,' he began, 'your con- 
tract with Miss Lee is no good. She signed with you when she was 
under legal age. We'll just tear your agreement up and in the 
future I will look after this little gal, personal!' 

" Oh yes?' I asked. 'Well, laugh this off first!' With which I 
pulled out of my inside coat pocket a little paper my lawyer boy 
friend had dug up for me in Lottie's home town. You should have 
seen Sammy Fishbein's face when he read that stamped and sealed 
copy of the gal's birth certificate. She was past twenty-two when 
my first paper with her was signed. 

"But this was one of those cases where you lose by winnin'. 
From then on I was poison ivy to Lottie and she broke out all 
over every time she saw me. I kept outa the studio for a while, 
but I collected her checks, accordin' to the contract and waited 
for her to come after her dough. When she did we patched up a 
truce for the sake of the old career, but did she hate one Joe Ross?" 

The producer paused in his story and stirred a little nervously. 
He glanced about as if to assure himself that the trying days he 
had been telling about were safely in the past. The car was now 
between Ventura and Santa Barbara. The twilight had slipped off 
over the ocean before the dusky face of night. After a silence 
broken only by the singing of tires and the hollow mutter of the 
surf Ross began to speak again. 

"And then came the big break when the Warner Brothers 
spilled the movie apple cart with sound pictures. Sammy Fishbein 
was ready to sell out for a song. I saw a chance and shot every 
dollar I had saved up into his Excelsior stock. But I thought 
Lottie was all washed up and everybody in Hollywood agreed 
with me. But breaks are like lightnin' and you never know where 
they're goin' to hit. One day Miss Manning got hold of me, a 
light in her eyes like she had seen a miracle. We argued for 
hours, but she finally sold me the idea of producin' a talkin' 
quickie. 

"I jumped to it while the rest of the companies were tryin' to 
put bombs under the Warners' studio to keep 'em from goin' 
further with the poisonous novelty. I enticed some cutters and 
mike men away with big salary bribes, 
shanghaied a loose sound truck and 
began shootin'. We made up the story 
as we went along. Manning feedin' the 
lines to Lottie with a spoon. When the 
picture was finished it sounded like a 
cross between the Battle of the Somme 
and an earthquake in a chop-suey joint . 
but we made enough profit off it to 
build our first sound stage. And maybe 
Sammy Fishbein wasn't wild about all 
the Excelsior stock he had sold to me. 
He went crazier when the company de- 
cided I knew what the talkies were all 
about and made me producer manager. 

"As for Lee bein' the Vacant Lottie 
of the universe, any Jane that can start 
with a hundred-word vocabulary and 
run it up into $5000 a week is thick like 
an owl. Anyhow, I think the dumbness 
of a lot of these gals is what them 
science f:!Iers call a protective color job." 

Joe Ross paused and turned a liitle 
apologetically to the author. 

"I haven't talked so much about my- 
self since [ hit this land-of-no-rain. But 
you're sure a great audience." 

"Your part of the story fascinated me." 
Martin confessed, "but what Carlotta 
Lee was, is, or will be, doesn't interesl 
me." 

"From your angle you're dead right," 
Ross agreed, frankly. "Bui this I ce kid 
has kinda been my life work. Maybe it's 
just a bum dream, but I've been thinkin' 
that some day I might gel her smoothed 
off and shaped around to where she 
would be human. And. if that ever hap- 
pened, that she might take a tumble to 
herself and realize all I've done for hot. 
I don't believe any woman could fight 
a man as steady as she has me unless 
she was afraid [Continued on page 69] 

53 



You'll Be s urpnsea /\t The Thinss Fes 
A4urray Has Found Out /\oout The Stars. 



the director. 
And who said 

explained the 



NOW, in this scene," declared the 
director, "we'll have Rosalind 
Russell chewing gum and 
William Powell inhaling a cigarette." 
"Yes," said the assistant director. 
"Yes," said the assistant to the as- 
sistant director. 

"Yes," said the script girl. 
"Yes," said the cameraman. 
"Never, never," mumbled a man at 
the rear of the set. 

"Mutiny," stormed 
"Well, then, why not? 
'never, never' anyway? 

"You can't do that,' 
rebel, "because William Powell has 
never inhaled cigarette smoke and 
Rosalind Russell has never chewed 
gum." 

As for seeing whom his opposition 
was, the director shouldn't have had 
too much difficulty. The man stood 
a foot taller than anyone else on the 
set and looked to be 200 pounds of 
good muscle. 

His name was Feg Murray, and in 
the town of Hollywood, 
famous for its "yes" men, 
he is unique. One of his 
stocks in trade is collecting 
things the movie and radio 





stars "never" do. 

"How do you know they 'never?' " 
queried the director. 

"Because that's my business,'' explained 
Murray. 

And indeed that is his business, as an 
impromptu interview conducted right then 
and there on the set, revealed. 

Feg Murray is Hollywood's own Robert 
Ripley. The things film siars never do, 
along' with other idiosyncrasies and inter- 
esting facts about them, are the basis for 
his daily cartoons about Hollywood per- 
sonalities, and, more recently, a weekly 
radio broadcast over NBC. 

One wonders how the tall, blond and 
handsome young man avoided becoming 
one of those Hollywood personalities him- 



Schuyler I^ane 

self. With the figure of an Adonis and a 
face which rivals Arthur William Brown's 
best "every-girl's dream heroes," Feg bad 
been doing the studios for four years, col- 
lecting data on ■ the glamorous— most of 
whom fail to stack up with his own amaz- 
ing sucuss story. 

But, despite the fad thai this fellow can 
boast of being a descendant of those Mur- 
rays of (he famous Murray Hill section in 
New York, of holding for fourteen years 
the low hurdle record of the world, of 
being twice Olympic track star for the 
United Slates. Feg will defer any further 



bows for himself and delve with a real 
pride and enthusiasm into some of his 
store of "unbelievables" about the stars. 

"Getting back to that pair who started all 
this," he grins, "Miss Russell not only never 
chewed gum, but she's never slept in a 
dark room and never worn shoes in a scene 
where her feet did not show. 

"William Powell has never ridden on a 
horse; never chewed tobacco, never inhaled 
a cigarette, never seen a baseball game, and 
never witnessed a traffic accident. And I 
guess, to prove he's the perfect sophisticate," 
said Murray, his blue eyes twinkling, "he's 
never seen a sunrise." 

Murray continued his amazing recital. 
"Shirley Temple has never ridden on a 
street car; never eaten a 'banana special,' 
never gone to a public school, never been 
to a legitimate theater, never drunk tea or 
coffee. 

"Greta Garbo has never seen nor an- 
swered her fan letters, has never accepted 
presents, has never met her leading men 
until her first scene with them, and has 
never eaten ice cream. 
"And Gable? Well, for one thing, he's 




(Top) Feg Murray has sev- 
eral claims to fame himself, 
but he prefers to talk about 
movie players. (Above) Sonja 
Henie gave Feg the real rea- 
son why she doesn't fear 
an accident while skating. 
(Left) Robert Young has a 
strict rule which he never 
breaks. (Right) William 
Powell does about every- 
thing, but there is one thing 
he balks at. 



never eaten oysters. Funny, too. there's an 
'R' in his first name," Murray chuckled. 

"You'd probably be surprised to know' 
that Anita Louise has never had a chink 
of collee and has never ridden on a street 
car. 

"Jeanette MacDonald has never worn a 
tailored suit. 

"Gregory Ratolf's career was twice-di- 
verted. He's a dancer by profession, but 
he's never danced on the screen, and he's 
never practiced law although he studied 
the subject for five years. 

1 feel kind of sorry for Mvrna Loy 
and Joan Crawford. They've never seen a 



54 



circus. And for that matter, Spencer Tracy 
has missed a gastronomical treat— sauer- 
kraut. Robert Young not only has never 
tasted watermelon, he doesn't want to. 

"Lionel Barrymore has made a fortune 
on the stage and screen, but he's never used 
any trunk except the battered old stage 
trunk which accompanied him during his 
early trouping days. 

"Jimmy Stewart is pretty much of a little 
boy, still. He continues to make toy air- 
planes and locomotives and he's never 
smoked a cigar since his first disastrous 
attempt. 

"There's one good reason why Sonja 
Henie never worries about accidents while 
skating. She never lets anyone else sharpen 
her skates. 

"Loretta Young never makes an expen- 
sive purchase without first consulting her 
mother. 

"Mischa Auer doesn't live up to his 
acting reputation in private life. Despite 
his Thespian qualities, he's never told a 
lie and gotten away with it. 

"For all of Irene Dunne's madcap char- 
acterizations on the screen recently, she's 
never ridden a roller coaster or drunk a 
bottle of soda pop. 

"Stuart Erwin is the model husband. He's 
never failed to kiss his wife each morning. 

"Johnny Weissmuller, for all his physical 
prowess, has never done setting up exer- 
cises, and Nelson Eddy has never gone 



than 1500 cartoons, some involving as many 
as six personalities, without so much as 
angering a star. 

In his studio, where he works with an 
assistant and secretary, he keeps a card 
file containing names and information 
about practically every person in the film 
industry, and, more recently, the field of 
radio. The cards are cross-indexed for 
hobbies and sports, but most of Murray's 
cataloguing is kept in his own mind. 

Voluntarily, he keeps fairly regular hours 
at his drawing board. Under pressure, he 
can produce two or three sketches a day, 
although he prefers to follow a one-a-day 
schedule. 

Murray takes his relaxing almost as se- 
riously as he does his business. His enthus- 
iasm for sporting events which brought 
him fame as an Olympic 
champion is concentrated 
at present on badminton 
and tennis. Murray plays 
both games well and it's a 
very crowded day that he 
doesn't manage a fast 
game on the courts. 







Loretta Young has 
long received a star 
salary and still she , 
is careful with her 
money! 



How Chase and Sanborn 
must feel about Anita 
Louise! (Right) Jimmie 
Stewart, who doesn't think 
much of Corona-Coronas. 




(Above) Shirley Tem- 
ple has a number of 
taboos. (Right, above) 
The smiling face of 
Stu Erwin. He's a 
model husband. (Left) 
Rosalind Russell burns 
the midnight oil, but 
not for what you think. 



fishing," Murray concluded sympathetically. 

Murray could have spent the rest of the 
day relating his fund of stories about the 
Hollywood stars. But his own job and he 
himself provide too much color to be ig- 
nored. 

"Where do I get my information?" Mur- 
ray repeated the question. 

"Generally it's a tip from a friend. Some- 
times a soda jerker or a gasoline station 
attendant will give me the lead on an item. 

"Once, another newshawk who inter- 
views Hollywood stars, heard an incident 
which he thought would make better mate- 
rial for my cartoons than it would for his 
own story on the star. He telephoned the 
information which I used. That tip cost 
me a luncheon. 

"Routine information can be supplied 
by press agents and publicity writers. Many 
times the subject of the cartoon gives me 
the facts, himself." 

Murray has an enviable record for his 
Hollywood "star-gazing." He's drawn more 



Murray double-checks any item 
about which he's at all dubious. He 
was therefore very upset when com- 
plaints began to flood his mailbox 
after he printed a certain cartoon 
about Jean Negulesco being the young- 
est director in Hollywood. He said 
that Negulesco had had only eight birth- 
days, since his birthdate was Feb. 29, 1900. 

"Only century years divisible by 200 are 
leap years," the letters insisted. "Therefore 
1900 was not a leap year, and your state- 
ment is not correct." 

Shades of Feg's academic ancestors, who 
had won prowess for their literary research 
and accuracy began to haunt him. (Feg's 
father, Professor A. T. Murray, was head 
of the Greek department at Stanford Uni- 
versity, and one of the first American Mur- 
ray's wrote the first English grammar pub- 
lished in New York in 1826.) 

The young man was determined, how- 
ever, to prove his point. He was vacation- 
ing in Yosemite at the time, with so few 
library facilities at his command, that he 
couldn't conduct a very comprehensive sur- 



Lionel Barrymore 
has a souvenir that 
dates back to troup- 
ing days. Myrna 
Loy grew up with- 
out the aid of Bar- 
num and Bailey. 
Amazing! Gregory 
Ratoff knows a 
couple of profes- 
sions that he never 
practices. 



vey. He found a comfortable telephone 
booth and friends in San Francisco began 
poring through encyclopedias. 

"What finally happened was this," Mur- 
ray explained. "Rumania did not accept 
the Gregorian calendar (which makes the 
provision for leap years) until 1919. Negu- 
lesco was born in Rumania." 

That was one time Murray almost broke 
one of his own "never, nevers," but he re- 
sisted the temptation, and he didn't "yah, 
yah, I told you so." 




55 



The Well Paid Stars C an Indulge Every Whim 
But There Is Nothing They Buy That Is Half So 
Alueh Fun As The Annual Present For Alothcr. 



MOTHER'S DAV. in Hollywood, is a gala day for many, a 
day of sadness for some, but a thoughtful da\ for all. 
Our screen players may have many faults, but neglecting 
"mother" is decidedly not one of them. As a matter of fact, being 
extremely good to their mothers, not only Mother's Day, but every 
day in the year, is a sort of creed in this colorful spot the world 
knows as Hollywood. 

That's as it should be too, for, in countless instances, these same 
mothers have been a very leading factor in the success of their 
now famous sons and daughters. They have coached them, urged 
them on and, in some cases, literally 
pushed them right up the ladder of 
success. 

To be sure, in the early "silent" days 
of films, studio officials were sometimes 
wont to regard the star's mother as 
something between an ogre and a 
tyrant. But we must remember that in 
those days there was no grand array 
of go-getting agents and managers, as 
there are today, to represent the up- 
and-coming young player. And it is 
safe to say that if it hadn't been for 
the valiant efforts of many mothers 
there would be many stellar favorites 
of today bemoaning their fate in 
obs( urity. 

Today, however, "mother" generally 
stays at home. She has rare occasion 
for even visiting the studio, but her 
influence is just as essential as always 
and her advice as eagerly sought. 

Tyrone Power's meteoric rise to 
screen fame seems less phenomenal 
when one considers the early coaching 
in dramatics and stage technique of 
his clever mother, Mrs. Patia Power. 
She was celebrated, in her own right, 
as a stage actress and, later, as a dra- 
matic teacher in Cincinnati, until 
Tyrone urged her to come to Holly- 
wood and live with him. 

Incidentally, Tyrone's mother de- 
clares her son's almost over-night hit 
in "Lloyds of London" and other films 
must have made him so enthusiastic 
that he forgot, for the time being any- 
way, his own strength. Anyhow, last 
Mother's Day Tyrone cost her just 



three broken ribs plus 
many sleepless nights! For, 
on that gala day, he rushed 
to hug his mother just as 
she rushed at him. The net 
result was three cracked 
ribs for her and yards of 
adhesive tape for weeks on 
end! But that didn't pre- 
vent her from sitting day 





(Top) Eleanor Powell and her mother celebrate 
the day together. (Above) Warner Baxter and 
his young looking mother. (Left) Jane Withers 
honors her fond 
parent in her own 
particular way. 



ER'S 

y 




Joel McCrea's mother 
will never forget the 
day she received a rose 
of a new variety — 
named for her! 




Wordon K. jilvcr 



56 



after day in various Hollywood theaters gazing up at her 
son's screen success. 

"At that, I guess no other star's mother can boast of 
being hugged so hard last Mother's Day that she had three 
ribs cracked!" laughed Mrs. Power in recalling the odd 
accident. 

From the time Eleanor Powell was eleven, her mother has 
been her bodyguard, manager, agent, pal, big sister and 
biggest booster all rolled into one. She follows Eleanor daily 
to the studio set, still finds time to run the Powell house- 
hold, look after the fan mail and even to break in her 
dancing daughter's tap shoes! But there is no "stage 
mother'' attitude. Mrs. Blanche Powell is a refined, cultured 
woman who keeps in the background when her daughter 
is working. But every Mother's Day, Eleanor refuses to let 
"MOM" stay in the background and shows her off to all 
and sundry! These two always end the day's celebration 
by having their picture taken together. 

Robert Taylor treats his mother as though she were a 
goddess. From the fruits of his grand success he has given 
her a beautiful home jut a few blocks from his own, a large 




car, no end of watches, diamonds, fur 
coats and the like. 

Asked one day recently what she liked 
best about her famous son, Mrs. Brugh 
replied: "The fact that he treats me like 
his best girl friend— and as if EVERY day 
in the year was Mother's day!" 

If you ever ask Olivia de Havilland and 
her sister, Joan Fontaine, if they live with 
their mother, just listen to the way they 
exclaim, in unison, "OF COURSE!" As a 
matter of fact, their mother once casually 
mentioned to them that, as they are now 
both famous screen actresses, they might 
want to leave the parental nest for a 
little apartment or bungalow of their 
own? Olivia and Joan nearly jumped out 
of their skins in indignation. You'd have 
thought Mrs. de Havilland had asked 
them if they didn't want to commit 
suicide! After the weepings were all over, 
they made "mother" promise never, 
NEVER to refer to the matter of separa- 
tion again. 

"We have only one complaint about 
Mother," smiled Olivia, "and that is she 

doesn't— er— 'look up' to us girls! She doesn't think of us as movie 
stars at all!" 

"That's right," chirped up Joan, "but Mother certainly gets 
excited over other stars, whether she sees them on the street, in a 
restaurant or at the studio. 'But, Mother,' we once declared, 'WE 
are in films, too. Stars aren't really much different from us!' 

" 'Pshaw,' came back Mother, fondly and smilingly, 'you're only 
my two darling baby brats, so hush up!' And then she nearly 
wrenched her neck off trying to catch a better glimpse of Hugh 
Herbert!" 

When Mother's Day rolls around each May, Pat O'Brien and 




his mother get together and reminisce over Pat's boyhood days of 
long ago. Last Mother's Day, for instance, she recalled how he, 
at the age of nine, played an angel in a play put on by the 
parochial school of the Church of the Jesu. In it, he wore a pair 
of huge, weird-looking wings, which Pat had to flap by working 
his elbows up and down. Came the night of the big show and 
poor little Patrick O'Brien flapped so hard one of his wings fell 
off with a bang— and the audience roared. 

"Even that wouldn't have been so bad," explained Mother 
O'Brien, "but when he stooped over to pick it up— and the ninny 
WOULD have to bend with his back to the audience!— well, his 
nightgown-like angel's robe split right up the back with the 
loudest 'rip' I ever heard, and Pat didn't have a whole lot on 
underneath! The audience this time was completely hysterical— 
and no wonder!" 

Pat stopped his mother from further embarrassing him by 
suddenly presenting her with his presents of fruit, candy, flowers 
and a set of miniatures, one each of his wife; their little girl, 
Mavourneen; son, Pat Junior; and himself. 

Ginger Rogers would rather give up her film career entirely 
than lose the presence of her mother in her Beverly Hills home. 

Ginger and Mrs. Lela Rogers came to 
Hollywood together, and without a 
doubt will remain together until the 
latter is a great-great-grandmother! 
Every Mother's Day, Ginger takes her 
mother away on a gay, all-day trip to 
Catalina Island, Palm Springs, or some 
such interesting place, and denies her- 
self to everyone but "mother." 

Many players effulge with original 
celebrations to honor the day— and 
mother. Consider Joel McCrea. He 
commissioned a local horticulturist to 
evolve a brand new rose for his mother 
which was named for her— and the 
"plant artist" was paid to forget the 
recipe that there might never be any 
counterparts. 

Claudette Colbert always presents 
her mother, Madame Chauchoin, with 
some rare bit of jewelry, plus a nice, 
fat check. Madame Chauchoin has 
often been described by her lovely 
daughter as the real inspiration behind 
her hard work on the screen. 

Last Mother's Day, Robert Arm- 
strong thought up a new idea and 
hastened to have it carried out. Says 
he will do it every year. He had a 
huge cake made and in the center was 
a perfect likeness of his mother— made 
of frosting! "My, I look good enough 
to eat!" beamed Mrs. Armstrong when 
he gave it to her. And eat herself she 
did! 

This Mother's Day, Sonja Henie 
plans to give her mother a gorgeous 
painting of herself, besides other things. 

The death, last year, of Wilhelm 
Henie, her father, has drawn Sonja 
and her [Continued on page 80] 



(Above, left) Mrs. 
Patia Power was a 
celebrated actress and 
Tyrone has much to 
thank her for. (Above) 
Sally Eilers' three year 
old calls it Mummy's 
Day. (Right) Olivia 
de Havilland, whose 
mother must be quite 
happy over the whole 
thing. 




V * 



57 



Let Trie Camera OatcK 
You At Your Best. 



NOT far ahead, is a romantic month- 
June. That month marks a milestone 
for many. Thousands of girls will 
graduate from high school, college and spe- 
cial courses. Many more will march to the 
strains of Mendelssohn up the altar to their 
heart's desire. Graduate or bride, you 
definitely say good-bye to one phase of your 
life and begin another. Do record these big 
moments photographically. A portrait, by 
all means, if possible; if not, then have the 
best amateur photographer in your family 
do full justice to you. However you do 
it, these photographs are important. Your 
grandchildren may some day inherit them, 
and it will always give you real pleasure 
to relive important events through your 
pictures. 

Today, even, there is probably no better 
indoor fun than getting out the old album, 
and especially are pictures that record defi- 
nite changes in clothes fashions and hair-dos 
\ery entertaining. Though we may laugh 
and enjoy them in a spirit of fun, the poor 
photograph always hurts a little. There- 
fore, the next time you face a camera lens, 
show it your loveliest face. You, by all 
means, but you at your best. 

A good photograph demands special 
make-up for the camera. This type is 
marked largely by a skin foundation of 
the grease paint type, but lighter and far 
easier to apply. The tones are especially 
created for the camera, and the preparation 
gives the skin that soft, smooth clarity of 
tone, so necessary for black and white re- 
cording. Few unadorned skins take well. 
Lines, roughness of texture, tiny blem- 
ishes and freckles stare at you in amaz- 
ing reality, when you look at yourself. 
The purpose of such foundations is 
quickly understood if you try a "before" 
and "after" picture. Lip rouge is also 
of a shade to record your mouth in 
soft alluring tones, rather than harsh 
black, which you often get from an or- 
dinary lipstick. A variety of liners or 
colors do wonderful things in shadow- 
ing the eyes and subduing or accenting 
any bad or good point of facial con- 
tour. Few faces are naturally camera- 
proportion perfect. Sylvia Sidney's facial 
proportions, however, are said to be 
perfect. 

For the professional or amateur pho- 
tographer or model, there is the Miner's 
Cameracraft Make-up Kit, very new, in- 
expensive and very complete. With it 
comes a booklet describing exactly how 
to use the preparations, how to subdue, 
to accent and generally dramatize your 
face for its very best effect. You will 
thoroughly enjoy your experiments and 
be surprised and delighted with its 
splendid effects. 

Then there is Screen and Stage 
Make-up by Elizabeth Arden, which offers 
a series of preparations especially for por- 
trait photography. You can get this in 
styles from the Student's Make-up Box, 
inexpensive and complete, to very de luxe 
versions. 

It you were to wander into the Screen 
and Stage Make-up section of Miss Ar- 
den's salon, you would see pretty girl 
after pretty girl enter. These are photo- 
graphic models. You would watch some 
deft work on their faces, and see these 
pretty girls much more than pretty now. 
Their faces arc clear-cut, dramatic and the 
individual characteristics of each are truly 
defined. They will be even more so in their 
photographs. Many of the smart debu- 
tantes have caught onto the idea, and use 




Photographs 
Demand 

Special 
Make=Up 




Although June Lang is a natural 
beauty, she devotes time and thought 
to her make-up before facing the tell- 
tale lens. After applying mascara she 
curls her long lashes upward with the 
useful little gadget shown just above. 

this make-up lightly for social evenings. 
The elfect is beautiful and lasting. 

There are also a number of other ideas 
that contribute to the success of your pic- 
ture. Nail lacquer, for example, if your 
hands show. Forget your smart deep shades 
for these may photograph entirely too dark. 
Instead, use something like the Cutex 
Thistle, Laurel or Old Rose, which will 
give a beautiful effect. 

Hair is most important, and it should 



By /Viary L^ee 



be professionally dressed for a portrait, 
unless you do a perfect job. That perfectly- 
groomed, every -hair-in-place look is a point 
that makes the modern photograph art. 
Now and then when you look at old pic- 
tures of your favorite stars, you realize that 
hair a la naturel, as it was often worn 
in the old days, is one of the great con- 
trasts with their fine pictures of today. 

Clarity of line in brow and mouth is 
important. Keep that eyebrow crayon 
sharply pointed for a fine line, and use 
this crayon to accent brows, if you need 
it, and to smooth and possibly to extend 
the outer ends. Perc Westmore, ace make- 
up man of Hollywood, says the perfect 
brow is arched and the length of the eye, 
and this light outer extension with pencil 
is often just the touch that is needed. Be 
careful with mascara. Use a smooth, silky 
one like our old friend, YVinx. Brunettes, 
of course, need black, but blondes get a 
better effect with brown, I think. The brown 
in Winx is a particularly good shade. It's 
tear-and run-proof, easy to use when you 
keep your brush clean, for then it will not 
clog. For a perfectly natural effect, when 
the mascara is dry, brush or comb lashes 
with the little eyelash gadgets that come 
for this purpose. Winx also makes a little 
eyelash comb and mascara applicator that 
does a double quick job of applying and 
combing at the same time. Then, there's 
Kuiiash, that curls lashes in sweeping 
curves. You'll find this on practically every 
star's dressing-table. 

Downward lines in eye and mouth make- 
up should be avoided for ordinary as 
well as picture make-up. For these are 
the lines of age, weariness and care. The 
very competent person in charge of Miss 
Arden 's special make-up called a model 
over one time and illustrated a graphic 
lesson. The model's brows extended, 
then drooped slightly at the outer cor- 
ners. The expert shook her head, then 
placing one finger over the end of that 
brow said, "Look at the change." The 
model appeared younger, her eyes more 
sparkling. That was because that outer 
downward brow drop was eliminated. 
You can try this on yourself and see 
what happens. So if you extend brows, 
keep the line faintly curved or almost 
straight, as the brow goes. Perc West- 
more used to call the drooping mouth a 
"depression mouth." Some mouths nat- 
urally droop. In that case, when you 
rouge your upper lip, give the lipstick 
or rouge brush the tiniest upward flick 
at the upper corners. This lifts the 
mouth, gives you a slightly smiling ex- 
pression and changes your whole face. 

Brushes are a help in applying your 
photographic and your ordinary make- 
up. Miss Arden makes them for remov- 
ing surplus powder and for lip rouge. 

Suppose, however, that either graduate 
or bride, you aren't being photographed 
now. Then save this page for when you are. 
And as to make-up touches for these events 
alone, the suggestions are simple. The bride 
in white keeps her make-up soft, and faint, 
but make-up she positively needs, because 
times like this drain color from the face, 
by their very emotion, and our bride 
must be lovely, poised and serene in appear- 
ance, no matter how her heart pit-a-pats. 
Nail lacquer, too, should be of the milder 
tones. Of course she wears perfume, pref- 
erably floral in keeping with her bouquet 
or corsage. Lentheric's Muguet (lily-of-the- 
valley) is a perfect choice, as it is for 
general occasions, too. 



58 



HE'S a success on a number one radio show. 
He's under personal contract to Mervyn Le 
Roy, a number one producer who recently 
switched from Warners to MGM. 

He's rated among the number one singers in show 
business. 

But who knows Kenny Baker? 

Oh, of course, you are familiar with his name, and 
his singing-stooge act with Jack Benny every Sun- 
day. And you've seen him, rather unsuccessfully, try 
to transpose that singing stooge act to pictures. I say 
unsuccessfully, knowing that Kenny will agree with me. 
For he told me that Jack Benny is the only person 
who can put him over in that particular brand of 
humor. It has been tried in films and at benefits and 
other shows without hitting the magic Benny formula. 
In "The Goldwyn Follies," young Mr. Baker played 
himself. And it is as himself that he will appear in 
the two forthcoming Mervyn Le Roy pictures at MGM. 

You undoubtedly have the same vague picture of 
Kenny Baker that I had when I was asked to interview 
him. I had talked with the so-called timid tenor, on 
studio sets, very briefly about fishing. I had seen him 
several times at radio rehearsals, with his wife sitting 
in the front row and staying on for the show (a weekly 
habit of hers.) I had been told that he was a retiring 
sort of guy and was more silent than verbose, the 
type of person who might be described as colorless 
among fan magazine writers. 

I knew I'd have to paint Kenny in colors other than 
wishy-washy pastels, but I never, in my wildest flights 
of fancy, dreamed that he not only was as colorful a 
person as a number one guy should be, but was 
perfectly willing to paint the picture himself. 

My first shock came when Kenny walked into the 
NBC interview room at the Melrose Studios, with his 
secretary-accompanist, Price Dunlavy. His shirt vied 
with the worst of the famed Bing Crosby ones. It 
was broadly and horizontally striped in yellow, tan 
and white. Over it he wore a powder blue sweater. 
Yellow socks were clearly visible beneath brown pants 
and his brown shoes were scuffed. "This is an awful 
outfit to wear for an interview," Kenny apologized, 
"but I feel more comfortable in these clothes. I like 
shoes my feet can crawl around in." I discovered that 
the expensive wardrobe he owns (Mervyn Le Roy 
made him go to the best tailor in town) is consid- 
ered simply as an investment and retained for public 
appearances. Since Mr. Baker doesn't care for night- 
clubs (he worked in the Cocoanut Grove and had his 
fill of smoke and noise) and prefers quiet poker parties 
at home to social functions, he has little use for good 
clothes, other than for business. 

I was most curious about Kenny's future so we 
started right in with that. I knew his contract option 
with Jack Benny was up in June and that Kenny 
would be up for Metro's "Good News of 1938" show 
since Mervyn Le Roy had 
taken him along to that 
studio. "So what now?" I 
asked. "First of all, what 
about the Benny show?" 

"Well, naturally, I want 
my option taken up on 
jack's show," said Kenny 
straightforwardly. "That's 
my primary interest, of 




At twenty-six, Kenny is "in the money." He picks it out 
of the air, but he puts something back in its place. Five 
years ago he didn't have a nickel. 



One Of The 



"Will you go on the 
Metro show perma- 
nently?" 

"No. I expect I'll make 
guest appearances but so 
tar there isn't any plan 
to put me on every 
week." 

"Haven't you any air-plans other than 
what you are doing now?" 

"Yes. I want to do my own show, sing- 
ing semi-classical and classical numbers. I 
wouldn't try any of the comic stuff, but 
just be myself. I have some very definite 
plans, but I can't tell you any more about 
it. (What can you do with a guy like 
that?) I'm making a lot of recordings but 
I can't say for whom, and I'm planning a 
concert tour also of semi-classical songs, but 
I can't tell you any more about that 
either." 

"Your ambitions are noticeably on the 
serious side," I remarked. 

"Yes. I admire John Charles Thomas 



Best 



Kenny Baker Visits Your 
Loudspeaker Frequently 
And He Is Welcome In 
Millions Of Ho mes. 



B 



y 



Ptiyl[{s=/Marie /Vrtrmr 



very much, and hope to 
sing on the concert stage 
and with the great sym- 
phony orchestras like he 
t.oes." 

"Presumably you prac- 
tice along with your radio 
program, for the clay 
when you may do this." 

'Yes, I practice two 
hours every morning." 

"Which reminds me, 
Kenny, of my second 
point. All this about your 
being retiring. What do 
you do for amusement? 
How do you spend your time? I never see 
you in restaurants, or at previews or par- 
ties." 

"Y'ou bet you don't," he said. "I like to 
eat at home, in the kitchen. Restaurants 
always seem pretty expensive. And I hate 
parlies." 

"Suppose you tell me what you have 
been doing today. Ma) be that will i \ l- 
us an idea about your passing hours." 

"All right. I try out my voice every morn- 
ing, the minute I wake up, to sec if it 
works. After breakfast, dining which I read 
the newspapers to niv wile's disgust, I de- 
vote some time to reading the classics." 
[Conliniicd on page 6|] 



59 




Gloria Stuart, Shirley Temple and Helen Westley in 
"Rebecca of Sunnybrook Farm." (Right) Carole Lombard 
and Fernan Gravet in "Fools for Scandal," a comedy of 



J' 



Nelson Eddy and Jeanette MacDonald in 
"Girl of the Golden West." 



BULLDOG DRUMMOND'S 
PERIL 

The Dashing English Detective "Comes 

Through" Again— Par. 
THE EXCITING and enjoyable Bulldog 
1 Drummond series continues with this 
highly entertaining new episode. Drum- 
mond is on the verge of being married to 
the charming Miss Clavering in Geneva, 
Switzerland, when a detective hired to 
watch the wedding presents is murdered, 
and a synthetic diamond disappears. 

The lure of action is too much for Drum- 
mond and, accompanied by the faithful 
Algy, and his very British butler, he flies 
to London in hot pursuit of the suspected 
murderer. There he becomes thrillingly in- 
volved with a gang of cut-throat crooks who 
are intent upon stealing and destroying the 
famous synthetic diamond formula. 

John Howard again portrays Bulldog 
Drummond, and, as before, John Barrymore 
is Inspector Neilson, Reginald Denny is 
Algy and E. E. Clive is the butler. Louise 
Campbell is sweet as the love interest and 
Porter Hall is most effective as a villain. 



THE GIRL OF THE 
GOLDEN WEST 

That Quaint Old Melo- 
drama—Set to Beautiful 
Music-MGM 
EANETTE MacDON- 
ALD and Nelson Eddy 
are teamed again, much to 
the "ecstatic pleasure of 
their fans, in this story of 
early California which used 
to bring gooseflesh and 
tears to a past generation. 

Jeanette plays "Gal," who 
very efficiently runs the 
Poker, a saloon and gam- 
bling joint, during the 
week and sings like an 
angel in the Monterey choir 
on Sundays. Nelson of 
course is the romantic 
bandit who becomes an 
honest man, and Walter 
Pidgeon is this year's 
Sheriff Jack Ranee. 

The scene where the 
drops of blood fall on the 
sheriff's hand is still there 
—and so is the scene where 
Gal plays a little stud poker 
with Sheriff Jack for her 
lover's life. Gosh, how our 
parents went for that. 

The picture is lavishly produced, pho- 
tographed in sepia,' and has perfectly 
thrilling outdoor scenery. But the high 
spots are the songs. Jeanette sings Gounod's 
"Ave Maria" and Liszt's "Liebestraume." 
Nelson sings "Soldiers of Fortune" and 
"Senorita." Alone and together they sing, 
"Shadows on the Moon," "Who Are We 
to Say?" and "The Wind and the Trees." 
There's a very exciting spectacular num- 
ber called the "Mariachi." 

In the supporting cast are Buddy Ebsen, 
Noah Beery, Priscilla Lawson and Brandon 
Tynan. H. B. Warner again makes an 
excellent Padre. 

REBECCA OF SUNNYBROOK 
FARM 

A 1938 Version of This Childhood 
Favorite— 20th Century-Fox 
YY/ELL, you'd never know the old Farm 
W now. And it's a cinch the author. Kate 
Douglas Wiggin, would never recognize it. 
For Hollvwood's Number One Box Office 
star, little Miss Shirley Temple, the old 



romance. 

Farm has been equipped with a broadcast- 
ing station and a whole slue of new char- 
acters. 

The story has to do with Randy Scott's 
endeavors to sign Shirley on a radio con- 
tract as "Little Miss America" of the 
Crackly Grain Flakes radio hour. Despite 
the efforts of Shirley's Aunt Miranda, 
played by Helen Westley, and her vulgar 
step-father, played by William Demerest, 
Randy succeeds in signing her, and nat- 
urally she is the sensation of the air waves. 

Shirley is excellent in all her song and 
dance routines— especially noteworthy being 
her rendition of "An Old Straw Hat," 
"Crackly Grain Flakes," and a specialty 
where she sits at the piano and reminisces 
about all her old songs. She had the pre- 
view audience in stitches when she brought 
a few fast steps of the Susy Q and the 
Big Apple into the "Toy Trumpet" finale, 
which she danced with Bill Robinson. 




Phyllis Brooks and Gloria Stuart, both in 
love with Randy, are there for love com- 
plications. Greatly assisting in the comedy 
are Jack Haley, Slim Summerville and 
Franklin Pangborn. 

MAD ABOUT MUSIC 

You Will Want To Sit Through This 
Twice— U 

FNEANNA DURBIN'S newest picture is 
really something to tear your shirt 
about. It is the best of the Durbin pictures, 
which is certainly not faint praise inasmuch 
as they have all been smash hits. But this 
time Deanna proves that she is a very 
talented, emotional actress and that her 
success in pictures doesn't depend upon her 
ability to sing. 

She does sing four songs in the picture, 
"I Love to Whistle." "Chapel Bells," "Ave 
Maria." and "Serenade to the Stars"— but 
this time the play is the thing. 

Herbert Marshall is splendid as the com- 
poser. Gail Patrick is warmly sympathetic 



60 



Thurston Hall, Mary Astor and Melvyn Douglas in 
"There's Always A Woman." (Right, above) John How- 
ard, John Barrymore and Porter Hall in "Bulldog Drum- 
mond's Peril." 



as the movie star mother of Deanna. Ex- 
cellent in the supporting cast are Marcia 
Mae Jones as Deanna's chum, Jackie 
Moran as her shy boy friend, Elizabeth 
Risdon and Nana Bryant as her teachers, 
William Frawley as a manager, and Ar- 
thur Treacher as a valet. This is one of 
those please-don't-miss pictures. 

THE FIRST HUNDRED YEARS 

Young Marriage On the Skids— M-G-M 
DOBERT MONTGOMERY and Virginia 
^ Bruce play a young married couple with 
conflicting careers. Virginia wants to con- 
tinue her agency job in New York, and Bob 
wants to build ships in Connecticut. Vir- 
ginia says they can see each other on week- 
ends but Bob isn't content with a week-end 
wife. 

So what? So they seek a legal separation. 
Bob tries to forget about Virginia with 




Binnie Barnes, and Virginia tries to forget 
about Bob with Lee Bowman— but they 
find out that they can't live without each 
other. 

FOOLS FOR SCANDAL 

The Adventures of A Film Star In 
London— WiS 
(^AROLE LOMBARD, in her newest pic- 
^*- / lure, plays a Hollywood movie star 
who is making a picture abroad. All done 
up in a dark wig, incognito as we call it, 
she week-ends in 'Paris and there meets a 
most fascinating and enchanting young man 
—none other than France's gift to America, 
Fernand Gravet, who had women swooning 
in the aisles after his American debut in 
"The King and the Chorus Girl." 

Carole is just about to become engaged 
to a dull and determined insurance agent, 
Ralph Bellamy, but when she discovers the 
fascinating Gravet she falls for him com- 
pletely, despite the fact that he is such 
an impoverished young man that even his 




clothes are owned 
by a pawnbroker. 
He manages to 
get himself a job 
as chef in Carole's 
London house, 
which involves 
her in a fine 
scandal, and then 
when he has won 
her from the 
phlegmatic Bel- 
1 a m y he an- 
nounces quite 
casually that he 
is a marquise. 

The story, un- 
fortunately, is not 
all it should be 
and Carole and 
Monsignor Gravet 
have to work aw- 
fully hard to 
cover up the plot. 
Carole proves 
again that she is 
one of the screen's 
top comediennes. 
For no reason 

whatsoever there are two songs intioduced 
in the picture, "How Can You Forget" 
and "Food for Scandal." In the supporting 
cast are Isabel Jeans and Marcia Ralston 
as catty English ladies, Marie Wilson as 
Carole's maid, and Allen Jenkins as 
Gravel's stooge. 

JEZEBEL 

Good Solid Drama of the Old South— WB 
DETTE DAVIS is one of the few actresses 
^ in Hollywood who doesn't care whether 
or not she plays saccharine and sympathetic 
ladies on the screen, with every wave in 
place. She is also one of the few actresses in 
Hollywood (Barbara Stanwyck is another) 
who can really act. The meaner the char- 
acter, the better she can tear into it. 

As the New Orleans Jezebel of 1850 
Bette is magnificent. She plays a spoiled, 
self-willed young girl of that romantic 
period in Americana when convention de- 
manded that unmarried ladies wear only 
white at parties. So, at the big Mardi Gras 
ball, Bette wears red. 

When the man she loves marries a 
"Yankee" girl she sets out to win him back 
no matter what the cost. Spitefull) she 
instigates a duel which goes awry and ends 
in death. After that the lew friends she 



Deanna Durbin and the 
charming English com- 
poser, Herbert Mar- 
shall, who poses as her 
father for the benefit 
of her doubting school- 
mates in "Mad About 
Music." 



has left turn against her quite' definitely. 

But the close of the picture finds her on 
her way to redemption, for it is she, not 
the wife, who accompanies the man she 
loves to the dreaded Lazarette Island where 
the victims of yellow fever await their doom. 

Henry Fonda plays the young man Bette 
loves so passionately, and George Brent 
plays "Buck," a kindly young Southerner 
whose death in a duel is the result of 
Belle's spitefulness. Richard Cromwell is 
outstanding as Fonda's younger brother 
and the scene in which he tells off Bette 
brought applause from the preview audi- 
ence. Margaret Lindsay is excellent as the 
bewildered young bride from the North. 
Fay Bainter is perfection itself as Bettc's 
aunt, a gentle Southern woman who ;done 
seems to understand her reckless, rebellious 
niece, flic gruesome scenes depicting the 
fever hysteria in superstitious New Orleans 
arc pari i( ulai l\ clle< I ivc. 



61 



Club 
Luncheons 

en Entertaining 
Your Fellow=A4.embers 
It Is Interesting To 
Experiment With New 
And Novel Diskes. 

By Ruth CorDin 

(All recipes pre=tested) 




a T THIS time of the year we usually 
r\ like to put our best foot forward with 
* * a gaiety and freshness to match this 
best beloved of all seasons, Spring. These 
club luncheon specials will do for either 
parties or every day meals. This first one is 
really quite substantial. 

BROILED FILET MIGNON 
Cut y 4 inch thick filets from beef ten- 
derloin, 1 per person. Place filets on cen- 
ter of broiling rack about 3 inches from 
flame. Leave oven door partly open. Brown 
on one side, season with salt and pepper, 
turn and brown on other side. Season 
second side and serve immediately from 
kitchen on individual plates with broiled 
tomatoes, prepared by slicing the stem off 
the tomatoes and sprinkling with buttered 
bread crumbs mixed with a little tomato 
pulp. The whole is then sprinkled with 
Parmesan Cheese and paprika; and aspar- 
agus tips with either melted butter or 
cheese sauce. If you prefer you may use 
stuffed tomatoes instead of broiled. Ten 
minutes is required for broiling a rare 
steak, 15 for medium and about 18 minutes 
for well done. 

CHEESE SAUCE 
This is nothing but plain white sauce 
into which Kraft's American Cheese has 
been grated and allowed to melt. 

STUFFED TOMATOES 
Slice off stem end from as many toma- 
toes as needed. Scoop out centers. Put a 
little butter in skillet. Fry in this about 
2 slices minced onion and a ring or two of 
chopped green pepper. Add tomato pulp, 
bread crumbs (about 3/J to 6 tomatoes), salt, 
pepper and celery seed. Simmer until the 
whole cooks down and thickens sufficiently 
to fill tomato cups. Sprinkle a few bread 
crumbs over top of each tomato and bake 
until top is lightly browned. 

ROYAL PINEAPPLE 

A dessert fit for a king— or a queen. Slice 
off cap from a pineapple and cut out pulp 
without damaging shell. Break up pine- 
apple with 2 forks, add other fresh fruit 
such as dessert pears and grapes, sprinkle 
with sugar. Pour about \/ z a cup of kitsch 
over this and allow to macerate several 
hours. Fill pineapple shell with fruit, top 
with dome of whipped cream and decorate 
around edge with purple grapes and glace 
cherries: 

An unusual luncheon combination is 
spinach and salami with egg garnish and 
potato and cheese puff. Pineapple pie is 
served for dessert. Spinach is prepared and 



Maureen O'Sullivan tries her luck with strawherry 
shortcake. She's expecting some guests for luncheon. 



cooked as usual. Never use water in cook- 
ing spinach. It destroys much of the nat- 
ural flavor. When spinach is done season 
with salt, pepper and a little butter. Add 
salami in strips or diced and heat spinach 
thoroughly. 

POTATO AND CHEESE PUFFS 
2 cups hot riced potatoes 
2 tablespoons butter 
y 3 cup hot milk 
i/2 cup grated cheese 
1/2 teaspoon salt 

1 teaspoon pepper 

2 eggs slightly beaten 

Mix all ingredients. Put into greased 
muffin tins or, preferably, individual cus- 
tard cups. Bake in moderate oven (350° F.) 
30 minutes. Serve immediately. 

PINEAPPLE PIE 

1I/2 cups milk 

2 tablespoons cornstarch 

2 eggs 

2 tablespoons Domino 4X Sugar 

i/2 cup Domino granulated sugar 

i/ s teaspoon salt 

1 cup Del Monte crushed pineapple 

i/2 teaspoon vanilla 

I once won a prize with this pie and 
you may too, if you make it. Heat milk. 
Mix sugar, salt and cornstarch and add 
hot milk slowly. Cook in double boiler 
until thick and cornstarch is thoroughly 
cooked, about 30 minutes. Pour this mix- 
ture over beaten egg yolks, return to double 
boiler and cook until egg thickens— about 
3 minutes. Cool and add well-drained, 
crushed pineapple and vanilla. Pour into 
baked pie shell and cover with meringue 
made of stiffly beaten whites and powdered 
sugar. If granulated sugar is used 2 level 
tablespoons are required for each white. 
Brown quickly in hot oven. 

Just now the markets are full of straw- 
berries and pineapples and when and 
wherever possible use them in your menus 
for salads, desserts and even as a garnish or 
seasoning for main dishes. 

Another well balanced combination con- 
sists of chicken and fresh pineapple salad, 
Chinese eggs and strawberry shortcake. 

CHINESE EGGS 
14 cup rice 
2 hard cooked eggs 
1 tabs chopped green peppers 
1 tbsp. canned tomatoes or Crosse 



and Blackwell Tomato juice 

Salt and pepper 
1/2 cup grated cheese 
1/2 tsp. chopped onion 
Y 3 cup milk 

Cook rice in boiling, salted water until 
tender. Drain well. Season salt and pepper 
and spread on a Pyrex baking dish. Cut 
hard-cooked eggs lengthwise, remove yolks 
and mix with about i/ 8 cup cheese, green 
pepper, onion, tomato pulp or juice and 
seasonings to taste. Stuff whites and arrange 
on rice. Pour around eggs a sauce made 
with remaining cheese and milk, cooked in 
double boiler until cheese is melted. Place 
dish in moderate oven, 350° F., for 20 min- 
utes or until well heated and eggs begin 
to brown. 

CHICKEN AND FRESH PINE- 
APPLE SALAD 
1I/2 cups cooked, diced chicken 
1 cup diced celery 
14 teaspoon salt 
i/2 cup fresh pineapple 
34 cup Kraft's Mayonnaise 

Toss all ingredients, except mayonnaise, 
together lightly and chill. Before serving 
add mayonnaise. Serve on crisp romaine 
and garnish with ripe olives and additional 
mayonnaise. 

OLD-FASHIONED STRAWBERRY 
SHORTCAKE 
1I/2 cups sifted Gold Medal Flour 
114 teaspoons Royal Baking Powder 
1/2 teaspoon salt 
1 tablespoon sugar 
Sugared strawberries 
14 cup Crisco 
1 well beaten egg 
6 tablespoons milk 
Soft butter 
Whipped cream 

Mix and sift dry ingredients, cut in short- 
ening, add egg and milk to make a soft 
dough. Pat or roll into 2 equal size rounds. 
Brush one round with soft butter, cover 
with other round and bake in a very hot 
oven (450 0 F.) 12 to 15 minutes. Split, 
spread with butter, put strawberries and 
whipped cream between layers and on top. 
Dot generously with more berries and pour 
over and around each serving a little of 
the juice. If you prefer sponge cake instead 
of the old-fashioned shortcake biscuit it 
will be simpler to buy it from your bakery 
and continue as above. 



62 




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cleansing cream in one. Pond's 
new Cold Cream does so much 
more for my skin." 

Mks. A. J. Drexel, III 




Today— more and more 
women are using this 
new cream with 

"Skin-Mtamiif 




THE first announcement of Pond's "skin-vitamin" Cold 
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women tried the new cream. 

And steadily your demand has increased for this new cream 
that brings to women such important new aid to skin beauty. 

For years, leading doctors have known how this "skin- 
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And also how skin may grow rough and subject to infections 
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Then we tested it in Pond's Creams! In animal tests, skin 
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Use this new cream in your regular way for cleansing and 
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the use of the new "skin-vitamin" cream does bring to your 
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SBND rOK 

Same jars, same labels, same price frit 

Now every jar of Pond's Cold Cream you buy contains this 
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same jars, with the same labels, at the same price. 



Tune in on "THOSE WE LOVE," Pond's Program, Mondays, 8:30 P.M., N.Y.Time, N. B.C. 



"SKIN YOUNGER . . . The new Pond's Cold Cream with 
'skin-vitamin' has made my skin smoother and younger, 
the colour fresher— within just a few weeks." 

Lady Margaret Douglas-Home 



TEST IT IN 9 TREATMENTS 

Pond's, Dept. 7SS-CS, Clinton, Conn. Rush special lube of Pond's 
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of 2 other Pond's "skin-vitamin" Creams and 5 different shades of 
Pond's Fuce Powder. I enclose 10( to cover postage and packing. 



Street. 



City. 



Stale 



Copyright. 193$. Pond's Exlrarl Omiiuuiv 



Silver Screen 



63 




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WAKE UP YOUR 
LIVER BILE... 

Without Calomel — And You'll Jump 
Out of Bed in the Morning Rarin' to Go 

The liver should pour out two pounds of liquid 
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 
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A mere bowel movement doesn't get at the cause. 
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drug stores. Stubbornly refuse anything else. 



One of the Best 

[Continued from page 59] 

I wanted to know what classics. 

"Oh, trout culture, and about bees," was 
the startling reply. "I want a ranch some- 
day and I want to be able to stock ii in- 
telligently." (The guy plans and works 
for everything. But more about that later.) 

"I vocalize (the word is his) from ten 
until lunch time. Go over the songs for 
two Benny shows with my arranger. Today 
I dictated some letters answering those from 
fans. After lunch I practiced until two 
o'clock, then went over some plans with 
my gardener." Kenny likes to speak Spanish 
with this gardener, whose name is Gon- 
zales, but whom he insists on calling Gor- 
ganzola. "At three I had an interview with 
you. At four (his very ingenious way of 
telling me how much time I might have) 
I'll be in another conference with my 
gardener about some trees I'm planting. At 
six there'll be dinner. At seven Ml listen to 
the radio, and later some friends will prob- 
ably drop in for poker." (He doesn't con- 
sider that penny ante is gambling.) "And 
if I'm lucky my tortoise shell cat, Checkers, 
will have kittens. That cat is so prolific I 
call her the sweetheart of San Fernando 
Valley," he concluded. 

Who said Baker was colorless. Hah! 

"Aren't you building a new home?" 

"Yes, a two-story American Colonial on 
Mulholland Drive. You'll be able to see a 
beautiful view from every possible direc- 
tion. I'm working on the decorating now." 

It may have occurred to you as it did 
to me, that a twenty-six year old young 
man who, five years ago, didn't have a 
nickel, was doing all right in his quiet 
way, to be building a new home, supporting 
a wife and child (another child is expected), 
owning three automobiles and countless 
other expensive possessions. So my third 
"How come" was how did he manage? 

"I save money to spend," said Kenny. 

"Budgets?" 

"Not exactly. The bank takes care of 
everything. You see I came from practically 
no salary to a four figure one. There wasn't 
any in between stage, or any gradual work- 
ing up to the proper control of finances. I 
was broke, then all of a sudden had plenty. 
Well, after an income reaches a certain size 
it's very complicated. If you try to keep 
your own books you get jumbled. So I put 
all my assets into a trust fund. The bank 
pays my bills and gives me $50 a month 
allowance. I have a special account for my 
income tax. The bank hands me a state- 
ment at the end of the year and I send it 
in to the government with the money in 
the account. So I haven't any financial 
worries at all." 

I couldn't refrain from commenting on 
his remarkable level-headedness. "Did Mer- 
vyn Le Roy help you attain this clear- 
sighted attitude toward Hollywood?" 

"Oh sure. Mervyn has guided me in 
stories and through the intricate steps of 
making a career here. And they are plenty 
intricate." 

I reflected that they were in his case. 
Kenny Baker, one of the few radio amateurs 
to make good, won a successful audition 
by rehearsing a month with a guarantee of 
one week. His professional work began on 
K Q E R in 1931, when he gave one per- 
formance on Madame Jennie's Hour, free 
of charge. In 1932, he appeared with the 
N'ovis singers on K N X as a soloist. This 
engagement got him an Easter service in 
Monrovia, two services for ten dollars. He 
cracked on high notes at both perform- 
ances. That same year he talked Ted Bliss 
of K F O X into giving him a quarter of 
an hour twice a week for the experience. 
He did this for six months. 

In 1933 Kenny joined the Cardinal Quar- 



tet at California Christian College, singing 
on K H J, K F A C and K N X. He quit 
the quartet in February 1934, joined Hal 
Roberts and his orchestra at the Biltmore 
Bowl and stayed nine weeks. In November 
he became a member of the Uptowners 
Quartet, staff artists on K F W B and was 
on Hollywood Hotel. The Texaco contest 
program on K H J, work as soloist with 
Maylin Merrick and, finally, his winning 
the Eddie Duchin contest over 800 Cali- 
fornia entrants concludes a brief glance at 
his radio beginnings. 

Today, with 500 appearances on the 
radio to his credit, Kenny Baker still prays 
every time he sings, still hates visible audi- 
ences, still gets so nervous that he must 
chew gum, and says that he's more scared 
every time he goes on the air than the time 
before. He's very temperamental. Never 
sings a song the same way twice. Won't 
listen to any of his own records. Doesn't 
think he's quite ready for that show of 
his own he's planning. "Wants to do shows 
other than the Benny program. Attributes 
his success to sincerity of purpose and ad- 
mits his philosophy is "keep at it, never 
give up." 

Kenny sleeps in flannel pajamas in a 
Mexican hammock ... he never, never 
gambles, but he has a slot machine in his 
own home and plays it with slugs ... he 
ran away to get married ... he once 
wanted to be a sailor . . . O'Neill is his 
favorite playwright but Baker spells it 
"O'Neal" ... he remembers his wedding 
anniversary date, May 6 ... he rows a boat 
in his swimming pool in the winter and 
sometimes swims in the coldest weather . . . 
his Irish terrier's name is Yabut ... he 
lists his violin and piano playing as 
"idiosyncrasies" ... he never carries enough 
money and is always finding himself in 
embarrassing situations because he doesn't. 

He answered "No" to the question "Are 
you an extrovert or an introvert." 

He doesn't care what happens as long as 
he can sing somewhere. He wants to be 
remembered for his singing and acting (pic- 
tures, he leels, send up his radio stock.) 
When asked "What epitaph would you like 
to see on your tombstone,'' he said "I'd like 
to be able to see any." 



Agility — -Joy — And 
Ginger ! 

[Continued from page 34] 

tion, but it wasn't luck that continued the 
partnership. The public liked the team, 
insisted that it be continued, and Ginger 
Rogers had completed the trip from the 
Majestic Theatre, in Fort Worth, to Holly- 
wood stardom 

Apart from Irene and Vernon Castle, no 
team ever did so much to make the world 
dance-crazy as this partnership of Fred 
Astaire and Ginger. When they came to the 
screen, ballroom dancing came back to full 
(lower. Dime-a-dance-places never did the 
business they experienced at that precise 
moment. Night clubs and hotels reported 
the same increase. Dance bands that hadn't 
worked regularly in years suddenly were in 
great demand. 

At Madison Square Garden, as M. C. of 
The News' Harvest Moon Ball, I received 
convincing proof of Ginger Rogers' enorm- 
ous popularity. I'd introduced Mayor La 
Guardia, Jack Dempsey and other celebs to 
the audience of 20.000 dance fans. Then I 
introduced Ginger Rogers and the ovation 
1 hat broke loose was almost terrifying. 

Perhaps she was thinking, as she acknowl- 
edged the applause of 20.000 New Yorkers, 
of her first timid appearance in New York, 
at the I'ai amount Theatre. I know that I 
was. 



64 



S I L V I: R SCREEN 




HELP WANTED 
. . . WOMEN ! 



Neglect of Intimate Cleanliness 
may cost a Woman all her Happiness 



Women . . . any woman . . . you . . . 
are foolish to risk offending by 
neglect of personal daintiness. Your 
happiness, and even the security of 
your home may rest on a dependable 
method of intimate feminine hygiene. 
Use the "Lysol" method. 

Often the very nicest and loveliest 
women are at fault. How horrified 
they'd be if they knew! No one warns 
you. The offense is too personal. Yet 
so many women would benefit by giv- 
ing this subject honest thought. Ask 
any experienced family doctor. 

The fact often is — your fussiest 
bathing, your loveliest beauty aids, just 
cannot make you completely clean, 
sweetly nice. People may notice; your 
husband surely will. And may think 
you are carelessly neglectful. To be 
sure of not offending, use a more 
thorough method of feminine hygiene. 
Use the wholesome, efficient method 
that many doctors and nurses recom- 
mend — the use of "Lysol" disinfect- 
ant in proper dilution with water. 

Thousands of happy women every 
day thank "Lysol" for its assurance of 
thorough intimate cleanliness. Many 
doctors and nurses, clinics and hospi- 
tals prescribe this effective antiseptic 




"LYSOL", by giving greater assurance of intimate cleanliness, 
helps many a woman to save her personal happiness and home. 



douche as a method of feminine hy- 
giene. You can buy "Lysol" disinfect- 
ant in any drug store — with detailed 
directions for use on every bottle. 

You must surely read these six reasons 
why " Lysol" is recommended for your inti- 
mate hygiene — to give you assurance of 
intimate cleanliness. 

1— Non-Caustic . . . "Lysol", in the proper 
dilution, is gentle. It contains no harmful 
free caustic alkali. 

2— Effectiveness . . . "Lysol" is a powerful 
germicide, active under practical conditions, 
effective in .the presence of organic matter 
(such as dirt, mucus, serum, etc.). 




3— Spreading . . . "Lysol" solutions spread be- 
cause of low surface tension, and thus vir- 
tually search out germs. 

4— Economy . . . "Lysol", because it is concen- 
trated, costs only about one cent an applica- 
tion in the proper dilution for feminine 
hygiene. 

5— Odor . . . The cleanly odor of "Lysol" 
disappears after use. 

6— Stability . . . "Lysol" keeps its full strength 
no matter how long it is kept, no matter how 
often it is uncorked. 



Also, try Lysol Hygienic Soap for bath, hands 
and complexion. It's cleansing, deodorant. 

What Every Woman Should Know 

SEND THIS COUPON FOR "LYSOL" BOOKLET 
LEHN & FINK Products Corp., 
Dept. S-S. S. t Bloomfield, N. J., U. S. A. 

Send tne free booklet "Lysol vs. Germs" which tells th? 
many uses of "Lysol." 



Name- 



FOR FEMININE HYGIENE 



Street- 
City- 



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CopyriKht 1933 by Lchn <£ Fink Products Corr>. 



Silver Screen 




NONSPI IS SAFE 

Thanks to Nonspi, women with sensitive skin 
can now enjoy full-strength underarm protec- 
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Band Leaders Know 
the Answers 

[Continued from page 31] 
drink too much and don't pretend to get 
drunk at the smell of a cork. That's kid 
stuff and shows you haven't been around 
much. And if you are trying to restrain 
him from taking too much, or want to 
decline one yourself, don't freeze him with 
a foreclosing-on-the-old-homestead voice. 
That chill will get you no warmth in affec- 
tion. There really isn't anything to take the 
place of a gracious 'I'm really not a good 
drinker,' when you want to bow out of 
the next round." 

Here then, neatly packaged, are some of 
the big reasons lor the lack of repeat dates. 
If you'll read them carefully, you'll find 
that perhaps in one of them lies the ruins 
of your own wrecked romance. As to what 
to do next, these men who would rather 
that you were dancing to than silting out 
their music, sum it all up in two words- 
EE YOURSELF. After all, the original pat- 
tern must have been pretty interesting or 
he wouldn't have asked you out in the first 
place. Then, why change, and thereby run 
the risk of spoiling tBe original attractive 
design? 

So here's a prayer for a speedy exit from 
the one-date only class, into the repeat date 
stage with someone who will ask you to be 
his steady date forever after. Here's hoping 
that when the lime comes, he'll say it while 
dancing, to the music of one of these fine 
orchestras. 



Flashshots 

[Continued from page 29] 
Jane Wyatt is a great friend of the 
Stephen Etniers and she and her husband 
were with them a great deal while they 
were here in New York. Stephen Etnier 
is a young painter who already has a pic- 
ture in the Metropolitan, and his wife, 
Betsy, wrote the best seller "On Gilbert 
Head" which is about their island in 
Maine. 

William K. Howard, the ace director, 
seemed to enjoy himself thoroughly in New 
York, and gave a large party at "21" to 
repay all the people who had been so nice 
to him and his wife. Gertrude Lawrence, 
who was with him when I took his photo, 
is, in the very successful play "Susan and 
God." 

Larry and Jane Tibbett are always great 
fun and I know of no couple who seem 
to get as much pleasure out of each other's 
company. Larry was thrown from his horse 
while riding recently and got badly cut on 
the forehead. Lor a while they were afraid 
of a bad scar, but in little less than a 
month it didn't show at all. 

At El Morocco, Tullio Carminatti and 
Mrs. Harrison Williams, who is one of the 
best dressed women in America and one 
of the most charming persons in New York 
societv, seemed to find pleasure in one an- 
other's company. Tullio just returned from 
Europe where he has made several pictures. 
As I "flashed" them, Mrs. Williams turned 
and said: "Why, you Peck's Bad Boy!" 

One evening Wallace Ford dropped in 
at the club after his performance in "Of 
Mice and Men" on Broadway. I "flashed" 
him just as Albert Chaperau, a stranger 
10 Ford, was trying to induce him 10 join 
his party. 

P. S. Gloria Swanson just called up to 
say she's here in New York, where she is 
going to make her home, and is camping 
out in her apartment wailing for her fur- 
niture to arrive from California. Next 
month I hope to have some amusing shots 
to show you of her new place. 



True Story of a Holly- 
wood Girl 

[Continued from page 21] 
average was around S200 a year. 

By this time, I was pretty discouraged. 
I'd had chances handed me on a silver 
platter during the early days of my career, 
and these same chances snatched away. I 
wasn't unlucky, remember that. I was just 
getting the breaks the average Hollywood 
aspirant gets. I never felt sorry for myself, 
because I saw the same thing going on all 
around me. 

And, another thing. During the years I 
was an extra, with the scores of pictures in 
which I worked, with my wide acquaintance 
and my "contract" background and pub- 
licity, no director ever singled me out in 
a crowd and said: 

"Here's your big chance, girlie." 

There was another thing that "did me no 
good." In the early days of my career, one 
of the major studios brought to the coast 
a rising young star from the stage. It 
seemed funny that two people from dif- 
ferent parts of the world, who had never 
then met, and have not to this day, could 
look so much alike and have almost the 
same mannerisms. But that is just what 
happened. 

I did not realize just how much we re- 
sembled each other until one evening, go- 
ing into the Ambassador Cocoanut Grove, 
I was accosted by a timid little tap on my 
arm. Turning around I saw a pretty little 
girl of about 15 on crutches and obviously 
a hopeless cripple. Her parents had brought 
her to the warm sunshine of California, 
hoping against hope for a cure. The child 
called me by the name of the young stage 
star, whose picture was out on the boards, 
and a huge success— and asked for an auto- 
graph. 

Somehow, I didn't believe the star would 
mind this masquerade just once. So, I 
signed the autograph book and she went 
away beaming. 

However, this did not benefit my career 
—everywhere I heard: "You look so much 
like Miss So-and-So." To this day it is 
not generally known that it was Dixie 
Davis who posed for a national publicity 
campaign instead of the star, who was not 
available that day. 

Here's a warning— don't come to Holly- 
wood because you are told you look like 
some reigning favorite. You'll find a further 
handicap added to the long list which is so 
apparent in the story I'm telling. 

About three years ago, I stopped waiting 
for calls, stopped rushing around aimlessly, 
stopped hoping and seeing success just 
around the corner. For awhile I worked 
as secretary for a publicity man. Then, I 
went back into the agency business as a 
secretary. Occasionally I earned extra money 
modeling in fashion shows. My dream of 
becoming a glamorous screen star was no 
more. 

In December of 1936 a friend of mine 
talked to Cecil B. DeMille about me. , 

On Christmas Eve of that year he sum- 
moned me, offered me the position of field 
secretary and personal script girl. Two 
weeks later, I went to work. 

Mr. DeMille, with a staff of writers, was 
working on "The Buccaneer" script. I sat 
in on all story conferences, taking dictation, 
noting who said what, endeavored to read 
as much as I could on the subject of "Jean 
Lafitte." When Mr. DeMille, accompanied 
by his staff, went into the marshes and 
bayous of Louisiana to conduct further re- 
search work and look for locations, I went 
along with my notebook, making note of 
evei \ thing he said. 

For the first time I began to realize what 
went on back of a camera. I saw a picture 
gtow from an idea in a man's mind— to 
script form— to actual filming— to preview— 



UDINX 

MASCARA 



66 



Silver Screen 



to release. For the first time I realized how 
it felt to share in a small way in a great 
accomplishment, to become part of an or- 
ganization headed by a man who knew his 
business thoroughly and completely. Mr. 
DeMille's fine devotion to detail, his pain- 
staking search for accuracy makes it a joy 
to be associated with him. 

He is a real task-master. What work! He 
talked and thought of nothing but "The 
Buccaneer." My day started very early in 
the morning and ended long after the aver- 
age "Mr. Citizen's" dinner hour. Then there 
were private showings of films at Mr. De- 
Mille's home for the purpose of studying 
and seeing players, and various other pur- 
poses. 

And so, I wind up behind the cameras. 
My work today is vitally interesting, com- 
pletely satisfying and lucrative— so, why 
should I envy anyone else? 

If I hadn't had the acting side of it, I'd 
probably still be wild to get a break and 
might even be striking poses in front of 
Mr. DeMille until he banished me from 
the office. 

Where do I go from here? 

I'd like to be a writer. 

My conversations with other script girls 
have shown me that most of them have 
this same ambition. It is a desire which is 
seldom gratified, yet enough of the girls 
have done it to prove it's possible. After 
all, why shouldn't we turn naturally to 
writing? 

Consider Dorothy Karnes, once a script 
girl. Today I understand she is in New 
York City, a successful writer, credited with 
"Death Takes a Holiday." Then there is 
Virginia Van Upp, the titian-haired ex- 
child star with a background of work in 
agents' offices, casting offices— even as I— 
who today is working at Paramount as a 
writer, credited with work on such a screen- 
play as "Swing High, Swing Low," with 



Bob Hope cad- 
dies to pay a 
wager that he 
lost to Bing 
Crosby. 





Carole Lombard and Fred MacMurray, and 
other productions. Then there's Isobel 
Stuart, who still holds script, but who has 
found her experiences so interesting she has 
written about them for national magazines. 

Sarah Mason is also a successful writer, 
married to Victor Hermann, once a direc- 
tor, now also a writer. And Mary Gibson, 
who writes magazine articles and fiction, 
and Louise Long and Ethel Doherty, who 
have teamed to write novels and short 
stories. Close to writers and directors it is 
natural that we should absorb technique 
and turn to creative work. 

While there is a school which says "once 
a script girl always a script girl," nothing 
could be farther from the truth. Dorothy 
Arzner, famous as the director of "Craig's 



Wife," and other productions, was first a 
script girl. She came to the attention ot 
James Cruze, who made her a film cutter 
and she finally took the next step, that of 
director. Eda Warren, now one of the best 
known film editors in Hollywood, was once 
a script girl. Margaret Booth, also a grad- 
uate of the script ranks, today is an asso- 
ciate producer at Metro-Goldwyn-Mayer. 

Frances Marion, famous for "The 
Champ" and other pictures— she has been 
one of the highest paid writers in Holly- 
wood for years— began as a script girl many 
years ago. Jane Loring, assistant to Pandro 
Berman, the man who runs R-K-O studios, 
once held script. 

In the DeMille organization, girls have 
had exceptional opportunities. Anne Bau- 




Silver Screen 



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Elmer Fryer, the photographer, pushes and pulls 
Kay Francis about to get one of those arty poses. 



chens is now cutting film for Mr. DeMille. 
Emily Barrye acts as an assistant director 
in big mob scenes, such as were seen in 
"The King of Kings," watching the action 
of the women in these scenes. She also does 
writing and research with Harold Lamb. So 
I am simply surrounded with opportunity, 
as you can see. 

Do script girls ever marry players? There 
is one case, and that is an exception to the 
rule. A couple have married directors- 
Miss Mason, mentioned above, is an ex- 
ample—as the result of being closely asso- 
ciated. A script girl often chats with the 
various players— I am told the players are 
much more human, tolerant and unim- 
pressed with themselves these days than 
they were years ago— but the conversation 
never seems to take a romantic turn. The 
truth is that only a small percentage of 
script girls are married. 

The reason for this is that their hours 
are uncertain, they work very hard, con- 
centrate on their business, and don't have 
much time for romance. 

This brings us to the hours which the 
girls work. Until they organized, forming 
the Script Clerk's Guild, unaffiliated with 
any labor organization, they had a work- 
ing week of 57 hours and a base pay of 
$40.50, some of the studios paying higher. 
The guild has secured a 54-hour week, with 
base pay of $50 and straight overtime, ex- 
cept on Sundays, when it is time and a half. 

The Guild, of which I am not a member, 
because I am doing special script work for 
Mr. DeMille at present, and have additional 
duties, has 110 members, of which approx- 
imately 90 are active today. There are more 
than a score of men employed as script 
clerks, most of them being at Metro-Gold- 
wyn-Mayer, where they function almost as 
assistant directors, with girls doing the 
actual clerical work. 

The duties of a script girl on the job 
are very hard. One of the main attributes 
is diplomacy. In proof of this, I offer the 
fact that a masculine clerk is now in the 
diplomatic service in China. His name is 
Bronson Howard. Nerves are strained and 
moments are tense on the set. A tactless 
person hasn't a chance of making good. One 
must speak at just the right time. 

Script girls closely watch background 
action. This means the movements of the 
extras. If, at the end of a scene, a group 
of extras are on the right side of the stage, 
they must be there when the next scene 
is made, not out playing cards or on the 
left side of the stage. They watch fore- 
ground action, making sure that the action 
and dialogue of the principals is the same 
in the long shots and the close-ups. In the 
course of the picture a script girl gets to 
know nearly every line of every part. One 



girl, a bonf mimic, even rehearses the lines 
of such players as Mae West and Marlene 
Dietrich, and gets a lot of laughs. 

It is not only necessary to watch dialog, 
background and foreground action, light- 
ing and a few other odds and ends, but 
costumes, make-up and properties. If a man 
has been soaked in a scene he can't show 
up dry in the scene following unless there 
has been a time lapse, and a change of 
costume. If a player has a black eye or a 
mole on the left cheek, or a grease-smeared 
face, he must have this in the next scene. 
A davenport mustn't miraculously move 
from one side of the room to another. Fur- 
thermore, a director must be watched, so 
that he gets all of his needed scenes. Con- 
sider all the things he has on his mind and 
the fact also that he doesn't shoot in con- 
tinuity, but darts around in his script be- 
cause of production difficulties and arrange- 
ments, and you realize how easy it is to 
forget. 

I have told you how I turned from acting 
to script work. I think I've also given you 
an idea of what a fascinating job holding 
script is, and the opportunities which it 
affords. I haven't mentioned the fact that 
not all script girls work regularly, and that 
many are called in only while pictures are 
actually in production, but all manage to 
work fairly steadily. The marriage rate 
proves that, for only about fifteen percent 
of the girls have had time to get married. 
They usually marry technicians— sound men, 
property men, and cameramen, rather than 
the players. The only explanation I can 
give for this phenomenon is that to the 
script girl the player has very little 
glamour. 

Now, is it possible to go from script 
work to acting, as girls have gone into 
writing and executive positions? The an- 
swer is an emphatic "yes!" But I have 
been unable to find a case where a director, 
needing someone for a scene has pointed 
to a script girl and has said: 

"You are the girl to play this part!" 

Nor is there any record of sudden suc- 
cess, as the result of such a fantastic situa- 
tion. 

However, from time to time studios have 
decided to give the girls on the sets an 
opportunity. They've run tests of secre- 
taries, script girls, stenographers, typists and 
receptionists at various times. Alice White 
was given such a test when she was at First 
National working as a script girl and she 
reached stardom. Another example is Dor- 
othy Wilson, picked from the ranks of the 
script holders at R-K-O. She also made 
good in a big way. 

Having had all that early experience as 
an actress I'm afraid I'll dodge tests of 
anv kind. But I'll try writing any time. 



68 



Silver Screen 



Vacant Lottie! 

[Continued from page 53] 

she might like him if she stopped scrappin'." 

Nicholas Martin did not hear Carlotta 
Lee's name mentioned again until two 
weeks later when he returned from Arrow- 
head with Milton Browne, the staff writer. 
The collaboration on the script had been a 
surprisingly pleasant experience. 

An extensive array of acting talent was 
at once marshalled by the casting director 
and Elsie Manning for the playwright's in- 
spection. His criticisms as to the cast were 
listened to respectfully and when he dis- 
missed all the candidates for the lead not 
even a low moan was to be heard seeping 
from the close walls of the Excelsior studio. 

Joe Ross called Martin into his office and 
toid him not to worry any more about the 
lead for a day or two. "Maybe you'll run 
across somebody outside who'll just fit into 
the star role. I'll take an unknown if you 
have confidence in her." 

Elsie Manning was waiting for the play- 
wright when he came out into the ante- 
room. "Oh, Mr. Martin," she said, "I won- 
der if you'd come out to Malibu tonight 
and have dinner with me? I've a little 
friend I want you to meet. Perhaps she 
could do one of the bits." 

The old actress, taking no chances, picked 
up the playwright that night at his hotel 
and drove him out to the beach in her 
small roadster. As they entered the snug 
cottage a remarkably pretty girl, who had 
been sitting in front of the grate fire, rose 
and was presented to Martin as Dora Par- 
sons. She was a brunette with an unpreten- 
tious but effective bob. He noted approv- 
ingly her charming dark gown and the 
necklace of small, matched pearls which 
he felt, instinctively, were real. The girl 
looked like some one he had seen before, 
but he couldn't trace down the resemblance 
for the moment. 

Miss Manning at once excused herself. 
"I must go to the kitchen and find out 
what that heathen of mine is doing about 
dinner. I'll leave you to entertain Mr. 
Martin, Dora. He doesn't bite even if he is 
an author." 

He glanced down and saw a copy of his 
play on the table. 

"Who's been reading my opus?" He 
picked up the script. 

"I have for one," the girl answered. 

"How did you like it?" 

"It's delightful, but don't you think it's 
a little too subtle for our blunt and blund- 
ering friends of the cinema?" She suddenly 
realized he was staring at her intently and 
asked him why. 

He hesitated a moment and then said, "I 
hope you won't be insulted when I tell you 
I've just realized that you look very much 
like Carlotta Lee." 

"I know I do," she agreed. "Everyone says 
that. But, of course, I'm a brunette and 
she's very blonde." 

He hastened to reassure her. "There's far 
more difference that that. You're charming 
and Carlotta Lee is—" He broke off, not 
knowing just what to say. 

"Poor Miss Lee," she commented. "I can 
see that you don't care much for her." 

"I only met her once. Joe Ross tried to 
palm her off on me for the lead in my 
picture, but I promptly put an end to that. 
She was absolutely impossible." 

"What a wretched hostess I am. I forgot 
to ask you Question Number One in our 
western book of etiquette— how do you like 
California?" 

She gave him a highly flattering glance. 
"I didn't care for it much on my arrival, 
but it seems to be improving rapidly." 

He gave her an admiring look. "Why 
you might be Diana Corbett speaking right 
out of the pages of 'The Dizzy Age.' " Mar- 




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70 Silver Screen 



tin took the play, opened the script and 
handed it to the girl. "Please read that 
scene at the end of the second act." 

Carlotta forgot she was angry and remem- 
bered only the hours of work she had put 
in on the play under the iron mind of her 
coach. She scarcely glanced at the lines as 
she acted out the scene. At the end Martin 
shouted excitedly, "Miss Manning! Oh Miss 
Manning! I've found her!" 

His hostess, very calm, appeared in the 
doorway to the living room. "Well, why be 
so excited about it? I knew it all the time." 

Anxiety settled on the author's counte- 
nance. "But what about Joe Ross?" 

Miss Manning dismissed that worry with 
an airy gesture. "I'll take care of him. And 
now, my children, let's eat." 

After dinner Carlotta and the author 
vanished to the beach with a blanket and a 
couple of soft pillows. 

The girl silently arranged the blanket 
on a smooth patch of sand and then 
stretched herself out on her back looking 
up intently at the sky and listening to the 
lazy swish of the surf. Martin settled down 
beside her and in anything but bright 
Manhattanese murmured, "A penny for 
your thoughts." 

Carlotta answered a little bitterly." When 
you know me better you'll learn that I'm 
not supposed to have thoughts." 

"Don't fence with me," he begged, look- 
ing down at her with a dizzy feeling that 
the world was falling away from them." 
Your face is very beautiful down there. "He 
leaned closer over her. "I can see the stars 
reflected in your eyes." 

And then it all happened. He went into 
a red haze through which he was conscious 
only of her lips. He finally heard a voice 
and realized with some surprise that it was 
his own— and full of self-reproach and 
apology. 

And then she said, "It doesn't matter. I've 
been kissed before." 

"But I can't bear you to think that I'm 
the sort of person who goes about kissing 
people he's just met." His sincerity im- 
pressed her. She dropped slim fingers on 
the back of his hand. 

"After all," she confessed, "you are rather 
nice. And I thought I was going to detest 
you. I mean you're a very important per- 
son and you can make or break me." 

He hastened to reassure her. "You've 
nothing to worry about. No one is going 
to get that lead in the play away from 
you!" 

"Is that a man's promise? No matter what 
happens?" 

"Word of honor." He took her hands 
and pressed them convincingly. 

Joe Ross was at the cottage when they 
returned. Martin spoke quickly to hide his 
confusion. "Oh, I beg your pardon, Mr. 
Ross, do you know Miss Parsons?" 

"Sure I know her. We've even considered 
her for that part in your picture, but I felt 
you'd insist on a big star." 

"I want Miss Parsons. I think she is 
exactly it." 

"You're sure of that?" 

"Absolutely! She read the most important 
scene perfectly." 

"Okay, then." Ross shrugged his shoul- 
ders. "But remember that you picked this 
girl out yourself and I don't want to hear 
any squawks if the camera and the mike 
don't fall lor her the way yon do. And now 
I want you to drive back to town with me 
in my car." 

When the men had gone Carlotta 
dropped into a chair and ceased to be a 
lady. 

"Sweet Mamma! Am I glad that's over? 
By the way, Elsie, just what does 'arid' 
mean?" 

"The Dizzy Age" was rushed into produc- 
tion without the usual snulio fanfare. So 
quietly were the preparations made that 
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not know that the picture was in work. 
Nor was Martin notified that shooting was 
in progress until Joe Ross had seen and 
heard enough of the rushes to be sure that 
Carlotta's work was up to the high mark 
he had set for the picture. Only then was 
the playwright asked to report on the set. 
Though cast and staff had been duly- 
warned a camera man forgot himself after 
a final take of the big scene of the day and 
exclaimed enthusiastically: 

"Gee, I never saw Miss Lee troop off 
footage better'n that! She'll wow 'em in 
this! And how that change to the brunette 
top helps her on the gelatine!" 

Martin, suddenly suspicious, turned on 
the camera man. "I didn't know there was 
anyone named Lee in this cast." 

"No? Say, fellah, who else would be 
playin' a lead on this lot but Carlotta 
Lee?" 

Martin raged up and down the set, pro- 
testing wildly. But no one seemed the least 
interested in his agitation. Authors, sud- 
denly gone mad, were no novelty in the 
Excelsior studio. 

Somehow the playwright lived through 
the night and arose the next morning, 
sane and much chastened. He was on the 
set early and when the star appeared- he 
greeted her with a smile and held out his 
hand. 

"Permit me to congratulate you, Miss 
Lee, on the splendid work you're doing in 
my picture." 

"Then you know?" She seemed much 
relieved." 

"Of course, from the first." He was de- 
termined to save his face. "When I heard 
you read the scene that night at Miss Man- 
ning's I realized you were the only one for 
the part. And 1 enjoyed the little deception 
as much as the rest of you did." 

Carlotta gave him an admiring smile. 
"Big Boy, you're sure game. Come back to 
my dressing van. I've got to get a ton or 
two off my chest." 

She guided him back through dark sets 
to the little house on wheels which followed 
her from stage to stage and as they entered 
said: "I want you to know that the idea 
was not mine. Joe Ross gyped me into it, 
though I'll confess I'd have committed any- 
thing short of murder to nail down this 
part. Please— try to forgive me." 

He found her very contrite— and very 
lovely. She reached out her hands and he 
took them in his. He was much shaken to 
discover that Carlotta Lee thrilled him just 
as thoroughly as Dora Parsons did. 

"I must have been crazy if I ever thought 
you couldn't handle this part," he said. 
"You're wonderful in it." 

She gave him a smile which extracted the 
last sliver of iron from his soul. "Joe Ross 
wouldn't be pleased to hear you saying 
such sweet things to me. But he won't 
bother us today. He's flying to New York." 

Martin's face fell. "How can he leave 
now right in the middle of our picture?" 

"He isn't worried about that any more," 
she assured him. "There's a big fight on 
over Excelsior stock. Sammy Fishbein's try- 
ing to get a lot of Wall Street money be- 
hind him and have Joe thrown out on his 
ear." 

When "The Dizzy Age" was previewed 
several weeks later at a suburban theater 
Carlotta invited the now thoroughly in- 
fatuated playwright to accompany her. She 
was sorry to think the picture was over 
and done with. She liked this young man 
from New York a lot. 

The preview was a glittering success. 
After the showing Excelsior minions flocked 
out to the curb and congratulated each 
other. Martin went off to find Carlotta's 
chauffeur, while the assistant production 
manager whispered cautiously in the star's 
ear. 

"Joe is back," he informed her, "lint don't 
let anybody know what I'm going to tell 



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In "Swiss Miss," Stan Laurel laments Oliver 
Hardy's mastery over the affections of Delia Lind. 



you. Sammy Fishbein is out and our boy 
friend has lined up the Wall Street crowd 
for himself. 

"Of course you're sitting pretty, Lottie, 
but the fur is going to fly when the boss 
begins prying all the Fishbein nephews and 
cousins away from the pay-roll." 

Carlotta thrilled to. a realization of this 
news. "That makes Joe Ross one of the 
biggest frogs in the picture puddle!" 

"King of the independents, that's all! 
And his Excelsior stock is worth just about 
five millions more than it was last week!" 

The playwright, still glowing over the 
splendid reception of his picture, did not 
notice how detached and absent-minded 
the star was as he got into her car beside 
her. All that he could think of was that 
Carlotta was a lovely creature— and quite 
close to him. As soon as the motor reached 
open country he put his arm around her 
and drew her in against his shoulder. 

"What a wonderful time you and I could 
have in New York," he began, dreaming 
out loud. "I'd write plays for you and you'd 
make successes of them— and we'd have a 
great old life!" 

"Listen, Big Boy, are you propositioning 
me or what?" She turned in his arm and 
looked up at him. 

"I'm asking you to be my wife." 

She drew away from him, but took his 
hand and held it in both of hers. 

"Nick, you're grand and I wouldn't hurt 
you for anything, but you're a lot too good 
for me. I'm cabbage underneath and you'd 
soon find it out. I'd get mad some night 
and bust a bottle over the head of one of 
your girl friends." He looked incredulous. 
"Well, I did it once— at the Ambassador— 
when a fresh dame made a play for Joe. 
You'll go back to New York and forget 
about me and marry some nice little girl 
from Park Avenue." 

When they reached her house she kissed 
him good-bye as a mother would a son she 
didn't expect to see again for a long while. 
She cried a little, feeling that the scene 
called lor tears, and he went away sadly 
pleased with the fuss she had made over 
him. 

In the living room Carlotta found Joe 
Ross waiting for her. She rushed up to him 
and threw her arms about him. 

He looked at her wei eyes. "What's the 
matter, Kid? Was the picture a flop?" 

"No, it was swell. I'm just crying because 
I'm so glad to see you again!'' She buried 
her face in his coat. "Oh Joe, I've missed 
you like hell!" 



"Yeah?" He tilted up her head. "That's 
fine. Well, Lottie, I've got a grand piece of 
news for you." 

"Not half as grand as I've got for you, 
Joe. I've gone and fallen in love!" 

"With what pair of pants this time?" he 
growled. 

She glanced up at him with all the lure 
she possessed— and it was more than 
enough. 

"Don't you call yourself names, you big 
stupid! Don't you know I mean you?" 

He stared at her. "You're in love with 
me? Honest?" 

She nodded. With a smothered exclama- 
tion of relief he gathered her in and forgot 
for a few minutes what he had come to 
tell her. Finally he found his voice again. 

"When do we get spliced, Beautiful?" 

"The sooner the better. Let's fly to Ne- 
vada and take the sentence tomorrow. We'd 
have to wait three days in California. Now 
what's your big news, Joe?" 

He told her. Somehow she didn't seem 
much impressed. She seemed to prefer 
cuddling up in his arms to being told that 
he was the one big shot in the Excelsior 
Film Company. She whispered Hollywood 
chat in his ear while he made up his mind 
all over again that he didn't understand 
women. 

They were interrupted by the arrival of 
the production assistant who had stopped 
by to drive home with Joe. It took him 
some time to get the producer away from 
Carlotta. As they climbed into the car 
Joe's beatific grin aroused the assistant's 
curiosity. 

"What's happened to you, Boss? You look 
as if you had lapped up a quart of cream." 

"Better than that. Lottie has just prom- 
ised to middle-aisle it with me!" 

"That's no surprise to me," the assistant 
commented. "That dame is just crazy about 
you. You ought to have seen her face when 
she heard you had gotten control of the 
company." 

Joe leaned forward. "When did you tell 
her?" 

"Tonight, at the preview." 

A curious expression come over the pro- 
ducer's lace. "Why the cute little so-and- 
so!" He seemed to be talking to himself. 
"So she knew it all the time. And they say 
she's dumb! Yeah, dumb like a fox!" 

"Why Joe. you don't think Lottie's 
marrying you for your money, do you?" 

Ross chuckled. 

"I know damned well she is! And what's 
more— she'll get it!" 



72 



Silver Screen 



"Stars, Stallions and 
Stables" 



HAPPY ENDING 



"I thought it was the real thing 
Sue, hut he hasn't called since.' 



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"FIGHT FOR YOUR LA 
an RKO-Radio Picture 



[Continued from page 17] 

used to ride for me, so for purely senti- 
mental reasons, I bet on it." 

That is Walter's merit and misfortune, 
as he admits— sentimentality. It often over- 
rules his judgment, but his love for horses 
is so deep and so sincere, that it is difficult 
for him not to be swayed by sentiment. For 
example, he will never bet on a horse called 
"Veil of Tears"— and for a definite reason. 
Some time ago, he had a horse, "Little 
Ina," who was running a great race, but 
cracked up while in third place. She had to 
be destroyed. And, somehow, "Veil of 
Tears" is just too morbid. 

"Little Ina," said Walter, "had so much 
promise. Even in the race in which she 
cracked up, she was going great guns. And 
then— seeing her killed— I'll never forget 
that as long as I live." He paused mo- 
mentarily and swallowed hard. "Speaking 
of Little Ina, my wife decided to go to 
Del Mar for the races. She was late and 
was anxious to place a bet on Little Ina. 
Well, five miles from the track she was 
arrested for speeding. She argued with the 
officer, and got off taking a ticket. At last 
she got to the track. She happened to meet 
a friend of hers. 'How soon before the sec- 
ond race starts?' she asked. 'I want to put 
a bet on Walter's Little Ina, though I don't 
think she'll win.' Her friend smiled and 
said, 'The second race is just over, and 
Little Ina won.' " Walter lit a cigarette and 
blew into space. "Yep, she was a great little 
horse." 

Hollywood's cut-ups and the most mys- 
terious people, when they want to be, are 
putting up a swell "whodunnit" all of their 
own. Naturally, I'm speaking of Clark 
Gable and Carole Lombard. One day, a 
horse named "Clarcarol" appeared from 
nowhere on the listings. It only took about 
half a guess to find out who owned this 
animal. As yet, the proud hope of Lom- 
bard-Gable Inc., hasn't had a real tryout, 
but if it has half the spirit of its co-owners, 
who somehow can't talk about "Clarcarol," 
the little beastie is sure to go, places. Of 
course, Clark is no newcomer to the game, 
for he had "Beverly Hills." After dismal 
attempts to get the horse to win or even 
place once in a while, Clark decided to 
turn her into an actress. But before he had 
time to put her into the picture, "Sara- 
toga," she was with foal and had to retire. 

You've heard of Joe E. Brown, the base- 
ball sponsor, the football enthusiast, the 
follower of ice skating, roller skating, rugby, 
soccer, and— oh, why go on. Presenting Joe 
E. Brown! Another Hollywood race enthu- 
siast! And an owner himself. Joe E. has 
been wearing an unusually broad grin 
recently, for his speedy three year old, "Kay 
Em Bee," aptly named after his wife, and 
another horse, "Barnsley," have been going 
to town. But win or lose— Joe is at the 
track rooting. He'd sooner watch a horse 
race than eat. Of course, he likes it better 
if his colors pass the finish line first. 

You may think there can't be many more 
Hollywood names to add to this list. But 
here's the surprise. The list is only begin- 
ning. In fact, I could go on for days. How- 
ever, you'd soon get tired of reading names, 
I'd get tired of writing them, and anyway 
the editor would cut the story besides. 

To begin with, Robert Montgomery has 
been attending large racing meets in the 
east, and he is now threatening to bring 
some horses of his own to the tracks. John 
Meehan, noted screen writer for Metro- 
Goldwyn-Mayer, has already several thor- 
oughbreds in training. Harry Cohn, presi- 
dent of Columbia studios, has also crashed 
the winning mark with his "Highmost" 



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Copyright. 1938. byP. Lorillord Co.. Inc. 

Silver Screen 



and "Invermost" which won and placed, 
respectively, in one day at Santa Anita. 
William LeBaron, Paramount producer, has 
had real success with his "Brown Jade." 
Lloyd Pantages, columnist, is knocking 'em 
over with his "Lloyd Pan," "Rodney Pan," 
"Johnny Pan," and "Alexander the Great," 
whose success he shares with his partner, 
John W. Considine, Jr., MGM producer. 

Barbara Stanwyck and Chico Marx own 
breeding farms, jointly, in San Fernando, 
and their colors are being readied for the 
tracks. Their ranch is named Marwyck. 
And, by the way, they have one good stal- 
lion, The Nut, that everyone believes was 
named after Chico. Tod Browning and 
David Butler, director, have named their 
establishment the "B and B" stables. They 
plan to train a "string" of more than a 
dozen horses to compete on the local 
tracks. Others who have bought racers or 
are planning to are Charles "Chuck" Reis- 
ner, director, Jack Conway, MGM director, 
Lupe Velez, Johnny Weissmuller, and Lewis 
Stone. 

Then there is Ray Milland, a crack horse- 
man who owns steeds chiefly for his own 
riding. Fred MacMurray also falls in this 
category. Frances Dee and Joel McCrea 
have a ranch in the Valley, and they are 
going about this horse raising business 
seriously. But the surprise of Hollywood is 
David Niven, who owns the animals for 
steeplechases. He was once a rider in this 
exciting sport himself, and he has several 
horses in Virginia that could qualify. 

Want some more? Well, Andy Devine 
raises horses, too, on his ranch in San 
Fernando, and in a real business-like way. 
He knows his horses— and he knows how to 
trade shrewdly. Recently, he bought an old 
plug for $40 and kept trading it until he 
acquired a polo pony out of the inter- 
changes. And there is Bob Baker, Uni- 
versal's western star, whose closest com- 
panion is "Apache," the horse that plays 
with him in his pictures. "Apache" under- 
stands English better than a lot of people. 
Baker will say, "It's time to go home now," 
and the horse will start for home. If Baker 
suddenly says, "No, let's stay," he comes 
back. And, believe it or not, the steed can 
tell his age by subtracting or adding. In 
fact, Baker's horse has an I.Q. that ranks 
higher than many college grads. 

But stars find still other uses for horses. 
Many feel that by having their own thor- 
oughbred in a picture, they will have good 
luck. Spencer Tracy's horse worked with 
him in "They Gave Him a Gun," and the 
horse that Allan Jones rode in "Firefly," 
named "Smokey," was his own. It earned 
enough in a month to pay for a month's 
feed bill and a new saddle. And that's the 
angle Spencer likes. "The idea intrigues 
me," Spencer said, subtly. "Imagine a nag 
paving his own room and board." (A lot of 
the stars would like to know how that 
system works, Spence). In MGM's "Girl of 
the Golden West," Jeanette MacDonald is 
riding her own steed, "White Lady," and 
Leo Carrillo, in the same picture, rides his 
favorite, "Suisan." 

Yes, sir, Hollywood has the fever! It's going 
horse-minded with a vengeance! Racing is 
becoming the "thing" now. A star must 
have a race horse, besides those on his 
ranch, to be in "the pink." While a winner 
is the thing desired, Hollywood greats will 
bide their time, taking both losses and 
wins agreeablv. because something has crept 
into their blood that just won't leave. It's 
a thrill to them! It's something new to 
them! Above all, it's a chance for them to 
have that pony they wanted as a child and 
couldn't alford. Hollywood is at last com- 
bining thrill with sentiment— and with 
exciting results. So— with a bit of bated 
breath, with a quick move as "They're off" 
rings over the arena. Hollywood stands and 
cheers, "Hurrj back— boys." 



Dress Up and Live 

[Continued from page 19] 

that that was the first topless evening frock 
to appear in a picture— and who am I to 
argue? There have certainly been enough 
of them since— witness Lily Pons' dresses in 
"Hitting a New High." Lily, it seemed, 
liked the things. 

Orry hasn't perpetrated one of those since 
del Rio's. One of his loveliest numbers, to 
date, is the trailing black chiffon dress with 
the beaded bodice which Kay Francis wears 
in "This Woman is Dangerous." And there 
are only a few inches of the bare Kay 
Francis visible at any time! 

I was interested in what Norma Shearer 
had to say of her costumes in "Marie An- 
toinette." You'd think that they would be 
trying to wear. Powdered wigs and beauty 
patches and enormous metal hoops under 
the panniers. She has had to have special 
doors cut in her portable dressing room so 
that she may go in and out comfortably. 
But she loves 'em! 

"Every woman in the company feels the 
same way," she said. "These absurd skirts, 
these wigs, the glittery jewels, the tiny orna- 
ments for the powdered hair— they're all 
exciting and romantic. When we take them 
off to go home life becomes drab, somehow. 
You know, in that period, when life became 
really serious, the skirts collapsed— the fun 
was over!" 

Into their hands these women are de- 
livered. Your Orry Kelly, your Edward 
Stevenson, your Adrian, your Royer, your 
Travis Banton. They view the glamorous 
ladies with critical and helpful eyes. You 
may imagine one of them saying, "Look, 
Toots! Your hipline is just a bit— er— ful- 
some. Now a peplum might help. . . ." 
Glamorous lady immediately has tantrum. 

Psychology and symbolism come into 
these matters, too. Frinstance, the severe 
frock with the cowl neckline, which Garbo 
wore in "Conquest" when Napoleon visited 
her unexpectedly, expressed the nun-like 
life she had been living and to which she 
had (she thought) dedicated herself. Maybe 
you thought it wasn't a very pretty dress 
and maybe Madame Walewska would have 
agreed with you. But she probably thought 
that she wasn't leading a very gay life, 
either! Anyhow, it established her mood. 

Gee! Remember the little white number, 
with the heartshaped bodice and the flow- 
ing skirt that Anita Louise wore in "Tova- 
rich?" A thing to make your mouth water, 
if you were seventeen— or even if you were 
a slim twenty. Wait until you see Irene 
Dunne in that silver "bugle" thing in "The 
Joy of Living!" Just wait. And Joan Fon- 
taine's white, bouffant net in "The Milk- 
man Rings Twice." (This one has a shiny 
sort of clip that will do something to you.) 

Let me get back for a moment to the 
gentlemen who design these confections. 
They are earnest men, sincere artists. They 
see the lovely ladies of the screen in terms 
of so many legs, arms, torsoes, necks, shoul- 
ders, some easy to dress, some difficult. The 
character in the picture must be inter- 
preted, of course. But always the woman 
must be enhanced . . . the" woman who is 
to wear the creation. 

If her figure permits, they cover her with 
shimmering, form-fitting satin. Sometimes 
they swathe her in puzzling swirls of gauze. 
Orry Kelly is giving his lovely ladies linen 
evening frocks (which look like silk but are 
more difficult to design) Stevenson is doing 
a lot of things with cotton and organdie. 
Adrian is recommending rich fabrics with 
ornate trimmings. 

But they are all saying. "Cover yourself, 
my dears! From your collarbones to your 
toes— cover yourselves!" 

And these are the gentlemen who are 
paid large salaries for creating and pre- 
serving glamour in Hollywood. 




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Projection of 
Don Ameche 

[Continued from page 23] 

Probably the most fascinating thing 
about Don Ameche, aside from his versatile 
voice, is his amazing "slow-take" personal- 
ity. When you meet Don for the first time— 
I met him for the first time on location 
when he was playing Alessandro in "Ra- 
mona"- he makes no particular impression 
on you. Just another nice young actor, the 
woods are full of them. Then, he begins 
to sneak up on you. Subtly, that "slow- 
take" personality goes to work and grad- 
ually moves in on you. Before you know 
it you are wondering how you ever got 
along at all before you met him. Suddenly 
he will let loose that famous Don Ameche 
smile at you, and from then on you're a 
rabid Don Ameche fan! 

There's something magic about the 
Ameche smile. And does Don take advan- 
tage of it! One of his former teachers, the 
Reverend Maurice S. Sheehy, has said of 
him, "There may have been some oppor- 
tunities for mischief which escaped Don 
during his days at Columbia Academy, but, 
if so, I do not recall them. The mischief, 
however, was never malicious. And he won 
professors to him by his smile, which melts 
the strongest defenses of the heart." But it 
is definitely not a "prop" smile. It is nat- 
ural and sincere like the man himself. Don's 
former teacher, and now one of his best 
friends, also says of him, "During fifteen 
years' association with students I have 
never met anyone more honest and fear- 
lessly frank, at all times and under all con- 
ditions, than Dominic Ameche." 

Don's chief fault is forgetfulness. He can 
be counted on to forget practically any- 
thing except his lines on a set or before the 
microphone. Only the other day Mrs. 
Ameche had to call up a local department 
store quite frantically and beg them to 
bring out a pair of shoes to the Valley. 
For Don, it seems, had to go to a party that 
night and his feet were almost on the 
ground, despite the fact that she had been 
telling him for weeks that he needed shoes. 
Don is not one of the party-loving actors 
of Hollywood, but just the same he loves 
to dine and dance at fashionable restau- 
rants. Every Sunday night he and Honore 
can be found among the gay young people 
at the Trocadero. Undoubtedly Don will be 
devouring a thick rare steak, with an entree 
of spaghetti. He hates lettuce almost as 
much as he does tight collars. 

Don's complete lack of fear never ceases 
to amaze the technical crew on his pictures. 
With the exception of Clark Gable they'll 
tell you that they have never worked with 
a guy before who was so nervy. "He's no 
sissy," they'll say, and proceed to tell you 
tall tales illustrating the Ameche grit. The 
favorite seems to be the time when the 
"Ramona" company was on location down 
near Elsinore and Don was stung by a 
sting-ray. 

If the sting-ray's poison hits the blood 
stream it means death. There was much-a- 
do by the whole company— Loretta Young 
screamed— a hairdresser fainted— the direc- 
tor dashed to the telephone to tell the 
studio to send specialists down by plane! 
In the midst of all the excitement Don 
emerged from his dressing room smiling 
quite casually. "What's the fuss about?" he 
said. "The doc we have here sewed up my 
foot. Let's shoot." 

This complete lack of fear must have 
been "born in" Don Ameche for the Rev- 
erend Maurice Sheeny has this to say about 
his former pupil: "Recently I was asked 
whether there was anything in Don's school 
days which presaged his success as a mo- 
tion picture actor. He never walked, he 
always ran. One day to my horror I saw 



76 



Silver Screen 



him playing tag along the ledge of the 
roof of a five story building. Fear of dan- 
ger, physical danger, was something to 
which Don was ever a stranger." 

One of Don's secret little vanities is his 
marvelous knowledge of Latin— a subject 
he majored in when he was in school. He 
reads it fluently and beautifully. He likes 
to be in pictures where there are altar boys 
so that he can read the prayers for them 
olfstage. One of his friends tells about the 
baptizing of Don's first-born, young Dom- 
inic Felix Ameche, the Third, in St. Luke's 
Church, River Forest, Illinois. It seems that 
Papa Ameche made a perfect nuisance of 
himself all during the ceremony. He in- 
sisted on reading the Latin over the priest's 
shoulder— and even checked him once on 
his pronunciation! 

A most important day in Don's life, 
though he certainly didn't know it at the 
time, was Thanksgiving Day, 1928. Don was 
attending the University of Wisconsin, at 
Madison, and was studying, but not too 
hard, to become a lawyer. It was a holiday 
of course and Don had to make up his mind 
whether he'd go to the football game or 
to the matinee. A road company of "Excess 
Baggage" was playing Madison at the time. 
Though Don had captained many a foot- 
ball team in his prep school days the the- 
atre now, with its lights and curtains and 
make-believe, he found far more interesting 
than a piece of inflated pigskin. So he de- 
cided in favor of the matinee— a decision 
that completely changed his life. Don't tell 
me there isn't any Fate! 

At eleven o'clock Don appeared at the 
ticket office in the lobby of the theatre and 
stuck a dollar and a half under the wicket. 
The man in the cage pushed back the 
money and said: "Aren't you Don Ameche? 
From the College?" When Don assented, he 
said, "Okay, young man. Meet me at the 
stage door in two minutes." 




This year, the highest of screen honors — The 
Academy Award — went to Luise Rainer for her 
performance in "The Good Earth" and to 
Spencer Tracy for his in "Captains Courageous." 



It seems that at eight o'clock that morn- 
ing the leading man of the stock company 
had been hurt in an automobile accident 
and ever since then the manager of the 
theatre had been phoning frantically all 
over town for a substitute actor to fill the 
injured man's place. When he saw Ameche 
at the ticket window he thought his prayers 
had been answered— he had seen Don in 
one of the college plays and knew that 
he could act. At three o'clock that after- 
noon Don Ameche made his debut on the 
professional stage! It had all "just hap- 
pened." As Don says: "Everything that has 
boosted me along has been an accident. 
It just happened to me. I have never plan- 



ned anything. I've just gone along— and 
there it was! Just ready to be taken." 

Don stayed with the stock company the 
rest of the season. Momma and Poppa 
Ameche sighed because they weren't going 
to have a lawyer in the family after ail- 
but with their usual good humor they de- 
cided to make the best of it. After his suc- 
cess in Madison, Don was eager to tackle 
Broadway, but Broadway wasn't partic- 
ularly excited over the enthusiastic young 
westerner with the dreamy eyes. For 
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beans and hopes. Write home for money? 
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78 




Gracie Allen and Edward Everett Horton in 
"College Swing" give a demonstration of the 
literary quality of "Yawn With The Wind." 



says Don, "was the day I discovered a place 
where 1 could get a plate of beans for five 
cents." Mr. Ameche never wants to see 
beans again. 

But finally came a not particularly 
profitable season in "Jerry for Short," fol- 
lowed by a vaudeville tour with the late 
Texas Guinan. Then to Chicago with the 
lead in "Illegal Practice." The play only 
ran two weeks, and Don, pretty discouraged 
about it all, was on the verge of going 
back to Kenosha and getting a job in the 
mattress factory there, when his pals from 
the theatre suggested he try radio. 

Darryl Zanuck turned on his radio one 
night, heard Don's voice, and immediately 
demanded a screen test. It wasn't long 
after that that Don (soon to be followed 
by his wife and two small sons) arrived 
in Hollywood and signed his name to a 
Twentieth Century-Fox contract. His first 
picture was "Sins of Man," followed by 
"Ramona," "Ladies in Love," "One in a 
Million," and "Love Is News." At present 
he is working on his eleventh picture, 
"Alexander's Ragtime Band." 

He who was destined to be second only 
to Shirley Temple on the Twentieth Cen- 
tury-Fox lot was born in Kenosha, Wiscon- 
sin, May 31, 1908. He was, christened Dom- 
inic Felix Ameche, after his father. The kids 
at school changed it to "Dom" and then 
to "Don." He attended kindergarten and 
Franklin public schools in Kenosha, and at 
the age of eleven, having completely ex- 
hausted his family by his almost super- 
human zest for life and excitement, he was 
sent away to St. Berchman's Seminary, a 
boarding school for boys under fifteen con- 
ducted by the Sisters of Mercy. In the 
Christmas play that year Don was chosen 
to portray the Virgin Mary. Unfortunately, 
the day before the play, he acquired a black 
eye in a basket ball game. "And I feel I 
can say in all sincerity," said Don, "that it 
was the first time on record that the Virgin 
Mary was presented with a black eye." 

From St. Berchman's he went to Colum- 
bia College in Dubuque, Iowa, where his 
flair for dramatics was developed under the 
supervision of Father I. J. Semper, the dra- 
matic coach of the college. It was at this 
time that Don discovered that he could 
do "imitations" of people, and this discovery 
you can be sure kept Columbia in a con- 
stant state of turmoil. His favorite "imita- 
tion" was of Father Kucara, the master of 
discipline, who, when he was lucky enough 
to catch Don, would caution him: "Ameche, 
what's to become of you?" 

It was while he was at Columbia that 
seventeen-year-old Don fell hopelessly in 
love. Her name was Honore Prendergrast 
and she lived in Dubuque and she is so 
described: "—in whose face there was so 
much innocence, happiness and sweetness 
that she bore the name of 'Sunshine.' " 
When Don returned to the college that 

Silver Screen 



night, his heart beating once more, he said 
to Father Sheehy, "She's swell. Honore's the 
nicest girl I ever saw. I think I'll marry her." 

Father Sheehy did not relish having his 
charge involved in a love affair at such 
an early age. "Now, Don," he pleaded, "be 
sensible. Honore's young and I want you to 
protect her, as would a brother." 

"When we get married," Don offered as 
a compromise, "you can marry us." 

The day after Thanksgiving in 1932 
Honore and Don were married by Father 
Sheehy in the Church of the Nativity, 
Dubuque, Iowa. Don had graduated from 
Columbia, attended four other colleges 
briefly, been on the stage in New York and 
Chicago, but he never forgot his first and 
only love. As soon as he could make a 
living for her, thanks to the radio, he 
married her and brought her to their first 
home in River Forest, a suburb of Chicago. 

Hollywood is famous for its matrimonial 
problems. But the friends of Honore and 
Don Ameche don't have to worry about that. 



Three Lanes to Fame 

[Continued pom page 27] 

in New York City. "Mostly to learn correct 
breathing," she says. Rosemary and Cora 
came after her when summer vacation was 
starting and the two girls stopped in at a 
music house to buy some sheet music to 
take home. When they tried a song there 
was applause from a stranger. Fred Waring, 
no less, happened to be listening; he in- 
sisted that they join his band. 

That was sheer luck; yes. But they'd 
been studying for it. On their opening mat- 
inee at the Roxy, Pat nearly floundered 
tragically. "I was chewing gum to keep from 
shaking to death. When I got onto the 
stage it was still there— and stuck in my 
mouth so I couldn't sing! Talk of your 
embarrassing minutes—! Fred finally caught 
on, began joking about my predicament, 
and I swallowed and sang." She was pre- 
cisely fourteen. 

For four years the two youngest Lanes 
were featured singers with the popular 
Pennsylvanians, their mother presiding over 
their apartment. In fashionable hotels and 
over the airwaves their harmonizing went 
over big. They didn't let Broadway glitter 
go to their heads, though. 

"We always had Hollywood in view," 




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asserts Rosemary, endeavoring to be calm. 
"Why, for two-and-a-half years we wore 
bands, having our teeth straightened. We 
knew how right they'd have to be for the 
cameras." They carefully saw every worth- 
while film and play. Pat giggles at that. 
"Rosemary had a weakness for the senti- 
mental, drippy ones! Oh, she got in all 
the musicals as well. But is she the ro- 
manticist!" Sisterly analyses, with the Lanes, 
are accurate. Rosemary is, indeed the sort 
who ordinarily would marry young and be 
vitally concerned with making a go of her 
household. But she has a talent and the 
Lane ambition. Pat, on the other hand, 
looks so fragile and is, contrarily, mad 
about sports and the great open spaces. She 
spent all her leisure time, when with 
Waring, on a dude ranch she located in 
Delaware. Zeke and Si, the Wyoming cow- 
boys who run it, are appreciated cor- 
respondents. 

"I've always been a problem child," sighs 
Pat, as demure as an angel until her eyes 
twinkle, as they inevitably do. "That re- 
minds me," muses Rosemary. "When we 
were children, you hit me once. I never 
did know why. Why?" Pat grins. "Didn't 
know my own strength! But will you ever 
forget how Fred was in cahoots with 
mother? He was forever giving us little 
talks. 'I'm shaping your characters,' he'd 
persist. We always wanted to reverse— I 
still," declares Pat, "want to sing torch 
songs." Her sweet face handicaps that 
yearning, I'm afraid. 

It wasn't Lola who got them to Holly- 
wood. Lola encountered what most women 
brand bad luck. When her career was most 
promising she married Lew Ayres. It was 
a violent love that wore itself out when 
two temperaments could not compromise. 
She retired altogether when, later, she mar- 
ried Al Hall, a prominent director. When 
this marriage likewise failed she was in 
no position to be passing out pull. She had 
none. Her own professional standing had 
to be re-established and it was harder to 
come back than it is to dent Hollywood 
in the first place. 

"I heard of a role I thought I could 
play. I read the script and went to the cast- 
ing director. He said to me, 'Why don't you 
quit trying?' That was the final slap I 
needed. I went home and into prolonged 
conference with myself. I realized that all 
my mistakes has been of my own making. 
It seems to me I have something to offer, 
that I can become an outstanding actress 
if I try hard enough, if I develop. I made 
a detailed chart of myself. On it I put all 
my shortcomings My Irish temper was one 
of my faults. I looked over that chart every 
single morning, crossed off poor traits only 
when I'd conquered them for good. I con- 
sidered myself as laboratory material. I used 
to react to my surroundings so markedly; 
now I attempt to stop and think well. 
Whenever I'm disappointed I figure it's 
because there's been something wrong with 
me; I go home and think back and find 
out what." 

Possessing a concise mind and now so 
completely honest with herself, Lola has 
regained her stride. She wants to fulfil her 
acting destiny and, to this end, is not 
planning on love. Now every little thing 
which can improve her as an actress is 
significant. She doesn't want to be typed. 
A generous person, with a dominant per- 
sonality, her sense of humor isn't squelched, 
fortunately, in this new campaign. An 
omniverous reader, not of novels but of 
subjects which matter, she takes up one 
topic at a time and reads everything on it 
she can discover. And such earnestness has 
borne fruit. By a strange twist of fate, Lola 
has been awarded a contract by Warners, 
where Rosemary and Pat already had been 
signed. Now all three sisters are playing 
leads on the same lot, an unmatched case 
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The novice sisters got to Hollywood 
through Fred Waring. He utilized their 
obvious ability when he made a picture last 
summer, and kindly let them leave the 
band to go on as they deserved to go. Of 
course, Lola has given plenty of advice 
from her own experiences. She won't give 
any interviews about the girls, however. 
She wants them to feel on their own, wants 
the public to feel that they are. She lives 
on a convenient ranch and it was to her 
cottage that Rosemary and Pat and Cora 
were rushed upon arrival. 

"Take off your Eastern clothes!" cried 
Lola, handing Rosemary a pair of green 
pajamas and Pat some red ones 'You must 
put on California manners now." The op- 
portunity of living out in the country was 
too much for Pat; they moved into a Cali- 
fornia ranch-house near to Lola. There they 
have a swimming pool and their horses. 
Lola doesn't care for water or for riding. 
"But, speaking for Rosemary, too," chimes 
in Pat, "we're in our element. I contemplate 
raising live-stock as soon as I can get 
around to it." 

But night-clubbing, and all those ultra- 
sophisticated kicks? "That doesn't appeal to 
us," retorts Rosemary, meaning it. "We've 
only been in the Trocadero once. What 
we enjoy here is the fresh air, the trees, 
the green grass. Country life is elegant!" 
Wayne Morris is thanking providence that 
he always could sit a horse better than 
he could truck on down, anyway. 

Regarding her intentions towards Wayne, 
Pat won't say yes or no. "I think mar- 
riage can mix with a career," she states. 
"I'm certainly not going to stay single for 
seven years." That's the time limit on her 
movie contract. Rosemary isn't so sure of 
complicating her current busy schedule. 
"I don't see how, when a girl is so occu- 
pied, marriage can be very successful. You'd 
have to let others do all the things you'd 
want to attend to yourself." Rosemary's 
radio program, requiring rehearsals in her 
spare time, keeps her dashing. "In New 
York you're a sissy if you go to bed before 
twelve. When Lola vowed we'd be going 
to bed at nine at night we laughed. But 
we know now. When we get up at six in 
the morning we're worn out by nine at 
night." 

Having always roomed together, Rose- 
mary and Pat continue to do so, even 
though they're stars and have a guest- 
house to boot. "We split when we're study- 
ing our scripts. One of us," admits Rose- 
mary, "has to take to the den and shut 
the door." They act out their scenes for 
the morrow, deliberately. They have a rule, 
incidentally, never to borrow without first 
asking if it'll be all right; this, ho doubt, 
is a major hint for first-class harmony. 

The youngest Lanes haven't gone on a 
shopping splurge. They're saving their 
money. They already had one fur coat 
apiece and why get illusions? They did 
want a big car like Lola's, but bought 
Fords instead. They wish "the duchess"— 
Leota, their opera-bound sister— could visit 
them on their ranch and see the studio 
as their guest. Martha, the only sister who 
wasn't consumed with professional ambi- 
tion, is now with them for a month's stay. 
Martha is the wife of a professor at the 
University of Illinois. 

Astonishingly, Perc Westmore, make-up 
chieftain at Warners, didn't pluck eyebrows 
or attempt to change their faces around. 
The legend about directors yelling at play- 
ers is a phoney, too, they observe. "And 
we're so excited whenever we see any of 
the stars," announces Pat. "Olivia de Havil- 
land was the very first one we saw." 

Maybe it was coincidence; maybe it was 
fate pointing out a moral to me. For Olivia 
shortly after passed the table where the 
Lanes and I were lunching. She greeted 
Hollywood's three smarter girls with re- 
spect. Who, given the chance, wouldn't? 



Mother's Day 

[Continued from page 57] 



mother even closer together if that's pos- 
sible. Whenever she is visited on the studio 
set by "mother," Sonja unashamedly climbs 
up and sits on Mama Henie's lap and 
"loves" her no matter who may be around! 
She may be the world's greatest ice skater 
to her public, but she's just a precious little 
girl to "Mama." 

Mrs. Isabel Eddy, mother of handsome 
but girl-shy, 37-year-old Nelson, is another 
of those Hollywood mothers beloved by 
their offspring. Nelson says he positively 
couldn't get along without her. "Until I 
find some one at least half as fine as she is, 
I shall never marry!" he says, and means 
it, too. Mrs. Eddy runs his house, protects 
him from unwelcome feminine visitors, 
giving Nelson all the comforts of a wife- 
run establishment. Usually, on Mother's 
Day, if it is warm, they go to the beach 
and have a grand time. 

Mildred and Harold Lloyd give the usual 
family dinner party in honor of their two 
mothers, Mrs. Howard Davis and Mrs. Eliz- 
abeth Lloyd— and top that off by running 
a couple of popular films in the family 
theater room. 

Warner Baxter never fails to give his 
annual dinner party for his mother. Wil- 
liam Powell, who, by the way, even today 
still calls his mother "Mummy," usually 
takes her for a long motoring trip. 

Last Mother's Day, Shirley Temple sur- 
prised her mother by appearing at the side 
of her bed bright and early, adorned with 
dust-cap and apron, and exclaiming: 
"Mumsie, you have to stay in bed all day 
today!" 

"Why, what on earth for, darling?" de- 
manded Mrs. Temple. 

"Because," said Shirley, with the barest 
trace of a grin on her little face, "it's 
Mother's Day and I don't want you to do 
any work— and if you're in bed I'm sure 
you'll not be able to do any! I'm going to 
do all the work today and I'm even going 
to fix my own hair! You just rest like a 
good little mother!" 

Of course, Mrs. Temple didn't stay in 
bed all day long but, nevertheless, her 
little girl's attitude both pleased and 
amused her. 

Nobody, though, loves their mother any 
more than little Jane Withers does her 
charming, ncarly-always-smiling mother. 

Mrs. Withers' every thought concerns 
Jane and her welfare and that little "mon- 
key" we all love so well on the screen 
realizes it fully and comes right back with 
all the devotion in the world for "mother." 

About a week before each Mother's Day 
comes, Jane secretly gets out the paste, 
colored paper, paints and bits of lace and 
makes the lady-w ho-loves-her-best-of-all one 
of the most colorful and gorgeous greeting 
cards you and I could ever hope to find— 
and is Mrs. Withers thrilled and tickled 
when she receives it, together with a dozen 
bear-hugs and some useful gifts she's 
wanted. 

Sally Eilers will never forget the first 
visit of her son, Poochie, aged 3, to a movie 
set. She was doing a dramatic scene in 
which she was threatening a matron with 
a gun during a jail-break. And right in the 
middle of the shot Poochie screamed: "O 
be careful of that gun. mummy, or it'll 
hurt you and then Poochie have no mummy 
for mummy's day!" That broke up the 
scene— and Sally nearly died laughing, but 
she sent the child to his nurse in her dress- 
ing room. 

So you see. don't you, Hollywood thrives 
on mother-devotion? 

Adults or little tykes, they all sincerelv 
and whole-heartedly cherish their mothers. 



80 



Silver Screen 




Pictures on the Fire 

[Continued from page 13] 

Lane. Personally, I prefer Priscilla but it's 
difference of opinion that makes horse rac- 
ing. 

Cogitating on this profound truism, f 
turn my steps to— 

M-G-M 

TWO pictures here but "Marie Antoi- 
nette" I'll tell you about later. The other 
is "Three Comrades" starring Robert 
Taylor, Franchot Tone and Robert Young. 

This, too, is near the beginning of things. 
The three boys run an auto repair shop. 
Although, no mention of Germany is made, 
this is another in the cycle of books written 
by Erich Maria Remarque and takes up 
where "The Road Back" left off. Things 
are tough for the boys and Franchot and 
Young are in Alfons' bar reviving their 
drooping spirits when Taylor dashes in and 
hands Franchot a check that makes his 
eyes bulge. 

"Who's this man?" Tone demands. 
"What'd you hit him with? What'd you do 
with his body?" 

"I sold the limousine (an old Mercedes)," 
Taylor announces nonchalantly. 

"Did you say his name was Napoleon?" 
Young interjects. 

"Schultz— and Frau Schultz," Taylor ex- 
plains, airily flicking an ash from his 
cigarette. 

"Two thousand marks apiece!" Young 
murmurs. "Two thousand marks worth of 
help for our country." 

"It's your _ money, Gottfried—" Tone 
begins. 

"Yes, I know—" Young replies abstract- 
edly. 



"We could buy a taxi," Tone suggests. 

"There's one being auctioned olf today 
—at Schmidt's," Taylor supplies. 

"Why a taxi?" Young asks. 

"Because it's an income in addition to the 
shop," the practical Tone explains. "Be- 
cause it's a source of security— for the three 
of us—" 

"Well, what are we waiting for?" Young 
queries after a short pause. 

Tone grins and slaps his shoulder, speak- 
ing to Taylor: "Go tell Baby to move over 
—she's going to have company." 

So Tone and Young leave to buy the taxi 



and Taylor goes to the phone to call the 
girl in the case so Romance can start to 
have its fling. 

And that about winds us up for this 
inonth because, although there are five 
pictures shooting at 20th Century-Fox, .I've 
already told you about "Four Men and A 
Prayer," starring Loretta Young, and "Ken- 
tucky Moonshine." The others, "Alexan- 
der's Ragtime Band" and another big mu- 
sical, are on location and "Little Miss 
Broadway" starring Shirley Temple is 
closed to visitors. 

Hence, until this time next month, Adios! 




«°tf ALOW WITHOUT 



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Silver Screen 



81 



I 



NORMA SHEARER had the scare of 
her life at the testimonial dinner 
given Louis B. Mayer, retiring after 
seven years as head of the producers' asso- 
ciation. Norma spoke of Irving Thalberg, 
then praised L. B., and finished her very 
nice speech by quoting Director Woody Van 
Dyke, a quotation that included a curse 
word to put it over. 

As Norma sat down Master of Cere- 
monies Georgie Jessel stepped up to the 
microphone and solemnly said, "For the. 
benefit of those who heard Miss Shearer 
swear, that was Sophie Tucker speaking." 
Norma 's face turned crimson as she gasped, 
"Was I on the air?" And what a sigh of 
relief she breathed when Jessel assured 
her he was only jesting. Movie stars had 
rather be caught stealing than swearing— 
on the air. 

„_„,*„_„ 

LEG glorifying comes high in Hollywood. 
,-Next time your eyes are delighted by an 
expanse of silk-encased nether extremities 
capering across the screen consider the ex- 
pense and be grateful. That rough-and- 
tumble number Martha Raye did with the 
strong-armed sailors in "The Big Broad- 
cast of 1938" used up two dozen pairs of 
black chiffon opera hose. They cost four 
bucks a pair. 

The symmetry-aiding tights Alice Faye 
displayed in "In Old Chicago" nicked the 
budget for $250. That is because they were 
hand embroidered and hand painted. Sonja 
Henie wears out two pairs of especially 
made tights a day when she is cutting the 
ice for one of her skating numbers, and 
every pair sets the wardrobe department 
back $35. 



A Movie Fan's Crossword Puzzle 

By Ckarlotte Herbert 



ANNOUNCEMENT 

A GREAT Feature in our June 
Silver Screen! The TRUE story 
of a beautiful girl in Hollywood 
whose voice is "dubbed in" but 
whose face is never seen on the 
screen! 

# * . # # 

The "Stage Door Johnny" is back! 
The radio men stars find scores of 
beautiful girls waiting at the 
broadcasting station door. Dozens 
of men wait for the glamorous 
radio girls. They track down the 
artists of the air waves— AND 
THEY MEAN BUSINESS. 
Things that really happen! 

Ponce de Leon sought the Foun- 
tain of Youth. But the famous 
Hollywood screen stars found it! 
Read about this miracle of Holly- 
wood. 

This next absorbing issue will 
bring you another fascinating 
and romantic fiction story center- 
ing around life in the film center, 
as well as many personality stories 
about the players you are so in- 
terested in. Don't miss the June 
issue of Silver Screen, on sale 
May 13th. 




ACROSS 
1 One of the seven dwarfs 
5 Document (abbr.) 

8 In "Submarine D-l" 

13 Part of the verb "to be" 

14 "Josette" is her latest picture 

16 Small venomous snake 

17 Expression of wonder 
19 Vivacity 

22 Elder (abbr.) 

23 The little daughter in "Scandal Street" 
26 Well-known tap dancer 

29 In "Murder in Greenwich Village" 

30 Golf mound 

32 Freeze 

33 Played the title role in "Life of Emile Zola" 

34 Modern 

36 Sound judgment 

38 Suitable 

39 Whether 
41 Pouch 

43 Born 

44 Preposition 

45 Parent 

46 Number 

48 Sweet Potato 

49 Vase 

50 Sea eagle 

51 Period of time 

52 North River (abbr.) 

53 Request 

55 Paid publicity 

56 In "Wells Fargo" 

57 Saltpeter 

59 With Clark Gable in "Test Pilot" 

60 Appoints 

62 Auction 

63 Near by 

65 "Bluebeard's Eighth Wife" (initials) 

66 Player's stake 

68 Upon 

69 Warmth 

72 Sally of "Sally, Irene and Mary" 

74 Either 

75 Northwestern state (abbr.) 

76 Two-toed sloth 

77 Entirely 

78 Therefore 

79 Near (abbr.) 

80 Famous for his animated cartoons 
82 Sidewise 

85 The manager in "Happy Landing" 

86 Organ of hearing 

87 A character actor 

DOWN 

1 She whom the seven dwarfs idolized 

2 Every (abbr.) 

3 Speech of hesitancy 

4 Ardor 

5 Obscure 

6 Persian poet 

7 Small bed 

9 Walking stick 

10 Andrew Jackson in "The Buccaneer" (initials) 



11 Upon 

12 A thrilling film 

14 King (poss.) 

15 Female relative 
18 Feminine pronoun 

20 Mesh 

21 Suffix 

22 Male descendant 

24 Crawford in "The Buccaneer" 

25 Stains or colors 

27 Mohammedan prince 

28 Hard-shelled fruit 

31 Even (poet.) 

32 Suffix 

35 In "The Kid Comes Back" 

37 In "Girl of the Golden West" 

38 With Bette Davis in "Jezebel" 

40 The butler in I'Fools for Scandal" 

42 Abraham Lincoln in "Of Human Hearts" 

44 A recent DeMille discovery 

45 Kay Francis' husband in "First Lady" 
47 Metal pin 

50 Paradise 

53 Man's nickname 

54 Southern state (abbr.) 
58 Beverage 

61 Star of "Every Day's a Holiday" 

62 Star of "Happy Landing" 

64 Toward 

65 Clerk (abbr.) 

67 "Robin Hood" himself 

70 Reckless 

71 In "College Swing" 

72 Wing-shaped 

73 Outer garment 

80 Well known orchestra leader (initials) 

81 Suffix 

83 Poinc of compass (abbr.) 

84 Titanium (chem.) 

Answer To Last Month's Puzzle 




82 



THE CUNEO PRESS, INC., U. S.A. 



Popular Copyrights Are A Smash Hit! 

Millions of Books ^ f\ T3/~v/~vt7-o ^"1 
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19 Nietzsche's Philosophy. Du- 
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25 Rhyming Dictionary 
39 Aristotle's Philosophy. Du- 
rant 

42 Origin of Human Race 

53 Insects and Men: Instinct vs. 

Reason. Clarence Darrow 
56 Dictionary of U. S. Slang 
58 Tales from Decameron. 

Boccaccio 
72 Color of Life and Love 
74 Physiology of Sex Life 

82 Common Faults in English 

83 Evolution of Marriage 
87 Nature of Love 

91 Manhood: Facts of Life 

92 Hypnotism Explained 

97 Self-contradictions of Bible 

98 How to Love 

109 Facts About Classics 

110 History of World War 

125 Woodrow Wilson's War 

Speeches 

126 History of Rome. Wood 
133 Principles of Electricity 
150 Lost Civilizations 

159 Story of Plato's Philosophy 
172 Evolution of Sex 

175 A Hindu Book of Love 

176 Four Essays on Sex 
192 Book of Synonyms 

217 Puzzle of Personality 

218 Essence of the Talmud 

228 Plain Talks With Husbands 

and Wives. Ellis 
271 Is Death Inevitable? 

286 Prostitution in the Ancient 

World 

287 Best Jokes About Doctors 
297 Do We Need Religion? 
326 How to Write Short Stories 
347 A Book of Riddle Rimes 
364 How to Argue Logically 
367 Improve Your Conversation 

374 Psychology of Suicide 

375 Love Story of an Old Maid 
377 Psychology of Joy and Sorrow 
383 Prostitution in the U. S. 
403 Facts About Music 

411 Facts About Phrenology 

414 Art of Being Happy 

431 U. S. Commercial Geography 

439 My 12 Years in a Monastery 

440 Baseball, How to Play 

446 Psychology of Religion 

447 Auto-Suggestion: How It 

Works 

449 Auto-Suggest I on and Health 
452 Dictionary of Scientific 
Terms 

467 Evolution Made Plain 
473 Lives of Ch«rus Girls 
475 Develop Sense of Humor 
479 How N. Y. Girls Live 
488 Don't Be a Wall Flower 
49J Psychology for Beginners 
493 Novel Discoveries in Science 
501 How to Tie Knots 
503 Short History of Civil War 
509 Are We Machines? Darrow 
518 How to Make Candy 
524 Death and Its Problems 
529 Woman the Criminal 
536 What Women Beyond 40 
Should Know 

556 Hints on Etiquette 

557 Is the Moon a Dead World? 
603 The Electron Theory 

606 How to Play Chess 
609 Are the Planets Inhabited? 
627 Short History of the Jews 
629 Handbook of Legal Forms 
637 German-English Dictionary 
639 4,000 Essential English Words 

644 Women Who Lived for Love 

645 Confidential Chats with 

Wives 

648 Sexual Rejuvenation 

653 What Boys Should Know 

654 What Young Men Should 

Know 

655 What Young Women Should 

Know 

656 What Married Men Should 

Know 

657 What Married Women 

Should Know 

658 Toasts for All Occasions 
661 Neurotic America and Sex 
679 Chemistry for Beginners 

681 Spelling Self Taught 

682 Grammar Self Taught 

683 Punctuation Self Taught 

687 U. S. Constitution 

688 Teeth and Mouth Hygiene 

689 Woman's Sexual Life 

690 Man's Sexual Life 

691 Child's Sexual Life 

696 How to Pronounce Proper 

Names 

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703 Physiology Self Taught 

704 Facts About Palmistry 

705 100 Professions for Women 
710 Botany for Beginners 

715 Auction Bridge for Beginners 
717 Modern Sexual Morality 
724 Burbank Funeral Oration. 
Judge Llndsey 

726 Facts About Venereal 

Diseases 

727 Psychology of Affections 

730 Mistresses of Today 

731 Mental Differences of Men 

and Women 
734 Book of Useful Phrases 
759 How to Conquer Stupidity 

767 Facts About Astrology 

768 Best Jokes About Lawyers 
773 Good Habits and How to 

Form Them 
775 First Aid for Investors 
777 Riddle of Human Behavior 
381 Catholicism and Sex 
782 Psycho-Analysis. Mind and 

Body 

784 Association Tests in Psycho- 

789 Digest of U. S. Marriage and 
Divorce Laws 

800 Sex in Psycho-Analysis 

801 A Rapid Calculator 

804 Freud on Sleep and Sexual 

Dreams 
810 Scandals of Paris Life 

815 Familiar Quotations 

816 Shakespearean Quotations 

817 Her Burning Secret 

819 Book of Strange Murders 

820 Jokes About Married Life 

821 Improve Your Vocabulary 

822 Rhetoric Self Taught 

823 English Composition Self 

Taught 

835 Handbook of Useful Tables 

841 Future of Religion 

842 Best Jokes of 1925 

843 Can You Control Conduct? 

845 Facts About Fortune Telling 

846 Womanhood: Facts of Life 

847 How to Play Card Games 

850 Bad Habits and How to 

Break Them 

851 Bible Myths and Legends 
853 How to Know the Songbirds 

855 How to Write Letters 

856 Arithmetic Self Taught, 1 

857 Arithmetic Self Taught, 2 

858 Psychology of Leadership 
862 German Self Taught 

864 Chats With Husbands 

869 Best Jokes of 1927 

872 Manual Parliamentary Law 

876 Curiosities of Mathematics 

877 FrenchCooklngfor Amateurs 
879 Best Jokes About Preachers 

882 Psychology of Character 

Building 

883 Capital Punishment 

884 Debate on Prohibition 
889 Jokes About Kissing 
891 Your Talent and How to 

Develop It 

893 500 Riddles 

894 How to Advertise 

895 Astronomy for Beginners 

896 Wages of Sin 

901 Woman: Eternal Primitive 

902 Dictionary of Foreign Words 

903 All About Syphilis 

904 Sex Symbolism. Fielding 

910 Is Life Worth Living? 

911 Is Mankind Progressing? 
964 How to Be Happy Though 

Married 
966 Rational Sex Ethics 
972 Book of Popular Jokes 
975 Cleopatra and Her Loves 
984 Harmony Self Taught 

986 How to Talk and Debate 

987 Art of Kissing 

988 The Art of Courtship 
995 How to Play the Piano 
997 Recipes Home Cooking 
999 Latin Self Taught 

1000 Wonders of Radium 

1003 How to Think Logically 

1004 How to Save Money 

1005 How to Enjoy Muslo 

1006 Children's Games 

1007 Revolt Against Religion 



1008 Origin of Religion. McCabe 

1009 Typewriting Self Taught 

1010 Amateur Magic Tricks 

1011 French-English Dictionary 

1012 Best Negro Jokes 

1013 Best Irish Jokes 

1014 Best American Jokes 

1015 Comic Dialect Poems 
1018 Humorous Limericks 

1020 Why I Am an Infidel 

1021 Italian Self Taught 
1023 Popular Recitations 
1030 World's Great Religions 
1049 How to Sing 

1051 Cause and Nature of Genius 

1052 Nature of Instinct and 

Emotions 

1053 Guide to N. Y. Strange 

Sections 
1056 Devil's Dictionary 

1061 Human Origin of Morals 

1062 Humoresque. Fannie Hurst 

1064 Simplicity of Radio 

1065 Lives of U. S. Presidents 

1069 Conquest of Fear 

1070 How to Fight Nervous 

Troubles 
1074 Commercial Law 

1078 Morals in Greece and Rome 

1079 Phallic Elements in Religion 
1082 Best Jewish Jokes 

1084 Did Jesus Ever Live? 

1088 Truth About Mussolini 

1089 Common Sense of Sex 

1091 Facts About Cancer 

1092 Simple Beauty Hints 

1093 Amusing Punts 

1094 Insanity Explained 
1097 Memory: How to Use It 
1103 Puzzles and Brain Teasers 
1105 Spanish-English Dictionary 
1109 Spanish Self Taught 

1111 Prostitution in Medieval 
World 

1113 Love from Many Angles 

1122 Degradation of Woman 

1123 Facts About Puritan Morals 

1124 On the Bum 
1126 Eating for Health 

1130 The Dark Ages. McCabe 
1135 Prostitution In Modern 
World 

1138 What Atheism Means 

1139 Photography Self Taught 
1144 Truth About Jesuits 
1148 Sexual Crime in U. S. Law 
1164 Unlovely Sin. Ben Hecht 
1167 Sinister Sex, etc. Hecht 

1 174 How to Write Business 
Letters 

1176 A Mad Love. Frank Harris 
1204 Dictionary of Musical Terms 

1206 How to Swim 

1207 French Self Taught 

1208 Success Easier than Failure 

1209 Charming Hostess: Enter- 

tainment Guide 

1210 Mathematical Oddities 
1216 Italian-English Dictionary 
1221 Facts About Will Power 
1225 How to Avoid Marital Dis- 
cord 

1228 Jokes About Drunks 

1231 Best Jokes of 1926 

1233 Better Meals for Less Money 

1238 Beginning Married Life 

Right 

1239 Party Games for Grown-ups 

1241 Outline of U. S. History 

1242 Care of Skin and Hair 

1244 How to Write Love Letters 

1246 Best Hobo Jokes 

1247 Psychology of Love and Hate 

1249 Best Jokes About Lovers 

1250 Companionate Marriage 

1251 What Do You Know? 
1257 How to Become Citizen 

1278 Ventriloquism Self Taught 

1279 Side Show Tricks 

1285 Gamblers' Crooked Tricks 
1292 Best Short Stories of 1928 
1311 Real Alms of Catholicism 
1310 Revolt of Modern Youth 

1317 Meaning of U. S. Constitu- 

tion 

1318 Case For and Against Sexual 

Sterilization 

1320 How to Get a Husband 

1321 Fasting for Health 



1322 Confessions of a Modern 
Woman 

1329 Facing Life Fearlessly 

1330 Facts About Digestion 
1333 Common Sense of Health 
1337 Breakdown of Marriage 

1339 Crooked Financial Schemes 

1340 How to Get a Job 

1341 Unusual Menus 

1342 Typical Love Problems 
1347 Trial Marriage 

1349 Life of Lindbergh 
1351 How to Get Ahead 
1354 Book of Similes 

1356 How to Make Wills 

1357 What You Should Know 

About Law 

1358 How to Acquire Good Taste 

1359 Is Birth Control a Sin? 

1360 Pocket Cook Book 

1361 Who Killed Jesus? 

1362 Law for Women 

1363 Law for Auto-Owners 
1365 How to Build Vocabulary 
1371 Sins of Good People 

1379 President Harding's Illegiti- 

mate Daughter 

1380 Flesh and the Devil 
1382 Is Our Civilization Over- 
sexed? 

1385 Defense of Devil 

1388 Are the Clergy Honest? 

1389 Tobacco Habit 

1392 Confessions of a Gold Digger 
1395 Instantaneous Personal 
Magnetism 

1412 Stories of Tramp Life 

1413 My Prison Days 

1419 Unusual Deaths 

1420 Why Wives Leave Home 

1421 How to Get a Divorce 
1426 Foot Troubles Corrected 
1428 Unusual Love Affairs 
1430 Shorthand Self Taught 
1434 How to Think Clearly 

1436 Strange Marriage Customs 

1437 Curiosities of the Law 

1439 Intelligence, How to Test It 

1440 Can Man Know God? 
1442 Facts About Graphology 
1445 Wild Woman of Broadway 
1448 Character Reading from 

Faces 

1450 Do We Live Forever? 
1455 End of the World. McCabe 

1459 Psychology of Criminal 

1460 American Statistics 

1471 How to Become Mentally 
Superior 

1475 Best Jokes of 1928 

1476 What You Should Know 

About Your Sensations 



1477 How Glands Affect Per- 
sonality 

1480 Causes of World War 

1481 The New Immorality 
1484 Why Preachers Go Wrong 
1491 Power of Women 

1493 Wine, Women and Song 

1496 Sexual Factor In Divorce 

1497 Companionate Divorce 

1498 M.U. Sex Questionnaire 

1500 Why I Am an Agnostic 

1501 Mussolini and the Pope 

1503 Effective English In Speech 

1504 Overcome Self-Consclous- 

ness 

1508 Facts About Poisons 

1513 Statistics: How to Under- 

stand Them 

1514 Edison's Inventions 
1516 Facts About Gonorrhea 
1523 How to Avoid Catching 

Venereal Diseases 

1531 Can We Follow Jesus 

Today? 

1532 Don Quixote 

1534 How to Test Urine 

1535 How to Throw a Party 

1536 Facing Death Fearlessly 
1538 Rational Sex Code 

1542 Who Started World War? 

1543 Is War Inevitable? 

1544 Against Capital Punishment 
1 548 Chinese Cook Book 

1553 Exercises for Nervousness 

and Indigestion 

1554 Exercises for the Heart 

1555 Rules for Success In Business 

1556 How Sun Gives Health 
1559 Can We Change Human 

Nature? 
1563 Marvels of Sunlight 

1565 Catholicism and the Public 

Schools 

1566 How to Conduct Love Affair 

1568 Full Text Edison's Scholar- 

ship Questionnaire 

1569 Boccaccio — Lover of Love 



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HALDEMAN-JULIUS PUBLICATIONS, 
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City : State. 






Chesterfields are made of 
mild ripe tobaccos . . . rolled in 
pure cigarette paper . . . the best 
ingredients a cigarette can have 

For You.. .there's MORE PLEASURE 
in Chesterfield's milder better taste 




Copyright 1938, Liggett & Mydrs Tobacco Co. 



TRUE STORY OF A VOICE DOUBLE 



Jane Withers 



BOB TAYLOR'S GREATEST THRILLS 



Healthful 




ou Die 




i n I gum shows uou this 



doubly lovely way to charm an J 



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Men —women, too, for that matter — are 
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loveliness of your smile. You look your 
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know. Try it today. . .Left, Double Mint 
gum introduces a new creation of 
Valentina whose clients from New York 
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dressed women in the world. Double 
Mint has put this charmingly becoming 
dress into a Simplicity Pattern for 
you. This, then, is Double Mint gum's 
doubly lovely way of helping you win 
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Keep young — be doubly 
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also Double Mint gum aids digestion, re- 
laxes tense nerves, assures a sweet inoffen- 
sive breath. Buy several packages today. 

I Left, exquisite Double Mint gum dress 
; produced in New York by valentina, 
| original creator of modern classic design 
; — modeled for you in Hollywood 
: by the gorgeous star of stage 
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Made available to you by Double Mint gum 
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| At nearly all good Department, Dry Goods or 
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Well, I'm Elected 

I've got "Pink Tooth Brush" now! 



Neglect, Wrong Care, Ignorance of the Ipana Technique 
of Gum Massage -all can bring about 



"PINK 
TOOTH BRUSH" 




ANN: "Hello, Jane. Well, 
the laugh's on me— there's 
a tinge of 'pink' on my 
tooth brush. What do I do 
now?" 

JANE: "See your dentist, 
pronto. Cheer up, my pet — 
maybe it's nothing serious!" 
ANN: "Good heavens, I hope not. What did 
Dr. Bowen tell you?" 

JANE: "Mine ivas a plain case of gums that 
practically never work— I eat so many soft 
foods. Believe me, I've been using Ipana with 
massage ever since. It's made a world of dif- 
ference in the looks of my teeth and smile!" 
ANN: "You make good sense, darling. Guess 
there's just one thing to do— find out ivbat 
Dr. Bowen tells me..." 

Don't let "Pink Tooth Brush" 
ruin your smile 

WHEN you see "pink tooth brush" see 
your dentist. You may not be in for 
serious trouble, but let him decide. Usually, 
he'll tell you that yours is merely another 
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modern foods are creamy and soft, they fail 
to give our gums the exercise they need. 
That's why so many dentists today advise 
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For Ipana, with massage, is especially de- 
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Play safe! Change today to Ipana and 
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* * * 

DOUBLE DUTY— Perfected with the aid of over 
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IPANA TOOTH PASTE 




Silver Screen 



3 



C^- ; vvw 





Out of the inferno of war came three men and a 
woman — to live their lives, to strive for happi- 
ness, to seek love . . . The most heart-touching 
romance of our time, brilliantly re-created upon 
the screen, from the world-renowned novel by 
the author of "All Quiet on the Western Front". 



ROBERT MARGARET 

TAYLOR SULLAVAN 

FR AN C HOT ROBERT 

TONE YOUNG 

in Metro-Goldwyn-Mayer's Vivid Drama of Today 



with GUY KIBBEE * LIONEL ATWILL- HENRY HULL 

A FRANK BORZAGE Production * A Metro-Goldwyn-Mayer Picture 
Directed by FRANK BORZAGE • Produced by Joseph L. Mankiewicz 
Screenplay by F. Scott Fitzgerald and Edward E. Paramore 




4 



Silver Scre en 



i 



MAY 13 Yflfc ( ©C1B 375992 

REFLECTING the MAGIC o/HOliyWOOD 
JUNE, 1938 sassuss 




ELIOT KEEN 

Elizabeth Wilson Lenore Samuels Frank J. Carroll 

Western Editor Assistant Editor Art Director 



CONTENTS 

STORIES AND ARTICLES Page 

TRUE STORY OF A VOICE DOUBLE \s told to Ed Churchill 18 

STAGE DOOR JOHNNIES RETURN ...Ruth Arell 20 

BOB TAYLOR'S GREATEST THRILLS \s told to Ben Maddox 22 

FLASHSHOTS Jerome Zerbe 24 

THE FACE ON THE CUTTING ROOM FLOOR Ed Sullivan 26 

CONTINUED NEXT WEEK Maud Cheatham 28 

PROJECTION OF JANE WITHERS Elizabeth Wilson 30 

IN QUEST OF ATMOSPHERE Gladys Babcock 32 

PARTY PLANS Mark Dow ling 34 

NO RETAKES IN LOVE Frederic Mertz 31 

TIME STANDS STILL .Alvce Shupper 54 

MONTHLY FEATURES 

'The Opening Chorus 5 

1 Tips On Pictures 8 J/ 

1 Pictures On The Fire S. R. Mook 10 

- Topics For Gossips '. . . ~ 17 

• Hints For Summer Beauties Mary Lee 56 

. Reviews Of Pictures 57 • / 

'Frozen Desserts Ruth Corbin 60 

tA Movie Fan's Crossword Puzzle Charlotte Herbert 82 

, The Final Fling 82 - 

ART SECTION 

We Point With Pride 35 

New Style in Girls! . v.....'...,...-. 36-37 

The Life Luxurious! 38-39 

The Screen Colony Heeds Fashion's Call... 40-43 

Previews Of The New Films 44 _ 45 

Sequences From Current Pictures 46-49 

How They Do It! 50 

COVER PORTRAIT OF JANE WITHERS BY MARL ISO STONE 



SILVER SCREEN. Published mnnthlv by Screenland Magazine, Inc.. »i ir. Wesl 45th Street, New York. N Y 
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MEMBER. AUDIT BUREAU OF CIRCULATIONS 



The Q 



peniri3 



GK 



orus 




Clark Gable 
A LETTER FROM LIZA 

DEAR BOSS: 
Are you in the mood for a "fish" 
story today? What with spring, and 
the opening of the tuna season, and the 
mating of the yellowtails off Catalina, 
Hollywood has become extremely fish-con- 
scious lately. 

Clark Gable, mad as hell because he 
didn't bag a lion on his recent hunting trip 
in Mexico, decided that rod and reel would 
be more fun and, with Carole Lombard 
and the Buster Colliers, rented a boat and 
went fishing off San Diego the other day. 

Clark brought back twenty-six fish— but 
Carole brought back one of the most revolt- 
ing fish stories I've ever heard. Carole never 
suffers from tnal de mer until she sees some- 
one else suffering, and she was just con- 
gratulating herself on being with splendidly 
organized people when w T hat should plop 
down on the deck of the small boat but a 
seagull. "My, my," said Carole, "what a 
pretty bird. Here guilie, here gullie, want a 
sandwich?" The seagull seemed a bit in- 
different to the Lombard luring but finally 
waddled over, took one look at the sand- 
wich, and got seasick. Carole turned green, 
and finished the entire trip under wraps. 

Dick Powell is the most hearty of the 
Hollywood Old Salts and hardly a week- 
end passes but he runs up the sails on 
his beautiful boat, the Galatea, and heads 
for the open sea for a fishing spree. Some- 
times he takes the little wife (Joan. Blon- 
dell) along, and sometimes she just can't 
face it. But Joan wants to be sporting about 
it. so the other week-end when Dick 
planned to fish off Catalina she and Normie 
went along to help Daddy Dick pull them 
in. 

Normie is at that age now when he 
doesn't want to be bothered with a woman, 
even if she is his mother, so as soon as 
the Galatea was underway young Normie 
announced, "Cabins are for the ladies, 
Mommy. Yon better go below. Only we 
men can stay on deck.'' 

It was hot down there, and Miss Blon- 
dell's stomach isn't too strong on the sea 
at best. Soon she was having that old feel- 
ing. "Hello. Mommy," Normie yelled down 
the hatch, "having a fine lime?" "No," 
moaned Joan weakly, "I iiiusl come up and 
get some air." "Oh. no," called back 
Normie, "ladies musi si;i\ downstairs. We 
men are fishing." Joan swears sin- has gone 
on her last fishing trip— and she hopes her 
next child is a "ill and a siss\. 






Again the finger of the law levels at Joe, accusing , 



Silver Screen 




Silver Screen 



7 



Fisher 
"Miss Typical An 

appearing in 
Paramount 's 
"True Confession" 




£Y£ BEAUTY AIDS 



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Maybelline Cream-form Mascara in dainty 
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Chester Morris, 
Anne Shirley 
and Richard 
Bond have seri- 
ous matters to 
discuss in "Law 
Of The Under- 
world." 



BLUEBEARD'S EIGHTH WIFE — Fine. Al- 
though this infectious comedy suffers a bit by com- 
parison with Ernst Lubitch's many excellent ro- 
mances, it is so far above the average run of 
pictures that we have to commend it highly. Gary 
Cooper is cast as the modern Bluebeard (if you can 
imagine that) and the lovely Claudette Colbert, 
after becoming his eighth spouse, is the one who 
teaches htm what we call "a lesson." The settings 
are in Paris and on the Riviera. 

FIRST HUNDRED YEARS, THE— Good. A 
breezy comedy of young marriage, which takes a 
huge floppo (only temporarily, of course) when 
Virginia Bruce, the lovely bride, insists upon con- 
tinuing her business career and Bob Montgomery, 
the indignant husband, puts thumbs down on the 
proposition. Yes, there's a happy ending. (Binnie 
Barnes, Lee Bowman). 

GO CHASE YOURSELF— Good. If you are 
a pushover for the kind of daffy comedy that Joe 
Penner is guilty of, then this is your night's enter- 
tainment. Joe wins a trailer through a lottery and 
is speeding along the highway peacefully until 
pursued by bank robbers who use him as a bUnd. 
Lucille Ball plays his wife and proves herself a fine 
comedienne. 

GIRL OF THE GOLDEN WEST, THE— 

Good. There are some who will think this melo- 
drama of the Old West a bit quaint, and they'll 
be right. But, it teams that grand romantic team 
of Jeanette MacDonald and Nelson Eddy, always 
a pbasure to watch and always a pleasure to hear, 
so n'lat more can you ask? And they do sing 
divinely, both singly and a duo. 

HEART OF ARIZONA — Good. No need to tell 
you that this is a red-blooded western yarn ; the 
title gives that away. But we do want you to know 
that it features the extremely popular rough and 
ready hero, Hopalong Cassidy, who has won so 
many fans for himself this past year. (William 
•Boyd, George Hayes, Lane Chandler, Dorothy 
Short). 

JUDGE HARDY'S CHILDREN— Fine. This 
is one of a series of feature length films woven 
around the same main set of characters, Lewis 
Stone, Mickey Rooney and Cecilia Parker. In this 
one the plot takes them to Washington, where 
Mickey gives his father (Stone) a tip on how to 
outsmart some political sharpshooters. Even the 
so-hard-to-please will fall for this grand comedy. 

LAW OF THE UNDERWORLD — Good. 
Chester Morris plays the leader of a large under- 
world gang, but is gentleman enough to suavely 
ingratiate himself with important leaders on the 
legitimate side of the fence. The plot is highly dra- 
matic and has a stirring climax. In cast, Anne 
Shirley, Walter Abel. Edward Ciannelli, Richard 
Bond. 

LIFE DANCES ON — Excellent. A French 
language film which won several notable awards 
on its home grounds, and is certainly deserving of 
much credit here. It is really a story of the dis- 
enchantment of a very lovely woman in her late 
thirties, who, widowed and lonely, seeks to recap- 
ture the lost happiness of her youth and fails. The 
action is necessarily episodic but the characteriza- 
tions are adroitly drawn. 

MR. MOTO'S DIARY — Fine. Again Peter 
Lorre plays the extremely canny Japanese crimin- 
ologist who heads this absorbing series of mystery 
films. The plot of this one concerns the solving 
of a murder committeed during a prizefight, and the 
action is highlighted by plenty of comedy as well 



as plenty of rousing good drama of the sports' 
ring. (Keye Luke, Jayne Regan). 

MAD ABOUT MUSIC— Excellent. You will 
want to sit through this twice. It is really that 
delightful. Deanna Durbin comes through again 
with a charming performance as the schoolgirl in 
Switzerland who "makes up" a fictitious father 
with whom to silence her smug school chums. As 
he turns out to be the attractive Herbert Marshall, 
we feel that Deanna was not so dumb. (Gail 
Patrick). 

NURSE FROM BROOKLYN — A cops and 
robbers type of plot, with Paul Kelly cast as the 
genial policeman who gets wounded by a gangster's 
bullet. At the hospital he meets nurse Sally Filers 
and then the romance complications begin to set 
in. Good only on a dual program. 

ROSE OF THE RIO GRANDE— Good. An 
historical romance laid in Mexico about a hundred 
years ago and replete with a fair assortment of 
melodramatic action, comedy and music with a 
captivating native lilt. The cast includes John Car- 
roll, who has an excellent voice, Movita, Antonio 
Moreno and Lina Basquette. 

LEBECCA OF SUNNYBROOK FARM— 

Excellent. You're bound to enjoy this latest Shirley 
Temple opus. That's kid's really somethiri . But 
don't expect an authentic adaptation of that old 
childhood classic. Oh, no. This is a de luxe 1938 
version (and good, too) with radio and tap-dancing 
interpolations, AND Bill Robinson. (Gloria Stuart, 
Randolph Scott). 

TIP-OFF GIRLS— Good. If it's thrills and ex- 
citement you're looking for this fast-moving story 
of highjackers and G-men ought to raise your blood 
pressure enough to satisfy you for one evening. 
Lloyd Nolan plays the G-man while J. Carrol Naish 
is the sneering gangster, as usual. (Mary Carlisle, 
Larry Crabbe, Evelyn Brent). 

TO THE VICTOR — Fine. This pastoral screen 
film, produced in England, was adapted from that 
unforgettable Scotch story, read when we were still 
in school, called "Bob, Son of Battle." Bob, lest 
you forget, js^ that marvelous sheep dog who suc- 
ceeds in uniting his master with "the woman he 
loves." The rural Scotch atmosphere is compelling 
in its beauty and simplicity. (John Loder, Mar- 
garet Lockwood). 

TRIP TO PARIS, A— Fine. Another full- 
length film in the wholesome Jones' series, featur- 
ing Jed Prouty and Spring Byington as the par- 
ents who celebrate their silver wedding anniversary 
by taking their whole family to Paris, where they 
run into a bit of romance as well as some unex- 
pected underworld excitement. (Shirley Deane, 
Russell Gleason, Florence Roberts, etc.). 

TORCHY BLANE IN PANAMA— Good. 
Torchy, if you follow your "series films" (and they 
are becoming that popular) is the wise-cracking 
girl reporter who has a penchant for getting in- 
volved in the grandest messes. Lola Lane plays 
Torchy this round, instead of the curt Glenda Far- 
rell, but the role stands up just as vigorously 
under the change. (Paul Kelly). 

WOMEN ARE LIKE THAT— Fair. One of 
those smooth productions with an equally smooth 
cast of characters, but which never seems to "come 
off." Kay Francis, perhaps, is miscast as the astute 
career woman who becomes estranged from her 
husband (Pat O'Brien) when she tries to help him 
out in his advertising business. Of course they are 
reconciled in the end. That's where the title comes 
in. 



Silver Screen 



1 could have told you that 



a year ago!" 



"Aren't you floored! Janet losing Tod?" 

"Not at all, Louise." Ann glanced at the 
newspaper. "They were drifting a year ago. 
And I think I know one of the reasons — 
Janet's bad breath! Remember?" 

"Of course! It practically eased her out 
of the Bridge Club. But you'd think Tod 
would have sort of tactfully given her a 
bottle of Listerine." 

"You'd think so. But men never seem 
to tell their wives when they're slipping." 

IT'S FATAL 

Certainly nothing so completely nullifies a 
woman's charm as a case of halitosis (bad 
breath). The insidious thing about it is that 
you yourself never know that you have it. You 
may be offending the very persons whose favor 
you court. 

How foolish to take this risk. All you need do 
to make your breath sweeter, purer, more whole- 
some, is to use Listerine Antiseptic. Listerine 
is the delightful, quick-acting deodorant all fas- 
tidious people use. Listerine halts fermentation 
of tiny food particles (a major cause of breath 
odors) then overcomes the odors themselves. 

When you want to be on the safe side about 
your breath you need quick antiseptic and de- 
odorant action, and Listerine Antiseptic pro- 
vides it delightfully. 

Lambert Pkarmacal Company, St. Louis, Mo. 




The Merchant of Venus is what they call 
successful Walter Thornton in New York. 
Every year he interviews thousands of 
beauties. If they pass his critical inspec- 
tion, he sends them to commercial studios, 
the sra.ee, and movie lors. 



NOW, MOST IMPORTANT OF ALL - 
YOUR SMILE. IT LACKS SPARKLE - 
BECAUSE YOUR TEETH ARE DULL. 
YOU MUST HAVE BEAUTIFUL TEETH 
IF YOU WANT TO SUCCEED AS A 
MODEL . I SUGGEST YOU TRY 

USTERtNE TOOTH PASTE 

BECAUSE . . . 





FROM PLAIN JANE AT $13 PER TO 




at #00.00 a wem 

AS TOLD BY WALTER THORNTON, THE MAN WHO 
PICKS THf BEAUTIES FOR STUDIO, STAGE E» SCREEN 



THREE WEEKS LATER 



WALTER THORNTON 
HAS SHOWN ME HOW TO 
STAND... HOW TO WEAR 
MY HAIR ..HOW TO MAKE UP 
..AND ESPECIALLY 
HOW TO BRIGHTEN 
< 77 MY SMILE - 
iife^^ WITH 

USTERfNE 
TOOTHPASTE 

-AND I'VE 
LANDED MY 

FIRST 
MODELLING 
JOB .' 



CHANGE TO LISTERINE TOOTH PASTE 

It's a change for the better 



When your dentist cleans your teeth, 
there is no spilling or mess because he 
makes his powder into paste. Otherwise 
the fine particles would fly off his rapidly 
revolving brush. 

We, too, "cream" the finest dental pow- 
ders into a paste, Listerine Tooth Paste. 
Thus it gives you the cleansing efficiency 
of powder in modern form . . . easy to 
put on the brush . . . no waste, no mess. 



The formula itself is super -safe and 
extra-active. It quickly brings to teeth 
the sparkle and glistening high-lights so 
much admired in the photographs of New 
York models. 

Try Listerine Tooth Paste tomorrow. 
You are sure to like its full-bodied, re- 
freshing llavor. For added economy, buy 
the double-size tube. At all drug counters. 
Lambert Pharmacal. Co. 



Silver Screen 



9 




'Jlx/uJjLntf with. S'ptiiruj 

Co4&bm4. GfrbyiA, SAYS 
JOAN BENNETT 

charming star of I Met My Love Again 

CONGO is fascinating. ..utterly fem- 
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is Glazo's newest nail polish success 
— an enchanting deep orchid-rose 
picked by stylists to harmonize with 
the season's blues, grays and beige. 

Whereveryou go you'll see Congo. 
It's a color men admire, too. Accent 
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SPICE. ..CABANA. Each is a gem of 
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at all drug counters, 
in extra large 
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GLAZO 





"Sinners in Par- 
adise." They 
find that a des- 
ert island whips 
up the appetite. 
(L. to R.) Gene 
Lockhart, Marion 
Martin, Char- 
lotte Wynters, 
Bruce Cabot, 
Madge Evans, 
Don Barry and 
John Boles. 



At Universal 

A GALA month for me, my chickadees, 
because it marks the return of Madge 
Evans to pictures from the radio. Uni- 
versal has finally wakened to Madge's 
potentialities and brought her back to the 
screen in an opus called "Sinners in Para- 
dise." 

It seems that a giant airship, bound for 
China and, of course, carrying an oddly 
assorted group of passengers, including the 
beautiful, selfish and fabulously wealthy 
Charlotte Wynters, Madge (a married 
dame, dissatisfied with her lot, who is going 
to try nursing in the Orient), Nana Bryant 
(en route to China to visit a son she has 
not seen in yeahs and yeahs), Marion Mar- 
tin (a fugitive from a gambling investiga- 
tion), Bruce Cabot (a racketeer— and why 
don't you reform in at least one picture, 
Bruce?) and Milburn Stone and Morgan 
Conway, who plan to sell guns and am- 
munitions to rival warring groups in China. 

Do I have to tell you the plane is wrecked 
and falls into the ocean near an uncharted 
island? Everyone is saved but when they 
reach shore they find the uncharted island 
inhabited by John Boles and his Chinese 
servant, Willie Fung. 

You may well imagine that one servant 
can't be expected to cope with' such an in- 
flux of visitors, particularly uninvited 
guests. Besides that, since there are no stores, 
dance halls, beer joints or anything else 
on the island Willie's wages wouldn't do 
him one jot of good so there's no sense to 
his continuing "in service " The result is, 
the castaways have to pitch in and do their 
share. They gang up on Charlotte because 
she's rich and has never had to work. They 
altruistically want to show her how the 
other half lives. And so we pick them up 
as they sit down to lunch. Mr. Cabot, who 
should know better, because he founded the 



Survey 
Of The 
Month With 
The Movie Makers 
By S. R. Mook 

exclusive Embassy Club in Hollywood, yells, 
"Let's get at that food!" 

Gene Lockhart (who plays a licentious 
old senator) whispers to Charlotte (who is 
serving the lunch) "I'll tell you after lunch. 
We'll be off this island in a week." 

"Come on, Thelma," one of the gang 
yells at Charlotte, "the food should have 
been on the table by now." 

Charlotte shoots him a dirty look and 
starts serving as the gang already have 
their mouths full of the food that was al- 
ready on the table. 

"Va know," Cabot observes with his 
mouth chock full, "when I was a kid I 
had a job at one of the big packing com- 
panies in Chicago— and it gave me an idea. 
When the storm season comes along it's 
gonna be pretty tough fishing, ain't it? And 
maybe it won't be so hot for our vegetable 
garden. Suppose I built a smoke oven?" 

Charlotte has been dishing it out (the 
food, I mean) to various guests. When she 
gets to Bruce she notices his place is empty 
so she heaps an extra large second portion 
on it. He looks up at her gratefully. There 
is a promise of something very pleasant in 
the smile she favors him with. (It always 
seems to me the Hays office strains at a 
gnat and swallows a camel— the things they 
pass and the things they red-pencil). 

Well, anyhow, Charlotte moves along and 
presently she conies to Marion Martin. 
She portions olf an extremely meager 
amount for Marion's second helping. 
"Hev!" yaps Marion angrily. "What's the 
idea? Is this all I get?" 

"I'm thinking of your figure, dear," 
Charlotte replies sweetly. "You're getting 



10 



Silver Screen 



awfully plump." And that is what you 
might call the squelch elegant— neat but 
not gaudy. 

Mr: Boles and Miss Evans, although in 
this scene are not of it. They're sitting 
at the far end of the table where I can't 
get to them. John waves a big hello and 
Mr. Whale, the director, looks as though 
he'd had an acute attack of indigestion at 
the thought of anyone on one of his sets 
speaking to anyone else. So I leave because, 
after all, there is no sense in deliberately 
making anyone sick to his stummick. 



The next set is occupied by a picture 
with the rather startling title, "Hell's 
Kitchen." Of course, everyone knows that's 
a district in New York but, being an old- 
fashioned boy (good Lord! How old do 
they grow where he comes from) I always 
feel startled when I see that word in print. 
They say the title will be changed so I 
suppose I'm getting all steamed up over 
nothing. 

There isn't much to the scene I see. It's 
a very fashionable night club (remember 
when they were cabarets?) and Mr. William 
Gargan is dancing with Miss Beatrice 
Roberts. William is the only one in the 
joint who isn't in evening dress but it 
doesn't seem to faze him an iota. Beverly 
keeps smiling at someone at a table and 
waving to him and Willie is apparently 
trying to intimate to the party of the third 
part that he should be on his way. When 
Ins scowls and grimaces fail to take effect 
he grabs Beverly closer and starts "Danc- 
ing Cheek to Cheek." 

This little number is being directed by 
Ray McCarey. Ray, along with Joseph Sant- 
ley at RKO, is one of my favorite directors— 
a lad who should be doing bigger and 
better things. They only give him little 
pictures to direct but he turns out good 
ones and they always make money for the 
company. Now, if Roy had been directing 
"Sinners In Paradise"— oh, what's the use. 
Nobody ever listens to me anyhow. 



The last picture on this lot this month 
is one of Universal's most important pro- 
ductions of the year for it marks the 
American debut of Danielle Darrieux— at 
long last. Opposite her are Douglas Fair- 
banks, Jr., and Louis Hayward and I think 
that's a pretty good break for a gal who's 
just starting in, so to speak. 

I don't understand the furnishings on 
this set. The chilfonier and dressing table 
are strictly modernistic but the chairs and 
lamps are Victorian and there are shelves 
filled with old-fashioned china ornaments. 

The people on the set tell me frankly 
they haven't the foggiest (as we say in 
Merrie England) what it's all about. If 
they don't know I don't see why / should 
worry. I only know both Danielle and Doug, 
Jr., are in pajamas and lounging robes. 

"I hope that's all?" Doug hopes sar- 
castically. 

But it isn't. "I'd like a glass of water," 
Danielle counters, sparring for time. 

"You can get a glass of water by taking 
the top off that carafe, tilting it this way 
and holding the glass under it," he explains 
patiently— too patiently. 

"This?" she asks meekly, indicating the 
carafe. 

"Yes, that!" he rejoins. "And if you want 
a cigarette, all you have to do is this (pick- 
ing one out of a box) and this (striking 
a light)." 

"No, thanks," she smiles innocently, "I 
don't smoke." 

"Well, if there's anything else you want, 
will you speak now or forever give me 
peace?" he begs her. 

"No, thanks," she repeats. "I think I'll 
look out of the window. I hope you don't 
mind," she adds sarcastically as she leans 
out. 



POCKED 




Watch the Pores on Your Nose! 
Largest Pores on Your Body — A Stern 
Test of Your Cleansing Methods 

Gorgeous figure— lovely face— but the whole effect mined by Pore- 
Pocked Nose! All because she carelessly permitted those large nose 
pores to fill up with dirt and waste matter and become coarse and 
unsightly! 

You must keep these pores C-L-E-A-N ! Not merely surface clean. You 
need that deep under-layer cleansing that penetrates the mouths of your 
pores and lifts out hidden dirt that may have accumulated for months. It 
is this dirt that causes trouble. It becomes embedded and grimy— may breed 
tiny skin infections or result in blackheads, bumps and coarse, rough skin! 

Lady Esther Face Cream penetrates this under-layer dirt. It breaks up the 
embedded packs in the mouths of your pores and makes them easily remov- 
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ness and beauty. 

Make this Free Jest 

Let me prove, at my expense, that Lady Esther Cream will cleanse and 
soften your skin better than any method you have ever used. Just mail 
the coupon below and I'll send you a generous sample of Lady Esther Face 
Cream, free and postpaid. Ill also send all ten shades of Lady Esther Face 
Powder. Mail the coupon now. 



(You can paste this on a penny postcard) p REE 
Lady Esther, 7162 West 65th Street, Chicago, Illinois l4 3) 

Please send me your generous supply of Lady Esther Four-Purpose 
Face Cream; also ten shades of Face Powder, FREE and postpaid. 

Name 

Address 

City State 

(If you live in Canada, write Lady Esther, Toronto. Onu) 



Fii.ver Screen 



11 




Color' 



with 



ERROL 
FLYNN 

OLIVIA DeHAYILLAND- BASH 
RATHBONE CLAUDE RAINS 

PATRIC KNOWLES - EUGENE PALLETTE 
AEAN HALE-MELVILLE COOPER 
IAN HUNTER • UNA O'CONNOR 

Directed by Michael Curtiz and William Keighley 



Original Screen Play by Norman Reilly Raine and SetOQ 
I. Miller • Based Upon Ancient Robin Hood Legends* Music I 
Erich Wolfgang Korngold • A FIRST NATIONAL PICTURB 




12 



Silver Screen 



1 1 (STOW 



PAINTS 

THEIR DASHING DEEDS TO LIVE FOR THE AGES! 



Loving, roistering, battling . . . blazing 
their deeds of daring into the legends 
of the world! History's most beloved 
rogue and all his merry men come 
fighting again for Richard, King of 
the Lion's Heart! Come galloping out 
of their outlaws' forest to storm and 
take forever the castle of romance! 



The Adventures of 




Silver Screen 



13 



One whiff,,.. 
^ then a tiff / 




GARGLE..,, 

takes a Jiff / 




PEPSODENT 
ends their rift I 

pi 




1 BOTTLE 
PEPSODENT ANTISEPTIC 
EQUALS 3 BOTTLES 
OF ORDINARY KINDS 



Even when diluted with 2 
parts water, still kills 
germs in seconds . . 
Lasts 3 times as long' kjjj^ , j 

MAKES YOUR 
MONEY GO 3 



TIMES AS FAR 




"N'ot at all," he assures her. "That comes 
with the room." 

It isn't exactly what I'd call a scin- 
tillating scene but the picture is being 
directed by John Stahl and I've never 
known Mr. Stahl to turn out a poor pic- 
ture so I'm sure it'll work in somewhere. 
And a lot, if not all, of the dialogue was 
contributed by Frank Rowan. And there 
is no one funnier than Frank when he 
wants to be. Wasn't it he who slipped up 
behind me in New York one morning and 
started screaming at the top of his voice 
that Seventh Avenue would have to be re- 
painted and the Park Central Hotel done 
over in cerise and apple green immediately? 
It may not sound funny to tell but the 
effect was startling— on me, at any rate— and 
some of the passersby edged away from 
Frank and moved toward the protecting 
arm of the traffic cop. And the cop didn't 
look too all-fired nonchalant, either. 

I stop a moment to chat with Doug. 
We reminisce about the old days when I 
first interviewed him, when he was a fledg- 
ling star at Warner Brothers, teamed with 
Loretta Young. Times have changed since 
then for both of us. Mr. Fairbanks now 
gets $100,000 a picture and I'm even closer 
to the poorhouse than I was. 

Over at Republic 
T THINK as long as I'm out this way I 
1 might as well dash out to Republic and 
see what's doing because it's been a long 
time since I've been there. And whom do you 
suppose I run into out there? None other 
than Richard Aden and Beverly Roberts. 
I haven't seen either of them in weeks 
and weeks because, first, I was away and 
later Mr. Arlen was away playing in golf 
tournaments (expensively, but unsuccess- 
fully) and Miss Roberts— well, Garbo has 
nothing on Beverly when it comes to cov- 
ering her tracks. 

This epic is called "Thunder In Alaska" 
and, as you may have guessed, is a saga 
of the great Northwest— another "Call of 
the Wild." 'Tis a long, long story. Beverly 
is a writer gathering material in a small 
Eskimo village. All of them are facing star- 
vation due to the depredations of packs of 
wild dogs and wolves which are killing all 
available game. Swift Lightning (half dog, 
half wolf) is the leader of the wild dogs. 

Three game wardens are sent to the dis- 



trict to set a trap for the wild dogs, baited 
with a small herd of reindeer. On the trip 
one of the wardens dies and his faithful 
female collie, Firefly, refuses to leave his 
grave near the Eskimo village. The trap 
fails as Sicift Lightning leads his pack 
through the superstitious Eskimos, and the 
reindeer that were to be the cause of the 
wild dogs' doom, actually save them from 
starvation. The Eskimos desert the village. 

Beverly, despite the coaxing of Lyle Tal- 
bot and the threats of Richard Arlen, re- 
fuses to leave on the boat Lyle is taking. 
Dick, knowing she cannot survive the win- 
ter alone, forces her reluctantly to leave with 
him by dog sled for Nonana. (Do you fol- 
low me? It really doesn't matter because 
I get paid anyway). 

I run onto them in a clearing. Everything 
is covered with snow, the wind makes an 
eerie sound and the pine trees sigh dole- 
fully. Both of them are muffled up in furs 
and furs and furs. There are Alaskan 
huskies and half-breed police dogs and 
Buck, the St. Bernard from "Call of the 
Wild" and all sorts of atmosphere about. 
I glance down at the McAfee shoes Mr. 
Arlen brought me back from England, at 
the Watson suit and Aquascutum topcoat 
(also imported from England) I'm wearing 
and wonder, in mild alarm, how I'm to sur- 
vive the winter. Then I remember it's really 
May and not winter at all. So I give myself 
over to watching the scene. 

"I'll never forget these days together, 
Gaston," Beverly whispers softly. "The 
hardships. They've taught me something." 

Dick says nothing. He just gazes into the 
fire— afraid to look at her— afraid of the 
emotion he feels. "I didn't know what I 
was doing— the chances I was making you 
take," Bev continues. "Now, you've lost your 
furs, your dogs— everything." 

"Not everything," he replies quietly. She 
turns, looking up at him. "I've lived so 
much alone," he goes on, "I'd forgotten— 1 
didn't know a woman could be so— so 
courageous." 

"Then you don't hate me?" she asks 
softly. But Dick only looks at her, unable 
to speak. "Say it," she insists. But, for an- 
swer, his arms go around her and he kisses 
her. She clings to him a moment, thpn 
smiles happily. "I don't care what happens 
now," she breathes. 

Suddenly something snaps, breaks the 




Penny Singleton and Lola Lane. The picture is 
named "Mr. Chump." Must refer to the title writer. 



PEPSODENT 
ANTISEPTIC I 

keeps your 
MOUTH and BREATH 
SWEETER 
HOURS LONGER 



14 



Silver Screen 



spell. He looks up quickly. A few feet away 
are Firefly and Swift Lightning come back 
to lead them to safety. 

But there is more— much more— before it 
is all over and LOVE has conquered all. 

When the scene is finished we get to- 
gether, for a gab fest with Dick going into 
minute explanations as to exactly why he 
didn't win the four tournaments up north 
and Beverly (at my insistence) telling Dick 
the joke she told me at our first meeting. 
Only, instead of practically breaking his 
jaw with a smack, as she did mine, she gives 
him a gentle shove that robs the joke of 
its point. Then, just as we're really settling 
down to business and asking each other, 
"Have you heard this one?" the script girl 
comes up and says, "I'm sorry but I've got 
to rehearse you two in your lines for the 
next scene." 

Humph! I've often said— and I say it 
again— no one has to drop a ton of bricks 
on my head before I can take a hint. I just 
say, "well, don't let me hold you up. I'll 
just have a snack at the corner and charge 
it to the company, the same as if we were 
all eating together." And off I go to— 

RKO 

ALAS and alack. Only one picture shoot- 
ing here— "Blind Alibi"— and that's on 
location. There is a dog in it— a grandson of 
Strongheart. Most of you probably won't 
remember Strongheart but, as grandpa re- 
calls, he was the first of the trained dogs 
in pictures. The young lady who goes 
around the lot with me tells me about a 
scene in the picture where the dog is sup- 
posed to get a man down. They made the 
scene, all right, and the man's coat and 
even the lining were torn to ribbons and 
the man wasn't even scratched. All I can say- 
is that's more faith in a dog's intelligence 
than I'd have. 

It's only a stone's throw, well, practically, 
from RKO to— 

Columbia 

S" O I go there next. Again only one picture 
shooting but it's a honey. It's called 
"Holiday" and was Ann Harding's greatest 
success. Personally I preferred her in "Paris 
Bound" but the public didn't so "Holiday" 
still stands as her best. Only now, instead 
of the delectable Miss Harding they have 
Katharine Hepburn. They also have Cary 
Grant and Lew Ayres. Also, they have 
George Cukor directing. 

The story, briefly, is that Cary has worked 
hard most of his life and doesn't know how 
to play. He meets Katharine at a moun- 
tain resort under unusual circumstances and 
persuades her to show him how to play. 
When it is time for her to return to New 
York he asks her to be his playmate for 
life. (Little does he reck what he's letting 
himself in for). There is a reception. Lew 
is the drunken brother and Doris Nolan is 
the sister. 

Lew is standing in a corner, behind a 
palm tree, a half consumed drink in his 
hand. He has obviously had quite a bit 
to drink but is not yet drunk. (Give him 
time). Doris comes in with Cary. 

"Did you speak to Linda (Linda being 
Katharine)?" she asks Lew. 

But Lew ignores her question. He turns 
to Cary. "Did you like Cousins Seton 
(Henry Daniell) and Laura (Binnie 
Barnes), Johnny? It's a great privilege to 
meet them, don't you think? (Did I tell 
you Linda comes from a fine family, ob- 
scenely wealthy?) And they called you by 
your first name, too. I hope you appreciate 
that?" 

Doris, being tact personified, tries to soft- 
pedal the Linda question. "What did Linda 
say to you?" 

But Lew ignores her again, and con- 
tinues to Cary: "Cheer up, Johnny. If you 
[Continued on page 79] 






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15 





Jeepers Creepers! Waitll 
you see tkose Ritzes as 
imitation hillbillies on a 
rampage in the corn likker 
country ! They ve cooked 
up the con-sarndest mess 
of fun since Grampaw 
shot the galluses off n that 
revenooer! "Life Begins 
In College was just a 
warm-up for Public 
Maniacs No.'s 1, 2 and 3! 




.an 



d tJi 



ere s romance 



in them thar hills ! 

Tony Martin as the singing 
radio talent scout "discovers 
cute little Mar] one Weaver 

m Coma, K.y and they've 

heen in a coma of love ever 
since ! 





RIT2 BROTHERS 



Kentucky 
moonshine 

A 20th Century-Fox Picture with 



TONY 



MARJORIE 



MARTIN- WEAVER 



Slim Summerville • John 
Carradine • Wally Vernon 

Berton Churchill • Eddie Collins 

Directed by David Butler 

Associate Producer Kenneth Macgowon • Screen Play by Art Arthur and 
M. M. Musselman • Original story by M. M. Musselman and Jack Lait, Jr. 
Additional Dialogue and Comedy Songs by Sid Kuller and Ray Golden 
Darryl F. Zcnuck in Charge of Production 




16 



Silver Screen 





handed her a package. 

"Miss Livingstone." he 
blurted out, breathless 
and embarrassed, "I sym- 
pathize with vou when 
the> razz your poems because I used to write 
some awful ones, too. But I got better after 
a while and I think you will improve also. 
1 think we have a lot in common and I want 
you to have this book of poems I wrote 
especially for you. If you want to get in touch 
with me, my address is . . ." 

"Meet my husband, Mister— er— " said 
Mary, politely, turning to Jack who was 

standing just behind her. Apparently the bo\ *> 6 , 

didn't know she was Mrs. Benny because " 
he suddenly got quite white, turned, and ran 
away. • - 

All the way home Jack razzed Mary about her reluctant Romeo. 
"Aha! Getting sympathy for your literary efforts, are you?" 

When she finally opened ' the package she found, on pages 
bordered by entwined hearts and curlicue roses, sappy stanzas on 
spring trees, and rippling brooks. Not one was about her per- 
sonally and she got ripping mad. "The big gyp," she cried, "I 
always wanted someone to write a poem about me. Do I have 
to be a breeze or a bird to get myself in rhyme? Taint right, it 
just ain't right!" 

Special precautions are taken to protect the stars from pan- 
handlers in the guise of fans. In fact, Virginia Bruce says that 
the distinguishing characteristic between the Stage Door Johnny 
of yore and the 1938 model is that the former came bearing gifts 
while the latter usually wants an autograph, a picture, a meal, a 
ride, a ticket, or whatnot. 

That sounds a bit harsh, but it brings to mind the experience 
Lionel Barrymore had, the memory of which still brings a chuckle. 
As soon as he left the radio studio, he was surrounded by a group 
of autograph hunters. While he was writing his name, a man 
came up to him. By his breath and his weaving motions, Bar- 
rymore saw that he was more than a little drunk. 

"Got a quarter, buddy?" the stranger asked. 

Lionel looked up and said, "I beg your pardon?" 

At which the drunk asked, "For what?" 

"I thought you asked me for a quarter," replied the actor. 

"Sorry, kiddo," answered the inebriated one as he wavered 
onward, "I never give money to strangers." 

For a while Lily Pons had a persistent Stage Door Johnny who 
became the Mystery Man of Radio Row. Every time she left the 
studio she found a very impressive limousine complete with 
chauffeur, parked directly behind her car. Standing beside the 
open door of the limousine was a middle-aged man in dinner 
clothes who bowed and asked if he might drive her to her destina- 
tion. Lily smiled to him the first time, thanked him and said 
that she preferred to use her own car. Since then he never asked 
her again, although he was there each week. He merely bowed 
deeply, murmured "Good night, Miss Pons." and the chauffeur 



(Top row) 
Gracie Allen 
and Dorothy La- 
raour. (In cor- 
ner) Lionel Bar- 
rymore meeting 
his autograph 

collectors. (Above) There's always 
a big stag line waiting for Rose- 
mary Lane. (Right) Fannie Brice 
accommodates some admirers. (Be- 
low) Virginia Bruce who wouldn't 

wait for her? 



By Ruth Arell 



drove away with him. 

When this had been going on for a 
couple of months, Lily told some friends 
about it at a party. One of the girls 

present said she would find out w ho the elderly beau was. So. after 
the next broadcast, she followed his car in a taxi. She had expected 
that he would be driven to one of the city's leading men's clubs or 
to a fashionable apartment house. Instead, he was taken to one of 
those renting places where vou can hire a limousine by the hour, 
liveried chauffeur included. She saw him pay the charges and 
depart on foot. Either he sensed that he was being followed and 
so was ashamed to return, or else his funds gave out, for he never 
came back again to gaze at Lily from a respectful distance. 

When Priscilla and Rosemary Lane were broadcasting With the 
Fred Waring band, theirs was the biggest stag line in any theatre 
alley. Of course it flattered the girls to have such a string of 
admirers waiting to present them with an occasional gardenia or 
the ever-present autograph book for signature. In lad. they had 
quite a number of regulars who waited' for them cadi week, bin 
beyond a brief "hello." they never got any friendlier with the 
boys, much to the latter's disappointment. 

Imagine the surprise of the stags when 
Rosemary came out one night, spied a 
great big cowboy in the crowd, ran up 
to him. and embraced him right in front 
of everybody. Later they found out lie 
was an old friend who worked on a 
ranch where the Lane girls used to 
spend their summers and he used to 
lake especial care of Rosemary. He had 
just come to town to ride in the rodeo 
and had learned of her broadcast too 
late to get a ticket of admission. So he 
did the next best thing. He tlecided to 
present himself [Con ti nued on page 71] 




21 




I think that all of us can stop, once in 
a while, and look back at our big mo- 
ments. Today we are apt to be busier 
than is really necessary. Distractions try to 
seize us. Attempting to please everybody, 
aiming to accomplish in too many different 
fields, we get into fine muddles. Then, 
eventually, when we have worried and 
asked advice, we are suddenly left alone. 
The answers to our confusion, we discover, 
have to be found in ourselves. When we 
finally use our heads, instead of all the 
alibis we can muster up, we get back to the 
old, sound principle of cause and effect. 
Yesterday's experiences brought us today's 
dilemmas— or happiness. 

Mistakes don't haunt me. I don't wake 
up in the middle of the night, clutched by 
regrets. If I have had an unsatisfactory day 
I know it is because I slipped up some- 
where. Somewhere specifically. I think back. 
So that was what led me into the wrong 
situation! Well, never again for that boner. 
And then, having searched for the root 
of the trouble, and having realized how I 
had wandered from my course, I forget the 
whole episode. It is finished, done with. 
Should anyone mention the matter I admit 
frankly that yes, it was my mistake. It was 
pretty stupid of me to have misjudged like 
that. But I hope to profit by the happen- 
ing. Today I have new problems. I am con- 
cerned with them alone. Only, if the same 
opportunity to figure foolishly comes up I 
believe I will know better. 

Maybe this all sounds too philosophical. 
A bit too "profound" for an actor in mo- 
tion pictures. Rut Hollywood really is not 
as dizzy as it has been painted. At least, I 



A recent picture of 
Bob and his pedi- 
greed boxer dogs on 
his ranch in the 
San Fernando val- 
ley. (Right) Mrs. 
Spangler Brugh and 
her famous son. 



haven't seen it in that light. I have 
met the glamorous stars of this en- 
tertainment world and to me they 
are all men and women who have 
had to work out individual destinies. 
You have watched their fight for 
fame. Being here I have had a chance 
to observe their even more impor- 
tant struggle, their realization that 
their evolution depends on their per- 
sonal growth. 

When I have a little time to my- 
self I like to mount my favorite horse 
and start riding toward the hills. My 
ranch is a half hour's drive from 
Hollywood, but it seems much farther. 
It is quiet. It's a place where I can 
feel completely natural once more. 
The business of acting is a phantom 
and here I am alive to the elementals 
of living. The air is so fresh I can 
feel it. The sun has a warmth from 
which I get new energy. My dogs 
follow me around and their faithful- 
ness thrills me. 

I like to head for the hills that 
aren't far away. I can gallop for 
miles, and then I gradually slow 
down to a walk. My mind, then, 
wants to remember the good things 
that have been coming my way. I 
end up by speculating on how I can 
make more good things mine. 

But yesterday, when I had been 
riding in just this way, I was sur- 
prised. For some strange reason I 



His Rise Has Been A4eteoric, 
But On The Way He Has 
Had Five Unforgettable 
.Moments Which Have Be= 
come Treasured ./Memories. 



wanted to size up my big mo- 
ments in life so far. I seemed to 
have a perspective on myself. 
The constant succession of inci- 
dents seemed to grow dim and 
just a few experiences stood out 
strongly. I could isolate five, 
altogether. 

The green meadow with its 
giant oaks was gone. I was nine 
years old again and the snow- 
storm outside our. house in 
Beatrice, Nebraska, had clouded 
out the afternoon. It was warm 
there in the kitchen and I was 
glad to be home from school. 
My mother was going to stir 
up some chocolate and she had 
a batch of cookies I was going 
to demolish. It was too much 
like a blizzard to hurry on over 
to Joe's. The gang wouldn't be 
there with a storm going into 
high. 

"Your father is going to have 
to get home tonight from away out in 
the country," my mother said. There was 
an anxiety in her tone I had never noticed 
before. "Mrs. Roberts is having another 
baby." I wasn't impressed by that; dad was 
the best doctor in the whole town. But 
maybe he would have a terrible job getting 
through the drifts that were piling up. 
The electric light flickered. My mother 
handed me the cup of hot chocolate, the 
plate of cookies, and the tone of her voice 
had a wonderful affection in it. She told 
me, then, of how dad had altered his entire 
life to save hers. She had always been 
delicate. No doctor could give her the 
right cure. So, for love of her, after they 
were married, my father had given up his 




22 



business and had begun over again for 
her sake. He had become a doctor, pri- 
marily, to help her. He had gone to col- 
lege, a grown man with a young wife and 
a baby, and somehow he had managed to 
earn the knowledge which meant their hap- 
piness. He had taken' me into his classes 
with him, when I was a baby, when she 
was too weak to take care of me. It had 
been a magnificent, a noble gamble for 
love— and he had won. It was dark out- 
side, but he would return safe and sound 
to us. I knew so. I knew that afternoon 
was my first great experience, too, for it 
taught me what love between a man and 
a woman can be. It imprinted in me an 
ideal of love which, I believe, I still have. 

Then time whizzed past. I was going to 
high school and I had speedy roadsters 
and friends who were fun. Soon I was 
a regular college man, at Doane. Week- 
ends I came home, of course, but a par- 
ticular week-end in the spring of my soph- 
omore year is the one that is sharply etched. 
I had decided I wanted to transfer West. 
There was a fire in the front room, because 
it was cool in the evenings yet. Mother 
and dad and I had been talking. They 
were always interested in everything I did. 

I remember it was exactlv ten o'clock 
that Saturday night— I chanced to glance 
over at the clock when I got around to 
my proposal— when I told them I wanted 





talking. It was five minutes to mid- 
night as I turned out the lights. I resolved 
that, when I could, I'd also give breaks 
like that. Respect the other person's in- 
spirations and intelligence. Why, if they 
hadn't behaved as they did that spring 
night I wouldn't have come to California, 
and I owe my being in pictures to being 
scouted in a play at Pomona. 

The preliminaries in Hollywood are 
jumbled. There was the six months of try- 
ing for a contract, when I didn't so much 
as have a single date. There was the coach- 
ing when I was given my probationary 
period. The first roles, the first lead, the 
first preview. It was the second morning 
after the preview of my first attempt at a 
real lead that stands out as my third great- 
est experience. I was called to the office 
of the producer of the picture. He said 
the preview cards had all asked who I was. 



to leave Doane and go to 
California, to Pomona Col- 
lege. I had a bent for music 
and Professor Gray was switch- 
ing to Pomona. They said cer- 
tainly I could make the change 
if I wished. There was no dis- 
approval of my plan nor argu- 
ment against it. They treated 
me as though I had plenty of 
common sense. Believe me, I 
appreciated that respect they 
displayed, that trust. I had taken their un- 
derstanding and devotion matter-of-lactly 
until then, I'm afraid. When they agreed 
1 was to choose as I thought best, even 
1 hough I had counted on them saying 
yes, I saw like a flash how lucky I was. 
I recalled how few others had parents as 
considerate. Funny, but I can remember 
looking at the clock when we'd finished 




(Above, left) With two of 
his Pomona College pals. 
(Above) The smiling Bob as 
he landed in Nebraska. 



Bob's career goes on and soon his 
latest picture, "Three Comrades," 
in which he plays with Margaret 
Sullavan, will be shown. A big 
moment for his fans. 

He said this was proof that the applause 
had been sincere. I guess I looked awfully 
blank; whenever I'm deeply moved I freeze 
on the surface! But what a moment that 
was! When someone who's tops tells you 
that you aren't off on a wild goose chase, 
it's an experience worth all the effort you 
have had to make. It's a life buoy, a solid 
encouragement, when you later meet more 
disappointments. You can chalk off the dis- 
appointments to an error and give a sigh 
of relief at knowing you can still deliver. 

A year and a half ago I was able to re- 
turn home, in some measure a success, and 
I would be a liar if I didn't admit, frankly, 
that the "home-coming" was more of a 
highspot than even playing opposite Garbo. 
After all, it is these personal, human things 
which affect us the most, 
and I'm just small-town 
enough to get a huge 
wallop out of going back 
to see all my old friends, 
and going in the fashion 
I'd never dared dream 
about. I was up at six, 
for a full day's work op- 
posite Garbo, I remember. 
Then the rush to the air- 
port at Burbank. There 
weren't any sleepers, so I 
dozed off and on all night. 
I In n in the morning, 
when we landed in Lin- 
coln, there was that crowd. 
We caravaned by auto- 
mobiles to Beatrice. The 
precise moment which 
looms is that one when I 
saw the sign saying ■'Bea- 
trice-City Limits." Every- 
one seemed so glad for me 
to be back, honesth so. 
And was I bowled over at 
su< h e\ idence of my luck! 
Kind words, recognition— 
they're swell, but never mi 
grand as when expressed 
by the people you grew 
up with. Then a fellow knows he has t" 
buckle down, that there are folks who do 
give a hoot whether— whether he's a man 
or a mouse! 

Since then 1 have had one more great 
expei inn e. 

li is knowing Barbara Stanwyck. 



23 




(Top row) Gertrude Niesen and Frank 
Shields surprised at something. Dolores 
Del Rio and her husband, Cedric Gib- 
bons, admire the photographs in the 
celebrity room at El Morocco. (Second 
row) Bob Benchley, wit, has something 
to say to Helen Hayes' husband, 
Charles MacArthur, writer. Mrs. Gary 
Cooper whispers something private to her 
famous husband. (Above) Lovely Merle 
Oberon with socialite Stuart Scheftel. 



s 



WATHED in a blue veil which ivas 
caught to her hair by a diamond clip, 
Gary Cooper's wife entered El Morocco 
with a party of friends and was imme- 
diately the center of all eyes. She dresses 
unusually, not with chic but with a whim- 
sical quality which is highly effective. I 
had seen her a few nights before with a 
nonsense on her head that looked like a 
little fountain of glass rain drops. 

This particular evening her handsome 
husband joined her. He has the shyest way 



cromc 



of entering a room, as if almost in 
apology for coming in, but in those eyes 
there is quick humor and intelligence. 
He is one of those men in whose mind 
all the lights are always kept burning. 
When they got up to dance together 
I went in hot pursuit. Photos of danc- 
ing couples taken unawares are rarely 
successful as one face is almost always 
sacrificed. Mrs. Cooper was whispering 
to her husband when I took a snap and 
they both jumped. "What a brilliant 
flash!'' they laughed, but in my mind I 
wondered if I hadn't startled them in the 
middle of some personal story. 

Zorina, the new Goldwyn star, is an easier 
dancing subject, as. in a waltz, she keeps 
a distance from her partner. A little like 
the English, of whom it has been said that 
no matter with whom they are dancing 
they always dance a solo. Zorina loves New 
York night life and is seen regularly danc- 
ing at all the fashionable spots with either 
Eddie Edelson, the play broker, or Orson 



24 




His Candid Camera 
Keeps Zerbe Awake 
Till The Sun Rises And 
All The Stars Go Home. 



Wells, the season's acting sensation, as 
her partner. 

Gloria Swanson has come to New 
York to make her permanent home, and 
her large place in Beverly Hills is dis- 
mantled and for rent. Her apartment 
here is in a building with windows 
facing on Central Park. The day I first 
went to see her she had only just moved 
in and many things hadn't arrived yet. 
She was silting on a plain pine table, that 
temporarily served in the dining room, and 
surveying the quantities of freshly unpacked 
objects that lay everywhere around at 
her feet. Crystal sconses, ash trays, piles 
of beautiful china all wailing to be as- 
signed to their proper niche. From there 
we went into the library where a mag- 
nificent seventeenth century map of Paris 
was only partly put up. Gloria is as ex- 
cited as a child with a new doll about 
moving east and rediscovering old friends 



and meeting many interesting new ones. 

That night I saw her out at dinner with 
Lucius Beebe, America's best dressed, and 
certainly most charming columnist, Fredric 
and Florence March and producer Alfred 
de Liagre, Jr. They all discussed (he thea- 
tre and summer stock companies. Strange 
the hold that the theatre has for those who 
have had great success in the movies. Sylvia 
Sidney, Frances Farmer, Wallace Ford and 
Elissa Landi all came to Broadwa) this 
past season. [Continued on page 6(5] 



(Top row) At a cocktail party, Jon 
Hall, Mary Brian and Mrs. Sperber drift 
off into a corner. Gloria Swanson sat on 
a temporary dining room table the day 
she moved into her New York apart- 
ment. The Allan Jones' reading their in- 
terviews. (Second row) Zorina, does a 
mean waltz with Edward Edelson. Beth 
Leary, Irene Dunne and Cornelius Van- 
derbilt, Jr. (Above) Lucius Beebe, Gloria 
Swanson, Fredric and Florence March 
and Producer Alfred de Liagre, Jr. 

25 



IT IS high time that somebody filled with high 
resolve, and a dram of brandy, ended, for all time, 
the innumerable sob-stories that have been written 
around "The Face on the Cutting Room Floor." I 
have read, in my time, no less than fifty such stories, 
and, in the passage of years, it has become a legend 
that the cutting rooms of Hollywood are the closest 
things to the torture chambers of the Spanish Inquisi- 
tion. In these cutting rooms, they would have you 
believe, career after career has been snipped in the 
bud by hawk-faced movie executives, who have ordered 
the cutters to snip out any scene in which an ambitious 
youngster attracts attention. 

Nobody ever has thought to ask the writers of these 
stories "Why?" Nobody ever has been logical enough 
to refute the "Face on the Cutting Room Floor" legend 
by pointing out that Andrea Leeds, Wayne Morris, 
James Stewart, Phyllis Kennedy, Jane Bryan, Joy 
Hodges, Tyrone Power, Don Ameche, Bob Hope, Frank 
Jenks, Florence Rice and Marjorie Weaver are just a 
few of the youngsters who have passed through the 
cutting room and come out intact pointed for stardom. 
If the stories about the fiendish activities of the cutting 
room specialists were true, why weren't these left as 
faces on the cutting room floor? 

Authors of repute, who should know better, 
have twisted the facts out of all proportion 
in order to write tear-jerking stories of the 
injustices worked in the Hollywood cutting 
rooms. Now I've been in Hollywood for seven 
months, and, in browsing around, I've sat in 
with Darryl Zanuck and other biggies while 
they cut pictures, and I can tell you truth- 
fully that "The Face on the Cutting Room 
Floor" is the silliest libel ever perpetrated 
at the expense of a much-maligned town. 
I'm writing this story in the hope that it 
will put an end to the nonsense and twaddle 
which we have been reading for years. 

Let us start at the beginning, as the cat 
said who swallowed the ball of twine. Make 
believe that you are stepping into the cutting 

room at Warner's, with Director Michael Curtiz, who has just 
completed "Adventures of Robin Hood." In the cans stacked 
in the projection room are thousands of feet of developed film. 
Curtiz must trim that acreage of film down to 10,000 feet, and 
even at that length, the completed film will run two hours, which 
is unusually long. So Curtiz, as a starter, must cut thousands of 
feet of film. When you get that thought in your mind, you 
understand the rot that has been written about "The Face on the 
Cutting Room Floor." It is inevitable that in cutting out so many 
feet of film, a lot of faces will be scissored out of a picture but 
keep this in mind: most of the faces cut out will be the faces 
of STARS, not extra players. In "Adventures of Robin Hood," 
of the great amount of negative exposed, the largest percentage 
consisted of closeups, medium shots and long shots of the star, 
Errol Flynn. What the scissors did to him was a caution. 

The problem of a cutting room is to cut down a picture to 
playing length. Producers and directors are just as reluctant to 
cut scenes and people out of a picture as a writer is to shorten 
his article, or a speaker is to abbreviate his speech. It just nat- 
urally goes against the grain. Zanuck cut one scene from "In Old 
Chicago" that cost $75,000 
to shoot, but he had to do 
it. The picture was too 
long. Theatre managers 
don't want long pictures as 
the principle of theatre 
business is to empty a 
theatre and get a turnover 
as quickly as possible. 

Inevitably, there must be 







(Left) John Miljan is one 
player who can't laugh at 
the cutting room guillotine. 
He was cut out of one pic- 
ture entirely. (Above) Ray 
Bolger did a clever dance for 
"Rosalie" but no eye will 
ever see it! 



heartaches resulting from a cutting room. Performers' 
vanities are hurt if their parts are shortened. But I 
will bet anybody that no performer ever has been 
damaged professionally in the cutting room. For this 
reason: If an actor or actress catches attention in 
the cutting room, even though he or she was sheared 
out of the film, the producer would mark him or 
her down immediately for future reference. So the 
performer would not have lost his big chance, but rather gained 
what he or she was after. And you'd be surprised how alert they 
are, in this town, to any unusual talent or quality on the screen. 
If a performer registers just once, he's in. 

The point I'm making is that because of the manner in which 
a picture is made, with the cameras resting mainly on the stars, 
it is the star, not the bit player, who most often feels the cutting 
room scissors. A bit player, by the very nature of his position in 
the cast, is not often photographed and generally, if the camera 
is trained on him, it is because the story calls for it. The minute 
a player is photographed in a sequence that advances the plot, 
he is safe from the scissors. They'll cut everything but STORY 
in the final trim. 

To go back to "Adventures of Robin Hood," when they 
started to trim this exciting film down to the playing length 
of 10,000 feet, the scissors snipped most sharply at the classic 
profile of Errol Flynn, because as the star he appeared in the 
bulk of the footage. The one who next felt the brunt of the 
scissors was Olivia De Havilland, who shared with Flynn the bulk 
of the close-ups and medium shots. Bit players, employed in 
scenes that advance the action of the story, never are cut up as 
the stars are. Of the high percentage of negative exposed to record 
Flynn, about 7,000 feet will appear in the completed picture. 

John Miljan is one of the few players who can truthfully say 
that he was completely cut out of a picture, and left to give his 
performance in the cutting room. That was in "Of Human 
Hearts." The battle scenes had to be shortened and Miljan 
appeared only in those scenes. He had worked for two weeks, 
received his salary and the studio was burned up because they 
could not use the battle sequences. Just as the editor of this 
magazine would be burned up, if he paid for a story, and then 
found that because of limitations of space, he could not use it. 
Juggler Stan Kavanaugh comes closest to Miljan. In "The Big 
Broadcast," the one in which Jack Benny appeared, Kavanaugh 
did a juggling sequence with 'Grade Allen. When the picture 

The Face on 



Clittinc 



26 





The Sob Sisters Have Worked 
One I^egcnd To Death. It's 
The Myth Of Hie Rim Cut- 
ters Who Ruthlessly Snip 
Careers In The Bud. 



By 

EJ Sull 



wan 



The cutting room didn't stop 
Wayne Morris, Jane Bryan 
and Marjorie Weaver. 
(Above) Errol Flynn gets 
slashed — but he can take it. 
(Below) James Stewart — 
climbing fast. 



was t r i m m e d 
down, Kavanaugh 
was cut down to 
one entrance and 
one exit. But he 
wasn't as burned 
up at the scissor- 
ing as Gracie, who 
believed that the 
juggling novelty 
would have been 
a smash hit for 
her. The only re- 
minder o£ Kava- 
naugh in the pic- 
ture was a scene 
in which his jug- 
gling ' sticks ap- 
peared in a long- 
shot. 

Dancing star 





Lovely Andrea 
Leeds has had few 
chances, but has 
qualified each time. 



Ray Bolger has suffered more from the cutting room scissors 
than any unknown player. In "Rosalie," a complete Bolger dance 
routine was eliminated, in the scene in which he is sitting on 
the powder keg. In "Girl of the Golden West," his dance routine 
in the Polka Salon was cut out, because of footage problems. 

Any dancer or specialty performer is vulnerable to cutting, 
as, when they start to trim a picture, anything not bearing 
directly on the story goes out first. If a bit player has two lines 
which help tell the story, he is a lot safer from cutting 
than the star of the piece who is in a scene that is colorful, 
but without story-plot. The two lines will be retained, 
but the star's static scene will be trimmed out. 

In "The Gieat Ziegfeld," Harriet Hoctor's ballet dance 
with two lions, which the studio believed would be sen- 
sational, was cut out because the film was acres of reels 
too long. Her dance with the ponies was retained. In "Con- 
quest," the family dinner at Elba was eliminated, because 
it could be removed without altering the story. In "Night 
Must Fall," the prologue-opening showing the hotel and 
events leading up to the murder were completely elim- 
inated. The picture instead started with Robert Montgomery 
hiding the remains of his victim. It saved 800 feet, 
and the saving in footage was vital. 

In "One In a Million," Darryl Zanuck reluctantly 
scissored one big musical sequence with Sonja Henie 
and the Ritz Brothers. The sequence was staged in 
a barn, filled with cows, chickens, ducks and horses. 
Sonja did a folk dance and the Ritz Brothers bur- 
lesqued a ballet dance, and it was loaded with laughs. 
It had to be cut, and it didn't matter that Miss 
Henie and the Ritz Brothers were in it, for out it 
came. 

In Walter Wanger's "Vogues," they cut the scene 
where Warner Baxter bids au revoir to Alma Kruger. 
It was a question whether to cut this scene or a 
big musical number, and the musical number, filmed 
in color, was too beautiful to ignore. It mattered 
not that Baxter is a star; he was scissored. In "House 
of Rothschild," a mob scene was cut out in favor 
of a closeup showing an aged woman being trampled 
to death. Not that Director Alfred Werker 
had any grudge against the hundreds of 
extras in the mob scene, but simply be- 
cause the agony expressed by the aged 
woman was more powerful. 

Now you can believe me that when a 
studio ever tuts out a mob scene, the 
waste of good money cuts the Studio au- 
ditors to the [Continued on page 62] 

27 



Serials And Pictures In S eries Are Pullinc? 
In The Cash Customers. Once You Start 
You're Caught For The Season. 

h 

A/laud Cheatham 

SERIALS, and pictures in series, are being spotlighted on the 
screen as never before. 

With each installment packed with mystery and suspense, serials 
have always been popular entertainment and the intriguing "Con- 
tinued in our next" never fails as a teaser in building enthusiastic 
audiences. Action serials were among the most successful of the 
early motion pictures, then, with the coming of the talkies, there 
was a brief slump, but today, with the advantage of sound to 
speed up thrills and add audible shudders to menace, these produc- 
tions are taking on new importance. Perhaps, it was the radio's 
sensational success with serials that convinced the studios they 
might be missing a good bet for now, it is estimated, there are 
twelve serials, each with fifteen episodes, being made annually in 
Hollywood. 

Chapter-pictures like Republic's "The Lone Ranger" and "Dick 
Tracy Returns," and Columbia's "The Secret of Treas- 
ure Island" are steady money-makers, bringing joy to 
both producer and exhibitor as audiences crowd into 
theatres week after week to follow the stalwart hero's 
exciting adventures. Also, the several groups of pic- 
tures in series, which carry the same cast through 
many episodes, but round out a completed drama in 
each one, such as the Twentieth Century-Fox famous 
"Charlie Chan," "Jones Family" and "Mr. Moto," Metro- 
Goldwyn-Mayer's new venture with 
"Judge Hardy's Family" and Repub- 
lic's "The Three Mesquiteers," bring 
in a steady stream of shekels that does 
much toward keeping the studio home 
fires burning while it gambles with 
colossal million dollar spectacles. 

These serial adventure films, and 
the warm, human interest dramas are 
far less costly than the Grade A pic- 
tures and while they may not always hit the Metropolitan 
cinema palaces, they certainly find a hearty welcome in 
thousands of theatres throughout the world. The real wonder 
is that studios do not concentrate more actively in these fields 
and cut down on the superspecials. 

Republic scored a triumph when they secured the rights 
to make a screen version of the radio serial "The Lone 
Ranger," which for four years has been pouring the thrilling 



"The Secret Of 
Treasure Island" 
with Gwen Gaze, 
Don Terry and 
William Farnum. 
Watch yourself, 
Don! 




Continue 





adventures of the masked rider through 
the nation's loudspeakers to an estimated 
audience of seventeen million listeners. 
This provides a ready-made screen audi- 
ence of huge proportions for it is reason- 
able to suppose that every radio fan will 
hasten to the neighborhood movie theatre 
to see the Masked Rider, the beautiful 
white stallion. Silver, the friendly Indian 
Chief, and the collection of gallant Texas 
Rangers and villainous outlaws in action 
before their eyes. No other picture ever 
enjoyed such a build-up. It will profit, 
too, from the largest juvenile fan club 
ever organized, numbering over a million 
and a half of Lone Ranger radio fans who will become boosters 
lor the screen version. 

This is the most expensive and elaborate "Western serial ever 
produced. The studio writers conferred with Fran Striker, author 
and originator of the air program and have carried out in the 



"Flash Gordon's 
Trip To Mars" 
with Beatrice Rob- 
erts, Larry (Bus- 
ter) Crabbe and 
Charles Middleton. 
Scientific! (Above) 
Good old Charlie 
Chan in Monte 
Carlo. Warner 
Oland explains 
what a meal ticket 
is. He should know! 



28 




picture, the theme and thrills of the 
radio show. The hero remains 
masked until the final scenes in the 
fifteenth chapter, consequently the 
actor's name is kept a secret. This 
much is known, however. He is the 
son of a wealthy banker in Long 
Beach. California, and was study- 
ing mining engineering at a Col- 
orado College when his singing 
attracted the attention of a visit- 
ing orchestra leader, who imme- 
diately put him under contract and 



"The Jones Family" 
seems to grow 
closer and closer 
until you feel they 
belong to you or 
you to them. 



Next We 

brought him to Hollywood. He appeared in several Little Theatre 
stage plays, then, because of his remarkable voice, splendid 
physique, and his ability to ride like the wind, he was given the 
starring role in '"The Lone Ranger." I'm told he is very hand- 
some and, when he finally lifts his mask, he's destined to become 
one of the screen's real Heart-throbs. 

William Farnum, once the romantic lover of stage and screen, 
plays the kindly priest, Father McKim, and Frank Glynn appears 
briefly as Lincoln. Tonto is played by a real Cherokee Indian 
Chief, Thunder-Cloud, who was 
chosen by the Santa Fe Railroad 
as the typical American Indian 
and is used as their emblem. 
Also, the Trans-Western Airways 
adopted his profile as emblem 
for their Sky-Chief transport 



planes which are so popular. 

Making action serials is dangerous 
work for the actors actually run many 
risks in obtaining realism, and in this 
Western, there is no drinking or smoking, 
and the hero wins through physical force 
rather than with six-shooter, and he is 
kept manly, upright and honest through 
all his tribulations. 

About a year ago, Metro-Goldwyn-Mayer made a little picture. 
"A Family Affair," based on characters and incidents in a play 
entitled, "Skidding" by Aurania Rouverol, and from the moment 
that Leo roared his approval as it flashed on the screen, letters 

began pouring in begging for 
further adventures of this typical 

K American family. So, the "Judge 
Hardy Family" series began. 

CWith Lewis Stone as Judge 
Hardy, and Mickey Rooney, 
bringing [Continued on page 67] 





"The Lone Ranger" 
gallops across Texas 
once a week and 
still nobody knows 
who he is. Here's 
the posse in hot 
pursuit. 




29 



WHEN Sylvia Sidney returned to Hollywood recently, after 
a fling at the New York stage, a columnist who doesn't 
like Sylvia wrote in her column: "Sylvia Sidney arrived 
in town today without causing a ripple." 

The same could be said of Jane Withers' arrival in Hollywood, 
early in the morning of March 10, 1932. Jane, then not quite 
six, was accompanied by her mother, Mrs. Walter Withers of 
Atlanta, Georgia, who in turn was accompanied by two books 
full of press clippings and a whole slue of "letters of introduc- 
tion" to studio officials. 

There were no bands at the .Southern Pacific station in Los 
Angeles when Jane and her mother rather timidly climbed down 
from the Sunset Limited, no banners, no hand-shaking press 
agents, no questioning newspaper men, no photographers with 
flashing bulbs. Colossal Hollywood was colossally unimpressed by 
Jane's arrival— which, like Sylvia Sidney's, 
hadn't caused a ripple. 

"We'll have breakfast here at the sta- 
tion," Mrs. Withers told little Jane, "and 
then we'll ride out to Hollywood where 
we'll rent a small apartment, and then the 
rest of the day we will call on these people 
we have letters to at the studios. Maybe 
we can have lunch at the Brown Derby and 
you can see Joan Crawford, Norma Shearer 
and Ronald Colman." 

Jane and her mothei, accustomed to the 
rather cozy southern city of Atlanta, were 
amazed at the vast distance between Los 
Angeles and Hollywood, and Hollywood 
and the studios; they were amazed by the 
high rents, the low fogs, and the open 
markets; but most of all they were amazed 
to discover that all the studio offiicals to 
whom they had "letters of introduction" 
from the theatie managers and radio direc- 
tors back in Atlanta w ! ere "out of town." 

After taking dreary buses from Holly- 
wood to Culver City to Burbank to Uni- 
versal City to Hollywood, after being told 
for the fifth time by dignified secretaries, 
who looked like Joan Crawford, that Mr. 
So-and-So was "out of town," Mrs. Withers 
and Jane returned wearily to their inex- 
pensive little apartment. It was a day they 
would long remember. 

As a matter of fact they have never for- 
gotten it. Every March 10th Jane and her 
mother drive down to the depot in Los 
Angeles, eat their breakfast in the station 
dining room, and proceed to do over again 
everything they did that first day. They 
visit that first cheap apartment, the Five- 
and-Ten where they bought wash cloths, 
the cafeteria where they lunched, and all 
the studios that gave them the freezing 
out treatment. March 10th is an anniversary 
with Jane and her mother. And it is also 
one of the things that makes them keep 
their feet firmly on the ground. No Withers 
has ever been accused of "going Holly- 
wood." 

America's Number One juvenile character 
actress, who, at the age of eleven, has won 
her place as sixth ranking box-office star in 
Hollywood, was born at 1429 Gordon Street, 
S.W., Atlanta, Georgia, on April 12, 1926. 
She celebrated her twelfth birthday re- 
cently by becoming 1 a full-fledged Girl 
Scout. She is the daughter of Walter 
Withers, former manager of the Goodrich 
company in Atlanta, and Ruth Elblc 
Withers of Louisville, Kentucky. She has a 
grandmother living in Louisville, and an- 
other living in Atlanta. 

Jane's career was decided for her long 



PROJECTION OF 




before she was born. Ruth Withers had always wanted to be an 
actress, ever since she could remember, but little ladies in Louis- 
ville didn't become actresses, her parents informed her, and they 
duly thwarted her every attempt to appear on a stage. "If I 
ever have a baby," said Ruth, "I'll see to it that she has a the- 
atrical career, so help me." 

When little Jane was born she was given the name "Jane" 
by her mother because it sounded like a good stage name and 
was brief enough to fit a marquee. That's thinking ahead. Jane 
was educated in private professional schools, then Boston Academy 
in Atlanta, which she attended from the age of two and a half 
years, and later the Lawler Professional School in Hollywood. 
She took ballet, tap and character dancing at the Academy in 
Atlanta, was the pride and joy of her class, arid won nearly all 
the "amateur night" prizes given in and around the Southern city. 

She was hardly out of her cradle before her 
mother noticed that she had an ear for music, and 
at three she had mastered the song "Little Pal" and 
sang it with such effect at the Ponce de Leon 
theatre in Atlanta that she brought down the house. 

The first motion picture she saw was Will Rogers 
and Fifi Dorsay in "Business and Pleasure" and 
when she came home that afternoon she 
floored her family and the neighbors by 
her impersonation of Fifi singing "You're 
Simply Delish." She did the impersonation 
the following week over her regular broad- 
cast from station WGST, and the station 
received six hundred letters requesting more 
impersonations. For two years little Jane 
attended a movie a week and impersonated 
the star of the picture over the air. Atlanta 
went mad over Baby Jane. Station WGST 
advertised her as "Dixie's Dainty Dewdrop" 
and "Atlanta's Sweetheart." She was elected 
mascot for the Georgia Tech football team 
in 1931 and appeared at the Saturday after- 
noon games in a yellow and white Tech 



Jane rehearsing 
a dance routine. 




She calls the pup 
"Susy Q" because 
of its wriggles. 
(Right) Between 
scenes Mrs. Withers 
plays games with 
Jane in her dressing 



JANE WITHERS 



By Elisabeth Wil son 




30 




(Top) The imp her- 
self. She is so well 
liked that hers is one 
of the biggest box- 
office names. (Above) 
With her father and 
one of her many pets. 



sweater and cap, a gift from the boys. When 
she sang ,'Tm a Ramblin' Wreck from Georgia 
Tech" between the halves she wowed 'em. 

When she was five people began to say, "Mrs. 
Withers, you ought to take Jane to Hollywood. 
With her talents and personality she'll be a 
hit in pictures." Secretly, Mrs. Withers thought 
so too. In fact she was so convinced that Holly- 
wood would snatch at Jane like a drowning 
man at a straw that she refused to buy a round 
trip ticket when Mr. Withers finally gave his 
concent. "Six months," said Mr. Withers, "and 
if Jane hasn't clicked by then I think you'd 
better come back. After all, our home is in 
Atlanta, my job is here, and all your friends 
live here." Six months, thought Mrs. Withers, 
when they read these letters and see Jane they'll 
sign her to a contract the first day! 

Six months— it was two and a 
half years before "Atlanta's Sweet- 
heart" got a break. They were long, 
weary lonely years to Mrs. Withers. 
She missed her friends. And the 
cordial, genial Southern folk she 
had always known. In all the days 
she had spent silting in casting 
offices wailing, waiting, waiting, 
only one person had taken the 
trouble to speak a kind word to 
her. "I'm Mrs. Johnson," a woman 
said to her one day, very friendly- 
like, "and I think your little Jane 
is one of the brightest, most tal- 
ented little children I've ever seen. 
Don't get discouraged. She'll be 
discovered one of these days." Mrs. 
Wynonah Johnson, Mrs. Withers 
learned later, was the mother of 
nine, all trying to make a go of it 
in pictures. Today you will rarely 
.see a Jane Withers picture without 
one or more little Johnsons in it. 
A Withers never forgets. 

Between the daily, and vain, 
visits to the studios Jane did a 
little act with "Prince." a St. Ber- 
nard dog, at the children's matinees of neighborhood theatres. 
She modeled children's dresses at various department stores and 
fashionable hotel and club teas. She appeared at benefits for 
the convalescent patients at Pottinger Sanitarium, the Old Soldiers 
Home, the annual newsboys Christmas party, in fact she appeared 
in more benefits than she or her mother can remember, in the 
hope that somebody would recognize [Continued on page 63] 



3 1 



The stars, Henry Fonda and Madeleine Carroll, 
resume their journey with Leo Carrillo driv- 
ing his 60 h.p. span. It's all in the picture. 
(Below, center) The flock is enchanted as Leo 
pipes a shepherd's madrigal. 

NATURE has come to the aid of Walter Wanger in producing 
a picture showing the reason why a world of beauty one day 
can be turned into a shambles the next, and this time it has 
not been the warm California sunshine but rather the torrential 
California rain that has been the movie-maker's helpmate. 

Several days ago Director William Dieterle brought three actors 
and a technical crew of 68 men and three women to Brent's 
Crags, some 35 miles from the base of operations— the United 
Artists studios— to make scenes for "The Adventuress," depicting 
the pastoral beauty and the peacefulness of the rolling hills all 
bright green with early grain fields looking like an inland lake, 
as gentle winds from the sea blew rows of wheat to and fro. 
Following several days of light showers the hills were framed by 
beautiful puffy clouds in the sky and budding trees; and two 
hundred sheep brought in by truck from Calabassas, ten miles 
away grazed and grew fat at Mr. Wanger's expense as the camera- 
man ground off a mile of film recording the rare beauty of it all 
—a Mauve painting come to life. 

The second trip to the location was to make brief scenes show- 
ing the same terrain as a battlefield, the farmers piling sand bags 
along the river's edge as protection for their defensive gunfire, 
the formerly quiet hills teeming with the excitement of families 
fleeing from their homes, tiny children trudging along, sobbing 
as they tugged at mothers' skirts. 

Overnight a rainfall of over 11 inches had turned a lazy, six 
foot stream into a raging mountain torrent ten times its normal 
width, and hurrying waters had gouged out deep ravines and 
upturned trees, flooded grain fields and helped studio experts 

"The Adventuress" Troupe/ 
Filming A Story Of Civil War 
In Spain/ Found A Bit Of 
Local Color In California. 

32 



create a battlefield of intensely dramatic appearance. 

But let "The Adventuress" (the plot of which concerns 
Spain today) tell its own story on the screen. Our visit to 
location was to obtain some of the color of off-stage picture 
making that Silver Screen readers cannot well visualize 
but are eager to learn more about. 

The miracles movie-makers perform are never more 
interestingly created than on location. Yesterday this Brent's 
Crags location was a portion of Joe Hunter's beautiful 
rancho, once a part of the huge land grant of the Sepul- 
veda family, a gift from a Spanish king, the scene of a 
few minor skirmishes between early settlers and Mexicans 
and, during the last 75 years, a very productive grain and 
orchard country. But, for the most part it could be seen 
from the Los Angeles-San Francisco highway and seldom 
won more than a fleeting glance from a whizzing motor 
or motor bus passenger. 

While the powder man went about his task with enough 
dynamite to blow up a building in his knapsack electricians 
pulled a huge generator set into a camouflaged shelter, ran 
heavy inch cables through fields and around trees to the 
camera "dolly," and others levelled off the road so that 
the camera would not bump up and down as it was pulled 
backwards as actors marched from the river bottom up the edge 
of the knoll and into the foreground. 

Once before the same men had clone pretty much the same 
thing to photograph two lumbering oxen (brought from old 
Mexico because none could be had in Hollywood) pulling Made- 
leine Carroll's damaged car along the road with Leo Carrillo 
driving from a fender seat and Henry Fonda at the steering- 
wheel pouring out his philosophy of life to the delight of his fair 
accident victim. 

But, as we said before, today the Spanish civil war had come 
to California and the peaceful Hunter rancho was an exciting 



In Que 



place indeed. Makin 
down the nearby h 
of a battlefield, and 
over the location sj 
motors were not syn; 
microphone and pro 
the sound man to o 
film companies requii 
plane tourists are the 
"Making love to Mr 
Fonda remarked after 
by airplane noises, "bj 
nothings into her ear 
that exhaust noise. W 
aircraft guns on locati^ 
An opinion Director E 

Love scenes before 
scenes after. At four i? 
first technicians had i. 
their labors. At seven P 
Dan Keele and Mr. i 
sistant, Charles Kerr, w- 
at eight Dieterle, the n 
dresser, Ali Hubert, thr 
and Cameraman Rud 
three assistants were "o 
Miss Carroll, Fonda, 
extras, a dozen varietie 
ranging from six year 
60 year old grandpare* 
and awaiting the first 
broke his straps waiti' 
to pull his cart-load 
furniture across a brid 
for a scene, causing 
expensive delay. The St. 
Welfare worker took 1 
school age pupils to 
quiet spot under a h* 
live oak tree to get a hi 
start on the day's less 
in the three R's and ft 
Carroll's maid helped 
prepare (or the seen 




was washed away by the 
lines" to Miss Carroll's 1 
sprayed his military Russ 
water while Fonda, reciti 
mud into his coat and v 
muddy water just before 

Carrillo, with a flute 1 
was showing the effects o 
Santa Monica canyon he 
helping his staff of servant 
waters from his house and gar, 



At, 



mart 
is. 




/lark Dowling 

treme left) 
e Davis putting 
last minute 
hes to her din- 
ner table. 




elson Eddy, 
ene Hervey, 
k and Allan 
rought to- 
any worries 
ostess. 



ely friendly. Carole 
rd and Bill Powell, 
tance, with their wit 
.ophistication, cause 
.nent rather than con- 
tion when they find 
£lves tete-a-tete, 
ny hostesses, hoping 
irrange a congenial 
p by asking guests 
similar interests, find 
"birds of a feather 
k together" is a bromide 
t fails to hold true in 
'Sy-turvy movieland. 
mbers of the musical 
are notorious for their 
'lusies and feuds. Even 
g the intelligentsia, 
i »rry Kelly and Milo 
or a time did not even 

rite Western stars would be 
2 Autry, Kermit Maynard— 
far from harmonious, and 
of words. 

clined is the mob psychology 
o you must include at least 
notoriously clique-conscious. 
\ , set, which includes Jerry 
.nd Barbara Stanwick, Francis 
ihout [Continued on page 68] 





TO 



DICK POWELL 



He's A Born Entertainer And Is As Much 
At Home Before The Mike As Before A 

Camera. Yet, In All 



Hollywood/ He Is 
The L,east Conceited. 



(Top) Dick and Madeleine Carroll in 
"On the Avenue." Next, reading down, 
with Doris Weston in "The Singing 
Marine." A scene from "Hollywood 
Hotel." (Above) Dick's latest picture, 
"Cowboy From Brooklyn," with Pat 
O'Brien and Priscilla Lane. (Right) Mr. 
and Mrs. Dick Powell (Joan Blondell) of 
Beverly Hills. 



MOUNT VIEW, Arkansas, did all 
right when on November i [. 1904, 
it sponsored an infant's opening 
thorns. There must have been a cer- 
tain quality in that voice for it has now 
been heard and liked the world over. 

Dick is six feel tall and broke into 
pictures by way of the sound track. Every 
picture he is in reflects his own sparkling 
personality. 

Some critics do not like him in some 
of his roles and Dick agrees with them. 
He really believes that fans may lire of 
hearing him sing. We hasten to reassure 
him that we enjoy his voice. That's what 
he's there for. and our gang numbers 
eleven million tans. 





(Top) Frances Gif- 
ford, who is in "Hav- 
ing Wonderful Time." 
The chorine above is 
Ethelreda Leopold as 
she appears in "Gold 
Diggers of 1938." 
(Above, right) Alexandria Dean, 
a Fox hopeful, and below her is 
Peggy Moran, who will be seen 
in "Little Lady Luck." 




(Top, left) Olympe 
Bradna. Her lovely face 
has become familiar to 
you this year, no doubt. 
(Above, left) There's 
mischief in Ann Ruther- 
ford's eyes. (Left) Lois 
Lindsey and Lorraine 
Grey also dance in 
"Gold Diggers." 



THE girl of the year is. dark— a brunette. 
Her mouth is small, her eyes are dark 
and far apart. Her hair, which is ar- 
ranged in soft curls, frames the oval of 
her face as her fur collar did last win- 
ter. There are no languorous hall-closed 
eyes nor hairline eyebrows. Miss igjfi 
looks straight through you till she finds 
your heart. 



the LIFE LUXURIOUS! 



Glimpses Of The Lavish Homes Of The 
Stars Where Their Off=Stase Lives Are 
Spent In An Atmosphere As Unreal As 
The Fantasies Of The Scenario Spinners. 

MUCH has been written of the gluttony of the tax collector and of the 
dumb and charming natures of the picture headliners, but as a 
matter of fact the stars are unusually clever people and getting hold 
of money and getting full value for what they spend is instinctive with them, 
for they're a canny lot. 
They live in palaces and enjoy it. And why shouldn't they? Wouldn't you? 




(Above) Spacious home 
of Edgar Bergen, who 
made the world cheer 
for a dummy. (Left 
The gracefully columned 
portico of Sonja Henie's 
home. (Below) Billie 
Burke can often be found 
with her dogs in this 
attractive patio. 




(Above) At his ranch house, Warren William fre- 
quently serves lunch outdoors on this unique picnic 
table designed by himself. (Right) On the spring- 
board of her swimming pool Deanna Durbin smiles 
at the lovely, adoring universe. (Below, right) 
Any girl would be happy if she possessed a 
living room as charming as Loretta Young's. 




(Above, left) The impressive mansion of Mrs. Joel Pressman (Claudette 
Colbert) in Holmby Hills. (Above) C. Aubrey Smith's estate com- 
mands one of the most beautiful views of Hollywood. (Right, top to 
bottom) A corner of the sumptuous living room of Mr. and Mrs. 
Warner Baxter. Note the priceless tapestry on the rear wall. Maureen 
O'Sullivan's playroom— decorated in the modern manner. In James 
Cagney's den are many valuable prints and trophies. After a hard 
day's work Victor McLaglen relaxes on his cheerful veranda. 





The Screen 



Colony Heeds 
Fashion's Call 



Dorothy Belle Dugon wearing a BVD 
swim suit of Heim fabric and print with 
a half-skirt effect. (Right) Maria Shelton 
reclines gracefully in her bra and trunks 
of sea-green figured satin, shaded by her 
large straw sun hat. (Below) Jacqueline 
Wells in a smartly fitted lounge coat of 
unbleached muslin bordered in henna 
and orange, with poke bonnet to match. 






Plus-fours of white Toyo cloth - 
Barbara Read's choice for gardenir 
contrasted with a blouse of the sar 
material in chartreuse. A sma 
brimmed Panama protects her cc 
plexion. (Below-center) Three B 
swim suits — Eadie Adams in Egyptii 
printed sea satin, with fantom ski 
and adjustable shoulder bows, M 
Howard in a nosegay Maillot 
rough finish sea satin, and Priscil 
Lawson in a Maillot in fish net st 
satin with dual control adjustmer 
and shirred bodice. 





Summer=time Is PIay=time But Your Days Can 
Be More Delightful If y our Clothes Reflect The 
Evanescent Moods Of Cheerful King Sol. 



01 
iitm 

H 101 

no 

II CO! 



er left) Colorful cotton 
with sky-blue back- 
ed fashions Deonna 
an's cunning playsuit 
its adorable Little Boy 
!| coat with high yoke 
(quaintly puffed sleeves. 
l>w) There's a breath of 
i Mexico in this crash 
\ suit in primrose yel- 
worn by Gene Price, 
smartly shaped belt is 
vivid green felt ap- 
ed with vari-colored 
felt flowers. 




(Left) Charming for 
golf is this high-waisted 
skirt of deep heather- 
toned tweed belted in 
soft tan leather (to 
match her odd cylinder 
bag) and topped off 
with a sweater cut like 
a blouse in a delicate 
wood-violet tone. (Cen- 
ter) Lovely Olivia de 
Havilland looks fetching 
in a three-piece play 
suit, consisting of shorts, 
a trickily cut blouse and 
a fastened down the 
front wrap around skirt, 
all made of roman 
striped cotton in red, 
white and black. 



(Right) Florence Rice is 
trim in a bolero play 
suit of pink angel-skin 
with a dull blue gros- 
grain sash. (Below) 
Frances Mercer covers 
her bathing suit with a 
candy striped Dirndl 
robe in a brilliant com- 
bination of greens, and, 
at right, Diana Gibson 
half covers her vivid 
velour bathing suit of 
red and white with a 
white cotton waffle pique 
appliqued with red. 





A LL girls love this 
/\ warm weather sea- 
son, especially so if 
they are young and slim. 
Then they can shed the 
conventional trappings of 
every-day life and relax 
their bodies under the 
health-giving rays of the 
sun. 

Some girls, particularly 
those of medium height 
and under, look entranc- 
ingly lovely in shorts, 
others find slacks or plus- 
fours or swinging lounge 
coats more effective, and 
still others show their fig- 
ures to the best advantage 
in the briefest of swim 
suits. The fashion world 
opens wide its doors to 
them all— there are no 
stern "must dos." Wear 
what is most flattering to 
your own type this year 
and be guided by no 
other mirror than your 
own. 

On the following pages 
will he found some casual 
afternoon models, as well 
as two simple evening 
costumes. These should 
interest the girl who 
under no circumstances at 
all can be inveigled into 
abbreviated sport clothes, 
or for the girl whose so- 
cial obligations demand 
conventional but simple 
apparel. 

ontinued 
on next page) 




When the sun sets Rita Hayworth goes 
softly feminine in this mousseline de soie 
bouffant frock, with its creamy back- 
ground and clusters of flowers in pastel 
shades. A tiny bolero appliqued with a 
flower design of matching fabric may 
come in handy when the evening gets 
cooler. (Below) Jacqueline Wells remains 
tailored in dinner pajamas of dark blue 
silk with a pin dot, over which she wears 
a brocaded bolero patterned in red, 
green, blue and yellow. (Right) For cool 
summer days and nights this short box 
coat of white broadtail comes in very 
handy, claims Florence George. With it 
she wears a halo hat of white panama. 






(Far left) A circular powder blue lir 
skirt is favored by Barbara Reed, topp 
by a white handkerchief linen blouse 
fastened with suspenders of peasant 
sign in blue, red and white. Her be 
is powder blue angora felt. (Below) T 
flattering versions of the large picti 
hat are sponsored by Merle Oberon a 
Margaret Lindsay. Merle's, a combii 
tion of leghorn and nile green 
taffeta ribbon, is definitely the gard 
party type. While Margaret's, of blc 
shiny straw with a pale pink cluster 
flowers tucked under the brim, is suit 
to informal afternoon and dinner wei 




(L. to R.j Florence George in a casual, spectator sports frock of sage 
foreen sharkskin, worn with a natural colored balibuntle straw halo with 
ted and green raffia trimming. Her natural linen handbag of huge 
dimensions has the same raffia trimmings. Rita Hayworth dons a navy 
iwoolen short-sleeved redingote with patent leather belt over a simple 

Kite pique sports frock with 
halter neckline. Remove the coat 
and she's ready for the tennis 
court. Her large brimmed hat is 
!of white felt, with chin strap of 
Mexican 'red. Olivia de Havil- 
land in a striking black and 
{chalk white tunic dress with lip- 
s ick red kid belt and a grace- 
Ifully draped black chiffon hanky 
tucked into the breast pocket. 







(Below, L. to R.) Gloria 
Stuart in a typical peasant 
girl costume in printed cot- 
ton in two shades of dull 
blue, with large blue denim 
apron with capacious 
pockets. The popular Dal- 
matian kerchief is worn far 
back on her curls. The 
"Bush Jacket" worn by Rita 
Hayworth was fashioned by 
the natives of Guatemala. 
The background is coffee brown and the hand-sewn 
pattern is in gay yellow, red and green. Doris Nolan's 
Gibson girl ensemble, consisting of pleated black silk 
skirt and full-sleeved white blouse becomes an ultra 
modern affair when she tops it with this cartwheel of 
black straw with its becoming chin strap. 






Mickey Rooney teaches Jacqueline Lau- 
rent new steps including the "Suzy Q," 
"Swing Step,'' "Back Kick'' and the "Side 
Strut." They dance the Big Apple in 
"Judge Hardy's Children." (Below) Sylvia 
Sidney and a bit player in a moment 
from "You and Me" when the treachery 
of former convicts seems to be threaten- 
ing her slim chance for happiness. 









(Top) Eve Arden and Ben Blue in 
"Cocoanut Grove." Ben starts off in the 
character of Joe Lemma but ends up in I 
a dilemma. (Left) Ray Milland and Bob 
Burns in "Tropic Holiday." Bob's help on 
the scenario is negligible, if not of mani- 
fest undesirability. (Below) More shots 
from "You and Me." Before the burglary, 
George Stone and George Raft discon- 
nect the alarm system. 







(Top) Shirley Temple and George Murphy dance in "Little 
Miss Broadway." 



In "Kidnapped," Warner Baxter and Reginald Owen duel to 
the death as R.L.S. conceived it. 



dlrdcin tier ciosefgoes Connies perspiring dress 



C OH COA/WEJ'MSO 
(WHIFFY— INFFD LUXMG 



Perspiration odor clings 
to dresses— Don't Offend 



DRESSES, like undies, absorb per- 
spiration — offend other people before 
you realize it. Don't take chanees — Lux 
your dresses often. Lux removes per- 
spiration odor completely, as other 
cleaning methods too often don't. Saves 
color and fit, too. Any dress safe in 
water alone is safe in gentle Lux. Buy 
the big package for extra economy. 

Lux dresses often ... 









Seven men needed — director, assistant director, cameraman, assist- 
ant cameraman, electrician, sound engineer and dialogue expert — 
for this "take" of Alice Faye singing to Don Ameche's accompani- 
ment in "Alexander's Ragtime Band." See result on page 45. 

How They 
Do It! 

The Important Quality Is The 
Unseen Atmosphere Of Reality. 




A short sequence showing how Fred MacMurray and his orchestra 
travel in "Cocoanut Grove." For this scene Paramount hired ten 
miles of a railroad and built a camera car out of a motor car. 







(Top) Making a scene for "Go Chase Yourself." Joe 
Penner has to stand just there. The tape measure puts 
him in focus. (Above) Director Friti Lang acts out a 
speech in You and Me" so George Raft will do it his way. 



Iff? 



Over Merle Ober- 
on's head the as- 
sistant holds three 
plain surfaces. If 
they photograph 
evenly the light is i 
O.K. for Techni- 
color. It's for 
"Over the Moon." 
(Left) Colin Tap- 
ley and Suratna 
Asmara portraying 
a scene for "Boo- 
loo." Most of the 
film is actually 
taken in Malay, 
but not this scene 
which shows the ce 
ment studio floor. 



sne 

CO" ; 

>or. 



No Retakes 
In Love 




The R omance Of A 
Movie Girl Who Went 
On Location And 



By 

Frederic A4ert3 

(Illustrated By Lloyd Wright) 



THE Khyber Pass scenes of "Caravan 
Girl" were filmed on location, a half 
hour's steady drive into the hills from 
Pete Thatcher's ranch below the Little 
Sandovals. You remember the layout— a 
British garrison, with a polo field in it 
because of the sequence where the border 
chieftain was overawed by the sight of 
English officers at play while revolt seethed 
all about them along the Afghan frontier. 
It didn't make sense, but it helped make 
a super-epic. And it started Pete Thatcher 
upvalley, late one afternoon, to find out 
how the job was going. 
Of course, with the ranch on his hands, 



Pete wasn't mixed up in studio business 
any more. He drove out to the "Caravan 
Girl" location because there was a stam- 
pede of wild horses in the film— though 
most of it was left afterward on the cutting- 
room floor. Resolute Pictures didn't send 
all those horses out to the valley; they 
rented them from the ranchers around 
Bolsa Verde. Pete Thatcher took the nar- 
row dirt road into the foothills for no other 
reason than to see how the Resolute outfit 
was handling his stock. 

On the "Caravan Girl" location, there 
were corrals and tents and trailers. There 
were sound trucks, power generators, and 
rolling platforms intricately scaffolded for 
the sake of camera angles. There was a big 
commissary barracks, and a portable bunga- 
low for Sandra Joslyn. There was an as- 
sistant technical director who guided Pete 
around, showing him these wonders and 
talking about horses. 

The assistant director was leading Pete 
Thatcher somewhere for a drink, when 
Pete noticed the girl coming toward them. 
She was wearing slacks and a buff pull- 
over and a pair of those braided slippers 
that they sell around Calicnte and Palm 
Springs. One of her arms was lifted to 
shadow her eyes against the sunset. Her 
burnished, dark hair, loose about her face, 
was stroked back a little by the breeze. And 
the way she walked, in her woven Mexican 
himrachcs, made Pele think of ponies run- 
ning on upland pastures, their manes free 



in the wind. 

"Joslyn," the assistant director muttered 
in a swift aside. 

She was quite near now, smiling at Pete. 
And the closer she came, the deeper were 
those ripples of memory stirring his mind, 
obscuring the outlines of an image so long 
present that he had stopped noticing it. 

"Hello, Pete Thatcher," she said. Her 
warm, dark voice had a husky note that he 
didn't remember at all. 

The assistant director announced, with 
an air of unique discovery, "You know each 
other!" 

"He doesn't," said the girl. "But I do." 
She slipped a hand under Pete's arm, and 
fell into step beside him. "Pardner," she 
said, "the stage coach has plumb broke 
down, and I must get to Oakwood Gulch 
tonight." 

The surface of crinkled, elusive memories 
smoothed out in Pete Thatcher's mind. He 
was jerked back ten years— to Mannie Stein's 
crazy, one-camera outfit in Hollywood's 
Poverty Row; to outdoor takes in dusty, 
brush-choked canyons that were swimming- 
pooled estates now. He recalled the gangling, 
sixteen-year-old saddle bum he had been 
then— riding, roping, and doubling in long- 
shot stunts for those actors whom Mannie 
Stein reluctantly paid more than coiree-and- 
doughnuts money for the day. 

And he remembered a pale, thin-legged 
child crazily involved in the serial thrillers 
that Mannie was always rushing through 



51 



with somebody else's bottom dollar. "Dina," 
he said now. "Dina Gage." 

Her answer caught the tone of his own 
slow, considered speech. "I hope to tell 
you, pardner." 

The assistant director said, with nicely 
unstressed deference, "I was just asking Mr. 
Thatcher about dinner. Unless he has some 
special reason for hurrying back to his 
ranch—" 

"He's staying," the girl asserted. "He and 
I used to make quickies together." 

The assistant director didn't exactly back 
away bowing. But the effect was the same. 
He said to Pete, almost ceremoniously, 
"Hope I'll be seeing you later, old man. 
I'd like to get a price on one of your 
ponies." 

Already Dina was walking Pete Thatcher 
back toward the bungalow that Resolute 
Pictures provided for her on location be- 
cause she was Sandra Joslyn. She wasn't 
much taller than she had been, years ago, 
working for Mannie Stein. But things had 
happened since then— to her voice- and her 
eyebrows, to the way she moved and to the 
color of her hair. Everything was different 
about her disturbingly lovely face. Every- 
thing was different except her wide-set gray 
eyes, and whatever it was that looked out 
from behind them at Pete Thatcher. 

"So now you've got a ranch," Dina said, 
in the new voice that time and Resolute's 
dramatic coaches had given her. "And 
you've got horses to sell." She tugged like 
an eager child at his arm. "Pete, let me 
come over to your place with Grade 
Esmond before we're sent back to Holly- 
wood." 

Pete said incredulously, "Don't tell me 
that Grace Esmond is in this picture, too!" 

Dina shook her head. "Didn't you know? 
She's out of pictures. She's sort of my 
secretary and burglar alarm." 

He couldn't stretch his imagination far 
enough to include Grace Esmond as a 
secretary— the big, open-handed redhead 
who had played leads for Mannie Stein. 
She had taken on Pete's hospital bills, the 
time he and a roan pony had tangled in 
a leap down a ravine that was a boulevard 



now. Most of Pete's wages had gone to pay 
her back, in those first three years as ranch 
hand on the acres which were now mostly 
his. Afterward, somehow, ranch troubles 
had made him forget that the seasons 
shifted no less in Hollywood than here in 
the shadow of the Sandovals. 

Since then, he had been up against the 
usual griefs— drought, stock and crop losses, 
tax and mortgage deadline, and the failing 
health of the old rancher who had urged 
him into a partnership. But the financial 
shoestring had lengthened and toughened. 
It wasn't a shoestring any longer, but more 
like a rawhide riata. It was strong enough 
so that he could walk here quietly now, 
remembering things he had not thought of 
for a long time, and watching the slant of 
sunset against Dina Gage's darkened hair. 

"You've changed," he told Dina. "You 
had a couple of thin braids wrapped around 
your head. Blonde ones." 

"We're all changed, I guess." 

She spoke with a quiet, oddly touching 
acceptance of him, as if this meeting picked 
up a thread of talk interrupted only a 
moment ago. She continued, "Grade has 
this scar down the side of her face— you 
won't notice it too much, will you? She was 
coming home from a party in a speeding 
car. And afterward, when she saw how 
things were going to be, she didn't put on 
an act. She was so darn brave— joking about 
it—" 

Her voice had trailed to a whisper, be- 
cause they were almost at the door of the 
bungalow. 

He said. "I take it back, about your 
having changed, Dina. You're still the same 
nice kid." 

A quarter hour later, he had lost what- 
ever strangeness he might have felt at see- 
ing these two again. Already he was ac- 
customed to the sight of Gracie Esmond 
as a stout, aging woman occupied in knit- 
ting a jersey dress. The paraphernalia for 
this job occupied, with Gracie, most of a 
love-seat. She brought a highball for Pete, 
and studied him calmly through horn- 
rimmed spectacles that broke the line of a 
thin scar running the length of one cheek. 

"He turned good looking," she reported 
to Dina, who perched beside her on the 
arm of the love-seat. 

"He has a place of his own," said Dina. 
' We'll drive over there tomorrow." 

She came for an in- 
stant to put her hand 
on his shoulders. 
"Don't go away," she 
said. "There's some- 
body I want you to 
meet." She crossed to 
the house door, walk- 





ing lightly in her Mexican huuraches, and 
Pete saw her presently outside, her arm 
raised as a shield against the last of the sun- 
set. Out there, the drone of airplane motors 
made a sounding-board of the Sandovals. 

Pete Thatcher was only half listening. 
He finished his drink, and let the slow 
warmth of it find words for things he was 
beginning to remember. 

"Whatever became of Dina's mother, 
Gracie?" 

"She's down at Palm Springs, resting." 
"She needed it." He recalled that small, 
tense woman forever sitting on the side- 
lines in Mannie Stein's crate-like studio. 
'"Funny," he said. "I guess I'd never have 
stuck it out on that ranch deal if it hadn't 
been for those two. Dina and Mrs. Gage. 
They always looked so damn hungry— and 
they were, I guess. It used to scare me that 
maybe some day a woman of mine or a 
kid of mine might get that look. So I got 
into the habit of working like hell. You 
and those .two did a lot for me, Gracie." 

"You're a good guy," said Gracie. "You 
turned out to be the only conservative in- 
vestment I ever made." 

He set aside the empty glass, and watched 
the knitting needles in the hands of that 
weathered, heavy-bodied woman who had 
once played leads for Mannie Stein. "Some- 
thing's got you bothered," he said. 

She regarded him judicially through her 
horn-rimmed glasses, watching him find his 
cigarettes and matches. "What bothers me 
is that most things happen on the wrong 
cue." 

She laid aside her knitting, to look out 
at the fantastically glowing world beyond 
the bungalow's open windows. In an abrupt 
silence, a descending plane slanted into 
view and taxied over the flat ground behind 
the horse corrals. Pete went over to the 
window to watch. 

"Nice landing," he reported to Gracie 
presently. "He came in fast and perfect." 

"That seems to be the general idea," said 
Gracie. "For everything he does. Next year 
he'll be twenty-five— and guess what hap- 
pens then! He inherits seven million dollars. 
All because he's smart enough to be Russell 
Hendrickson IV." 

A leather-cased figure waved a flourishing 
salute over the plane's side, and vaulted 
down to meet Dina Gage. In midfield. he 
took her into his arms. 

Pete Thatcher asked, "Is this the 
somebody I'm waiting to meet?" 
Gracie nodded. "She was look- 



He put a hand over 
the taut fingers she 
had clamped on the 
fence rail. "Sure I 
understand," he said. 
"A long time ago, I 
made up my mind that 
you belonged in a ha- 
cienda set-up. And now 
you've found it." 



52 





ing out of the window, expecting him. 
That's how she happened to see you. He 
owns a stable full of hunters and jumpers 
and blue ribbons, back in Pennsylvania. 
He's got architects and landscape gardeners 
working on the old homestead. Background 
for Sandra Joslyn. That's Dina, in case you 
don't remember." 

Pete snubbed out his cigarette against 
the window screen. There wasn't any rea- 
son at all tor his feeling shaken and' sweaty 
inside, like a half-broke pony wheeled sud- 
denly to face a forgotten landmark. 

"She'll fit into that," he said. "I always 
figured that was what the kid needed. Some 
sort of a hacienda set-up." 

He could see them coming off the field— 
Dina with her beautiful, flowing stride, and 
the tall young man whose grin flashed 
agreeably in a sunburnt face. "They look 
fine together," said Pete. 

"He thinks so, too." Gracie's tone held a 
latent irony. "He thinks she'll go lovely 
with his family silver and his dogs and the 
rose garden his great-grandmother started. 
He's sent home for the architect's drawings, 
so Dina can see how perfect everything is 
going to turn out." 

Features set to a poker-playing blankness, 
Pete Thatcher observed a cloudless sky 
above the peaks of the Sandovals. "Guess 
I'd better be pushing back to the ranch, 
after all," he said. "On account of it looks 
like it might be going to rain somewhere, 
maybe." 

Gracie's mouth tightened a little. "You 
scared to meet this Hendrickson?" 

"No," said Pete, "but I'll wait for him 
anyhow." 

He lounged back to his chair, and sat 
with Gracie in silence until Dina and 
Russell Hendrickson IV came into the dusk- 
filled room. 

Afterward, when he reached home, he 
didn't get out of the car right away. One 
leg hooked over the steering wheel, he 
stared through the smoke of a cigarette at 
what there was to see of the ranch-house 



under its spread of live-oaks. Until tonight, 
he hadn't questioned the direction in which 
things were moving. He had even been a 
little proud of these past few years. But 
now he saw his achievement as something 
shrunken and humble. Luck had been with 
him, no less than with Russ Hendrickson. 
The only difference was that Hendrickson's 
luck made it possible to do the right things 
for Dina Gage. 

He hadn't just been shooting off his 
mouth, talking to Gracie about Dina and 
her mother. What had steadied him, turn- 
ing him from a rambling, shiftless kid to 
whatever he was now, remained somehow 
fixed in his mind as a picture of two faces— 
Dina's, child-like and pinched; and the lace 
of Mrs. Gage, so like what Dina's would 
be alter years of bucking Poverty Row for 
a break. 

Only, things hadn't turned out that way. 
Mrs. Gage was at Palm Springs, and Dina 
was Sandra Joslyn, with only her wide-set 
eyes to bring back the time when she had 
been a child actress in Mannie Stein's jerry- 
built thrillers. And Hendrickson was fixing 
up his Pennsylvania!! show-place to make 
it Sandra Joslyn's background. 

And Pete Thatcher owned a ranch. It all 
worked out, somehow. . . . 

He drove the car around past the small 
bunk-house where his two ranch hands 
slept. Since the death of his partner less 



With a movement so swift 
and direct that something 
savage was in its gentleness, 
Pete gathered Dina up and 
carried her limp form into 
his ranch house. 

than a year ago, Pete lived alone 
in the ranch-house, except for 
quince-faced old Charley Yee, who 
cooked his meals. Without know- 
ing exactly why, Pete went in and 
turned on the lamp beside his 
big, roll-top desk at one end of 
the living-room. He pulled out 
account books, and began to go 
fp / over them. 

'**f v v^ Long before midnight, he had 

done all the figuring that there 
was to do. The uphill pull had 
levelled off during these past three years. 
Now he was breaking better than even. 
But as he studied the final column, he 
could hear the coyotes jeering, off there in 
the foothills under a rust-colored moon. 
And their thin, yapping snicker was with 
him while he faced the knowledge that— 
for him— Dina Gage would always be over 
the mountains in more ways than one. 

He was still sitting there, half asleep, 
when the surprised old Chinese shuffled in 
with breakfast. Pete Thatcher gulped down 
his coffee, studying the record as it lay 
before him on the balance sheet. Mo- 
mentarily he was tempted to make another 
examination of his accounts, to see if he 
had overlooked something favorable. But he 
knew better. He slammed the roll-top, and 
went on down to the horse corrals. What 
waited down there would snap him back 
to business. 

It was a slim, satin-shouldered two-year- 
old, hating saddles and hackamores and 
fenced ground. By those mysterious proc- 
esses of character appraisal that sometimes 
determine the naming of a horse, she had 
been christened Quien Sabe. Some day, 
Pete Thatcher guessed, she might make 
such a pony as he had never owned before. 
But so far, she was just a nimble-legged 
uncertainty, hoofed with dynamite. 

Pete worked her for a couple of hours, 
first under saddle and later on the hacka- 
more lead rope. Then, shaken and dust- 
[Continued on jui^c 72] 



5 3 




POOR Ponce de Leon! He spent so much 
time in a fruitless search for the Fountain 
of Youth in Florida, when, in reality, he 
might have found it centuries later on the 
Pacific coast— in Hollywood. 

Consider the last decade in Cinemaland. 
Stars who appeared to be in their late twenties 
in the late twenties look no more than in 
their early twenties now in the late thirties. 

California sunshine may have something to 
do with this bloom of youth, but since in each 
case the causes have varied, I cannot be posi- 
tive of this. Generally speaking, everybody lives 
an outdoor life in California, especially the 
film stars. They all have their own swimming 
pools, and use them. Most of them go in for 
strenuous sets of tennis on their own courts, 
is the elixir of life in Hollywood. 

The important factor is that, regardless of ability or 
talent, as long as a star remains young and beautiful 
she can hold her place in the film world. It is her job 
to retain her youth, just as it is necessary for a stenog- 
rapher to improve her speed or a housewife to learn new 
and attractive ways of preparing old dishes. 

Scientific dietitians make it possible for stars to remain 
slim without losing vitality. Make-up experts have 
studied facial contours, hair lines, etc., until it is im- 
possible for any star to fall short of perfection. 

In 1927 Myrna Loy was photographed beside her 
fireplace in her home. In those days, of course, Myrna 
was not the successful star that she is today. She was 
still in her almond-eyed period on the screen. This pic- 
ture was taken to convince the studio that she was quite 
as interesting (as herself) as the screen personality they 
had given her. But the producers must have been deaf, or dumb, 
or blind, for they paid no heed and continued casting her in 
vampire roles. It was six years before they gave the real Myrna a 
chance. 

Maladjustment can work havoc with one's nerves, and Myrna 
was no exception. To say that she was unhappy in her seductive 
days on the screen is putting it mildly. When her years of fighting 
lo become herself finally brought victory, Myrna at last was able 
to relax. No more taut nerves. Her entire outlook brightened. She 
gained self-confidence and repose and the satisfaction of knowing 
that her job was well done. Now, eleven years later, she emerges 
looking younger and prettier than before. 

Behold Joan Crawford back in 1929 during her "dancing 
daughter" days. Though, a short time after this, Joan went in 
for dramatic roles in a big way and her life took on a more 
serious aspect, there is no question that she looks as young today 
as she did nine years ago. 

Granted that beauty is only skin deep, character is always re- 
vealed in the face. In the early days of her career, Joan was too 
occupied fighting her way up to stardom— and hers was a difficult 
struggle— to give much attention to other things in life. It was not 
until she gained a foothold that she gave vent to other interests. 
She studied music and singing, not merely to further her career, 
but more as a spiritual development. However, the outstanding 
virtue in Joan's character is her understanding and faith in human 
nature. Hers is almost a childlike confidence. She is essentially a 
loyal friend and one of the most charitable people in the film 
colony. One cannoi enumerate her Lady Bountiful acts. All this 
shows iti her face, along with her complete naturalness and lack 
of artifice. 

There is no comparison between the Marlene Dietrich who 



arrived in this coun- 
try in 1930 and the 
Marlene Dietrich of 
t o d a y . The dark- 

haired German star's principle claim to fame was her beautiful 
legs The exquisite individuality she has attained and retained 
eight years later is the result of make-up men and expert beau- 
ticians. First it was necessary to lose Teutonic plumpness, never 
popular in this country since the gay nineties, by strict dieting. 



54 




! A 1 K 

Stands 
till 



(Below) Marlene has added glamour to 
her list of charms. (Below, right) Carole 
Lombard. How she has improved in ap- 
pearance! 




The Chilling Hand Of Time Has 
Not Touched The Beauty Of The 
Picture Girls. They Have Found 
The Fo untain Of 
Youth. 



(Extreme 
left) Carole 
Lombard in 
her Mack 
Sennett days. 
(Left) Joan 
Crawford 
when she was 
dancing her 
way to fame. 



(Top) In this relic 
of her "siren" 
days, Myrna Loy 
actuallylooks 
older than she 
does today 





(Above, left) Dolores Del Rio when 
she was sleek and stately. (Above) 
Loretta Young gave her lovely 
'teens to silent pictures, made the 
transition to sound 
films and grew 

i.iirer still. .^sPSsiM?' 



They then changed the arrangement and color of her hair. They 
studied her face, lifted her eyebrows and went into a thorough 
job of remodeling to produce the glamorous star we know. 

My conscience cringes at the thought of including Loretta 
Young, as she i; only twenty-five years old now. This photograph, 
taken in 1929, shows Loretta at sweet sixteen. Surely there is no 
period in a woman's life when she undergoes a more complete 
change than during these intervening years; yet here we see 
Loretta looking as young and fresh today as the blossoms she 



holds in her hand, and certainly far more glamorous. 

Of course, Loretta has bobbed her hair since l he first photo- 
graph, which always tends to give a more youthful appearance. In 
spile of her popularity with Hollywood's bachelors, Loretta never 
permits her social life to interfere with her rest, which is the 
essential factor lor her keeping fit. During her working time, she 
manages to sleep around the clock every fortnight or so. 

The two Hollywood stars who have probably undergone the 
greatest change— and for the better— are [Continued on )><igc 62] 



55 



HINTS for SUMMER BEAUTIES 




By 

Mary 
Lee 



June Lang lazily 
reclines on a 
beach mattress 
beside her pool, 
her back and 
shoulders pro- 
tected from the 
hot sun so that 
they won't show- 
that "sunburn 
line" when she 
gets into eve- 
ning dress. . 



SUMMER brings the glamour months. 
For this season creates the setting and 
the situation to which every one of us 
brings new roles. And that has always 
seemed to me the first advantage of being 
a star. The movie stars play at all sides of 
life. They never confine themselves strictly 
to the part of a business girl or a home 
girl. And so their lives are varied, full of 
color. Take Bette Davis, for example. Be- 
hind the scenes, there probably isn't a 
happier, more sensible young wife in Holly- 
wood. Vet much of Bette's life goes into 
feeling and acting the part of a brittle 
young woman with a glint in her eye. One 
who knows what she wants and goes after 
it— regardless. 

Though our individual parts are never 
as public and as prominent as the stars', 
warm weather brings an expansion of 
activities arid pleasures that actually make 
us seem someone else. There are country- 
week-ends, if you are a city girl, when you 
can dress up in a dirndl and tie a kerchief 
over your curls in peasant manner. Of 
course that makes you feel different. You 
can go sailing, if you're lucky enough to 
know boat lovers, all seaman-like in slacks 
and sweater, your skin kissed by salt spray. 

You can feel like Miss America on any 
beach, if you have a reasonably good figure, 
a smart swimsuit, or you can get that all 
"Gone with the Wind" appeal in pastel 
organdie or mousseline de soie rumba ing 
atop some roof garden to Spanish music. A 
little budget and a big imagination, and 
for moments, at least, the world is yours. 
The costumes I leave to you, but from the 
very personal viewpoint, hair, skin, make- 
up and perfume, let me answer some ques- 
tions of general appeal that have come in 
recently. 

Some of the girls say they have normally 
nice hair but they want that under-tone of 
life and shimmer that makes any hair beau- 
tiful, regardless of its color. The new 
Clairol color-accenting shampoo is one 
answer. It shampoos, reconditions and high- 
lights, all at t lie same operation. Clairol 
does not change basic hair color, but it 
seems to release the brilliance that lies sub- 
merged in much hah. When your hair is 

56 



freshly shampooed and you are in bright 
sunlight, you often see this lovely evasive 
suggestion of color, .and wish you could 
capture and keep it always. Clairol seems 
to do just this. Use rt like any liquid 
shampoo, but when you have worked up 
a rich lather, comb it through your hair 
several times from scalp to the very ends. 
Leave on a few minutes and rinse off. You'll 
discover your hair as you've dreamed of it. 
Clairol is personalized— that is, it comes in 
special combinations for the basic hair 
tones, such as gold or silver blonde, copper 
and so on. You may use Clairol at home or 
have a professional shampoo with it in your 
beauty shop. 

Rouge has a way of perplexing us in 
summer, because skin tones change. What, 
ask many, is a practically safe tone for all? 
Happily, there is an answer— Po-Go Brique 
(orange naturelle), an impalpably fine, 
French imported dry rouge. It blends so 
softly, so naturally that you cannot detect 
it on the cheek, and it really stays on. Now 
and then we find a rouge or lipstick so 
perfectly blended and balanced in tone that 
it is as charming on the fragile blonde as 
on the vibrant brunette. Po-Go belongs in 
this class, and vacationists will find it a 
boon, when a mild complexion returns 
from beach or mountains with an almost 
tropical tone. 

Most of us have become adept at eye 
make-up. What we do with mascara and 
shadow is an artistic feat. But— and this 
causes a few heartaches now and then— 
what can we do without normal brows and 
lashes to work on? When they are scanty, 
short, contrary, make-up is only part of the 
answer. The other is Kurlene— by all means, 
Kurlene. It's a cream to be brushed or 
smoothed on preferably at night, if you 
wish to stimulate these small, important 
hairs, to make them healthier and stronger 
and generally to aid their growth. These 
small hairs grow slowly, so Kurlene lakes 
time, but its faithful use will produce 
gratifying results. If you are blessed with 
good brows and lashes, you will find Kur- 
lene a grand day-time grooming idea. Brush 
a little onto brows and lashes. It will give 
a brilliance and sheen that is charming, 



and this is a special tip for the dark girl 
who does not need mascara. I like the brush 
idea because Kurlene is applied more neatly 
in this manner and for stimulating you can 
brush it right to the lash or brow roots, 
where it does its good work. 

A vital summer hint. Keep that powder 
puff immaculate. Then your powder will 
spread smoothly and )our skin will benefit 
generally. Buy powder puffs that launder as 
easy as hankies, like the Hygienol pure 
lambs' wool puffs. They are of soft, velvety 
texture, blend your powder on skin evenly, 
and now come in a feather-weight cellulose 
acetate container, clean and convenient for 
home or purse use. And last, a perfume of 
romance. There are many. In fact, all per- 
fumes seem romantic to me, but one that 
is certainly all moonlight and roses and 
soft music is Corday's Chevre Feuille 
(honeysuckle), a true scent, glamorous, soft, 
warm. You can buy it by the dram or in 
lovely bottles. The scent is very clinging, 
too. 




Ann Sheridan likes this 
lambs' wool powder puff in 
a container for purse use. 




A scene from "Port of Seven Seas," noteworthy 
for the fine performance of Wallace Beery. 



Reviews of Pictures 




In "There's Always A Woman," Joan Blondell and 
Melvyn Douglas are a screwy married couple. 



HER JUNGLE LOVE 

For Those Who Gloat On "Meller- 
Drama"— Par. 

BEAUTIFULLY done up in Technicolor 
this bit of South Sea Island saga simply 
reeks with good old hokum. And unless you 
are too, too sophisticated for words, you 
lorgnette-bearer you, you'll find it all a 
hell of a lot of fun. 

Decidedly on the asset side of the picture 
are Dorothy Lamour's legs, a precocious 
chimpanzee named Gaga (the late Jiggs) 
and a very cute lion cub called Meewa. 

Ray Milland and Lynne Overman play a 
couple of aviators who crash in a plane 
on a pacific isle— and there they find Dor- 
othy in her sarong, and in no time at all 
Dorothy, the fairest flower of the tropics, 
becomes fluent in English and kissing. 

RASCALS 

In Which Jane Withers Rescues The 
Unhappy Heiress— 20th Century-Fox 

THAT most talented of juvenile character 
actresses, little Miss Jane Withers, sings 
and acts and dances her way through her 
newest picture in a most engaging manner. 
This time Jane plays the leader of a band 
of gypsy rovers, and, with Borrah Minne- 
vitch and his harmonica players in the 
gang, what a gay time the gypsies have. 

Rochelle Hudson, playing a society girl 
who has lost her memory in an automobile 
accident, is adopted by the friendly gypsies 
and she in time becomes their favorite for- 
tune teller, displacing Steffi Duna. She falls 
in love with Robert Wilcox, another non- 
gypsy in the band, and everything is fun 
and laughter until Rochelle, operated on 
with money raised by her gypsy pals, re- 
covers her memory and once more becomes 
a society belle with a scheming mother and 
Baron fiance. 

But Jane fixes all that, too, and Rochelle 
is rescued right at the altar in time for 
a happy ending. The plot is weaker than 
the previous Jane Withers pictures— but if 
you're a Withers fan, and aren't we all, 
you'll find Jane even more entertaining 
than ever before. 

THERE'S ALWAYS A WOMAN 

Screwball Comedy At Its Best— Col. 
TF YOU went slightly daffy over "The Thin 
* Man" you will go completely nuts over 
this newest hilarious comedy of married life 
mixed with a couple of cheerful murders. 
Joan Blondell and Melvyn Douglas, at their 
maddest and best, take the prize for being 
the most amusing and likable young mar- 
ried couple on the screen. 

Because of a lack of clients Melvyn, in 
despair, gives up his detective agency and 
goes back to his old job for $75 a week 
with the district attorney. But wifie Joan, 
a screwball de luxe, is made of sterner stuff, 
and so she proceeds to carry on the agency 
in direct competition to the D. A.'s office 
and her sleuthing spouse. 

Right away she gets a Social Register 
client, Mary Astor, and shortly after a real 
honest-to-goodness murdered corpse. From 
then on the story deals with the rivalry 
between husband and wife for the clues to 
the murder, with Joan constantly barging 
in where she isn't wanted and giving things 
the "woman's touch." One side-splitting 
comedy scene stacks up on top of another 
with lightning rapidity, and even though 
you live to be a hundred you'll never see 
anything as funny as the scene in which 
Joan is subjected to a torturous all night 
grilling and retains her lovely freshness, 
with lipstick and powder puff, while the 
detectives collapse, victims to the devices 
of their own third degree. 

Joan and Melvyn, of course, take all the 
comedy honors but they are ably supported 
by Mary Astor, Frances Drake and Jerome 
Cowan. You won't want to miss this one. 



THE JOY OF LIVING 

Which May Furnish A Few Pointers In 
Your Scheme of Thincs— RKO 
HTHE beautiful and glamorous Irene Dunne 

* returns to the screen, fresh from her 
spectacular triumphs in "The Awful 
Truth," in a new comedy formerly called 
"The Joy of Loving" but now called the 
"Joy of Living" because the Hays office 
doesn't approve of "Loving." Well, you 
know how the Hays office is. 

Irene plays a young stage and radio star 
who has reached the top of her profession 
by sheer hard work and has a gross income 
of some $10,000 a week. Burdened with a 
parasitic family, taxes, and a liking for rich 
furs and real jewels she finds that she hasn't 
a penny to call her own. Her career is a 
very serious thing with her and she musi 



keep slaving away day after day for her 
family, her taxes, and her extravagant 
clothes. She can't remember ever having 
any fun. 

But, one night, she is rescued from an 
insulting bunch of autograph seekers by 
Douglas Fairbanks, Jr., a wealthy young 
man from Boston who believes that life is 
something to be enjoyed, and that she is 
destined to enjoy it with him. She thinks 
him fresh, has him arrested, and is most 
annoyed to learn that the court has ap- 
pointed her his probation officer and that 
he must report to her twice weekly. 

During the "reportings," however, she 
falls in love and there follows a wild assort- 
ment of adventures with him— including a 
beer bender al a hofbrau house with a 
trip to the rollerdrone in an attempt to 
sober up on skates— which will have you in 



57 



4 Minute Treatment 
Stops Dandruff Itch 

And Kills Nasty Scalp Odor 

Dandruff is the sign of a diseased, 
unclean scalp. Through neglect, the 
tiny sebaceous glands (oil glands) fail 
to work as they should and become 
clogged with scales and dirt. The 
scalp becomes infected by germs and 
fungi, and the condition spreads. 

Skin specialists generally agree that effec- 
tive treatment for dandruff must include 
(1) regular cleansing of scalp; (2) killing 
the germs that spread infection; (3) stimu- 
lating circulation of the scalp; (4) lubrica- 
tion of scalp to prevent dryness. 

The Zonite Antiseptic Scalp 
Treatment Does These 4 Things 

WHAT TO DO: Massage head for 3 minutes 
with this Zonite solution — 2 tablespoons 
Zonite to 1 quart of water. Use this same solu- 
tion for shampoo with any good soap. Rinse 
very thoroughly. If scalp is dry, massage in 
any preferred scalp oil. (For complete details 
of treatment, read folder in Zonite package.) 

It is vitally important to use this treat- 
ment regularly ( twice every week at first) 
to keep dandruff under control and keep 
germs from spreading. Because reinfection 
constantly takes place from hats, bed-pillows, 
combs and brushes. 

If you're faithful, you'll be delighted with the 
way this treatment leaves your scalp clean and 
healthy — free from itch and nasty scalp odor. 

At all U. S. and Canadian drug stores. 
TRIAL OFFER— For a real trial bottle of Zo- 
nite, mailed to you postpaid, send 10 ^ to Zonite 
616 New Brunswick, ^&t\ New Jersey 

U. S. A. 




ZONITE Is 
9.3 Times More Active 

than any other popular, non-poisonous 
antiseptic— by standard laboratory tests 



Irene Dunne and Douglas Fairbanks, Jr., in "The 
Joy of Living," a scintillating comedy. 



stitches. Eventually Irene, too, decides to 
subscribe to Doug's theories of the joy of 
living. 

Alice Brady, Guy Kibbee, Lucile Ball, 
Frank Milan, and the Steiner twins con- 
stitute Irene's most revolting family of par- 
asites. Jean Dixon is her sensible secretary, 
and Eric Blore her nutsy butler. There is 
one priceless scene in her limousine where 
her chauffeur, pugilistic Warren Hymer, 
cues her in a most romantic love scene. 
Irene sings, and beautifully, several Jerome 
Kern songs. 

THE BATTLE OF BROADWAY 

The American Legion Brings Captain 
Flagg and Sergeant Quirt Back To Us— 
20th Century-Fox 

THE uproarious convention of the Amer- 
ican Legion in New York last fall served 
as the inspiration of this little number 
which brings back to the screen, after all 
these years, our old friends Captain Flagg 
and Sergeant Quirt. Victor McLaglen, big 
and lusty, plays his customary role, but 
Brian Donlevy steps into the part once por- 
trayed by the slick Eddie Lowe. 

The "sez you-sez me" fast talk isn't quite 
as scorching as it used to be. The dame 
that the boys are scrapping over this time 
is Louise Hovick, she who used to be 
Gypsy Rose Lee of strip-tease fame. Ray- 
mond Walburn eventually wins her. 

The "battle" over Louise takes place or, 
Broadway during the convention, and nat- 
urally there is plenty of footage given 
to the Legion's parade, which went on 
and on— just like Flagg and Quirt. 

PORT OF SEVEN SEAS 

A Charming Film, Following A Pattern 

All Its Own— MGM 
T'HE plot concerns a group of simple, 
*■ kindly people who live in the seaport 
town of Marseilles. It is beautifully trans- 
lated from the Marcel Pagnol play and 
makes a picture that is decidedly charm- 
ing with its happy blending of wisdom 
and childish naivete. 

John Beal plays a boy who is torn be- 
tween his love for the sea and his love 
for a girl, Maureen O'Sullivan. The sea 
wins, and he sails away on a long voyage, 
not knowing that the girl is going to have 
his baby. 

Maureen marries an elderly suitor, Frank 
Morgan, who knows all about the baby 
and is only too eager to provide for it and 
protect her. Several years later John re- 
turns from his ocean voyage, and claims 
his girl and his baby, but in the meantime 
Maureen has made plans of her own. There 
is a most unusual but satisfactory ending. 

Wallace Beery plays the boy's father, a 
gentle childlike soul, and this stands out 
as one of Beery's greatest performances, 



though entirely different from what he has 
played before. It's an unusually sensitive 
picture, acted and directed With great re- 
straint. !j i T 

LITTLE MISS ROUGHNECK • 

Pleasant Entertainment For Neighbor- 
hood Theatres— Col. 
IS. TOT to be outdone by Universale 
* ■ Deanna Durbin and Twentieth-Cen : 
tury's Jane Withers. Columbia trots out 
Edith Fellows, another little thirteen year 
old who acts and sings, and pleasantly too 
Edith who is best remembered as the bad- 
tempered, spoiled brat in "She Married 
Her Boss" has evidently been taking her 
music lessons seriously for she gives out 
with several operatic numbers and a ren- 
dition of "La Golondrina" which is quite 
delightful. 

She plays a precocious child whose 
mamma and manager are hell-bent upon 
her becoming a movie star, but she runs 
away from Hollywood and takes up with 
Leo Carriilo, a Mexican miner, and his 
wife Inez Palange, who know nothing about 
Hollywood careers and care less. The plot 
goes definitely "Captains Courageous." 
Margaret Irving plays the determined 
movie-mother, Scott Colton the actors 
agent, and Jacquelin Wells a sympathetic 
older sister. 




Brian Donlevy and Victor McLag- 
len in "The Battle of Broadway." 
Louise Hovick (Gypsy Rose Lee) 
is the cause of the outbreak. 



58 



Silver Screen 



MRS. VICTOR DU PONT, III 





FREDERICA VANDERBILT WEBB 

note MRS. DAVID S. GAMBLE, Jr. 



Anew CREAM that puts the necessary 
"skin-vitamin" right into skin! — The 
vitamin which especially helps to build new 
skin tissue — which aids in keeping skin 
beautiful! 

Since Pond's new "skin-vitamin" Cold 
Cream was announced, hundreds of women 
have tried it! 

In this advertisement we are repeating 
the words of some of the first to try it — 
"A great advance" — "Keeps my skin better 
than ever" — "Gives better color" — "Keeps 
my skin finer and softer in spite of all 
my sports." 

Exposure dries the "'skin-vitamin" 
out of skin . . . 

Exposure is constantly drying this "skin- 
vitamin" out of the skin. When there is 
not enough of this "skin-vitamin" in the 
diet, the skin may suffer — become under- 
nourished, rough and subject to infections. 

Tune in on "THOSE WE LOVE, 



'A <yieat ada&Hce . . . 

"Pond's new Cold Cream is a really 
scientific beauty care. I'll never be 
afraid of sports or travel drying my 
skin, with this new cream to put the 
'skin-vitamin' back into it." 
Mrs. Henry Latrobe Roosevelt, Jr. 

" atfelpA ikUi mote . . . 

"I've always been devoted to Pond's. 
Now with the 'skin-vitamin,' it helps 
my skin more than ever. Keeps it 
bright and fresh looking all through 
the gayest season." 

Frederfca Vanderbilt Webb 
now Mrs. David S. Gamble, Jr. 

'Qeti sJzut leaiU f. clean . . . 

"Pond's Cold Cream gets my skin 
really clean. Now it nourishes, too, 
and keeps my skin so much softer." 

Mrs. Victor du Pont, hi 



MRS. HENRY LATROBE ROOSEVELT, JR. 



regular way for cleansing and before make-up. 
Pat it in. Leave some on overnight and when- 
ever you have a chance. Do this faithf ully for 
2 or 3 weeks. Some women reported enthusi- 
astically within that time! 

Same jars, same labels, same price 

Now every jar of Pond's Cold Cream you buy 
contains this new cream with"skin-vitamin" 
in it. You will find it in the same jars, with 
the same labels, at the same price. 



Suppose you see what putting the "skin- 
vitamin" directly into your skin will do for 
it? In animal tests, skin that had been rough 
and dry because of "skin-vitamin" defi- 
ciency in the diet became smooth and 
supple again — in only 3 weeks. 

Use the new Pond's Cold Cream in your 
Pond's Program, Mondays, 8:30 P.M., N. V. Tims, N.B.C. 

Silver Screen 



SEND f° R 

Pond's, Dept. 7SS-CT, Clint 



TEST IT IN 
9 TREATMENTS 



Co 



Rush Bpecial tube of Pond's "skin-vitamin" Cold 
Cream, enough for ') treatments, with samples of 2 
other Pond*** "skin- vitamin" Creams and 5 different 
shades of Pond's Face Powder. I cm-lone 10^ to cover 
postage and packing. 



Name_ 
Street. 
City— 



_.Stm<- 



Copyright. 193S. Pond's Extract Company 

59 



YOUR ROMEO? 




LOVE AT FiRST SIGHT— and Romeo couldn't 
forget the pulse-stirring fragrance that Juliet wore. 




TODAY'S ROMEO CAN'T RESIST the magic 
lure of Djer-Kiss — the exquisite fragrance that 
becomes yours when you wear Djer-Kiss Talc. 

o tart your day the Djer-Kiss way! Bathe 
O your entire body with this delightful 
talc each morning. Djer-Kiss keeps you 
dainty and refreshed all day . . . Helps you 
stay cool, for it actually lowers body tem- 
perature. Clothes feel more comfortable . . . 
Makes you alluringly fragrant. Use Djer- 
Kiss generously, for the cost is surprisingly 
small . Buy it today at drug and toilet goods 
counters— 25c and 75c sizes. Liberal 10c 
size at all 10c stores. 

The same delightful fragrance in Djer-Kiss 
Sachet, Eau de Toilette and Face Powder. 

YOURS FREE— the exciting new book, 
"Women Men Love — Which Type Are You?" 

— full of valuable hints on 
how to make yourself 
more alluring. Just send 
k a post card with your 
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Parfums Kerkoff, Inc., 
Dept. Y, New York. 

genuine imported talc 
scented with Djer-Kiss 
perfume by Kerkoff, Paris. 




Frozen 
Desserts 

By 

Ruth L. orrMn 



(All recipes pre=testedj 



DESSERT is the happy ending of the 
meal. It is also an important part o£ it 
in respect to food value. Frozen des- 
serts such as mousses, frappes, parfaits, etc., 
are less cumbersome than the old-fashioned 
puddings and pies as a fitting climax to 
the modern meals. If you are uncertain 
about which is which it's like this ... a 
Mousse is a light, chilled or frozen dessert 
thickened with gelatin; a Frappe is sweet- 
ened fruit juices cooked with water, milk 
or cream and frozen to a mush; a Parfait 
is a frozen whipped cream dessert which 
requires no stirring in the freezing. 

There are many ice cream mixes, one of 
the finest being Jello. By following the 
simple directions on each can of Mix you 
can make smooth-textured, excellent ice 
creams. In making the new frozen desserts 
be sure that the mixture is chilled before 
placing it in the freezing tray. Thick mix- 
tures freeze more quickly. 

EGG NOG PIE 

2 teaspoons Knox gelatin 

1 teaspoon nutmeg 

3/ 4 cup Borden's Evaporated milk 
14 cup cream, whipped 

3 teaspoons cold water 
14 cup hot water 

2 eggs 

l/g teaspoon salt 
1/2 cup sugar 

Combine milk and hot water and heat. 
Dissolve gelatin in cold water, add to hot 
milk and water. Beat egg yolks with sugar 
and salt added and stir into hot mixture. 
Return to double boiler and stir until it 
thickens. Remove from stove and put in 
refrigerator until cool. Then beat, add rum 
to taste and fold in beaten egg whites and 
whipped cream. Pour in baked shell and 
chill. Jell-O can be used instead by using 
more and omitting rum. 

STRAWBERRY SURPRISE PIE 
1 1/2 cups heavy cream 

2 tablespoons Domino Confec- 
tioners Sugar 

1 package Royal Strawberry Gel- 
atin 

Few grains salt 
Rusk Crumb Crust 
1 pint strawberries 
\/ 2 teaspoon Sunbeam Vanilla 

Whip 1 cup cream; add sugar, vanilla 
and salt. Spread mixture over shell made 
of rusk crumbs in a Pyrex pie dish. Wash, 
hull and halve strawberries. Arrange in 
rows on cream. Dissolve gelatin according 
to directions on package. Chill \/ 2 cup 
gelatin until syrupy, pour over fruit. Chill 
4 to 5 hours. Whip remaining cream, force 
through pastry tube around edge of pie. 
Make swirled mound of whipped cream in 
center and place a whole berry on top. 




Jean Chatburn is busily preparing 
that luscious delicacy known as 
Mother's Delight. 



BUTTERSCOTCH PARFAIT 
% cup Domino Brown sugar 

2 teaspoons butter 
1/2 cup water 

4 egg volks 

1 cup heavy cream 

2 teaspoons Sunbeam Vanilla 

Melt sugar and butter in sauce pan, stir 
to prevent burning and boil 1 minute. Add 
water and cook until smooth and svrupy. 
Beat egg yolks, add butterscotch syrup 
slowly and continue beating. Cook over hot 
water until light and fluffy. Chill; whip 
cream. Add salt and vanilla. Combine with 
egg mixture. Turn into tray and freeze 
without stirring. Serve in parfait glasses 
topped with whipped cream. A pleasing 
variation is to fill glasses with alternate 
layers of butterscotch mixture and vanilla 
ice cream and top with whipped cream. 

MARSHMALLOW PUDDING 
Beat the whites of 6 eggs. Add vanilla 
to taste, 1 cup sugar and 2 tablespoons 
Knox gelatin dissolved in a little water. 
Pour into a mould and place in refrigerator 
until ready to serve. Slice and serve with 
either whipped cream or boiled custard. A 
colorful effect may be achieved by dividing 
the mixture into 3 parts, leaving 1 part 
white and coloring the other 2 parts. 

ANGEL PARFAIT 
This is an entirely new recipe. Boil to- 
gether 1 cup sugar and i/ 2 cup water until 
it spins a thread. Pour over stiffly beaten 
whites of 2 eggs. Let cool. Fold in 2 cups 
whipped cream and 1 teaspoon vanilla. 
Pour into refrigerator tray and freeze 3 to 
4 hours. Chopped candied fruits and nuts 
may be used if desired. Add whipped cream 
to each glass in serving. 

MOTHER'S DELIGHT 

3 eggs 

1 cup sugar 

Dole's Pineapple Cubes 

Pecans 
1 pint sweet milk 
1 package Knox gelatin 

Bananas 

Del Monte Peaches 

Beat eggs and sugar, pour in milk and 
cook about 10 minutes. Then add gelatin 
which has been thoroughly dissolved in 
cup cold water. Cool slightly; add fruits 
and pecans cut in small pieces. Put in 
mould and let stand in refrigerator until 
firm. I'nmould and serve with whipped 
cream. This is a new and never before 
published recipe. 



{Vhmwwnced Dear Kite) 

TALC 

S v KERKOFF ■ PARIS 



60 



Silver Screen 




will she kee p 
omance? 




; p» °smetk Ski„ de V e| 0 ; i 

l! ^ Iff?^ robY °Uof i 



Jlaudette , 
Colbert | 





Silver Screen 



61 



LIGHT-PROOF 
FACE POWDER! 




t??zale 



THIS is what 
happens when 
your make-up 
reflects every 
ray of light. 



I M 






SEE the differ, 
ence with 
light-proof 
powder that 
modifies the 
light rays. 



Luxor powder is light-proof. if you 
use it, your face will not shine. 
Trie! box sent postpaid for a dime I 

• At parties, do you instinctively avoid certain 
lights that you can just feel are playing havoc 
with your complexion ? All that trouble with 
fickle make-up will be overcome when you 
finish with powder whose particles do not 
glisten in every strong light. 

Many women think they have a shiny skin, 
when the shine is due entirely to their powder! 

With a finishing touch of light-proof pow- 
der, your complexion will not constantly be 
light-struck. In any light. Day or night. Nor 
will you have to worry over shine. 

Seeing is believing 

You have doubtless bought expensive boxes 
of powder on claims and promises, only to 
find that you wasted the money. You don't 
run much risk with Luxor, because your first 
box will cost you only ten cents! 

Test it in all lights, day and night— under 
all conditions. See for yourself the lovely soft- 
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proof powder. See how it subdues those 
highlights of cheek-bones and chin, and nose. 



S. D.-6-88 

LUXOR, Ltd., Chicago 
Send me a trial box of Luxor light- 
proof powder, postpaid. I enclose 
10c (silver dime). 
□ Flesh □ Rachel D Rose Rachel 




□ Rachel No. 2 



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Name . 



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P.O 



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State 

(This offer not good in Canada) 



The Face On The 

Cutting Room Floor 

[Continued from page 27] 

quick. In "Kidnapped," there were 800 
extras hired to storm a castle in the Scot- 
land of 1751. For a single day's shooting, 
20th Century-Fox paid these extras about 
$12,000, and it was a mob scene that could 
not be transposed to some other picture, 
because of the 1751 costumes. Yet when 
the picture was cut, that S12.000 mob scene 
was yanked. Zanuck and Werker agreed 
that while it was spectacular, it smothered 
the human elements of the story. So they 
substituted rapid closeups of angry, bitter 
Scotsmen. The passion in their faces did 
more to advance the story than the mob- 
scene. 

The fallacy of those who write sob-stories 
about the "Face 011 the Cutting Room 
Floor" is in their premise that Hollywood 
gets a sadistic pleasure from cutting scenes 
and performers out of a completed pic- 
ture. This is a cockeyed notion, of course. 
The cutting rooms are the yardsticks of 
waste in this industry. The minute a studio 
has to start cutting down a film, it is waste 
and costly waste. So the executives of studios 
dvead the cutting room- more than the bit- 
players dread it. 

The second false premise of these sob- 
story writers is that studio executives, for 
some strange reason, hate young actors and 
actresses, and snip them out of a film from 
sheer devilment. The fact of the matter is 
that every studio out here spends a for- 
tune in looking for young talent. The 
studios are happier when they find a 
youngster of promise than the kid is, be- 
cause the studios know that a great young 
performer can be built up into a million 
dollar box-office attraction. 

Radio fans argue that youngsters have a 
better chance on the air because radio has 
no "cutting room." You don't say? Radio 
has a thousand cutting rooms. Sponsors, 
sitting around conference tables at audi- 
tions, are the cutters. They decide whether 
01 not a young singer has talent, whether 
a comedian is funny, whether a band will 
appeal, and the radio sponsors have no 
background of show business to guide their 
judgment. 

Edgar Bergen and Jack Benny are the 
two head-men of radio, aren't they? The 
movies gave them both their first chance. 
Bergen, little more than a year ago, was 
rejected by National Broadcasting Com- 
pany, on the grounds that he had noth- 
ing, to offer to radio!! Jack Benny was 
released by a motor car company from his 
radio contract because the motor car mag- 
nate's WIFE believed that organ music 
was more dignified. Oh yes, radio has its 
own cutting rooms, and sponsors who have 
suddenly entered show-business are terrible 
people in their pomposity. Bergen, rejected 
by radio, was signed by pictures for a 
series of Warner shorts. Jack Benny - goes 
back a long way in talking pictures at 
M-G-M. Trie movies have much keener 
showmen than radio. 

The next time you read some long- 
winded story detailing the tragedies that 
occur on the cutting room floors of Holly- 
wood, make up your mind that the writer 
of that sad story doesn't know what he is 
talking about. 

As a matter of strict reportorial fact, film 
is never left on the cutting room floor. 
Fire department laws and fire insurance 
laws are very strict on this, and, in addi- 
tion, a cutter who let film drop to the floor 
and expose it to scraching would find him- 
self out of a job in a hurry. Actually what 
happens is this: the film, once it is cut. is 
hung on spikes in a huge metal container 
cushioned with a protective cloth covering. 



Later it is rolled and put into metal cans, 
which are marked and catalogued before 
they are filed. So every face ever cut out of 
any Hollywood picture actually is still on 
file in this town, rather than trampled out 
of recognition as the legends would have it. 



Time Stands Still 

[Continued from page 55] 

Carole Lombard and Dolores Del Rio. 

Here is how Carole looked back in 1929. 
before she added the "e" to her name and 
emerged from the ranks of Mack Sennett 
bathing beauties. Compare her with the 
way she appears today. Even though a seri- 
ous motor accident early in her career 
threatened her beauty, Carole has overcome 
that obstacle. 

Not only has Carole changed completely 
in her physical appearance, but there has 
been as complete a change in her per- 
sonality as well. Off-screen, she is a direct 
opposite to the smart, sophisticated woman 
who walks with dignity and poise before 
the cameras. Shunning chic clothes which 
are so much a part of her - working hours, 
she advocates slacks and pyjamas for free- 
dom and comfort. And because' she is an 
even greater comedian in her private life, 
away from the lenses, it is her sense of 
humor, her naturalness and love of healthy, 
outdoor sports which keeps her young and 
beautiful. 

An exact opposite type is the exotic 
Mexican Dolores Del Rio. The sleek-haired 
stateliness of Dolores in 1928 has vanished, 
and in its place we find the more vivacious 
woman who looks years younger a decade 
later. 

In this instance, Dolores' youthfulness is 
a matter of having been transplanted to 
another countrv and nurtured by new and 
freer customs. In her home in Mexico, she 
led the cloistered life that ladies of her 
station must lead. Her hair was put up 
when she reached maturity. Her clothes 
were sedate, as were her surroundings and 
companions. Naturally she appeared older 
than her age when she arrived in this 
country. 

A world of sports was opened to her 
out here, one which she could not enter in 
her own country. With this, not only her 
outlook and attitude, but even her style 
changed. Sports clothes and bright colors 
replaced the formality of her former ap- 
parel. After a time, she found the courage 
to cut her hair" and have it waved, which 
inevitably was followed by having her eve- 
brows shaped. Her marriage to Cedric Gib- 
bons fulfilled her happiness and, in the 
land y\ T here gayety is not considered a 
breach of etiquette, she learned to laugh, 
live and stay young. 

The last nine years ha\e wrought little 
or no change in Mary Astor's appearance, 
as both these photographs prove, even 
though she has become a mother in that 
time. She has strong powers of adjustment 
and can meet new. and unexpected situa- 
tions without flinching. Her tendency to 
conquer difficulty and her philosophy of 
life have brought her through turmoils out- 
wardly unchanged. She is not vain in a way 
that would prevent her from listening to 
the sound judgment and helpful suggestions 
made by friends. She is determined that 
nothing can change her and, with the ex- 
ception of a slight change of coiffure, she 
remains the same Mary Astor. 

Far be it from me to risk disturbing the 
long-interred rest of Ponce de Leon, nor 
have I any desire to disrupt the accepted 
history of our country, so 1 leave this new 
bone of contention to be fought out be- 
tween the Chambers of Commerce in Flor- 
ida and California. Where is the Fountain 
of Youth— St, Augustine or Hollywood? 



62 



Silver Screen 



Projection of 

Jane Withers 

[Continued from page 31] 

her extremely varied and unusual talents. 

One day she tagged along with a little 
friend and her mother on a "studio inter- 
view" and got what seemed to be the 
'■break"— a bit in Fox Films' "Handle with 
Care." Mrs. Withers in a frenzy of excite- 
ment wrote home to everyone in Atlanta 
to be sure and see the picture, but when 
it was released Jane was just another face 
on the cutting room floor. She had been 
completely cut out by the same studio 
which a year or so later would make her 
a star. 

There were more bits in pictures, more 
benefits, more weeks of vaudeville through 
Southern California, more personal appear- 
ances where she gave her famous imper- 
sonations of the stars, but no one seemed 
to be in the least bit of a hurry to "dis- 
cover" Jane Withers. No contracts were 
forthcoming. 

Then Jane returned to her first love- 
radio. She was selected from among five 
hundred children to star in KFWB's Juve- 
nile Revue, in which she was known as 
"The Pest" and "The Nuisance," singing 
and gagging with the master of ceremonies. 
Her flexible voice brought her several in- 
conspicuous film roles when she was chosen 
to dub the voices from anywhere from two 
to six characters in Warner Brothers' 
"Luney Tunes" and for thirteen of the 
"Willie Whopper" series for Animated Car- 
toons. So you movie-goers heard Jane on 
the screen long before you saw her. 

And then came October 1934. And the 
first real "break." Mrs. Withers, hearing 
that David Butler was looking for a little 
girl to play a brat in a Shirley Temple 




What a beautiful bathing 
suit! But, then, any suit 
would look marvelous on 
Margaret Sullavan. She wears 
it in "Three Comrades." 



picture, hurried over to the Fox Studio 
where Casting Director James Ryan was 
doing the "interview." The most prom- 
ising youngsters were sent in to see David 
Butler, and in the batch was Jane. Mr. 
Butler glanced hastily at Jane, told Mrs. 



Withers he liked her little girl and to 
"stand by" for a studio call. "Stand by," 
as Mrs. Withers, knew, was just another 
form of the studio run-around. 

"What did Mr. Butler say?" Mr. Ryan 
asked her when she and Jane returned to 
the casting office. 

"He told me to stand by," said Mrs. 
Withers rather bitterly. "I've been standing 
by for two and a half years now, Mr. Ryan, 
and I can't get Jane a chance to show what 
she can do. How can anybody get started 
if no one will give them the break?" 
(How often, oh how often, has that been 
said in Hollywood!) 

Seeing the sorrow and exasperation in 
her mother's face little Jane thought it was. 
time for her to take over. 

"Would you like to see my impersona- 
tions?" she asked Mr. Ryari, and before 
he could stop her she had gone into her 
"act." 

Two minutes later Mr. Ryan was shout- 
ing, "Does Mr. Butler know she can do 
all this?" Grabbing Jane by her arm he 
rushed her into the inner office and said, 
"Jane, do your stuff." 

When Jane had finished, the surprised 
David Butler exclaimed, "Is there any- 
thing you can't do?" Jane admitted that 
there wasn't. She got the part. 

So fane Withers pinched Shirley Temple 
in "Bright Eyes" and immediately became 
a star. When the fan mail and rave press 
reviews started coming in Fox Films yanked 
out a contract at once for Mrs. Withers 
to sign. Jane next appeared with Janet 
Gaynor in "The Farmer Takes a Wife"— 
and ever since then has been the star of 
her own pictures. Among her better pic- 
tures have been "Ginger," "Gentle Julia," 
"Pepper," "The Holy Terror," "Angel's 
Holiday," "45 Fathers," "Checkers," and 
"Gypsy." 

Irvin S. Cobb once said of Jane, "If Jane 
Withers is a sample of what a movie career 





TO LOOK AT 



...BUT NO FUN TO KNOW! 



I'M SORRY TO LEAVE EARLY, MADGE 
BUT NOBODY BUT YOU WILL MISS 

ME. PEOPLE NEVER PAY ANY 
ATTENTION TO ME AT PARTIES! 



RUTH, WILL YOU LET ME TELL YOU p 
WHY? IT'S HARD TO SAY- BUT YOU I 
REALLY OUGHT TO SEE YOUR 1 
DENTIST ABOUT YOUR BREATH! I 




TESTS SHOW THAT MOST BAD | 
BREATH COMES FROM DECAYING j 
FOOD DEPOSITS IN HIDDEN CREVICES | 
BETWEEN TEETH THAT AREN'T 1 
CLEANED PROPERLY. I ADVISE I 
COLGATE DENTAL CREAM. ITS SPECIALS 
PENETRATING FOAM REMOVES I 
THESE ODOR-BREEDING DEPOSITS, j 
AND THAT'S WHY... 



COLGATE DENTAL CREAM 
COMBATS BAD BREATH 




■'You see, Colgate's 
special penetrating 
foam gets into the hid- 
den crevices between 
your teeth that ordi- 
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ods fail to reach . . . 
removes the decaying food de- 
posits that cause most bad breath, 
dull, dingy teeth, and much tooth 
decay. Besides, Colgate's soft, 
safe polishing agent gently yet 
thoroughly cleans the enamel — 
makes your teeth sparkle!" 



ONE MONTH LATER-THANKS TO COLGATE'S 



{ SORRY TO BREAK THIS ] 
UP, PHIL, BUT YOU CAN'T 
EXPECT TO MONOPOLIZE 

A POPULAR GIRL r — J 

LIKE RUTH ! r 



NO BAD BREATH 
BEHIND RUTH'S SPARKLING SMILE! 





...AND NO 
m%l TOOTHPASTE 
^0% yy EVER MADE 
MY TEETH AS 
BRIGHT AND 
CLEAN AS 
COLGATE'S! 




Silver Screen 



6 3 



ONE MOTHER TELLS ANOTHER! 




Now millions praise 

the new 

CIENTIFICALLY 
IMPROVED 
EX-LAX 



FOR YEARS, millions of mothers have given 
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Ask for the new Scientifically Improved Ex^Lax at 
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does for children a law should be passed 
forcing all youngsters to have theatrical 
experience as part of their regular school- 
ing. I have yet to know a sweeter, more 
well-bred, gentle, considerate, and wholly 
natural little girl. She's a completely un- 
affected, healthy child, and at the same time 
a swell little trouper who knows every- 
body's dialogue better than they do and yet 
isn't sinarty about prompting the rest of 
us who aren't blessed with perfect mem- 
ories. If she doesn't like playing simper- 
ing ingenues when she grows up she can 
always be a fine comedienne." 

It is a well known fact in Hollywood 
that actors and actresses had rather take 
roach poison than play in pictures with 
children and animals. Alice Faye has never 
forgotten the little cutie-pie who said to 
her one day on the set, "I wish you would 
stop imitating me." And Carole Lombard 
works up a fine wrath when reminded of 
the precocious youngster who said to her 
when she blew up in her lines, "Haven't 
you got a memory? I always remember my 
lines." But there have never been any com- 
plaints about Jane Withers. Players in her 
pictures swear by her. She never sasses or 
upstages them. Thanks to her mother, Jane 
is one of the best brought up little girls 
in America. 

At the age of four, in Atlanta, Jane 
had a habit of picking up stray articles 
and bringing them home. One day after a 
visit to a friend's house Mrs. Withers dis- 
covered that her little daughter had walked 
off with a lipstick. To impress Jane that 
it was a naughty thing to do Mrs. Withers 
said, "Don't you know that it's stealing 
to take things that don't belong to you? 
Didn't you hear God telling you not to do 
it, Jane?" 

"No, Mother," answered Jane very se- 
riously, "I didn't. He'll have to talk louder 
next time." 

A few lectures and a few well placed 
slaps and Jane gave up her picking up 
habit. The studio "props" are perfectly safe 
with Jane. And that's more than the stage 
manager can say for some of the adult 
actors. 

Jane's next bad habit was biting her 
fingernails and Mrs. Withers really had 
an awful time with that. But last New 
Year's Jane made a serious resolution not 
to bite her nails during the year, and so 
far she has succeeded in keeping it. If 
when January ist, 1939, rolls around and 



Jane hadn't bitten a nail she will get any 
twelve dolls that she wants to add to her 
already vast collection. She has more than 
three hundred dolls and spends endless 
hours sewing for them, and dressing and 
undressing them. She has many unusual 
dolls in her collection, including a real 
Hopi Indian Katchina (ceremonial) doll, 
but her favorites are "Rosie," a rag doll 
which she stuffed and sewed herself, and 
"Alice Faye," a very chic doll that recently- 
won an award for the best dressed doll in 
America. 

Right at present Jane is being punished 
for being a little too impulsive. Recently 
when she returned from her personal ap- 
pearance tour in Eastern cities she had a 
great desire to see her horses, which are 
kept in a Bel Air stable, so she and and 
David Mathers, a neighboring youngster, 
dashed off for the stables without saying 
a word to Mr. Withers. They decided to 
do a bit of jumping so Jane gave David 
"Bingo," who is a good jumper, and she 
took "Red Fox," who doesn't like to jump. 
He balked at a fence and Jane went right 
over his head. Fortunately she wasn't even 
scratched. "Oh boy," said Jane picking 
herself up. "I certainly am glad Mother 
wasn't here to see that." But Mother was 
there. She suspected where her little off- 
spring had gone, without her permission, 
and arrived just in time to see her go sail- 
ing through the air. Jane will not be al- 
lowed to ride either of her horses for two 
months. 

Jane's last appearance on a horse was 
in Chicago where she was doing a personal 
appearance. "It would be a lot more fun," 
said Jane to the Chief of Police who sup- 
plied her with a mounted police escort, 
"to ride to the theatre on a horse than in 
a taxi." So the Chief presented her with 
a horse and Jane rode to the theatre in fine 
style. It was all pretty exciting, as Chicago 
was out in mobs. 

But the most exciting day of Jane's life 
was the day she played a real clown in a 
real circus. Jane, who had attended the 
Al. G. Barnes circus in Hollywood with 
Jackie Searl as a pre-birthday treat, met 
the manager of the circus, and after assur- 
ing him that she wasn't afraid of wild 
animals, and promising not to interfere 
with the circus in any way, was given a 
tentative promise that she could perform 
in the ring. Several days of wardrobe tests 
intervened, then Jane went up to Ventura, 



MINER'S. 40 E. 20th St., Dept. SU6. New York, N. Y. 

Enclosed find 10* (or Miner's Theatrical Make-up lor 
street wear. 



Cntc* nhade des/red. PEACH □ RACHEL □ BRUNETTE □ • 




Don Ameche, 
Simone Simon and 
Robert Young. 
They are in "Jo- 
sette," but this is 
a moment of re- 
laxation. 



64 



Silver Screen 



California, with her mother and her 
teacher, to "really join the circus as a 
clown." All dressed up in the clothes and 
sandy wig of Doodles de Mars, the world's 
only living feminine clown, liberally 
smeared with red-spotted white paint, Jane 
was already to go into the ring when the 
question of a labor permit came up. The 
answer was "No" and Jane cried until long 
distance telephone calls granted her per- 
mission to go to Santa Barbara the fol- 
lowing night and perform. 

Without any publicity, Jane appeared in 
the ring three times as "Dr. De Toe," with 
a buggy in which rode the circus quintuplet 
dogs. At the end, she appeared with the 
entire circus band, vocally imitating the 
neighing of a horse in momentary musical 
silences and ad libbing action which 
brought cheers Trom the audience. What 
a thrilling night that was. And how breath- 
lessly her pals listened to her colorful ac- 
count of it. A performer in a real circus. 
What could be more wonderful! Jane's pals 
are Jane Arnold, daughter of Edward Ar- 
nold, Barbara Bletcher, Donald and Phyllis 
Henderson, non-professionals, Jackie Searl, 
and David Mathers, a neighbor and son of 
a minister. 

Jane is simply mad about animals, all 
animals, and her ten-room home in West- 
wood (only last year did the unassuming 
Withers give up their inexpensive apart- 
ment) is fortunately surrounded by two 
acres of hillside which she has converted 
into a menagerie. Let Jane describe her 
pets: 

"My live pets have special places to 
live. We have a knotty pine chicken house, 
where my 10 turkeys, and 24 white Leghorn 
chickens, and two Chinese Silkies (they're 
hens, too) and 10 pheasants and the baby 
bantams live. And we have little houses and 
run-ways where my dogs— 'Rex,' a Belgian 
police; 'Lord Redfield, Jr.,' a champion 
Irish setter; 'Shadow,' a Scottie, and two 
cocker Spaniels— 'Buddy' and 'Tippy,' play. 
My four cats— the three Ritz Brothers and 
'Snow White,' a pure white Persian— are all 
over the house and very good friends of 
the dogs. 'Senorita,' the parrot, who talks 
and cries if you don't talk to her, lives in 
her cage in the patio of the living room; 
'Ranger' and 'Maud,' the big turtles who 
live in my cactus garden, eat lettuce out of 
my hand. I used to have 'Dizzy' and 'Daffy,' 
baby goats, a guinea pig, and a real live 
bay fox, until the neighbors objected, so 
some friends of mine are taking care of 
them for me. The last time I counted, 
there were 189 tropical fish in our pond, 
but they multiply and move so fast it's 
pretty hard to count them. 

"Then there are my horses, 'Red Fox,' 
a chestnut sorrel, and 'Bingo,' the Buckskin 
pony I got from Jackie Searl. 'Bingo' is 
probably the smartest horse in the world. 
If I ask him if he's met you, he shakes 
his head 'no' from side to side, and if I 
ask him if he'd like to meet you, he nods 
his head up and down to say 'yes.' If I ask 
him how much 2 and 3 are or how many 
days in the week, he taps his left fore- 
paw the right number of times, and when 
I thank him and tell him his answers were 
correct, he takes a bow. Then, if I pretend 
I'm too tired to walk and ask him what 
to do about it, he nuzzles his head into 
my back and pushes me over to where his 
saddle is kept, and I saddle him and away 
we ridel" 

The most recent newcomer to the Withers 
homestead is a cute little Peke who was 
given to Jane in Chicago by two admiring 
fans, Eugene and Edward Johnson. Jane 
promptly named him "Suzy Q" because he 
wiggled so much. She took him on the stage 
one day with her in Chicago and discovered 
that he was very talented at taking bows, 
so now she has made him a part of her 
"act." She pays him a regular salary every 
time he makes a personal appearance, and 



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the money she puts in a Christmas fund 
for him. "Suzy Q" immediately took over 
the prettiest bassinet : in her doll nursery 
when he arrived in Westwood. "Suzy Q" 
feels that the best is none too, good for 
"Suzy Q." 

A year ago, Jane started a fund to edu- 
cate a talented little orphan of her own 
age. Climaxing her Mother's Day talk from 
the pulpit of the First Presbyterian Church 
of Hollywood, she gave a check for $ioo 
to Dr. Stewart MacLennan, and promised 
to add to it regularly so that the educa- 
tion and talents of the chosen child will 
be taken care of adequately until she 
reaches maturity. The child chosen as recip- 
ient of Jane Withers' fund is twelve- 
year-old Geraldine Coker, daughter of a 
widowed waitress with four daughters to 
support. Geraldine wants to become a con- 
cern pianist, so Jane bought her a brand 
new piano, and arranged for her music 
lessons. Geraldine's music instructor had 
a recital for his pupils at the Town House 
in Los Angeles recently and Jane was right 
there in the front row applauding furi- 
ously. 

Jane sings in the choir of the First Pres- 
byterian Church on Sunday. She also has 
the honor and distinction of bringing more 
new members to the Church than anyone 
else. During a recent membership drive 
she brought in fifty members one Sun- 
day morning. "But how did you do it, 
Jane?" her Sunday School teacher asked 
her. "Oh," said Jane, "it was easy. All I 
did was to go to someone's house, ring the 
bell, and whoever came to the door I said, 
'Won't you please go to church with me 
next Sunday?' " Very few people it seemed 
could resist a personal invitation from Jane 
Withers to go to church with her. 

Says Jane about her schoolwork, "Miss 
Lola Figland, my teacher, has just promoted 
me to the high seventh grade. She went 
with Mummy and me on my personal ap- 
pearance tour, because I have to have my 
school work three hours a day no matter 
where I am, even though I'm a year ahead 
at lessons. I have history, arithmetic, spell- 
ing, English literature, grammar and com- 
position, history, French, Spanish and 
drawing." 

Jane's astonishing memory naturally 
keeps her ahead of her age in school studies. 



Flashshots 

[Continued from page 25] 

Jon Hall came back to town for a week 
and duplicated his great personal success 
of some months ago. The high point was 
undoubtedly the grand cocktail party given 
for him by his friend, Mrs. Dorothy 
Sperber. Most of New York's bright young 
people turned out to meet "Hurricane" 
Hall and every room in the apartment was 
crowded with people. Which explains why 
they were driven into a corner when I 
finally caught up with them. By "they" I 
mean Hall, Mary Brian and hostess Dor- 
othy Sperber. 

Another star who has been having a 
whirl is Irene Dunne, with her husband, 
Dr. Griffith. He, like all good doctors, avoids 
the camera like the plague, and only once 
have I caught him. That was the picture 
which I took of him and his wife at the 
Trocadero in Hollywood last summer. One 
of Irene Dunne's best friends is that inter- 
national socialite Beth Leary who has been 
called the "Uncrowned Queen" of Biarritz. 
With them, the night the photo was taken, 
was Cornelius Vanderbilt, Jr.. the writer, 
whose mother is still the acknowledged 
leader of that social set Neil turned his 
back on even before he wrote "Farewell to 
Fifth Avenue." 



Merle Oberon was hardly off the Conte 
di Savoia before she was off to dance w 7 ith 
Stuart Scheftel, One of the more popular 
men-about-towh. as her escort. She wore a 
silver lame evening dress and her coat was 
of ermine With sleeves of mink. The next 
night she wore a dress that was a mist of 
grey tulle, and had tiny diamond clips in 
her ears. The Allan Jones (Irene Hervey) 
were sitting across the room from her, with 
Kitty Carlisle. 

That morning I had gone to the Waldorf- 
Astoria where the Jones' had one of the 
tower suites, thirty-six floors up. There 
was a heavy fog outside and it was impos- 
sible to see the street below. Both Mr.' 
and Mrs: Jones were immensely interested 
in the stories in the papers about their 
arrival and were reading one of them when 
I took their picture. While he was East, 
Allan Jones went down to his native town 
of Scranton, Pa., where the Mayor received 
him and there was a public celebration in 
his honor. Which must have been quite a 
kick for a twenty-four year old returning 
home. 

I have always thought, and still think, 
that Dolores del Rio is one of the most 
beautiful women I have ever seen. Nine 
years ago, when I had just gotten out ot 
college, she posed for a water color sketch 
that is one of my favorite pictures. She 
and her husband, Cedric Gibbons, came 
back from Europe recentlv and were given 
a round of parties. One night I saw them 
with the James Forrestals and Winston 
Guest, the polo player. There is no ques- 
tion but that the top rank Hollywood 
players have a definite position in New 
York's cosmopolitan smart set. Bruce Cabot, 
Paulette Goddard, Randolph Scott, Gladys 
Swarthout, William Powell are others be- 
side the Gary Coopers, Irene Dunne and 
the Fredric Marches whom I've already 
mentioned, who certainly "belong." 

When you get three such wits as Robert 
Benchley, Donald Ogden Stewart's wife, 
Bea, and Helen Hayes' husband, Charles 
McArthur, together the talk is bound to 
be electrically brilliant. 

I seem to have caught Gertude Niesen in 
the middle of a joke and the beginning 
of a rhumba. Gertude still belongs more to 
Broadway than Hollywood, and I think she 
always will. 




Scene from "Gold Diggers in 
Paris." Rudy Vallee and 
Rosemary Lane filled with 
pep de vie. 



66 



Silver Screen 



Continued Next Week 

[Continued from page 29] 

his spontaneous humor and boyish vitality 
to the part of the son, Andy, and a fine 
surrounding cast, two more of these simple, 
homely dramas, "You're Only Young Once" 
and "Judge Hardy's Children" have found 
a warm welcome with film fans throughout 
the country. 

Three stories are now being prepared for 
filming, "The Hardy's Out West," "The 
Hardy's Ride High" and "Love Comes to 
Andy Hardy." George B. Seitz will continue 
to direct, and as a father of a family of his 
own, he knows all of youth's idiosyncrasies, 
and the simple incidents that make up the 
average daily life. An interesting phase is 
that the entire cast and crew have drifted 
into a warm, family camaraderie, having 
coffee together each morning and tea in the 
afternoon, and discussing the affairs of the 
Hardys as if they were indeed, their very 
own. 

The Twentieth Century-Fox studio seem 
completely "sold" on the series of pictures 
idea. Already, they have "Charlie Chan" 
the "Jones Family" and "Mr. Moto," and 
are plotting two more, one with June Lang 
as heroine in "The Modern Girl" sequence, 
and one concerning the exploits of the 
newsreel cameraman, and these will bring 
the pictures in series up to ten, at the 
various studios. 

The "Jones Family," with its sincere 
human joys and sorrows of the average 
American household, walked right into the 
hearts of all the You's and Me's through- 
out the country in their very first picture, 
"Every Saturday Night" that reached the 
screen in February, 1935. With no extrav- 
agant settings, no expensive cast, and cost- 
ing around §100,000 per picture, these films 
have set a record in popularity. Individu- 
ally, the players may not burn up much 
electricity on theatre marquees, but united 
in these heart-warming dramas they form 
an important star combination that is mak- 
ing screen history. The box-office value has 
increased so greatly that the studio has 
placed the eight members of the Family 
under long-term contract to insure con- 
tinuance of the series, has doubled the 
budget for expenditures on each picture, 
and mapped out a three-picture a year 
schedule. 

When casting for the "Jones Family" the 
biggest problem was finding a group of 
players who resembled each other suf- 
ficiently to appear related and those finally 
selected actually look like a family. From 
Florence Roberts, as the modern Grand- 
mother, to Jed Prouty as Dad, Spring 
Byington as Mother, down through the five 
children, they all have the same round 
noses and other similiar characteristics. 
Prouty, after fifty years of theatrical ex- 
perience, insists he's the happiest man in 
Hollywood to be rounding out his career 
as head of this famous family. He says there 
is a fine continuity of emotions because 
each player is building up the same char- 
acter and the same general theme in each 
picture, and he added that he often finds 
himself thinking in terms of the Joneses, 
and worrying over his brood between pic- 
tures like an old fussy-budget. 

The "Charlie Chan" films stand as the 
longest-lived series in the history of motion 
pictures. The first one, "Chan Carries On" 
with Warner Oland playing the role of the 
suave Chinese detective, was released in 
March, 1931, and the next picture, soon to 
start, will be the seventeenth. Studio of- 
ficials estimate that between thirty and forty 
million fans in this country alone, sec each 
Chan film, while foreign countries, especi- 
ally China, increase these figures tremen- 
dously. 

The Earl Derr Biggers' famous character 



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Silver Screen 



67 




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made two false starts on the screen before 
the studio discovered, after testing twenty 
actors, that Oland was the real Charlie 
Chan, and he created the Oriental im- 
pression wholly without make-up. It's all in 
his expression: he droops his mouth, pushes 
his eyes together, and presto, this Swedish 
actor looks so Chinese that half of his fans 
believe he comes from China. 

Keye Luke, the young Chinese born 
American, became Chan's First Son in the 
seventh picture and has continued in this 
part, the two playing together in charming 
harmony that makes the relationship 
wholly believable. 

The "Mr. Moto" series, featuring clever 
Peter Lorre, while very successful has struck 
a snag because of the hero's being a Jap- 
anese, and at present the fate of these 
pictures is a bit uncertain. 

Paramount has the "Hopalong Cassidy" 
glamorous Westerns with good looking Bill 
Boyd ridin' and shootin' and levin' his way 
through a series of stirring adventures, set 
amid some of California's most gorgeous 
scenery. This studio also sponsors the "Bull- 
dog Drummond" detective yarns of Scotland 
Yard, and these have done much toward 
re-establishing John Barrymore to his right- 
ful place on the screen. 

Universal's faith in serials has never 
waned and each year four of these thrillers 
are produced. The newest, "Flash Gordon's 
Trip to Mars," starring Buster Crabbe, 
rates such high approval for both adult 
and juvenile audiences, that it is being 
booked in the big first-run theatres through- 
out the country. With this feather in its 
cap, Universal is giving its historical chap- 
ter-story, "Flaming Frontiers," with John 
Mack Brown, an elaborate and careful pro- 
duction to continue this miracle booking, 
if possible. 

Columbia puts out four serials each year 
and recently completed a most ambitious 
production of "The Secret of Treasure Is- 
land." This is a fantastic story pointed 
especially to juvenile audiences, with buried 
treasures, secret islands, half torn maps, 
ghosts, and other elements that hit the 
tops in suspense. Such grand actors as 
Hobart Bosworth, Grant Withers, Colin 
Campbell and William Farnum are in the 
cast. 

It takes six weeks to make a serial, on 
an eight hour a day schedule, and the idea 
is to build up three smashing thrills to each 
episode. The director concentrates on the 
first three chapters for he must be able 
to create enough interest in these to in- 
sure a steady audience for the remaining 
twelve, or it is a flop. 

Columbia's recent "Mysterious Pilot" in- 
troduced a novel idea with a set of trailers 
that accompanied each episode. These car- 
ried a complete fifteen-lesson course on the 
fundamentals of flying and, naturally, this 
made a hit with men and boys everywhere. 

Republic goes in for the picture series 
with its popular "The Three Mesquiteers," 
which recently completed its third year with 
eight pictures each year. Bob Livingston, 
Ray Corrigan and Max Terhune have ap- 
peared in every film as the tri-powered dy- 
namite heroes who bring fear into the 
hearts of the lawless. They scatter their 
efforts with each picture, sometimes battling 
train robbers, sometimes lawless ranchers, 
again it will be cattle thieves and other 
menaces, but they always bring order out 
of the chaos. 

Today, producers, seeing the wide-spread 
popularity and increasing markets for serials 
and picture series, are selecting stories of 
higher quality, and giving them better 
casts and productons— there's a suspicion 
growing that more audiences enjoy beau- 
tiful scenic Westerns, action filled thrillers, 
and human interest dramas, than applaud 
the elaborate spectacles. Anyway, the public 
must be pleased! 




Dot Lamour and Ray Milland 
in "Tropic Holiday." Even 
their names go well together! 



Party Plans 

[Continued from page 34] 

these close friends, and watch your party 
die on its feet! 

Bette Davis told me, "I would never dare 
attempt a party of fifty, since the risk of 
including too many jarring elements would 
be great. Twenty-five guests is my limit, 
and I think dinner parties of eight are 
ideal." 

In this way, vou see, it's possible to enter- 
tain each little group separately! 

Dolores Del Rio has another reason for 
giving small parties. She says, "Large parties 
to me are exhausting, and since it's certain 
that an exhausted, nervous hostess cannot 
help but impart that feeling to her guests, 
thereby spoiling their evening, I prefer 
small dinner parties of not more than a 
dozen. My own parties are rarely given 
outside my home, since I enjoy every mo- 
ment of their preparation." 

A carefully chosen guest list for Miss Del 
Rio's dinner in honor of Douglas Fair- 
banks Jr., last year included Marlene 
Dietrich, Rudolph Seiber, Constance Ben- 
nett, Gilbert Roland, Gwili Andre, Fritz 
Lang, Countess di Frasso, Willis Goldbeck, 
Mr. and Mrs. Lewis Milestone, Errol Flynn, 
and the Earl of Warwick. Only another 
hostess can appreciate the clever mingling 
of personalities in this cosmopolitan group- 
ing! 

Working schedules are the bane of social 
activities in the film colony. Lucky is the 
hostess who doesn't have half her guest list 
apologizing at the eleventh hour because 
they must work that night— or must leave 
for location at five o'clock the following 
morning! 

One faux pas Hollywood hostesses must 
avoid is asking stars without inviting their 
lesser known spouses. Surprisingly this often 
happens, especially to hostesses who don't 
keep up on who is married to whom. Leslie 
Howard was once invited without Mrs. 
Howard, who went along anyway. "Oh. did 
you come too?" asked the hostess naively. 
The Howards never attended another affair 
at that house! Will Rogers, invited to a 
party without Mrs. Rogers, attended— but 
sent the hostess a bill for his services. Since 
his wife was not included in the invita- 
tion, he considered it a "personal appear- 
ance," not a social visit. And the hostess 
had to pay! Social ostracism is the reward 



68 



Silver Screen 



of would-be hostesses who are guilty of 
such bad manners. 

Another horror for the hostess— if you can 
bear it— is the servant problem, which is 
different in Hollywood (and worse!) than 
anywhere else. One star told me, "Cooks 
collect stars just as other fans collect auto- 
graphs," and as soon as the whipper-upper 
of your French pastry grows tired of your 
pictures, he'll go to work for Joan Craw- 
ford or Greta Garbo. 

Hollywood still talks of the Warren Wil- 
liams' dinner for fifty, when the guests 
were kept waiting one hour for dessert after 
the main course had been served. Seated at 
small tables around the swimming pool, 
they watched with amazement when finally 
the butler came in lugging huge cans con- 
taining ice cream packed in salt. His face 
was red and his eyes despairing, and he 
explained desperately that the cook had 
gone berserk in the kitchen, brandished a 
large carving knife, and refused to let him 
serve the remainder of the dinner in style! 

(For some reason, cooks often go nuts 
in Hollywood, as Fay Wray could tell you. 
Maybe it's because the stars honestly can't 
tell beforehand whether they'll finish work 
at seven— or at one in the morning!) 

Basil Rathbone and his wife, Ouida, 
Hollywood's Number One party-givers, go 
on the theory that "Good food and wine 
are essentials of a successful party, plus 
beautifully gowned women and witty men." 

Basil told me, "It's much easier to give 
a large party when you have a 'theme' to 
work around," and he proved this bril- 
liantly with his "Bride and Groom" party, 
to which everyone came dressed as some 
famous wedded couple of history. 

Following this example were the Jack 
Oakies, with their "Gone With the Wind" 
party, with everyone in character and 
Scarlett O'Haras predominating; the Pat 
O'Briens' "Gay Nineties" party; and Marion 
Davies' "Circus Party," all providing guests' 
paradise. 

These famous hosts evidently believe that 
if your party is large enough, each set will 
find its own corner and feudists will be 
kept apart. Marion Davies also arranges a 
constant parade of talented entertainers to 
keep the guests amused, and if a feud 
starts, it is smothered in the general 
hilarity. 

Costume parties are usually successful, 
perhaps because they give each starlet a 
chance to look her most ravishing. Once an 
actor, always an actor— and the stars go to 
town creating clever characterizations for 
their one-night performances. Dolores Del 
Rio is always a dramatic picture at costume 
parties. Marion Davies looks her best in 
picture hats and ringlets. Jeanette MacDon- 
ald's lovely figure lends itself to laces and 
furbelows. 

Confusing to the new hostess in Holly- 
wood is the fact that box office topnotchers 
do not always shine in the drawing room. 
Shirley Temple has hardly reached the 
hostess age. Clark Gable prefers a gun to 
dancing pumps. Tyrone Power, Wayne 
Morris, Sonja Henie and other starry new- 
comers have not joined the social whirl. 
Robert Taylor and Barbara Stanwyck are 
not alone in preferring to hot-dog it, rather 
than putting on the dog. Bette Davis, Kay 
Francis and others prefer small groups of 
old friends. Joel McCrea and Frances Dee 
admit that society bores them. Fred Astaire 
is almost a hermit, so far as parties go. 

Surprisingly, however, the stars are 
easily entertained— once you have arranged 
a tactful guest list, rehearsed the servants, 
and arranged for an orchestra. And this year 
Hollywood, like all the rest of the world, 
chose its favorite entertainer of the mo- 
ment as its Number One Guest. Yes, we 
mean that fascinating little dummy- 
Charlie McCarthy. Be sure he will come, 
and your party is bound to be a huge 
success! 



NO DATES IN MARY'S BOOK 
NO SONG IN MARY'S HEART 




She doesn't dream that 
underarm odor is the reason 
men pass her by! 

Mary is pretty, vivacious, and young— she 
should be as popular as any girl around. 
Yet the men that she meets always seem 
to avoid her. Through glorious summer 
evenings she sits home alone, while men 
take other girls out on good times! 

Too bad Mary doesn't realize that it 
takes more than a bath to prevent under- 
arm odor — that underarms must have 
special care to keep a girl dainty and 
fresh, safe from offending. 

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MUM IS SAFE! Mum is soothing to the 
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IT TAKES MORE THAN A BATH — IT TAKES MUM 




MY BATH ALONE 
CANT KEEP ME 
SAFE-THATS WHY 
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/ 



For Sanitary Napkins — 

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JF TO H£BS£LF- 
it's MARVELOUS 
TO DANCE EVERY DANCE 
AND KNOW THAT MUM 
STILL KEEPS YOU 
SWEET! 



Mum 



TAKES THE ODOR OUT OF PERSPIRATION 



Silver Screen 



69 



lovely 

MARY ASTOR 

featured in the 
Columbia picture 

"There's Always 




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In Quest of Atmosphere 

[Continued from page 33] 

"It's peculiar that I should come back 
from Europe to act out a role that must 
have dozens of parallels in Spain itself." 
Miss Carroll looked thoughtful and dreamy. 
"What a shock it must be to live in a 
world so peaceful and full of charm like 
this location— which is supposed to be 
Spain— and then suddenly awake one morn- 
ing to find airplanes raining bombs and 
destruction upon you, your friends being 
killed and maimed for life and a world of 
love turned into a world of fear— not 
know the reason for it or what purpose 
can be accomplished bv all the bitterness 
and bloodshed." And the star closed her 
eyes and shook her head. "And we call 
ourselves civilized!" she added. 

"In this picture I play a girl who is ac- 
cused of being a spy because her father, 
unknown to her, has become the ally of 
a professional war-making propagandist. In 
playing the part I naturally give it all of 
the emotional feeling I can but in Europe 
there must be many girls playing my char- 
acter in real life and I shudder to think of 
their experiences. I love the character be- 
cause for once I am not expected to be 
decorative and a clothes-model, I really 
have a part that demands a good deal of 
expression and human understanding and 
each new scene is a challenge. Besides, Mr. 
Dieterle is a splendid director, so pains- 
taking and so considerate of his people, and 
Henry and Leo are a lot of fun." 

Before I could ask Miss Carroll for a few 
of her beauty secrets she was called to the 
set for more dramatics in the mud and mire 
of the valley of war. Her maid, however 
told me that the beautiful blonde star (and 
she isn't as blonde as she used to be be- 
cause she has let her tresses go back to their 
naturally honey color) trains for a picture 
much like an athlete. Up at six. a light 
breakfast after a shower, a two-mile hike 
along the beach (She lives by the seashore 
the year round) a fast ride to the studios, a 
luncheon of cottage cheese with chives and 
one sliced tomato, a modest dinner in the 
studio dressing room after work, a massage 
after her shower and then a quick drive 
home so that she can be asleep before nine- 
thirtv— that's her routine while working. 

"I seldom go for a dip in the ocean," 
Miss Carroll told me later in the day, "but 
I was raised along the seashore as a child 
in England and I love the smell of the cold, 
clear sea air at Malibu. Sometimes the 



breakers come pounding in like the roar of 
cannons, but after you get used to it you 
sleep like a log and when you get up in 
the morning and go outside for a brisk 
walk the sea air lifts you up and you start 
off the new day invigorated and thoroughly 
alive." 

We found Miss Carroll and Mr. Fonda 
and Mr. Carrillo regular folks those days 
on location. Carrillo didn't know whether 
he wanted to give up his acting career to 
heed the crv for him to be a candidate for 
governor of California or not. "I'll have to 
give up a quarter of a million dollars to 
do it," he explained. "I love my state and 
all the people in it and I really feel that I 
might be able to contribute something, but 
four y ears from now perhaps things will be 
different and then if I have an? political 
ambitions I'll run. Right now I think I had 
better stick to my acting. I can still be a 
good citizen and help my state in many 
ways. But, I've had to engage two secretaries 
to answer the mail I get from folks who 
want a native son for governor and I've had 
to cut down on my sleejsing to take care of 
my dictation." Carrillo fulfilled 17 speaking 
dates at colleges, banquets and town meet- 
ings during the filming of "The Rising 
Tide." 

"Say, just a minute," Fonda called out 
to me as I prepared to leave the location 
for home, "Don't you realize you haven't 
asked to see a picture of my baby all day?" 

When I realized it I apologized profound- 
ly and Henry snapped open his watch 
charm and showed me a tiny print of an 
ever-so-sweet cherub with her mouth wide 
open in a determined yawn. "I made it 
when she was six days old: reminds me of a 
little bird opening its bill for a piece of 
crust," he said with his proudest paternal 
grin, and I nodded. Fonda's baby, Jayne 
Seymour, has given him a double interest 
in his pet hobby— miniature photography. 
"I've made over 400 shots of her since she 
was born," the actox said. "Well, how about 
giving me one for my paper to print?" I 
asked. 

"Uh-ugh!" replied Henry, wagging his 
head, "Jayne isn't a publicity baby, you 
know. My acting business is one thing but 
my baby— well, she's just our baby, that's 
all." And as we walked toward the car 
and left Henry looking at the baby picture 
again we liked him all the more because he 
meant what he said— acting is one thing and 
a real, happy homelife is something else. 

You really know people when you 'get 
down on the ground with 'em' one actor 
once told me. and it proved true on this 
location for "The Adventuress." 




A candid shooter aims at Martha Raye while a 
photographer catches both. 



70 



Silver Screen 



They give you FRESH Faces 



Stage Door Johnnies 

[Continued from page ai] 

at the stage door to greet her when she left. 
He was a very much surprised cowboy when 
he turned up in full regalia— boots, spurs, 
red silk shirt— a florist's box in one hand 
and his ten gallon hat in the other, and 
doing his darnedest to control his furious 
blushes, only to discover the crowd that 
was also waiting to see his girl friend. 

Nino Martini, the dashing Italian tenor, 
has a Stage Door Jill he has never seen. 
Instead of coming herself, she sends a 
Western Union boy. After everyone of his 
broadcasts she sends him a note of ap- 
preciation and a red rose, both delivered 
by messenger. After they had been coming 
for some weeks, Nino asked the boy if he 
knew the identity of the sender, who never 
signed her name to the notes. "Mister," 
replied the boy, "I'm paid to say nothing," 
and nothing was all Nino found out. 

Fannie Brice, who worked on the musical 
stage when a Stage Door Johnny carried 
flowers instead of autograph books and in- 
vited an actress out to a champagne suppei 
instead of asking her to stake him to dough- 
nuts and coffee, once had an experience 
with a radio S.D.J, that distinctly showed 
he was no gentleman. 

It happened when she was broadcasting 
from New York and appearing in a musical 
show at the same time. A chap accosted 
her as she was leaving the broadcasting 
stage door to hurry to the theatre stage 
door. He presented her with a crayon draw- 
ing of herself which he said he had made, 
and in return asked her for her autograph. 
Pleased and flattered, she graciously signed 
her name on his proffered pad. 

The payoff came the following payday. 
Fannie found she was minus $6.60 on her 
paycheck. Inquiry brought to light the fact 
that the day before a young man had 
presented a signed note from her for tickets. 
The young man was undoubtedly the artist 
who, knowing something about the theatre 
business, had written "O.K. 2" above Miss 
Brice's signature, and presented it at the 
box-office for two $3.30 seats, the best in the 
house. As Fannie had already used up- her 
quota of weekly passes, she was charged for 
the seats. Much sadder and wiser, she has 
since adopted a backhand writing for sign- 
ing autographs that differs very much from 
her signature on important papers. 

Most of the Stage Door Johnnies and Jills 
are really autograph collectors who come 
to carry away something rather than bring 
something to the objects of their affection, 
and they do provide many amusing mo- 
ments. For Eddie Cantor to leave the studio 
until at least an hour after a broadcast is 
a physical impossibility. He has to shake 
hands with two or three hundred people, 
pose for candid camera fans and sign his 
name to everything conceivable. 

Gracie Allen is besieged by folks who 
thrust into her hands suggestions for dumb 
and wise cracks, and by those who insist 
that she accompany her signature in their 
albums with a silly-sally. At one time she 
noticed that a not-too-clean little boy had 
turned up three weeks in succession, clutch- 
ing a small cactus plant in his hand. Each 
time he would sit forlornly on the fire 
escape near the stage door and look sadly 
at the crowd around Gracie. Curiosity got 
the better of her after the third week and 
she went over to question him. But before 
she could say a word he said: "Here, this is 
for you. I heard you say you wanted George 
to sit on a cactus and this is the sharpest 
I could find," and before she could thank 
him, he ran away. 

After a recent broadcast, Dick Powell 
accompanied by wifie Joan Blondell, ran 
out through a secret door. Two girls saw 
them sprint for their car and followed. Dick 




Hours waiting "on the lot". Dust 
and dirt. The heat of Kleig lights. 
Yet a screen star ... to retain her charm 
and appeal . . . must be utterly fresh the 
instant she steps before the camera. 

Cigarettes face that freshness prob- 
lem, too. They travel far to reach you; 
and along the way they're beset by dry- 
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TUNE IN on Old Gold's Hollywood Screenscoops, Tues. 
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Here's why the O.G. package keeps 'em fresh 



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Sealing the Top 


The Inner Jacket Opens 
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HI 



Copyright, 1U38, by P, Lorlllard Co.. Inc. 



Silver Screen 



71 




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was just about to start the car when the 
girls came up panting and asked for 
autographs. "All right," said Joan, "get in 
the car and we'll sign." And the girls not 
only got the autographs, but Dick gal- 
lantly drove them home. You can just bet 
that two more loyal Powell -Blondell fans 
would be hard to find. 

Edgar Bergen can stroll about the park- 
ing lot before he broadcasts and be ab- 
solutely unnoticed and unmolested. But the 
minute Charlie McCarthy is spotted with 
him, there's a riot. Inadvertently, everyone 
shoves the autograph book at the helpless 
Charlie w-ho retorts, "See the boss." Bergen 
then obligingly marks an "X" for his pert 
partner. 

One night Dorothy Lamour really 
thought she had somethin'— until she got 
a rude awakening. A courtly gent walked 
up to her as she was surrounded by after- 
the-broadcast admirers and with a deep 
bow presented her with a large white 
package, beautifully tied with satin ribbons 
on which was a card which read, "For Dor- 
othy Lamour— L'amour, toujour 1'amour." 
With his bow he gently reached for her 
hand and kissed it. He told her how much 
pleasure her singing gave him and that he 
hoped he could some day be of service to 
her. Then he clicked his heels smartly, 
turned and left. Everybody was impressed. 
So would you be. 

When Dotty finally opened the box she 
found it was filled with samples of uphol- 
stery fabric and there was also a business 
card on which the gallant donor had 
written that he hoped to have the op- 
portunity of soon being of service to her— 
"at reasonable prices." 

There is, however, an occasional radio 
Stage Door Johnny who knows and prac- 
tices the gentle ways of showing his ap- 
preciation. Such a one is attached to Frances 
Langford. He hasn't missed one of her 
broadcasts since she has been on the air 
from Hollywood. The ushers have all gotten 
to know him and lately have come to re- 
serve the same seat for him. Where he gets 
his ticket no one knows, but every week 
he turns up with the necessary ducat of 
admission, precious even though it is free. 

He seems just politely interested in the 
proceedings until Frances takes over the 
mike. As you know, Frances can sound very 
convincing when she sings in that voice of 
hers that is a cross between a mean swing 
band and the bells of St. Mary's. Then he 
has eyes and ears for no one else and leads 
the applause after her songs. Every week 
he sends her flowers, candy, or some little 
knick-knack in good taste. But although he 
signs his name to his gifts, he has never 
done more than nod hello to Frances. After 
the broadcast he hurries out the stage door 
to watch her come out. Once or twice he 
has run interference for her, clearing a 
path through milling admirers. 

So far, no romances have blossomed from 
the bud of a Stage Door Johnny's admira- 
tion. The reason for this is that values have 
changed tremendously since the Diamond 
Jim Brady era. In those days the theatre 
was looked upon as a questionable career 
for girls who at best were not too well 
paid. Thus they cultivated the rich Stage 
Door Johnnies in the hope of reaping a 
matrimonial harvest. Today the stage is a 
respected and well-paying profession. Per- 
formers are accepted in, and eagerly sought 
by, Society with a capital S. Thus actors 
and actresses can meet the cream of the 
social crop in drawing rooms instead of at 
the stage door. However, the good old Law 
of Averages will come to the rescue of an 
ambitious member of the alley audience. 
Not only stars come out through the stage 
door. Extras exit that way too. And with 
them, the praise and posies of the Stage 
Door Johnnies and Jills may bring about 
happy returns of the day. 



No Retakes in Love 

[Continued from page 53] 

smeared but content, he left her with a 
stocky, sleepy-eyed boy known simply as 
The Mex, and went on to help his other 
ranch hand, old Shorty Brackett, repair a 
broken-down pump. 

He expected Dina to arrive in almost 
any way except the way she came— in a 
battered roadster, with Grade and Grade's 
bag of knitting. She was wearing those 
same nondescript garments she had worn 
yesterday, and her hair was tied under a 
piratical-looking bandana. 

"So this is home on the range,"' she said, 
while she and Pete walked out to the cor- 
rals. 

He nodded. "But the deer and the ante- 
lope won't play in front of picture actresses. 
In a dry year, though, we raise quite a 
crop of discouraging words." 

He was astonished aiid a little confused 
to find how effortlessly she fitted here. She 
tried out the sturdy work ponies that the 
Mex saddled for her; and Pete saw that 
she rode beautifully, with an easy con- 
fidence, as if she and the ponies were going 
together to places they both loved. She 
watched quietly while he put Quien Sabe 
through her paces, easing the skittish mare 
around the corral. 

"I like this," she told Pete afterward. "I 
want Russ to see it." 

He felt his features settling to the still- 
ness behind which he always guarded 
things lying unspoken in his mind. "I 
haven't had my place long enough to breed 
the class of saddle stock he'd be interested 
in." 

She grinned at him. "And what class is 
that?" 

"Well— hunters and jumpers. Show- 
horses." 

"Did I say anything about hunters? Or 
jumpers either?" 
"No, but—" 

Her voice carried a teasing echo of his 
own slow gravity. "Pardner, it's thisawav. 
Back in Pennsylvania, there's a big place 
—anyhow, I hear tell it's big for Pennsyl- 
vania. It's got stables where they'd ought 
to board a western pony or two. That 
Quien Sabe mare, now for instance—" 

He shook his head. "Not that one." 

"She's not for sale?" 

"She's not ready. Maybe she'll never be 
ready." 

"I want Russ to see her, anyhow," said 
Dina. She put up one foot on a fence* rail. 
In the shadow from the paint-faded barn, 
her eyes held a sudden gentleness. "I want 
him to see this place, Pete. He's in San 
Francisco today, on business. But tomor- 
row—" 

He held his face and voice to the blank- 
ness that the moment demanded. "Always 
glad to see a friend of yours, Dina." 

"I suppose Grade told you about him?" 

"She told me seven million dollars." 

For the first time now he saw the face 
of Dina Gage exactly as it had been ten 
years ago, before she was Sandra Joslyn. 
Noon heat was mixed up with the memory, 
smoking upward in thick waves out of the 
rocks and river sand that always back- 
grounded the most active scenes in a 
Mannie Stein thriller. Mannie had bawled 
her out about something: and she had 
looked at Pete as she was looking now. with 
the corners of her mouth held level, and 
this hurt in her eyes. 

"Didn't she tell you anything else, Pete?" 
Dina was asking him now, in the muted, 
dark voice that Resolute Pictures had given 
her. 

"She said he wants everything to be per- 
fect for you. When I heard that, it made 
him all right with me— even before I saw 
what he looked like." 



72 



Silver Screen 




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Her next words were unexpected. "I sup- 
pose you think. Mother's got a lot to do 
with this." 

"No." 

He spoke the truth. It was astonishing 
how little he had connected Russ Hen- 
drickson's plans with the plans of a movie 
mother resting in Palm Springs. 

"She's entirely against this," Dina told 
him. "She says that I'm sacrificing a career." 

"Well," Pete tried to be reasonable, 
"maybe you are. She helped build it, and 
maybe she hates to see it go— even for as 
good a man as Hendrickson." 

She seemed to hold his answer suspended 
for a moment in her mind, as if to compare 
it with the look of Pete Thatcher himself. 
Then a small, sighing breath came from 
between her lips. She said, "This isn't the 
way it would be for other girls— for the 
ones who are just breaking into pictures 
at my age. I'm tired, Pete— honestly. I've 
known what it is to buy fencing lessons 
and French lessons and flat-saddle riding 
lessons, when what Mother and I really 
needed was something to eat. I've made 
screen tests when I was half dead— because 
I'd been doing dance routines with a ballet 
master who happened to have the time 
free, and gave it to me. I've said other 
people's words over and over, until I put 
the meaning into them that somebody else 
wanted. I know all the hooey in a publicity 
build-up. This whole business isn't any 
novelty to me. I'm a veteran. I've smiled 
and cried and memorized lines for a camera 
since I was five years old. And now I want 
my own face and hands again, to do with 
as I please. Don't you understand that?" 

He had to take again this sudden ac- 
ceptance of him, this brushing aside of the 
years that had turned her into Sandra 
Joslyn. She was looking at him now as she 
had looked last night— reclaiming him for 
the peace she found in his quietness and in 
the loose-coupled lounging economy of his 
speech and gestures. He put a hand over 
the taut fingers she had clamped on the 
fence rail. "Sure I understand," he said. 
"A long time ago, I made up my mind 
that you belonged in sort of a hacienda 
set-up. And now you've found it." 

Something about those words brought 
her head around, so that her gray eyes 
met his in a moment's wonder. She said, 
dmost inaudibly, "Thanks, Pete." 

Hours later, long after his morose and 
solitary supper, he stood leaning against 
i post of the veranda, staring out at the 
moon -cut zigzag of the Sandovals. The 
coyotes yapped and snickered as if they 
knew all about those meagre, pencilled 
calculations under the lid of his desk. 

Out of such figures recording a stubborn 
fight to hold these acres, the silent house 
behind him had been built. Its rooms were 
scarred by just such living as his own. 
People had worked here, and had died 
with their roots in this earth. But nothing 
was here to touch the future of a girl with 
her name in lights, and her gray eyes 
quieting as she spoke of Russ Hendrick- 
son 's place in the Pennsylvania deep coun- 
try. 

Pete Thatcher went about ranch matters 
the next morning in a mood steeled against 
resentments and surprises. Going back to 
the house in the early afternoon, he saw 
that visitors had arrived. A long, black-and- 
chromium roadster was standing superbly 
under the live-oaks shadowing the drive- 
way. 

Inside, on the living room table, rolls of 
architectural plans were spread. Russ Hen- 
drickson's sunburnt grin hailed Pete from 
over Dina's shoulder. 

"I've been hearing about you, Thatcher," 
he said, reaching across the table to shake 
hands. "If your stock is as good as Sandra 
says it is, we'll do business. Though as a 
rule I don't buy western ponies." 

Pete went into the dining room to bring 



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Silver Screen 



73 




CHEW WITH 
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out cigarettes and drinks for his guests, 
and to yell at old Charley Yee for the best 
blue Mexican glasses. From there he could 
see Grade Esmond, already rocking and 
knitting beside the front window. He could 
see Hendrickson's broad-shouldered length 
stooping forward a little, listening to Dina. 

Today she was wearing a tweed riding 
coat and jodhpurs and slim, brown boots. 
"He taught me to ride," she was saying to 
Hendrickson. "In the Los Angeles River." 

"It's not really a river," Pete explained, 
"except sometimes." 

"Mostly," said Dina, "it's just a sand 
pile and rock pile combined. Once when we 
were,making a picture there, and the horse 
stumbled and threw me, Pete picked me up. 
He said you couldn't begin to be a rider 
until you'd fallen off seven times." 

Russ Hendrickson's face expressed a 
genuine concern. He said, "Thanks, old 
man. She's had some bad days, hasn't she"- " 

Pete nodded. He w 7 as pouring a drink 
for Gracie Esmond, and the stuff slopped 
against his knuckles because he was remem- 
bering the thing that hadn't come clear 
yesterday. Dust and heat, and no time out 
for lunch, because they had to grab the 
light while it was good. His own horse 
jarring a riderless ponv almost off its feet, 
to keep the pony from stumbling again 
over the kid it had just thrown. And 
Mannie Stein yelling blue murder because 
there would have to be a retake. 

"Yes," said Pete. "She's had some bad 
days, and now they're over." 

He took out his visitors presently, and 
showed them whatever they wanted to see 
around the place. Old Shorty Brackett and 
The Mex, ploughing up pasture for a bean 
crop, were mute with amazement. Auto- 
matically, Pete considered the questions 
put to him by Hendrickson. And while he 
made his answers, he guessed what picture 
of him was forming in Hendrickson's mind. 

An up-country rancher, trying to make 
out on a quarter section below the brushy 
foothills guarding the Sandovals. A man 
who raised a little truck and a little live- 
stock. A horse trader who sold an occasional 
grade bred pony to low-goal polo players 
farther down toward the coast. . . . He 
didn't make a business of show horses, or 
own any stock like those sleek, schooled 
hunters and jumpers of Hendrickson's. He 
didn't own a thing of interest to Hendrick- 
son, who wanted perfection and could pay 
for it. 

For Sandra Joslyn, who had been Dina 
Gage, Hendrickson intended that every- 
thing should be perfect. Pete Thatcher re- 
membered that. He would have remem- 
bered even if Gracie Esmond hadn't winked 
at him. raising her hand in a silent and 
ironic salute. 

He didn't know what brought him back 
to the living room with Dina. Something 
about a look at those architectural draw- 
ings, while Hendrickson explained modern 
methods of stabling thoroughbreds to 
Gracie. 

"Pete," said Dina, "you've got to make 
him see that it's a place like this I want. 
Not big stables and an enormous house. 
With those things, I'd be just what I am 
now— just Sandra Joslyn in another picture, 
with new dialogue to learn, and no chance 
of retakes if I blow up on my lines. You've 
got to help me make Russ see—" 

He said, "Hold everything. Dina." 

He went over to the desk, and raked 
back its lid. He found what he was looking 
for, and brought it over to the window 
because the afternoon light was beginning 
to slant and thicken among the live-oaks 
outside. 

"Read that," he said. "Those last figures 
are what a place like this makes in a good 
year. You know what your contract calls 
for. and you know what this Hendrickson 
is going to inherit. Quit talking like an 



74 



Silver Screen 



f e m 

H Y G 



n 



n 

n 



actress, Dina. You'll step into this— this 
hacienda thing that Hendrickson's fixing 
over for you. You'll take it and like it!" 

She held the sheet of paper, but she 
didn't look at its figured columns. 

"I'm glad you told me, Pete." 

He wondered at the raw state of his 
nerves, that they could be so jangled by 
the sound of a girl's quiet voice. He took 
the paper out of her unresisting hand, and 
put it back on the desk. 

"If you hadn't told me this," she was 
saying, "I think that all my life something 
would have worried me just a little." 

"Why?" 

He regretted the question instantly. But 
since it was spoken he had to wait for the 
answer. 

"I'd never have found out just what this 
land means to you. If you hadn't told me 
the way you did now, I'd have imagined 
things. I'd have imagined that it could 
add up to so much more. You know, I 
don't think you've ever really learned how 
to count, Pete Thatcher." 

He knew that no moment of his life 
would ever top the finality of this one, 
when he stood in an emptied room, watch- 
ing her cross the veranda into the thicken- 
ing flood of this day's sundown. He pulled 
the desk lid over the account books and 
the balance sheet that she had brushed 
back without noticing. His mouth set in 
a wry grin, when he remembered the ab- 
sorption with which she had listened to 
Russ Hendrickson explain his architect's 
drawings. 

Hendrickson came in with Grade, and 
Pete went through the dining room to tell 
Charley Yee about coffee. When he came 
back, Grade was in the rocker again; and 
Hendrickson, a glint of amusement in his 
eyes, was watching old Shorty Brackett herd 
cows up the drive for the evening's milk- 
ing. Pete Thatcher brought out fresh 
glasses, and handed Hendrickson a drink. 

'You understand, I'm sure," Hendrick- 
son was saying. "This just happens to be a 
case where ordinary saddle stock won't do. 
It has to be something rather special. It's 
for Sandra." 

"Sure," Pete said heavily, "I understand 
everything." 

They were not listening to him. They 
weren't even looking at him. They stared 
at something that must have materialized 
suddenly behind him, in the doorway of 
the dining room. 

The jabbering, sulphur-colored face of 
Charley Yee was as distorted as the words 
he was trying to say. Pete Thatcher caught 
only single syllables. Horse . . . girl . . . 
ride— this repetition bobbed up twice in 
the confusion of Charley's shrill outcry. 
Then Pete heard something that jerked the 
breath out of his throat. 

Quien Sabe! 

It seemed to him that all his movements 
were geared down to the languid, slow- 
motion clumsiness of nightmares. He bolted 
through the kitchen, Russ Hendrickson 
behind him. Old Shorty was stumbling out 
across the stable yard with a half haltered 
pinto pony. He swung round as if he had 
been hit, seeing Pete run toward him. 

"She told The Mex it was your orders," 
he was yelling. "I'd ought to have known—" 

Pete Thatcher grabbed a handful of the 
pinto's mane, and vaulted to her bare back. 
"Kick the gate open. And if that girl gets 
hurt, tell The Mex to watch out lor him- 
self." 

But Shorty had already run ahead, and 
was clawing at the gate bars. 

Beyond, the corral was pooled in long, 
flat shadows. But above its encircling bar- 
ricade a dust cloud plumed. As Pete gal- 
loped toward it, he had an instant's glimpse 
of a swaying figure carried down the field 
as if by the roll of an unseen breaker. 
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corral, the body of Dina Gage was lifted 
waist-high against the brassy sunset, against 
the jagged crimson of the Sandovals. 

He could hear Shorty Bracken bawling 
like a fool, shouting to the girl, "Keep 
a-rolling if you get throwed! Try to keep 
a-rolling—" 

Pete booted his mare in the ribs, lean- 
ing far forward, trying to push her in one 
shattered second across the corral, right 
into the pounding dust storm where a half- 
broke pony had gone wild enough to ham- 
mer its rider to pieces, if it had the chance. 

He was closer now, so close that he was 
tilting sidewise toward her. But before he 
could get within arm's reach, something 
else happened. Quien Sabe lunged forward 
with a sudden crazy twist, pulling together 
in an arch, throat against her breast. And 
when she galloped out of the dust, she was 
riderless— a threshing, leather-flinging pony 
with hoofs drumming across the corral. 

By some miracle of horsemanship. Pete 
managed to swing his pinto away from the 
girl's spinning, limp body. He swung to 
the ground in a stumbling rush. 

She was trying to crawl to her knees by 
the time he reached her. One side of her 
face was smeared with a bright red trickle 
from her nostrils and the corner of her 
mouth. She said in a dead voice, "Get 
Pete, I want—" 

Then she lurched across Pete Thatcher's 
arms. With a movement so swift and direct 
that something savage was in its gentle- 
ness, he gathered her up. 

The illusion of interminable distance 
persisted, as if he walked in a slowly mov- 
ing treadmill rolling away from the open 
gate. He came through it at last, hardly 
noticing Hendrickson's stricken stare or the 
yammering hysterics of Charley Yee. Pete 
heard his own voice snapping orders to 
Shorty Brackett and to Grade. "Get on the 
phone and call Doc Fielding at Bolsa 
Verde. If anybody's on the line, tell them 
for God's sake to get off till this call's put 
through." And then he walked miles again, 
carrying Dina Gage. 

Across the stable yard. Through the 
kitchen. Into his bedroom. It was getting 
dark in there. He turned on the light, and 
slanted the shade clumsily. 

Grade Esmond came in and spoke to 
him with a queer, fierce concentration. "We 
caught that doctor. He's on his way. Russ 
is going to meet him, and they'll be back 
in fiTteen minutes— with a speed cop if 
necessary. You keep out of here, Pete. Tell 



that China boy to stand by with fresh 
towels and hot water. And if I hear a 
word about your shooting that horse, I'll 
sue you." 

He went out. Shadows moved across his 
bedroom window, making his heart kick 
the way it did when he saw Quien Sabe 
pitch and sunfish, a while ago in the cor- 
ral. He walked on to the little bunk house, 
to hear how this thing had come about. 
Old Shorty knew just how it had happened. 
This girl had told The Mex that she'd been 
riding in western pictures, from the time 
she was a kid. . . . 

Pete Thatcher went back after a while, 
through the darkening stable yard. The last 
warm light was seeping off the Sandovals, 
and his boundary fences lay in shadow. 
Those acress of pasture and ploughed land 
were nothing now except a black thong, 
streched along a hand's breadth of mountain 
skyline. It didn't look like much. Not 
enough for a man's years to go into— but 
enough to cripple a girl. 

When he came around in front, Doc 
Fielding's sedan was parked by the veranda 
steps. Nobody was in the living room ex- 
cept Grade Esmond. 

"Well," she said, "you've done it, finally. 
First you rare and buck and won't stand to 
be tied. And then you practically tear down 
the stable to get yourself under saddle." 

"Never mind me," he said. "What about 
Dina?" 

She took a maddeningly deliberate mo- 
ment to answer. "Well, what about her? 
Can't a girl bend a couple of ribs in peace?" 

Pete blinked at her. tongue-tied. She was 
straightening the cover of the living room 
table, and he saw now that the roll of 
architect's plans were gone. He said, "Is 
Hendrickson in there?" 

She walked over to the rocker, and 
picked up her glasses and her knitting. In 
the lamplight, Pete could see the thin line 
seaming one side of her face. 

"Hendrickson wouldn't like scars," said 
Gracie. 

Pete spoke slowly, testingly. "You mean 
he's run out— because he thinks she's 
smashed—" 

"You wouldn't run out." said Gracie. 
"But you've got her so mad that she's in 
there crying for Russ to take her away. 
You certainly can scramble an egg, can't 
you, son?" 

He spoke half to himself. "Somebody's 
got to go in there and tell her—" 

Gracie was letting herself down com- 




Melvyn Douglas, Luise Rainer and Barbara 
O'Ncil between shots for "The Toy Wife." Script 
in hand they rehearse the dialogue. 



76 



Silver Screen 



Pictures on trie Fire 

[Continued from page 15] 

think Seton and Laura are dull, wait'll you 
meet some o£ the others." He takes a drink. 
"In fact, the more you find out about our 
family, the more impressive it becomes. 
Father (Henry Kolker) wanted a big fam- 
ily, you know— so Mother had Linda straight 
off, to oblige him. But Linda was a girl- 
so she promptly had Julia (Doris). But 
Julia was a girl. It looked hopeless." 

"Ned— please," Doris begs him. 

But Lew goes on. "The next year Mother 
had me— and there was much joy in the 
land. It was a boy and the fair name of 
Seton would flourish. It must have been 
a great consolation to Father. He must 
have been very grateful to Mother. Drink 
to Mother, Johnny. She tried to be a Seton 
for awhile, then gave up and died." 

You can imagine that all this does noth- 
ing to put Cary at his ease. But as soon 
as Mr. Cukor calls "Cut!" everything is 
very free and easy. Lew puts down his 
drink, which tastes like tasteless tea (I 
know because I wasn't overlooking any- 
thing and tried it) and he and Cary give 
me the glad hand. 

Even though it's fun on this set I can't 
spend the day here and, as there's naught 
else to view on this lot, I trek on to- 
United Artists 

MR. WALTER WANGER has a picture 
shooting on this lot called "The Adven- 
turess," starring Madeleine Carroll and Henry 
Fonda. The story briefly: Arriving in Spain 
after a year of travel, Madeleine finds her 
father (Vladimir Sokoloff) and his asso- 
ciates have been fomenting hatred and civil 
war as agents for munitions makers. In a 
scuffle, Henry kills her father, not knowing 
who he is. When Madeleine finds out she 
is at once inconsolable and revengeful. 
She becomes a spy and delivers a message 
that will sink a ship bringing food and 
munitions to the rescue of Henry's town. 
Then she becomes remorseful and seeks 
Henry. 

"I've come to ask you for help," she con- 
fesses. "I need it badly." 

"Do you expect me to believe that?" he 
jeers. 

"You must believe it," she replies des- 
perately. "This is no game. People are 
praying for that ship and I'm sending it 
to the bottom. I'm a spy. I'll be killed for 
this and I deserve it. Would I tell you that 
if it wasn't true?" 

"Why have you changed?" he demands 
logically. 

"Because I've seen— seen the eyes of the 
women— I've seen the children dying. It's 
not the war. I've seen the truth. I can't go 
on," fighting to control her emotion. "I 
brought a message to someone." 

"Have you delivered it?" he asks sharply. 

She nods. "It's being transmitted to the 
submarine base— to destroy the ship that's 
coming. I can save it. I know the way to 
save it if you'll give me a chance. I know 
I'm being followed— don't let them follow 
me when I leave here. Give me a chance— 
I'm only asking for a few hours." 

"To let you get away!" he surmises. 

"Do you think I'm lying?" she blazes. 
"Can't you see—?" 

"I can't consider your feelings— or my 
own," he answers. 

"That ship's out there in the dark," she 
begins dramatically, "moving closer all the 
time. And the submarine's waiting. Let me 
try! I swear to you, I—" 

Henry, struggling with himself, uncertain 
what to do, finally blurts, "You're free to 
go." Of course, the ship is saved, the town 
is saved, Madeleine is saved and a grateful 
commandant offers Henry leave of absence 
so they can be married but they generously 
spurn it. Duty first and necking afterwards! 




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In "The Mysterious Mr. Moto," Karen Sorrell, 
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coxon and Peter Lorre gaze upon the wreckage. 



Inspired by this noble example, I, too, 
am imbued with a. do-or-die spirit and re- 
solve to finish this day's set-trotting or 
perish in the attempt. I dash for— 

2 0th Century-Fox 

A A ORE pictures shooting here than you 
' * ' can shake a stick at. I finally catch up 
with "Kidnapped" and. although Warner 
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omew is. The scene is a schoolroom with 
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I also catch up with "Little Miss Broad- 
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dav of shooting and Shirley and George 
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Next we come to "Mysterious Mr. Moto" 
which is also on the last day of shooting. 
The scene is an art gallery and I'd like to 
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duced in pictures. Peter Loire, than whom 
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man Foster, the director, is high up on the 
cat walk directing so we don't get a chance 
to chat. 

Of course, a murder has been committed 



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fallen on someone and killed him. As the 
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state of great agitation, Mr. Moto's voice is 
heard calling down from above: "Oh, Sir 
Charles (that's Matthews)!" Everyone looks 
up and Moto's face appears, looking down 
at them. He has a bruise on his forehead 
and a black eye. "Would you please send 
me three men?" Matthews is in charge of 
good old Scotland Yard. Moto is holding 
the murderer in a viselike scissors' hold as 
he calls down: "They will find a trap door 
in the ceiling in the Ladies Retiring Room. 
Yes. Catchee monkey— but not so softly." 

There should be some way of gracefully 
effecting a transition from one studio to 
another But there isn't. So we'll just move 
abruptly from here to— 

Warner Brothers 

C^XLY two pictures going here but one of 
— them is the long promised "Boy Meets 
Girl" starring James Cagney, and it is cer- 
tainly fine to see Jimmie back under the 
aegis of a major studio that can present him 
in the kind of pictures he should be making. 

This is a story of the screwy things that 
go on in this great industry of ours— all 
the senseless things that are done, the use- 
less expenditures, the freaks that make 
stars, (Mind you, I didn't say the freaks 
who become stars) and the accidents that 
turn flops into successful pictures. At the 
moment Ralph Bellamy, as the producer, is 
talking to two song writers— Cagney and 
Pat O'Brien, while his great star (Dick 
Foran) listens. 

"Of course." savs Bellamy, "you boys can 
always write pla\s." 

"Why not?" Cagney flips laconically, look- 
ing into Bellamy's cigar box and finding it 
emptv. "We never have." 

"I have an idea for a plav I want to 
discuss with you sometime," Ralph raves on. 
"You'll be wild about it. Just one set- 
simple to produce." 

"Terrific. " Jimmie chants in a bored tone. 

"Practically anyone can plav it." Bel- 
lamy continues. "Belte Davis would be mar- 
velous as the girl." (Take a bow. Bette. 
Anyone can play it so you'd be marvelous.) 

"Tremendous," Pat encourages him in a 
bored tone. 

she dies in the first act," Bellamy re- 
veals. 

"Stupendous!" Pat agrees. 



80 



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|_| OLLYWOOD is no place for neighborli- 
' ■ ness. Olympe Bradna, who'll make her 
starring debut in "Stolen Heaven," tells that 
she knew Simone Simon when they were in 
pictures in France, yet they've never encoun- 
tered each other here. 

And it was just the other day that Olympe 
(pronounced O-lamp) ran across Edgar Ber- 
gen and his Charlie McCarthy. 

"Remember when we played on the same bill 
in Sweden, seven years ago?" Olympe asked. 

"I certainly do," Bergen agreed. 

"Well, I don't!" Charlie interrupted. "Never 
saw the girl before in my life!" 

"You certainly did!" Olympe responded 
somewhat hotly. "Only you spoke Swedish 
then, and I think your name was Svenson." 

"That," replied Charlie, "was my cousin — 
a distant one." 

"Not so distant," Bergen chided. "He's 
home right now, on a shelf — where you'll be, 
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"But bad," Jimmie amends. 

"Listen here, Mr. Friday," Foran cuts in 
angrily. "I ain't in the theatre. What about 
my picture?" 

"Boys, we need a big picture," Mr. Friday 
Bellamy confides to O'Brien and Cagney, 
sliding gracefully from the theatre to the 
hum-drum world of the movies. "Not just a 
good story. I want to do something fine— 
with sweep, with scope— stark— gripping— 
but with plenty of comedy— and a little 
hokum. Something we'll be proud of. Not 
just another picture but the picture of the 
year. A sort of 'Charge of The Light 
Brigade'— but as Kipling would have done 
it." His dictograph buzzes and he answers it. 

His secretary's voice comes through: "The 
masseur and the manicurist are here." 

"Send them into the back room," Bel- 
lamy orders and rises to end the story 
conference. 

"You don't think we're as good as Kip- 
ling!" Pat mocks but the sarcasm is lost on 
Ralph. 

"Not that I think Kipling is a great 
writer, mind you," Bellamy informs them as 
a parting shot so they won't get swell- 
headed. "A story teller— yes. But for great- 
ness, give me Proust every time." 

Cagney and O'Brien exchange glances. 
"Proost!" they jeer at Mr. Friday's depart- 
ing back. 

"The weather'll be warming up pretty 
soon," Pat encourages me, "and we'll be 
taking the lid off the barbecue pit. Get your 
teeth sharpened." 

"I'll keep in touch with you," I promise 
him. 



The last picture this month is a re-make 
of "The Sap from Syracuse" that originally 
starred Stuart Erwin. This time it is called 
"The Chump" and stars Johnny "Scat" 
Davis with Lola Lane and Penny Singleton 
prominently cast. Johnny hasn't started 
working yet as this is the very first scene 
in the picture. But Lola and Penny are 
going full blast. Penny is looking at a folder 
announcing "Union Falls offers greater op- 
portunities to do big things in a small way, 
than any other community of its size in 
the Middle West!" 

"Gee!" she ejaculates, "I never knew we 
lived in such a swell city. Listen to this: 
'The city treasury of Union Falls has never 
had a deficit since our up-and-coming com- 
munity was incorporated.' " 

Lola grimaces sourly. "A lot of good it 
does us. We've got a deficit— a big one— 
with my Ed the only one working around 
here." She scowls as a particularly shrill 
blast of a trumpet comes through the win- 
dow. That would be Johnny practicing in 
the barn. "And with that to contend with," 
Lola goes on. "He's driving me crazy with 
that commotion. I thought I got rid of it 
when I wouldn't let him play it in the 
house, but no! He moves to the tool shed 
and the neighbors are complaining about 
the horrible noise." 

"That's not noise," Penny protests. 
"That's swing— and very hot, too." 

"Well, swing or no swing, I want you to 
go and stop it right now," Lola announces 
firmly, as she grabs a carpet sweeper and 
starts to work. 

When the scene is finished Lola tells me 
she has. been dwelling on a farm in the 
San Fernando Valley while she rejuvenated 
herself and her career. Now that both of 
them are booming she pines for the flesh- 
pots of the city. I tell her she is exactly 
right and I'm perfectly willing to be Guest 
No. i at her house-warming when she moves 
back to town. But it seems that wasn't the 
idea because instead of confirming the in- 
vitation she only gives me an annoyed 
look as she goes back for another tussle 
with the carpet sweeper. So I shake my head 
mournfully ami come home for a bout with 
the typewriter. That's all, folks. 




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WAKE UP YOUR 
LIVER BILE... 

Without Calomel — And You'll Jump 
Out of Bed in the Morning Rarin' to Go 

The liver should pour out two pounds of liquid 
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ing freely, your food doesn't digest. It just decays 
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Amere bowel movementdoesn't getat thecause. 
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Silver Screen 



8 1 



I 




-iOAN CRAWFORD says she hasn't been 
J as excited in years as she was the day 
she had a date to meet Shirley Temple 
—who happens to be Joan's favorite movie 
star. Shirley was working on the set of 
"Little Miss Broadway," and George 
Murphy, her leading man and one of 
Joan's best friends, had arranged the meet- 
ing. 

Halfway down Bristol Road in Brent- 
wood Joan discovered that in her excite- 
ment she had one patent leather slipper 
on and one fluffy boudoir mule. So back 
home they had to go. And then when she 
got out of her car at the studio a lusty- 
spring breeze simply lifted her big picture 
hat with the flower garden on it right off 
her head, and she had to go chasing all 
over the Twentieth lot after her hat. 

The Crawford poise and coiffure were 
both well ruffled before the Introduction. 
"Hello," said Shirley shyly, and "Hello," 
said Joan just as shyly. And Star met Star. 

After watching Shirley go through her 
dance routines all afternoon Joan says that 
Shirley earns her money more than any 
other star in Hollywood. 

CYLVIA SIDNEY tells this on herself: 
•3 "It was while I was in New York for 
the play I did recently. I slipped into a 
movie theatre without noticing what was 
pla\ ing. First thing I saw was a panorama 
of Manhattan. 'Mm-m swell city!' I said 
to myself. And then, to my genuine amaze- 
ment, the screen was filled by a close-up 
of MY face! It was a trailer for "Dead 
End.' " 

"There she is— crying again!" the woman 
next to me said in great disgust. 

rN,OLORES DEL RIO arrived back in 
^ Hollwvood wearing a charm bracelet 
illustrative of her recent African jaunt. 
There was a charm from every spot she 
visited including a tiny Pyramid from 
Egypt and an enamel zebra from Africa. 
In the Garden of Allah at Biskra, her hus- 
band, Cedric Gibbons, drew several objects 
fiom which charms may be made at home. 
Nice way to record a vacation. 



ANNOUNCEMENT 

New! Startling! Silver Screen pre- 
sents for the first time something 
different in fan magazine covers. 

Suppose you go to Hollywood. 
You can hire a partner to take 
you to the exciting rendezvous of 
the stars! 

Can you tell the right names of 
the players! They are fascinating 
to know. Some people believe that 
changing one's name changes one's 
luck. Do you? 

Don't miss the story of the sales- 
girl who keeps her eyes open and 
reports what she sees. 

# # * * 

Be sure to look for all these and 
other features in the July issue of 
Silver Screen, on sale June 10th. 



82 



A Movie Fan's Crossword Puzzle 

By Charlotte Heroert 




ACROSS 

1 In "Gold Is Where You Find It" 
4 Star of "Marie Antoinette" 
9 Male of rhe red deer 

13 A silk worm 

14 Masculine pronoun 

15 Mother of "Peer Gynt" 

16 Biblical pronoun 

18 Collection of facts 

19 The constable's daughter in "The Girl 
Young" 

22 In "The Lone Wolf in Paris" 

24 Now making "Algiers" 

25 Eat away 

28 Standard of perfection 

29 Prefix 

30 To flow back 

32 English money of account 

33 Partook of food 

34 Sun god 

35 Reveries 

36 Ballerina of "The Goldwyn Follies" 

?7 River flowing into New York Bay (abbr.) 

39 Periods of time (abbr.) 

40 Feminine pronoun ' 

42 Parts of the year (abbr.) 

43 Degree 

44 Mode of transportation 

46 Well-known Hollywood cowboy 

48 Even (poet.) 

49 Perform 

50 Affirmative 

52 Her latest picture is "Fools for Scandal" 

55 In "Hurricane" 

56 In "Tovarich" 

58 The maid in "Everybody Sing" 

59 Radio and screen comedian 

61 Company (abbr.) 

62 Addition to one side of a house 

64 Marsh 

65 East India (abbr.) 

66 Leads to the solution of a mystery 

67 Mistake 

70 In the past 

72 Kind of cabbage 

73 One who edits (abbr.) 

74 Dancing star of "Rosalie" 

75 One of the Lane sisters (initials) 

76 Postscript (abbr.) 

77 Slender stick- 
'S In "Merrily We Live" 

79 Measure of length (abbr.) 

80 Neuter pronoun 

81 Andrew fackson in "The Buccaneer" 

82 Therefore 

DOWN 

1 Daffv heiress in "Bringing Up Baby" 

2 Constellation 

3 Cabaret singer in "Hitting a New High" 

4 Ocean 

5 Every (abbr.) 

6 Adventuress in "Paradise for Three" 



1 Was 



7 Regarding - 

8 Wheat-like grain 

10 Weed 

11 Near (poer. ) 

12 The daughter in "Everybody Sing" 

14 Bachelor father in "Mad About Music" 
17 A published form of a literary work 

20 The "Bad Man of Brimstone" 

21 Pronoun 

22 The (Fr. ) 

23 Delightful regions 

26 She sings in "The Big Broadcast of 1938" 

27 To bewilder 

31 Villain in "The' Adventures of Marco Polo" 

33 Provided with arms 

38 Boy rebel in "Of Human Hearts" 

41 Custom 

43 Wife in "A Slight Case of Murder" 
45 Hawaiian garland 

47 Crowd 

48 Before 

49 One of the sons in "In Old Chicago" 

51 With Ginger Rogers in "Vivacious Lady" 

53 Title of respect (abbr.) 

54 Suffix 

55 The "butler" in "A Slight Case of Murder" 

56 Take when offered 

57 Masculine first name (abbr.) 

59 Exist 

60 Submits 

63 Unspoiled country girl in "Goldwyn Follies" 

64 Hero in "Over the Wall" 

68 In "Hollywood Hotel" (initials) 

69 Tear 

70 In "Law of the Underworld" 

71 Proceed 



Answer To Last Month's Puzzle 



smaasa aaa GaHdraaia 

(11 HBEiaE] HBB ffl 



O HI 



A N I MIA T I O N 



SIR 



E3HI1BHHH H HHHHEiaH 
HHB DHH CQI3HII 

a [jjaEi satasa Baa a 
na @hh siaa Has qh 

hhh ma hbh hh rasa 

BHH3 QD H\ 3B HE1HB 

am hshhs Qnnaa as 

\SM HI1 HHH BB GSS 
H HBSEiaH HSdHElfl a 

HEiaaraa ass □desdhh 



THE CUNEO PRESS, INC., U.S.A. 




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Miss Alicia Rkett 



OF CHARLESTON 




a ma^^ed tAamatic foment. . . . 



SHE is a Rhett, of Charleston. Which 
means that her "presence is requested" 
at the St. Cecilia Ball, aristocratic social event. 
Her forefathers — among them, the founder 
of Charleston — have borne the titles of Lord 
Proprietor ... Governor. .. Senator. She, her- 
self, models in clay... does life-size portraits 
in oils. In studio, at left: "You always smoke 
Camels, Alicia. Why Camels all the time?" 
asks Mary French, sitting for her portrait. 
"They're different," says Miss Rhett. "So dif- 
ferent that I can smoke all the Camels I 
want and they never tire my taste or jan- 
gle my nerves. The best way of saying all 
that I mean is — Camels agree with me!" 



Miss Rhett is shown in costume (above), smoking a Camel back- 
stage at the historic Dock Street Theatre where she has played 
leading roles. She may soon lend her talent to the long-awaited 
filming of a Civil War romance! "My dramatic work involves a 
real test of the voice," says Miss Rhett. "So I smoke nothing but 
Camels. Camels are mild. And so gentle to my throat!" 



PEOPLE DO APPRECIATE 

the COSTLIER 
TOBACCOS 

IN CAMELS 
THEY ARE THE 

LARGEST- 
SELLING 

CIGARETTE IN AMERICA 



CopyriKht. 1938. H. J. Reynolds Tobacco Co.. Winston-Salem, N.C. 



One smoker tells another: 

CAMELS AGREE 





Above, Miss Rhett was caught by the photographer as she 
smoked a Camel on the balcony of the Dock Street Theatre — 
"America's oldest." Right — she enjoys another Camel on her 
way to the courts. Note the Sword Gates — famous Charleston 
landmarks. "After tennis," she says, "I walk straight to my 
Camels, and smoke as many as I please. It takes healthy nerves 
to enjoy a life full of activities. So my smoking is confined 
to Camels. My nerves and Camels 'get along' beautifully!" 



WITH ME! 



CAMELS ARE A MATCHLESS BLEND OF FINER, MORE EXPEySJVE 
TOBACCOS... TURKISH AND DOMESTIC 



Among the many distinguished women who find 
Camels delightfully different: 

Mrs. Nicholas Biddle, Philadelphia • Mrs. Alexander Black, Los Angeles 
Mrs. Powell Cabot, Boston • Mrs. Thomas M. Carnegie, Jr., New York 
Mrs. J. Gardner Coolidge 2nd, Boston • Mrs. Anthony J. Drexel 3rd, Philadelphia 
Mrs. Chiswell Dabney Langhorne, Virginia 
Mrs. Jasper Morgan, JVeir York • Miss Alina Nicoll, New York 
Mrs. Nicholas G. Penninian III, Baltimore . Miss LeBrun Rhinelander, iVeic York 
Mrs. John W. Rockefeller. Jr., New York . Mrs. Rufns Paine Spalding III. Pasadena 
Mrs. Louis Swift, Jr., Chicago • Mrs. Barclay Warburton, Jr., Philadelphia 



TRUE STORY OF A STUNT GIRL 




lRE SCREEN SJRENS GOING TOP HAT? 







If there was hope for Harriet, there must be hope for you 



Let's look into Harriet's life a moment. 
She came to the city and a fair position 
from a small up-state town. No beauty, 
she was nevertheless intelligent, full of 
vivacity, and above the run-of-the-mill 
in good looks. What happened to her? 

"The girls at the office were cordial 
enough at first. Later, their attitude 
changed. They seldom asked her to 
lunch, so she usually lunched alone. 

'"Just a bunch of cats," THOUGHT HARRIET 

Men usually found her interesting, yet seldom 
invited her out. Most of her evenings were spent 
at home by the radio or at the movies — alone. 

"I wish some man were here Ul^V^rh 
beside me," SHE SAID Ifti^fOy: 

Seeing others of her own age enjoying them- 
selves, she was at a loss to understand why 
her own life was so empty, so flat. Finally, it 



began to get her. She wanted friends ... at- 
tention . . . later, a husband and children. Yet 
she was haunted by a vision of herself as an 
old maid, friendless and lonely. 

"Am I going to be one of these?" 

SHE ASKED HERSELF P^=!Ef^ 

Then one day her bored eyes came across an 
advertisement dealing with halitosis (bad 
breath) and the success of Listerine in arrest- 
ing it. She could not get the advertisement 
out of her mind; it haunted her. 

"Maybe that's my trouble," SHE SAID 

Fortunately, she had hit upon the exact truth 
— which no one else had dared to tell her. 
Now she sensed a reason for the coolness with 
which others treated her. She made up her 
mind to begin using Listerine Antiseptic. 

"I'll see what happens," SHE MUSED 

Well, things did happen. She began to go out 
more . . . faced the world with new assurance 




. . . made new friends. And men looked at her 
with new interest and began to ask: 



"MAY I CALL YOU UP?" 



In less than a year, the empty little engage- 
ment book her father had given her began to 
bulge with "dates." Life began to be the ro- 
mantic, exciting thing she had hoped it would 
be. Each day was a new adventure. 

A HINT FOR YOU . . AND YOU . . AND YOU 

Don't assume that you never have halitosis 
(bad breath). Everyone offends at some time 
or other. The delightful way to make the 
breath sweeter and purer is to rinse the mouth 
with Listerine Antiseptic especially before 
business and social engagements. Listerine 
quickly halts food fermentation, a major 
cause of odors, then overcomes the odors 
themselves. Nothing but Listerine can give 
your mouth that priceless feeling of freshness. 
Ask for Listerine and see that you get it. 

Lambert Pharmacal Co., St. Louis, Mo, 



Ann took a chance on a bath alone 




JOAN PLAYED SAFE WITH A BATH PLUS MUM 




Underarms need special care that 
a bath alone can't give! 

CLEVER JOAN. Popular Joan! No mat- 
ter how warm the evening— or how 
late the dance, Joan always has partners 
galore. Joan dances every dance. 

For she never takes chances with 
underarm odor— the one fault above all 
others men can't stand. She realizes that 
a bath takes care only of past perspira- 
tion—that it can't prevent odor to come. 
So Joan never trusts her bath alone. 

She follows her bath with Mum— to 
be sure she's safe from underarm odor. 
Mum makes the freshness of your bath 



last all evening long. Don't risk the loss 
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others. Always use Mum, every single 
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ANOTHER USE FOR MUM -Use Mum 
for Sanitary Napkins, as thousands of women 
do. Then you're always safe, free from worry. 

Silver Screen 



So easy to use Mum ! 

As simple as apply- 
ing a touch of face 
cream. And — proof 
of Mum's gentleness 
— more nurses use 
Mum than any other 
deodorant. They 
know underarms 
need special care! 



Mum 



takes the odor out of perspiration 

3 





THE TOY WIFE 

. . . who has youth and beauty and all 
the world to gamble it in... "life slips too 
hurriedly by, so sip the cup of frivolity 
and danger while you may "...you will 
watch with beating heart this sensational 
drama of New Orleans gayest, ma ddest 
era in Metro -Goldwyn- Mayer s glamor- 
ous production. In the cast also: MELVYN 

DOUGLAS, ROBERT YOUNG, 

Barbara O Neil, H. B. Warner. Directed 
by Richard Thorpe. Produced by Merian 
C. Cooper. Screen Play by Zoe Ahins. 



4 



Silver Screen 



J UN 1 0 1938 



©C1B 382112 



REFLECTING the MAGIC o/HOLtyWOOD 



JULY, 1938 



Volume Eight 
Number Nine 




ELIOT KEEN 

Editor 

Elizabeth Wilson Lenore Samuels Frank J. Carroll 

Western Editor Assistant Editor Art Director 



CONTENTS 



STORIES AND ARTICLES Page 

FLASHSHOTS Jerome Zerbe 16 

TITAH-MA-TITAH— OR STRICTLY SLUGOLA! Ruth Arell 18 

A SALESGIRL LOOKS AT THE STARS Anonymous 20 

NO GLAMOUR, PLEASE! Cyril Vandour 23 

WHY CHANGE YOUR MAN? Ruth Rankin 24 

ARE SCREEN SIRENS GOING TOP HAT? Howard Barnes 26 

THE FAN LAW Ed Sullivan 28 

TRUE STORY OF A STUNT GIRL As told to Ed Churchill 30 

PARTNERS TO RENT Leon Surmelian 32 

AND HE ENJOYS IT Dena Reed 34 

STABLE BOY BLUES David Manuel 51 

LUCKY NAMES Gordon R. Silver 54 

PROJECTION OF CHARLES BOYER Elizabeth Wilson 56 

MONTHLY FEATURES 

The Opening Chorus 5 

Tips On Pictures 8 

Budgeting Your Beauty Mary Lee 10 

How About A Picnic? Ruth Corbin 12 

Topics For Gossips 15 

Reviews Of Pictures 5g 

Pictures On The Fire S. R. Mook 62 

A Movie Fan's Crossword Puzzle Charlotte Herbert 82 

The Final Fling 82 

ART SECTION 

We Point With Pride 35 

Lazy Summer Davs 36-39 

Fashion Tips From Hollywood 40-13 

New Films That Are Ready On The Reels 44-43 

movie-ettes 46-49 

Shooting Stars 50 

COVER PORTRAIT OF OLIVIA DE HAVILLAND BY MARLAND STOXE 



SILVER SCREEN. Published monthly by Scroenland Magazine, Inc. at 45 West 45th Street, New York 
V. G. Helmbucber, President; J. S. MacDermc tt, Vieo President; J. Superior, Secretary and Treasurer. 
Using Oliiees: 45 West 45th St.. New York; 410 North Michigan Avcv, Chicago; 580 W Sixth S 
Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive 
attention but Silver SCDEBN assumes no responsibility for their safety. Yearly subscriptions $1.00 
United States, its dependencies, Cuba and Mexico: $1.50 in Canada; foreign $1.00. Changes of atlrircs 
reach us five weeks in advance of the next Issue. Be sure to give both the old and new address. Bnte 
second class matter, September 23, 1930. at the Post Office. N(s«v York. N. Y. . under the Act i.f March 3 
Additional entry at Chicago, Illinois. Copyright KI3S by Scrcenlnml Magazine, Inc. Printed in the U. 
MEMBER AUDIT BUREAU OK CIRCULATIONS 



N.- Y. 

idver- 



ln to.. 
S mil. I 



1S70 
S. A. 



The O 



pening 



Ckc 



r u s 




Basil Rathbone 



A LETTER FROM LIZA 

DEAR BOSS: 
Remember all those nasty things I 
said about Basil Rathbone in a recent 
letter? Well, I've got to eat my words, every 
one of them, and without Hollandaise sauce 
too. I received the following letter from 
Basil (oh yes it's Basil and Liza now, so 
cozy-like) and I accepted the tea invitation 
and I haven't met such mad, merry de- 
lightful people ever. Basil can point all 
he wants to and Ouida can wear Marie 
Antoinette's hairdress in front of me at 
previews and I'll just think it's all very 
cute. Doesn't it make a lot of difference 
when you like people! 

* # # 

Dear Liza: 

But not Liza the Louse! No, no. Far 
more appropriate would be Liza the Log- 
ical. It's logical and right that you should 
object to a "finger pointer," but oh dear, 
oh dear, it's sad that this habit should have 
caught up with me again. Years ago I was 
practically thrown out of England for being 
a "finger pointer." You know how the Eng- 
lish dislike any form of individual enthu- 
siasm. (It's considered bad manners over 
there.) Well, my enthusiasm used to take 
I he form of finger pointing. 

So, being unable to cure myself of en- 
thusiasm, I remained a "finger pointer" 
and left for more democratic shores where 
one could point at anything with bound- 
less enthusiasm and not get into trouble. 
So you've just got to forgive me, Liza, 
because it's logical to be enthusiastic about 
Bette Davis in anything she does and, as 
you now must understand, I just can't help 
pointing under such circumstances. 

About Ouida's hat, I am really sorry. 
(Just between you and me, it was a hat! 
Wasn't it?) The only reason, I presume, 
that she kept it on all through the show 
was because if she had ever taken it off 
and had had to put it on again at the end 
of the show, in all our enthusiasm, she 
might have stuck it on back to front. And 
imagine Ouida at a preview, walking out 
of the theatre with those feathers bobbing 
up and down over one eye, making her look 
like Maugham's "Liza of Lambeth." 

Anyhow, please do come and have tea 
with us one day and let us tell you all 
about the preview of "Jezebel" which our 
concerted cilorts prevented \ou from seeing. 

Sincerely, 

• • • Basil. 
Isn't he loo, too wonderful! 



5 



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AHKIES 



How Do you Like 
Our New Cover? 



For The First Time — 
A Painted Cover 
Portrait Of A 
Alovie Star Ar= 
ranqe d With A 
Photographic Baek= 
ground. 




HERE is something new in a field that 
has had few enough new ideas. The 
portrait of a well-liked star, in full 
color, has always seemed the best cover for 
Silver Screen. And here is where the new 
idea comes in. The cover portrait is still 
there (and Olivia de Havilland's face is 
lovely enough for any magazine) but, in 
addition, there is the black and white 
photograph of a scene from her next pic- 
ture, "Four's A Crowd," in which she plays 
with Errol Flynn. 

It is Olivia's screen appearance with 
which we are familiar, and to see her in a 
still recalls poignantly her screen charm. 
Because of the photograph of the scene in 
this new film we think that you will enjoy 
her portrait the more. This thought is 
based upon the reality of the photograph 
which is in such striking contrast to the 
full color portrait. 

When you look upon a sculptured figure 
mounted on a pedestal against a back- 
ground of nature, you have a feeling that 
the beauty of trees and sky contribute to 
the perfection of the sculptor's work. We 
hope that Olivia's portrait will gain in 
reality by the contrast with the photograph 
even as the color is made more striking by 
the black and white of the scene still. 

Silver Screen is a pioneering magazine at 
heart, and this cover, with its many novel 
and appealing qualities, is new. There are 
a number of reasons why we like the cover 
and we hope you feel the same way. As 
we have mentioned, the cover gives us 
Olivia's screen personality (not only the 
actress off stage), and it is the screen per- 
sonality that we know and like. Then there 
is the news angle. Covers usually are just 
beautiful, but Silver Screen's happy com- 
bination cover gives you a portrait of the 
charming actress, and screen news as well, 
by the reproduction of an actual situation 
in her next film. 

The next cover will be a portrait in color 
and again there will be included a scene 
still, with action and atmosphere. Our new- 
idea will give a boost to good movies, to 
the fame of some capable actresses and will 
perhaps even add to our circle of readers. 

We should be delighted to hear from 
you, particularly if you write down some 
of the ideas and criticisms that pop into 
your mind— they are so helpful. After all, 
although we are living on a one way street, 



and although thousands ot copies go out 
in the mail, there is a mail coming this 
way, too. Write us, anyhow. How do we 
know what you like unless you write us a 
letter? So please dash off your opinion of 
the new cover for our benefit. 

And speaking of letters, here are excerpts 
from two letters we received from the 
vivacious Olivia who is in England as we 
are going to press: 

"The Normandie is overpoweringly mag- 
nificent—the luxuriousness of this extraor- 
dinary vessel is positively bewildering. It is 
a large palace of cafe-au-lait marble, gold 
lacquer, green metal and masses of murals. 

"It is all very gorgeous and slightly dis- 
comfiting— I feel most at home on the boat 
deck, which is always deserted and which 
has a perfectly plain, simple wholesome un- 
affected wooden floor, salt sea air and a 
glorious, churning, frothy blue sea to look 
at. 

"One rarely hears English spoken— and 
listening to French all day long is almost 
an education. 

"Mother has been gathering herself for 
her first French sentence— she is suffering 
from stage-fright but one of these days out 
it will come. I have ordered a bottle of 
champagne to smash over her head when 
the moment arrives and the sentence is 
born." 

* # # * *.-., 

"The High Cliff Hotel, in Lyme Regis. 
Dorset, where we are stopping, is an old 
Georgian house which unfortunately has 
been modernized. Still beautiful, however, 
are the long curved windows, and the high 
molded ceilings of the oval rooms. The 
house is situated on a hill and one looks 
over the lawn, through pines and shrub- 
bery, to the wide blue sea shining far 
below. There is a hidden garden bordered 
by apple trees in full bloom. And there is 
a look-out, too. where I sit and try vainly 
to put on a sketch pad the green fields 
rolling down to white cliffs and the sea. 

"As you may have guessed, visually I 
am enjoying England enormously— at least 
the rural aspect which is the only one with 
which at present I am acquainted." 

# * * * 

Wait until Olivia sees our new cover! 
Do you think she'll like it? 
Do you? 



6 



Silver Screen 



HERE THEY COME ON A MILLION DOLLAR SPREE 
TO WAKE AND MAKE AND TAKE PAREE! 

Those gorgeous "Gold Digger 
lovelies have taken America 
twice! Now see what they do 
to 50 million Frenchmen! 




& 4 Brilliant Song Hits 

"Day Dreaming" «"A Stranger 
in Paris"* 'The Latin Quarter" 
T Wanna Go Back to Bali" 




Starring 

RUDY VALLEE 

ROSEMARY LANE-HUGH HERBERT 
ALLEN JENKINS. gloria dickson 

MELVILLE COOPER • MABEL TODD • FRITZ FELD 

Directed by RAY ENRICHT • Screen Play by Earl Baldwin and 
Warren Duff ■ Story by Jerry Wald, Richard Macaulay, Maurice Leo 
From an Idea by Jerry llorwin and James Seymour' Music and Lyric* 
by Harry Warren and A) Dubin • A WARNER BROS. PICTURE 



Silver Screen 




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SONG POEMS WANTED 

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Free Examination. Send Your Poems To 

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BACHELOR OF MUSIC 
4153-V South Van Ness Los Angelas, Calif. 




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A scene from 
"Blind Alibi," 
with Richard 
Dix and Whit- 
ney Bourne. 



BATTLE OF 
BROADWAY — So- 
so. Another Captain 
F 1 a g g - Sergeant 
Quirt comedy. These 
old "pals" are 
brought together 
again during the American Legion Convention in 
New York and their battle, this trip, is over Louise 
(Gypsy Rose Lee) Hovick. It's a bit on the 
dull side. You can take it or leave it. I'd leave it. 

BLIND ALIBI — Good. Richard Dix, one of 
our favorites who has been too long absent from 
the screen, returns in this tale of a man who, 
in order to squelch a blackmail plot lined up 
against his sister, pretends to be blind. This 
subterfuge engages the sympathy of all those 
from whom he requires helpful assistance. 
(Whitney Bourne, Ed. Cianelli). 

COLLEGE SWING — So-so. One of those 
incomprehensible musical revues that leaves you 
somewhat baffled as to the sanity of all concerned, 
but which will probably amuse some of you if 
you're in a forgiving mood. Yes, there's a plot, 
too. Maybe you can figure it out ; I couldn't 
bother. Cast includes Gracie Allen, George Burns, 
Ed. Ev. Horton, Ben Blue, Martha Raye. 

CRIME SCHOOL — Excellent. A thoroughly 
engrossing story is woven around an unfortunate 
group of East Side hoodlums who are sent to 
the state reformatory. Their gradual regeneration 
when a humanitarian is given charge of this school 
is a fascinating thing to watch. Those marvelous 
"Dead End" boys are all here and prove them- 
selves remarkably fine actors. (Humphrey Bogart- 
Gale Page). 

FIGHT FOR PEACE. THE— Excellent. A 

compilation, for the most part, of newsreel shots 
that cover the highlights of world history for the 
past 25 years. Henrik Willem Van Loon, the 
famous writer and historian, is responsible for it 
and we owe him a debt of gratitude, for it is the 
greatest documentarv evidence against Fascism yet 
compiled to reach the great masses in film form. 

GOLD DIGGERS IN PARIS— Fine. Another 
eye-filling musical, lavishly produced according 
to the best Warner Brothers' traditions, with 
the setting in Paris for a change. Cast includes 
Rudy Vallee, Hugh Herbert, Allen Jenkins, Rose- 
mary Lane, Gloria Dickson. There are some ex- 
cellent songs and beaucoup laughter. 

GOODBYE BROADWAY— Good. Having to 
do with a couple of vaudevillians, Pat and Molly 
Malloy, who, when their act becomes aenemic, 
buy up a large suburban hotel and proceed to 
offer shelter to fellow-vaudevillians. It's really 
"The Shannons of Broadway" brought up to 
streamline requirements, with Alice Brady, Chas. 
Winninger, Tom Brown and Dorothea Kent. 

HUNTED MEN— Fine. A story of the regen- 
eration of a gun-man, that will "get" you. Lloyd 
Nolan, after killing a man, hides out with a 
wholesome middle-class family whose respect' for 
law and order generally switches his entire way 
of thinking. (Mary Carlisle, Johnny Downs, 
Dorothy Peterson). 

LITTLE MISS ROUGHNECK — Good. Now 
we have another child actress, Edith Fellows, 
featured in competition with Jane Withers and 
Shirley Temple, in an entertaining little film 
concerning a child star who runs away from 
Hollywood and seeks refuge with a Mexican 
miner (Leo Carrillo). Edith can best be remem- 
bered for her "bad-tempered brat" role in "She 
Married Her Boss." 

MEN ARE SUCH FOOLS— Amusing. Faith 
Baldwin's the author of this lively opus about the 
inadvisability of men, women, marriage and busi- 



ness getting all tangled up together. The two 
men in the case are Wayne Morris and Humphrey 
Bogart, and the gal who tries to handle both is 
Priscilla Wayne. 

MOONLIGHT SONATA— Interesting. This 
'was filmed in England, and, although the 
romance is trite and overly sentimental, it is well 
worth seeing because of the fact that it will 
introduce to a number of fans the great Ignace 
Paderewski, the composer-pianist who not only 
plays his own Minuet, but also, and magnificently, 
a Chopin concerto in its entirety, as well as the 
2nd Hungarian Rhapsody of Lizst and the -Moon- 
light Sonata. (Marie Tempest, Charles Farrell). 

ONE WILD NIGHT— So-so. This will be ac- 
ceptable only as the second half of a dual bill. 
June Lang plays the society editor of a suburban 
newspaper, who, when she happens upon a mys- 
tery-, drives her editor mad until it is solved. Mixed 
up in the crime detecting are Lyle Talbot, Sidney 
Toler and Dick Baldwin. 

PEARLS OF THE CROWN— Excellent. A 
French made film that is fascinating ; that is, if 
you don't mind having the dialogue spoken in 
three languages, French, Italian and English 
(with interpolated English captions throughout). 
It is a comic-tragedy that traces the history of 
the pearls in the English crown down through 
several centuries, and is exquisitely told and 
capably acted. (Sacha Guitry, Cecile Sorel, Jac- 
queline Delubac-Lyn Harding). 

PORT OF SEVEN SEAS— Fine. This is really 
one of the few charming films to emanate from 
Hollywood during the past month. It is not excit- 
ing, nor screwy, nor melodramatic. It is just 
the gentle tale of a few simple folk living happily 
enough in the seaport town of Marseilles, until 
tragedy catches them up suddenly. The denoue- 
ment is as interesting as it is unexpected. 
(Maureen O'Sullivan, Wallace Beery, Frank 
Morgan, John Beal). 

PRISON NURSED — Good. This is an interest- 
ing, although somewhat harrowing story of a 
flood that batters at the walls of a prison leaving 
the dreaded typhoid in its wake. A convict doctor, 
imprisoned because of a mercy killing, is finally 
inveigled into donating his services towards aiding 
the helpless levee gangs. There's romance, melo- 
drama and — a happy ending! (Henry \\ ilcoxon, 
Marian Marsh, John Arledge). 

RASCALS— Good. Jane Withers plays the 
leader of a band of gypsy rovers, comprising, 
among others, Borrah Minnevitch and his har- 
monica players. The romance is furnished bv a 
beautiful heiress (Rochelle Hudson) who has "lost 
her memory and who becomes the gypsies' fortune 
teller. The plot's not much, but Jane always pro- 
vides plenty of activity and entertainment. 

RELIGIOUS RACKETEER— Good. An ex- 
pose of the pseudo-supernatural "medium racket" 
as practiced all over the country. The producer, 
Fanchon Royer, requisitioned the services of the 
great Houdini's wife, and the latter also acts in 
the film along with such old favorites as Betty 
Compson, Robert Fraser, etc. 

THERE'S ALWAYS A WOMAN— Fine. 
Screwball comedy tfaat you can rely upon. Joan 
Blondell and Melvyn Douglas this time play the 
parts of the harum-scarum married couple whose 
antics have you "rolling in the aisles" as they 
call it. (Mary Astor, Frances Drake). 



8 



Silver Screen 




ROM STAGE HIT 

TO SCREEN SENSATION in a blaze of glorious romance 

and heart -lighting laughter! . . • The play that pierced the armor of New 
York ... screened in all the punch _ and drama and excitement 
that kept it running month after mFlpj^month on Broadway! . . . Get 
your hoped-for thrills from the -i w a JM^ screew " > ' s summer 
in the vacation-camp romance M/m f^flB^plH R ; that piles up all the 
adventures you've ever y Hk^K^ w dreamed for yourself 
in new places among 
DON'T LET ANYTHING 





\ strange faces!... 
REEF YOU AWAY ! 




JR. 



Screen play by 
ARTHUR KOREA 
Adapted from hit 
New York Stage suc- 
cess as produced by 
MARC CONNELLY 



PEGGY CONKLIN - LUCILLE BALL < LEE BOWMAN Mio 



RICHARD rirEo; SKELTON * ANN MILLER DONALD MEEK 

A PANDRO S. BERMAN Production • Directed by ALFRED SANTELL 

Silver Screen 



PICTURES 

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Read 
What 
-fc Others 
J Write 



Budgeting Your Beauty 



How One Secretary Solved This Problem. 



By Mary L 



ary L^ee 



ACTUAL stories, or case histories as they 
f \ are called in professional circles, often 
answer many of our own problems 
straight to the point. And because the prob- 
lem of looking lovely and smart on a budget 
is a very real one, and because no budget, 
whatever its size, ever seems quite big 
enough for all we want to do and want to 
be, let me tell you one typical story of how 
a girl managed to be an inspiration in ap- 
pearance, personality and career. 

Kay B. is a secretary, about twenty-two. 
In coloring, she is a compromise between 
Janet Gaynor and Jeanette McDonald; in 
expression, she reminds you of Margaret 
Sullavan. Without grooming and make-up, 
Kay would pass in a crowd unnoticed, as 
would so many of the red-gold hair type. 

Kay's good points are: hair that has the 
richness and beauty of bronze, a clear, color- 
less skin, that make-up dramatizes to 
peaches and cream, and a petite, graceful 
figure. Her negative points are slightly 
crowded teeth, normal but too light brows 
and lashes, and a full, irregular mouth. 
Kay earns the average secretary's salary, 
contributes generously to her family and 
has the small balance for her own beauty. 
How docs she do it? 

She can't afford weekly visits to the coif- 
feur, but every now and then she goes to 
a good one for a trimming and a new ar- 
rangement. Fortunately, she has natural 
curls, and these she keeps in the pink of 
condition by borrowing a grand hair secret 
from her brother. She uses his Glover's 
Medicated Soap for a shampoo, and before 
every shampoo she gives her scalp a good 
work-out with his Glover's Sarcoptic Mange 
Medicine. She knows a healthy scalp means 
beautiful hair, and when a man approves 
a hair treatment, be sure, it works. With 
all highly colored hair, beauty lies in its 



brilliance, sheen and silky texture, and the 
very reputable Glover's preparations are de- 
signed from a medical standpoint to work 
at the very roots of hair condition— the 
scalp. If you have any of the usual hair 
ailments, dry, scaly..$calp, lack-lustre hair, 
too much oil or dryness, these very practi- 
cal aids should be your answer. 

Kay's skin is paper-thin and fine, and so 
she finds Lady Esther Four Purpose Cream 
about takes care of that. This is the way she 
uses it, and the right way. First, an appli- 
cation to remove make-up and dust, then 
a fresh application that remains on while 
she is bathing or doing chores. This cream 
is ideal for general purposes and when re- 
moved, leaves skin slightly moist and ready 
for make-up. Of course she uses soap on 
her face, too, balancing the cream and 
soap to meet skin conditions, and when a 
big date pops up, she applies a Linit Facial 
Mask. One box of Linit serves a number 
of purposes for Kay. Instructions are on 
the box for this quick, economical and 
highly effective mask, and Linit in the bath 
is wonderful for body skin, leaving it 
smooth and silky. 

I spoke of Kay's crowded teeth. Still, 
they are beautiful, so white, so sparkling, 
and you don't forget her smile. Her cleanser 
is Forhan's for two good reasons; the beauty 
of teeth and the health of gums. She know* 
that if she neglects tooth and gum health, 
there may be big dentist bills, and besides, 
she has a little trick of showing some gums 
when she smiles. When they are pink, firm, 
they add to the brilliance of a smile: never, 
if they're dingy and unhealthy looking. 

Kay's colorless—skin is a perfect canvas 
for artistic make-up. The Lady Esther 
Cream serves as sufficient make-up base. 
She has two make-up color plans— a warm 
tone when she wears greens, browns, y el - 







Margaret Sullavan. Kay is often told that her 
expression resembles Margaret's — a real compliment. 



10 



Silver Screen 




NEW-TYPE ICE DEODORANT 
Is greaseless and actually cooling 
— checks perspiration I to 3 days 



lows and white; a pinker tone for blues, 
soft pinks, black and also white. Rouge goes 
high on her round little cheeks. She uses 
a cream form and applies it very lightly. 
She likes Helena Rubinstein's Rouge en 
Creme and Lipstick in two groups, Red 
Coral for the warmer tones, Red Straw- 
berry for the pinker tones. Peachbloom is 
the rouge tone that complements the Red 
Strawberry Lipstick. Madame Rubinstein's 
Town and Country Face Powder in Peach- 
bloom gives Kay's skin just that under- 
tone of radiance it needs. 

Kay's hazel-brown eyes are round, like 
Janet's, and so she keeps her brows mildly 
arched to be in harmony. Had she long, 
narrow eyes like Kay Francis, the straighter 
brow would be more becoming. Kurlash 
Tweezette, the semi-automatic, painless 
tweezer, does a fine shaping job, and all 
brows need grooming to a neat line, though 
that high pencil line is as definitely out as 
the high, buttoned shoe. If you want to 
see the amazing difference a real brow 
makes on a face, compared with that old 
leathery line, please notice Alice Faye in 
"In Old Chicago." She's twice as attractive 
with a fuller brow. Kay accents her brows 
with Maybelline mascara and eyebrow pen- 
cil—both brown. 

Girls like Kay, of course, have a serious 
summer problem in sunburn and freckles. 
Dorothy Gray's Sunburn Cream is Kay's 
salvation. She applies it generously on all 
exposed skin before going out in the sun, 
wind or glare on an overcast day. She takes 
her bottle of cream with her, renews it 
frequently to her skin. This cream is a 
"must" for sensitive skins in summer. It 
leally works, is fragrant, easy to apply and 
does not stain or soil clothing. Remember 
it for the children, too. In case of a touch 
of burn from over-exposure, Kay finds her 
Hinds Honey and Almond Cream a 
splendid skin soother. This is the prepara- 
tion that keeps her hands lovely, too, 
throughout the year. A piece of special 
news, throughout the summer months when 
you buy the larger size of Hinds Honey 
and Almond Cream, you get with it a gift 
of a gay bandana, in a choice of five colors 
to match sports or beach costume! 

In the way of other accessories, Kay uses 
Arrid, a dainty cream deodorant that stops 
perspiration. It is gentle on skin and cloth- 
ing, works immediately and is greaseless, 
stainless and soothing. Revlon Nail Enamel 
in the Riviera shade adorns this secretary's 
busy fingertips. The tone is lovely with her 
skin and all costume colors and the Revlon 
Enamels have a grand reputation for long 
wear. 

These are just a few of the suggestions 
culled from one successful girl's personal 
habits. For Kay is successful. She is suc- 
cessful in her appearance; you like to look 
at her. Her boss and her office companions 
think there is no one quite like her for she 
knows that rare art of being more inter- 
ested in others than in herself; at least, her 
self-interest shows in her appearance, rather 
than in her words, which is a lesson, in it- 
self, for any girl who would be a success. 
To show sincere interest in others is Popu- 
larity Secret No. 1, and I believe you can 
do it best when you feel that you have done 
all you can to make yourself reasonably 
attractive to look at. Then, and only then, 
can you forget yourself enough to give and 
respond to others! 



CHANGE OF TITLES 

"Enemy Territory" (Virginia Bruce) has 
been changed to . . . "One Woman's Answer" 

"In Every Woman's Life" (Kay Francis) 
has been changed to . . . "My Bill" 



NOW, a deodorant that has every- 
thing— an ICE DEODORANT! 
It's easy to put on! It's actually 
cooling! It's absolutely greaseless! 
Its own fresh odor evaporates imme- 
diately! It checks perspiration! 

.The wonderful new Odorono ICE 
is based on a brand-new principle. A 
gentle, cooling ICE deodorant that 
goes on like a vanishing cream and 
disappears completely. It is not 
gr&isy or sticky. 

And here's another thing about this 
new ICE that will thrill you. It checks 
perspiration the instant you apply it . . . 
banishes worry over stained dresses and 




ODO-RO-NO 

COOLING — NON- GREASY 



offending odors up to three days! 

Its texture, too, is delightful. So light 
and easy to spread. And its clean, whole- 
some smell of pure alcohol disappears as 
soon as it's on, leaving you fresh, dainty 
— cool. 

After the first application you'll un- 
derstand why so many of the women who 
have tried it prefer the new Odorono ICE. 
You'll never have another moment's un- 
easiness about underarm odor or per- 
spiration. 

Try this sure, easy way of guarding 
your charm. Get a jar of t he new Odorono 
ICE tomorrow . . . only 3;5^ at all Toilet- 
Goods Departments. 

• "Safe — cuts down clothing damage, when 
used carefully according to directions," says 
The National Association of Dyers and Clean- 
ers, after making intensive laboratory tests of 
Odorono Preparations. 

SEND lOt FOR INTRODUCTORY JAR 



RUTH MILLER, The Odorono Co., Inc. 
Dept. T-S-S*, 1D1 Hudson St., Ne\» \»rk City 
(In Canada, address P. «>. 2320, Montreal) 

I enclose lfli 1 (15* in Canada? to rover eost of 
postage ami packing for generous introductory jar 
o! ( Idorono Ice. 

Name 

Address 

City State 



Silver Screen 



i 1 



PERSPIRATION 

FOR ONE TO THREE DAYS J 



2SP CREAM DEODORANi 

harmless 
sanitary 




HAIR ON FACE 

REALLY GONC! 



Simple. Quick. Leaves no 
trace of hair. With each 
„_ package of ZIP Epilator, 
"I °" you get a large bottle of 
itsout BOUQUET JORDEAU, a 
EPILATOR refreshing fragrance. This 
Treatment or free is a double value offer. Do 
Demonstration at n ot ™ ss lt - An & ood stores. 

Madame Berthe, 562 Fifth Ave., New York 




^□FASHION MODEL 



Home Study Course 17 Quick Lessons 
YOU TOO — Can he a Model. Exp. models 
earn $25-$100 wkly. Send 10c for book D. I 
ANNE ARDIS, Box 422, Hollywood, Calif. 



SONG PDEM WRITERS 



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INDIANA SONG BUREAU. Dept. N.. Salem, Indiana 



"TRY ~ 

SITROUXr 



TISSUES 




BOOTS MAUORY, 
Grand National 
Pictures 
Star .... 



NEXT 
TIME 
TRY. 



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Boxes 



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Stars of stage and screen pre- 
fer Sitroux Tissues. So soft, 
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Although Claire 
Trevor's trailer 
boasts a tricky 
stove of its own, 
she enoys cooking 
her breakfast on 
this charcoal grill 
after camping 
overnight. 



It's Fun To 
Eat Your 
Meals 
Outd oors. 



B 



y 



Ruth Cork 



in 




HOW ABOUT A PICNIC? 



WE SHOULD really make the most of 
the very short season allowed us by 
Mother Nature and get out in the 
open for our meals as much as possible. 
Here are a few suggestions to help along 
your appetite. 

Let's start off with the barbecue picnic. 
A place is chosen where pits or stone stoves 
are ready for the picnickers and most of the 
cooking is done there. Of course, if you 
prefer, the meat may be barbecued at 
home and brought along for reheating but 
you will miss a lot of the fun if you do 
that. 

BARBECUE PICNIC 
*Barbecued Meat 
Corn-on-cob, cooked in husks on top of 
grids, buried in ashes or steamed 
in pot 

Baked Potatoes (in ashes) Cole Slaw 
*Chocolate Cake 
Hot Coffee Lemonade 

BARBECUED MEAT 
The best cuts of meat are the shoulder 
of beef, rib roast of beef, boned shoulder 
of lamb, or boned leg of pork. Porkv I be- 
lieve, is more universally preferred. Dust 
meat well with flour before putting it to 
brown so it will brown rapidly and seal 
juices. Place a pan directly under meat 
to catch drippings. Baste from time to time. 
For additional flavor alternate by swabbing 
with a mop dipped in a sauce made by 
simmering 1 tablespoon cayenne, 1/2 cup 
water, i/ 2 CU P vinegar and salt to taste. 
Beat this into 14 pound of butter to which 
has been added 1 teaspoon pepper. All in- 
gredients must then be simmered 30 minutes 
before using. Keep turning meat so it will 
brown nicely on all sides. 

For people who like the barbecue touch 
without having the food too highly sea- 
soned here is a grand substitute. It is pre- 
pared at home and carried along hot in a 
food thermos. In certain sections of Texas 
and the middle west Chili is served with 
spaghetti, which has been broken, before 
cooking, into short pieces. They call it Chili 
Three Ways and it is a tasty and appetizing 
dish. 



CHILI COX C. ARN'E 
1 pound ground beef Pepper or cayenne 



4 onions, chopped 
1 tablespoon butter 
3 1 -pound cans red 
beans 



1I/2 teaspoon Chili 

powder 
1 No. 3 can toma- 
toes 



2 teaspoons salt 

Brown onions and beef in melted butter, 
cook for 10 minutes. Add beans, tomatoes, 
salt, chili powder and a dash of pepper or 
cayenne. Simmer for 15 minutes. Now, here 
is another and altogether new barbecue 
serving trick . . . toast frankfurters and 
place between finger rolls which have also 
been toasted. Pour the Chili Con Came 
over them and serve at once. 

CHOCOLATE CAKE 
Here is a new eggless delight. Blend 2 
ounces melted Bakers Chocolate, a table- 
spoon butter and a teaspoon soda dissolved 
in 1/2 cup milk. If evaporated milk is used 
try White House and dilute to proper con- 
sistency. Add ii/ 2 cup s Gold Medal Kitchen 
Tested Flour, another i/ 2 cup milk, 1 tea- 
spoon Sunbeam Vanilla and a pinch of salt. 
Beat well, pour this thin batter in 2 8-inch 
layer cake pans. Bake 40 minutes at 350 0 F. 
Cool. Fill with a nut cream filling and 
frost with seven-minute icing. 

BUBBLES 

A light picnic sweet for any taste. Make 
a noodle dough by blending an unbeaten 
egg, 1 tablespoon ice water, 1 cup Pills- 
bury's Sno-sheen Cake flour sifted with i/ 2 
teaspoon Royal Baking Powder and a pinch 
of salt. Knead well but quickly, divide in 
several parts, roll and pull till paper thin, 
almost transparent. Cut in squares and fry 
in Crisco i/i an inch deep. This will make 
Bubbles puff, blister and curl quickly. 
Drain. Sprinkle with Domino sugar or cin- 
namon and sugar. 

ANY OCCASION PICNIC 
Broiled or Fried Chicken 
or 

•Rolled Fish Fillets, Jardiniere 
Mixed Vegetable Salad 



Silver Screen 



Bread and Butter Sandwiches 
Cantaloupe or Honeydew Melon 
filled with Fresh Pineapple or 
Berries 
Iced Tea, Coffee or Milk 
The chicken may be wrapped in wax 
paper, and then in a cloth and thick layers 
of newspapers to keep hot or it may be 
allowed to cool before packing. For the 
mixed vegetable salad use the very new 
Sunbeam brand. It comes in glass jars all 
ready to serve and it is really delightful. 

FISH FILLETS, JARDINIERE 
\ cup shredded raw 4 thin fillets floun- 



vegetables 

1 slice onion, minced 

2 tablespoons Kraft's 
French Dressing 



der 

i/2 teaspoon salt 
Juice 1 lemon 
Ann Page Salad- 
Dressing 

Shred celery, cabbage, carrots and green 
pepers, add onion and mix with French 
Dressing. Spread vegetables on fish, roll and 
tie with string, or skewer with tooth picks. 
Place fish rolls in covered pyrex dish, 
sprinkle with salt, pepper and lemon juice, 
cover and bake in moderate oven, 325 0 F., 
about 25 minutes. Cool and chill in refrig- 
erator. They may be carried to the picnic 
in dish and carefully removed with a per- 
forated pancake turner to serve with salad 
dressing. 

A cold baked ham, cold cuts, assorted 
sausages, potato salad, devilled eggs, potted 
meats, sardines and cheeses are always wel- 
come additions to a picnic. There must be 
olives and pickles and, of course, sand- 
wiches. Crosse and Blackwell's Date and 
Nut Bread spread with Philadelphia Cream 
Cheese is always nice. Sandwiches can be 
made up on the spot from the above assort- 
ment or prepared at home and packed 
ready to eat. Here are a few fresh ideas 
for sandwiches as well as some old timers: 

Chicken salad spread; cream cheese, 
shredded pineapple and cherries (cream 
cheese is adaptable to many combinations 
with vegetables, fruits, even meats); shrimp 
or crab meat salad spread; the very new 
Sunbeam sandwich olive spread which may 
be . used alone and in combination with 
other foods; corned beef with cold slaw; 
shredded raw spinach with chopped egg, 
celery, onion and seasoning; even the old 
fashioned hamburger may be included. 

And here is a new set of fillings for the 
ever popular and colorful 

SANDWICH LOAF 

Remove crust from loaf of unsliced sand- 
wich bread and slice lengthwise into four 
layers. Spread slices of bread with butter 
then with a Red filling made of finely 
ground ham or salmon mixed with chopped 
pimentoes; a yellow filling . . . yokes of 
hard boiled eggs grated and mixed with 
Durkee's Mayonnaise; a green filling . . . 
sweet pickles, water cress or parsley, olives 
and nuts, chopped and mixed with mayon- 
naise; a white filling . . . cream cheese, 
grated cucumber mixed with mayonnaise. 
Tuna fish or chicken may be also used if 
desired. Put layers together then wrap loaf 
lightly with a damp cloth or wax paper 
and chill in refrigerator. Then cover loaf 
with a mixture made of cream cheese, Dur- 
kee's Salad Aid and Lee and Perrins 
Worcestershire Sauce. Garnish with slices of 
olives, tomatoes, or sprays of parsley. Two 
kinds of bread may be used for a different 
taste and effect. 

No list of picnic menus could be complete 
without at least one good cookie recipe. 

MOLASSES COOKIES 
Cream 1 cup of butter, Crisco or Spry 
with 1 cup of sugar. Add 2 eggs, 1 cup Brer 
Rabbit Molasses, 1 teaspoon soda dissolved 
in 1 cup of ice water, 4 cups flour, sifted. 
Mix well and drop by tablespoonfuls on a 
greased cookie sheet. Raisins may be added, 
if desired. Cook in moderate oven, 375 0 F. 




6 Like magic! Jantzen's marvelous 
new Wisp-o-weight suits of pure wool 
and Lastex yarn smooth and soften un- 
ruly curves, slim-line your figure. Just 
the ideal ratio of two-way stretch 
achieves the comfortable figure-control 
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amazingly light, exceptionally soft, re- 
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Try on a smart Jantzen Lastex Wisp- 
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ference on you! Jantzen Knitting Mills, 
Portland, Oregon; Vancouver, Canada. 




LASTEX WISP-O-WEIGHT SWIM SUITS 



JANTZEN KNITTING MILLS, Dept. 192, Portland, Oregon 
Send me style folder in color featuring new 1938 models. 

WOMEN'S □ MEN'S □ 



Nan 
Stre 




ROCHELLE HUDSON 

20ih Century-Fox Star, appearing in 
"Rascals." The 'Cherie" $6.95. Other 
Jantzen creations $4,95 to $.12.95. 



City 



Silver Screen 



13 



FROM GREAT STORIES COME THE GREATEST PICTURES! 




. . . and here is the story 
the author of "Treasure 
Island" always considered 
his best! . . . now on the 
screen for the first time! 
. . . spectacularly produced 
by 20th Century-Fox! 



Strangely they /net... gallantly 
tbey risked their lives for each 
other., .a valiant three against 
a nation's vengeful might! 




Kidnapped 

with ™ W 

WARNER FREDDIE 

BAXTER • BARTHOLOMEW 



in the role you always 
wanted him to play 



in his first picture since 
"Captains Courageous" 



ARLEEN WHELAN 

the year's emotional discovery in her sensational debut 

C. AUBREY SMITH -REGINALD OWEN 

JOHN CARRADINE-NIGEL BRUCE-MILES MANDER 
RALPH FORBES • H. B. WARNER • ARTHUR HOHL 
E E.CLIVE • HALLIWELL HOBBES - MONTAGU LOVE 

and a cast of 5,000 

Directed by Alfred Werker 
director of "The House of Rothschild" 

Associate Producer Kenneth Macgowan • Screen Play by 
Sonya Levien, Eleanor Harris, Ernest Pascal and Edwin Blum 

A 20th Century-Fox Picture 

Darryl F Zanuck In Charge of Production 

A NEW TRIUMPH IN BIG-PICTURE ENTERTAINMENT! 



14 



Silver Screen 



T 



opics 



For G 



ossips 



AND now it is rumored that pretty Anita 
Louise will marry Buddy Adler. S>lvia 
Sidney s friends in New York report that 
Sylvia and Luther Adler are still deep in 
the throes of their romance. It looks like 
a big year for Adlers. By the way, Stella 
Adler of the same family, directed the Los 
Angeles company of "Golden Boy," and 
was pronounced quite the most dazzling 
director the West has ever had. 

P\ESPITE the fact that the Janet Gay- 
nor-Tyrone Power romance has been 
declared "off" by practically every columnist 
and commentator in the country it was 
little Miss Janet who sat at the head of 
Ty's birthday table, and cut Ty's birthday 
cake, at Ty's birthday party recently. 
—»<§>— 

THE daily call sheet on the bulletin 
board of the Publicity Building of the 
Twentieth Century-Fox studio had the 
passers-by doubling up with laughter. It 
read: "Two elephants, two camels, mother 
lion, two wild hogs, lion cubs, two mon- 
keys, two apes, Warner Baxter and Mar- 
jorie Weaver." 

— »#»— 

MARLENE DIETRICH is writing letters 
to Douglas Fairbanks Jr. from Europe 
—but Doug Jr. the gay cavalier, is now 
hopelessly mad about Loretta Young. 

MOST movie stars simply flare-up in 
temperamental flames and do their 
best dramatic acting oil screen if they aren't 
accorded the customary "star courtesies" in 
Hollywood. But there are two stars, Joel 
McCrea and Bette Davis, who demand no 
"courtesies," and, unlike their fellow thes- 
pians, get furious when favors are thrown 
at them. 

Nothing makes Better Davis madder than 
to arrive at the Trocadero, or any res- 
taurant, and have the head waiter say, "We 
aie crowded tonight, Miss Davis, but for 
you we can always make room." And then 
crowd in a table on the dance floor. "It 
makes me mad," says Bette, "because if 
I happened to be Bette Davis, salesgirl, and 
not a movie star they wouldn't think of 
making room for me." Whenever Bette 
catches them "putting an extra table on 
the dance floor" she walks right out of the 
restaurant. 

And the other evening at the revival of 
"The Shiek" Joel McCrea and Frances Dee 
were patiently waiting their turn in line 
at the box-office when the house manager 
spied them, and', as house managers always 
do for movie stars, rushed up and insisted 
that they follow him right into the theatre, 
sans tickets and sans crowds. "No thanks," 
said Joel, "we'll wait our turn in line. There 
are other people just as eager to see the 
picture as we are." 

I'm telling you, you won't find many 
stars in Hollywood like Bette and Joel. 
»—"#—» 

yOU can always tell if W. C. Fields 
really means it when he invites you to 
dinner. He sends you a map showing how 
to get to his bouse tucked away in the Bel- 
Air hills. 

—»#"—" 

MARTHA RAYE is becoming famous for 
her impersonations. When things get 
dull she does an impersonation of Sonja 
Henie that will kill you. Her "Snow White" 
is becoming so famous that they now ask 
her to do it at Benefits. 

«—'■<$> 

]OAN DAVIS had an old gag pulled on 
— her the other day and fell for it hook, 
line and sinker. During the cowboy num- 
ber of "Josette," Joan, urged on by a prop 




W. C. Fields 



Anita Louise 



Silver 
Screen 




mourned Joan, "I've 



man. drew 
six-shooter 
her hip 
and fired 
the air. Right 
after the gun 
barked the body 
of a man dropped 
from the rafters 
right in front of 
Joan, his face 
bleeding profuse- 
ly. "I thought it 
was a blank cartridge, 
killed a man." 

She was just on the verge of fainting 
when Don Ameche and Director Allan 
Dwan burst out laughing and confessed 
they had framed her. The electrician wasn't 
hurt and the blood was only catsup. Joan 
Crawford passed out cold the day the gag 
was played on her. 

—.QU- 
IT'S success at last for Marjorie Weaver. 
1 She has had a hog named alter her! The 
other day she received a letter from a 
farmer in Perkinsville, Indiana, which' 
read: 

"Dear Miss Weaver— I am naming my 
best hog after you. I think she will 
get a prize at the county fair this sum- 
mer. I will let you know whether your 
name helps the hog. Please send me a 
picture of yourself to put in the pen at 
the lair. Sincerely, O. I). Jaecke." 



A ND only the other day Gai 
* * received a fan letter from 



ry Cooper 
a woman in 
Texas who casually asked him to scud her 
several dozen of his latest pictures at once, 
as she was expecting an heir in seven 
months and if she surrounded herself with 



Cooper pictures the 
baby would resemble 
Gary. What will they 
think of next! 
„_„<§>„ — 

GENE RAYMOND 
grew a mustache 
while vacationing in 
New York. Fans, 
though, seem to be 
death on facial 
adornments for their 
favorite young lead- 
ing men, so Gene 
will probably have 
to remove it before 
he faces the camera 
again. 

•—<%>— 

Da t r i c i a 

- 1 - WILDER says she 
originated the "Big 
Apple" five years ago 
in Macon, Ga., when 
she ran into a horse- 
drawn applecart, up- 
setting it and scatter- 
ing the fruit all over 
the street. The irate 
Italian driving it 
made her pick up 
every single apple, 
flicking his long 
horsewhip at her 
heels to keep her at 
it. She says the "Big 
Apple" steps are very 
much like those she 
employed in dodging 
the horsewhip while 
grabbing for the 
fruit. 

„ — <S>„— . 

Printed silk in 

•*■ vivid shades of 
cerise and blue is the 
unusual fabric se- 
lected by Sonja Henie 
for a pair of after- 
noon sandals chosen 
for mid-summer wear. 
The skating star had 
these shoes designed 
so that the fabric is 
crossed and wrapped 
about the instep, and then tied in a tiny 
"bandana" knot at the side of the ankle. 
Sonja wears these with an all-white after- 
noon hock, and carries a bag to match. 
<$>.,_„ 

VY/HF.N a visitor on the set of "The 
* * Texans," asked Joan Bennett's small 
daughter, Melinda, if she wanted to be in 
pictures when she grew up, her reply was 
"no." It seems Melinda's main objection 
is "that greasy stuff you have to wear on 
your face." 

._„3>„ — 

'THERE are no "yes" women on the staff 
*■ of Bing Crosby, Inc., their vote for a 
screen lover revealed recently. Gladys 
Wayne, Bing's secretary, confessed that Bing 
is a swell boss but that Fred MacMurray 
is her idea of the most romantic screen 
star. Polly Ballard, another secretary, ad- 
mitted that she thinks Bing is swell too. 
but she'll take George Raft on the screen 
am lime. 

"It's all right with me," says Bing, "ami 
I'm sure my wife will be glad to hear it." 

IF YOU think the New York critics are 
satirical you ought to get a load of what 
the exhibitors say about Hollywood pic- 
tures. One of the prizes we picked up re- 
cently was said by Exhibitor Ely Sell" of 
Davenport, Iowa, about Greta Garbo in 
"Conquest." Said Mr. Neff: "Greta Garbo is 
often identified by the phrase, 'I vant to be 
alone. ' Wc have just finished a three-da) 
run in our theatre of Garbo in 'Conquest.' 
No one bothered her." 



Marjorie Weaver 
Sonja Henie 
Joel McCrea 



15 



By Jerome Zerbe 



'"PHE high ceilinged room, with its dark green walls and white 
I curtains and furniture, was buzzing with the animation of 
arriving guests. Gladys Swarthout in the brightest ot water- 
melon pink dresses with a gold brocade girdle and an equally 
pink camellia in her hair, had but just gotten there. Florence 
Match in mists of dusty pale green tulle had already come in with 
handsome husband Fredric, and columnist Lucius Beebe was 
admiring his reflection in an exquisite Venetian Glass mirror as 
he mounted the stairs. 

It was all as fascinating a group of charming people in the 
public eye as one could hope to encounter, and almost everyone 
was not only superb to behold but at the very top of their pro- 
fession. To be sure, an overly-ambitious and under-helpful press 
agent added the acid note. The hostess herself, Mrs. George Schlee, 
better known as Valentina, the dress designer, has a rare and 
delicate sense of the exotic. Around the walls of her white dining 
rooms were individual pots of white hyacinths and even where 



(Top to bottom) Marlene Dietrich dances with Cornelius 
Vanderbilt Whitney. Grace Moore and Tullio Carminati 
laughing, perhaps, at the memory of the heap of books 
on Grace's stomach in "One Night Of Love." Wendy 
Barrie, just off a plane from the Coast, finds birthday 
wires waiting for her at El Morocco. (Right, top) Flor- 
ence Rice hooking up her dress, much to Leighton Stevens' 
amusement. (Right) Nino Martini, Elissa Landi and 
Everett Jacobs. 



I 



16 



When The Picture Stars Come 
Within Range Of His Impudent 
New York Lens,, Zerbe Bags 'Em. 



were great masses of white peonies. 

There was fairly loud, happy laughter below stairs and in a few 
minutes, followed by her dark and adoring husband, Grace Moore 
came up. She was wearing a crepe dress of vivid green on one 
side and lighter green on the other. Such a robe as might well 
have graced the figure of a Grecian Tanagra. As she smiled and 
shook hands around the room, I wondered how so gracious a 
person could so often manage to be seen in an unpleasant light. 
There have been so many stories about her thoughtlessness toward 
fellow artists, of bad temper and temperament. I myself had one; 
seen a flash of this, but 1 had been convinced it was unintentional 
and certainly this x evening at Valentina's she was in very good 
humor. 

The whole evening was a splendid one. After a marvelous buffet 
dinner and after the liqueurs, Gloria Swanson, Tullio Carminati, 
Alfred Lunt, Dorothy Gish and the other twenty some odd guests, 
including the Grand Duchess Marie, heard Swarthout and Moore 
sing, and fat jovial little Rapael play his concertina like the 
great artist he is. It was one of those delightful and completely 
informal evenings that come only too rarely. It had an intimacy 
that in Hollywood seems strangely difficult to capture. 

Not that Basil and Ouida Rathbone's parties are not great and 
magnificent successes that make those of New York"s Elsa Maxwell 
feeble in comparison, but they are founded on the idea of large 
group entertaining rather than the [Continued on page 70] 





(Above, left) Irene Hervey and Allan Jones, her husband, 
entertain Kitty Carlisle and another friend on the last 
night of their vacation. (Left) Clare Luce, of the Broad- 
way hit, "Of Mice and Men," escorted by Chester Morris. 
(Top to bottom) Ray Milland with Anita Colby and a 
wee drop of champagne. Hostess Mrs. Schlee, Bontet de 
Monvel, Dorothy Gish and Gladys Swarthout. Comedian 
Charles Butterworth dining with Mrs. Julian Field. 
Nothing funny about that. 

17 



HAS this ever happened to you? 
You hear a funny story. You think 
it is great. Mentally you resolve to 
tell it to your friends who are coming to 
dinner tomorrow night. You know they 
enjoy Eddie Cantor and miss his program 
while their radio is being repaired. Gosh, 
his gags sure give you a big laugh and 
they ought to giggle when you repeat 
them. 

Yeah . . . that's what you think! 

You tell your tale, remembering every 
single word of the story. But instead of 
giggling, everybody groans. As they say in 
show business, "it laid an egg." Or even 
to quote Bing Crosby's great line, "it laid 
an angel cake, and that's two dozen eggs." 
Believe it or not, many a beautiful friend- 
ship has been wrecked because the listener 
didn't laugh in the right place. Well, if 
this has happened to you before, it needn't 
again if you are willing to do something 
about it. And that something is to under- 
stand comedy technique, to realize that 
there is a knack to telling a funny story. 

I asked some of the best boys in the 
business to tell me how they do it. Being 
a professional comedian isn't exactly a 
laughing matter for when it comes to being 
funny for money, you'll find that the folks 
whose silly sallies send you into hysterics 
are quite serious about their work. But out 
of their long experience at "rolling 'em 
in the aisles" they have some excellent sug- 
gestions on how to put a story across, to 
"sell" it to the listener. 

"In telling a funny story, it is most im- 
portant to have the receiving audience in 
mind," points out Phil Baker. "In other 
words, are you telling it socially or pro- 
fessionally. Of the two, the social story is 
harder to tell and that's the one we'll deal 
with. It's harder to tell because your friends 
can, and do, talk back to you. On the other 
hand, in a large audience, there are always 
a few people who haven't heard the gag 
before. And even those who have, unless 
they have an unusual amount of my heckler 
Beetle in them, won't interrupt. 

"First of all, memorize the story thor- 
oughly. Nothing spoils the telling more 
than to be brought up short in the middle 
with a complete lapse of memory and to 
have to paw the air with a . . . well, now' 

Burns and Allen are a very 
popular team. They have 
turned nonsense into an art. 




wait a minute, it's awfully funny if I can 
just remember how it goes.' 

"Next, devise a means of edging in on 
the conversation. It's well if you can work 
your story in on a common topic. For in- 
stance, if everybody is talking about the 
unexpected summer shower, clear your 
throat and in a loud commanding voice, 
say, 'Speaking of rain, has anyone heard 
the story of the travelling salesman who 
was caught in the rain just as he was 
passing a farm house?' This is the crucial 
point. Don't give your audience a chance 
to reply. Someone has surely heard it or 
will claim he has. Launch right into the 
tale without hesitation. 




"Then keep on talking. The 
faintest stammer will bring an in- 
terruption from the guy in the 
corner with the glazed eyes, who 
has been reminded of a story of 
his own. He will break in any 
minute with a 'Ha! Ha! That's very 
good, but did you hear the one 
about. . . .' 

"Once you've found it will make 
them laugh, you can use that story 
until the croud walks out on you 
at the first 'Speaking of rain. . . .' 
or until you're convinced that the 
one you took for better or worse 
really will make good on the threat 
to commit murder if you tell the 
story again." 

That's Phil Baker's idea. My idea 
was for him to tell me the story 
about the travelling salesman 
caught in the rain, but the raised 



Eddie Cantor senses the 
moment when your laugh- 
ter will break loose. 
(Right) Fred Allen pon- 
ders over the devastating 
effect of scrambled words. 



titah.ma: 



OR STRICT!,} 



Catch On? Well, Anyhow, 
Read How The Radio Oa3= 
Male ers Pack Their Punches. 



18 



eyebrows of his wife showed me he knew 
it wasn't such a good idea. So sorry, readers. 

Next I went to Ben Bernie who, beside 
sending intriguing tunes into your loud- 
speaker, also goes in for a bit of bright 
badinage. A wit, no less. Well, see for 
yourself. 

He, too, believes in sizing up your audi- 
ence, especially with regard to explanatory 
details. According to the old Maestro, the 
worst thing a story-teller can do to spoil 
his work is to put in so many footnotes that 
you stumble over them and lose the thread 
of the story. "Still worse is to build up to 
an anti-climax or to tip off the smash end 
before the right spot arrives. The best story 
I know is the one Bing Crosby told a group 
of us one day at the race track, about a 
London bookmaker who was tactless enough 
to have killed his wife. 

"He had to hang, of course. There is 
simply no beating the rap in England. 
Having a lot of money and feeling sure 
he wouldn't need it where he was headed 
for, he willed his fortune to his assistant, 
Alf Whitson, whose job it had been to 
record the bets. 

"Alf was in the courtyard of the execu- 
tion-place the morning his boss was to 
swing, watching the gallows from a consid- 
erable distance. The trap 
dropped and the bookie 
swung at the end of the 
rope. 

"One of the spectators, 
a little chap who used 
to place ten-shilling 
wagers, sidled up to Alf 
and whispered: 'Now 
you've got all the brawss, 
Alf, 'ow's about it for a 
couple of quid?' 

'To which Alf replied, 
'Not a farthing until the 
official goes up!' 

"Now to a person 
ignorant of horse-racing 
and the customs of 
the track, Alf's reply 
wouldn't have meant a 
thing. But Bing knew 
his audience and the 
story was a slugola! 
You see, when a man is 
hanged in England, a 
black flag is raised to 
the top of the staff when 
he is pronounced dead. 
And at the race track, a 
red board is put up 
'**t X^*^ «v» when the judges have 
finally decided which 
horse has won. That's 
called 'the official.' So 
Alf, true to his tradi- 
tions, wasn't" parting 



TAH — 
SLUGOLA! 




Rutn Arell 




(Top) Jack Benny and 
Mary Livingstone are 
both joke masters. 
(Right) Phil Baker even 
gives funny advice! 



with any of his money until all the for- 
malities had been complied with. 

"Bing might have spoiled the story if 
he had stopped to explain to his listeners 
about the flag. He took it for granted that 
he was talking to wise guys who knew 
the customs, and the result was a knock- 
out." 

Incidentally, Ben told me that the gag- 
making fraternity has its own jargon for 
labeling jokes. One that brings merely a 
light laugh is a titah-ma-titah. A hupcha'r 
di-bupcha is a general, resounding laugh. 
But the gem, the nugget, the pearl of great 
price, is the slugola. It's the gag that makes 
the laughter come out in long, loud, sus- 
tained yowls and things like a 25 per cent 
salary cut, a prolonged visit from the in- 
laws, and a hopping tooth- 
ache—all happening at once 
—can't check the guffaws. 

According to Eddie Cantor, 
the one big essential in tell- 
ing a joke is a sense of show- 
manship. This means know- 
ing how to time yourself so 
as to pull the punch-line at 
the right time and catch the 
listener unawares. So that he 
has to laugh in spite of 
himself. According to Eddie, 
that's the big thing the ama- 
teur story-teller has to learn. 
All too-often he "telegraphs" 
the answer, that is, he some- 
how lets the listener know 
what the end is going to be 
before it is actually reached. 

The sign of the profes- 
sional, in telling a joke, he 
insists, is the ability to make 
new ones out of oldies. "The 
person who goes in for story- 
telling will soon find, as we 
in the business have, that 
there are all too few original 
jokes. The thing 
to do is to de- 
velop an imag- 
ination that will 
give a gag an 
original twist, 
and at the same 
time make that 
twist timely. 
Thus, even if 
the start of the 
gag is old. the 
fresh treatment 
of its end inn 



may make it sound like an entnely new 
story. 

"Here's what I mean. There is the old 
saw of the restaurant patron complaining 
to the waiter, 'There's a fly in my soup' 
and the time-weary answer, 'Why worry? 
How much can a little fly eat?' 

"Of course it's timely for summer, but 
it's so old it has a long gray beard. A good 
switch, especially if you are telling it to 
a fisherman, is: 'Grab your fork— maybe a 
trout will come to the surface.' Get what 
I mean? These changes depend on your own 
ability. But if you can take old jokes and 
give them a novel ending that will guar- 
antee to produce belly-laughs, I'll sign you 
up as a gag-writer. Say, I'm no dope." 

In order to get [Continued on page ygj 




\9 




Adolphe Menjou's clothes attract imme- 
diate attention. (Below) Robert Taylor — 
a knockout. 





Irene Dunne is always beauti- 
fully groomed. (Right) Ginger 
Rogers is the wholesome type. 



I'M going to begin this article by being very clever about the 
whole thing and winning the undying gratitude of the 1938 
crop of tourists who are planning their trip to California, the 
land of Never-Never Wanta Leave. 

There is little doubt in my mind, but what you'll take in Santa 
Catalina, Santa Barbara, Santa Anita (the Chamber of Commerce 
extends regrets that there ain't no Santa Claus)— but how many 
have the slightest intention of returning without a stay in Holh- 
wood and at least a glimpse of "Marbp Crawburn?" And right here 
is where I jeopardize a mighty fine job because I have been in- 
spired to give you something very hot in the way of a tip. It's so 
simple. All you have to do is to find the most exclusive (pro- 
nounced x-pen-siv) complete apparel shop in town, browse through 
and you'll feast your eyes on Them. 

Of course this little performance on your part will hardly be 
appreciated but nothing will ever be done about it unless you 
make the mistake of asking for an autograph— an action which 
would immediately make you the recipient of a most dignified 
bum's rush. 

If you'll pardon me now, I'll step from the ranks and see what 
I can do for those unfortunates who won't be amongst us this 
season. 

Suppose I conduct this class by leading with the question: What 
is the first thing you ask an individual who has recently returned 
from Hollywood? Why. you actually implore that Public Envy- 
Arouser No. 1— with reverence in your voice— to tell you what 
so-and-so really looks like off the screen. X'est-ce-pas? 

Now I want you to know that I'm basing my whole theory on 
the absolute authenticity of the immediately preceding paragraph. 
I am convinced, O ye Followers of my Scribblings, that you'd by 
far prefer to have a glimpse of your favorite star through the eyes 
of a close and impartial observer than through those of a highly 
paid builder-upper. 

And as long as Shirley Temple was your favorite film star again 
for '37 I figure she rates to top most anything— so let's begin with 
her. 

She is without a doubt the cutest little doll you ever did see. 
We, my co-workers and I, haven't seen her since her mother was 
in the hospital, but she's been to Hawaii, Palm Springs, etc.. 
having well earned vacations between pictures— so we forgive her. 
The last time I saw her, though, she was all in blue and looked 
adorable as usual. Her little skirt was just as short as it could be 
and she had a tiny blue hat set way back on her head. Her hair 
is really golden but instead of affecting the set curls of the re- 
nowned Shirley Temple coiffure, it is allowed to fall softly into 
little ringlets on her neck. The thing that intrigues me, however, 
is that she looks even younger off the screen and yet she's very 
adult in her conversation. On one occasion, her reply to my com- 
ment that she looked really lovely, was that she felt simply 
marvelous, too, and couldn't understand it herself cause she really 
had worked dreadfully hard the day before. Do you wonder that 
we love her? 

She adores Bill Robinson and he carries a watch she gave him 



which is inscribed on 
the back— "To Uncle 
Billy Robinson, 
Happy Birthday 
from Shirley." He 
showed it to me 
while I was helping 
him select a gift for 
her birthday. And if I may say so 
—I don't blame her. He's very 
regular. And, do you know that 
every day of the entire duration of 
Mrs. Temple's illness, he visited 
her in the hospital and never failed 
once to put on a little song and 
dance for the nurses or patients? 

I'm asking you now. am I not a veritable fountain of informa- 
tion and this is only the beginning! 

Personally, I just can't resist rolling a current event over a 
barrel— especially when it points a finger of disaster at my future 
happiness. This morning's rag insinuated that the earlv spring 
had turned Cesar Romero's fancy towards Ethel Merman. Why 
the idea is preposterous, I hope! Sooner or later the news is bound 
to get to Mr. Romero that he is the one reason I live and breathe 
and brush my teeth. 

Promise nit one thing, please? Don't ever hiss him in a meanv 
role again— no matter how suave and sleek he appears. Because 
he's really not like that at all. He came into the store during the 
Christmas season in an old trench coat and with his hair mussed 
just a little and believe me when I tell you he has the darndest 
nicest smile. He'd come to buy his cook's wife a bag (s'help me) 



20 




A Girl Who Waits On 
The Stars When They 
Are Shopping Sees Them 
As They Really Are. 




Would you believe that Anne 
Shirley is crazy about horse rac- 
ing? (Left) Cesar Romero has 
the nicest smile — it gets you. 




By 

A Work er 
' Behind The 
Counter" In 
An Exclusive 
Hollywood Shop. 



They are all grand girls, but 
Virginia Bruce is the most 
beautiful. 



and in no time at all he selected one, found several othet thiivj 
that struck his fancy, and left— with my heart following him right 
down the steps and out the door! 

Right here is where you reach the conclusion that I'm really 
ridiculous but I fool you immediately and relate a little incident 
concerning the sublime Norma Shearer. I haven't seen her since 
shortly after the death of her husband and she was realh grief 
stricken if ever I saw symptoms. She selected a purse, stumbled 
pitifully over the change, and then left by the front door which 
struck me as odd because the parking lot is in back, so I stepped 
to the window to watch her. 

After standing on the curb for a moment she crossed against 




2 I 




A revelation to anyone. The 
author discovers that Marie Wil- 
son's eyelashes are REAL! 
(Right) Humphrey Bogart looks 
like anything but a gangster! 

the light which is dynamite in any part of 
California, let alone this particular corner. 
Then she waited on the next curb, quietly 
crossed the street against that light, too, and 
when she was just katy corner from where 
she started she wheeled on her heel, re- 
turned to the store, and sure enough, the 
signals were against her all the way back. 
Why, a dozen drivers were scared silly. I 
was downright slap-happy, and she had 
never even batted an eye 'en route'! I don't 
even like to think about it. 

Now if my readers will rise, I'll relate 
to them the incident of the nth day of the 
nth month at approximately 11:30 A.M. 
Someone stood at our portals with her nose 
pressed against the glass for so long that 
I became worried about the shape of it 
(the nose, I mean), so I strolled down and 
opened the door. Her eyes, and very pretty 
blue ones they are, too, got twice as big 
and Grade Allen (for it was she) said, as 
only she could have said it, "Oh, then you 
are open on Armistice Day!" 

Gracie Allen Burns is probably our star 
customer and is beloved by all. Her two 
youngsters are adorable and she dropped 
by my department the other day to tell 
me that they had recently listened to the 
broadcast for the first time, and that both 
were very pained that Georgie said "Quiet, 
Gracie" so often because they considered 
her so good that they wanted to hear more. 
I informed her that we all felt just the 
same and she was THAT pleased. 

Now here's something else again— the 
well-known bitter that accompanies the 
sweet, so to speak. You see, the males of 
the species so seldom frequent our little 
firetrap that I'm really sadly lacking in 
lowdown concerning them. They all come 
flocking in at Christinas time but, of course, 
so does everybody else, and consequently 
I've no time to absorb personalities nor ob- 
serve incidents, but for one or two excep- 
tions, and you've read those. I can tell 
you that Robert Taylor is a knockout but 
not so much so as to warrant babes under 



his berth; that Tyrone Power 
is very, very passable and, 
tie this— the girl that waited 
on him didn't recognize him; 
that Don Ameche has a 
splendid physique; Edgar 
Bergen barely moves his lips 
when he's talking to you; 
Johnny Downs is a serious 
and thorough shopper; 
Adolphe Menjou is a sensa- 
tional dresser; Bing Crosby 
and his inevitable yachting- 
cap reminds one of the 
famed rear admiral of the 
Swiss navy; Stu Erwin is the 
only one who'll go shopping 
with his wife; Franchot Tone 
looks and carries himself as 
good stock will; Jimmy Stew- 
art is always a little vague; 
Humphrey Bogart looks like 
anything but a gangster. 

Dietrich is a glamour gal 
if I ever saw one. Her skin is 




lovely. Her speaking voice thrills you to the 
marrow and then some. She buys lots of 
very good accessories which I can guar- 
antee will all be returned within the week. 
And isn't it a shame that the famed Die- 
trich limbs never show up to the best 
advantage because her hose never seem 
awfully secure and the seams are invariably 
twisted? 

But there's something about Marlene I 
can't quite lay my finger on that makes 
you unconsciously try to brush hayseed off 
yourself when you're in her presence. If 
she wasn't born with a little lapus-blood 
in her veins, then she's performed the im- 
possible and cultivated some. 

And because I believe in opposites, I'll 
now tell you— those that are still with me— 
about a very sweet little girl named Anne 
Shirley. She's the prettiest thing and so 
slender that she buys anything— any size— 
because everything has to be cut down 
anyway. 

One day while Anne was being fitted she 
became quite ill and had to rest a while, 
and she told me, between spells, how I 
could make my living playing the horses- 
just put my money on the favorite to show 



and to double back if he became an "also 
ran." She neglected to tell me, however, 
how much intestinal fortitude one required 
to follow a system like that. Ah, Anne, the 
money I've lost— and all 'cause you had a 
tummyache!! 

Again the columnist in me bobs up so 
hang on to your hats— here we go! Arlene 
Judge is the only woman I ever saw who 
looks darn near as cute during pregnancy 
as she does normally; Joan Crawford has 
marvelous taste in clothes, but her usual 
lack of coiffure kills the effect; Leah Ray 
has a beautiful mouth and teeth and sports 
a solid gold chastity belt on her charm 
bracelet; Joan Blondell is always so jovial 
and has lovely hair; ditto Glenda Farrell; 
Virginia Bruce is the most beautiful girl 
I've ever seen and she's nice though aloof; 
Dorothy Lamour looks better in less clothes 
—she loses that "umph" in real life! 

Una Merkel and Madge Evans are in- 
separable pals and both are grand girls; 
Dolores del Rio and Ann Dvorak can either 
one top the list for Hollywood's most beau- 
tiful brunette; we all like Elaine Barry- 
more and wish you would too— she's really 
very all right; Verree Teasdale is our most 
refined dresser and has a handsome man- 
child; Jean Parker is surprisingly sophis- 
ticated; Ann Sothern and Anita Louise tie 
for second place in the blonde beauty list: 
Loretta Young looks more wholesome and 
less fragile in real life; Maureen O'Sullivan 
has lovely hair and coloring and is always 
acting a little bit for us; Martha Raye 
dresses like a million and is very quiet 
and unassuming; Barbara Stanwyck is 
charming— smiles all the time; Marie Wil- 
son has eyelashes an inch long and they're 
her own, too; Irene Dunne's appearance 
is above reproach; Ginger Rogers goes in 
for spectator sports apparel but she buys 
exquisite dancing frocks; and Ruby Keeler 
has a charm seldom found in Hollywood. 

And Paulette Goddard isn't exactly a 
sphinx but she's built a wall around her- 
self that definitely leaves her public on the 
outside— me included. 

Well, amigos, I'm about through. I just 
want to close class with a bit of advice for 
those poor parents whose daughters have 
"gone Hollywood." Tell them they must 
wear a nice bright lipstick and good fitting 
tailored clothes with quiet accessories but— 
no more rouge— no more daytime eyeshadow 
—no more bleached heads— no more notice- 
able powder— and then they'll look like the 
real McCoy! 

Goodbye now— to all of you— from 

The Salesgirl who looks at the Stars! 




Franchot Tone is definitely an aristo- 
crat. See him in "Three Comrades." 



22 



NO GLAMOUR, PLEASE! 



Luise Rainer Is An 
Emotional Actress 
Of Fine Artistic In= 
tegrity/ Who Prefers 
To Stand Or Fall As 
An Artist — Not To 
Be Propped Up With 
Adjectives. 



THE Biltmore Bowl was jammed 
with a galaxy of stars and 
celebrities. . . . Outside, soCtly 
purring limousines continued 
driving up to the gate of the 
swank hotel to discharge their 
precious cargoes. . . . Gorgeous, 
lovely, vivid, languid, provocative 
ladies alight with their stiff- 
shirted, tanned escorts, and are 
greeted by a barrage of photo- 
graphic lights and popping bulbs. 
. . . And as a radio announcer 
described their charms on a coast 
to coast hook-up, they swept in 
through the lobby in all the 
splendor of their wealth, fame, 
power. . . . Everybody excited, at 
his or her best. . . . The film 
colony was enjoying its tenth an- 
nual Academy award banquet. 

On that same night Luise 
Rainer was spending a quiet eve- 
ning at home with her play- 
wright husband, Clifford Odets of 
the professorial specs. She had no 
intention of attending this gala 
dinner, when, at about 9 o'clock, 
she received a message from the 
studio informing her that she had 
won the award for the best per- 
formance of the year by an actress 
for her role in "The Good 
Earth." 

In a flutter of excitement, she 
donned a simple pink crepe gown 
and black velvet cape, and with- 
out troubling herself about make- 
up or even brushing her hair, she 
hurried to the Bowl with her hus- 
band to receive the acclaim of the 
industry for the second consecu- 
tive year. 

Mr. Odets, we might remark, . 
wore a business suit, with a scarf 
wrapped around his neck. . . . 
They were the last to arrive, and 
stood out, in that spectacle, with 

their unpretentious homely simplicity and complete lack of pose. 

It was a double triumph for the little Viennese gal with the 
child-like eyes. No other actress in the history of these famous 
banquets has won the coveted gold statuette twice. 

"How do you feel about it?" we asked her at her home in 
Brentwood. 

"I didn't expect it, I'm very grateful, of course," she said, the 
color deepening in her sunburnt cheeks. "But," she opened her 
eyes wide, "I don't feel any different! I wish I could." She gave 
a little laugh, threw herself into an armchair. 

If you were to see her in the street you would never take 
her for a movie star. She doesn't have that orchidaceous hoity- 
toity manner, if you know what we mean. She was dressed in 
slacks and a reddish blouse with short sleeves, and wore monastic 
sandals. Her skin is of a warm olive tint, and has all the marks 
of being exposed to the copyrighted California sunshine without 
benefit of make-up. Her dark rebellious hair never looks combed. 
She is frail, 5 feet 4, and looks more like an impecunious Green- 



By C^yril Vandour 




As she appears in her new picture, "The Toy Wife. 1 



wich Village poetess than a vendor of movie glamour. The archi- 
tecture of her home is severely simple, and has the appearance 
of a streamlined greenhouse on top of a hill— all windows, air 
and sun. It gives you a feeling of being high up in the air, 
and we can imagine Miss Rainer sitting in her living-room 
and dreaming during the glittering Pacific nights. She lives dose 
to the elements. We noticed bird guides and flower guides on 
the book shelves that line the walls. And in a bowl there were 
bananas, apples and grapes. 

O hm in "The Good Earth" remains her favorite role. "It was 
the most difficult part I've ever played," she explained, patting 
her Scottic dog on the head. "And the most interesting. I didn'l 
want to do it at first, I was afraid that I might not be able to 
do it justice." 

No other actress of Miss Rainer's age, standing and cinematic 
reputation would have accepted thai vole. She was known to the 
public as a Viennese glamour gal. She had won the Academy 
award as the sex) Anna Held [Continued on page' 66] 



2 3 




Mr. and Mrs. Frank 
McHugh. Frank loves 
to have his friends 
come in and form a 
quartet, or something. 




an old theatre wrapper, 
smeared with grease paint, 
over a pair of cotton 
pyjamas!" 

"Isn't it maddening," 
Joby Arlen sighed. "Did 
you make him change it?" 

"No," Ouida said, 
thoughtfully. "I didn't. 
Maybe I'm wrong— but I 
don't believe in making 
husbands change. That 
goes for everything— not 
just dressing-gowns. 

"When you fall in love 
with a man, you fall in 
love with all his habits 
and traits of character 
and idiosyncrasies, too. 
They are the man. 

"So why try to change 
him into someone else? 
Someone you probably 
wouldn't like, after you 
went to all that trouble!" 

"Hoorah!" cheered 
Joby. "You've no idea 
how that encourages me. 
You know, all these years 
I've been secretly kind of 
mawtified with myself for 
not doing more home- 
work on Ahlen. Thought 
maybe it was just mv 
natchel Southern indol- 



just seems so incongruous to have those 
classic features of his get together with a 
cigar. But he would certainly feel deprived 
if he didn't have one after dinner— and if 
I were silly enough to fuss about it, he 
would merely retaliate by smoking them 
all day, instead of cigarettes. 

"Basil loves his fireside, and I love to go 
places. He never wants to go out during 
the week, or to have anyone in except per- 
haps a close friend. So all our gaiety goes 
on over week-ends, and that is why I give 
great big parties at intervals— to pay off all 
our social obligations in one fell swoop. 
He won't step out of the house to go 
dancing any more— I love to dance. So I 
always have an orchestra at our parties; he 
has to dance, then, and really enjoys it. 
And both of us are satisfied. 

"There is no reason to be a martyr about 
things— men hate that, too. I think they 
hate it even more than nagging, if possible. 
But it isn't fair to try to change anything 
fundamental about them, simply to suit 
your own convenience and plans! Women 
should learn more about the art of com- 
promise." 




By 

Ruth. Ranldn 



Some Hollywood Wives Tell The 
Aggravating Habits Of Their Star Hus= 
hands — But What To Do About It? 



ABUNCH of the girls were whooping 
it up at Ouida Rathbone's tea-party. 
1 "The girls," in this case, were a 
group of Hollywood wives. And what do 
Hollywood wives discuss over a fragrant 
dish of tea? 

Naturally, their husbands. 
"Basil," said Ouida, nimbly juggling tea- 
pot, lemon-or-cream, and conversation, "is 
an ungrateful wretch. Every time there is 
the slightest excuse for it— birthdays, Christ- 
mas, travelling— I buy him a handsome 
dressing-gown. Really, he is magnificent in 
a good dressing-gown. 

"But do you know what he does with 
them? Leaves them hanging, still in the 
original tissue wrapping, in his wardrobe! 
Last night he came from the studio, tired, 
and found we had a friend in for dinner. 
He didn't want to dress. 

"So did he come downstairs regal in the 
magenta poplin, from Sulka? He did not. 
The creature burst upon my vision in 



ence— that let-well -enough-alone at- 
titude us Southern belles are famous 
for. But I don't know— maybe after 
all," Joby smiled modestly, "I'm just 
smart!" 

"Maybe, my eye!" Ouida laughed. 
"You've resisted the strongest temp- 
tation in woman. It's so easy to give 
in to it, once you have them in your 
power. Because men will agree to 
almost anything to keep the peace. 

"We can find so many excuses for 
our little reforms: 'it's for his own 
good;' 'because we are so proud of 
him and want other people to see 
him to the best advantage;' (some- 
times they fall hard for that;) 'be- 
cause he must live up to his position.' 
But no matter how adroit we are, 
they always see through us. And re- 
sent it, ultimately. 

"For instance: it always gives me 
a jolt when Basil lights a cigar. It 




24 



"Come on, Eloise," someone said 10 Pat 
O'Brien's wife. "Your turn. Do \ou make 
subtle changes in Pat— or take him as he is?" 

"Change that stubborn Irishman?" 
laughed Eloise. "I should say not. He's okay 
the way he is. But, there is one thing . . . 
Well, I'll tell you. It's something he used 
to do when we were engaged, and I thought 
it was cute, then. So when he does it now, 
I just hold hard to the thought that what 
was cute then, must be cute now. 

"Pat, you see, is a point killer. He simply 
can't let me tell a 
funny story without 
finishing it for me. 
I like to build up 
i he suspense and 
have them holding 






Ouida Rathbone 
and her famous 
husband. Ouida says 
"Women should 
learn more about 
the art of compro- 
mise." (Left) Pat 
O'Brien has two 
traits that drive his 
loving spouse mad. 
(Center) Joby and 
Richard Arlen. Dick 
likes to rummage 
through desk draw- 
ers creating havoc 
as he goes. 



onto their 
chairs — but 
Pat, he thinks 
brevity is the 
soul of wit. 
At that, he 
may be right. 
Nobody ever 
gave me any 
medals for the way I tell a stor\ — 
or a picture contract, either! And 
anyway, I wouldn't change it for any 
one of the faults a lot of my friends' 
husbands have!" Eloise exclaimed, 
loyally. 

"The two little traits that used to 
get me almost wild," she continued, 
"but I managed to keep quiet about 
them, thank goodness, until now 1 
hardly even notice them— were his 
string-saver and putter-awayer in- 
stincts. He keeps everything, that 
man. Every corner and cupboard in 
our house is packed lull of Pai s 
junk, stored away lovingly. But 
neatly. On his days oil, he adores to 
haul it all out— and put it all away 
again. He fusses even with the 
kitchen cupboards until the cook 
can't find anything. We have a ver) 
philosophical cook, fortunately. She 
takes it all in stride, the way I do. 

"Another thing that could prob- 
ably get me down, if I let it, is this: 
every time the boys come over and 



start their quartet— Frank McHugh, 
Allen Jenkins, and Jimmy Gleason— 
Pat tries to sing tenor. And can't. 
They all try to sing tenor— and can't. 
You could call it a quartet of disap- 
pointed tenors, only not to their 
faces. I suppose," Eloise laughed, 
"the other wives just have to be 
brave, too." 

"Lady," piped up Joby— if you can 
pipe in a drawl— "you ain't heard 
nothin'. That Ahlen is nothing more 
nor less than a busted-down barber- 
shop baritone— and what he likes best 
is to give imitations of Bing Crosby. 

"I will say this much for his voice 
—it keeps the jay-birds and wood- 
peckers away. We used to have an awful 
lot of them in our trees and they would 
wake me up, tapping away, early in the 
morning. Anyone you know who is troubled 
with wood-peckers— just tell 'em to send 
for Ahlen and turn him loose on 'Love In 
Bloom.' 

"He's a desk -drawer excavator, too. Noth- 
ing on this earth excites him so much as 
the sight of a nice neat desk-drawer, with 
the cancelled checks rubber-banded in 
sequence, the current and receipted bills 
separated, and the personal correspondence 
all bunched together. He goes mad. Like 
a bolt from the blue, inspiration comes to 
him. What was the name, he demands, of 
that fellow who makes golf-clubs? The one 
who made him the marvellous putter, about 
three months ago. He wants to order a 
mashie from him. Right away . . . 

"No one can recall his name? Well, that's 
easy, says Ahlen. The name is on a can- 
celled check, some place in that drawer. 
Instantly, the checks begin to fly like ail 
unbleached snow-storm. Ahlen. he uses the 
terrier-technique to find things. 

"As for putting them back the wa\ he 
found them— it is to laugh. It is to shriek 
with glee unholy. . . . He jusl is ihat way, 
the same as I am this way— and he doesn't 
try to change me. Noblesse <>I>li!><' is what 
I always sa\. What do you always sa\?" 

"Well. I always say." L.loisc summed up. 
"that the more you try to change your man, 
the quicker you get the chance to change 
him tor another one. Of course, the system 
has its advantages il you happen to want 
to change. I don't. Pat will do for me." 



25 



ARE SCREEN SIRENS 



Or Are They Growing A/lore Earthy? 
The .Modern, Realistic Picture Girls Have 
Everything,, Including A Date For Friday. 



Howard B 



J 



arnes 



JOAN CRAWFORD, who has played all sorts of fallen women 
from a "dancing daughter" and Sadie Thompson to the gal 
who liked to wear red, won't take the title role in "Shopworn 
Angel." Bette Davis, the perennial bad girl with a heart of gold, 
wants to play Sarah Bernhardt on the screen. Even the undulating 
Mae West has changed a lot since she created Diamond Lil. Few 
of the youngsters, meanwhile, are to be seen flouncing spangles 
or casting "come hither" looks at the various men in their vicinity. 

You can claim that the glamour girls are going good on us. 
You can put it another way and say that they are creating new 
characters— characters that we film-goers w'ant them to play, just 
as much as they want to play them. The point is that we have 
new ideas on love and love-making. The vampire, for whom men 
used to go rushing off to perdition, has given way to the girl who 
"pitches woo" (petting to you!) or makes a honey of a wife. The 
sheik who not so long ago galloped off into the desert with his 
women is now an engaging fellow, who is likely to take his lady 
love over his knee in a crisis and paddle sense into her. 

There is a lot of nonsense talked about the "typing" that is 
done by Hollywood. Those people who, still think the movies 
aren't here to stay, like to insist that the top-flight stars are 
always the same, no matter what the film may be. "It's another 

Joan Crawford 
picture," they 
will say, or "Oh, 
it's just another 
Gary Cooper 
show." As far as 
I can see, the 
point they try- 
to make is that 
Miss Crawford 
looks like the 
actress we know 
as Joan Craw- 
ford, whether 
she is wearing 
an evening 
gown or a Tyro- 
lean costume; 
that Gary Coop- 
er is still recog- 
nizable as Mr. 
Deeds or as 
Marco Polo and 
that therefore 
they aren't 
really actors. 



Marlene Dietrich 
hasn't heard 
about the great 
reception that 
real talent is re- 
ceiving. She still 
has the beauty 
and the legs but 
her sirens are 
like the old 
oaken bucket — 
moss covered. 





The point that they overlook is that acting, on the stage or 
screen, is not merely a matter of make-believe. All the craftsman- 
ship in the world won't take a player to the top unless he or she 
has a vivid personality and glamour and knows how to project if 
to an audience. There are a few really great actors and actresses 
who can make you forget them completely in their acting for a 
brief moment. Helen Hayes has been doing it for some time now 
in her magnificent and cleverly made-up impersonation of Queen 
Victoria in "Victoria Regina." Paul Muni did it in "The Story of 
Louis Pasteur" and again in "The Life of Emile Zola." Those are 
straight biographical character studies, though, which give a 
player something real and vital to work with, while the bulk ol 
acting before cameras or footlights, is something else again. 

As a matter of fact. Miss Crawford and Mr. Cooper are being 
paid high compliments when people talk about "their shows." 
In many cases, it is only because they are appearing in them that 
they become something to see. They give their personalities, their 
peculiar ways of talking, doing things and feeling them, to motion 
pictures and to you as the spectator. If you find them engaging, 
you will want to see them again. There are few stars who have 



26 



OING TOP HAT? 





not appeared in some pretty 
dreadful shows, as well as enter- 
taining ones. A measure of their 
greatness is their ability to carry 
on persuasively in new shows 
after set-backs. 

Certainly Hollywood "types" 
many of its stars, but why not? 
The reason they are stars is be- 
cause they have that indefinable 
something which makes them at 
once extremely individualistic and 
yet representative of all of us. It 
would certainly be ridiculous, for 
example, to have Deanna Durbin 
put on a white wig and play an 
old woman although she might 
very well be able to counterfeit 
the character. It is quite possible 
that Robert Taylor could play a 
bearded rajah or that the Marx 
Brothers could play three solemn 
wise men, but I prefer to see them 
in the portrayals they know best 
how to do. 

At the same time, I have con- 
siderable sympathy with Miss 
Crawford, Miss Davis or a dozen 
other stars I could name, when 
they get sick of playing the same 
old role time after time and fight 
to get new parts. The militant 
Miss Davis had done it before. 
When she came back from Eng- 
land on that occasion, she took 
her medicine gallantly. The story 
is that her studio went out of its 
way to cast her in fallen women 
roles, from "Marked Woman" to 
"Jezebel." That didn't stop her 
for a moment. In both of those 
films she turned in amazingly fine 
performances and, in between, she 
took on a comedy assignment in 



"It's Love I'm After" opposite Leslie Howard and did a very 
nice job with that, too. 

It is my hunch that the stars are frequently a couple of jump? 
ahead of their producers. It is not only because they want to try 
their acting talents on new characters that they are turning up 
their noses at siren and sheik impersonations. In part they are 
reacting to changing public tastes and trying to get their studios 
to drop cycles which have worn themselves out. For, unless I am 
mistaken, film-goers are pretty tired of tarnished women and 
irresistible men. They would like to see their favorite actors and 
actresses in something a little different— something that strikes 
closer to the realities of present-day life and feeling. 

If you can remember back then you may recall that Norma 
Shearer once played ladies of ill-repute, before she broke away 
from type portrayals and finally demonstrated her mature acting 
power in "Romeo and Juliet." Myrna Loy used to be an Oriental 
seductress on the screen, before she left all that to be one of the 
most engaging comediennes that there is in Hollywood. The 
careers of most first-rate veteran players [Continued on page 70] 



frna Loy's re- 
cent perform- 
ance with Clark 
Gable and Tracy 
gave the story 
life and char- 
acter. A glamour 
girl seductress 
in the part 
would have left 
"Test Pilot" 
empty make-be- 
lieve. 



Bette Davis has not become arrogant over her 
success. She, like Norma Shearer and others, 
believes a part, any part, must represent 
an individual — a character. Then let the 
statuettes fall where they may. 





27 



THE FAN LAW 



If You Think That The Fans Are Just The Suckers Who Fill The /Money 
Drawers At The Box=Offices / Think Again. They Are The Law In 
Hollywood. From Their Verdicts There Is No Appeal. 



By Ed Sull 



ivan 



FRED ASTAIRE and Ginger Rogers, who wanted to break 
apart, are back together again on the screen because The 
Fan Law so ordered it. Warner's, contrary to the studio instinct 
to get rid of James Cagnev, bent the knee and conciliated him 
because The Fan Law commanded it. Loretta Young, who tried a 
new coiffure in "Four Men and a Prayer," abandoned it in her 
next picture because The Fan Law turned thumbs down on 
the innovation. Jeanette MacDonald and Nelson Eddy who wanted 
to dissolve their vocal partnership, have resumed it because The 
Fan Law handed down a decision from which there was no appeal. 
The whole field of newsreels was changed, because The Fan 
Law decreed that the "March of Time" formula was correct. 

It is expressed in two ways, this Fan Law that makes the laws 
of behavior for major studios and major stars— it reaches Holly- 
wood in the direct form of preview cards and letters; it reaches 
Hollywood indirectly through the box-offices of the nation. And 
there is no appeal from the verdict of the fans, once it has 
been rendered. The "no's" of the fans submerge the "yesses" of 
the yes-men of Hollywood. You, you, you and you are judge 
and jury and prosecutor. You may be timid in asking a star for 
an autograph or a picture, but not so timid as the star in 
Beverly Hills awaiting your verdict. Because The Fan Law makes 
'em and it breaks 'em. 

When you read in the Hollywood columns that a Paramount 
biggie or an RKO biggie or an M-G-M master-mind has been 
released from a contract, it means that the impact of your letters 
and your absence from certain pictures has written the victim's 
sentence. The Fan Law has taken him or her by the scruff of 
the neck and tossed him aside. 

In "True Confession," the Paramount comedy starring Carole 
Lombard and Fred MacMurrav, there was a courtroom scene which 
you'll recall. Following that, there was a scene in the jury room 
and, in the midst of the jury deliberations, one juryman climbed 
up on top of the table and started selling a patented medicine 
which he represented. When the picture was first shown at the 
studio for the bigwigs of Paramount, that scene exploded the 
executives into paroxysms of mirth. "That is the funniest thing 
that's ever been filmed" they told Director Wesley Ruggles. Miss 
Lombard roared at it, so did Fred MacMurray. 

So the picture was taken to Glendale for the first public pre- 
view. The jury room scene flashed on the screen, and the audi- 
ence, which had been roaring suddenly quieted down completely. 
It was so quiet in the theatre that you could have heard a Zukor 
drop. The Paramount officials were flabbergasted, turned hastily 
to the preview cards which are still another expression of The 
Fan Law. "The jury room scene is in bad taste," said the first 
card. "The scene in the jury room is a mockery of American 
law," said the second. "It is unfunny" read the third. Every 
preview card had the same decision written on it. The amazing 
thing to me is that here was an audience recruited from all sec- 
tions of the community, different races, different creeds, and from 
different environments. Yet unanimously they reached the same 
Verdict, experienced the identical reaction to a scene that was 
looked upon as the most hilarious scene in the picture. 

Paramount yanked the offending scene out so quickly that it 
would ruffle your hair. The Fan Law had handed down a verdict, 
and it would have been idiotic to argue that decision. The scene 
was junked. Even their yes-men couldn't persuade the Paramount 
executives to retain it once the fans had spoken. 

It was the same with the last picture which Gladys Swarthout 
and John Boles made, "Romance in the Dark." The highlight of 
that film, from a coined v standpoint, was the scene in which Miss 
Swarthout, singing from the stage, is pelted with ripe tomatoes. 
At the studio, it was agreed that as a result of her willingness to 
play such a scene, Gladys Swarthout would become overnight the 
best liked operatic star in flickers. It proved, agreed the execs, 
that she was "regular" and the public would love it. 

To their horrified amazement, the fans responded bitterly to 
the scene. The fans said unanimously that the tomato-pelting was 



an insult to a fine artist, a reflection on all women, a conception 
of such marked bad taste that they couldn't understand the 
mentality of the makers of the picture. 

Note again and again how the public, which is supposed to 
have the average mentality of a 12-year old, unerringly points to 
Bad Taste. The intellectuals of the picture colony profess to 
sneer at the public, but the public can give them cards and spades 
in perception of vulgarity. The fans spot these things immediately 
and react immediately. 

Let me tell one on myself to show you how accurate is this 
Fan Law. 

Nelson Eddy is not one of my favorite performers, yet the fans 
enjoy his work tremendously. When "Rosalie" was released, I gave 
it a good scuffing, and pointed out that Eddy was about as 
believable in the role of a West Point cadet as Charlie McCarthy 
would have been. The fans deluged me with letters, pointing out 
what I had completely overlooked— that I should have berated 
M-G-M for its stupidity in miscasting Eddy, rather than berating 
him for doing the best he could with a part that was forced upon 
him. The cold logic of the fans, as evidenced in their letters, gives 
a Hollywood columnist a hearty respect for their powers oE 
perception. 

Sometimes, of course, The Fan Law is heart-breaking in its 
individual effects, and perhaps stultifying. A Robert Montgomery, 
seeking broader fields of expression, turns from the role of a 
cocktail-shaking dilettante to the wider emotional range of 
"Night Must Fall." The fans stay away from the box-offices in 
droves, and Montgomery is bludgeoned back into the character 
which the fans have become accustomed to. Jim Cagnev turns from 
grapefruit-heaving roles to that of a song and dance man. The 
fans all over the country refuse to go and see him. Cagnev is 
beaten back into line. Joan Crawford tries to spread out in "The 
Gorgeous Hussy" and 
"The Bride Wore 
Red',", and the fans 
turn thumbs down so 
quickly that the 
Crawford teeth jolt 
in the Crawford 
head. 

The Fan Law holds 
that each player 
must attend to the 
thing in which he 
has specialized. It 
may be unfair, but 
it is The Law and 
there is no escape 
from it. Every per- 
former in this colony 
has learned that les- 
son, but the grass al- 
ways is greener in 
the other fellow's 
yard. 



The studio decided 
to show that 
Gladys Swarthout 
"could take it." But 
the fans, on thou- 
sands of pieces of 
paper, with pencils, 
pens and typewrit- 
ers, notified the 
studio THEIR de- 
cision. It was final. 




28 



if) What of Robert Montgomery, who, filled 
jjnbition, gave up playboy roles? (Right) Clark 
and Spencer Tracy with Jack Holt in "San 
isco." The public understood Gable's character 
in this and forgave him. 




An invisible force draws 
Nelson Eddy and Jeanette 
MacDonald together for their 
screen lives. 



It has been said that major studios make stars. Zanuck. 
Goldwyn, Mayer, Berman, Wallis and Colin have been applauded 
lor their daring in introducing new performers. I tell you in all 
earnestness that no producer and no studio ever has made a star. 
The studio proposes, but the Fan disposes. 

Goldwyn it was who tried to ram Anna Sten down the throats 
of the movie fans. He gave her everything— preparation, produc- 
tion values, a terrific advertising campaign. The fans turned her 
down. Goldwyn bought up the unexpired balance of her contract. 
He is a vigorous, self-confident man is Goldwyn, but even lie 
would not attempt to dispute the verdict of the fans. 

I asked Darryl Zanuck how he came to star Tyrone Power in 
"Lloyds Of London." The little Swiss genius of celluloid mad( 
i his remarkable answer: "The fans told me he was a star," he 
said. "Remember 'Girl's Dormitory,' Ed? Power appeared briefl) 
in that picture, meeting Simone at the railroad station. He madi 
just a casual impression at the studio, bul I was struck by tin 
letters thai came in after the picture was released national 
Nearl) every girl who wrote wanted to know the name ol th( 
boy who had met Simone at the station. [Continued on pagi 




TRUE 



Shirley Ross and stunt girl, 
Frances Miles, between 
takes on "Prison Farm." 
(Below) A scene from 
"You and Me," just before 
the fight starts. Frances, 
who is between Bob Cum- 
mings (foreground) and Bar- 
ton MacLane (standing), is 
waiting for the melee. She 
loves it — danger and all. 





The lovely profile of 
Frances Miles which is in 
jeopardy at every turn. 

Frances Miles once "whipped 
around" a big town car which 
Kay Francis was supposed to be 
driving, and crashed into a curb. 



THOSE automobiles you see careening 
across the screen, crashing into ditches, 
over cliffs, into buildings? We drive 
them— 

Those caged animals that spit and claw 
and charge? We dodge them— 

Those wild horses that dash wildly 
through the westerns? We ride them, fall 
from them, roll out from under them. 

We stab sharks, jump parachutes, brawl 
in bar rooms, pull hair, perish in airplane 
crashes, leap from windows, plunge through 
windshields, rush from burning buildings, 
dive into lakes, rivers and pools, brave live 
steam, smash things, get trapped in sink- 
ing boats— 

We're the stunt women. Today there are 
thirty-seven of us, on call twenty-four hours 
a dav. We're known as the Riding and 
Stunt Girls of the Screen, if you want to be 
formal about it. A division of the Screen 
Actors' Guild. There used to be sixty-seven 
of us. Marriages, better jobs, retirements 
and less than enough work to go around 
during the recent days of the parlor dramas 
and the musical romances, the process shots 
and a wave of sanity which has swept the 
industry, account for the dwindling ranks. 



30 



There Are Thirty=Seven Girls 
In Hollywood Who Actually 
Enjoy The Thrill Of Danger. 



PF A 



TUNT 



GIRL 



B 



y 



F 



ranees 



Mile 



es 



As (old to 
E^d Churcniit 



The long shots of Carole Lombard in the 
lake in "True Confession" were made by a 
stunt girl, but, for the close-ups with Fred 
MacMurray, Carole herself was dunked. 
By the way, Carole gets the vote of the 
stunt girls for being the "most regular 
fellow." 



It's a hell of a life— but we love it. 

There's something about excitement that gets you. You 
can't shake it. I guess that's why our organization has 
Helen Gibson for treasurer, Helen Holmes as head of the 
complaint committee, and Marin Sais in its ranks. If 
you're around thirty-five, or even younger, you remember Helen 
Holmes as queen of the railroad serials; Helen Gibson as the star 
of Kalem chapter dramas, and Marin as the neck-risking wife 
of Jack Hoxie, once ace of the outdoor epics. These gals went 
to town for the movie mad millions in the days when trick 
shots were unknown and what we call "eifects" and "transpar- 
encies" went under the head of cheating the public. 

Also, we have Olive Halch, Olympic swimming champion, who'll 
dare anything in water— for a price. Olga Celeste will have her 
fun with any kind of animal that grows. lone Reed will train 
ihe beasts who don't like to be trained. Mary Wiggins will make 
a parachute jump, drive a car in a gangster chase. More about 
the others later— 

The point is that we're a bunch of specialists these days. 

When I was born in Minneapolis— did I lake my bow as presi- 
dent of the Riding and Stunt Girls of the Screen?— on February i t, 
1908, I had no idea what was in store for me. Maybe you can 
blame the adventurous streak in my father, Oscai Martinson, 
chief of police of that city— sheriff— chief of the Universal City 
police— police employee at Paramount. He died in 1935, with a 
record of twenty-eight years as a law enforcement odicer. 

My mother had no adventurous ideas. Nor has my sister, Sally, 
now married. Nor Uriel, who is a studio property man. The first 
outcroppings of what the future held came when I got a tombo) 




classification at Margaret Fuller grammar school in Minneapolis, 
and at West Side High School. I starred in field meets. Let 
that be a lesson to you. 

Bill Koenig, studio manager at Universal City, asked dad to 
take charge of Carl Laemmle's gendarmes in 1923, and dad took 
the job. We drew a house right in Universal City, so I got very 
close to motion pictures. I hung around, watched, now and then 
did bits, extra work, and built up a reputation for having nerve. 

So, at sixteen, I found myself fighting a shark. 

I'd done this and that when a temperamental leading woman 
had gasped: 

"Oh, my deah— don't awsk me to— I realleh couldn't!" 

Aileen Sedgwick gave me my first chance. Not by being "broad 
A" as noted above, for she w as regular. Hut by being slight!') unen- 
thusiastic about fighting the shark. The sweet little fellow was 
about 12 feel long, and swam happil) and hungrily about in a 
tank nine feet deep. The portion of the plot that has to do with 
the story is this: 

Rill Desmond, serial star, was napped in a submarine. Aileen 
was to dive into the water, be attacked by the shark, kill it. 
open the conning tower, and save Bill. Oh yes— I was to dive 
with a knife in my mouth. Bill Koenig had asked mv father 
if I could do it. and everyone was wise when 1 was brought onto 
the scene, supposedly to do a little [Continued on page 72] 

' 1 





A group of professional escorts waiting for 
clients in the lounge of their agency. 



DO YOU need an emergency bride— an attractive young woman 
to act as your wife— an emergency wife you can be proud 
of? Do you need expert bridge players to fill in your 
party because some of your guests didn't turn up? Have you 
just arrived in Hollywood and want someone to take you to the 
Hawaiian Paradise, the Trocadero, Cafe Lamaze, the Clover Club, 
La Golondrina, La Conga, to the races and fights, to Palm 
Springs and point out the stars to you? Are you lonely and blue 
and want someone sympathetic and understanding to talk to? 

There is an escort bureau on Hollywood Boulevard that 
will supply you with the person you need on a mo- 
ment's notice, for $10 or S15. ^gft 

It's run by Cherie Ray, a former actress, 
and Jack Elloway, a medical student, 
and is a member of the Los An- 
geles Chamber of Commerce. 
They have 55 girls and 30 young 
men on their payroll, all carefully 
selected, who know Hollywood ■ and 
the stars, and are accomplished in the 
social graces. Believe you me when I 
tell you that a girl can't have a more 
intriguing and romantic occupation in 
this intriguing and romantic village of 
ours than toiling as professional escort. 
It's the smart thing right now, and quite 
a few of these lovely escorts don't need 
the money and do it for the fun of it. As 
for the young men, paid cavaliering is hardly 
less exciting, and is at the same time a defi 
nite profession, like law or selling insurance. 
Nearly all have had a college education, for 
the qualifications required for being a "de luxe" 
escort are rather high. 

But most of us are still old-fashioned and think 
of these girls as demi-mondaines and of the young 
men as gigolos, so they are rather chary of pub- 
licity. For that reason some of the following names 
are strictly professional and not the real ones. Others, 
courageous, defiant souls, see no reason why they should 
disguise themselves. They even let me photograph them. 

Marguerite Bernard, 27, is a veteran in the game, having 
started over a year ago. (Professional escorting is a new 
vocation.) She is a titian charmer, a graduate of the Uni- 
versity of Southern California, and the widow of a well known 
physician who died three years ago. She spent four years in 
Europe— London, Paris, Rome, Milan— studying music. Sings at 
private parties, on the radio, and in the Sunday evening concerts 
of the Beverly Hills Hotel. Works in pictures, is an expert driver, 
and can pilot a plane, with fifty hours of solo flying to her credit. 
There is a modern girl for you! 

I asked her why she became a professional escort. "Partly out 
of curiosity," she said, "and partly because— well, a woman some- 
times is in a romantic mood!" she laughed. She laughs a great 
deal. "I tried a few other things, experimenting, you know, but 
was disappointed every time. When I heard about this escort 




Cherie Ray, 
who runs the 
escort bureau. 

service, I thought I might 
meet through it the right 
man, and eventually, I 
did!" Her first client was a 
meat packer from Kansas 
City, 60, the Esquire type. 
He was a patron of arts, 
and they had something in 
common to talk about. He 
was staying at the Biltmore. 
She called for him in her 
car, took him to the Cali- 
ente, La Olvera, La Golon- 
drina and other quiet, 
foreign atmosphere places. "He was very charming, had a wife 
back East. He just wanted somebody to show him the town." 

Then Marguerite met her "Big Moment," a Belgian baron, and 
steel magnate, 45, handsome, on a business trip around the 
world. She took him to different places in Hollywood, showed 
him the studios, from the outside, and one Sunday drove him 
to Palm Springs, where thev had dinner at the Desert Inn, by 
candle-light, and he proposed, but she did not 
accept his offer of marriage. The baron left for 
China and Japan, hoping she will change her 
mind, soon. 1 hey are corresponding. 

As an escort, Marguerite says, "I've always 
had good luck. Cherie doesn't introduce me to 
anybody without preliminary investigation. 
I enjoy my work as an escort very much. It 
pays for my music lessons." 

The fees are paid directly to the bureau, 
and never , to the_ escort, which puts the 
relationship on a business-like basis and 
saves embarrassment. The escort is given 
half of the fee paid, S5 or S7.50. de- 
pending on the clothes he or she has 
to wear. Five dollars for street clothes. 
$7.50 for evening gown or tuxedo. 
The fee is double when an after- 



(Above) The escorts 
have to point out 
the screen players — 
"Oh, there's Tyrone 
Power." Claudette 
Colbert is one of the 
sights of the Cinema 
City. (Right) Imag- 
ine the pride of an 
escort when Clark 
Gable appears. 




32 



Partners for Rent 



In Hollywood You Can Hire An Escort 
And Mix With The PI ayers On Parade. 

By Leon Surmelian 



noon and evening are combined. But nearly all the escorts have 
tegular employment during the day and are not dependent on 
their professional dates for their bread and butter. 

These guides know the favorite night spots of the stars, and 
who is to be seen where. Says Miss Bernard: "Jeanette Mac- 
Donald and Gene Raymond rarely go to night clubs. Their 
hang-out is a dude ranch in Palm Springs. It's a very exclusive 
place, and most of the guests are society people from the East. 
You don't hear people talking about pictures there, and that's 
wh) Jeanette and Gene like it. They are never dressed up at 
the ranch. I usually see them in dungarees and loud sport shirts. 
Jeanette's, especially, are loud. One night I saw them enjoying 
a barbecue party and cooking their own steak right out on the 
desert." 

A favorite night dub with Miss Bernard is the Hawaiian 
Paradise. "All the movie people go there for dinner. The light- 
ing is very low, and it's a very atmospheric place. There is a 
rustic bridge in the Lenai Room, where the cover charge is 
S1.50, and where there is water all around the dance floor, con- 
taining turtles and fish. On the backs of the turtles you can read 
the names of Garbo, Crawford, Ginger Rogers and other stars. 
The club has a section where you don't have to pay cover charge, 
and where you can have practically as 
much fun, but the stars are in the Lenai 
Room." 

Miss Bernard knows, also, the food 
habits of the stars. For instance, at Clara 
Bow's "It" Cafe on Vine Street, she can 
tell that Jeanette MacDonald is sure 





(Above) If you go to 
La Conga you may be 
lucky enough to find 
Loretta Young there. 
(Right) Simone Simon. 
This little French star 
always excites the in- 
terest of visitors. 



to order an asparagus 
omelet, and Gene Ray- 
mond a steak. Anita Louise 
will have curried turkey. 
Bette Davis, who goes there 
often, never fails to order 
pineapple salad. 

At the "It" Cafe they 
have floor shows in the eve- 
ning, and recently Eleanor Powell's double has been 
dancing there. Marjoric Gateson and Kerry Conway, 
Miss Bernard says, are steady customers of the Little 
Club on Sunset Boulevard. "It's a small, cozy place, 
where a roaming girl singer will warble your favorite 
songs." ■ 

II ;i \isitor wants 10 sec ilie Pal O'Briens, she lakes 



him either to the Cocoanut Grove or the Beverly Wilshire. The 
latter is featuring Harry Owens and his orchestra. Robert Taylor 
and Barbara Stanwyck, Tyrone Power and Janet Gaynor, are also 
most likely to be found there. The Basil Rathboncs dine and 
dance to the soli music at the Victor Hugo. Wendy Barric will 
lake a party of friends to the Beachcombers, a night spot will) 
a South Seas atmosphere just oil Hollywood Boulevard. 

Dolores Del Rio likes the Olvera Street, in downtown Los 
Angeles. In this district the two thief night clubs are the 
Caliente and La Golondrina, frequented also by Ramon Novarro, 
Ronald Colman and Bill Powell, Chirk Gable and Carole Lom- 
bard. "Caliente is new. ami very popular, but La Golondrina is 
1 he old stand-by. It has a picturesque [Continued 01: page So] 

33 



Ralph Bellamy o wns A Home In Hollywood 
And A Farm In Connecticut. Oil Gushes Forth 
rrom His L ouisiana Land But What Beats 
Everything Is His Growing Screen Reputation. 

By Dena Reed 

THE Awful Truth" about Ralph Bellamy is that he is a 
"Magnificent Lie!" 

Starting his film career in the latter and achieving his 
greatest success in the former, the popular Columbia star has 
a personality which follows along the same paradoxical lines. 

He's both the least— and the most— married man in 
Hollywood! 

He's been on the verge of suicide and on top of 
the heap! 

He's at one and the same time the colony's leading 
sophisticate and its most naive citizen! 

He's the most temperamental of stars— and the sanest! 

He's gone hungry in prosperity and struck oil at 
the depth of the depression! 

He's been the most inhibited and the gayest of 
Hollywood's hell-bent-for-hi-de-ho sons! 

And therein lies the awful truth about Bellamy! 

To know Ralph and the charming Catherine Bellamy 
is to know Mr. and Mrs. Nick Charles in person! Noth- 
ing ever seems to bother them very deeply, they're each 
free to think and act individualh and yet there is a 
oneness of interest and understanding which 
makes for that ideal state which Myrna Loy and 
Bill Powell have developed as the model mar- 
riage pattern. 







(Above) A scene 
from Ralph's latest 
picture, "Boy Meets 
Girl," with James 
Cagney, Pat O'Brien 
and Dick Foran. 
(Left) With his 
wife. 



"I don't think anyone enjo\s single-blessedness, in the best 
sense, more than Ralph. I always let him have his way," Cath- 
erine confided to me recently. "And then I invariably find that 
his way is my way! And that makes him a much-married man, 
you see. It's so much simpler than making a situation out of 
nothing and having to fight for your rights. I never do. Ralph 
feels as though he can do whatever he wants— and then wants 
to do what I want!" 

"Is it always as simple as that? Don't you ever fight it out 
on the domestic front if it takes all summer?" 

"Oh, sometimes," she admitted, "but then it's usually some- 



thing big, like buying a house, and it's worth a reallv sizable 
blow-up! The little things which break up marriages, things 
like waking up cross in the morning and sulking at breakfast, 
or complaining that his shirts aren't stiff enough, or soft enough— 
those little things never seem to come up." 

Naturally it's much easier to be charming and affable with 
a nice seven year contract in your pocket, and owning four or 
five estates scattered over the country, than it is when you haven't 
eaten for days and your future is bare of prospects. That's true. 
But I knew Bellamy when. If, at that time, he wasn't exactly 
starving, he was still a long way from the security he now enjoys. 
There was even a time when suicide seemed preferable than a 
diet of— water! He told me himself, shuddering at the memory 
of three meal-less, delirium-ridden days when the prospects of 
relief from the pangs of hunger and fear and hopelessness seemed 
preferable to nebulous prospects. 

"I needn't tell you," he remarked, "I'm glad I didn't obey that 
impulse!" 

No, he needn't. Since then he's done right well by himself— 
he's now at the top of the heap. Appearing consistently in films 
he has steadily accumulated a home in Holivwod, a fifty-two acre 
farm in Connecticut and a huge hundred and fifty-two acre tract 
at Palm Springs which he and Charlie Farrell have converted, 
out of desert land, into a tennis club. So successful has it 
become that he's going to sell his shave to Charlie because it's 
beginning to take too large chunks [Continued on page 66] 



34 



With Frieda Inescourt and Roland 
Young in "Call It A Day." 



(Top) In "100 Men and a 
Girl," she gave just the con- 
trast needed for Deanna 
Durbin's character. (Above) 
Alice and Barbara Read react 
to Swami Mischa Auer in 
"Merry-Go-Round of 1938." 




ALICE BRADY 



A New Yorker Born And Bred 
Who Has Brilliantly Upheld 
The Honor Of The Empire State 



IN RECENT years, Alice Brady has been cast in silly comedy 
roles and she has gushed through Ihem as airily as a nit- 
wit. But Mr. Zanuck gave her a real part in "In Old 
Chicago" and the success of this picture is largely due to her 
inspired performance as the mother of the three young men. 
It earned for her the Academy Award, given each year to 
the actress contributing the best work as a supporting player. 

Miss Brady, is the daughter of William A. Brady, well- 
known theatrical producer. She was once married to James 
L. Crane and is the mother of an eleven year old son. 



(Above) A 
scene from "In 
Old Chicago." 
(Right) In her 
most recent 
role in "Good- 
bye Broadway," 
with Charles 
Winninger. 






(Above) Myrna Loy recuper- 
ates at her home from the ex- 
hausting task of receiving the 
adulation of the fans. (Left) 
Florence Rice. DeLuxe edition 
of a flower farmerette. Gar- 
dening is her avocation. 



fit 




Sally Eilers has pretty legs 
and doesn't care if the 
whole Pacific Ocean knows 
it. 



This golfing shot of 
Rosalind Russell is 
no pose. It is evident 
that she's a player. 








Of 



THE world at large labors under 
the delusion that screen stars are 
always on vacation. But the stars 
say: "That's what you think!" They 
know that the brief rests they en- 
joy between pictures are best spent 
visiting New York, seeing the cur- 
rent plays and making a round of 
the prominent night clubs. "That's 
good publicity!"say their producers. 
And good little stars have to obey 
their producers— or else! 

But when summer-time rolls 
around, the stars put thumbs down 
on publicity, and go away to seaside 
or mountain or farm, or, even as 
you and I, stay in their own back 
yard, enjoying the thrill of doing 
exactly what they please. 



Dick Powell, carefree and 
happy, at the tiller of his yawl 
"beating to wind'ard." No 
wonder he sings! (Right) 
Madge Evans tries out the 
mattress qualities of a couple 
of bales of hay. (Below) Pic- 
nics are a universal relaxation 
and every hillside rqay be the 
background for thousands of 
snapshots, and the forest dells 
ring with merry laughter. 
Lynne Carver takes to the 
open with the lunch basket. 
"Oh, wilderness were Paradise 



& 



(Continued on Next Page) 



mm. 



* V 



^58 



W3m 



Joan Crawford and 
Spencer Tracy on 
polo ponies, all set 
for a day of frolic. 
Spence taught Joan 
the game. 



Mr 




(Left) Warner Baxter, with his wife, enjoying a terrace luncheon 
at home in summer idleness, but his shadow self is working on 
a thousand theatre screens. (Top) Gloria Dickson demonstrates 
way to carry an apple when the Tanan urge comes on. 
(Next, below) Bobby Breen in placid waters, where success has 
taken him. (Above) Beatrice Roberts and Paul Kelly at North- 
ridge ranch, posing "Bee." The calf was not 24 hours old when 
this photograph was taken. 




Fashion Tips 
From Hollywood 



Life In The Country Or 
Down By The Sea 
Demands A. Wardrobe 
That Just Fits The lime. 
The Place And The Girl! 



a T LONG last vacation time has come 
r\ around again, and so, off we hie 
* * ourselves to the wide open spaces 
where we can bask in the sunshine, let 
our hair blow in the breeze, and just loaf 
and loaf to our heart's delight— as long 
as the pocketbook holds out. 

As trailers have become so popular of 
late years, we thought we'd include an 
outfit suitable for such a luxurious 
method of going "back to nature." How- 
ever, we haven't neglected the summer 
girl who looks for a bit - of romantic 
philandering while away from the city, 
nor have we forgotten the girl with the 
form divine who is anxious to give the 
onlookers a treat. 



Jantzen modeled the two interesting swim 
suits worn by the lovely Brewster twins; 
Gloria (at left) wears the Fiesta and Bar- 
bara, the Mexicana. They are made of hand 
printed Wisp-o-weight fabric in which pure 
silk is combined with Lastex yarn. (Center) 
After a dip in her swimming pool, lovely 
Loretta Young slips into this comfortable 
robe of raw silk printed in large multi- 
colored plumes. 



(Continued on Next Page) 







Lucille Ball demonstrates a full clay's outfit for the girl who 
travels by trailer. A quilted red and white taffeta bathing 
suit for that early dip; a blue and pink dirndl peasant frock 
for breakfast. For all sports she wears dark blue jersey slacks 
and blouse, with the addition of a beige cabby coat 
fastened with huge brown but- 
tons for cool mornings; a riding 
suit in a brown and white com- 
bination for mountain trails; 
and one "dress-up" outfit, con- 
sisting of pale yellow wool suit, 
a brown silk blouse, and long 
brown and white checked coat. 
Her hat is of yellow antelope. 
For sleeping Lucille wears heavy 
wash crepe pajamas. 





(Above) Ann Miller looks par- 
ticularly happy in her blue, red 
and yellow dotted playsuit with 
its white background, accented 
by a royal blue cotton bolero 
jacket. A large white linen 
sun hat and Mexican huaraches 
(sandals to you) complete the 
costume. (Left) Rosemary Lane 
models a shirtwaist type of play- 
suit, with buttoned skirt, in 
striped green and white silk 
jersey, with ploy shoes of woven 
straw in deep green to match 
her belt. 




Hats And Frocks For More 
Conservative Occasions At 
The Country Or Beach Club. 



(Above — L to R.) Loretta Young looks 
cool and contented in her white crepe 
afternoon frock with its arresting design 
of prim tulips in pale green and yellow 
on the bodice panels. Rita Hayworth in 
a unique spectator sports ensemble, 
combining a natural pongee frock with 
halter top and deep hem banding of 
forest green to complement her smartly 
cut bolero. A huge forest green linen hat 
ties under the chin. Barbara Read bor- 
rows an idea from the Gay 90's for her 
afternoon beach costume of black and 
white challis. (Opposite — L. to R.) 
Maureen O'Sullivan in a late afternoon 
or informal dinner frock of crisp white 
organdie designed with a cluster of vivid 
red cherries and bright green leaves. 
Polka dots highlight her luncheon frock, 
the box-pleated skirt in a background of 
navy with gold dots and the blouse just 
reversed. A saucer-brimmed leghorn hat 
adds a charming note to this simple 
costume. Maureen chooses a hand- 
blocked linen for spectator sports wear. 
It is in two pieces, and the combination 
of colors, green, maroon and blue, is 
distinctly eye-catching. A stitched white 
felt hat is worn with this. 



NEW FILMS that / 




Fred MocMurroy, Dorothy Howe and 
Harriet Hilliard in "Cocoanut Grove." 



Andrea Leeds, Rita Johnson and Eve 
Arden in "Letter of Introduction." 




George O'Brien and Ed Pawley in "Gun 
Law." 



Loretta Young, Spencer Charters, Mar- 
jorie Weaver and Pauline Moore in 
"Three Blind Mice." 



Pat O'Brien, Marie Wilson and James 
Cagney in "Boy Meets Girl." 




Douglas Fairbanks, Jr., and Danielle Dar- 
rieux in "The Rage of Paris." 



Henry Armetta and Lynn Ban in "Speed 
to Burn." 



Richard Dix, Torben Mayer and Whitney 
Bourne in "Blind Alibi." 




Jack Holt, Russell Hopton and Marcia 
Ralston in "Crime Takes a Holiday." 



Melvyn Douglas and Luise Rainer in "The 
Toy Wife." 




Matthew Boulton and Freddie Barthol 
omew in "Lord Jeff." 



Andrew Tombes, Sidney Toler, June Lang 
and Dick Baldwin in "Time Out for 
Murder." 



Rudy Vallee qnd Rosemary Lane hear the 
call to arms in "Golddiggers in Paris." 
Rudy smiles in the face of danger and 
in the third picture moves to consolidate 
the forces. Is that salute sincere? Or is it 
acting? 




(Right) In "Lord Jeff," Freddie Bartholo- 
mew (a big fellow now) and Mickey Rooney 
take the bench. But Mickey is up to his old 
tricks — comedy that knocks them off their 
seats. Bam! (Bottom) Ian Hunter, Isabel 
Jeans and Kay Francis in "Secrets of An 
Actress." A question of taxi etiquette comes 
up and Isabel decides that if she is going 
to sleep she should of course first remove 
her jacket and check both it and Mr. 
Hunter. Tut, Tut! 



The solitary figure is Leo 
Carrillo in "City Shadows." 
First he listens — Then he 
differs — And his eye in- 
tensely glitters — Now sus- 
picious — "You wanta mine 
— Bigga Apple? — I give 
'em shine!" 





(Continued on Next Page) 






\ 







I years for marriage: 



rtt bated on 60,000 marriages thow thai most girls 
V in their early 20't— 58% before they are 24. How- 
E 'omen who are truly charming can marry at any age. 



No matter what your age, remember: 
romance comes to girls with charm. If 
it seems to pass you by, you may be 
neglecting charm's first essential . . . 
remember it is daintiness that wins. 

Avoid Offending 

Just on*' him of "undie o<l«ir" is enough l<» 
spoil any romance. Don't risk il! Lux 
undies ever) night ! 

Lux takes awa) all odor — protects your 
daintiness. Saves colors, too. Avoid soap 
with harmful alkali ami cake-soap rub- 
bing, These wear out delicate things loo fast. 
Anything safe in water is safe in Lux. 

Protect daintiness — Lux lingerie daily 



Making Mov = 
ies Requires 
M any M en. 
Many Id eas 
And A Lot Of 
Patience. 



Three different scenes 
from "Four's a Crowd" 
are being taken at the 
same time. In fore- 
ground, Olivia de Havil- 
land in bed. On the left 
side, half way up, is 
Rosalind Russell in an 
office set. Near the win- 
dow in back another 
crew is at work shooting 
Errol Flynn. Observe the 
sound engineer at lower 
right, near corner. (In 
circle) The "Time Out 
For Murder" company. 
The property man 
dropped the telephone 
stand on June Lang's 
head eight times before 
the director was satis- 
fied. 




Shooting 
Stars 



Director George Cukor 
showing Doris Nolan and 
Gary Grant how he wants 
them to do a scene for 
"Holiday." Try getting into 
step, Cory. 




(Below) 

machine gives the 
touch of realism to 
the flag. Eleanore 
Whitney making a 
publicity still. (Right) 
How a set looks to 
show action on three 
floors. It's for "Let- 
ter of Introduction." 




As soon as he stopped singing, I 
said, "Hello. Who are you?" 



table-boy 
Blues 



In The Racing Game Love 
Isn't Always In The Money. 



lanuc 



T LEFT the clubhouse By 

and started for the 

paddock. I knew I 
would be in for a liveh 
session of abuse from 
Jimmy when I got back. 
But I knew I could take 
it without a word, which 

would only make him angrier. Sooner or later he would 
learn not to take girls out, especially me, when he was 
hunting news for his daily column. Anyway I wanted to 
see the horses, and I didn't see why, instead, I should 
trail around with Jimmy Evans finding out who was 
attending the races with whom, and what the well- 
dressed movie actor was wearing. 

It was bright and sunn); flowers were in bloom; there was a 
pleasant crunch of gravel as I walked along. I am fond of horses, 
and I was having a fine time all by myself, going from stall to 
stall. Suddenly I heard someone singing. I turned in that direc- 
tion, because the song was one of my own, one I had written 
recently, and the singer was doing very well by it. On the far 
side of a freshly-painted fence I discovered a young man singing 
softly and at the same time putting a dark sleek beautiful horse 
through his ablutions. 

Had you seen this male specimen you would probably have 
been as surprised as I. He had \ellow hair, a very ruddy com- 
plexion, dreamy blue eyes, and was built like men you read about— 
or girls dream about. The fact that his clothes were old and 
soiled did not make a particle of difference. And there he stood, 
unconcerned as you please, singing my song better than I had 
ever heard anybody else sing it. I was amazed. 

As soon as he stopped singing, I said, "Hello. Who are you?'' 

He looked up from his work and his eyes were a nice com- 
bination of curiosity, amusement and independence. 



{Sketches 
by 
Lloyd 
WrishtJ 



51 



"Xobodv \ou would care about," he said cheerfully. Even in 
speaking his voice had a nice husky, throaty quality. 

"I came out to look at the horses," I said, "but I didn't expect 
to find a crooner." 

"My good woman, I'm no crooner, I'm a stable boy. A toiler. 
I'm to this horse what your maid is to you. I take it that you're 
a damsel who would have a maid— and a string of polo players." 
He grinned. 

A rather flippant young man, I thought. I said: "Do«you mean 
you wash horses for a living, with a voice like that?" 

"I generally use soap and water." His eyes twinkled as he 
plied a curry biush. "Anyway I like washing horses, especially 
this one. And I prefer horses to people. Horses never ask silly 
questions." 

"You can't squelch me," I said. 

"Oh, I didn't mean you." His tone was disarming. 

"What's his name?" 

"Gold Prince. You see, I raised him 
from a baby, and one day I aim to own 
him myself." 

"How, may I ask?" 

"I don't know why you'd be inter- 
ested, but one week from Saturday, in 
the Santa Clara Handicap, I am betting 
my little nest egg on him. Nobody appre- 
ciates him but me, and this little bangtail 
ought to pay plenty. To make a long 
story short, after a couple of more races 
he's going to run right straight into my 
arms." 

"How romantic," I said. "But no horse 
is that good, except Man o' War, and 
he doesn't run any more. It would be 
much more sensible if you'd cash in on 
that voice of yours while you're still nice 
to look at." 

He didn't seem to care much about this 
remark, and he frowned slightly. "Excuse 
me," he said politely. "I'm busy and I'm 
afraid I don't have time for any small 
talk?" 

I stood my ground. I may be a mem- 
ber of the weaker sex, but I have a good 
head for business. Furthermore, although 
my own voice was considered good in cer- 
tain circles, I knew that there were some 
of my songs I could never hope to put 
across as well as I thought he might. 

"How would you like to make fifty 
dollars?" I asked. "That would be a little 
extra to waste on your baby here." 

"Say, who are you? And how can any- 
one make fifty dollars when he has a full-time job 
already? You'd better run along, before I take you up." 

"Stop being skeptical," I said. "And listen to me. My 
name is Anne Reid. 1 don't suppose you've ever heard 
of me, but a lot of people have. I wrote that song you 
were singing just now— and I have a radio program- 
Thursday's from nine to nine-thirty, sponsored by Craw- 
ford Soups. Haven't you ever heard of the soup with 
a soul? Besides that I have my own club, the Club 
Stratford, where I sing every night. I'm telling you all 
this because you don't seem to know anything, except about 
horses. Well, if you want I'll put you on my program for one 
night, as a guest— sort of a tryout. We'll interview you about 
your job, and you can sing one song— one of my songs— for 
all of which I will pay you fifty dollars. Do you want it?" 

He accepted this with a tantalizing grin. I began to be a little 
annoyed. 

"Anyway, you write nice music." 

"Do you or don't you want it?" 

"Sure I want fifty dollars," he said. "Who wouldn't?" 

"Fine. This is Tuesday. You come to my apartment tomorrow 
night for a trial rehearsal. Franklin Arms Apartment, Holly- 
wood. Can I count on you having your horse bathed and put 
to bed and arriving about eight?" 

"Sure. I'll be there." He gave me a gallant bow, in which there 
was still a trace of amusement. "And thank you, fair lady, for 
putting me on the road to success." 

"I'm not sure you deserve it," I said. 

On my way back to the clubhouse I was full of plans for my 
discover), whose name I didn't even know. If I could get him 
away from that horse, I thought, we'd both make a fortune. 
His voice and my songs— what a beautiful combination! Why 
the simpleton didn't seem to realize that if he was a success he 
could have all the horses he wanted. 

For once I was fortunate. Jimmy was talking lo a beautiful 
blonde girl and he merely growled at me that females with faces 
like mine should not wander unescorted about race tracks. I trust 
he meant this in a complimentary sense. He introduced me to the 
blonde. She was Janice Robinson, a girl Jimmy was trying to get 
into the movies. She was i i< li and socially prominent, and it 




seemed she yearned to be connected with the cinema. Jimmy 
seemed to think she was the greatest find since Garbo, and there 
was no question about it— she was attractive. For the rest of the 
afternoon— between races— he elaborated on his plans. How he 
was going to publicize her in his column, get her picture in all 
the papers, and finally land a big fat contract for her. Of course, 
I knew that when that happened Jimmy would step in and take 
most of the credit. 

He said he was bringing her to my club that night, along with 
a photographer, so that I would cash in a little on the pub- 
licity too. But my mind was too busy to pay much attention to his 
prattling. I wasn't until he was driving me home that I told him 
what I had done and asked him if he could be on hand the 
next night to work up an interview. Jimmy was master of cere- 
monies on my program, and interviewed all the guest stars. 

Then I got what I expected. A tirade. "Anne, why in the name 
of heaven can't you behave like a sensible dignified girl?" Jimmy 
raved. "And not go around talking to strange peoplel How do 
you know anything about this iellow? Fie might be a criminal, 
or a bum. How do you know if he can sing before a mike? What 
can I possibly interview a stable boy about?" 

"Calm yourself. Jimmy. I should think he'd be a noveltv— 
alter all those hall-baked movie heroes." 

"Why don't you let me run the program?" he asked indignantly. 

"I do— usually. 

"Probably he won't even show up. You don't know a thing 
about this boy!" 



52 



"He has nice hair and beautiful eyes," I said. 
Jimmy snorted unintelligibly. 

"I believe you're jealous," I said. "Do I get jealous when you 
build up blondes for the movies? No. Do I get jealous when you 
talk to beautiful stars? No. Do I get jealous when I don't see 
you for a week? No." 

"Maybe it would be better if you did," he growled, jamming on 
his brakes for a traffic light and almost throwing me off the seat. 
"Then I'd know where I stood with you. Sometimes I think you 
love me and sometimes I don't." 

"That's funny," I said. "Sometimes I think I do, and sometimes 
I think I don't." 

He ranted on for a while, but I just smiled sweetly. When we 
got home I told him I'd see him and Janice at the club. And 
that I'd expect him to have some nice questions for my stable 

boy the next evening. 

"If it would make you feel any 
better." I added, "you can bring 
a gun along for protection." 
He didn't see anything funny 




Just then Janice, 
Jimmy's blonde gal, 
in this, and he was scowling darkly came to Paul's rescue, 
when I ran up the steps to my dragging him out on 
apartment. tne dance floor. 

At the Club that night Jimmy 
was somewhat distant. But then he was very busy introducing 
Janice to all the celebrities he could corner. This routine was 
familiar to me, for at times Jimmy's desire to be world-known 
as a newspaperman was all-important. His method was to build 
people up via his column and feature stories, and then bask 
fh their fame. He was doing much the same thing for Janice 
that he had done for me the year before. It was through his 
efforts that I became so successful in Hollywood, even though 
I was already pretty well known in New York. That was why, 
when I got my radio program, I rewarded him by getting him 
on it too. 

Jimmy and I usually got along very well, except for the fact 
that he seemed to have a burning desire— when he wasn't too 
busy— to protect me from the evils of the world. At times, even 
I thought he was really in love with me— next to his career, that is. 

I was ready early the following evening, not being quite sure 
when to expect either Jimmy or my discovery from the racetrack. 
I didn't share Jimmy's belief that my protege wouldn't show up. 
Jimmy's ring came, and I knew by the way he bounded up the 
steps that things were all right with him. He came bursting in, 
with the glad tidings that he thought he was about to land a 
contract for Janice. Her picture was on the front page of the 
paper he thrust in my face. 



"You will notice," he said, 'that it says she went to the Club 
Stratford especially to hear that lovely lady, that charming chan- 
teuse, that gifted composer, none other than Anne Reid— which 
means you, in case I didn't make myself clear." His dark eager 
face was near mine, and his excitement was contagious. "That's 
just to show I have no hard feelings about this race-track guy." 

"Mighty white of you," I said, rumpling his dark hair. This 
usually annoyed him, but tonight he paid no attention. 

"Where's your prodigy?" he asked. "Anyway, let's hope he 
leaves the stable at the track." 

Jimmy began extolling Janice but was interrupted by the 
arrival of my "race-track guy." My apartment was spacious and 
attractively decorated in pastel colors, but somehow my stable boy 
did not look at all out of place. In fact he looked very well. His 
clothes fit him, were neat and in good taste, and he was just 
twice as appealing as I had thought. 
"Jimmy," I said, "this is— is . . ." 
"Paul Remy." he supplied, bowing politely. 
They shook hands, looking each other over. I explained all 
about Jimmy, but Paul did not seem too impressed. This annoyed 
Jimmy tremendously. 

"Have you had any experience?" Jimmy 
asked abruptly. 

"I've been around," Paul said defen- 
sively. 

"You know what I mean— radio experi- 
ence?" 

"No, afraid not. But I guess almost 
anyone could talk into a gadget." 

I grinned at Jimmy and he glared back. 
His tactics would have annoyed anybody. 
"You've never sung in public then?" 
"Oh sure." Paul's eyes twinkled. "Pic- 
nics. Choirs. Barber-shops." While he was 
speaking he gave me a rather thorough 
examination. It was as though he had never 
seen me before. Somehow I felt tre- 
mendously flattered. 

"Nice to see how the other half lives," 
he said to me, smiling. 

"Do you think you're going to like being 
famous?" I asked, for want of something 
better to say— "And meeting famous peo- 
ple?" 

"I don't want fame; just the fifty dollars. 
You keep your famous people— I'll stick 
to my horses. A fellow knows where he 
stands with them." 

"Ah, a homespun philosopher," Jimmy 
said sarcastically. "Don't tell me you whim- 
sically discuss the birds and bees with 
your horses." 

"No." Paul said disarminglv, "we never 
discuss anything except gossip columns, radio programs and 
such important things." 

Score one for our side, I thought. 

After a little more of such talk Jimmy said, "Now about this 
broadcast, Anne? I'm to ask Mr. Remy a few questions that you 
think might interest people, and then he's to sing one number. 
Is that right?" 

I nodded. "About a three-minute interview. Did you think up 
some questions?" 

"How about these?" Jimmy continued. "How long have you 
been connected with the track? What are your duties? Have 
you always been interested in race horses? . . ." 

This went on for some time, and between them they worked 
up a nice little interview. Paul's replies were intelligent, and 
his nonchalant delivery pleased me no end. Everything was satis- 
factory. While Jimmy finished the interview I rehearsed Paul 
in one of my songs. It was one I had never been able to do 
justice to. It needed a voice like Paul's. He leaned against the 
piano and sang in his easy careless manner— and the song really 
came to life. It made me proud of my work. 

Paul said he couldn't get to the rehearsal next day, but Jimmy 
told him coldly that it wouldn't be necessary. Their attitude to 
each other convinced me right there and then that there was 
going to be trouble— what with Jimmy's sarcasm and Paul's light- 
hearted attitude. That night I went to the club happy in the 
thought that the program would go well, but wondering why 
a horse should have first claim to a nice boy with such a swell 
voice. 

Thursday evening, at eight-thirty, I was at the broadcasting 
station waiting for Paul. He was late, which annoyed me, as I had 
wanted to rehearse him again. But all he said when he arrived was 
that Gold Prince had run a mile in a minute or something. 
However he assured me he didn't need to rehearse any more. 

In the studio everyone seemed nervous except Paid. Anyway, 
I was. There was the usual expectant hush from the audience. 
Jimmy, the announcer, and the orchestra were all in place. 
Before I knew it we were on the air and Jimmy was introducing 
Paul. There was mild applause. 

"An- you a college man, Mr. Remy?" I [Continued on page 74] 



53 




New Names For Old And Perhaps A. Lifetime Of 
Happy Days In Place Of A Destiny Of Disaster. 



The name Doro- 
thy Lamour is 
so descriptive it 
seems real. 



(~ HE was born in Brooklyn on July 16, 
N 1907, and her- name was Ruby Stevens. 
w She hated it with all her heart and so, 
when she grew up and got her first chance 
in a Broadway show, "The Noose," she 
decided to cast away forever the "Ruby" 
and adopt her favorite girls' name— "Bar- 
bara." But what shall I do for a last 
name?" she mused to herself. Her eyes 
lighted on an old theatre program on a 
nearby desk, and a sudden inspiration 
came. She took a pencil, shut her eyes 
and brought down the point, making a 
mark on the program. The mark was oppo- 
site the name "James Stanwyck." "That's 
my new name!" cried little Ruby in glee, 
BARBARA STANWYCK!" And sure 
enough, it brought her fame and fortune. 

It is an interesting fact that eight out 
of ten stars have risen to glory with other 
names than their own. There are various 
reasons for this. Sometimes the real name 
is too long; some- 
times it is too hard 
to spell or pro- 
nounce; sometimes it 
just sounds funny; 
sometimes it is too 
common and some- 
times numerology 
enters into the 
matter. 

This shedding of 
old names for new 
sometimes gets a per- 
son's "goat." Only 
last summer it com- 
pletely got the goat, 
so to speak, of a cer- 
tain State Represen- 
tative in Boston and 
he promptly intro- 
duced a bill in the 
Massachusetts legis- 
lature to compel "all 
actors and actresses 
to henceforth use 
their 'right names' 
or be barred from 
Massachusetts ap- 
pearances!" Penalties 
would be— a §1000 
fine for first offend- 
ers, a $2000 fine or 
six months' impris- 
onment for second 
offenders, and a state- 
wide ban on per- 
formances, either in 
person or on the 
screen, for third of- 
fenders! But nothing 
came of this bill, 
fortunately. 

Undoubtedly you 
have wondered more 



than once if the names your beloved fa- 
vorites go by are their very own. If I 
should ask you to write down the "screen 
names" of, say— Bill Dunkinfield, Lily 
Chauchoin, Asa Yoelson, Gladys Greene, 
Fanny Zilverstitch, Timothy Noonan, Dor- 
othy Slaton and Lolita Asunsolo de Mar- 
tinez, well, it's dollars to doughnuts your 
exam papers wouldn't rate a 100% perfect. 
A few MIGHT, but I doubt it. 

Even if I asked if you knew Richard 
Ewing Powell, you might shake your head. 
Yet, that's merely how our old friend, Dick 
Powell, signs his contracts and legal papers. 

Then we have Alice Leppert— how many 
know this winsome young lady? Her name 
now happens to be Alice Faye. Born in 
New York City on May 5, 1915, daughter 
of a policeman, she changed her name to 
Faye when her professional career began. 
She thought that name lucky because Frank 
Fay was then the top-notch star on old 
Broadway. 

The tragic mystic verse of Edgar Allan 
Poe so inspired Annabella, the little French 
star, that she went to one of his saddest 
stories for the movie name that she uses. 
As Anne Carpentier, her maiden name, she 
was playing bit roles a few years ago in 
French films when she read "Annabel Lee." 
The poem haunted her so much with its 
sad beauty that she decided to use Annabel 
as her trade name. Before she came to Hol- 
lywood, she added another "la" to make it 
more musical. 

Actors and actresses don't always name 
themselves. Sometimes the studio exercises 
its "say." Sometimes other sources come 



into the matter. Lucile Langhanke became 
Mary Astor by vote of the dramatic critics 
of New York newspapers. A fan contest 
conducted by a magazine gave Joan Craw- 
ford her name. Before that she was known 
as Lucille La Sueur. Her real name was 
Cassin. Louise Dantzler became Mary Brian 
because Director Herbert Brenon thought 
that name better suited to her personality. 

Most folks know lovely Jean Arthur by 
that name only, but Jean has more than 
once confided to intimates that her real 
maiden name was Gladys Greene. 

Even Charlie McCarthy was "born" with 
a different name. He started out being 
called Charlie Mack, named after the 
woodcutter who fashioned him! Charlie's 
make-up is the result of long months of 
experimental work and, incidentally, that 
led to a new name. He was first painted 
(oh, the shame of it!) with ordinary house 
paint! As he moved up in society, in 
swanky night clubs and such around the 
metropolis, he needed a more convincing 
job on his face. Bergen had to find some- 
thing so his beloved pet's face wouldn't 
shine so much. All kinds of paints and 
lacquers were tried out but with little 
success. At last Bergen hit upon the ex- 
pedient of mixing powdered pumice with 
paint, to get a soft skin texture, and it 
worked out beautifully. Then Ed's eye fell 
on Charlie and he cried, "Heavens, you're 
now an Irishman, so I'll have to give you 
another last name!" He finally hit upon 
McCarthy, so Charlie McCarthy was born! 

Bergen himself then condensed his own 
name of "Berggren "— thinking it wouldn't 
look good in electric lights— to "Edgar 
Bergen." 




54 



HARLES 

B O y E R 



frightening snarl. Their plan was to hide in an 
alleyway and when an unsuspecting victim walked 
past they would step out in the street with the lion 
on a leash. The results were most gratifying. Women 
shrieked and fainted dead away on the cobblestones, 
and not even the most stalwart of men seemed eager 
to remain ■ in the lion's vicinity more than the 
fraction of a second. 

But the lion soon lost interest in the game, and 
what with suppertime coming on his eyes wandered 
to a butcher shop across the way— zowie, with one 
bound he was free of his leash and in the shop, his 
teeth sunk in a juicy leg of lamb. Amid a flurry of 
"Mon Dieu's" the butcher summoned the gendarmes 
and the young men, quite content with their experi- 
ment, landed in the local police station. And that, 
dear reader, was the one and only time that hand- 
some, dignified Charles Boyer had been in the 
hoosegow. 

As he grew older, and became an actor on that 
stage he had watched so greedily as a boy, his ob- 
session continued to be ' accuracy in characterization." 
To obtain accuracy one must work relentlessly, se- 
riously—and Charles Boyer has never been one to 
shirk the work he loved so passionately. "I do not 
want an audience to see me on the stage, or screen," 
he has said time and again, "as Charles Boyer. But 
as the character in the story." He has been success- 
ful in carrying the realism of his roles to the nth 
degree on the screen because he works hard to trans- 
form himself into the character he portrays. 

When he prepared for his role in "Thunder in 
che East" he locked himself in an apartment for three 





weeks and read Nip- 
ponese philosophy. For 
weeks before he played 

the young psychiatrist in "Private Worlds" 
(which picture by the way happens to be his 
favorite) he studied psychiatry and visited in- 
stitutions. 

When he prepared himself to play Napo- 
leon in "Conquest" he read hundreds of 
volumes on Napoleon. He had a mask made 
of Napoleon's face and took endless make-up 
tests at the studio so that Bonaparte might 
obliterate Boyer. He spent hours practicing 
Napoleon's peculiar manner of walking. And 
for five and a half months— all the time that 
"Conquest" was in production— he carried 



With his wife, 
Pat Paterson, a 
former English 
musical comedy 
star. 



his chin deep in his collar in the manner 
of the Little Corporal, so that now, as a 
grim result, he has a double chin. 

Boyer really becomes the entity he is 
creating— he is a Trappist monk, he is 
Napoleon Bonaparte, he is Prince Mikail 
Ouratieff of the White Russians, he is 
Crown Prince Rudolph of Austria. 

When he is making a picture Boyer 
closes his set to visitors and interviewers— 
not that he has an exalted idea of his 
own importance but because he does not 
wish to be recalled to his identity until 
the production is completed. He feels thai 
he is the character he is portraying, and 
that he could not remain so if persons 
having nothing to do wth that character 
should happen to inn tide. For instance, a fan writer 
simply couldn't ask Napoleon. "Do you like swing 
music?" But I have seen Napoleon forget about his 
campaigns and his beautiful Countess long enough to 
tie. and volubly, with the director about a certain 
si cni'. ()i am I being catty? 

When you are putting your whole soul and bod) 
into being somebod) else, and not yourself, I sup 
pose you have a right to demand peace and silence 
on a set. But whenever I find a set closed and am told 1 cm i 
cnicr ii because an actor, or an actress (and ihis means you, Miss 
Garbo) is in the throes of Art and portraying a character I always 
think ol the greatest actress of them all — Helen Hayes. 

When she was in Hollywood a lew years ago Helen Hayes' sei 
was open to writers, publicity people, and visiting fireman an) 
time of day and night, Neithei the crew from a British war- 
ship anchored oil San Pedro, nor the Rotarian Club from Kansas 



57 



A scene from Charles Boyer's latest picture, "Algiers," with Hedy Lamarr. 



City could upset her mood. I shall never forget the day I saw 
her do her famous crying scene in "The White Sister." Helen, 
lovely in her nun's clothes and looking like something out of 
another world, was playing a snappy game of "Hearts" on a 
property table with Clark Gable, a woman from the wardrobe, 
and a three-fifty a day extra. 

"Miss Hayes," said the director who had worked with the 
Glamorous Ones for many years, "it is time for you to cry. This 
is your great emotional scene in the picture. Would you like 
to have a little sad music played on the victrola? Don't you think 
you should be quiet in your dressing room for a while? I'll 
clear the set." 

"Don't bother," said Helen with a hearty chortle as she passed 
the Black Queen to Gable, "when you are ready for me to cry 
I will cry." 

But after all we can't all be Helen Hayes I suppose. And even 
I am clever enough to realize that there are always two ways, 
at least, of doing things. And I who worship good acting in 
my quiet little way would be the last person in the world to 
belittle Charles Boyer, whose superb acting in "Mayerling" 
touched me so deeply. 

He who would one day express sadness better than any other 
actor on the screen was born in the small village of Figeac, 
France, just as the century was beginning to turn. He was an only 
child, so naturally his parents, Maurice and Louise Boyer, de- 
cided that he was the smartest child in France— and they were 
more right about that than they knew. The Boyers for several 
generations had been manufacturers of farm machinery, and 
Charles' father believed that some day his son would inherit the 
factory in Figeac, and carry on the family heritage. Maurice 
Boyer died when Charles was ten. 

When her husband died Madame Boyer sold the factory but 
continued to live in their old home in Figeac. She told her son 
that she sold the factory because her friends advised her to do 
so— but Boyer, who is, and always has been, very close to his 
mother, suspects that she would have sold it, advice or not, so 
that there could be no question of his ever having to take it 
over. Her son, Madame Boyer had decided, would be a great 
professor. 

But Charles Boyer had other ideas. Grease-paint meant far 
more to him than a frock coat and scholastic dignities. When he 
was twelve he announced to his mother that he was going to 
be an actor when he grew up. What a blow that must have been 
to Madame Boyer, but she took it very sensibly. "You are young," 
she said, "you will finish your school work here and enter the 
Sorbonne and win your license as I have always wanted you to 
do. And then, if you still desire to become an actor, you will 
have my blessing and my hope that you will succeed." 

The course at the Sorbonne finished, young Boyer was pre- 
sented with his license by the worthy doctors, and that night 
he and his mother, who had come to Paris for the Occasion, had 
a very serious talk. Her son had kept his part of the bargain, 
it was now up to her to keep heis. 



So Boyer entered the Conservatoire de Drame in Paris, and at 
the end of the first year there won the second prize. And then 
he had the "break" which all actors hope for. It was not according 
to the rules of the Conservatoire for a student to take part in 
a professional production, but now and again such a thing was 
overlooked. M. Gemier was directing "Les Jardins de Murci" and 
at the very last moment the leading man fell ill. No one could 
learn the lengthy script by the following night— that is, no one 
except Charles Boyer who was famous for his remarkable memory. 
He learned the entire part in less than twelve hours! 

His success in "Les Jardin de Murci" started him off on a 
long, uninterrupted chain of successes. 

When pictures learned to talk he made a talkie in Germany for 
Ufa, shortly after which M-G-M asked him to come to Hollywood 
to make French versions for them. There followed a period in 
Boyer's life which he would sincerely like to forget. His first visit 
to Hollywood was in the nature of a tragedy. After he got here 
the studio decided not to make French versions after all, so they 
gave the idol of France a bit part in "Red Headed Woman" star- 
ring Jean Harlow. 

Perhaps you recall it— it was the part of the chauffeur. He was 
bawled out by the director, and kicked around on the set like 
an old piece of prop furniture. Though I recall both Jean Harlow 
and Una Merkel telling me at the time what an excellent actor 
he was and what a pity it was he was being made to play a bit. 
Boyer couldn't stand it very long so he broke his contract and 
returned to Paris, where he made pictures in French— and studied 
English diligently. 

When "La Bataille" (released here as "Thunder In The East") 
was released Fox Films decided that the young Frenchman with 
the sad face had possibilities so they cabled him to return to 
Hollywood for the lead in "Caravan." For a second time Boxer 
crossed an ocean, and a desert, to try his luck in Hollywood, but 
a second time he lost. 

"I can explain my return only by admitting that my previous 
failure rankled," Boyer has said, "It was an unhappy and unlaid 
ghost that haunted me. 'Caravan' was ridiculous for me. I am not 
the type to wear black curls and play mad music in the moon- 
light. I felt a fool. Again I asked for my release and got it." 

But a few days before he was to catch the Chief he met producer 
Walter Wanger. Wanger induced him to co-star with his fellow- 
countrywoman, Claudette Colbert, in "Private Worlds," and 
following the release of that picture Boyer and Wanger got 
together on a long term contract. 

Charles Boyer was thirty-five before he fell in love, deeply and 
seriously, for the first time. He met Pat Paterson, a young English 
actress, at a Hollywood party, and it was another case of love at 
first sight, which must have surprised him no end. The marriage 
was as unexpected as their meeting. Arriving at a movie one eve- 
ning they discovered that the house was sold out. As they stood in 
the lobby, debating where to go, Boyer suddenly said, "Let's get 
married." Within an hour they were aboard a chartered plane, 
en route to Yuma, Arizona, Hollywood's Gretna Green. 



58 




no princess ever looked more beautiful and 
romantic on her balcony than Olivia. Basil 
Rathbone's performance as the deadly and 
dastardly Sir Guy is perfection itself, as 
always, and his duel with Robin is quite 
the most thrilling duel ever screened. 

Stand-outs are Claude Rains as the 
scheming Prince John, Melville Cooper a^ 
the cowardly Bishop of Nottingham, Ian 
Hunter as the stalwart Richard, Alan Hale 
as tough Little John, Eugene Pallette as 
martial Friar Tuck, Patric Knowles as 
loyal Will Scarlett, and Una O'Connor 
quite priceless as Maid Marian's maid in 
the throes of a romance with Will Scarlett. 
You'll long remember the new Robin Hood 
as the most colorful and dashing of pictures. 

VIVACIOUS LADY 

In Which Academic Learning Takes A 

Good Spoofing— RKO 
RINGER ROGERS' new picture, without 
— Fred Astaire, is a quaint sort of com- 
edy with hilarious moments— and such a 
relief after all that slap-happy, screwball 
stuff we've been subjected to lately. 

Ginger plays a New York night club 
dancer who falls in love quite suddenly 
with James Stewart. Jimmy is an associate 
college professor, the son and grandson of 
college presidents, and if there's anything 
the family doesn't want it's a night club 
dancer. Besides, Jimmy has a nice, home- 
town fiancee, Frances Mercer. So the newly- 
weds aren't particularly welcomed at home, 
and it's all pretty upsetting to Ginger who 
is a swell kid. But, before there can be a 
divorce, her mother-in-law rallies to her 
side and gradually wins over the father and 
the whole town. 

Beulah Bondi as the mother and Charles 
Coburn as the father stand out as tops in 
an excellent cast. The scene in which 
Ginger and Jimmy Ellison teach Beulah to 
dance the "Big Apple" is a grand bit of 
comedy that will have you in hvsterics. 
Jimmy Ellison, by the way, is simply excel- 
lent. You ought not to miss this one. It's 
swell entertainment. 



Errol Fly n n as Robin 
Hood greets Maid 
Marian, Olivia de 
Havilland, in a manner 
hallowed by time and 
unchanged through the 
centuries — a kiss. 



Reviews of Pictures 



THE ADVENTURES OF 
ROBIN HOOD 

Colorful Romance That Should Please 

Everyone— WB 
A FTER all there is nothing like high ro- 
* Mriance and exciting adventure, now is 
there, and the newest version of the Robin 
Hood legends abounds in plenty of both. 
Done in Technicolor, and lavishly pro- 
duced, it is one of the most beautiful and 
thrilling pictures you'll ever see. If there's 
a spark of romance in you you'll simply 
glow with joy. Errol Flynn is excellent as 
the swashbuckling Robin of some seven 
hundred years ago— and so dashing. 

Told in picturesque episodes, with much 
fanfare and pageantry, the story concerns 
the attempts of villainous Prince John to 
seize the throne of his brother, Richard the 
Lion-Hearted of England, while Richard 
is away on a Crusade against the Saracens. 
The Saxons, taxed beyond endurance and 
tortured mercilessly by evil Prince John 
and his Norman lords, turn to Robin Hood 
to save them from their oppressors, which 
he proceeds to do in a most daring and 
delightful manner. 

There's comedy, and there's intrigue, and 
there's a flawless cast of characters. Lovely 
Olivia de Havilland plays Maid Marian and 




Jay Adler (on the floor), Jack Carson, Paul Guilfoyle, 
Anthony Ward, Louis Hayward and Kay Sutton in "The 
Saint in New York." 



59 



■ 




Bea Lillie and Bing Crosby in 
"Dr. Rhythm." The Physician 
turns cop and — all is swell. 




Laurel and Hardy in "Swiss 
Miss," dishing up the tragic 
theme which prolongs the laugh 
moments of the mousetrap sales- 
men. 

FOUR MEN AND A PRAYER 

Something Different in Mystery Stories 
—20th Century-Fox 

SOMETIMES this is grimly tragic, some- 
times it's delightfully humorous, but at 
all times it is extremely well acted by a ca- 
pable cast headed by lovely Loretta Young 
(What hats, Loretta, my eye— what hats) 
and that very handsome English importa- 
tion Richard Greene, who is supposed to 
be Twentieth Century's rival to Metro's 
Robert Taylor. 

Whether the girls go mad about Mr. 
Greene as they did about Mr. Taylor is 
something we shall soon find out. He's very 
elTective in his American debut. 

Briefly the story is about four fine young 
Britishers, George Sanders, David Niven, 
Richard Greene and William Henry, who 
set out to remove the stain of dishonor 
from their father's dishonorable discharge 
from the British army in India, and clear 
the mystery surrounding his death. C. 
Aubrey Smith plays the lather and is 



60 



magnificent as usual in his few scenes. 

Their search for the guilty parties leads 
them from India to South America to 
Alexandria, where all kinds of things be- 
fall them, including a dandy little revolu- 
tion. 

Loretta plays the rich and spoiled Ameri- 
can girl who is so much in love with Rich- 
ard that she follows him from country to 
country— and eventually discovers to her 
dismay that her father, a munitions mag- 
nate they seek, is the villain. But due 
apologies are made for him (after all he is 
the heroine's father) and the blame is put 
on a munitions salesman, Alan Hale, who 
can take it. 

Bertori Churchill, Reginald Denny, Ed- 
ward Bromberg and John Carradine com- 
plete the excellent cast. 

THE SAINT IN NEW YORK 

A Fine Mystery Novel Becomes An 
Equally Fine Mystery Film— RKO 
THE Saint, created by Leslie Charteris, is 
1 a modern Robin Hood, whose exciting 
adventures in the underworld have been 
read eagerly by thrill-lovers for a number of 
years. Thank goodness, he has at last 
arrived on the screen, and perfectly por- 
trayed by Louis Hayward. The Saint's pet 
philosopy is direct action without the least 
regard for legal procedure, and so when 
the New York police department becomes 
hopelessly stymied by 
red tape in fighting a 
crime wave the Saint 
is called in and given 
carte blanche to take 
over. Charming, deb- 
onair and fearless he 
becomes a lone wolf 
and strikes with un- 
erring aim. 

It's thrilling, and it's 
fun. Here's hoping 
there'll be more 
"Saint" stories adapted 
to the screen, and with 
Louis Hayward play- 
ing the lead. In the 
cast are Kav Sutton as 
the gal who loves 
the Saint and often 



James Stewart meets 
the "Vivacious 
Lady" (Ginger 
Rogers) in a night 
club. 



saves his life, Paul ouilfoyle as a gun man 
with a sense of humor, and Sig Rumann 
as a deadly gangster who can crack a joke 
as well as a skull. 

- SWISS MISS 

A New Laurel And Hardy Farce— MGM 
TF YOU are fans of this team there are 
1 three sequences in their new musical film 
which will roll you in the aisles. Stan 
Laurel trying to wheedle a keg of brandy 
from a surly St. Bernard, Laurel and Hardy 
trying to move a piano over a rope bridge 
which spans a mountain chasm, and a pipe 
organ blowing bubbles— these are the fun- 
niest sequences to be found in any picture 
this year. 

But, unfortunatelv, there are sagging mo- 
ments in between. Laurel and Hardy play 
a couple of mousetrap salesmen who go to 
Switzerland because the cheese is most 
plentiful there. At a resort hotel they meet 
Walter Woolf King who is trying to get 
away from Delia Lind long enough to com- 
pose an operetta. Rotund Oliver imme- 
diately falls for Miss Lind and becomes her 
cat'spaw. 

Miss Lind, a recent European importa- 
tion, sings exceedingly well, and so does 
Mr. King, so the picture is vocally most 
pleasant. Their best song number, is "I 
Can't Get Over the Alps." 

STOLEN HEAVEN 

Music Lovers Will Enjoy This— Par. 
(~^)LYMPE BRADNA, a seventeen year old 
French girl who is both talented and 
charming, plavs her first lead in this pic- 
ture and proves beyond a doubt that she 
can take her place right up there with the 
Glamour Girls. 

The picture, which is done in sort of a 
light opera vein, concerns the exciting ad- 
ventures of Europe's most daring jewel 
thieves who, disguised as musicians, go in 
for big time robberies. The members of 
the band are Olympe, Gene Raymond, 
Glenda Farrell, and Porter Hall, and a 
finer bunch of screen crooks you never saw. 

With the police on their heels after a 
sensational necklace robbery, they take 
refuge one night -in the lonely cottage of 
Lewis Stone, a once famous concert pianist 
who lives to give one more concert, but 
doubts his failing ability. He is taken in 
completely by the "musicians" and in time 
comes to depend helplessly upon the in- 
spiration given him by the charming 
Olympe. 

A concert appearance is arranged for him 
and of course the thieves know that they 




will be recognized at once so the) plan 
their escape. But Olympe and Gene, who 
love each other, will not desert the aged 
musician in his crisis— and are captured. 
The plot affords an opportunity for the 
interpolation of Liszt's Sixth Hungarian 
Rhapsody, his Liebestraun, a Chopin waltz 
and a Strauss medley, played beautifully. 
If you went for "The Miracle Man" you'll 
s;o for this. 



TEST PILOT 

A Splendid Drama of Aviation— MGM 

CLARK GABLE, Myrna Loy and Spencer 
Tracy star in this grand story of the air, 
which is without a doubt the greatest enter- 
tainment that any studio has produced in 
a long, long time. The picture has every- 
thing—a human story with just the right 
amount of brilliant comedy, a magnificent 
air spectacle, and three of the most popular 
stars in Hollywood. What more can vou 
ask? 

The story involves an unusual triangle: 
Three souls who constantly fight the 
tragedy of death in the sky. Clark Gable, 
in the finest performance of his career, 
plays the daring, wise-cracking hard-drink- 
ing young test pilot who continually risks 
his life in the interests of aviation. 

Myrna Loy gives a vivid portrayal of the 
tortured, hysterical, but ever-loving wife 
who "doesn't become alive until her hus- 
band lands his plane safely." 

Spencer Tracy plays, as only Spencer 
Tracy can, the inarticulate and devoted 
friend who has to worry over both his test 
pilot buddy and the young wife. His death 
in a plane crash practically crushes the 



heart out of you, it is so intensely real. 

In the strong supporting cast are Lionel 
Barrymore as a builder of airships, Gloria 
Holden as a test pilot widow, and Mar- 
jorie Main as a landlady with a sense of 
humor. The power dives of the Army pur- 
suit planes and the magnificent, wheeling 
flight of the new Army bomber are breath- 
takingly thrilling. It's a picture no one 
wants to miss. 



DR. RHYTHM 

A Musical "With A Plot 'n' Everything 
-Par. 

DING CROSBY'S new picture is most im- 
D portant in that it brings back to the 
screen the pixilated Bea Lillie, the cleverest 
of all comediennes. Her elegant drolleries 
will have you in stitches. Long a favorite 
with theatre-goers in New York and London 
Miss Lillie (Lady Peel to you social climb- 
ers) now proves that her inimitable humor 
can be tossed off on the screen with equal 
hilarity. 

Adapted, but loosely, from O. Henry's 
"The Badge of Policeman O'Roon," the 
picture tells of the misadventures of a nice 
young doctor when, to save a job for a 
plastered friend, he disguises himself as a 
policeman and becomes the bodyguard of 
an eccentric social leader and her romantic 
young niece. 

Bing, of course, is the doctor turned cop, 
Mary Carlisle is the niece, and Miss Lillie 
is the eccentric Mrs. Dodd-Blodgett. Andy 
Devine is the cop on a bender, Fred Keat- 
ing the gangster in love with Mary, and 
Laura Hope Crews one of the doctor's 
patients trying to reduce. 



Bing sings several song hits, among them, 
"On the Sentimental Side." The picture, 
unfortunately, has quite a few low spots, 
and one sort of waits for Bea Lillie to re- 
turn with her priceless absurdities. 



SINNERS IN PARADISE 

A "Desert Island" Melodrama— U 
A/tAYBE this is the desert island picture 
* " * to end all desert island pictures, but 
I guess we can't be that optimistic. 

A giant airliner, flying from California 
to China, crashes well off its course in mid- 
ocean and bursts into flame. The passengers 
and one member of the crew escape and 
find themselves, later, washed up on the 
shores of a— desert island. 

The passengers are Madge Evans, who 
plays a young woman tired of married life 
and on her way to become a nurse in 
China, Charlotte Wynters, one of the rich- 
est girls in the world, Marion Martin, a 
fugitive from a gambling investigation. 
Bruce Cabot, a racketeer and gunman, 
Nana Bryant, a mother on a visit to her 
son, Gene Lockhart, a jDompous senator, 
Milburn Stone and Morgan Conway, two 
ammunition salesmen. 

This oddly-assorted group of passengers 
find the island inhabited by a man of 
mystery, John Boles, and his faithful serv- 
ant, Willie Fung. There's comedy, and 
intrigue, and melodrama, and assault and 
battery before our little group gets away 
from the island. The love story between 
Madge and John is sadly neglected, which 
is a shame as both of them are such excel- 
lent actors when given a chance. 




ft. 



Mi 




A "Desert Island" harbors the airliner's stranded passengers, while the plot 
hatches — in "Sinners in Paradise." Madge Evans in the foreground. 



61 



S u 



rvey o 



f the Sets 



By 

S. R. Mod 
INCLUDING A REPORT 
OF THE ACTIVITIES 
OF THE M-G-M STUDIO 

By Maureen O'Sullivan 



WHAT a beautiful world it is, my 
little fishie-wishies, as'Billie Burke 
murmured in "Merrily We Live." 
I waken with a feeling of foreboding and 
then suddenly remember it is Der Tag— 
the day to cover the sets. But, lo and be- 
hold! The doorbell rings and it is Maureen 
O'Sullivan's chauffeur holding out a huge 
envelope. At first I think it' may be an in- 
vitatian to dinner. Then I realize no invi- 
tation could be that heavy, unless she was 
sending the dinner by mail. Next, I think 
perhaps she has made up a schedule of all 
her free evenings so I can take my pick. 

By this time I have the envelope ripped 
open and the contents are even better than 
an invitation to dinner. That blessed child 
has kept her word and covered the sets 
at M-G-M for me, as she promised she 
would before she went to England to do 
"A Yank At Oxford!" So, ladies and gents, 
permit me to introduce a girl who, as an 
actress, needs no introduction and whom 
yours truly and Silver Screen are proud to 
present in her debul as a writer— Miss 
Maureen O'Sullivan. 





M-G-M 

By Maureen O'Sullivan 

TODAY is "Actors' Field Day" on this lot 
(they don't know it but it is!) because 
I am going to write Dick Mook's column 
from an actor's viewpoint. 

This will be a very busy day for me 
because, besides being a writer I am also 
an -actress (or am I?) and am working in 
a film called "Hold That Kiss." I have to 
leave home at 7:15 in order to be ready 
for shooting at 9:00 but, as it is a lovely 
day, I do not mind very much being up 
so early. 

Off to the studio I go wearing pajamas 
and no make-up (this is practically an 
actress' uniform for going to work!), down 
the winding road from my hilltop house, 
past the golf course where I see a lone 
figure teeing off from the 18th hole. (Per- 



Frank Albert- 
son, Jessie 
Ralph, Dennis 
O'Keefe, Fay 
Holden, Phillip 
Terry and 
Maureen 
O'Sullivan. 
A scene for 
"Hold That 
Kiss." 



haps it is Katharine Hepburn as she lives 
near here). In about fifteen minutes we are 
at the studio and shooting in the main 

gate. 

"Good morning!" shouts Mr. Coppo, the 
policeman. Yes, that is really his name! 

"Good morning!" I wave back and so 
to mv dressing room and the many rites 
that have to be performed before I can 
call myself ready to work. 

To tell you about the scene we are do- 
ing today I shall have to explain a little 
about the story. The picture starts with a 
big society wedding at which I (who work 
for a dress shop) am helping dress the 
bride. On my way down to collect the bill 
I meet Tommy Bradford (Dennis O'Keefe), 
who has brought the steamship tickets for 
the honeymoon. 

Meeting in these surroundings, he thinks 
I am a "society girl" and I mistake him for 
"one of the smart set." Becoming involved 
in the lies 'we tell each other, we have to 
keep up the pretense which lands us in 



many amusing situations throughout the 
picture. But to explain today's scene. 

Jessie Ralph, who plays my Aunt Lucy, 
is a housekeeper for some very wealthy 
people. As they are out of town she de- 
cides to give a dinner party for my family 
to meet Dennis. She nonchalantly invites 
us all to the penthouse where she works 
and passes if off as her own. She thinks 
a penthouse more suitable to entertain the 
supposedly wealthy Dennis than the rather 
squalid apartment in which we all live. 

I have a large, crazy family comprised 
of Ma (Fay Holden), Steve, my brother 
(Frank Albertson), Chick, another brother 
(Mickey Rooney) and Ted, still another 
brother (Phillip Terry). 

Just before dinner Jessie finds the silver 
is missing, which isn't strange because 
Frank has pawned it to raise money to 
bet on the horses. Consequently, we have 
no knives or forks. Nothing daunted, Jessie, 
with her knowledge of society, gleaned, 
no doubt, from reading the etiquette 
columns, savs, "All right, we'll serve the 
turkey 'chow mein' and use chopsticks like 
the Vanderpool party last month." 

It is now 9:00 AM. We have all just 
finished breakfast but we have to take the 
dinner sequence in the picture. We sit 
down to the table and stare moodily at 
some rather dreadful sticky mess— chow 
mein of some kind— which we are going to 
have to eat and pretend we like it! 

Dennis is lale on the set so we sit around 
the table talking. Fav Holden says she had 
an awful dream last night. She dreamt she 
was on the stage and when the curtain 
went up she suddenly could not remember 
a word of what she was supposed to say! 



62 




We all agree that, at one time or another, 
we have had the same dream— sort of an 
actor's nightmare. 

Jessie Ralph goes her one better and 
says she dreamt she, likewise, was doing a 
play and when they got to the third act 
she could not remember anything at all 
about the play. She asked the director to 
give her a script so she could read it 
hurriedly, get an idea of the scene, and 
'fake it'— making up her own dialogue. He 
gave her the script and when she tried to 
read it, found she could not open her eyes. 

Another popular dream of actors seems 
to be finding oneself in front of the au- 



dience inadequately clad! Never having been 
on the stage my nightmares are less terrify- 
ing because, in pictures, one can always 
make another take! 

Dennis finally arrives and after a couple 
of rehearsals we are ready for a take. 
Despite our various nightmares, we have 
no trouble remembering our dialogue. Our 
butler for the evening is a little colored 
boy who runs the elevator and is helping 
us out. He has found himself a mandarin 
coat and is wearing it, much to our con- 
sternation as he looks frightful and most 
un-Chinese. He also insists upon saying 
"Come right up" to every request. The 
dinner starts and none of us can manage 
our chopsticks. 

"What's the idea of the chopsticks?" 
Phil Terry grumbles. 

"The Chinese didn't use knives and 
forks," Ma answers politely. 

"Then how did they eat?" Phil persists. 

"With their mouths, with their mouths," 
Frank informs him. But by this time even 
Frank is baffled by the chopsticks. "How 
do you use these things?" he queries. 

"Like they did in , 'The Good Earth', 
Phil comes back. 

"I didn't see the picture," Frank counters. 
"What am I going to do?" 

Aunt Lucy comes to the rescue. "Show 
him how, Mr. Bradford," she urges Dennis. 
"I'm sure you've had experience with 
them." 

"Oh, yes," Dennis bluffs, "on my last 
trip to the Orient. You take them between 
the two fingers of your right hand—" 

"I'm left-handed," Frank objects. "Guess 
I'd better just put mine on a hunk of 
bread." For this remark I reward him with 
a beautiful kick— under the table. 

At this moment there is a terrific blare 
from a loud speaker. "Good evening, ladies 
and gentlemen—." It is Mickey Rooney, the 
youngest member or our family. Mickey, 
who has a band, is hoping the wealtln 
Mr. Bradford will like his music, get him 
some society engagements and, accordingly, 
has wired a loud speaker to the floral 
centerpiece on the table. 

Embarrassed, we shout above the din. 
"That's Chick. He wanted you to hear his 
band, Mr. Bradford." 

"Don't think you'll have any trouble!" 
Phil yells. 

"Mother spoils that boy," I scream. 
"Gives him everything he wants— bands, 
loud speakers." 

"Loud speakers," Mr. Bradford repeats 
in a daze. 

Ma determinedly attacks her chow mein. 
A large piece of turkey flies from between 
the chopsticks into the finger bowl. 

"Now I understand why they have fans 
in China," Frank mutters disgustedly, put- 
ting down his chopsticks. 

That is the end of the scene and we are 
all very pleased at having got through the 



first time. But we haven't quite pleased 
our director who calls for "one more." This 
time Phil spills some chow mein on his 
vest and spoils the take. 

"You should have worn your tweed suit," 
Frank jeers. "Then it wouldn't show." 

Twice more and we have it right. "Now 
we'll do Mickey's close-up," they tell us. 
"Mickey is going into another picture so we 
have to finish with him first." 



So, while they're working with Mickey, I 
shall go call on Robert Montgomery and 
Virginia Bruce, who are working in "Ye.- 
low Jack," and also on Freddie Barth- 
olomew who is doing "Lord Jeff." 

As I walk on the stage where "Yellow 
Jack" is shooting, I hear a piano and 
voices singing. It is Virginia Bruce playing 
and harmonizing with the director and 
assistant director. She looks very beautiful 
in her nurse's uniform, vintage of 1900 
This is her seventh time as a nurse in 
pictures. 

Virginia is one of the prettiest girls I 
have ever seen— even more so off-screen. 
She seems very happy— probably because 
she is still a bride and, perhaps also, be- 
cause she has finished work for the day! 

The property man is putting some nasty 
looking mosquitoes in a jar. "Watch this 
scene," Bob invites. 

"I'm a writer," I warn him. "I'm really 
Dick Mook in disguise." 

"Well, you can stay anyway," he concedes. 
(I guess that's a compliment, Dick!) 

They rehearse only once or twice, just 
for camera positions because you can't re- 
hearse mosquitoes. Bob is a soldier in 
Ouemados near Havana where the dread 




(Above) Jane Withers and Henry Wil- 
coxon in "Hello Hollywood." (Below, 
left) Bobby Jordan, Bonita Granville, 
Anita Louise and Kay Francis in "In 
Every Woman's Life." (Below) Warner 
Baxter and Eddie Conrad in "I'll Give 
A Million." 





Pauline Moore, Marjorie Weaver and Loretta Young in 
the opening scene of "Three Blind Mice." 



disease known as the "Yellow Jack" runs 
rile. Unable to determine the cause oC this 
sickness, which they think may be carried 
by mosquitoes, a man volunteers to be the 
"guinea pig" and allow himself to be bit- 
ten by them. He contracts the disease and 
dies. This, however, is not conclusive proof, 
so Bob becomes the second volunteer. 

"Ready for a take," the director calls. 

Bob sets the jar which is full of stegomyia 
(mosquitoes to you— AND me) on the bed. 
which is boxed in by a net covering. He is 
clad in a pair of shorts, although they also 
made a take with a shirt on! He rips the 
gauze off the jar and gently shakes the 
mosquitoes out. "Come on out, girls I'll 
buy you a drink," he urges them. We hear 
them drone as they fly out until there are 
no more left in the air. Bob lies back on 
the bed. One settles on his side. While he 
is looking at it another settles on his back. 
Involuntarily he starts to slap it— then 
checks himself. "I can stand it if you can- 
have a good time," he murmurs. 

He lies quiet and seems to drop into a 
sort of coma. We hear him occasionally 
mumble an incoherent word. As the 
mosquitoes settle and rise the sunlight 
streams through the window and catches 
i he gleam of their wings. 

I think Bob is a brave man. I'd hate to 
be in there! When the scene is over I ask 
him if the mosquitoes had a good time 
but he says no, he put some stuff on to stop 
i hem from biting. I think he'll find he is 
wrong in just a few minutes, though, be- 
cause they seemed awfully hungry and 
settled on him as though they really meant 
business! 

I haven't much time left as I have to go 
over and call on Freddie Bartholomew be- 
fore going back to work. So I say goodbye 
to Bob and on my way to Stage 9 I wonder 
how they can possibly manage to get the 
mosquitoes to land in the same places! 

Stage 9 has a "No Visitors" sign on the 
door but I walk right in. "No visitors," 
savs the doorman who doesn't recognize 
me. "Press," I retort and, looking a bit 
puzzled, he lets me through! Freddie is 
rehearsing but he sees me and says "Hello, 
Dora. Use my chair." He still calls me Dora 
from the part I played in his first picture— 
"David Copperficld." 

The scene takes place in the superintend- 
ent's office of M. Barnardo's home. This 
is one of the institutions founded by M. 
Barnardo in England for orphan boys and 
girls. Freddie is an orphan who fell in with 
crooks after the death of his parents in a 
railway crash. They make him pose as 



Lord Gregory. After a robbery in Bond 
Street in which Freddie is used as a pawn, 
he is arrested and the crooks escape. The 
court sends him to this home where they 
hope to make a better boy out of him as 
he is a spoiled, obnoxious brat. 

"Geoffrey, we are going to be friends," 
says the kindly superintendent (Charles 
Coburn). Freddie ignores him. "Very well, 
then, I shall be yours," Mr. Coburn con- 
tinues. "That is the spirit of our founder. 
The work he started has befriended more 
than 120.000 boys and girls." 

"Oh! Charity!" Freddie remarks in dis- 
may. 

"No," Mr. Coburn corrects him, "not 
charity— friendship. Every boy needs help- 
to be put on the right path to becoming 
a useful citizen and, when you are a man, 
to earn your own way ... to learn a trade 
so you can become self-reliant." 

"You teach boys to become tradespeople!" 
Freddie is completely horrified. "I want 
to be a gentleman!" 

"The first quality of a gentleman is to 
pull his own weight," the superintendent 
goes on unperturbed. "I would like you 
to choose what you want to become— a 
farmer, or a carpenter or a printer— almost 
anything." 

"I'd rather go to jail," Freddie an- 
nounces. 

"All right, since you won't make the 
choice, I will. There are no limits to which 
a man may not rise in the Mercantile 
Marine," Mr. Coburn says. He goes on 
to tell Freddie more about it and that's 
the end of the scene. 

Freddie comes over to talk to me. He is 
very tall now and his voice can't quite 
make up its mind whether to be a tenor 
or a bass! I have not really spoken much 
to him since "David Copperfield" and the 
change in him since then is quite amazing! 
Aunt Cissy is very pleased and proud of 
him. "Isn't he a big boy now?" she exclaims. 

I think it is nice because many parents 
of screen children long for them to stay 
small and childish— but not Aunt Cissy! 
"He's going to be very tall, I think," she 
tells me. I ask him how he likes playing 
such a bad boy. 

"I like it," he replies. "Charles Laughton 
told me he always enjoyed playing people 
he hated because he hated them so much 
he did them well! I rather hated this boy 
at first but he gets nice in the end so that 
makes it just right! Mickey Rooney's to be 
in this picture, too." 

Speaking of Mickey reminds me I ought 
to be getting back to my own set. So I say 
goodbye to Aunt Cissy and Freddie. 



Back on my own set they are still fussing 
with Mickev's close-up (the eleventh take!) 
so I go to my dressing room and start writ- 
ing this. "What are you writing Sully?" 
Frank Albertson asks. I tell him. And then 
I lie down as I'm exhausted. I never knew 
being a writer (?) was such a strenuous 
job! 



Mook speaking. I should give you a 
raspberry, Maureen, because you've done 
a job I'll never be able to live up to— all 
the intimate little details of picture-making 
that, I think, the fans will love knowing 
about and which years of set-trotting have 
caused me to take for granted and over- 
look reporting. But you've taken such a 
load off my shoulders and turned out such 
a masterpiece I'm going to call up Hal- 
chester and tell him to send his whole 
shop— or anyhow a dozen roses— to you. I'm 
also going to change my will and make you 
the beneficiary, hoping the three coin silver 
spoons I own and which you'll fall heir to, 
will match your service. Thanks, Angel. 

M-G-M having been thoroughly covered, 
we'll proceed to — 

2 0th Century-Fox 

PLENTY doing here all right and no 
Maureen to do it for me. After all. I 
realize, there's only one Maureen and she's 
at another studio. So I wander on to the set 
of "Three Blind Mice." It's the opening 
scene of the picture which stars Loretta 
Young. 

As I come on to the stage my guide 
introduces me to Marjorie Weaver. "Oh, 
I know him," Marge smiles. 

"Then why didn't you speak to me in 
the Brown Derby the other night?" I tease 
her. 

"Didn't I?" she asks blankly. Then she 
recovers her poise and smiles: "I'm sorry. 
But you see, I'm the sort of person who, 
if she hasn't got you on her mind, you 
don't exist." When Marge smiles you forget 
everything else and it is not until later- 
much later— f realize the portent of Marge's 
words and understand how little I stand 
for in her life. 

Just then Bill Seiter, the director, calls 
her for a shot. Loretta, Marge and Pauline 
Moore (who is married to Jefferson Macha- 
mer the cartoonist) are three sisters on a 
drab Kansas farm. There is no romance in 
their lives— no glamour— no excitement. So 
thev draw straws to see which is to be the 
societv belle of the outfit and the other 
two aire to constitute her retinue. Loretta 
is the lucky girl. Marge is to be her maid 
(the sort of maid, I wot, the husband al- 
ways philanders with) and Polly is the 
secretarv in her spare moments. Just now 
her time is largely occupied candling eggs. 

"Ah, Moira," Loretta is saying to Marge, 
"for the dance tonight— please lay out my 
chinchilla wrap." 

It is a strange picture and a stranger 
scene that follows. Each girl is. in speech 
and attitude, so perfect in her part— Loretta 
as the mistress of a fashionable home, 
Marge as a maid and Polly as a social 
secretary, each so authentic, verbally, it is 
not their talk that seems incongruous but 
their actions, attire and background. 

It's a long scene and, despite the fact no 
one blew up in her lines it doesn't suit 
M. Seiter. He calls for another take. And 
then another. I see there's going to be no 
chance to make myself important in Marge's 
life or to chat with Loretta so I move on 
to— 



"Always Goodbye." This stars Barbara 
Stanwyck— and high time it is, too, that 
Barbara was back on the screen. This also 
boasts the presence of Herbert Marshall. I 
have never been one of Mr. M's admirers 
but since seeing him in "Mad About Music" 
I have done an about-face. He is much 
more human fooling around with Deanna 



<S4 



Durbin than he is with Marlene Dietrich 
or Gloria Swanson. 

With a studio's usual prescience, 20th 
Century-Fox have taken a beautiful book 
and completely re-written the story so that 
naught remains of the original save that 
the hero is still a doctor. As it stands now. 
Barbara is an unwed mother. Doc Marshall 
befriends her, has her babv adopted by 
two old friends (Ian Hunter and his wife). 
Doc goes further and gets Babs a job with 
Binnie Barnes who runs a fashionable dress 
shop. Years pass. Babs becomes almost the 
head of the shop. Marshall has gone junket- 
ing off on a tramp steamer. When he re- 
turns Babs is just leaving on a buying 
trip . . . Paris in the spring. In gav Paree 
she meets Cesar (whom his friends call 
' Butch") Romero. Butch Romero confides 
that both his brothers married for money 
but that he is going to be different. He's 
going to marry for LOVE— and Babs is it! 

"You are the most feminine, the most 
mysterious, the most beautiful woman I 
have ever seen," he goes on ardently. "1 
am in love with you. I fell in love with you 
at first sight. Madly in love." 

Well! I must say! I've listened to mush 
in my time but never anything as palpable 
as this and if that's the kind of tripe 
Butch goes around peddling to females it's 





(Above) In "Yel- 
low Jack," Robert 
Montgomery risks 
all for science. L. 
to R. Lewis Stone, 
Virginia Bruce, 
Stanley Ridges, 
Bob, and Frank 
Priglia. (Left) 
Cesar Romero meets 
Barbara Stanwyck 
in "Always Good- 
bye." 



no wonder he remains single in a town 
where you're not considered sophisticated 
until you've been married and divorced. 

Somewhere else on the lot, "I'll Give 
A Million" is being directed by Walter 
Lang which should insure it's being a 
good picture. This one stars Warner Bax- 
ter. 

Warner is a millionaire who dives off his 
moving yacht to rescue a drowning bum. 
No one on the yacht sees him dive so the 
yacht proceeds and Warner has to drag 
the man to shore. It suddenly occurs to him 
that no one loves him for himself alone. 
While the tramp is asleep Warner changes 
clothes and saunters off. The police pick 
up the 1)um, want to know where he got 
all his dough, etc. To protect himself the 
tramp fabricates a story, saying that Warner 
gave them to him and also said he would 
give a million to anyone who befriended 
him without knowing who he w r as. He adds 
that Warner is dressed like a tramp. So 
everyone in the country starts befriending 
tramps in the hope that one of them is 
Warner. 

Knowing nothing of all this, Warner is 
sauntering down the street and stops to 
look at a poster in the window of a shop. 



It reads (in French) "Cirque Primerose." 
His eyes light up. The girl of his dreams 
(I think it's Arleen Whelan and if it is I 
don't blame him) works for that circus. The 
proprietor of the shop (Eddie Conrad) has 
been watching Warner through the window. 
Now, he rushes out to Warner excitedly. 

"My friend," he beams, "what will you 
have?" indicating the window, "an eclair— a 
creampuff, with whipped cream— maca- 
roons?" 

"I— wasn't thinking of food," Warner 
observes thoughtfully. 

"Anything, monsieur," Eddie gestures, 
"anything in my shop! And no charge, 
whatever." 

"Forgive me," Warner begs him, "but— 
is there an epidemic of some sort in this 
town?" 

"Ah, Monsieur will have his little joke," 
Eddie laughs, returning to his shop as 
Warner shakes his head in perplexity and 
saunters down the street. 

I can't much blame him. In all the years 
I've been befriending mankind no one has 
ever thrust a five franc piece into my hand 
free, gratis, for nothing. 



I move on to the next set. It's Jane 
Withers in "Hello, Hollywood." I love 



Jane and her ma is one of the very 
few movie mothers of whom I whole- 
heartedly approve, although I must say the 
others don't seem to be losing weight over 
my disapprobation. 

Well, Jane's uncle (in the picture) is 
Henry Wilcoxon who is a down-and-out 
director. Jane runs away from home to find 
him. She finds him before she knows who 
he is. He's in a cocktail lounge stewed to 
the gills. The girl in the case (it used to be 
Rochelle Hudson but now it's June Lang) 
sends Jane in to haul him out. 

Jane draws back her arm and prepares 
to swing at him. 

"Don't hit at him, Jane," the director 
interposes. "You can kick and scratch." 

"She always wants to get in that sock," 
Mrs. Withers sighs. 

I sigh, too, but for a different reason. I 
suddenly remember it's late and I'm onlv 
through with two studios. So I start for— 

Warner Bros. 

nrHERE are three pictures here— "Garden 
*■ of the Moon" starring Jimmie Fidler, Pat 
O'Brien and Margaret Lindsay, "Yallev of 
the Giants" with Wayne Morris, Claire 
Trevor; and Kay Francis in "In Every 
Woman's Life." I'll tell you about the first 
two next month as they're just starting. 

I have never seen Kay in such high spirits 
as she is on this picture. Whether it's be- 
cause she's in love or because it's next to 
the last picture on her contract I don't 
know. But she sure is gay. 

We sit and chat for hours and she tells 
me when she finishes her contract she'll 
retire. "I don't say I'll never make another 
picture," she explains, "but I do say I'll 
never sign another contract. If a part is 
offered me that I like I'll take it. But from 
now on, doing the things I've always 
wanted to do is going to be paramount in 
my life." 

Ah, me. Everything seems suddenly t<> 
have turned to gall and wormwood. When 
the scene is finished Kay seems to shake- 
it off. But I can't. I'm in "A Sentimental 
Mood." 

But, anyhow, you've made the acquaint- 
ance of Maureen O 'Sullivan as a writer and 
that alone should justify this month's col- 
umn because Maureen has shown me that 
the quality of mercy is not strained. I hope 
the lesson I have learned this month will 
manifest itself in next month's issue. Don't 
miss it! 



6 5 



No Glamour, Please! 

[Continued from page 23] 

in "The Great Ziegfeld." She had the most 
beautiful eyes in Europe, the publicity de- 
partment maintained. She had umph, and 
puh-lenty of it, on the screen. But it is 
a measure of Miss Rainer's artistic integ- 
rity that she became a Chinese peasant, 
mother of a starving brood, bowed down 
with the cares of Oriental womanhood, and 
graying into old age. Can you imagine 
your Garbos and Dietrichs and Crawfords 
playing O-lan? It was an unforgettable 
performance. 

■\Ve were curious to know how she pre- 
pared for that role. Did she steep herself 
in the civilization of China as Paul Muni 
did? Muni approaches every character 
given him with the systematic zest of the 
great naturalistic novelist. Did she live with 
a Chinese family, did she devour a library 
of books on China? 

She did nothing of the sort. "I play from 
the inside," she asserted, putting her hands 
on her heart. "No book can give you that 
inside feeling. I felt I was O-lan. I don't 
know how to explain myself." There was 
an expression of despair in her face. We 
assured her we understood what she meant. 

"You see," she added earnestly, "I never 
play with the idea that I am Luise Rainer, 
an actress. No! No!" 

She shook her head when we asked her 
about Anna Held. "I did not care for it. I 
want human, and not glamorous parts." 
You may be sure that her distaste for the 
artificialities of Hollywood extends to con- 
ventional roles in the boy-meets girl photo- 
dramas of juvenile phantasy. 

She prefers the stage. Definitely. "I want 
to go back to the theatre. I think I'll get 
permission from the studio to do a stage 
play next season. Oh, I lof the theatre!" 
Remembering "The Emperor's Candle- 
sticks" and "Big City," we don't blame 
her. Her new picture, "The Toy Wife," 
with Melvyn Douglas and Robert Young, 
promises to redeem her, although we 
haven't seen it yet. Miss Rainer is an 
earnest artist. Box-office means nothing to 
her. She said ruefully, "I get very little 
satisfaction from screen acting." 

She came to Hollywood with no picture 
experience whatsoever. A Metro talent scout 
saw her in Pirandello's "Six Characters in 
Search of an Author," and signed her to 
a long term contract. She made her stage 
debut at 16, in a leading feminine role, 
thus starting at the top from the very be- 
ginning. Her star rapidly rose under Max 
Reinhardt's guidance, and not only her 
native Vienna, but also Paris and London 
acclaimed her as an emotional actress of 
the first calibre. In spite of her extreme 
youth, she played a variety of mature roles. 
She is 25 or 26 now. 

"I don't come from a theatrical family," 
she said. "My father, Heinz Rainer, is a 
merchant. He lived in America for many 
years and became a naturalized citizen be- 
fore returning to Europe and setting up a 
business of his own." Her mother recently 
came over from Brussels and now lives with 
her. They are greatly devoted to each other. 

"I was very unhappy during my first 
few months in Hollywood," she recalled. 
"I did not know any English, and I thought 
the studio would never give me a part. I 
was so lonely I used to cry." For six or 
seven months Hollywood did not know she 
existed. Even her studio seemed to have 
forgotten her. When Myrna Loy struck for 
higher wages and treated herself to a vaca- 
tion in Europe, Miss Rainer finally got her 
break and was cast opposite Bill Powell 
in "Escapade." It was a gamble for the 
studio, as she was totally unknown to 
American audiences and, as wc said, had 
no film experience. But she nearly stole 



the show from the versatile Mr. Powell, and 
when "Escapade" was previewed, Hollywood 
realized a new star was born. 

She won a reputation as a rebel, as one 
who would not conform, and her artistic 
sensibilities were interpreted as eccen- 
tricities. She refused to play the glamour 
game, and was the despair of the studio's 
publicity department. An interview was an 
ordeal for her, and as a matter of fact, 
still is. Writers couldn't see her and had 
to write "interpretative" articles. She did 
not care for any publicity ballyhoo. Her 
ignorance of the Hollywood vulgate com- 
bined with her utter sincerity was the cause 
of considerable misunderstanding. Today 
she speaks a fluent, even though accented 
and at times highly original English. She 
is a guileless, lovable character, and you 
never resent her for being almost as elusive 
as Garbo, and as unpredictable. This is 
one of the very few interviews she has 
given in her home, and spoken freely, as 
long as the interviewer desired! 

You never see her in our celebrated noc- 
turnal salons, during premieres and other 
festive occasions of the film society. She 
lives in Hollywood, but is not of Holly- 




Walter Pidgeon joins two 
cuties on the "Shopworn 
Angel" set and limbers up 
his old dance routine. He 
used to be a popular song 
and dance man. 

wood. What does she do when she isn't 
working, how does she pass her days? 

"I lof to walk," she said. "I walk every 
day for at least an hour. Sometimes two or 
three hours. Walking is my relaxation. I 
become very clear about things when I go 
for a walk. And I lof to listen to music, 
play the piano, read. My days aren't long 
enough. I regret only one thing— sleep at 
nights. If I could have my way I would 
never go to bed. Sometimes I don't do any- 
thing, but I am really very busy inside." 

She has a special passion for music. 
There are magnificent stacks of records in 
her living-room. Bach, Mozart, Beethoven, 
Brahms, Debussy, Gershwin. We expressed 
our admiration for her library. "These are 
only half of my books," she said. "The 
other half is in New York." 

She seldom goes to a movie, and her 
friends aren't in pictures. They are doctors, 
aichitects. painters, musicians, writers. "My 
husband's friends are also my friends. I 
like to be in a different environment when 
I am not working." 

"Don't you miss Vienna?" we asked her. 



"No, I don't. I don't miss anything. My 
country is where I can create. I lof Vienna 
and I lof Europe, but I also lof America. 
America is a wonderful country, and I am 
the wife of an American," she stated with 
obvious pride. 

Miss Rainer and Clifford Odets were 
quietly married on January 8, 1937, after 
a romance that began when the brilliant 
young playwright with a Cause saw her in 
"The Great Ziegfeld." It's a first marriage 
for both. Two romantic rebels have found 
each other, and it's a very tender relation- 
ship. 



And He Enjoys It 

[Continued from page 34] 

out of a busy movie star's time! 

And oh yes, there's that land in Louisiana 
which he bought up— the recession kid— 
who starved in what Westbrook Pegler calls 
"the era of beautiful nonsense." 

"My best friends," Ralph relates, "the 
ones who are never supposed to tell you, 
warned me. 'Now your luck's going to 
change,' " they carolled, " 'with a depres- 
sion, there you go putting your money into 
some God-forsaken land which coyotes, let 
alone oil, wouldn't be seen near.' 

"I felt pretty low about it. 

"And then what do you think? Two 
gushers developed and while they haven't 
made me exactly a millionaire, we're doing 
okay." 

Because he's so impulsive— and Catherine 
is just like him— he frequently gives the 
impression of complete naivete. But don't 
be fooled by it. He's as naive as Noel 
Coward. He has a passionate preference for 
real things and an intuitive knowingness 
about people and situations which is the 
synthesis of sophistication. Ralph doesn't 
fool easy. 

He numbers among his friends doctors, 
actors and studio carpenters and one of his 
lifelong buddies is a WPA art teacher whom 
he considers one of the most gifted and 
"luckiest" men in the world! He probably 
knows more about art than any other star 
in Hollywood, excepting possibly Eddie 
Robinson, and he is a devotee of music, 
literature and other cultural pursuits. You 
see? 

Nowadays the heroes of our fillums are 
the bad little boys with whom we are in- 
dulgent. Ralph plays that hero to the life! 
Temperamental— rather! He has the same 
extremes as an Irishman, although he has 
only English, French, Belgium and Amer- 
ican forebears— Edward Bellamy, author of 
the tome "Looking Backward," being one 
of his more famous ancestors. One minute 
he'll be deep in the throes of a Russian 
historical novel, and is Catherine relieved! 
But the next he'll be rumaging the ice-box 
because he suddenly has developed a yen to 
cook— and she thinks he has gone suddenly 
mad! 

"Ralph likes to throw some eggs together 
and then make a sauce for them which 
will include everything in the refrigerator 
except the motor . . . beer and peppers 
and maybe cheese and even mushrooms. It 
all comes under the head of 'fun.'" 

Everything does. 

But he's sane about real values. The one 
thing he really becomes exercised over is 
injustice. He can get into a lather because 
some fourth assistant electrician has been 
called down unfairly during one of his 
close-ups. Most stars would find that en- 
tirelv beneath their notice. Ralph doesn't. 

"Ralph never gets so worked up over 
anything that affects him," Catherine ex- 
plained, "as when he sees a poor, under- 
privileged guy hauled over the coals for 
some reason he doesn't, or even does, de- 
serve. I think he'd break a blood-vessel if 



66 



"SKIN-VITAMIN" 
SCORES HIT WITH 
WOMEN 




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Telephone Calls and letters greet the first Pond'3 
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A young Wife in Tarrytown-on-the-Hudson, N.Y., 
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Druggists — answering increasing requests from 
women for Pond's Cold Cream with the "skin- 
vitamin" in it — explain to them that it comes in 
the very same jars, with the same labels, at tha 
same price. 



Announced nine months ago, 
the "Skin-Vitamin" was quickly 
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Thousands of women have already tried 
Pond's Cold Cream containing the 
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Silver Screen 



67 



his sense of humor didn't, eventually, break 
the tension." 

But he does more than "get worked up." 
Being considerably over six feet he acts 
through the simple expedient of looking 
angry and bellowing— and so accomplishing 
his ends. His impulsive little boyishness, his 
\outhful enthusiasms and his really mature 
quality of responsibility make up his unique 
personality, the quintessence of paradox! 

Recently the Bellamys rented a house, 
furnished, on which they had an option 
to buy. Would they or wouldn't they buy 
it? They alternated each day, right up 
to the very minute when it was either wrap 
it up— or mov 

Eventually they took it over, as denuded 
as a barn because they felt they were being 
asked too much for the furnishings. And 
how do you suppose they solved their prob- 
lem, temporarily? 

They moved in all their 
own garden furniture and 
distributed it among sev- 
eral rooms. It was some- 
what irregular but Ralph 
was satisfied, he hadn't 
been taken in— no boob 
he! 

"Do you know, Ralph," 
I confessed, "I was thrilled 
and considerably surprised 
at the shag scene in 'The 
Awful Truth.' When you 
led Irene Dunne through 
the intricacies of that 
dance I simply doubled 
up. It was easily the high 
spot of the picture. Know- 
ing your aversion to par- 
ties and meeting people 
and, ft. 1 may say so, 
your self-consciousness in 
crowds, I was absolutely 
bowled over!" 

"I couldn't have played 
that scene straight to save 
my soul," he admitted. "I 
would have become a 
good imitation of a wooden Indian and 
stuck out all over the place. But the minute 
I kicked up and played it 'big' I just for- 
got about everything." 

"Ralph fusses about going to large gath- 
erings," Catherine reminded me, "but he 
always manages to be the life of the party. 
Once he loses himself in clowning he's all 
right— even if it's simulated." 

"Maybe it's the real you coming out- 
crashing through layers and layers of in- 
hibitions!" I told him. 

Ralph laughed, lustily, and there's a lot 
of sound and fury about a deep-seated Bel- 
lamy laugh. 

"I shouldn't be surprised," he answered, 
"but I never thought about it that way. 
You may have something there!" 

"Maybe a few more releases will prove 
it." 

"Well there are several coming along," 
he suggested. "Take your choice. There's 
'Beyond Glory,' a straight role in a picture 
about Sumatra, or one of those zany tid- 
bits called 'Fools for Scandal' with Carole 
Lombard; and a grand role, one just cut 
to my measurements in 'Boy Meets Girl,' 
with Jimmy Cagney. As a Hollywood pro- 
ducer I have a really marvelous oppor- 
tunity in that picture. Then, therell be a 
role in the next Astaire-Rogers' film that's 
not to be scolled at! It's called 'Carefree.' " 

You'd think that lad was just starting 
out, he takes on so. Like some other of 
the illustrious Bellamys when Ralph looks 
backward he's really looking forward, and 
to further confuse the issue, vice versa. 
Hut he's a swell guy, and, to us gals who 
swoon whenever he appears on the screen, 
the awful truth about Ralph Bellamy isn't 
half as bad as the terrible uncertainty of 
not knowing what he's all about! 



Lucky Names 

[Continued fro7n page 55] 

Bette Davis! She who played Jezebel. 

What do you think of Richard Van 
Mattimore? And how much do you like 
Muni Weisenfreund, Jack Millane, Merna 
Williams Hornblow, Fanny Boroch and 
Anne McKim? Never heard of them? 
Maybe not. Yet each is a well-known film 
player. Van Mattimore is merely Dick Ar- 
len's true name, Weisenfreund is Paul 
Muni, Jack Millane is the true Irish title 
of Ray Milland, Merna Hornblow is Myrna 
Loy, Fanny Boroch you know as Fanny 
Brice (Baby Snooks!) and the McKim gal is 
our pal Ann Dvorak! 

Claudette Colbert's real name happens 
to be Lily Chauchoin; W. C. Fields is Wil- 




Sonja Henie is the fair fare and Buddy Ebsen 
the taxi pilot — and when they get it right it 
will be a scene in "My Lucky Star." Director 
Roy Del Ruth knows what he wants. 



Ham Claude Dunkinfield. Gasp that off. 
Frank Morgan's is Frank Wupperman; Jon 
Hal's is Charles Locher; glamour gal Dor- 
othy Lamour's is Dorothy Slaton; and 
Leslie Howard's is Leslie Stainer. 

Little Mary Maguire was really born 
Helene Terese Maguire; Slim Summerville 
was christened George Somerville in Albu- 
querque, New Mexico; and Racquel Torres, 
whose parents longed for a little boy, gave 
her the name they had picked out anyway 
— Billie Osterman! 

Here are two very famous names— Free- 
man F. Gosden and Charles J. Correll. 
Know them? What, you don't? Shame, 
shame! Millions of people hear 'em every 
night. Their first picture (for RKO) netted 
them one million dollars! Nothing cheap 
about those two! Well, if you give up— 
Gosden is "Amos" and Correll is "Andy." 
There, you've got 'em now— AMOS 'N' 
ANDY! 

Rudy Vallee, another noted entertainer, 
used to— er— enjoy the name of Herbert 
Prior Yalle, while Richard Dix's "mom" 
used to call him "Pete," although his name 
was Ernest Brimmer. You'd hardly guess 
Buck Jones' right name— or would you? 
Anyhow, it's Charles Frederick Gebhard. 
Recently, he filed peiition in court to have 
it legally changed to his famed screen name. 

There's that celebrated Barrymore clan- 
most fans perhaps have the impression that 
Barrymore has always been their real name. 
Nope. In the very beginning the family 
name was Blythe. but the father of John, 
Lionel and Ethel legally adopted his stage 
name of Barrymore as his real life name. 
Could you fans have liked John and Lionel 



Blythe as well as John and Lionel Barry- 
more? 

Down in old Mexico they give 'em long 
names. If you don't believe it, look at the 
one they gave Dolores Del Rio— Lolita 
Dolores Asunsolo de Martinez. And Gilbert 
Roland's is just as hard to rattle off— it's 
Luis Antonio Damoso de Alonzo! 

You've heard Garbo's real name many a 
time, haven't you? She's really Greta Gus- 
tafsson. And Evelyn Brent used to be simply 
Elizabeth Riggs. Rex Bell's true name is 
George Belden and Jack Oakie's is really 
"Offield." 

Hope Hampton, who has a nice contract 
with Universal, used to sign her name 
"Mary Elizabeth," and once upon a time 
there wasn't any Ricardo Cortez but in his 
place was a lad named Jacob Kranz. Regi- 
nald Denny is really a Dandy— yes, that's 
his last name. Marion Davies was born 
Marian Douras, and 
Lane Chandler started 
out in life by sporting 
the name of Robert 
Clinton Oakes. 

What's in a name? 
Plenty, say the stars— 
the difference perhaps 
between fame and ob- 
livion. No wonder they 
switch to new ones, 
shedding old ones like 
last season's coat! 

Long ago Al Jolson 
shed his true one— Asa 
Yoelsen— and proceeded 
to make the world con- 
scious of Al Jolson. 
Likewise, many moons 
ago Douglas Ullman 
dropped the last part of 
his name and became to 
the world— Douglas Fair- 
banks! 

Thinking his true 
name of Christian Ru- 
dolph Ebsen too "sissi- 
fied" and hard to write, 
Christian changed it and became simply 
"Buddy Ebsen." Likewise ebony-hued Theo- 
dore Lincoln Perry shed the "whole works" 
and took unto himself the catchy nom de 
plume, "Stepin Fetchit." 

Many think Tyrone Power is an assumed 
name. It's not. He's one of the few who 
stuck to his true name. It derives from 
County Tyrone, Ireland, from whence his 
ancestors came. Three generations have now 
borne that name. The first Tyrone Power 
was a famed Irish comedian. The film star's 
own dad was a noted Shakespearean actor 
of stage and silent screen. It is a strange 
coincidence that the three named after the 
Irish county became famous. Those in the 
family bearing other names never did! 

Even though most stars' names are just 
assumed, still there are many others scat- 
tered around the world with names just like 
their screen ones. The answer to this is 
simple. It's just because it's the style now- 
aday to name your infant after your favorite 
movie star! Thus, we find Claudette Col- 
bert with a total of 249 children named 
after her— ranging from Claudette Colbert 
Jones to Claudette Colbert Ginsberg. Carol 
Lombard has 241 named after her. Gary 
Cooper has them by the score. So has Gable. 
Fred MacMuiray has 84, in spite of being 
only a few years in films. 

Rather oddly, few people name their 
kiddies after comedians. Perhaps they think 
it might influence their lives. Charlie 
Ruggles has only one child named after 
him that he knows about, his nephew. 

There are, ot course, plenty of Shirley 
Temple Jones and Shirley Temple Browns 
and Jane Withers Clarks and Jane Withers 
Smiths. 

A funny business, this taking and giving 
and dropping of names! 



68 




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Silver Screen 



69 




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Flashshots 

[Continued from page 17] 

perfection of smaller intimacy which this 
party so perfectly illustrated. 

The very next night Marlene Dietrich 
arrived in town. The first evening she was 
with the Countess di Frasso*s brother, Ber- 
tram Taylor, and his wife, also the Cor- 
nelius Vanderbilt Whitneys and Jerry Gor- 
don. The second night, wearing a gold 
metal pleated dress with a gold paillette 
bodice, she was just with Jerry Gordon. She 
was off the following night and wanted to 
do the rounds of the town, and did. From 
"21" for dinner, to El Morocco for an hour, 
and then on in quick succession to the 
Ruban Bleu, with its French and South 
American entertainment, on to the Casa 
Manana, La Conga and finally to Reubens 
for a sandwich. A full evening in anyone's 
language. 

At El Morocco she arrived just as a zebra, 
which Frank Buck had brought over from 
the Circus to present to John Perona, was 
being led back to its stable. As all the 
benches at El Morocco are covered in zebra 
cloth, Buck thought that the animal would 
feel quite at home. But no! He looked at 
the smart crowd with supreme indifference 
and clearly showed he'd had enough of 
Cafe Society. He had only been taken out 
through the front door when Dietrich 
arrived, and the glimmer of her gold dress 
caught the beast's attention and he gazed 
at her in fascinated delight. When I asked 
Marlene if she'd pose with him she replied, 
"Certainly not! Let him steal my thunder!" 
And so, his brief moment of possible glory 
having passed, the zebra went home. 

Some nights later I spotted Ray Milland 
looking very woebegone in the lobby. 
Things in Hollywood had gone all wrong 
and he'd flown East "to get away from it 
all," only to find himself in New York with- 
out knowing anyone. Dejectedly he'd gone 
from place to place feeling more unhappy 
and lonely all the time. It seems incredible 
that Milland, whom John Engstead at 
Paramount tells me has enormous fan mail, 
could go around without being instantly 
recognized and swamped by admirers. After 
a miserable night he called up some friends 
and so by the time I saw him he was with 
charming Anita Colby, and when I last 
noted them he was laughing and once again 
in good humor. 

Chester Morris was another fugitive from 
the Hollywoodlands, and his companion 
one evening was Clare Luce, who has made 
a smash hit as the lead in the play "Of 
Mice And Men." Chester has a great 
memory for names and faces, and will 
recognize instantly people he hasn't seen 
for years, and then only known slightly. A 
very rare quality in a movie actor, and 
certainly a sure way of making friends. 

Wendy Barrie's admirers in Hollywood 
must have known where she was going to 
be the night of her birthday, for there was 
a large stack of telegrams waiting for her 
at El Morocco the first night she arrived 
in town. Wendy was presented with the 
traditional and very foolish looking large 
tray of uncooked vegetables, and after her 
party drank a toast to her health and Ernie 
Hoist's orchestra played "Happy Birthday 
to Wendy," she kissed everyone all around. 
Many there that evening had not seen her 
since, very starry-eyed and hopeful she had 
gone out four years before to try and make 
a success in American films. 

The same night Florence Rice came in 
with a friend. The first time I saw Florence 
was a chilly Fall afternoon in New Haven 
ten years ago. I was going back to my rooms 
in the Freshman oval when I noticed a 
group of four bovs coining toward me. The 
one in the middle had a cap pulled too far 



over his eyes, his trousers were a little 
baggy and the racoon coat much too large. 
This badly dressed figure was introduced to 
me, and turning up a lovely fresh young 
lace, turned out to be Florence Rice. Girls 
w'ere not allowed in the Oval and on a bet 
she dressed herself up and walked around 
the square three times without getting 
caught. Today she is every bit as lovely as 
she was as a sub-debutante. 

Last month I wrote of the Allan Jones' 
trip East and I saw them once again before 
they went back to the Coast! This time 
Kitty Carlisle, star of "The Three Waltzes," 
was with them. 

There was one good photo I missed. One 
evening I was giving a small dinner my- 
self, and not paying much attention to any- 
one except those in my own party, when 
Jeanette MacDonald and Gene Raymond 
came in with Irene Dunne and her hus- 
band. Irene usually stays a good while and 
I was in no hurry to get a shot, when in 
what seemed only a few minutes she called 
a cherry good-night as she passed the table. 
I was after them as fast as I could make it 
but Jeanette, with a backward glance as 
she swept out, called "you're too late." It 
seems they were on their way to see Paul 
Draper dance at the Plaza and had only 
come in for a minute. 

Elissa Landi is a favorite of mine, but 
not when she wears her hair in such an 
unbecoming way as I last saw it, pulled 
high over the nape of her neck as it is now 
considered so chic in the East, but isn't. 
There are always ugly little wisps of hair 
escaping and by evening's end the result is 
always messy. As always, she was with Nino 
Martini; need I say more? 

Like Bob Benchley, Charlie Butterworth 
is one of the few comedians who is just as 
witty and amusing in life as he is on the 
screen. His friends adore him and certainlv 
that is high praise for any man. He was 
thoroughly enjoying New York and stuck 
to the usual Hollywood-New York hang- 
outs, like "21," where he lunched just 
about every day. Several times I saw him 
with the very pretty Peachie Fields, which 
was causing some eyebrow lifting in 
curiosity. 

That's all for this month. 



Are Screen Sirens 
Going Top Hat? 

[Continued from page 27] 

today are marked by the same tug-of-war 
between an old and tested impersonation 
and something a little new. 

There is scarcely a star today who will 
not admit that this portraying of something 
a little new is his or her secret and some- 
times public ambition. Lunching with 
Gary Cooper recently, I asked him point- 
blank whether he liked the roles in which 
he had been appearing. He is not a great 
talker and he hesitated some time before 
he answered. 

"Sometimes I like them a lot," he said. 
"Sometimes I feel as though I were just 
parading around in front of the cameras. 
It's a funny thing, but you have to believe 
in the role you are playing to feel as 
though you were contributing anything 
important to the film." 

In all honesty I told him that I thought 
he contributed more than a little to any 
movie in which he appeared. To rav mind, 
he is one of the most engaging and con- 
vincing actors to be found in the upper 
register of screen notables. In any case there 
was quite a wait again before he said: 

"The trouble is that producers make 
one picture which is a big hit and then 



70 



Silver Screen 



they want to go on remaking it forever. 
Once I have Joe Doaks, say, in a contem- 
porary comedy, I can't do much more with 
that role. I've been lucky in my material. 
Look at the variety in 'Souls at Sea,' 'Blue- 
beard's Eighth Wife' and 'The Adventures 
of Marco Polo.' Just the same, I'd like to 
cut away a bit from the general character 
I've been portraying, granted that I could 
do it. Maybe I'll have to wait until I get 
considerably older and turn character 
actor." 

Sometimes the attempt to change inevit- 
able typing is too violent for as popular 
a medium as the cinema. When Robert 
Montgomery changed from a pleasant play- 
boy to a sinister killer in "Night Must 
Fall," he probably confused a good many 
of his fans and a good many spectators 
who wandered in to see that film. I, myself, 
think he did a great job with "Night Must 
Fall" and that it marked him surely for 
big things in motion pictures. Nevertheless 
I can see that he may have been a bit too 
abrupt in dropping a familiar role and 
taking on a new and strangely different one. 

The same problem confronts Jimmy 
Cagney at the moment. He climbed to his 
eminent position as an actor behind a 
machine gun, a deadly punch, a gat and a 
cold ruthlessness. He was the perfect 
gangster in the second and by far the best 
cycle of gangster films, in which public 
enemies were shown to be the rats they 
really are. 

There can be little question that he must 
have become extremely weary of the same 
old gangster role. The point is that he 
changed over into other portrayals grad- 
ually. First he became the hard-hitting, 
straight-shooting government agent. When 
spectators had become accustomed to seeing 
him as something other than a racketeer, 
he was able to try a song and dance role in 
"Something to Sing About." From that the 



transition was easy to "Boy Meets Girl." 
Now he wants to be hero of a Western. He 
should be able to pull it off with flying 
colors. 

On the other hand, consider Marlene 
Dietrich. When I first saw her on the 
screen, she was vivid, versatile and real. 
That was in "Blue Angel," when she 
demonstrated that beautiful legs and a 
winning personality were coin of the realm 
as far as the movies were concerned. Since 
then, she has let her eyelashes grow longer, 
while adopting a set series of gestures as 
a femme fatale. She has continued the 
tradition of the siren, perhaps, but the dif- 
ficulty is that the old-style siren is definitely 
old-fashioned. She has stuck to a type when 
the type itself became as dead as the dodo. 

Unless I am badly mistaken, the Misses 
Davis and Crawford and the screen's lead- 
ing men are quite right in turning thumbs 
down on those old, hokum impersonations. 
If anyone might have tried to recreate the 
Rudolph Valentino fascination, it was 
Robert Taylor. He has been much wiser 
in appearing in a show such as "A Yank At 
Oxford" as a likable, understandable mod- 
ern youth, who goes through understand- 
able experiences. After that engaging and 
convincing portrayal, he should be able to 
escape the hampering restrictions of being 
typed with the greatest of ease. 

A number of my friends thought that 
Spencer Tracy was crazy to play a Portu- 
guese fisherman in "Captains Courageous," 
a film which didn't even have a feminine 
principal in the cast. The fact is that he 
not only turned in an engrossing perform- 
ance, but won the Academy Award with 
it. From that role he has been able to turn 
to a completely different impersonation in 
"Test Pilot." In case anyone didn't know it 
all along, he has showed that he is an actor 
of great range and power. It is difficult to 
imagine him being typed at this point. 



The most curious thing about the wav 
characters shift over a period of years is 
the fact that it is the public which deter- 
mines those shifts. It is because you and 
your friends have grown tired of sultrv 
sirens and sleek-haired sheiks that thev 
have given way to the new types of the 
screen. It is because you like love-making 
to be represented the way it actually takes 
place in this land and this day, that a hero 
and heroine can act more naturally. 

Without the public acceptance of these 
changes, the danger of typing would still 
be extremely serious, particularly for those 
youngsters who are carving out careers for 
themselves. As it is, they have a remarkable 
choice of roles. The lovely Ginger Rogers 
has been able to turn from dancing to 
straight acting and Katharine Hepburn has 
had the chance to turn away from tragic 
parts and play comedy. Jimmy Stewart, An- 
drea Leeds, or Wayne Morris, to mention 
only a few of the rising stars, have the 
opportunity of appearing in all sorts of 
different parts if they really want to. 

I am quite certain that they will some- 
times have to fight for their chances. Pro- 
ducers are almost certain to think of Mr. 
Morris if they have the role of a prize- 
fighter to fill, while Miss Leeds is likelv 
to be cast several times again as a young 
actress. The important point is that if thev 
don't want to become typed they can do 
something about it. They may not be able 
to make extremely abrupt changes of char- 
acter, but they can avoid getting deep in a 
rut. It is the public that has made this 
possible. It is because you, as film-goers, 
welcome new portrayals and new material 
on the screen, that motion picture acting is 
becoming really important acting. A mili- 
tant Miss Davis and an aware and sympa- 
thetic audience will do more than anything 
else to make talk about Hollywood tvping 
plain silly. 



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Silver Screen 71 




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True Story of a Stunt Girl 

[Continued from page 31] 

swimming. I didn't guess— 

I didn't have enough brains to be scared. 
I was just a little gal wanting to make 
good. I think I'd been boasting a little bit. 
So in I went. The shark was tired after 
his long trip from Balboa where he'd been 
caught. I made short work of him, swam 
through blood, opened the conning tower, 
swam to the side of the tank. I was dragged 
out. I immediately relaxed into a horizontal 
position. 

The joke was on me. The shark's jaws 
had been wired. 
Have I been afraid? 

The answer is yes, as I've indicated. The 
worst scare I ever got, however, was making 
a serial with Pete Morrison for Universal 
in 1926. 

But 1926 is twelve years ago. We'd better 
be getting modern. Let's just write off those 
years by saying that Bill Koenig made me 
a leading woman in serials, that I rode, 
fell off horses, drove racing cars, leaped 
from windows, brawled and had a fine old 
time of it for a couple of years, and found 
a husband. A baby— Buster Miles, now 10, 
kept me out of pictures until late in 1928. 
Buster's a great boy. He played with Irene 
Dunne in "No Other Woman," worked 
with Lee Tracy, and recently was tip for 
a role in "Men With Wings"— which he 
didn't quite make. 

Yes, I've been hurt. 

Joe Bonomo threw a bottle which hit me 
just above the elbow, cut a gash in my 
right arm. There isn't even a scar today. 
And Joe didn't mean to do it, naturally. 
To be frank, I've been hurt worse than 
that. It was in "Dante's Inferno." For me, 
that picture had a perfect title. Unless you 
called it "Fiances' Inferno." 

Spencer Tracy had the lead. Fox made it. 
Maybe you remember the fire on the ship. 
I was on a burning balcony. Beneath, fight- 
ing extras were milling, clawing at each 
other, slugging, throwing things. I was to 
jump eight feet to the floor, hit a break- 
away table, and be picked up by a "catch 
man." A fellow assigned to see that I wasn't 
trampled. 

I jumped. The table wasn't there. The 
catch man had been pushed away by the 
surging throng. I hit the wrong table, hurt 
my spine. I fell to the floor. The mob 
closed in. The catch man saw me go under, 
fought to me, picked me up. Things were 
getting black. He staggered through the 
mob. He fell four different times. About 
this time the smoke pots which were sup- 
posed to smoke only, exploded. That added 
to the panic. Somebody swung something, 
hit my rescuer on the back of the neck. 
We both went down. I hit the side of my 
face and head. 

I was in the hospital for two days. 

Most of the girls— myself included— have 
been making much of our money in recent 
years by playing ourselves. Instead of 
doubling a leading player, we are assigned 
to small parts in a picture. Outstanding 
bits. I got a role like that in "Central 
Airport," which Bill Wellman directed. I 
was the mother of a child of ten, Betty 
Graham. I got the role because it would be 
tough, very tough, and Bill knew I could 
take it. Betty and I, along with other pas- 
sengers, were to be forced down at sea in 
a transport. 

That was a great picture. I just missed 
taking one of the ships flown in the pic- 
ture. Howard Batt, one of the best pilots 
on the coast, came in low because the red 
obstruction lights at the end of the field 
were out, snagged high tension wires, 
snapped poles— and still made a safe land- 
ing! I saw it happen. My fellow-stunters 
were very pale and gray as they alighted 



from the dreadfully damaged tri-motor. 

I've doubled stars, too. I think that 
Carole Lombard gets the vote of the stunt 
girls as being the most regular fellow. After 
you've done something cold, or uncomfort- 
able, or dangerous, Carole goes out of the 
way to thank you, to make you feel that 
you've helped her a little bit, put some- 
thing into the picture that's worth while. 
On "True Confession," Carole had to go 
into Lake Arrowhead for those dunking 
scenes— and she took it. She dipped and 
dipped and dipped, and never lost her 
sense of humor. In the early days, Carole 
got kicked, pushed into the bath tub, 
whacked and chased in Sennett comedies. 
Shes' a trouper. Loretta Rush, who did 
the horseback scenes for Jeanette MacDon- 
old in "The Girl of the Golden West," did 
the long shots in the water. Not because 
Carole wouldn't, but because the studio 
insisted. When you're paying $150,000 for 
talent, why risk it by having the heroine 
take cold? 

It isn't often that we see our principals. 
We usually work as a "second unit." We 
come along and do the long shots one day 
and then the director looks at the "rushes" 
and calls his principals to do close-ups in 
accordance with our actions— or vice-versa. 

Sometimes we work after the principals 
are all through and away on vacations. The 
longest double job I ever had was in "Scar- 
face," when I doubled for Ann Dvorak. 
In all the cafe scenes and mob scenes, 
whenever there were plain and fancy shoot- 
ings, fights, machine gunnings, chases and 
brawls, I did the dirty work. In "The Sign 
of the Cross" I was Claudette Colbert for 
a moment. You may recall that Cleopatra 
met her boy friend, Fredric March, when 
she was being hauled about by four 
Nubians. She rode in a chair on their 
shoulders. Fred came along in a chariot 
and knocked over the Nubians. I was in 
the chair. I disappeared right after that 
and the real Colbert bawled out Fred. 

Have you seen "Wide Open Faces," star- 
ring Joe E. Brown, yet? Maybe you remem- 
ber that Joe captured the gangsters, riding 
in five cars with their "molls," by tossing 
smoke pots into their cars. The smoke 
blinded the gang drivers and all the cars 
plunged into ditches. 

I was in one of the cars and I hit one 
of the ditches. We had a raw driver but a 
solidly built car, so we didn't worry— much. 
Cars are all fixed for crashes like that. First 
of all, you have a safety belt anchored 
soundly to the body of the car— not to the 
seat. Then you make your own hand holds. 
You fix straps the way you like them, so 
that when you hit you take the force of 
inertia in your arms. Sometimes you have 
toe holds. Candy glass is used in the win- 
dows. It breaks like real glass, but doesn't 
cut. You feel better if you're wearing a hat. 
Sometimes you can put a little padding in 
it. That breaks the shock if you bump 
your head. And you do better if you have 
one foot in front of the other, instead of 
both together. Remember that if you see 
trouble coming your way on the highway. 

It isn't the expected that hurts you. It's 
the unexpected. Take the case of Marcelle 
Arnold, a stunt girl killed recently— the 
only direct fatality we girls have ever had. 
Her death resulted in a ruling at that 
studio that girls are not to be used any 
more in auto chases. Mary Wiggins, the 
parachute jumper I mentioned, who also 
makes money in the summer time by crash- 
ing cars in state fairs, was driving the first 
car in a two-car chase around Suicide 
Curve, in Pasadena. A man was at the 
wheel of the second car. Both cars hit the 
curve, made power skids and cleared it 
safely several times. The stunters relaxed 
a bit. 

"Let's make it just once more to be sure 
we've got it," the director ordered. 

The car Marcelle was in did the unex- 



72 



Silver Screen 



pected. It hit a small patch of sand, skidded 
against the curb, rolled over. Marcelle was 
thrown and crushed. Loretta Rush, who sat 
beside her, had good hand holds, received 
only one bruise. 

I've not only ridden in crash cars— I've 
crashed them. Not long ago I whipped 
around a big town car which Kay Francis 
was supposed to be driving, sent it crash- 
ing into a curbing, jumped out, leaped a 
hedge in front of a country estate. Jobs 
like that we call "pick ups," quick jobs 
which pay well and are over quickly. 

Right now I'm a stand-by. I work in 
"Prison Farm," with Shirley Ross. As a 
stand-by, I'm ready to do any rough stuff 
which might be too tough for Miss Ross, 
but she's willing and ready to take it. 
Should she decide that things are too hard 
for her, she bows out and I get a pay ad- 
justment to the $35 minimum. Personally, 
I'd rather know that Shirley is game and 
a good fellow than have my pay upped. 
And that's what I've found out. 

Yesterday we reported for work at g a.m. 
Shirley and the other girls and I were 
in blue and white striped cotton dresses— 
about fifteen of us— working in the prison 
laundry. When the whistle blew to end 
work, we attacked the matron because she 
made us work too hard. Around us were 
the implements of a good fight. Dirty, wet 
clothes. Washboards. Soap. Hot water. We 
really turned on a fight. I watched Shirley 
get pummelled, kicked around. Later, Por- 
ter Hall, placing a villain— the warden of 
the prison farm— came in and turned live 
steam on. We fought, choked and gasped 
through that. We worked from nine o'clock 
in the morning to eleven o'clock at night. 
Shirley was soaked through to the skin 
several times, dunked in wash tubs, hit, 
knocked down, but she always came back 
for more. This morning she was back on 
the job, ready to go through with it again, 
at nine o'clock. Shirley hums and sings a 
lot of the time she isn't working. Just in- 
formally. She has a lovely voice and we 
girls love her for it. 

Thirty-five dollars a day sounds like a 
lot of money. But we don't get it every 
day. For being kicked, socked, trampled on, 
riding horses, driving cars and otherwise 
performing with the idea of putting the 
theatre-goers on the edge of their seats, I 
turned up about $2500 in 1937. Things 
have been slack so far in 1938, and right 
now it looks as if we— I say we for myself 
and the 36 others for we all average about 
the same— will do well to hit S1500. 

This isn't bad pay when you consider 
that most of us are married to studio tech- 
nicians or stunt men and minor actors. I'm 
married again, this time to Duke York, 
actor and stunt man who manages to do 
very well for himself taking chances for 
the male heroes of the screen. 

When girls ask me how much I think 
they should get for stunts which are over 
the minimum, I reply: 

"It's your neck, honey. You know how 
much it's worth." 

Usually, we figure that common rough 
stuff is worth $35 a day. This includes any 
kind of a small fall. For instance, you are 
shot and drop to the floor. You're pushed 
over a chair. Or knocked down in a fight. 
Long falls are worth more. Net falls bring 
as high as $200 and you go as high as 75 
feet. The net part means that you land 
in a net at the bottom. 

lone Reed got an odder job recently. She 
understands animals. So she was signed to 
go on a jungle expedition to work in a 
short subject. A job like that is a plum. 

Mary Wiggins got $50, the standard rate, 
for her parachute jumps in "Central Air- 
port." I got the minimum for doubling Ann 
Rutherford, who worked with Richard Dix 
in "The Devil Is Driving." I drove a car 
to within a few feet of a cliff, jammed on 
the brakes, slopped within inches. The car 



i 



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73 



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was' jerked over by cable after I got out, 
a dummy at the wheel— thank heavens! 
That's a job when you have a car chasing 
you, a camera car snooting you. You've got 
to have your wits about you. You can't get 
scared, and you can't think "if—" If you 
do, you either don't do the stunt, or you 
get hurt. One of the main things is to know 
you'll make it all right, then you do. I did 
all the driving that Ann was supposed to 
do all the way through this picture. 

In the early days I did a great deal of 
horseback work. Today, I have put the 
"pick ups" behind me. Picking up means 
to allow someone to grab you and pull you 
onto a speeding horse. You know the old 
western routine of falling off horses, jump- 
ing onto them, and all those things. The 
reason I don't go for this now is that we 
have several expert horsewomen who spe- 
cialize in this work and stable their own 
mounts. They have the jobs coming to 
them. The last time I did anything akin 
to western work was when I "stood by" as 
a cowgirl with Bing Crosby, Martha Rave 
and Bob Burns in "Rhythm on the Range." 
I wasn't needed. Any time Martha Raye 
needs a double something will b*e wrong 
with her. Did you see that adagio dance 
she did in "Mountain Music?" She was 
tossed around like a badminton bird. I 
watched her and Bob Burns break into the 
big time in that picture. Bob doesn't need 
a double, either. He did all the fish stuff in 
"Tropic Holiday," which was something. 

Dorothy Lamour's game, but she had to 
have a double when it came to sinking a 
boat on which she and George Raft rode 
in "Spawn of the North." Corinne McAl- 
lister drew that job. She went to Balboa, 
swam out to the boat, climbed aboard, 
pulled the plug, turned over with the boat 
and then swam out from beneath it. She 
got an extra check for that. 

Now and then you see me on the screen- 
but never long enough for it to mean any- 
thing. If you look closely, you'll get a 
glimpse of me in a scene with Barton Mac- 
Lane, Bob Cummings and George Raft in 
"You and Me." I get such roles because 
they're rough, as you'll see. The difference 
between me and an actress is that I get 
paid for being rough and can act passably, 
while an actress is an actress, if you see 
what I mean. As far as I know, none of us 
aspires to acting. If we do, we keep it a 
deep secret. We'd rather- have the thrills. 
A glance at the opening of my story shows 
that a few of us have been actresses and 
have come to stunting. But, as far as I 
know, no stunter has ever developed into an 
actress of any note. When we graduate 
from this crazy job of ours, it's either into 
house-wifery, or retirement. I think the 
only exception is Esther Ralston, who came 
from a circus family into acrobatic work 
on the screen and went from there to 
stardom. 

Right now, I feel sorriest for the horse- 
women. Dress extras get $15 a day and stunt 
horsewomen Si 6.50. The horsewoman works 
a lot harder for her money. Not that the 
dress extras don't earn and deserve their 
pay. For instance, Mary Hurley is getting 
the $16.50 right now for driving horses and 
doing chases for Joan Bennett in"The 
Texans." 

Well, that's about all. 

Here I am, thirty years old, waiting for 
Director King to decide to have Shirley 
Ross get into a brawl so that I'll get the 
minimum instead of stand by money. 
Where do I go from here? I don't know. 
I think I'm good for at least ten years yet. 
Ten years of getting and giving thrills. 
So I'll keep right on, just as long as m\ 
health lasts, and I don't start 10 creak 
when I fall or crack when I get hit bv 
a "breakaway" (hair. 

You say you get fun when you watch 
mc? 

Think of the fun I'm having. 



Stable Boy Blues 

[Continued from page 53] 

heard Jimmy ask. I looked up quickly from 
the script and saw that Jimmy's face was 
extremely bland— too bland. Paul's expres- 
sion changed to one of surprise. He 
fumbled and hesitated a moment, then he 
said, "Why, tio, Mr. Evans, a grammar 
school diploma is all you need to be a 
stable boy." A slight titter ran through the 
audience. I saw with relief that Paul had 
regained entire possession of himself. I felt 
better, at the same time calling Jimmy all 
sorts of names under my breath. 

"Would you say that there are many 
gentlemen working around horses?" Jimmy 
continued— "Say in your capacity?" 

This time Paul did not hesitate. "I find, 
Mr. Evans, that there are gentlemen in all 
walks of life— even in the newspaper busi- 
ness." 

Jimmy flushed and the audience roared. 

"Tell us how you fix a horse to lose a 
race, Mr. Remy. I'm sure the audience 
would be interested." 

Paul grinned. "That's easy. You just bet 
a lot of money on him." 

I was delighted to see that the interview 
was going over much better than it would 
have if Jimmy had stuck to the original. 

"They tell me you sing. Does your sing- 
ing have a soothing effect on the horses?" 
Jimmy didn't even try to conceal the sar- 
casm in his tone. 

"They've never complained," Paul re- 
plied quickly. The audience laughed again. 
Jimmy looked decidedly annoyed. His little 
scheme to make a fool of Paul was not 
succeeding. 

"Don't you find being a stable boy rather 
degrading? The class of people )ou asso- 
ciate with?" 

This remark thoroughly burned me up. 

"Not at all, Mr. Evans. Working with 
sincere men of all colors and nationalities 
teaches you that prejudice is no virtue. It 
gives you a sense of tolerance— even of back- 
stabbing columnists." 

I breathed easier when the interview was 
over and Paul began to sing. Three strikes 
on Jimmy and a home-run for Paul, I 
thought gleefully. Paul gave my song every- 
thing he had, getting in all the things I had 
tried to put over while writing it. In short, 
he brought down the house. The applause 
was so loud and spontaneous that I asked 
him to sing again, cutting out one of my 
own numbers. 

The broadcast over, Paul was the center 
of congratulations. I looked for Jimmy, to 
pour out my wrath, but he had slipped out. 

"Paul," I said, outside, "you were won- 
derful. Better men than you have cracked 
under a trick like that." 

"Thanks. I didn't mind the switch. It 
made me forget how nervous I was." He 
grinned, "Horses may be nicer, but audi- 
ences are more appreciative." 

"How would you like to sing again for 
me at my club?" I asked. "Jimmy may be 
there, and if he is . . ." I left my threat 
unsaid. 

"Why yes, I'll go. I'd like to see your 
friend Jimmy again, too." 

On the way to the Club Stratford Paul 
told me about himself. His love of horses 
was genuine, and had been acquired at an 
early age. He liked the simple life; had al- 
ways thought he had a good voice, but had 
never thought of doing anything about it. 
He could have had white-collar jobs, but 
preferred the carefree life of the tracks. He 
talked on and on and I was surprised after 
a while thai he knew so much. He had 
read a lot, had a nice fresh slant on things, 
and was thoroughly entertaining. 

The Club was satisfactorily crowded. I 
did two of my numbers, and then intro- 



74 



Silver Screen 



Norman Foster 
is directing 
Peter Lorre in 
"Mysterious Mr. 
Moto" — so Nor- 
man gets the 
chair and Peter 
doesn't even get 
a straw mat to 
sit on. Note 
Peter's broken 
finger. He got 
that in a fight 
scene that was 
not done with 
mirrors. 




duced Paul as nc came ambling up to the 
little platform. He received an ovation. It 
appeared that most of the people had heard 
him on the air. He repeated the two num- 
bers, singing in the same sensational man- 
ner, and when he finished the applause was 
deafening. 

Jimmy appeared abruptly from some 
place. Ignoring the cold glare I gave him 
he went directly to Paul. "Remy," he said, 
"I apologize. That was a dirty trick I 
played on you. But I'm not sorry, for it 
convinced me that you have the stuff." His 
manner was so genuine and sincere that 
Paul, after a moment's hesitation, opened a 
clenched fist, relaxed, smiled and shook 
hands. 

"I didn't mind," he said. "No hard feel- 
ings." 

Jimmy was sitting at a large table with 
Janice Robinson and a group of society 
people. He said that his friends wanted to 
meet Paul so we all joined the party. I was 
a bit leary about this, for I was afraid Jim- 
my might be up to something again. Paul 
would be a new novelty for Jimmy's rich 
friends— "My dear, a singing stable boy; 
what could be quainter . . ." and all that. 
But I decided that Paul had shown he 
could take care of himself. 

We sat down and immediately all the 
people made a tremendous fuss over Paul. 
There were about a dozen of them, all 
very snooty and very expensively dressed. 
In a few minutes, led by Jimmy, they were 
all plying Paul with ridiculous questions. I 
began to get angrier and angrier, and Paul 
was becoming redder and redder. "Tell 
them about your cute philosophy, Paul," I 
heard Jimmy say, and all the people 
clamored for Paul to take the floor. Jimmy 
looked at me and grinned, as much as to 
say, "This is what he gets for being so 
smart." I could do nothing but glare and 
mutter under my breath. Just then Janice, 



Jimmy's blonde gal, came to Paul's rescue, 
dragging him out on the dance floor. He 
certainly looked grateful, and I kicked my- 
self for not having thought of it first. 

For the rest of the evening Janice kept 
Paul under her protecting wing, and I must 
say he seemed to like it there. Under her 
guidance he gained confidence in his re- 
torts, and pretty soon condescension 
changed to admiration in most of the party. 
I don't think Paul realized that Jimmy had 
done all this for revenge, but I do know 
that Jimmy was pretty disgruntled— at Paul, 
at Janice and at me. 

Paul's naturalness and carefree frankness 
had made quite a hit, and once again Jim- 
my's plans had backfired. Janice monopo- 



lized Paul and I heard him promise to show 
her around the track the next day. Janice 
had certainly moved in on him, I thought. 
Why didn't I think of things like that? 
I didn't dislike Janice, but she was a 
predatory type of rich girl for whom in- 
stinctively I have never had much use. 

After a word or two with my manager, 
I managed to corner Paul. 

"How would you like to be a regular 
singer here?" I asked. "At an attractive 
figure?" 

"I'd like to," he said, "but I have my 
job, and anyway after the Santa Clara 
Handicap next Saturday we go to a new 
track. By that time Gold Prince will be my 
meal ticket— I hope." 




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75 




"Then make it for a week," I said, not 
to be denied. "Until next Friday. That 
racetrack job is nothing. Here you can 
make a name for yourself. Who cares about 
a lot of smelly old horses!" 

"I do, Anne." He said my name without 
any formality. I liked it. "I do expect to 
make a name for myself," he went on, "but 
not singing." 

"You could use the money," I suggested, 
"and these people are begging for you. No 
reason why you can't have two jobs. Be- 
sides, you'll get your horse sooner." 

He began to weaken. Finally he agreed to 
sign up for a week. 

"Maybe," I told him, "after a week we'll 
all be tired of you anyway," although I 
didn't believe it for a minute. 

I was pleased. Paul could do a lot for 
my songs in a week. And maybe by that 
time he'd change his mind. There was also 
the pleasant prospect of seeing him every 
clay. I had never realized before how much 
I liked yellow hair and blue eyes. When my 
manager announced Paul's engagement, the 
applause was enough to make me jealous. 
Only it didn't. But I caught a glimpse of a 
thoroughly disgusted Jimmy Evans. 

Paul had agreed to come to my apart- 
ment every evening to rehearse, as that 
was the only chance he had. These re- 
hearsals assured me that I had made no 
mistake about his being a nice person. Flis 
funny, direct, honest way never failed to 
amuse me; except when it made me have 
a queer fluttery feeling. The only trouble 
was that no matter what we talked about 
he always wound up on Gold Prince. But I 
suppose there are worse things than having 
a horse for a rival. 

One evening he said, "Anne. I still can't 
understand why you took an interest in 
me." 

"Business at the Club Stratford is ex- 
cellent," I said. "Isn't it enough that you've 



been a marvelous boon to the box office?" 

He shrugged his shoulders. "What gets 
me is how lately everyone in Hollywood 
seems to think that being a stable boy is a 
most romantic job. And at first they were 
surprised that I even admitted I was one." 

I laughed. "That's Hollywood for you." 

"Did I tell you that yesterday Gold 
Prince," he began . . . 

I interrupted: "You've told me so much 
about that horse that I could write his 
biography myself." 

I was dying to bring Janice into the con- 
versation, but I had no opening. Paul al- 
ways steered clear of mentioning her some- 
how. Now he just grinned and went right 
on about Gold Prince. I had to content 
myself with listening to the sound of his 
voice and watching his face, and wonder- 
ing if he prefered tall blondes like Janice 
to small, brown-haired girls— meaning me. 

On Friday, Paul's last day as my em- 
ploye, Jimmy ran an interview with Janice 
in his column. It was the usual stuff: im- 
pressions of Hollvwood; how happy and 
thrilled she was; how much she liked the 
Club Stratford; how interested she was in 
her screen work. Then Jimmy went on with 
a few remarks of his own: how fascinating 
she found the racetrack: how she was think- 
ing of acquiring a stable of her own; how 
this might be fine for Paul, who, in case 
they got married, could run it for her. 
Jimmy hinted Gold Prince might be her 
first buy, providing the horse won the next 
day. 

There was more, but I couldn't read it. 
I was furious with Jimmy. He might just 
as well have said that Janice was buying 
Paul. I spent most of the day trying not 
to cry, or arguing with myself that this 
was just another one of Jimmy's publicity 
stories. That afternoon jimmy called me 
on the telephone. 

"Tough luck, kid," he said. 



"About what?" 

"Your stable boy. But don't mind, maybe 
he's not worth it." 

I made a face at the telephone— so Jimmy 
had suspected that my interest in Paul was 
more than professional. 

"I don't know what you're talking 
about," I said, trying to keep a stiff upper 
lip. 

"Win or lose you lose him,' he said, try- 
ing to pretend now that he meant just pro- 
fessionally. "If his horse wins Saturday 
Paul's going to quit singing, and if the 
horse loses he's going to marry Janice. So 
he gets his horse either way." 

"I don't believe it. Who told you?" 

"Janice." 

"Well, anyway," I said, "he took Janice 
away from you." 

"But he didn't take you away from me," 
Jimmy went on. "That's all I was worried 
about." 

Paul didn't come to my apartment that 
evening at all, and at ten I left for the 
Club feeling as low as a bass singer's bottom 
note. Jimmy was waiting for me, looking 
glum. "Where's Paul?" he asked. 

"I don't know, but you should, being 
such a smart newspaperman." 

"Janice isn't here either, if that's any 
comfort." 

"It isn't." 

"You haven't changed your mind, have 
you, Anne?" 

"No," I said. "I haven't." Then, "Nice 
of you to practically propose for Janice in 
your rotten column. Now there's nothing 
left for her to do but marry him." 

Jimmy was annoyed. "Well, if she's going 
to buy Gold Prince she might as well buy 
Paul— according to him, one wouldn't be 
very good without the other." 

I turned on my heel and walked away. 
Presently Paul came in with Janice. He 
looked as depressed as I felt. In a few 
minutes he went on, and he sang just as 
well as ever. Afterwards he came back to 
my dressing room instead of rejoining 
Janice. He said nothing about not showing 
up for rehearsal, so neither did I. All he 
could talk about was the race the next day, 
and for the first time I noticed he seemed 
worried about the outcome. I couldn't help 
wondering what he and Janice had been up 
to, but naturally I said nothing. 

He left after his last number, before I 
had a chance to wish him luck. Jimmy in- 
sisted on driving me home, and when we 
left I saw that Janice had gone too. Jimmy 
was morose and kept saying that I ought to 
give him a break. I just told him he made 
me sick. 

In Jimmy's column the next morning he 
said he had a hot tip on a sure thing in 
the Santa Clara Handicap: Gold Prince. I 
didn't realize it at the time, but this was 
a sure way of bringing the odds on Gold 
Prince down to practically nothing. Jimmy's 
idea, of course, was to deliver Paul safely 
into Janice's hand, win or lose. I figured 
that out over a tasteless luncheon. 

I decided I couldn't stand seeing the race, 
or Paul either; and not even to listen on 
the radio. To try to occupy my mind I 
spent the afternoon sitting at my piano 
working on a new song, having first sent the 
maid home so I would be alone. I was in 
a melancholy mood, and I guess that 
helped, for what I turned out was, I real- 
ized, one of my best songs. It was a little 
number entitled "Stable Boy Blues," and 
while it wasn't exactly a tear jerker, it cer- 
tainly showed how I felt. 

It was suddenly dark and I thought about 
i he race for the first time all afternoon. 
Paul's future was settled now, while all 1 
had been able 10 do was to pour out my 
heart in a popular song, like the little fool 
that I was. 1 couldn't bear to find out who 
had won the race, so I mechanically hunted 
up something to eat, and bathed and 



76 



Silver Screen 



dressed for the evening. Then until it was 
time to go I sat putting a few finishing 
touches on my song. I dreaded the Club 
that night. It would be deadly— no Paul, 
people talking about the race, Jimmy 
gloating. I felt like chucking everything. 

In my bedroom I gave a final half-hearted 
pat to my hair, and after a brief examin- 
ation hoped that people wouldn't look too 
closely at my eyes. I switched out the light 
and opened the door and suddenly I heard 
the sound of music. I walked toward the 
music room, and then I realized it was Paul 
singing my new song— singing it the way I 
had written it, heart-brokenly. I stood in 
the doorway until he had finished. Then 
I said, "Hello, where did you come from?" 

"Oh I'm a hard guy to shake loose." He 
looked up and smiled, and we stood looking 
at each other for what seemed like hours. 

"Well," I said, "who won?" 

"Gold Prince ran fourth," he said sadly, 
"out of the money." 

"I'm sorry." 

He went on playing softly. "I remember," 
he said, "what you told me the first day 
I saw you, there in the paddock. That no 
horse was good enough to risk your future 
on. Well, you were right." 

"I didn't mean to be a great seer," I said. 

Paul stopped playing and sat looking at 
me. I went over and leaned against the 
piano— I had to lean against something. 

"Before I said goodbye I wanted to 
thank you. That's why I came here to- 
night." He hesitated. "I just wanted you to 
know. So you wouldn't think I was an 
ingrate. I know how it is with you and 
Jimmy, but that won't matter now, either, 
because I'm going away." 

"You might tell me how it is with me 
and Jimmy." 

"Aren't you engaged to Jimmy? In love 
with him?" 

"Certainly not!" 

Paul looked stunned. "Jimmy told Janice 
you were." He paused; then he blushed. "I 
thought there was something funny about 
this song!" 

"Wait a minute," I said. "What about 
Janice?" 

"Janice? Oh. Well, last night we straight- 
ened things out. I couldn't stand that stuff 
in the papers any longer. And Janice didn't 
like it any better than I did. You see, Anne, 
I was more or less just a novelty to her— 
her real interest was in the horses. She was 
nice to me— and I took advantage of that 
to keep away from you— on account of Jim- 
my. Janice is no more in love with me than 
I am with her." 

"And what about Gold Prince?" 

"He's still a swell horse, and I'd still like 
to own him. But no horse with any intelli- 
gence would win when the odds were one 
to two." Paul grinned and his face lit up. 
I couldn't take my eyes from his. I gripped 
the edge of the piano tightly. 

"But he might have won," I said, "just 
for you— with all that money on him. I 
think it's a shame." 

"But I didn't bet. Not with odds like 
that. I can see now that Jimmy cooked up 
the whole thing. He thought if I lost or 
didn't make a killing I'd marry Janice, so 
I'd get Gold Prince anyway. And he'd have 
you to himself. Well, he was wrong all the 
way around. Also, from now on horses are 
just going to be a hobby— that money I 
saved is going to make me a real singer " 

I nodded joyfully. 

"Anyway," he said, getting up, "I decided 
if I couldn't have you I didn't want any- 
thing. And I guess if you hadn't written 
this song I'd never have known." 

"My biggest success," I murmured. Then 
suddenly, I don't know how it happened. 
I was in his arms and we were saying all 
sorts of silly things to each other, which 1 
won't repeat here. After all, a girl must 
be discreet once in a while. 




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The Fan L 



EYE-GENE 



aw 



[Continued from page 29] 

That was good enough for me. When they 
wanted a leading man for 'Lloyds of Lon- 
don,' I asked that Power be given the role. 
They told me that he lacked experience 
but I told them that the fans liked him, 
which was more important. He got the 
role and the rest is movie history." 

ft was the same with Robert Taylor. The 
fans made him, not the studio or anyone 
in it. M-G-M was making a series of shorts 
under the general heading of "Crime 
Doesn't Pay." To lend added authenticity 
to the pictures, the actors who played the 
parts were not listed on the credit sheet. 
Taylor appeared in one of these shorts. 
Immediately there was an explosion of fan 
mail asking his name, suggesting in addi- 
tion that the studio should give him fatter 
parts. Leo the Lion roared over that mail, 
for when the fans speak, it means that a 
star is born. 

Myrna Loy, Sonja Henie, Shirley Temple, 
Hugh Herbert, Loretta Young, Gary Cooper 
and Bette Davis are all products of the 
fans. The letters of the fans say that Myrna 
is the national conception of the ideally 
happy young American wife; that Sonja 
Henie is the clean, good-natured kid sister 
of the country: that Shirley Temple is the 
cute little girl who is Mr. and Mrs. Amer- 
ica's daughter or niece; that Hugh Herbert 
is the happv -go-lucky tippling uncle who 
is the favorite of every American family; 
that Loretta Young is a concentrate of 
American campus loveliness; that Gary 
Cooper is the rangy country boy who re- 
fuses to be taken in by the city slickers; 
that Bette Davis is every girl standing up 
for her rights. The letters, you see, char- 
acterize each player as representing some- 
one the letter-writers know, and that is the 
secret of their appeal. 

The Fan Law was feared when M-G-M 
made "San Francisco." Spencer Tracy, play- 
ing the part of the priest, was struck sav- 
agely by Clark Gable. The studio feared 
that the scene might ruin Gable's career 
instanter, and you can understand that 
apprehension. First they asked several Los 
Angeles priests to look at the picture. The 
priests agreed that the portrait of the priest 
was painted reverently, and that there was 
no offense when Gable, in the heat of anger, 
lashed out at him. The fans thought so 
too. Audiences gasped when Gable struck 
the priest, but did not resent it. Quick to 
resent the tomato-pelting of Gladys Swarth- 
out, because of the insincerity and "forc- 
ing" of the scene for a laugh, the fans just 
as quickly okayed Gable punching the priest 
because the drama was on the level. And 
they say that the national I. Q. reaction is 
that of a 12-year old!! 

For obvious reasons, there is one angle 
of this Fan Law which I'd rather not dis- 
cuss, because there's no point in kicking 
people who are down. That is The Fan 
Law as it passes sentence on those players 
who transgress certain social conventions. 
While the fans extend unusual liberality 
to movie performers in their private lives, 
there are certain things which they will not 
tolerate. Go through the list of stars who 
have passed out of the spotlight in the past 
five years, stars who were comparatively 
young and who suddenly disappeared. 
You'll find that they were twice and thrice 
divorced, or that they mocked at marriage 
and went openly with other married men. 

The Fan Law, disciplined and made 
powerful as it now is because of the or- 
ganization of Catholic, Protestant and Jew- 
ish boards of film supervision, drives fla- 
grant offenders of the moral code into re- 
tirement quickly. That the power is used 
sparingly is a tribute to you, you, you 
and you. 




One of the most devoted 
mother-daughter combina- 
tions in Hollywood is Dor- 
othy Lamour and her young 
looking mother. 



Titah-Ma-Titak — or 
Strictly Slugola! 

[Continued from page 19] 

a funny situation across, it is sometimes 
better to give the best lines to others. 
That's Jack Benny's method. If you will 
notice, he always plays the patsy: the pleas- 
ant oaf strutting down the street, so sure 
that he's making a tremendous impression, 
until he steps on a banana peel. When he 
takes a fall, you laugh at him but you pity 
him a little too. That audience sympathy, 
known as "honey in the horn" i- sure-fire. 

Jack doesn't depend on the conventional 
question-and-answer routine to get a laugh; 
it is very incidental with him. "Gags die, 
but humor lives on forever" is his motto 
and he never uses a gag for a gag's sake. 
Instead he starts with a situation that is 
funny in itself— his effort to sell his Max- 
well, a car that nobody in his right mind 
would buy; the idea that he is a virtuoso 
on the violin; or the absurdity of trying 
to palm himself off as a sheriff of the old 
school— and sprinkles gags through these 
situations, as they may be needed. 

Playing himself, he might go into a spiel 
about his wonderful automobile and how 
much pleasure he gets out of it in the sum- 
mertime. Then Mary Livingstone would 
would interrupt to say he's got a good- 
looking trailer. Trailer? Jack says he has 
no trailer to his car. "Oh, yes, you have," 
snaps back Mary, "A handsome guy from 
the Finance Company." While the result- 
ing laugh is on Jack, he's also got the 
sympathy of his listeners because probably 
they all recall their own difficulties meeting 
pavments on their own cars. 

After the laughter on that one, he could 
pull the same gag in his Sheriff Buck 
Bennv routine. Explaining the hazardous 
life a law officer leads, he might mention 
the fact that in tune with the times he 
has turned in his trusty pinto pony for a 
car, "Yeah, but what do you want with 
that ugly trailer?" asks frail Mary Living- 
stone. Trailer? The sheriff declares he has 
nary a one. "Oh yes you have," assures 
Mary, "and that plug-ugly bandit told me 
(hat when he finishes trailing you. Buck 
Benny would be full of buckshot." 



78 



Silver Screen 




When your baby is suffering 
KNOW what to do ! 



Fred Allen, on the other hand, doesn't 
go in for such situations. What he relies 
on for laughs is his peculiar choice of words. 
For example, he would never dream of say- 
ing "lorgnette." To him it becomes "bi- 
focals on a stick." When someone offers 
him the cold shoulder, he returns a "chilled 
flank." To show how he tosses vocabulary 
around and makes it come up smiling, 
listen in on his interview with a lady ice- 
man. 

In the first place, he called her "a con- 
gealed water hostess." Then, questioning 
her about her work, he asked: "Is it diffi- 
cult to catapult a 100-pound numbed cube 
into the refrigerator?" 

Lady Iceman: "Not always. Sometimes my 
daughter helps me." 

Allen: "In that case, I shall call her a 
Lorelei of the solidified HoO!" 

That's how these two feudists of the air- 
waves garner grins. George Burns, on the 
other hand, because he has Gracie Allen 
both on his hands and on his mind at the 
same time, has to go in for goofy gags. 

Says George, "When you try to tell a 
joke with Gracie mixed up in it, there's 
no right or wrong way. Gracie's sense of 
humor is thrown a little off-balance by a 
dizzy sense of logic, which is also thrown 
off-balance by her dizzy little brain. How- 
ever, I have to make a living telling jokes 
with Gracie, so I use a system that is a 
great deal like a man going fishing with 
a fishing pole, a gun, a mousetrap, a butter- 
fly net and a few sheets of fly paper. He's 
ready for most anything. So am I. 

"For instance, here's the way a joke 
usually works out with Gracie. I lead with 
my chin by saying, 'Well, Gracie, just men- 
tion a word and I'll make up a sentence 
with it.' She suggests the word pencil and 
I say, 'I have to wear suspenders or my 
pencil fall down.' Gracie laughs and says 
she can do it too. That's a bad sign, but 
I go ahead and suggest the word razor. 
Gracie thinks out loud and fast and says, 
'Razor? Listen to this. A girl fell down. 
Who'll pick her up?' 

"I say, 'Gracie, where's the razor?' Then 
she explains that her daddy has pawned it 
so that he can buy shaving cream. Stub- 
bornly I try to explain, showing that she 
nearly had it right but instead of saying 
'Who'll pick her up?' what should you 
have said?' 

"Before her mammoth mind stages a 
mutiny she comes back with, 'I guess I 
should have said that she winked her eye.' 
This gets me excited. 'Winked her eye?' I 
shout, a trifle impatient. 'Certainly,' she 
interrupts, 'when a girl wants someone to 
pick her up, the best thing she can do is 
wink her eye.' 

" 'Gracie,' I plead, 'I showed you how it's 
done. I- made up a sentence with pencil, 
didn't I?' 'That's nothing,' belittles Gracie, 
'my brother made up a whole paragraph 
with a pencil and he made up a whole 
poem with a fountain pen.' 

"Well, for some people there might be 
a right and a wrong way to tell a joke. 
But take it from me, the absolutely wrong 
way for anybody to tell a joke is to Gracie. 
I hope you see what I mean." 

I might add that I hope this has all been 
a lesson to you for at this point the class is 
about to be dismissed with a final caution. 

Telling a joke like a big-time comedian 
calls for nothing more nor less than being 
word-perfect in the story, knowing your 
audience, and timing the lines for the 
proper climax. The best way to get this 
all down pat is to study the professional 
funsters as they do their stuff on the screen 
and over the radio. 

Once you master their technique, you'll 
find that your stuff brings forth terrific, 
tremendous, colossal laughter. In short, 
you'll be strictly slugola. That, my friends 
is how to tell a joke! 



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Be prepared! 

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Few doctors have had to deal with 
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the benefit of this experience is yours, 
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Silver Screen 



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79 




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Partners For Rent 

[Continued from page 33] 

initiation ceremony. They break an egg 
over the top of your head, and out conies 
confetti! Everybody is scared to death." 

Charlotte Worth, 21, blonde, blue-eyed, 
with a Grecian hair-dress, operates a beauty 
shop in Pasadena. She is known as the 
dream girl. Daughter af a wealthy family, 
she lives alone and is entirely self-support- 
ing. She became an escort because she 
could use the extra money. 

Charlotte is a high school graduate, with 
one year of college. I happened to know 
her particularly well. In spite of her brittle 
epigrams on the foibles of my sex, she is 
a soft sentimentalist, and reads books on 
art and ancient history. She tells me all 
the men she escorts try to kiss her. "They 
wouldn't be men if they didn't." A South 
American engineer almost swept her off 
her feet. Under his polished exterior he 
was a savage, a type for which she admits 
having a special weakness. 

According to Charlotte, many of the men 
who pay for girl escorts suffer from an 
inferiority complex, and need someone to 
brag to about themselves. She considers the 
most important qualification for a girl 
escort the ability to look into a man's eyes, 
and say, "Oh, but you are wonderful!" 

Charlotte recalled that one night she 
took an out of town visitor to the Troc- 
adero, and witnessed a bit of night club 
drama. "Sally Blane and Norman Foster 
were having dinner. Both looked very bored. 
They even didn't dance. Then Claudette 
Colbert came in with her husband and two 
other couples. They sat at a long table 
very close to them. You could immediately 
feel something electric in the atmosphere. 
Sally Blane asked Norman Foster to get 
up and dance. She had a forced smile on 
her face, while he continued to look bored 
and glum. Miss Colbert had an amused 
twinkle in her eye. They danced only once 
and left at 1 1 o'clock, which is very early. 
Miss Colbert's party stayed until two." 

She witnessed another bit of nocturnal 
drama at the Lamaze. "Errol Flynn was 
dining with a girl and another couple. At 
about 7:30', l_.il i Damita, wearing a plain 
tailored suit, walked in. The waiter made 
the mistake of taking her to Flynn's table. 
She saw him with this other girl, turned 
on her heel and walked out. I suppose 
they were having one of their quarrels and 
weren't going out together." 

Kay Brooks is a graduate of the Univer- 
sity of Missouri, where she specialized in 
journalism. She is 22, auburn-haired, 
brown-eyed, ires chic in black, and smokes 
a cigarette with elegant nonchalance. She 
has edited a weekly paper, speaks fluent 
Spanish. She came to Hollywood two years 
ago, attracted by its glamour and cos- 
mopolitan atmosphere. "Here nobody cares 
what you do with your own life," she stated, 
blowing a smoke ring into the air. She 
learned about the escort service through a 
man friend of hers, who told her it was 
"on the up and up." 

Kay never lets them kiss her. "That isn't 
included in the price." Her most interest- 
ing date was with a Mexican gentleman 
visiting Hollywood. They went to Holly- 
wood Bowl and enjoyed a glorious 
symphony under the stars. They are cor- 
responding. She might marry him. She 
averages three professional dales a week, 
which seems to be the average for the 
whole group. In order to be a popular 
escort, a girl shouldn't be tough, with a 
hard face, she says, for it would imply 
the wrong thing. She should have a good 
wardrobe and know how to wear clothes. 
She should speak good English, be a good 
listener, and above all have a sense ol 



humor. As an escort, she constantly meets 
interesting men she couldn't meet other- 
wise. So many girls, no matter how edu- 
cated and fortunate, have no opportunities 
to meet men outside their narrow circle. 
"And every girl, after all, is looking for 
someone to marry." 

Kay is partial to the La Conga, on Vine 
Street. It has a revolving band stand, with 
a swing orchestra playing on one side, a 
rhumba on the other. It's a new nocturnal 
salon, and is packing 'em in. The other 
night Louis B. Mayer, who is a rhumba 
specialist, dropped by with a party of 
friends, but couldn't get in. One night Kav 
escorted a Chicago attorney to the La 
Conga, and he was as excited as any movie 
fan seeing Joan Crawford, Franchot Tone, 
Ethel Merman, Robert Taylor with Bar- 
bara Stanwyck, Marlene Dietrich with 
Douglas Fairbanks, Jr., Simone Simon, Lo- 
retta Young and Andrea Leeds. 

Patricia Platnik is the "baby" of this 
escort family, and her burning ambition is 
to be an actress. Life wouldn't be worth 
living otherwise. Like thousands of other 
movie-struck girls, she came to Hollywood, 
to find its portals of fame locked before 
her. One by one her clothes went to the 
pawnshop. "They were nice clothes, too." 

"Men come to Hollywood," Patricia says, 
"with the idea this is a wild place and 
they can do anything, and they are disap- 
pointed when they find us escort girls like 
their own sisters or daughters." 

Alyce and Faye McCoy are sisters, 22 and 
21 respectively, junior college graduates, 
daughters of a physician. They came to 
Hollywood two years ago, and do "escort- 
ing" in their evenings. Alyce, black-haired, 
blue-eyed, is a dancer and model. 

And now we come to the men who act 
as paid cavaliers. Meet Arthur Sherman. 
He is a graduate of the Culver Military 
Academy, which Tim Holt and Hal Roach, 
Jr., assure me is the greatest prep school 
in the world, of Dartmouth College, noted 
for its aggregation of tough hombres in 
the scholastic field, and of the New York 
state police school. 

Arthur, in his early thirties, has done 
about everything. He has policed the Cana- 
dian border, played seven years of profes- 
sional football, boxed, wrestled, held the 
altitude record of light planes in the East 
and is a lieutenant in the Air Reserve, 
and held an executive position with a 
manufacturing firm before, for reasons of 
his own, he sought a change of environ- 
ment in Hollywood. Since then, he has 
been an extra, dish washer, ditch-digger, 
truck driver, Sunday Sehool teacher— all of 
which he considers excellent training for 
professional escorting. 

Six feet two, powerfully built, with keen 
blue eyes and a mild voice, he is- the type 
of man women like to go around with. As 
he belonged to exclusive clubs in the East, 
he has that savoir-faire they appreciate. 
He knows how to order a dinner, how to 
tip. 

"When I heard of this escort business, 
I thought I might as well pick up a few 
extra dollars," he told me smiling. Among 
his regular clients is the widow of a 
prominent motion picture executive. "A 
nice motherly type. We go to the races, 
and sometimes take a trip to Mexico. I act 
as her bodyguard." 

At the moment his best client is a beau- 
tiful young widow. "I first took her to the 
Troc, and then we went to the Clover 
Club. She wanted to see everything in 
one night. She gave me $50 cash in an en- 
velope, but I had to spend some of mv 
own money, because dinner at the Troc is 
$4:50 per person, and a bottle of cham- 
pagne costs SS or St). But she reimbursed 
mc biter. She had plenty of money." That 
first night she was just a customer to him. 
But a few days later, she called for him 



80 



Silver Screen 



again, and they went to the races. He has 
been taking her out regularly twice a week. 
The rules forbid romantic attachments, but 
human nature being what it is, they cannot 
be altogether avoided. 

As a professional escort, he was at first 
embarrassed. It was a strange experience 
for him to let a woman do the spending, 
made him uncomfortable. "But here is the 
way I look at it now," he says. "Every year 
thousands of girls and single women come 
to Hollywood for a vacation. They are reg- 
ular people, there is nothing queer about 
them. They just want to see the town and 
movie stars. But they don't know a soul 
out here to take them around. If you have 
been in a hotel in a strange city you know 
what a lonely experience it is. A woman 
can't go places alone like a man can. They 
are up against it. They need somebody 
who knows the town and they can rely on. 
Hence, professional escorts like me. It's 
strictly business with us. We are body- 
guards." 

Another Dartmouth graduate is Robert 
Wentworth. He is 25— the average age for 
the men— and has traveled extensively. He 
knows all the hot spots in Hollywood, the 
hidden, secretive places frequented by a 
number of movie stars of strong Sybaritic 
tastes. Robert took the premedical course 
at Dartmouth, and has made women his 
special field of scientific study. He hopes 
to write books about them, and has already 
lectured before women's clubs about them. 
During the day, he is a highly successful 
salesman of beauty shop supplies. His ex- 
periences in movieland would make a 
volume which Boccacio, Balzac and Dumas 
could have used as source material. 

Robertson E. Thomas came to Hollywood 
after two years in the University of Minne- 
sota to try his luck in pictures. Xo luck. 
He clerks in a leading department store, 
and escorts at nights. He is 25. has wavy 
blonde hair, blue eyes, is a good dresser 
and good talker. Lives with his mother, 
who, too, has a fine position, and they are 
pals. He became an escort because he likes 
to go out and meet people. "The ideal of 
this organization is very high," he said. "It's 
an honest business proposition and not a 
racket. It's something Hollywood needs. I 
am not a gigolo. I am an entertainer. By 
far the most important thing for success 
in this business is the ability to carry on 
good conversation. 

His first professional date was partic- 
ularly interesting. "I was a little nervous. 
She sent her chauffeur and I was driven to 
her home in Beverly Hills in a luxurious 
Packard, which made quite an impression 
on me. I was wondering what kind of a 
woman she was. She turned out to be 
very attractive, about 32 years old, wear- 
ing a dark evening gown with a corsage 
of gardenias. She was a blonde widow. Her 
husband, a stock broker in New York, had 
died, and she was living alone. We went 
to the Trocadero for dinner. 

"We went around to several night spots, 
and she spent freely. At 3 a.m. we dropped 
the chauffeur and went to the beach, to 
watch the ocean. A gray dawn was creep- 
ing over the Pacific. It was beautiful. 

"She decided to go on a world cruise, and 
wanted me to go along. She had plentv 
of money and wanted to see the world. Her 
husband was a drab gentleman and spent 
most of his time piling up monev. But she 
had been faithful to him. She had friends, 
but of a different sort, and what she craved 
was romance, which she hoped I would be 
able to give her. It was the opportunity of 
a lifetime, like being offered a gold mine. 
But I thought it over and decided not to 
take it. She was hurt, didn't call me again. 
The last I heard she was in London." 

Oh, shucks! What's the use being a re- 
porter. I'm going to apply for a "job as 
professional escort in Hollywood! 




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Silver Screen 



81 



ONE of the best liked actresses on the 
Warner Brothers lot is little Marie 
Wilson who gets her first big screen part in 
"Boy Meets Girl." Marie has been playing 
bits in small unpretentious pictures for some 
time, and simply yearning her heart out 
for a big time "A" picture. But, imme- 
diately she was signed for an "A" picture, 
"Boy Meets Girl," poor little Marie's face 
broke out in a rash and started swelling. 
She was afraid she had lost the part but 
the studio promised to wait for her until 
she got well. "Oh, dear," she said to the 
producer, "I guess I'm just allergic to 
"A" pictures." 

> — ■<!>« — » 

TT COULD only happen in Hollywood. On 
May 27, 1937, H. Bruce Humberstone, a 
director at the Twentieth Century-Fox 
studio, dropped into a Hollywood barber 
shop for a shave and a manicure. He was 
attracted by the movie possibilities of the 
pretty manicurist and asked her to take a 
screen test. 

On May 27, 1938, Twentieth Century- 
Fox released their screen version of Robert 
Louis Stevenson's "Kidnapped" in which 
Arleen Whelan, ex-manicurist, plays the 
leading feminine role oppoiste Warner Bax- 
ter. Arleen, who is sentimental, asked to 
have her first picture released on May 27, 
and her request was granted by the studio. 

VY/HEN you see Ronald Colman being 
^ * pelted with cobblestones in the streets 
of Paris for a scene in "If I Were King" 
don't get excited. The cobblestones are 
being molded out of bread and can't pos- 
sibly hurt anyone. The studio prop de- 
partment first used rubber cobblestones, but 
they had the habit of bouncing, and that 
would never do. 



ANNOUNCEMENT 

Why not go to Hollywood on your vaca- 
tion? When you read how inexpensive 
this trip can be you will' want to pack 
your bag and be off at once. You can 
stay in Hollywood and see everything, 
including the big stars and important 
premieres, at small cost. Next month 
Silver Screen gives all the details. Don't 
miss this article. 



The fascination of the high-tensioned 
life of the screen colony vibrates from 
our monthly fiction story. All of us wel- 
come romance and you will find plenty 
of it here. 

# # # # 

The gifted Norma Shearer and the 
gifted Elizabeth Wilson are collaborat- 
ing—sort of— on a story for Silver 
Screen. Norma has lived and is living 
one of the quietest but most dramatic 
lives in Hollywood. Miss Wilson has 
talked with her and will tell the story 
in her next Projection. 

# # # * 

The True Stories of girls for whom the 
going has been tough in the many varied 
jobs of picture-making have aroused 
considerable interest. These girls are 
necessary to the studios and it is lime 
they had a little recognition. Watch for 
the next True Story in this series. 

# - '#"• * • 

All these absorbing features as well as 
many others will appear in our August 
issue, on sale July 13th. 



A Move Fan's Crossword Puzzle 

By Cnarlotte Herbert 




"Rebecca of Sunnybrook 



ACROSS 

1 In "Divorce of Lady X" 
5 "The Buccaneer" 

8 Operatic tenor in "Romance in the Dark" 
12 Humble 
14 Musical drama 

16 To be able 

17 Aunt in "Rebecca of Sunnybrook Farm" 

18 She was born in Covington, Ky. 

19 Something owed 
21 Dismal 
23 Scent 
25 Fondle 

27 Cosy place of abode 
29 In "Tip-off Girls" 

31 Star of "Adventures of Robin Hood" 

32 An establishment for rearing cattle 

33 Small venomous snake 

34 Biblical pronoun 

36 Frequently (poet.) 

37 Degree (abbr.) 

38 Cry of a dove 

39 Comedian in "Josette" 
41 Perform 

43 Behold 

44 Bill of fare 

45 Decigram (abbr.) 

46 Persevering lover 

Farm" 

49 New England state (abbr.) 

50 To whom Charlie McCarthy owes all (initials) 

52 To prosecute 

53 Ripen 

54 Regarding (abbr.) 

56 In "Condemned Women" 
58 Any open space 
60 Slave 

63 Took precedence 

65 In "Big Broadcast of 1938" 

67 Bleach 

68 Princess in ' Marco Polo" 

70 Singing chef in "Everybody Sing" 

71 Small or insignificant mark 

72 Sheriff in "Girl of the Golden West" 

74 Part of the verb "to be" 

75 Mineral spring 

76 Theatre box 

77 Single thing 

78 Nevertheless 

DOWN 

1 The "Girl of the Golden West" 

2 Now at work in "The Texan" 

3 Measure of weight (abbr.) 

4 Every (abbr.) 

5 Encounter 

6 In "Judge Hardy's Children" 

7 Cultivated 

8 Exist 

9 Either 

10 Young barrister in "Divorce of Lady X" 



11 Star of "Romance in the Dark" 

13 Move progressively in the water 

15 Funeral pile 

20 Period of time 

22 Collection of notabie sayings 

24 Administering of medicine in prescribed quantity 

25 No longet an amateur (slang) 

26 Small child 

28 Wall-bracket for holding a light 
30 Birthplace of James Cagney (abbr.-) 
32 Sun god 

35 With Mae West in "Every Day's a Holiday" 
37 Eccentric dancer in "Rosalie" 
40 Recording secretary (abbr.) 

42 Forbode 

43 One addicted to lying 

44 Myself 

47 United States of America (abbr.) 

48 Meadow 

51 Spoiled brat in "Merrily We Live" 

54 Son in "Judge Hardy's Children" 

55 "Judge Hardy" himself 

57 Dodge 

58 Farewell 

59 On the credit side 

61 Place for purchasing goods 

62 Greek letter 

64 Unit of energy 

65 Use an oar 

66 Withered 

68 Two-wheeled vehicle for one horse 

69 Period of time 

72 Italian river 

73 Nickel (abbr.) 



Answer To Last Month's Puzzle 



LUEBH HE1HHEHH SOHH 

bed hb hsb aa hguh 



BDHEQBElCfl B HaEBSBH 

ehhbb aasaa qhbdh 

HE BEB EBH BOB EQ 
a HBBHE1H HHHM21H El 
HE OQH BPS HH 
BH ttUm □ BBI3 HH 
QHB HHB1E0HE HHGO 

□ranoH bhiihh mama 
he sbb □ bbei an 

HHHCa BBS HHH □□BH 
BH 0 BHBHfflHH D HH 

gp bbb is in mm QH 

fl HH HEP13HHIJ] HH H 



82 



THE CUNEO PRESS , INC., U.S.A. 




The New Universal proudly presents The American Debut of 

D fl n I € L L € D fl R R I £ U X 

The girl whose exquisite beauty . . . 
charm of performance... has made her 
the most beloved stage and screen 
star in all Europe. . . . The star of the 
sensational MAYERLING ... which all 
A merica has taken to its heart! 



DOUGLAS 



D ARRIEUX • FAIRBANKS, Jr. 



THE RAGE 




OF PARIS 



MISCHA HELEN LOUIS 
AUER BRODERICK HAYWARD 

Original Story and Screen Play by Bruce Manning 
and Felix Jackson 
Directed by HENRY KOSTER who made 
"3 SMART GIRLS" and "100 MEN AND A GIRL" 



RUE STORY T BEAUTY CONTEST WINNER 



■tta 



August 



rv 



SEE HOLLYWOOD AT SMALL COST 



BP 11 Isk; 



Cagney meets O'Brien for the first time 
since "Ceiling Zero.". . . And the stage 
hit that tickled the nation slaphappy 
for over two years, now floods the 
screen in a deluge of joyous laughter! 





Stabbing 



STAGE PLAY PRODUCED BY GEOfcGE ABBOTT 



TAGNETOBRIEN 



WITH 



MARIE 



WILSON 



RALPH 



BELLAMY 



FRANK M C HUGH • DICK FORAN 

Directed by LLOYD BACON 

SCREEN PLAY BY BELLA AND SAMUEL S PE WAX K 

MAKE A DATE FOR "BOY MEETS GIRL" AT YOUR FAVORITE THEATRE 




dates 



caUs 



the 



lone 



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Joan 

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lov 
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getptoP 



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^Z)oes your t/afe-£oo£ say 



You'd be more popular if you had a lovelier smile! 



A GIRL SMILES — and her face glows 
with a touch of splendor. (Dazzling, 
bright teeth— firm, healthy gums help create 
that lovely moment.) Another girl smiles, 
and her charm vanishes. (Dingy teeth 
and tender gums halt your attention, tragic 
evidence of carelessness and neglect.) 

It's a shame when a girl ignores "pink 
tooth brush" and risks the beauty 
of her smile! True, "pink tooth brush" 
is only a warning — but when you see 
it — see your dentist. Let him decide. 



Usually, however, he'll tell you that 
yours is just another case of lazy gums, 
gums robbed of exercise by modern 
soft, creamy foods. Probably he'll ad- 
vise more work for your gums, more 
exercise. And, like so many dentists, 
he'll probably suggest the healthful 
stimulation of Ipana and massage. 

For Ipana with massage is especially 
designed not only to keep teeth bright 
and sparkling but to help the health of 
gums as well. Massage a little Ipana 



into your gums each time you clean 
your teeth. Circulation quickens within 
the gum tissues— gums tend to become 
firmer, more resistant to trouble. 

Start today with Ipana and massage. 
Let this modern dental health routine 
help you to a more attractive smile! 
* * *' 

DOUBLE DUTY— Ask your druggist for 
Rubberset's Double Duty Tooth Brush, 
designed to massage gums effectively 
as well as to clean teeth thoroughly. 




Silver Screen 



3 



BOB TAYLOR 




ran 



/ 



CROWD 
ROARS ^ 



ARNOLD - MORGAN 

Maureen William 

O'SULLIVAN • GARGAN 

LIONEL STAN DE R • JANE WY 






A Mstro-Goldwyn-Muyer Picture 
OirectH by Richard Thorpe 
f reduced by Sam Zimbatist 




4 



Silver Screen 



JUL 14 !938 ® C1B 382778 
REFLECTING the MAGIC o/HOliyWOOD 



AUGUST, 1938 



Volume Eight 
Number Ten 




ELIOT KEEN 

Editor 

Elizabeth Wilson Lenore Samuels Frank J. Carroll 

Western Editor Assistant Editor Art Director 



CONTENTS 

STORIES AND ARTICLES 

TRUE STORY OF A BEAUTY CONTEST WINNER . . . Ed Churchill 

FLASHSHOTS Jerome Zerbe. 

PROJECTION OF NORMA SHEARER Elizabeth Wilson 

ADVENTURES ON LOCATION Kathleen Coghlan 

GUARDING THEIR POTS OF GOLD Gordon R. Silver 

SEE HOLLYWOOD AT SMALL COST Rowena Devixe 

HISS-S-S-S! Ed Sullivan 

THE TEMPERAMENTAL CITY Howard Barnes 

EASY DIDN'T DO IT David Manuel 

BEWITCHING Jack Holland 

BING-AND ALL THAT MONEY Ben Maddox 

"WOO-WOO" Helen Harrison 

A RELATIVE IN THE BUSINESS Ruth Arell 

MONTHLY FEATURES 

The Opening Chorus 

Tips On Pictures 

Warm Weather Menus Ruth Corbin 

Cool And Crisp Mary Lee 

Topics For Gossips 

Pictures On The Fire S. R. Mook 

Reviews Of Pictures 

A Movie Fan's Crossword Puzzle Charlotte Herbert 

The Final Fling 

ART SECTION 



Page 

14 
. 16 

19 



24 
26 
28 

32 



60 



0 
6 

S 

10 

13 
54 
62 
S2 
82 



•35-50 




i tii: : -i'^>H * g ■ vzm 



The New Cover Design: The cover of 
this issue 'of Silver Screen is the 
second in our series. The portrait of 
Dorothy Lam our in colors is the work 
of Marland Stone. As a background for 
the portrait we have used a scene still 
from "Tropic Holiday," showing the 
hero, Ray Milland, rapturously gazing 
at Dorothy. She looks so well in a 
sarong that the jashionably dressed 
ladies are taking them up and putting 
them on. How do you like this new 
cover, combining a portrait in color with 
a black and white scene still? 



SILVER SCREEN. Published monthly by Screenland Magazine. Inc., at 45 West 45th Street. New York, N. Y. 
V. G. Heimbucher, President; 3. S. MacDcrim tt. Vlee President; .7. Superior. Secretary and Treasurer. Adver- 
tising OTriecs: 45 West 45th St., New York; 410 North Michigan Avfl,, Chicago; 530 W. Sixth St.. Los 
Angeles. Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful 
attention but Silveii Scrkf.n assumes no responsibility for their safety. Yearly subscriptions $1.00 In the 
United States, its dependencies, Cuba and Mexico; $1.50 in Canada; foreign $1.(50. Changes of address must 
reach us five weeks in advance of the next Issue. Be sure to give both the old and new address. Entered as 
second class matter. September 2.1. 1930, at the Post Office. New York, N. Y. . under tho Act of March 3. 1879. 
Additional entry at Chicago, Illinois. Copyright 193S by Srreenland Magazine, Inc. Printed in the U. S. A. 
MEMBER AUDIT BUREAU OF CIRCULATIONS 



The O 



pening 



Ck 



orus 




Dick Powell 

A LETTER FROM LIZA 

DEAR BOSS: 
You'll die laughing when you hear 
what I did the first morning of my 
vacation! Here I've been griping and com- 
plaining about movie stars and pictures 
for months and can hardly wait to get my 
bags in the back of the car and say "gypsy- 
in-me, take over." Well, I had been "away 
from it all" for about two hours, and kept 
saying to myself that Garbo had the right 
idea and admiring the trees, which were 
real live oaks and not papier mache put 
together with wires. 

California never looked lovelier and I 
never felt better— no previews for two weeks, 
no life and loves of the glamour girls, no 
problems— when just ahead of me I saw a 
large sign with an arrow which read: "War- 
ner Brothers Ranch. Company on loca- 
tion." I don't know why, it was certainly a 
surprise to me, but the next thing I knew 
I was following two large trucks full of 
lights and props, right along that narrow 
lane. I much prefer to think that it was 
the material in me, it was nearing lunch 
time, for after all the wailing I have done 
it would never do for me to be caught 
taking a postman's holiday, 

The company shooting, I discovered, was 
"For Lovers Only," co-starring Olivia de 
Havilland and Dick Powell, and as I drove 
up they were doing a most amusing scene. 

"Get a load of her," yelled Dick, quite 
handsome in a gasoline station uniform, 
"trying to slip away. The little dead-beat."' 
With that he yanked the screaming Olivia 
right out of her car (Olivia, it seems, is a 
rich girl who is running away from home 
and in her haste forgot her pocketbook. 
She has just bought. §3-85 worth of gas 
from Dick, and Dick' is the kind of a guy 
who likes to be paid in cash and not in 
promises.) Doubtless, one of the 57 varieties 
of "It Happened One Night." 

Lunch was declared immediately and 
Dick and Olivia tossed one of those famous 
box lunches at me (which are the curse 
of locations) and assured me that I brought 
it on myself. 

In a sun of 103 and with flies swarming 
over me I ravenously devoured every crumb 
—I who always scorned location food be- 
fore. Dick decided it would be a good day 
to reduce and drank a glass of milk. Olivia 
picked daintly at a piece of chicken and an 
orange. She— not I— should have eaten the 
cake and ice cream, for Olivia only weighs 
101 and loses pounds even quicker than I 
can put them on. 

I lore myself away finally, and all the way 
up the Coast Road kept looking with more 
than my usual casualness for signs saying 
"Company on Location." The gypsy in me 
is as mad as hell. 



5 



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Gives COMFORT Daily 



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Satisfaction guaranteed. At drug and department stores 
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Gloria Stuart seems to 
be the recipient of bad 
news, and little Jane 
Withers is pretty much 
concerned about it all, 
in "Keep Smiling." 



BLOND CHEAT— 

Fair. Derrick De Marney, 
the handsome young Eng- 
lish actor who achieved 
deserved popularity from 
his acting with Nova Pil- 
beam in "The Girl Was 
Young," plays the lead in 
this light romance oppo- 
site our own Joan Fon- 
taine. The plot is rawther 
British and may be a bit hard to take. 

CRIME TAKES A HOLIDAY— Good. Jack 
Holt plays the role of a rugged district attorney 
who successfully rounds up a gang of racketeers 
who are menacing his district. There's nothing 
new or novel about the plot, but it is diverting 
enough if seen on a dual bill. (Marcia Ralston, 
Douglas Dumbrille, Russell Hopton). 

DEVIL'S PARTY, THE— Good. Grimly melo- 
dramatic is this tale of a group of men and 
women who knew each other as children in that 
part of New York known poetically as Hell's 
Kitchen. They all meet again as adults and be- 
tween them stir up some pretty rousing', although 
lurid, situations. (Victor McLaglen, W'm. Gargan, 
Paul Kelly, Frank Jenks, Beatrice Roberts). 

GENERALS WITHOUT BUTTONS— Excel- 
lent. If precocious youngsters have always given 
you a pain in the neck on the screen, by all means 
go to see this masterly French production (with 
English dialogue) in which you will find as out- 
standing a. group of talented youngsters as one 
ever hopes "to meet up with. The plot concerns an 
ancient feud between two villages which is carried 
on by school children in a military fashion that is 
as frightening as it is sometimes, amusing. 

GUN LAW — Good. More and more people are 
beginning to ask for westerns every day. and 
when they are as well produced as this one we 
can understand why. George O'Brien plays the 
role of a Federal Officer who mops up a frontier 
town inflicted with outlaws — a familiar plot, to 
be sure, but ingeniously worked out. (Rita 
Oehman). 

GREAT JOHN ERICSSON. THE— Fine. 
When you're in a thoughtful mood, and see this 
advertised at your local art theatre, take time to 
see it. Produced in Sweden, with English sub- 
titles, it informs you in dramatic fashion what a 
huge part the Swedes played in developing the 
early history of our country. Hitherto most of us 
have given all the credit to the Dutch and English. 

GIRL IN THE STREET— Only fair. Anna 
Neagle, the English actress who gave us a price- 
less "Queen Victoria." is here" cast as a girl who 
rises from an organ-grinder's assistant to the 
enviable position of "toast of the town." Tullio 
Carminati plays the suave diplomat who helps 
her on her climb upward. 

HIGHWAY PATROL — Fair. This deals with 
the head of an oil refinery, who refuses to meet 
the demands of racketeers, and is termed a rip- 
roaring "action yarn." Of course he has a beauti- 
ful, spoiled daughter who naturally falls in love 
with the rough-and-ready state copper, and there 
you arel (Robert Paige, Jacqueline Wells). 

HOLD THAT KISS — Fine. A very slight plot 
structure is so cleverly handled that it emerges 
as first-class film fare, light, frothy and gay. 
Maureen O'Sullivan is cast as a dress model who 
poses as a socialite, and Denis O'Keefe (a ticket 
salesman for a ship line), also does a bit of make- 
believing, with hilarious domestic results. (Mickey 
Rooney, Jessie Ralph). 

KEEP SMILING— Fine. One of the best of 
Jane Withers' films. As an orphan kept in an 
exclusive girls' school, Jane gets the idea of travel- 

Silver Screen 




ing to Hollywood to renew relations with an uncle, 
a motion picture director. She finds him a broken- 
down drunkard and immediately proceeds to re- 
generate him. with uproarious success. (Gloria 
Stuart, Henry Wilcoxon). 

KIDNAPPED— Good. Even though that mas- 
ter of adventure yarns, Robert Louis Stevenson, 
wrote the original of this story, it proves to be 
somewhat synthetic film iare. Perhaps too many 
adaptors robbed it of its original color and excite- 
ment. If you're not a stickler for "true adapta- 
tions" you may like it. Cast includes Freddie 
Bartholomew, Warner Baxter, Arleen Whalen, C. 
Aubrey Smith. 

( LADY' IN THE MORGUE, THE— Good 
"whodunit." You have to be a "fiend" for mystery 
stories that blend humor of the macabre sort with 
grim murder sequences to accept this for your 
night's film entertainment, as some of the scenes 
take place in a morgue (uhh!) and others in a 
graveyard (more uhh!). Cast includes Patricia 
Ellis, Preston Foster, Frank Jenks. 

MYSTERIOUS MR. MOTO— Fine. Another 
entertaining picture in this series about the famous 
Japanese criminologist, played so adeptly by 
Peter Lorre. Mr. Moto's latest mystery takes him 
to London where he works with Scotland Yard. 
(Henry Wilcoxon, Mary Maguire). 

THREE COMRADES— Excellent. Erich Maria 
Remarque's sensitive character study of three 
young German soldiers who try to make a go of 
things in disillusioned post-war Germany (pre- 
Hitler) is effectively transported to the screen, 
with Franchot Tone. Robert Young and Robert 
Taylor giving fine performances. And Margaret 
Sullavan proves herself well worth the trouble 
they take in her behalf. 

THREE ON A WEEKEND— Fine. From 
Great Britain comes this thoroughly enjoyable 
satire about the English working classes who go 
to a resort, somewhat reminiscent of our own 
Coney Island, during their brief weekends. In spite 
of some dramatic overtones, it is all very jolly, 
and will afford you an hour or more of solid 
fun, in kaleidoscopic fashion. (John Lodge, Mar- 
garet Lockwood, Rene Ray). 

VIVACIOUS LADY — Fine. One of those 
frothy comedies that have been so much in demand 
lately. Sophisticated, without being stodgy, farci- 
cal, without being absurd, it is really delightful 
entertainment. The setting is a college town anil 
the realm of higher learning is gently spoofed 
throughout. (Ginger Rogers, Timmy Stewart, 
Beulah Bondi). 

WHEN WERE YOU BORN— So-so. A mur- 
der mystery is herein solved by the means of 
astrology. At first it is rather amusing, but, after 
a while, the movements of the planets and their 
so-called effect upon mankind becomes a bit tire- 
some, and so does the plot. (Anna May Wong. 
Lola Lane, Margaret Lindsay). 

YELLOW JACK— Fine. Just after the Spanish 
American war, a famous scientist. Major Walter 
Reed, went to Cuba with . . expedition to try to 
solve the desperate battle against yellow fever, 
which had killed off so many soldiers. This dra- 
matic story of his research is as engrossing as that 
of Louis Pasteur. Remember that? In cast, Lewis 
Stone, Bob Montgomery, Virginia Bruce. 



STAR OF METRO-GOLDWYN-MAYER'S "SHOPWORN ANGEL," REMARKS . . . 

"Hollywood's Make-Up 

will accent 



Your Beauty 




x 



FR RE'S something different about the 
make-up created for the stars of motion pictures by Max 
Factor, Hollywood's make-up genius. The secret is color 
harmony shades of powder, rouge and lipstick to har- 
monize with your individual complexion. Once you try it, 
you'll be amazed that make-up could make you look so 
much more attractive. Note coupon for special make-up test. 




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skin. Smooth and 
soft, too . . . hours lat- 
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still look lovely... $i. 



Harmonize rouge 
with powder. Max 
Factor's Rouge will 
give your cheeks the 
charm of natural 
beauty,and also blend 
perfectly with your 
Max Factor powder. 
Creamy-smooth, it 
blends easily . . . 50^. 



For lasting lip 
color, apply lipstick 
to inner, as well as 
outer surface of lips. 
You can do this with 
Max Factor's Super- 
Indelible Lipstick 
because it's moisture- 
proof. Color harmo- 
ny shades. ..$1. 



/Max lac 



or * 



new! Max Factor's Normalizing Cleansing Cream 

"fc "^c Here's a sensational new kind of cleansing cream 
originated by Hollywood's make-up genius that will "agree" ^ ^ $ 
with your skin whether it is dry, oily or normal. 

y^~k 1 * .. _ rrr>MPlEXIONS>| A nrnNDE I tl 

TTolltjWooa 



MAX FACTOR. Max Factor's Make-Up Studio. Hollywood: 

J Send Purse-Si/c Box of Pbwder and Rouge Sampler in my color harmony shade: 

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COSMETICS OF THE STARS 



SKIN DryO 



Q orrth . □ I 



Silver Screen 



7 



Warm Weather A4enus 




\\tVh 



HATS OFF! 

Let Kurlash give you a natural 
beauty point worth "sunning." 
Kurlash curls eyelashes in 30 
seconds without heat or cosmetics 
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starry bright. So hats off to 
Kurlash ! 

Learn what shades of eye make- 
up are becoming to you — how to 
apply them skilfully! Send your 
name, address and coloring to 
Jane Heath, Dept. C-8; receive — 
free — a personal color-chart and 
full instructions in eye make-up! 

£S THE KURLASH COMPANY, Inc. 
Rochester, New York 
Mr Canada: Toronto, 3 

COPYRIGHT 1938. THE KURLASH CO.. INC. 




and know how such Pimples, 
Blackheads. Freckles and super- 
ficial Blemishes as are wholly in 
outer skin are now quickly re- 
moved. When your old outer 
layer of skin is flaked away, you 
have a new, fresh surface skin. 
Large pores and fine lines diminish and you look 
younger, more lovable ! 

DO IT YOURSELF AT HOME— QUICKLY! 

This new home method is all explained and free Treatise is 
i > e i 1 1 k mailed absolutely free to readers of this paper. 
So, worry no more over your humiliating, superficial 
blemishes or" signs of aging in your outer skin. Get this 
new Treatise now. Simply send post card or letter to 
YVITOL BEAUTY LABORATORIES, INC., Dept. 03. 
No. 1700 Broadway, New York, and you will receive it in 
plain wrapper, postpaid and absolutely FHKE. If pleased 
tell friends. 



Read This 
Free Offer! 



By 
Ruth 

Ooroin 

(All recipei 
pre=tesLed) 

Cold Bever= 
ages L-all For 
anation 
Of The Usual 
Luncheon 
And Dinner 
Recipes. 




Valerie Hobart, the English star, shaking 
up the delectable drink so aptly called 
Hearts' Delight Apricot Nectar. 



DID you ever try planning a meal back- 
ward? It's lots of fun and you'll be 
surprised at how many opportunities 
for a beverage substitute for tea or coffee 
vou have been passing up. Of course, tea 
and coffee, iced and hot, are standard drinks 
everywhere. They can also be used as the 
basis of other delightful combinations. Here 
is a menu with a new dish built around 
Tender Leaf Tea. 

Jellied Bouillon 
*Crab Meat Chow Mein 
Pineapple Wedges. Almond Cookies 
or Preserved Lichee Nuts 
Hot Tea 

CRAB MEAT CHOW MEIN 

i large can White Rose Crab Meat 

1 onion 

14 teaspoon salt 

14 teaspoon pepper 

1 can bean sprouts (optional) 

2 tablespoons butter 
1 bunch celery 

1 cup water 

1 teaspoon Argo Cornstarch 

2 tablespoons Crisco 

\/« pound fresh or 1 can Jacobs mush- 
room buttons 
Few grains cavenne 
1 can LaChoy Fried Noodles Soy Sauce 

Remove tendons from crab meat. Cook 
5 minutes in fixing pan with butter. Add 
water mixed with cornstarch. Simmer 3 
minutes. Put Crisco and finelv cut onion in 
another frying pan and cook 3 minutes. 
Add celery cut in fine 2 inch long strips, 
mushrooms cut in slices and cook another 
3 minutes. Combine mixtures, add salt, 
pepper and cavenne. If bean sprouts are 
used thev must be cooked with celerv mix- 
ture. Pour over wanned noodles and serve 
with sov sauce. 

For an unusual breakfast, served with 
cither hot tea or steaming Maxwell House 
Colfee try— 

SWEET OMELETTE 
Beat as many eggs as needed to a froth, 
whipping in, at the last. Jack Frost pow- 
dered sugar . . . lor 6 eggs, a tablespoonful. 
Heat 1 tablespoon of butter in frying pan. 



pour in eggs and shake with an easv, reg- 
ular motion, alwavs in same direction — 
from side to side or, to and from you, until 
omelette is set and begins to curl at edges 
in line of motion. Draw to side of stove, 
cover quickly with Crosse and Blackwell 
currant jelly and roll up as you would a 
sheet of paper. Lay on hot dish, sift over 
with powdered sugar and serve at once. 

A few simple luncheon or dinner menus 
follow: 

*C.hilled Fruit with Minted Dressing 
*Deviled Cheese Round> 
*Frosted Iced Tea 

MINTED DRESSING 

2 dozen after dinner mints 

1 tablespoon hot water 
1/2 cup Ann Page Salad Dressing 
i/2 cup whipped cream 

Dissolve mints in hot water, add dress- 
ing, stirring until well mixed. Chill. Fold 
in cream just before serving. Use this with 
several kinds of fruit, prepared and thoi - 
oughlv chilled in separate containers in 
refrigerator. Try cantaloupe slices, water- 
melon and honevdew balls, orange sections, 
and fresh pineapple wedges. 

DEVILED CHEESE ROUNDS 
Mix soft, grated Bordens cheese, any pre- 
ferred kind, with a little Coleman's mus 
taid. cayenne and Lea and Perrins sauce. 
Moisten with Miracle Whip. Spread rounds 
of bread with cheese mixture, brown lightlv 
under broiler. Serve at once. 

To frost tea use half a lemon from which 
juice has been squeezed, wipe rind around 
rim of glass, moistening slightly inside and 
outside edges about l/o inch down. Dip rim 
of glass in bowl of powdered sugar. Sugar 
will stick to moistened rim and look cool 
and frosty. A sprig of mint will acquire a 
lovelv frosted look if dusted with powdered 
sugar. Old fashioned lemonade may be sub 
stituted for Frosted Tea. 

*Rum Turn Dittv 
Sniffed Tomatoes Celerv 
Parker House Rolls 
Refrigerator Pie 
Iced Coffee 



8 



Silver Screen 



RUM TUM DITTY 

\/ 0 cup water 

1 can Campbell's Tomato Soup 

2 medium-sized onions 

l pound Kraft's American cheese 
1 teaspoon each paprika, Wor- 
cestershire, salt, Coleman's 
mustard 
\/ % teapoon white pepper 

3 eggs, separated 

Combine water and soup, add sliced 
onion. Boil 10 minutes. Add thinly sliced 
cheese, stir constantly until melted. Add 
seasonings mixed with beaten egg yolk. 
Beat whites until stiff but not dry. Fold in 
cheese mixture. Stir until thoroughly 
blended. Serve on toast or crackers. 

REFRIGERATOR PIE 
Here's a very new and timely ice box 
pie which can change its dress as often as 
you desire and still continue in popularity. 
The pastry can be made of lemon snaps 
(about 40 for a 9 inch pie), vanilla wafers 
(about 28), graham crackers (about 18). 
To these crackers, crumbled fine, add a 
scant 14 pound of butter. Cut in well with 
a knife. Moisten with sufficient cold water 
to spread and line bottom and sides of 
pyrex pie dish. 

Whip 1/2 pint of cream, add few grains 
salt, a few drops vanilla, 1 teaspoon Knox 
Gelatin dissolved in a little water, and 2 
tablespoons powdered sugar. Spread over 
chilled pastrv. Wash, hull and slice a pint 
of strawberries. Place on cream mixture. 
Dissolve 1 package Roval Strawberry Gela- 
tin as directed on package. Chill until it 
begins to congeal. Pour over the straw- 
berry and cream pie. Chill in refrigerator 
several hours. With pastry bag and rose 
tube garnish pie with cream and tiny bits 
of strawberries. Instead of this combina- 
tion omit the cream and try alternate layers 



of bananas and white cherries, seeded, end- 
ing with bananas. Pour over this a cherry 
gelatin and chill. 

*Dipped Strawberries 
*Jellied Ham Mold *Rye Rolls 
*Frosted Coffee, Orange or Pineapple 

DIPPED STRAWBERRIES 
Blend together 1 tablespoon butter and 
2 cups powdered sugar. Stir in slowly 3 
tablespoons milk until mixture is thick 
enough to spread. Add 1 teaspoon Morrow's 
Vanilla. Do not remove caps from straw- 
berries. Wash well and dip tips in frosting. 
Chill. A quart makes 6 servings. Use as a 
cocktail or dessert. 

RYE ROLLS 
1 cup Gold Medal flour, sifted before 
measuring. Resift with 1 cup rye flour. 3 
teaspoons Royal Baking Powder, 1/9 tea- 
spoon salt. Work in with 2 knives until 
mixture has appearance of coarse corn 
meal, n/o tablespoons Crisco. Stir in 7 table- 
spoons Pet milk diluted with 7 tablespoons 
water. This makes a stiff dough. Knead 
lightly on floured board 3 minutes. Form 
into 2 inch balls, arrange close together in 
greased pan. Let stand at room tempera- 
ture 15 minutes. Bake in hot oven (400 0 F.) 
30 minutes. Makes 15. 

JELLIED HAM MOLD 

Soak 14 teaspoon Knox Gelatin for 5 
minutes in 1 tablespoon cold water. Scald 
1/2 CU P milk, add soaked gelatin and stir 
until dissolved. Pour in bowl. Chill before 
whipping. Soak also 1 tablespoon gelatin 
in 14 cup cold water. Dissolve by holding 
over hot water. To this add and mix well 2 
cups cooked, ground ham, i/ 2 cup chopped 
celery, 1/0 cup chopped green peppers, 2 
tablespoons chopped pimiento, 1 teaspoon 
grated onion, 2 chopped hardcooked eggs, 



1 tablespoon lemon juice and 14 cup mayon- 
naise. Chill until mixture begins to thicken. 
Then whip cold milk with rotary egg beater 
and fold into ham mixture. Put in mold 
and chill. Unmold and serve on lettuce. 

GRAPE PUNCH 
1 pint hot double strength tea 
• i/2 cup sugar 
1 pint Welch's Grape Juice 

Juice 4 lemons 
1 12 ounce bottle Hoffman's 
Ginger Ale 

Orange and lemon slices 
Juice 2 oranges 

Pour tea over ice cubes. Add sugar and 
fruit juices. Add ginger ale. Garnish with 
orange and lemon slices. 

PINK LADY 
Boil i/2 cup sugar and 1/0 cup water 3 
minutes. Cool. Add i/ 2 CU P raspberi") syrup, 

2 tablespoons lemon juice, contents No. 2 
can Dole's Pineapple juice and then the 
contents 1 pint bottle carbonated water. 
Serve over cubes of frozen tea. 

LEMON AND LIME 

Mix juice of 4 lemons with juice of 1 
lime and 4 cups water. Freeze 1 pint grape 
juice in refrigerator trays without partitions, 
to a mush. Fill glasses with crushed ice, 
pour over lemon-lime mixture and top each 
glass with spoonful of frozen grape juice. 

For any of above 3 drinks the menu 
should be chicken-vegetable salad, cheese 
wafers and Danish pastry. 

And here is something new in milk 
drinks . . . take Hearts Delight Apricot 
Nectar, fill a glass half and half with milk 
and nectar, shake well and, yummy, what 
a thrill. Milk drinks go well with cookies 
and sandwiches. 



HEBE'S THRILLING NEW LUSTRE FOR HAIR 



ALL SUMMER LONG 

Amazing Shampoo Discovery 

leaves hair unbelievably soft, manageable, 
and radiantly beautiful 
— whether dry, normal or oily 



THIS summer, you can easily and 
quickly see your hair become 
more glamorous than you ever 
dreamed possible. Soft, radiantly 
beautiful, easy to manage— even on 
hottest days. For, today, there are 
two amazing kinds of Drene Sham- 
poo, which work seeming beauty 
miracles for hair during hot summer 
months. Remove beauty-clouding 
dirt, grease and perspiration with a 
single sudsing. Leave hair silky- 
smooth, fragrant, beautiful beyond 
description. 

For you to possess such glorious hair, 
simply do this: If your hair is in- 
clined to be dull, dry-looking, and 
unmanageable, use the new Special 
Drene Shampoo for Dry Hair. Other- 
wise, use Regular Drene. 

Drene performs this beauty miracle 
because it is different from ordinary 
shampoos. So different that the 
process by which it is made has been 



patented. Drene is not a soap — not 
an oil. It employs a remarkable, new, 
patented cleansing element that ac- 
tually makes 5 times more lather 
than soap in hardest water. Lather 
so gentle, yet so active, that dirt, 
grease, perspiration — even loose dan- 
druff flakes — are washed away with 
a single sudsing and thorough rinsing 
in plain water. We have not found a 
milder, safer, more beautifying sham- 
poo. Yet, hair is left gloriously bril- 
liant without the need of lemon, vine- 
gar, or special after-rinses of any kind. 

Procter & Gamble make and guar- 
antee Drene Shampoo — which is used 
by more women than any other brand 
of shampoo. Get either Special Drene 
for Dry Hair, or Regular Drene at 
drug, department or 10c stores. Or, 
ask for a Drene Shampoo at your 
beauty shop. You'll be thrilled to see 
how easy it is to keep your hair bril- 
liantly beautiful during the summer 
with Drene. Trade Mark Reg. U. S. Pat OH. 




In Hollywood 

where all outdoors 
Is a playground for 
the movie stars; 
where beaches are 
lined with world- 
famous beauties — 
a survey made by 
the leading Holly- 
wood newspaper re- 
vealed that more 
women now buy 
Drene Shampoo to 
keep their hair 
beautiful than all 
other leading sham- 
poos combined. 



Silver Screen 




—Avoid 
Sun "Tarnished" Hair 

A vacation's no fun without a good coat of tan. 
But don't let your hair get that dried-out, "tarnish- 
ed" look from salt water and excessive exposure 
to sun. Because most shampoos are too drying, 
some 987 beauty editors suggest Admiracion Olive 
Oil Shampoo. It is easier to use than ordinary sham- 
poos. Admiracion cleanses each hair fibre . . . but it 
does not rob hair and scalp of the essential natural 
oils that keep your hair healthy. Come back home 
with that burnished beauty look in your hair . . . use 
Admiracion Olive Oil Shampoo. Sold with a money- 
back guarantee. For a trial sample send three 3-cent 
stamps — Dept. 31, Admiracion, Harrison, N. J. 

^FDDT 
RELIEF 

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Apply Dr. Scholl's KUROTEX on 
corns, sore toes, callouses, bunions 
or tender spots on feet or toes 
caused bynew or tight shoes — pain 
stops! Removes the cause — shoe 
friction and pressure. Cut this vel- 
vety-soft, cushioning foot plaster 
to any desired size or shape and ap- 
ply it. Flesh color. At Drug, Shoe, 
Dept. and lOi Stores. FREE Sample 
and Dr. Scholl's Foot Booklet. 
Write Dr. Scholl's, Inc., Chicago. 



DZScholls 
KUROTEX 




FOOT 
PLASTER 




SITROUX 



(Pronounced "SIT-TRUE") 

Stars of stage and screen pre- 
fer Sitroux Tissues. So soft, 
yet so much stronger, they 
hold together! Care for YOUR 
complexion with Sitroux Tis- 
sues. Get a box today ! 



Cool 

and 

CRISP! 




Mary Lou Len- 
der, Harold 
Lloyd's new 
leading lady, 
thinks there is 
nothing so dainty 
as white organdy 
when the ther- 
mometer soars 
into the 90's. 



THE big point of personal popularity in 
mid-summer is that cool, crisp look. 
Every star will tell you this, and the 
stars know, because they get more practice 
than most of us in a year-around climate 
like California. That enviable flower-gar- 
den appearance is a matter of care with 
details— body care, make-up and costume. 
And I can assure you that when you look 
cool, vou feel cooler, though the tempera- 
ture may not have dropped one degree. 

That cool look starts with your bath, as 
do all the other desirable "looks "—chic, 
beautiful, dainty, appealing or whatever is 
your special forte. Tub or shower addict, 
keep your summer water cool or tepid. Hot 
water opens the pores and makes you per- 
spire profusely afterwards. Cold water is 
too stimulating. It arouses circulation, and 
the temperature contrast with the warmer 
air later makes you feel unduly warm. 
Tepid water is cooling, soothing, refresh- 
ing and cleansing. Use plentv of soap, and 
if you like a clinging fragrance afterwards, 
something like Cashmere Bouquet is rec- 
ommended. Its rich lather, its sweet per- 
fume, and its gentleness to the skin are 
marks in its favor. 

Or have vou tried a bubble bath? Usually, 
we associate this bath with an expensive 
salon, where we sit in a tub of foam up to 
the neck and glory in it. The L'sa Foam 
Bubble Bath, in perfumed mineral crystals 
or concentrated liquid form, is a grand idea 
for home use. Whichever form you prefer, 
placed directly under the tub faucet, with 
water turned on full pressure, gives you a 
blanket of beautiful soapless bubbles. Re- 
cline in this, as if floating on a cloud, and 
know bath luxury. Either preparation makes 
ordinary water as silky soft as rainwater: 
vou know how good that is for vour skin, 
and it leaves no tub ring. Bathe with soap, 
because the Bubble Bath foam is soapless, 
and know a real exuberance of bodv and 



How To Look 
And Feel Fresh 
As A Daisy In 
Alio! = 5ummer. 




By 
A4ary 
Lee 



spirit when you're done. This Bubble Bath 
is especially welcome when you're tired and 
have a big date or want a night of deep, 
refreshing sleep. 

Bathing alone won't solve the perspira- 
tion question in summer. All normal 
healthy people perspire, but of course the 
thing is to keep-this fact to ourselves. There 
are many preparations to aid you in this, 
liquids, creams and powders. I've mentioned 
many of the liquids from time to time, so 
Arrid, a cream, deserves a good word now. 
Arrid both deodorizes and stops perspira- 
tion where applied. It's very gentle on sen- 
sitive skin, stainless and takes only a few 
seconds to use. I think wives, too, might do 
husbands a great big favor when thev're 
going to the club for dancing or any special 
exertion bv suggesting Arrid. Men are at 
a great disadvantage in summer because of 
coats, and the use of Arrid or a similar 
preparation is certainly the answer to keep- 
ing fresh and immaculate. There's nothing 
sissy about Arrid. and so I think plenty of 
the boys will welcome a wifely tip. 

Eau de Cologne, toilet water or anv such 
preparation, plus dusting or talcum powder 
keeps body skin smooth, fresh and fragrant. 
Apply the liquid, rubbing it over your skin 
with the palms of the hands. Then a big, 
generous dusting of powder. Mavbe vou 
know that Djer-Kiss talcum has been a 
favorite of women for years; that it has 
an unmistakable and lovely perfume, and 
that it keeps you sweet, in spite of heat. 
A girdle, even on hot days, slips on much 
easier with your skin dry and smooth with 
powder. And that reminds me— refreshing 
baths for the girdles, too. They need fre- 
quent ones in summer, and practically all 
of them wash as easilv as stockings. A flake 
soap, like Lux, cleans them beautifullv. and 
it is so easy to use. Too, after a bath, girdles 
have a way of resuming their original shape 
and moulding lines. Lux, also, is the answer 



AT 
YOUR 

SemcL 
\Ocent 
STORE! 



10 



Silver Screen 



for complete immaculacy of any wearing 
apparel that can stand water alone. 

Though these ideas are the groundwork 
for that priceless cool look, they are not 
all! Hair arrangement, make-up and clothes 
finish the picture. 

Summer hair needs more frequent sham- 
pooing than winter hair, because of its 
exposure to dust and perspiration. That 
dank, flat look that hair gets when it's plas- 
tered down with heat, does nothing lor 
you. Everyone I know who has tried the 
new Drene for Dry Hair seems delighted. 
Regular Drene is used for oily or normal 
hair, but it has been my experience that 
there is much more dry hair in summer 
than in winter, because the hatless vogue 
exposes it to the sun, which rapidly dries 
it. Drene for Dry Hair softens the parched 
texture of summer hair, leaves it beauti- 
fully clean, shining and manageable. An- 
other advantage, it may be used in warm 
or cool water, which is a great convenience 
in the country or out-of-the-way places, 
when the hot water heater may not be on 
the job. As to arrangement, the up idea 
is splendid, if becoming. It makes you both 
look and feel cooler. How ever you wear 
your hair, keep the line groomed and neat, 
except for play purposes. It will add im- 
measurably to your grooming. 

Work over-time, if you must, to keep 
vour make-up fresh. Most of us need at 
least a one-tone deeper face powder for 
summer, because all skin deepens somewhat 
in color. Powder lightly in summer but 
evenly and smoothly all over, and renew 
frequently. Those lotion-saturated cleansing 
pads are so easy and quick to use and are 
a warm weather blessing. I don't think I've 
ever talked to a star about rhake-up but 
what she emphasized the importance of 
fresh make-up, which means removing the 
old and applying new. Don't use too much 
rouge, or you'll look too flushed, and do 
use a lipstick that stays neatly in place. 
The Coty Sub-Deb Lipstick is a good idea, 
for this lipstick clings like an old friend 
and the colors are lovely. A perfect lip- 
line adds composed, cool beauty to any face. 
Another make-up idea I think you'll like 
is the new Camille Cream Mascara, which 
comes in a tube to be applied with either 
a moist or dry brush. Tube and brush are 
fitted into a plastic container that fits into 
a corner of your purse and prevents spill- 
ing. A particularly good idea for the trav- 
eler who wants to retouch lashes but cannot 
find water at hand. 

Last minute bathing beauties, please 
note: You may know about Lydia O'Leary's 
Covermark Cream, that life saver that 
enables you to conceal discolored facial 
birthmarks and scars so perfectly no one 
could ever guess. It's wonderful for broken 
veins in the legs or body discolorations, too, 
when you don your bathing suit, and is now 
available in a trial size at a price much 
le«s than the former size. 

As to costumes, wear colors that are cool 
—white, navy, pastels and so on. Hang aside 
i he black crepes for a while. Let's take 
advantage of the lovely cotton, linens, 
rayons and silks while we can. The summer 
season isn't long, so gather your rosebuds 
while you may. 



CHANGE OF TITLES 

"Ground Crew" (Richard Dix) 
has been changed to 

"Northern Flight" 

"Going Places" (Jane Withers) 
has been changed to 

"Keep Smiling" 
"The Clean-Up" (Chester Morris) 
has been changed to 

"Smashing the Rackets" 



THIS NEW 6REASELESS 
ODORONO ICE 
IS SIMPLY A DELIGHT 
TO USE 



YES -AND IT KEEPS 
YOUR UNDERARM 
ABSOLUTELY DRY AND 
IT LASTS AS LONG 
AS 3 DAYS 




NEW ICE DEODORANT 
is cooling, vanishes completely, 
checks perspiration instantly 



HERE'S the last word in underarm 
daintiness made to order for busy, 
fastidious moderns! The new Odorono 
ICE meets all the requirements . . . quick 
application, greaseless, cooling, checks per- 
spiration! 

Based on an entirely new principle — 
this new ICE deodorant disappears as 
you put it on. Leaves your underarm cool 
and refreshed, yet checks perspiration 




instantly! You can forget about offend- 
ing odors and embarrassing stains for as 
much as three whole days. Use Odorono 
ICE according to directions on the label 
of the jar. 

Protect your feminine charm — the 
friendships that are your natural right ! 
Get a jar of Odorono ICE today ! Only 
35?- at all toilet-goods departments. 

"SAFE — cuts down clothing damage, when 
carefully used according to directions," says 
The National Association of Dyers and 
Cleaners, after making intensive laboratory 
tests of Odorono Preparations. 

SEND IO< FOR INTRODUCTORY JAR 



0D0-R0-N0 



COOLING — NON-GREASY 



ICE 



RUTH MILLER, The Odorono Co., Inc. 
Dept. 8-S-S", 101 Hudson Si., New York Cily 
(In Canada, address 1'. (). Box i >7, Montreal) 

I enclose 10< (15)! in Canada) to cover cos! of 
postage anil packing for generous introductory jar 
of < Odorono Ice. 



Namc_ 
Addres 
City 



Silver Screen 



11 



Try the/^^dlHereni 

LISTERINE TOOTH PASTE 

the dental discovery of the century 




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mm* m> 



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For the sole purpose of letting you discover for your- 
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At last a dentifrice energized by saliva! Cleans, 
brightens, and polishes teeth as never before! 
Because it reaches decay-ridden "blind spots" 
that ordinary pastes, powders, and even water 
seldom enter. 

Luster-Foam (C 14 H 27 0 5 S Na), works a miracle in your 
mouth and on your teeth . . . you can actually feel it work. Not 
a soap, yet it has penetrating power far beyond that of soap. 

The moment saliva touches it, Luster-Foam generates tiny 
aromatic bubbles of detergent energy (20,000 to the square 
inch), which instantly surround and whisk away surface de- 
posits that dull the teeth. Then, Luster-Foam's energy breaks 
up decay-fostering deposits in the saliva before they have a 
chance to glue themselves to the teeth. 

Areas Never Reached Before 

Next, Luster-Foam surges into and cleanses as never be- 
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faces which catch and hold food, mucin, and discolorations. 

Lay aside your present tooth paste and try this extra-safe, 
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the Big 1 cent sale is on at all drug counters. 

Lambert Pharmacal Company, St. Louis, Mo. 



IT'S NEW! 



Money back if not satisfied 



At all drug counters NOW! 

Offer good only while dealer's supply lasts 




12 



Silver Screen 



SILVER 

SCREEN 



jEANETTE MacDONALD is wearing a 
— ' compact clip. If you haven't seen them, 
start searching. Jeanette's is her pride and 
joy and so handy. It is no bigger than a 
dollar— which is not very big these days- 
is silver, with modernistic design. It holds 
a tiny magnifying mirror and flat puff and 
just enough powder for that last minute 
dab before keeping an important date or 
a business interview. It is worn clipped to 
the coat lapel and saves all that digging 
around in the hand bag when in a hurry. 
f..— - 

CHARLES FARRELL, who's now about 
to essay a film comeback, tells one on 
a star whose success had gone to his head. 

"Two youngsters waylaid the star at a 
preview," Farrell recounts. "They asked 
for autographs. He signed, but one of 
the youths looked disconsolate. 

" 'Why, what's the matter, little man?' 
he asked. 'You ought to be very happy 
about getting the autograph of a big 
star.' 

" 'Nuts to that!' the boy countered. 
'I just bet Elmer over there a quarter 
you couldn't write.' " 



A WATCH salesman was hounding 
Bob Burns. "This crystal positively 
will not come out," he told Bob. "And 
every time it does I'll give you another one 
absolutely free." 

— "4 

T^OUG FAIRBANKS, JR., thought of 
■*— ' something new in the w r ay of parties 
recently when he entertained for his mother 
and stepfather, Beth and Jack Whiting 
After dinner, with the wind blowing a ter- 
rific gale outside, Doug turned out all the 
lights and everyone had to tell a ghost 
story. Among the gals who were so petri- 
fied with fear that they were afraid to go 
home were Norma Shearer, Merle Oberon, 
and Hedy Lamarr. 

lORETTA YOUNG and George Brent 
have found each other again after all 
these years. The rediscovery took place at 
the farewell party given the Darryl Zanucks 
by the William Goetzes, and neither Lo- 
retta nor George seemed to desire anyone 
else's company the entire evening. 
# — 

A/tAE WEST says that the trouble with 
'VI most of the Hollywood leading men 
is that they are all kissed out when they 
get on the screen. 

A ylYRNA LOY is wearing a new type of 
* V *■ page boy hair dress for her next pic- 
ture. And Norma Shearer has decided that 
Garbo had the right idea and is now wear- 
ing her hair in a Garbo bob. She loathes 
sitting so long under a dryer, so she sham- 
poos her hair herself, and has her maid 
curl up the ends. Although Norma went 
blonde for "Marie Antoinette" she has now 
gone back to her natural brown color. 
Merle Oberon, her best friend, persuaded 
her to. 

— * — 

TTo THE question: "What do you do with 
* your old clothes?" Barbara Stanwyck, 
filling out a publicity questionnaire in her 
dressing room, wrote: "I wear them.'' 



Topics 

For 
Gossips 






In her usual 
place, at the 
top, Jeanette 
MacDonald. 
Next, Douglas 
Fairbanks, Jr., 
and right, Bob 
Burns. 




CUE TRACY, Spencer's little daughter, 
*J visited her famous father's studio the 
other day, and at lunch in the commissary 
met Victor Fleming, who directed Spencer's 
last picture, "Test Pilot." When he asked 
Sue how she liked the picture she said, 
"Don't you like my papa? That's the sec- 
ond time you've killed him." 

. „<§>., u 

CHIRI.EY TEMPLE'S studio will have you 
P believe that little Miss Temple is writ- 
ing a book. All her leading characters arc 
princes and princesses, but the slaves and 
flunkies are Hollywood actors. In the big 
coronation chapter the Prince walks in, 
views the cheering multitudes and yells, 
"Quiet, kids. This is a take." Well, at that 
it will probably be far more interesting 
than most stories written about Hollywood. 



ALTHOUGH Tyrone Power still 
/ \ takes Janet Gaynor to the pre- 
views—she was his girl at the swank 
preview of his last picture, "Alexan- 
der's Ragtime Band"— and dances 
cheek-to-cheek %vith Sonja Henie at 
Hollywood parties, his close friends 
will tell you that June Wilkins, a stock 
girl at his studio, is his one true love. 
» — „ ♦„, — „ 

IT'S Irving Hoffman's story and it's 
*• our pet movie story of the month. 
Two men were discussing a writer. 
"How did he ever get to Hollywood?" 

one of them asked. 
"Well, it's a strange 
story," the other one 
said. "He used to be 
an insurance sales- 
man. He sold a pol- 
icy to a producer 
once and the pro- 
ducer thinking it was 
a script, filmed it, 
and it turned out to 
be a big hit." 

_4„__ 

j\. TOR MA SHEAR- 
1 ^ ER is supersti- 
tious about dresses. 
If she has a bad time 
in a dress she will 
never wear it again, 
no matter how ex- 
pensive or pretty it 
is. And Adolphe 
Menjou is terribly 
superstitious about 
dying in a picture. He always turns down 
screen roles that call on him to die. 

"THE favorite indoor sport in Hollywood 
' right now is to go to see the revival of 
"The Shiek" and laugh heartily at Rudolph 
Valentino and Agnes Ayres. But remember. 
Glamour Girls and Boys, as you rock in 
your seats, a new generation will be laugh- 
ing at your revivals fifteen years from now. 
„. 

AMECHE is taking rhumba lessons 
cutting quite a figure these eve- 
nings. Not that Don wants to rhuscle in on 
Cesar Romero, the rhumba leader of Holly- 
wood, but be not oflly has to dance it in 
his next picture but also has to teach it to 
Arleen Whelan. 



DON A 
and 



13 



By L OlllSC Small 

As told to 

Ed Churchill 



THERE are more beautiful laces, aims, 
legs, backs and teeth in Hollywood than 
in any place else in the world. 
In pictures? 
No. 

In sandwich stands, behind counters, car- 
rying trays, slugging typewriters and an- 
swering telephones. There used to be a lot 
more, but the owners have gotten sense and 
they've gone home. But the heartbreaking 
procession continues in and out of the film 
capital. 

You see them come in proudly, con- 
fidently, bravely— and you see them go out 
broken and disillusioned. And you can't 
blame Hollywood. You have to blame 
Pumpkin Center and Sticksville and 
Podunk. You have to blame the girls 
themselves and their friends. You 
have to blame enthusiastic but dumb 
advisors. 

How do I know? 

I'm a beauty contest winner in 
Hollywood. I won my first contest 
when my mother pulled me out ol 
the water and made me enter at a 
G rman picnic at Abita Springs, 
Louisiana, when I was fourteen years 
old. I won hands down, too. I was 
Miss New Orleans in 1933, Miss 
Louisiana and Miss America in 1934- 

From the time I collected my first 
cup, friends, well-meaning and en- 
thusiastic, said: 

"You ought to go to Hollywood. 
You'd be a wow!" 

I was smart. I didn't listen to such 
advice. I followed a rule which I laid 
down almost immediately. 
It was not to make a pass 
at Hollywood until I got 
a contract. I held to that 
rule. I came to Hollywood 
at the expense of a studio, 
spent a year of heart- 
break, watched others 
have their brief crack at 
fame and fade out— then 
went out myself. 

Every year, at just about 
this time, there are hun- 




With a figure likt 
this, no wonder 
Louise ran away 
with the honors. 




You May Be "Miss 
America" At A World s 
Fair/ But In Hollywood 
Beauty Doesn't Always 
Open Trie Studio Doors. 



4 




v OF 



StS 




Beauty Contest 



Mary Astor entered the movies via the 
beauty contest route and is one of the 
few who is still going strong. 



dreds of beauty contests held in all parts of the United 
States. Every year there are hundreds of winners who 
hear, from thousands of people: 

"You ought to go to Hollywood." 

Some of the girls go. That's just too bad. Because, 
honestly, a beautiful face and a beautiful form and 
a beautiful back, or what have you, are just a part 
ol the tools you need to get ahead in Hollywood. Just 
what you might call a background. 

Some of the girls are smart. 

There was B P She was "Miss 

Something or Other" from out in the 
slicks. She came in with the promise of 
a role in a picture. She played that role. 



Ray Milland 
tried to be help- 
ful, and was, 
too. 




14 



She was pretty. She had corn-silk hair, a beautiful face, a 
remarkably good figure. After her work was done, she tried 
bits. She ended working in a file room. 

"If this is glamour," she said, finally, "I don't want any 
part of it. I've found out I don't know enough to be an 
actress." 

She walked out that day. 

She walked right down to the offices of the registrar at the 
University of Southern California, enrolled, and began to 
study. B — is one in a thousand. Well equipped to earn a 
decent living she'll step out some day, get herself a real job 
and amount to something. 

For the other nine hundred and ninety-nine, who haven't 
that ambition, and can't shake off the glamour of it all, 
there's a sadder fate. They hang around until money is gone, 
vanished! 

Or, consider the case of M J . This girl, a 

contest winner in the east, was "scouted" by a talent seeker. 

"I can't sign you here," the scout told her. "But if you'll 
go to Hollywood, I'll be out there in a few days and I'll see 
that you're given a contract." 

The man was a legitimate scout 
studio, and meant what he said. 
But he never went back to Holly- 
wood. He was fired the day after 
the beauty winner, with her scant 
saving's and her mother, left for 
fame and glory. When the scout 
failed to show up, the girl took her 
mother to the studio, told her story. 

"We're sorry this happened," she 
was told. "We have no responsi- 
bility. However, we will give you 
work." 

Luckily the girl had studied ste- 
nography. She got a job as a clerk. 
She held that job for months. And 
she was very, very lucky. In most 
cases, such a girl would have been 
turned away, left to starve, or go 
on relief, or in some way find her 
way back home. 

The other day I went into one 





Louise Small, Director Mitchell Leisen 
and Dorothy Lamour on the set during 
the making of "Swing High, Swing Low" 
in which Louise had a small part. 



of these drive-in stands. 

The girl who waited on me 
was very pretty. 

"You ought to be in pictures," 



(Left) In spite 
of having such 
an alert and 
lovely face, 
Louise has had 
plenty of heart- 
aches in Holly- 
wood. (Right) 
Gail Patrick's 
success (and she 
was a contest 

winner, too) has given Louise encouragement. 
(Above) Ellen Drew, another winner, has been 
fortunate enough to get a real "break." 



The girl smiled ruefully. 
"That's what they told me 
back in D -- -," she replied. "I 
came out here lull of hopes. I 
started to save my dough to go 
back, when I found I couldn't 
get inside a studio. I met a fel- 
low, and we got married. I spent 
my savings and he left me. It's 
just twice as hard to save up to 
go home— when you've got a 
youngster to support." 

It's safe to say that three out 
of five young girls you find in 
the extra ranks, making less 
than ,5500 a year, have listened 
to that siren song of the sooth- 
sayers. I've talked to fifty girls 
w ho have been "Miss Something 
or Other" during my days at the 
studios. Most of them wish they 
were back home. 

"The climate is Swell," ihey 
say, "hut you can't live on it." 

And they wish they were back 
with parents and with loved 
ones. But here's another tragedy. 
They've received such a build-up from the well-meaning towns- 
folk thai they're afraid to go home and confess they've failed. 
I didn't have to come to Hollywood. It was my own idea. 
I was born in New Orleans. My lather was' salesman lor a 
bakery there and is now sales-manager. My mother is interested 
in social work. ! attended public .schools there, and later went 
to Sophia Wright High School. I stalled out with equipment 
that the average beauty winner doesn't have. I could sing. 

At 10, I was in children's programs on the radio. At ] | 1 was 
singing with orchestras around New Orleans, always chaperoned 
by my mother or brother, and had m\ own radio program. At 
15, my lame, such as it was. had spread locally and 1 was singing 
in night clubs, and at banquets. 

When I was 15— I was born December S, 11)17—! became Miss 
New Orleans." The next year I was "Miss Vmerica," chosen at 
the World's lair at Chicago. And il you [Continued en page 73] 




15 



Arlinc Judge with her millionaire sportsman husband, Dan Paul Lukas and Ralph Bellamy framing Mme. Frances, 

Topping. Dan must be worrying about the bill. the dress designer, in private life Mrs. Nate Spingold. 




Ruth Hilliard, now Mrs. James Ritz, revisits El Morocco Joe Schenck does a mean rhumba with Mrs. Billy Wilker- 

where she was once a hat-check girl. son, wife of a Hollywood publisher. 



16 



Will Rogers' little girl, Mary, with pianist Jack Munroe 
and Miss Virgina Sinclair. 



Phillips Holmes has a tall one with Mrs. George Kaufman, 
wife of the playwright. 



ilES 





Zorina, a sensation in the musical show "I Married An 
Angel," with Georges Balanchine. 



NO PRINCESS of a reigning house ever 
traveled with more people in at- 
tendance while on a shopping tour 
than Lily Pons. I chanced on her in a 
fashionable Fifth Avenue shop in New York 
with three women (secretary, press agent 
and companion) all dancing attendance, not 
to mention two salesgirls and a most at- 
tentive floorwalker. She had just married 
Andre Kostelanetz and was off for a Euro- 
pean honey moon in a day or so. When not 
in Hollywood La Pons lives in an enchant- 
ing farmhouse up in Silvermine, Conn. 
When she left the shop, the salesgirl turned 
to me and said, "Can you imagine anyone 
traveling with so many people around 
i hem? I'd call it a traveling circus." 

When Jimmy Ritz of those incredible 
Rit/ Brothers walked into El Morocco with 
his beautiful new wife, it recalled to mind 
one of the most fascinating and romantic 
stories in the history of New York night 
club life. Some years ago the hat-check girl 
at El Morocco was ill and she asked a girl 
friend Ruth Hilliard, to take her place. 



Richard Arlen in a serious conversation with Hiller Innis, 
young Paramount executive. 




Miss Hilliard was very beautiful, but had 
an ugly disfiguring scar on the side of her 
neck. That very night William B. Leeds, 
who inherited a great fortune from his 
father, and whose mother by a third mar- 
riage became Her Royal Highness Princess 
Anastasia of Greece, was at El Morocco 
dining with John Perona, Morocco's hand- 
some owner. 

Leeds remarked about the girl's beauty 
and the tragedy of her scar, asked her 
mother's phone number and the next day 
with great generosity arranged to pa) ail 



On The R coord. Acrbc 
Obliges. The Hollywood 
Famous Cannot Relax Wtth= 
out A. Camera In Sight. 



expenses lor a plastic surgery job to restore 
her full l>caiii\. 

And so it came to pass that when Ruth 
Hilliard, now Mrs. Jimmy Riu, returned to 
El Morocco where she had once been the 
hat-check girl, with her husband, there was 
not even the slightest sign of a scar to dis- 
figure the ivory column <>l her neck. 

W hen 1 heard Richard Arlen was in the 



17 



(Top) David Niven stops to visit 
with Mrs. Wilson Hearst and 
socialite William Curran. 
(Above) A hair-do gets Richard 
Arlen in trim to join the ladies. 



(Top) Lily Pons, shoes in one 
hand and mail order catalogue 
in the other. (Above) Merle 
Oberon,who grows lovelier every 
year, pauses in the doorway. 



club one night, I tracked him down in the 
men's dressing room and photographed him 
before he had a chance to see me. Arlen 
is an amiable but serious enough fellow who 
is as serious about acting as he is about 
golf. He was very earnestly discussing the 
movie industry that night with Hiller Innis, 
the blonde young Paramount executive who 
might well appear before instead of behind 
the cameras. 

I have always considered Hedda Hopper 
as one of the most fascinating women in all 
Hollywood. In the movies she has always 
played society women parts, and she is 
ideally suited to them for she has often 
been called "The First Lady of Hollywood." 
She entertains charmingly and simply in 
her Fairfax Road house in Hollywood. She 
is one of the few actresses of the screen who 
insists on keeping her phone number in the 
t.lephone book, and she is wise enough as 
a mother to let her son Bill Hopper follow 
his own career as an actor without trying 
to push him. She is the very opposite of 
the movie mother, probably because she is 
so important as a personage herself. Witty, 
gay and with charm etched with acid she, 
today, in addition to her acting, does a 
neekly gossip column for the Sunday Los 
Angeles Times. She was in New York for 
only a day or two on a publishers' conven- 
tion and had all the newspapermen literally 
worshipping at her feet. 

l our years ago there blew into New York 



from England an amusing and engaging 
Englishman with a little money, good social 
connections and a keen desire to have a 
good time. He was a great success but soon 
tired and. after visiting in Palm Beach, "lie 
headed out to see friends in Hollywood. 
Shortly afterwards everyone was surprised to 
hear that David Niven had been given a 
term contract by Sam Goldwyn. Goldwvn 
had met him at several parties and, im- 
pressed by his ready and expressive wit, of- 
fered him a screen test. In fact he had two 
screen tests and, since Niven was self-con- 
scious and frightened, thev were both bad. 
GoldwMi, who was certain that he had what 
it takes, insisted on a third. Niven bv this 
time was a mass of nerves and just before 
the test went out and got tight, and some 
how that worked the trick, for this thiid 
test was good and Niven got his contract. 

Today all the country is dancing to "I 
Married An Angel," and to those who have 
seen the play that angel will always be 
Vera Zorina. To the stage she has brought 
that fresh beauty which added fire to the 
Goldwvn Follies. A rare trait for a one-time 
ballerina, Zorina likes modern dancing, late 
hours and night clubs. She dresses very 
simply, usually her evening gowns are 
white, and it is predicted that this simplicity 
and tremendous grace will be reflected in 
voimg women of America within the nexl 
two vears. Georges Balanchine. who is in 
the photo with her, is a famous ballet 



dancer and teacher himself. 

Whenever Joseph Schenck enters a place, 
the wistful, hopeful eyes of all the young 
beauties are turned toward him, hoping he 
will notice and "discover" them. He is a 
beautiful rhumba dancer. 

One cannot help but wonder why Phillips 
Holmes isn't in more movies. Good looking 
and an undeniably good actor, one cannot 
help but believe that there must be a very 
definite place for him. With him is Mrs. 
George Kaufman, the wife of the playwright. 

Mary Rogers, need it be said, is Will 
Rogers' daughter. She has come naturally 
by her love for the outdoors and much 
prefers snappy sports jackets and tweeds to 
evening clothes. 

Arline Judge seems so happy in her role 
of mother and wife that her friends say they 
doubt if she will ever return to the screen. 
Certainly she and her millionaire husband 
have been leading a charmed existence, 
spending much of their tr'me in sunny Cali- 
fornia and in Honolulu. 

With the coming of summer, when the 
sidewalks of New York begin to sizzle and 
on week-ends it looks like a great citv of 
the dead, the movie stars, along with every- 
one else who can. flee from the city, and if 
they are East at all it is at the summer stock 
companies that one can find them, some- 
where in Connecticut or in the Cape, and 
it is on summer stock that I hope to do my 
next article. 



18 



PROJECTION OF NORMA SHEARER 



By Elfeabeth Wil son 




UP UNTIL two o'clock 
of a certain day of 
June, 1936, I had 
merely thought of Norma 
Shearer as a great star. I 
treated her with the utmost 
deference and respect, and 
even when chatting ami- 
cably with myself I called 
her Miss Shearer. Joan 
Crawford might be Joanie 
and Myrna Loy might be 
Minnie but Miss Shearer 
was definitely Miss Shearer. 

She was the wife of the 
Big Boss, her pictures were 
always Events, and she was 
generally conceded to be 
the arbiter of Hollywood 
society. 

But on that certain day 
in June, 1936, I found my- 
self lunching at the Santa 
Monica beach house of the 
Douglas Fairbanks', Sr., and 
completely surrounded by 
all the socially right peo- 
ple in Hollywood. Miss 
Shearer, beautiful and im- 
maculate in a white sports 
dress, sat directly across 
from me. I don't know how 
I got there, I'm sure it was 
all a mistake, but anyway 
there I was quite miser- 
able and horribly depressed 
about the whole thing. 
They were gabbing away 
like mad about dear Kay's 
party and as I hadn't been 
to dear Kay's party I had 
nothing to contribute, so 
with a sigh of resignation I 
applied myself to my food. 

I must have applied my- 
self with unusual gusto for 
the moment my knife and 
fork touched my lamb chop 
it flew through the air with 
the greatest of ease, closely 
trailed by a bevy of peas, 
and landed with magnifi- 
cent aplomb right in Miss 
Shearer's lap. She couldn'L 
have been more surprised 

if someone had suddenly presented her with the head of John 
the Baptist on a silver tray. I. of course, died a thousand deaths 
then and there. Now, Miss Shearer could have been very, very 
angry; she could have been freezing!)' polite; she could have 
given it the grande dame and gone home to change her dress. 
But she didn't. She took one look at my horrified face and 
broke into the merriest, gayest laughter I have ever heard. 

"This," she said extending my poor chop towards me, "is a 
little something I found that must belong to you. Now you'd 
think, wouldn't you, that Sylvia could afford tender cuts." And 
then, taking in everyone at the table, "Did I ever tell you about 
. the time I spilled gravy down the stiffly starched shirt front of 
H. G. Wells?" 

And immediately everyone had a pet story to tell about the 
time she spilled such and such in the lap of so and so. Now 
I am pretty sure that Norma has never spilled anything on 
H. G. Wells, or anyone else, but believe me, I never appreciated 
a white lie more. When luncheon was over, and 1 could go home, 
I told her once more I was sorry. 

"Think nothing of it," said Norma with a grand smile. "When 
I like a dress I always buy several just like it. And the party 



really was dull, you 
know, until you broke 
the ice." 

I was never in- 
vited back to the 
Douglass Fairbanks', 
Sr., but I was in- 
vited two weeks later 
to Norma Shearer's— 
and she expressed 
great disappointment 
when I managed to 
keep everything under 
control on my plate. 
Slightly on the mad 
side herself, I dis- 
covered, she has the 
kind of sense of 
humor that I am a 
pushover for. She 
likes fun, and she . 
likes laughter, and 
she doesn't see why 
one should be glum 
and serious when one 
can be pleasantly in- 
sane. Today I am 
among her most ad- 
miring fans. I never 
eat a lamb chop 
without thinking of 
her. And even when 
chatting amicably 
with myself I call her 
Norma. 

The second best 
way of calling your- 
self to Norma's at- 
tention—the first of 
course is dropping a 
chop in her lap— is 
to stand on your 
head and balance a 
Ming vase on one 
foot and a Louis 
Quartorze chandelier 
on the other. She 
simply adores parlor 
tricks. With the 
slightest encourage- 
ment she will bal- 
ance a glass of water 
on her forehead, lie 
down on the floor, 
and get up again 

without spilling it. She can lift herself in doorways, make coins 
disappear, and all kinds of dizzy things. 

She is an exhibitionist only when it comes to tricks. When it 
comes to games she is a rank escapist. She usually escapes to the 
dining room and grabs herself a sandwich. 

At her own parties she very carefully sees to it that there 
are no games. After dinner she likes to have several musicians 
in to play and sing for her guests, and when their encores have 
all been duly applauded, everyone is invited into her private 
projection room to see a picture. She adores pictures and often 
shows two in one night, much to the disgust of her guests who 
do not always share her passion for the cinema. She is so crazv 
about pictures that she hardly ever misses a preview or a premiere 
and, I suppose, is the best informed person in Hollywood as to 
who-played-what-in-what. 

She is one star at least who gets a kick out of being mobbed 
by her public. "II all I had to sign were autograph books I'd 
be verj happy." Norma will tell you with a laugh. "It's signing 
checks that gets me down. There's something about signing a 
check that brings out the beast in me. I set aside one day a month 
for that ordeal." 



19 



For some strange reason which she has never figured out she 
becomes very anti-social when it comes to talking over the tele- 
phone. Even when her closest friends call she will say to her 
maid or butler "Tell her I'm having my hair done." . . . "Tell 
her I'm in a business conference." . . . "Tell her I'm giving an 
interview." . . . "Tell her I'm not home yet" . . . etc., etc. 

Norma is the despair o£ her lawyer and her secretary because 
she is constantly throwing away valuable papers. For no appa- 
rent reason— she has a hundred things to do, a fitting waiting 
her at the studio, an appointment at the hairdresser— she will sud- 
denly decide one fine morning that she must tidy up her desk 
and dresser drawers. (Like all very feminine women she keeps 
more legal papers under her handkerchiefs and stockings than 
she does in her desk.) Into the waste basket will go, belter skelter, 
bills, receipts, canceled checks, contracts, invitations, and insur- 
ance papers. Recently she and her secretary spent weeks looking 
tor an important document concerning her income tax, when 
she blithely recalled that she had personally conveyed it to the 
garbage can during her last tidy spell. What a woman! 

No matter what she wears Norma is always the most spotless 
looking person in a room. Her face always looks as if she had 
just scrubbed it with soap and water— as a matter of fact an 
English critic once said of her, "Norma Shearer's face is so clean 
you could eat ice cream off of it." 

She hates traveling and had much rather spend all her vaca- 
tions quite comfortably with her two children at her Santa 
.Monica beach house. She likes to do things unexpectedly that 
have not been planned and her idea of heaven is a place where 
she can get up in the morning and find a date pad without a 
mark on it. Unlike most Hollywood celebrities she adores going 
to banquets and listening to the speeches— she thinks maybe this 
is a bit of sadism in her, but she's not sure. Personally, she can't 
bear to make a speech. But she makes very nice speeches when 
she has to. 

She hates meeting new people and will avoid it as long as 
possible. Shecan'tstand 
an open door. The 
minute she comes into 
a roTn she closes all 
the doors and opens 
all the windows. She 
has a lot of friends, 
but surprisingly few 
close friends. Merle 
Oberon is her best 
friend and when Merle 
is in Hollywood she 
rarely goes any place 
without her. 

She who possesses 
the most beautiful and 
perfect profile on the 
screen was born on 
August the tenth it; 
Westmount, a suburb 
of Montreal, Canada, 
at 507 Grosvenor Ave- 
nue to be exact. She 
has one sister. Athole, 
who is now the wife of 
film director Howard 
Hawks, and one 
brother, Douglas, who 
is the chief recording 
engineer for Metro- 
Goldwyn-Mayer. She 
is of English, Scotch 
and Irish descent. Het 
great - grandfather, 
James Shearer, crossed 
over from Scotland in 
1843 and established in 
Montreal the Shearer 
Construction Company of which 
Norma's father was president at the 
time she was born. 

When she was eight years old her 
mother insisted that she study music, 
and although very naughty about it 
at first, she soon discovered, much to 
her surprise, that she was practicing 
two hours a day of her own free will 
and making great plans to become 
a concert pianist. But the nearest she 
ever got to the concert stage was as 
a song-plugger in a cheap movie 
theatre. When her father's business 
in Montreal failed as an aftermath 
of the World War her mother de- 
cided she and her two daughters, 
talented in the art of mimicry, might 
storm New York and try to get jobs 




on the stage. They sold the family piano to raise money enough 
to make the trip. 

Fourteen at the time, Norma will never forget her first trip 
to New York. "New York was an exciting experience," she says. 
"We rented cheap rooms at Ninth and 52nd Street. The elevated 
trains roared past our windows like dragons, every dull, yellow 
light a blinking eye. Sleep, for the first few nights, was impos- 
sible. We cooked our coffee on a tin of sterno and ate breakfast 
off the top of a trunk. It was all so strange. Somehow we weren't 
in the least discouraged, in spite of the fact that none of us 
knew the first thing about the theatrical profession. 

The first year in New York was disillusioning. No one 
seemed to be at all impressed with the name of Norma Shearei 
which now opens doors like magic. It opened no door 
then. Though, eventually, she did meet the great Zieg- 
feld who told her that she couldn't sing and couldn't 
dance and was much too small for a chorus girl. This 
verdict was repeated by practically every producer in 
New York. Determination to show them that there was 
a place for her in the theatre became an obsession. 
And when Norma gets her determination up— she has 
the greatest determination of any person I ever met— 
look out! 

With the little stock of money practically depleted 
Norma and Athole got their first jobs, at five dollars 
a day, as extras in a movie company that was shoot- 
ing in Mt. Vernon. Nowadays Norma arrives at the 
Metro studio in a Rolls, puts her make-up on in a large 
luxurious dressing room while dozens of people flit 
around waiting on her and saying "Yes, Miss Shearer." 
But not so in those days. 

"We would scramble out of bed in the darkness 
of early winter mornings," says Norma, "gulp a hasty 
breakfast and dash for the Grand 
Central Station. There we would 
boaid snow-piled cars for the studio 
in the suburbs. We dressed in a 
long room with cracks around the 
windows through which icy blasts 
blew continually. We borrowed 
frozen sticks of greasepaint from 
other girls and spread the thick, 
pink substance upon our fright- 
ened faces with cold, stiff fingers. 
The industry has changed since 
then. Leading men and women were 
not accountable to anyone. Some- 
times we sat all day, wait- 
ing for them, shivering in 
the dressing rooms, watch- 
ing the minutes slowly 
slip into hours. Sometimes 
they didn't show up at 
all." 

But while the job was 
neither easy nor remuner- 
ative it gave Norma and 




(Left) Norma with her 
close friend, Merle Oberon. 

(Above) The role of the 
rustling, glittering Marie 
Antoinette marks Norma 
Shearer's return to pic- 
tures. (Right) Count Fer- 
sen (Tyrone Power) and 
the ill-fated queen — the 
most famous lovers of all 
French History. 



20 



Athole their treasured pass 
key. Now they could de- 
clare to anyone and every- 
one who cared to listen, 
"We are experienced." 

In her second picture, 
"The Flapper" with Olive 
Thomas, Norma received 
the grand sum of one hun- 
dred dollars a week— simply 
because she had the nerve 
to ask for it. But she went 
back to her old salary of 
five dollars a day, and glad 
to get it, when after several 
months of no work at all 
she finally managed to be- 
come an extra in a Lillian 
Gish picture "Way Down 
East" which was made at 




the Mamaroneck Studio. This, she knew, would be her Big 
Chance. 

For the Director of "Way Down East" was David Wark Griffith, 
the great star-maker. She finally managed to call herself to his 
attention and pleaded with him for a screen test. But the great 
Griffith merely smiled at her and said, "If I were vou, I'd 
go home. Those Irish blue eyes of yours will never photograph." 
Norma went sick all over. A girl with less determination would 
have given up then and there. Til show them," she said when 
she could rid herself of that dreadful sinking feeling, "I'll show 
them." 

But in the meantime their little money gave out, neither Mr. 
Shearer nor Douglas was able to send them any more, so trying 
to be very gay about it all the mother and two daughters decided 
that if they had to starve it might be more comfortable to starve 
at home. But hardly were they back in Montreal than Norma 
received a wire from her agent announcing a lead for her in 
"Pink Tights" (the star had walked out) and highly elated she 
and her mother rushed back to New York. 

But the star of the picture recovered from her fit of tempera- 
ment and Norma again found herself without a sign of a job 
in New York City. It was then she played a piano in a cheap 
movie house, read the want ads, and finally, down to her last 
dime, got herself a job with a commercial photographer. From 
then on things seemed to get better. 

And then the Most Unexpected happened! One dav the officials 
in the office of Universal Pictures in New York, much to their 
surprise, received a telegram from their Hollywood studio instruct- 
ing them to engage a girl by the name of Norma Shearer. The 
telegram was signed, Irving Thalberg. 

Norma had never met Irving Thalberg, she had never even 
heard of him, so when Universal tracked her down through her 
agent the wire was as much of a mystery to her as it was to 
them. (Several years later she learned that Mr. Thalberg had 
seen her on the screen in a bit at the preview of "The Leather 
Pushers" and had jotted her name down in his notebook as being 
potential star material.) The Universal office in New York didn't 
mind at all telling her that they had no idea who she was, but 
the boss wanted her and orders were orders. 

While her agent was arranging her contract with L'niversal 
another most surprising thing happened. The New York office 
of the Hal Roach company offered her a contract to make pictuies 
in Hollvwood. This she refused at once because they asked her 
to change her name. And hardly had she recovered from thai 
surprise than she received a third offer from Louis B. Mayer 
of Metro-Goldwyn-Mayer. 

She had an awful leeling that somebody was playing a cruel 

joke on her, but the Metro 
office in New York, equallv 
as surprised as L T niversal 
had been, assured her that 
everything was quite legal 
and bona fide. The Mayer 
offer was for Si 50 a week, 
more than the other two 
offers, and transportation 
for her mother and herself. 
She signed the contract, 
and still in a trance left for 
Hollywood, the city of her 
dreams! 

Four days later she made 
her first "entrance" into 
Hollywood, and for the first 
and last time she arrived 
unheralded and unpubli- 
cized. There was neither a 
photographer nor a flower 
at the train to greet her. It 
has never happened since. 

When she first met Irving 
Thalberg at the studio she 
mistook him for an office 
boy. Embarrassed by her 
mistake she hastily told him 
all about her work in the 
East. When she finished he 
thanked her for coming and 
said with a sort of calm 
amusement, "We'll call you 
when the studio is ready for 
- you." 

She saw little of Irving 
Thalberg in the months 
that followed. There seemed 
to be no haste in putting 
her in a picture and it was 
all somewhat of a blow to 
.111 ambitious young lady 
who had been offered three 
contracts in less than a 
[Conlhnii <l on page 72] 

21 




Paramount Takes .Advantage Of Corona 
Del AAa/s Realistic Waterfront To Make 
Scenes For jpawn Of The North/'' 



ON THE shores of the balmy winter resort, Corona Del Mar, 
60 miles south of Hollywood, 250 people are making 
realistic salt water scenes which, oddly enough, will bring 
to the screen for the first time the romance of the great salmon 
run that each spring makes Ketchikan, Alaska, the scene of a 
dramatic war between packers and pirates. 

As we near the location for "Spaun.Of The North" an erstwhile 
bath house is noticed. This is now a combination mess hall and 
quarters for the large company which numbers among its mem- 
bers George Raft, Dorothy Lamour, Henry Fonda, John Barry- 
more and Louise Piatt. 

Henry Hathaway is directorial king of this "northern" fishing 
village sweltering in the 90 degree sunshine of Southern California. 
The only means of access by land is a road of boards laid over the 
sand from the distant pavement. The place looks rough and 
weather beaten; a community whose inhabitants wrest a hard 
living from the sea. 

The actors are dressed in rough homespuns and calicos of the 
1908 period. But they're having roast turkey for lunch, catered 
by one of the swankier Beverly Hills cafes. 

■ After lunch Dorothy Lamour and George Raft are made up— 
that is, made up to look a bit smeared and weather-beaten, and 
prepared to depict a tender love scene in which George is going 
to'take a beating. He must take a beating for two rehearsals before 
Director Hathaway shouts "Action!" for the cameras. 

Up to his neck in the Pacific Ocean, he is trying to hang onto 
a float ladder while Dorothy Lamour hits him on the head with a 
two-foot salmon. This happens six times, for as many "takes" 
of the picture, and he finally registers a protest. 

"What are you kicking for? That doesn't hurt." says Director 
Hathaway. "Look." And turning to Dorothy he uncovers his head 
and says, "Hit me." 



(Top) Dorothy Lamour plays 
a girl of the Far North, with 
not a sarong in sight. 
(Above) With Henry Fonda 
in a scene from the picture. 
(Right) An emotional inter- 
lude, between George Raft 
and Dorothy. 



22 



So Dorothy winds up and socks him on the head with the fish 
—hard. Hathaway staggers, slips and goes down. 

"Oh, you can't take it, eh?" says Raft. And the whole com- 
pany howls. 

Hathaway has his revenge however. He makes Raft undergo 
another "take." 

During this scene Dorothy is bundled up in a fur parka. With 
the thermometer around 90 degrees and the strenuous exercise of 
swinging the huge salmon she is all but suffocated. Even the 
chilling fear of being typed as a sarong-draped "jungle girl" wilts 
in this atmosphere. 

John Barrymore, seated out of the scene and swathed in a natty- 
suit of the 1908 vintage, with high collar, voluminous vest and 
stout tan shoes, recalled that Dorothy was swimming in the Pacific 
in mid-January clad in a sarong. Dorothy retorts that either 
Alaskans should wear sarongs or Hollywood should make its north- 
ern epics, requiring fur-clad maidens, in mid-winter. 

The next few scenes are long shots of George Raft on the deck 
of a small fishing schooner several yards off shore. By this time 




the red fire of the sun setting behind Catalina 
Island is signal for assistant director Holly Morse 
to call quits for the day. 

John Barrymore, Henry Fonda and John's 
valet leave the village immediately for Laguna 
Beach, 15 miles distant, where they spent their 
nights during the location stay. George Raft 
was met by Mack Grey, "The Killer," and they 
both dashed to Hollywood wheie they attended 
the fights that night. On other evenings George 
would ride to Laguna with the others, but leave 
it to George never to miss a prizefight— that is, 
if lie's within one hundred miles of one. 

Dorothy Lamour, on the other band, had a 
very special reason to scurry back to Hollywood 
just for the evening. As fate would have it, her 
baton-wielding husband, Herbie Kay, opened an 



At the Cocoanut Grove, orchestra 
leader Herbie Kay smiles at his 
wife, who made an appearance 
every night even when on loca- 
tion, as she dances by with Ran- 
dolph Scott. 



engagement at the famed Cocoanut Grove 
while Dorothy was working at this distant 
"ocation. Three nights a week Dorothy sang 
with the orchestra. On the other nights, 
weary as she must have been, she was seen 
gaily decorating a ringside table, to help in- 
sure Herbie's success at the Grove. This 
oyalty meant that she must arise at 4:30 each 
morning, drive to the studio for makeup 
and thence the sixty miles to location where 
she would report for work at 8 o'clock. 

The second day's shooting was mainly con- 
cerned with the high-diving activities of 
"Butch," the trained seal. Butch was supposed 
to dive from a second story window of the 
fishing village set while Dorothy and George 
looked on. The scene was all set to shoot 
while Butch's trainer looked on with alarm. 
After all, Butch came from the Pacific and 
given half a chance would probably return 
to it. He therefore insisted upon precautions. 

So a little corset was made for the seal with 
an attachment for a long leash. But Butch 
refused to perform in it. Harnessed, he just stood there and 
'ooked up at the trainer pitifully. Obviously, something else had 
to be done. 

Therefore a wide net was stretched under the water into which 
Butch was to jump. Then he was poised in the window and urged 
to take a dive. Now it was his turn to survey the setup with alarm. 
To begin with the window was too high. Butch wouldn't jump. 
Finally a prop man *.ook the situation in hand and threw Butch 
out the window and into the Blue Pacific. 

Now the fun began. Butch got clear of the net before it could 
be drawn taut and with a bark of joy he headed for the open 
sea. The background fishing fleet took off in hot pursuit. But 
every time the boat got close, Butch would dive in and come up 
laughing. 

The rest of the company, on shore, behaved like a crowd at 
the midget auto races. 

However, at last he was captured and brought ashore, tired but 
happy. It was all lh fun anyway. 

Back now at Paramount Studio and out on the Big T Tank, is 
a huge canvas enclosed arena in which reposes a replica of an 
old whaling ship converted into a dance hall. At the entrance is 
noticed an Indian totem pole and on inquiry it is divulged that 
the pole was brought from Alaska by John Barrymore when lie 
cruised the northern waters several years ago in the yacht "In- 
fanta." Hearing that Director Hathaway was looking for an 
authentic totem pole Barrymore got in touch with Dolores Costello, 
the former Mis. Barrymore, at whose [Continued on page 76] 



: " - - — _ 



- 



2 3 



Virginia Weid- 
ler's future 
has been safe- 
guarded by 
her wise 
mother. 




Hollywood Is The Rain= 
bow's End For Many 
A. Talented Youngster. 
.And, Nowadays, Their 
Guardians Can Be 
Relied Upon To P reserve 
TKe Greater Portion Of 
Their Earnings. 



WHAT is happening to the money of Hollywood's talented 
screen children— the money they have earned in the past 
and the money they are earning more or less continually 
right along?" 

"Is it being carefully saved, or is it being spent as fast as it's 
received?" 

"Is part of it being laid away for a 'rainy day' or is the whole 
sum-substance being squandered on this-and-that by perhaps well- 
meaning but ill-advised parents?" 

These are momentous questions. They are questions that are 
on everyone's lips at this time. 

Following Jackie Coogan's sensational suit against his mother 
and step-father to regain control of his fortune, the spotlight 
swept down on Hollywood in all its brilliancy— and set everybody 

thinking and thinking hard. 

Jackie, whom thousands of 
fans must remember as a small 




lad with great brown 
eyes, known as "The 
Kid" and star of 
"Peck's Bad Boy" and 
many other films, is 
now 23 and happily 
married to lovely Betty 
Grable. He estimated 
he had made §4,000.000 
during his youthful 
career, but his mother, 
Mrs. Bernstein, said 
her son should go back 
to school and learn 

adding for his fortune was never that high. Anyway, she main- 
tained whatever it was it belonged rightfully and legallv to her. 

Up until the trial, practically all the money Jackie had received 
out of the estate was a measly Si, 000 bill. Now, one grand notes 
aren't exactly to be sneezed at these davs, but, of course, between 
one thousand and the bulk of the Coogan funds there's as much 
difference say, as between Shirley Temple and Hugh Herbert! 

Naturally, Hollywood— plus the world— now sits back on its 
haunches and begins to consider other starlets and their huge 
earnings. If parents take their children's money, what shall the 
children do? It's quite a question. Some, of course, might even 
go so far as to consider a sit-down strike, 
eh, what? 

Movie kids' money has undeniably 
nought them much happiness in varied 
forms. On the other hand, there are those 
to whom it has brought much misery and 
many heartaches. 

For instance, take Baby Peggy. Baby 
Marie Osborne, Virginia Lee Corbin, 
Davey Lee and Mary Miles Minter. Mary 
wasn't exacth a baby starlet, but she was 
under age— about ir, or 16— when she was 



Freddie Bartholo- 
mew and Mickey 
Rooney in their 
latest picture to- 
gether, "Lord Jeff." 
Freddie's financial 
road has been any- 
thing but smooth, 
while Mickey's has 
been clear sailing. 



24 



piling up her thousands. But since coming of age, she seems to 
have had one legal battle alter another with her mother— all over 
her money. All this has, of course, lessened the original Minter 
fortune so that today it looks more like a mole-hill than a 
mountain! 

The Freddie Bartholomew case is recent enough to be recalled 
by all. Freddie's sudden "coming into the money" was the incen- 
tive needed to start the ball roiling. Mrs. Bartholomew thought 
Freddie should come back to her (he has lived nearly all his life 
with his Aunt Millicent), Mr. Bartholomew thought he should 
take care of the finances, Freddie's two older sisters thought they 
should be in pictures, too. And everyone, it seemed, thought they 
should have a slice of the Bartholomew 
earnings! Consequently, a fortune was spent 
paying lawyers so Freddie could continue 
living with his adored "Aunt Cissie." Under 
the court's ruling, the aunt was made 
guardian of Freddie and his fortunes. The 



14-year-old lad got 



up in court and ex- 
plained he wouldn't 
be able to save much 
money during 1938, 
what with lawsuits 
and taxes and every- 
thing, but that last 
year his aunt had 
saved for him and 





carefully laid away 
for his future $20,000 
out of his earnings. 

Jane Withers, just 
12, and the sixth 
most popular star in 
these United States, 
puts $1,000 a week 
into a trust fund of 
which she is sole 
beneficiary. All the 
rest of her plentiful 
earnings go into a 
bank account under 
her own name. Even 
now, Jane has to sign 
every check that is 
drawn on it. 

Her weekly allowance is five dollars. Last year 
it was $3, but increasing shopping needs and 
"conditions" were responsible for the increase, 




T T , _-, , . . . Jane Withers is the star 

says Jane. Less than a fifth of this of „ Hello Hollywood » 
allowance is spent on herself, how- she hm in 

ever; most of the money going to buy her bank book tQO 
ice cream hot dogs and other fancies That , s H wikoxon 
tor friends. She can t pass a newsboy with her 

or magazine carrier without making a 
purchase, and she has a weakness for 

dime stores that has her frankly worried! 

Jane's mother is bringing her up in an 
extremely wise manner. She has to make her 
own bed, do housework on certain days, and 
even "run errands." No spoiled young movie 
starlet is Mrs. Withers' small daughter! On 
the contrary, she is one of the nicest kids you 
could ever hope to find— anywhere! If she has 
any idea of her great importance, she keeps it 
to herself— and her weekly thousands roll off 
her back just as water off a 
duck's! 

Mickey Rooney's mother, 
Mrs. Nell Pankey, says that 
her son has an investment trust 
that will net him between 
$40,000 and $50,000. Besides 
that, he possesses two 13-year 
endowment policies. At the 
age of 21 he will receive 
$10,000 (and no one can get 
this but Mickey), 
and at 25 he 
gets another 
§10,000 — to do 
w i t h as he 
chooses. 

Golden-voiced 
Deanna Durbin 
earns a pretty 
good stipend 
[Continued 
on page 77] 



(Center) Juanita 
Quigley shares 
honors with Vir- 
ginia Bruce and 
Herbert Marshall in 
"One Woman's An- 
swer." (Left) Jackie 
Cooper, who has 
been going strong 
since his beloved 
"SUippy," doesn't 
fear depressions. 



25 






(Left) Looking west on 
Hollywood Boulevard, cor- 
ner or Vine Street. (Above) 
The attractive bar of the 

Trocadero a good place 

to see players. (Below — 
left) A studio troupe 
making a scene right in 
the middle of the street. 
Wherever you go you may 
encounter picture makers 
at work. 



What To Do And Where To Go. 
Take In The Si3nts -And Observe The 
Famous Stars — They're Thrown In Free- 



SO YOU want to come to Hollywood! 
Well, who doesn't? Wanting to come to 
Hollywood is a national disease and the 
only cure seems to be to come to Holly- 
wood. Now this article is not addressed to 
the thousands of young hopefuls, both girls 
and boys, to whom Hollywood spells movie 
stardom. For them I merely breathe a 
prayer and wish them luck. They'll need it! 
Neither is this a story of warning and advice 
to the movie struck— there have been hun- 
dreds of such articles. 

But this story is directed to the thousands 
of young women who want to come to 
Hollywood to spend that precious two or 
three weeks' vacation in the most glamorous 
city on earth. And who want to live cheaply, 
see as much as they can in that time and 
be in the center of Hollywood itself. 

You, Mrs. Well-to-Do, pass this up. You 
won't be very interested. And you lassies 
who are undecided whether to stay at the 
Ambassador in Los An<reles or the Roosevelt 



in Hollywood, just turn the 
page, too. Both of these hotels 
are exceptionally fine and very 
popular, but this article is for 
those to whom hotel rates are 
a bit prohibitive. For you who 
start saving right after Christ- 
mas for your vacation. Two 
weeks with pay. Maybe three, 
if the boss is good-humored 
and generous. You want to 
know where you can live 
cheaply; where to go; what to 
see: little secret means of cutting down ex- 
penditures without cutting down on Eun; 
and you can't afford a chauffeured car to 
take you on a Cook's tour, either. 

All right, here goes. Here are the sug- 
gestions 1 am passing on to you; discoveries 
that I made myself and that friends have 
passed on to me; and tips from various 
organizations. When you have finished this 
article I think you will feel that you will 




have your bearings when you arrive in 
Hollywood. 

I have been in Hollywood three years 
and have seen almost all there is to see 
but I feel I have retained enough of the 
newcomer's attitude to know just what 



26 



you are most anxious to 
find out about Filmland. 
I repeat, this is not for so- 
ciety debs. This is a work- 
ing gal's tour of Holly- 
wood. How to see the 
most for the least. 

Naturally if you have a 
little extra nest egg or 
Aunt Mathilda breaks 
down at the last minute 
and writes you out a 
check for fifty dollars, you 
will be able to augment 
your pleasures. But if you 
have saved until you have 
your round-trip ticket 
paid for and have your 
two weeks' salary plus 
your small savings left for 
board, room and sight- 
seeing, take my hand and 
I will escort little Alice 
through Movieland. 

First of all you want to 
live right in Hollywood. 
Naturally. You want the 
thrill of writing back 
home to the folks and 
your own intimate group 
of friends and giving your 
return address as Holly- 
wood! Here is a secret I 
have never dared confess. I still get a kick 
out of that and after three years, too. Just 
an old glamour glutton at heart! 

The train pulls into Los Angeles. (There 
is no railroad station in Hollywood). You 
are counting pennies so, unless you are 
extravagant, you don't take a cab to Holly- 
wood, a distance of about nine miles. Once 
on the street with one small overnight bag 
in hand (check all other baggage at the 
station until you are located), you will find 
an obliging car starter standing in front of 
the line of street cars directing strangers to 
the proper car. Tell him you want to go 
to the Subway Terminal. He will point out 
the car; you drop seven cents in the box on 
entering and ask the conductor to tell you 
when you near the Subway Terminal. You 




will have a short ride and when you reach 
Fifth and Hill streets, the obliging con- 
ductor will call out "Subway Terminal" 
and that is your exit cue. You can't miss the 
building one-half block away. It is big and 
grey and has a huge lighted sign "Subway 
Terminal." The terminal is a depot for 
street cars running to Hollywood, Glendale, 
Santa Monica and other adjacent towns. 
Walk straight through to the rear where a 
large sign will direct you to the Hollywood 
entrance gate. You CAN'T miss. There are 
several signs prominently placed. (Even I 
didn't get mixed up and I'm a notorious 
direction-mixer-upper). 

At the Hollywood gate is an attendant 
who will sell you a ticket to Hollywood foi 
ten cents. Pay him your fare, walk through 
the gate and down the incline to the red 
Hollywood street car at the bottom. That 
also has a prominent Hollywood Boulevard 
sign. Keep your ticket until the conductor 
collects it. He will punch it when you first 
are seated and will collect it when you are 
in the bounds of Hollywood. These may 
all seem trivial things to you, but I know 
how embarrassing it is not to know just 
the procedure fol- 
lowed by street rail- 
ways in different 
cities, and no one 
wants to admit he 
is a Hollywood 
tourist. Read and 
heed and you will 
be as nonchalant as 
a daily commuter. 

Shortly after you 
reach the boun- 
daries of Hollywood 
you are riding 
along Holly woo 
Boulevard and ii 






(Top) A famous movie theatre lighted 
up for a premiere. (Next) Entrance 
to the M-G-M studios. (Above) The 
striking exterior of a famous restau- 
rant — a haunt for tourists and auto- 
graph fiends. (Left) A private street 
on the Paramount lot showing a row 
of dressing rooms. 



you don't get 
a thrill out of 
the neon signs, 
throngs of 
people and flood 
lights rainbow- 
ing the sky, you 
are not a dyed- 
in - the - wool 
movie fan. 
Hollywood 
Boulevard and 
Vine street is 
the heart of the 
film capitol and 
you can get off 
any time after you have 
reached this section. 
Perhaps you would like 
to drop in at one of the 
many famous cocktail 
lounges or restaurants 
dotting the boulevard, 
before retiring. And 
when you are ready to 
call it a night, any taxi- 
cab driver will take you to the Holly- 
wood Y.W.C.A. or to one of Hollywood's 
many fine hotels. Be honest with him; tell 
him just about what you want to spend 
for a night's lodging and he'll direct you. 
Have a refreshing night's sleep and next 
day start looking for your room, bungalow 
or apartment; whichever you prefer. It is 
so tiring to arrive in town and start im- 
mediately on a lodging hunt. Besides, you 
won't know a thing about the city. 

Next morning you will awaken to the 
glorious California sunshine. (Hollywood 
Chamber of Commerce, please note!) To 
palm trees gently waving and to birds 
singing. Hollywood! After breakfast, stroll 
down to the Hollywood Chamber of Com- 
merce for city maps. Especially Hollywood 
and Beverly Hills maps. You will find them 
invaluable and so easy to follow. 

The Hollywood Chamber of Commerce 
is such a pretty building with pepper trees 
latily shielding it. It is on famous Sunset 
Boulevard and your hotel clerk will direct 
you. Don't at any time be afraid to ask ques- 
tions. People are always glad to be helpful. 
On your way you will pass the beauty salon 
of the Westmore brothers, Hollywood's 
famous make-up artists. 
The dail) papers [Continued mi (nigc 78] 

27 




Lloyd Nolan, a villain who 
will cast a menacing shad- 
ow over "Prison Farm." 
(Right) The tough boys 
who appeared in "Dead 
End" and "Crime School" 
are doing pretty good for 
themselves. Humphrey 
Bogart went good on us 
in the latter picture. 



THE speaker was Basil Rathbone, born in South Africa, educated 
in England and forced -to lead a skulking, sinister life on 
Hollywood celluloid: "In Tale of Two Cities, I rode down 
some children and killed them. I have beaten little Freddie 
Bartholomew. In Anna Karenina, I gave Greta Garbo the heave-o 
out of the house. In another picture I made friends with a very 
nice old lady, and then, having won her confidence, stole all 
of her paintings and murdered her, to boot. In still another 
picture, as the butler of a huge home, I made all other servants 
pay me ten per cent of their meagre wages and when one old 
chap begged be not to take the percentage, because his wife had 
to go to a hospital for an operation, I said, falsetto-key, 'That does 
not interest me. Hand over the money.' I have been a cad and 

a bounder, a sin- 
ister, skulking 
villain who has 
fc , VSf loued unwel- 

*'*V come attentions 

upon Garbo, 
\ Colheit. Sigrid 

(.niir. I nun,! 
Young. Oh\ i.i (le 
1 lav Miami. I am 
iMMK Public Eneim 

No. i . an ollensc 




Porter Hall, a different type, but 
still a villain. (Right) Bonita 
Granville plays so many "mean" 
parts it is as if "These Three" 
went on forever. 




to decent nostrils, and I am fed up with it. I'd like to lead a 
respectable life on the screen." 

Rathbone went on to explain the social repercussions of his 
screen villainies. If he steps into a department store elevator, 
women cower against the rear wall of what he calls the "lift" 
and hide their affrighted children under their skirts. He believes 
firmly that the only reason women are wearing longer skirts 
is because the abbreviated skirts did not permit them to hide 
their affrighted progeny. When he walks 
along the boulevards, policemen trail him 
in radio cars. Old men turn pale and cover 
their beards when they see him, fearful 
that he will tweak their lush growths 
and perhaps sink a knife between theii 
aged shoulder blades. At Santa Anita and 
luglewood racetracks, when he appears at 
a window to place a bet, the pari-mutuel 
men hastily hide the money and keep 
a wary eye on him until he departs. 

Yet Rathbone will admit that his life 
of crime and brutalitv on the screen has 
paid handsome dividends. Virtue may be 
its own reward, but the illustrious Rogues 
Gallery of the screen indicates that it pays 
well to beat the aged, steal from the 
blind, kick the crutches from under the 
armpits of the infirm, torture the help- 
less, abuse the weak, blackmail the indis- 
creet and commit minder with knife or 
gun or poison. 

I submit that the movies, in proving 
that villains are better remembered than 
Pollyannas, have proved nothing new. 
Cassius, who stabbed Caesar, rode to fame 



28 



on that minder. Of all the apostles, the name that 
comes most readily to mind is that of Judas, who 
betrayed His Master for thirty pieces of silver. Bene- 
dict Arnold is another traitor who has his own 
peculiar niche in history, and the world still writes 
about John Wilkes Booth, not because he was an 
actor, but because he assassinated Lincoln. Of all the 
characters in Uncle Tom's Cabin, the most readily 
remembered is Simon Legree. 

So if you want to make history, there are two 
routes open to you: become a great hero or a great 
villain. It is this latter route which has been pur- 
sued successfully by Charles Laughto'n, Basil Rath- 
bone, Peter Loire, the late Lon Chaney, Bela Lugosi, 
Akim Tamiroff, Boris Karloff. Edward G. Robinson, 
Charles Bickford. Claude Rains, Humphrey Bogart, 
Lloyd Nolan. John Carradine, George Raft. Ian 
Keith. Joseph Calleia, J. Carroll Naish, Porter Hall, 
Ivan Lebedeff, Brian Donlevy. Warren Hymer. 'Wal- 
ter Pidgeon, Bruce Cabot and others of the Rogues' 
Gallery of the cinema. Rogues Gallery, indeed, for 
they have explored the gamut of rascality from mur- 
der to manacles. ".Wanted, Dead or Alive" has hung 
over each one of them. 

There is a co-ed phase to villainy, of course. Bette 
Davis, who heckled crippled Leslie Howard in "Of Human 
Bondage," vaulted to stardom because of that performance. In 
"Jezebel," she added more twigs of laurel by sending George 
Brent to his death in a duel that she provoked. Bonita Gran- 
ule is a junior member of the rogues, proving that there's more 
ways of skinning a cat than Shirley Temple has suggested. Bette 
and Bonita indicate that vinegar is as potent as honey. 

To hear Cecil B. De Mille on the radio, or in person at a 
banquet, when he unloads his sophistries, you'd get the impres- 




sion that here indeed was a mild litile man, good to his folks 
and wishing evil to no man. Yet De Mille, subscribing heartily 
to the credo that a producer must shock movie audiences, has 
thrown more Christians to the lions in his spectacles than any 
single Hollywood individual. For all his seeming mildness, De 
Mille is a blood-thirsty fellow. In "Buccaneer," you will remem- 
ber that his ruffians killed by sword, cannon and fire; forced 
little Franciska Gaal to walk the plank, and in other sequences 
strangled actors with bare hands. 

What is the most horrifying or shocking scene you've ever 
shuddered at. on celluloid? My choice would be that scalp- 
crinkler in "Lives of a Bengal Lancer," when Douglas Dumbrille, 
as the Mohammed Khan, drives pointed sticks under the finger- 
nails of Gar) Cooper and Franchot Tone, and then sets the 
sticks ablaze. The closeup showed the beads of sweat on Cooper's 
forehead. If the camera had panned to the loge section where 
I was seated, it would have found equal beads on my own fore- 
head. 

In "Mutiny on the Bounty," Charles Laughton hit 
a new high in horror when he had a deserter flogged 
until dead. Remember Bruce Cabot, in "Let 'Em Have 
It." (1 think that was the picture), when he stripped 
the bandages from his face and. you saw his name 
cut into the flesh? Or the picture in which the gang- 
sters took Cagney from the hospital, killed him, 
propped him against the door of his home? When 
lii's mother opened the door, the body of her son 
crashed 10 the floor? John Carradine, as the brutal 
jailer in "Hurricane," was a horrible character. In 
"Marco Polo," Basil Rathbone either had his chained 
vultures released to peck out the eyes of captives, or, 
if lie felt mellow, tossed them to the lions for an a 
hi carte luncheon. 

Karloff, Tamiroff and Lugosi have done some \cr\ 
nice work in their screen careers, scaring usheis out 
of theatres, giving old ladies nightmares ai Bank Nights 
and otherwise allying them- [Continued on [mge 80] 



In roles that are sinis- 
ter, John Carradine is 
at his best. (Corner) 
Bette Davis always 
reaches great heights 
when she plays rebel- 
lious characters. 
(Right) J. Carrol Naish, 
villain par excellence. 
(Below) Akim Tamiroff 
is especially good in 
menacing roles. Suave 
or uncouth, he takes it 
in his stride. 





The Temperamenta 



Wkere Talent L^hts Tne /Movie Lots /\nd Personali 



HOLLYWOOD is no city in the usual sense. Although it is 
probably better known by more people than any other settle- 
ment since the beginning of time, it is not for the place, 
but for the personalities. 

Rome is renowned for its churches: Venice for its canals; New 
York for its soaring skyscrapers, while other proud 
cities boast of their universities, their art collec- 
tions, their architecture or their archives. The cen- 
ter of the film industry, on the other hand, is not 
even one metropolis with Hollywood for a post- 
mark, but a group of towns dedicated to movie 
make-believe. It can claim little fame for its physical 
front, but from Timbukto to Omsk it is spoken 
of in many languages as the magical spot from 
which come those flickering images on the screen 
which can make one laugh or cry and can trans- 
port one into a world of fantasy and illusion. 

Revisiting Hollywood after a year, I was tre- 
mendously impressed by the fact that it was not 
a place I was seeing again, but a group of fas- 
cinating individuals. I went through all the great 
studios with their vast equipment for making 
movies. I attended sneak previews and regular 
previews at many different playhouses. In addition, 
I went to such spots of relaxation for film-workers 
as the Trocadero, the new night club called Selz- 
nick's, the Cock 'n' Bull, Dave Chasen's, the Ven- 



Danielle Dar- 
rieux slinks 
for the honor 
of Paris. (Be- 
low) Adolphe 
Menjou is the 
personifica- 
tion of opti- 
mism. 



dome and the Brown Derby. 

But neither these, nor Sunset Boulevard, nor the beach at Santa 
Monica, nor the cluster of lights that is Beverly Hills at night, 
spelled Hollywood. It was the varied assortment of talented artists 
who have gathered together on the Pacific Coast to produce films. 
They and they alone make up the things we mean when we say 
Hollywood. 

Many of them I saw in their homes; others on sets, made 
up in strange disguises and curisus costumes; some I met seek- 




Hollywood 



homes and 



ing entertainment themselves 
after long hours spent in 
making entertainment for the 
whole world. Sometimes I 
was in Hollywood proper, at 
other times in Culver City, 
Burbank, Universal City or 
Beverly Hills. I visited pala- 
tial houses and modest apart- 
ments; famous restaurants and 
drive-in eateries. And to this 
moment, I confess, I rarely 
knew just where I was from 
a geographical standpoint. 

What mattered was that I 
talked for an afternoon with 
Norma Shearer, VV. S. Van 
Dyke and the other artists 
and craftsmen who were 
making Marie Antoinette re- 
live on a great set thronged 
with hundreds of extras. 
That I talked far into the 



30 



owai' 




night with a noted director, a group of top-flight writers and a 
star, who told me what they thought were the most important 
aspects in the making of pictures. That I spent a day listening 
to Walt Disney outline his fascinating plans for new animated 
cartoons. Or that I foregathered with scores of other great people 
of the screen, sometimes by appointment, sometimes, as in the 
case of W. C. Fields, by chance. 

Studio cars took me from one place to another, as is the custom 
with visiting film critics or "visiting firemen," as we are known. 
I am certain that in the course of these drives I saw just about 
everything there is to see in the way of Hollywood externals, 
from the handsome, palm-lined avenues of Beverly Hills to the 
orange groves of the San Fernando Valley. I brought away very 
few memories of actual places, though, unless these places hap- 
pened to be the backgrounds for the stars and other screen workers 
with whom I spent my time. 

The fact remains that the whole history of the screen, as 
we know it, is bounded by the low-lying hills and the Pacific 
Ocean, which mark the vague boundaries of the film industry. 
As a screen reviewer, it has been my opportunity to see most 
of the top-flight artisans of the movies as they have passed 
through New York on vacations or business. We have talked 
about films and film-making. They are curiously different, though, 
from the same people seen on their home grounds— Hollywood. 

You must go there, linger on sets, talk to directors, writers, 
producers and stars to realize just how powerful this can be. 
It is one thing seeing Norma Shearer in a Manhattan hotel or 
restaurant, talking on the variety of subjects which intrigue a 
visitor to New York, from the theatre to baseball games. Ii is 
quite another thing to see her caught up in the pervading excite- 



ment which filled the set when I was watching final scenes on 
"Marie Antoinette" being shot. 

No one is free from this almost occult and brooding force. 
I chatted with Danielle Darrieux, the young French actress, who 
will go far in films unless I am mistaken. She was appearing 
opposite Douglas Fairbanks, Jr., but was resting while close-ups 
were made of her co-star. We talked of Paris, of French film- 
making and for a few moments I thought that I was no longer 
in Hollywood. Suddenly the director called: "Ready, Miss Dar- 
rieux." The young lady ceased to be a charming Parisian, rem- 
iniscing about a lovely city. She became the very apotheosis 

of Hollywood— one of 
the countless craftsmen 
who represent all of 
the best aspect, of mo- 
tion picture 
fashioning. 
The charge 
is still 
brought 
against 
Hollywood 
that it is 
agressively 
provincial, 
that movie peo- 
ple do nothing 
but eat, sleep 
and talk movies 
there. The 
charge is true 
enough. Wheth- 
er I was talking 
to Leo M c - 
Carey, the Acad- 
emy Award win- 
ner, for his di- 
rection of "The 
Awful Truth," 
in a restaurant, 
driving along the 
Pacific coastline 
with Robert 
Montgomery or 
sitting in a pro- 
joction room 
with Walt Dis- 
ney, there was always one all-impor- 
tant subject for discussion— films. 

This true Hollywood— this concen- 
tration of gifted people working to- 
ward the common goal of making 
better and still better films, is what 
one visits and not a collection of far-flung studios, palatial homes 
and cafes. I might have stayed for months there and felt myself 
a complete alien, had 1 not met some of those artists with whom 
I had spent time a year ago, and the new ones who are always 
coming up to take the places of those who leave or go under 
in the stern competition which film producing implies. 

It is a strange and curiously satisfying experience to see a city 
in this manner. There may be no Taj Mahal to make one gape 
with wonder, but there is a fierce and unified current to living 
which is to be found in few places of the world. Joan Craw- 
ford lunching in a commissary, Robert Taylor waiting for long 
minutes to play his scene, W. C. Fields discussing his new pic- 
ture, Sonja Henie skating through graceful figures or Mr. Disney 
describing the intricacies of translating drawings to the screen 
make up as vivid memories for me as the outer show of the 
great cities of the world which I have visited. 

There have been changes in this Hollywood of personalities 
in the course of a year. Familiar faces are missing and new figures 
are in the ascendancy. What is more important is the fact that, 
new or old, screen workers are all of them more anxious than 
ever to find out the fundamental values in motion pictures and 
exploit them to the best of their abilities. 

It is no secret to anyone by this time that the screen has felt 
the recession and thai producers and their assistants in film-making 
are faced with one of the most momentous ni^cs thai the cinema 
has evei experienced. Adolphe Menjou, [Continued on page 68] 



Gary Cooper takes 
it all very seriously. 
And Joan Bennett 
(left) is inclined to 
do likewise. 



1 



■ 



EASY 
DIDN'T 
DO IT 

They'd Fight And Kiss On The Set 
And Kiss And Fight Off Stage, But 
They Kissed Once Too Often. 

By 

DcWid A/lanuel 

SHE looked up at me tenderly. "I love you. ... I love you, 
my darling," she said fervently. "My life is but— is but. . . . 
Oh nuts!" 

"Cut!" Mr. Cameron said sharply. The cameras stopped 
rolling. Everybody on the set laughed. I took a deep breath 
as Mr. Cameron got up and came over to us. He was dis- 
gusted. He levelled his forefinger at Vicki. "Young lady, this 
is the fifth time today you've blown up in your lines. For 
heaven's sake what's the matter with you?" 

Her smoky-blue eves flashed. "How do you expect me to 
say lines with this lug standing on my foot?" She pointed at 
me accusingly. 

"What about it, Alan?" 

"Was that her foot I was standing on?" I asked innocently. 
"Why I had no idea . . ." 
"Liar!" she snapped. 

"Listen, you two children." Mr. Cameron said. "I've just 
about had enough of this dog-and-cat business. Go get some 
lunch and be back on the set at one-thirty. I'll give you both 
one more chance. And that's all." He turned abruptly and 
walked away. 

"Next time, Miss Lee," I said, "maybe you won't mug so 
much. No blonde cutie is going to steal scenes from me." 

She shook her mop of gold hair, nearly speechless with 
fury. I grinned at her. Then Jake Krall called from the other 
side of the set that he wanted to see me. I joined him and we 
went outside and across the lot to my two-by-four dressing 
room. I loosened the coat of my uniform, sat down and lit a 
cigarette. Jake tilted his hat back on his head and chewed 
thoughtfully on a matchstick. As usual he was sombre; Jake 
never smiled. 

"What's on your mind?" I asked. "What fiendish schemes 
are the publicity department up to now?" 

"Lissen pal. We been friends how long? Six-seven months? 
Sure. Now we ain't going to let a little thing like this come 
between us. Are we?" 

"Not if vou say so, Jake." This was his usual line. He always 
liked to be mysterious. 

"Awright. This is how it is, see. You know about vou and 
La Lee. They been grooming you two to be a team. Like, say, 
I.oretta Young and Ty-rone Power. You know that. I know it. 
Everybody knows it." 

"Sure. So what?" 

"So I'm coming to it." He shifted the matchstick from one 
corner of his mouth to the other. His eyes were small in his 
fat face. He was developing a paunch. "You been making 
'B' pictures. Four-five of 'em." 

"You mean we've been making the same story over and 
over again for months. I'm getting tired of it. Same story— 
different costumes. First it's the navy; then it's the marines; 
then it's football— and now look at me ..." I indicated the 
fancy uniform I was wearing. "Now they got us in a mythical 
kingdom." 

"Yeah, yeah, I know. Thassa way it goes." 

"Next it'll be the boy scouts. When they going to cut out 
the quickies and give us a good production?" 

"Thai's what I'm coming to. They been building you up. 
\uu two. Now they got you where the) want you. Your next 




is gonna lie a million-dollar production." He said this as if a 
million dollars was fifty cents. 
"When do I get a raise?" 

"If \our first big picture clicks, you'll both be in the money." 

I began to get suspicious. "Listen. Jake, what's going on? 
Stop talking in circles and tell me." 

" lake it easy, pal. Now this is it. We gotter build you up 
a little more, see. For the fans. We're gonna give 'em the old 



3 2 




stuff. Romance. You and La Lee It's a natural." 

"Oh no you don't. No box-office romances for me. And 
especially not with Vicki Lee. Besides, I'm engaged to be mar- 
ried. Or didn't you know that?" 

"That don't make no difference. Now don't be difficult, 
pal. I had enough trouble persuading La Lee to do it. I ain't 
gonna have trouble with you now, am I?" 
"You mean Vicki agreed to do it?" 

"Agreed perhaps ain't the right word. But she's gonna 
do it." 

I shook my head. "Not me, you're not. You're not going 
to rope me in on anything like this. Say, I've got enough 
troubles .already." 

"That's for me, that Vicki. Plenty guys would jump at a 
chance like this." 

"Plenty of other guys, maybe. Anyway she hates the sight 
of me." 

"No she don't. That's just because you're always needlin' 
her." 

'What about her needling me?" 
" Purely self-defense." 

"Maybe. Well, what if I won't do it?" 

"They'll turn on the heat, pal. You better do it if you don't 
want to be out in the cold." 

This was a fine state of affairs. I hesitated. "I wouldn't 
mind so much, Jake, if it wasn't for Sandra. You see, we're 
engaged. She's a Pasadena society girl, Jake. And she's got no 
use for movies or movie people. Except me. What would I 
tell her?" 

"I can't help that. That's your problem. All I got to say 
is she must be a screwy dame if she don't like movies." 

I saw there was no use arguing. "Well, what do you want 
me to do?" 

"Sunday night you take Vicki to the Troc. I'll be there and 
get a couple of pixtures, see." 

"Nothing doing, Jake. I'm taking Sandra Knight to the 
Trocadero Sunday evening. I've been trying to get her there 
for months. And she finally agreed. I can't turn her down after 
all that. I tell you I had one big job getting her to go at 
all. She thinks Hollywood is for tourists and ham actors." 
"She ain't the only one, pal." 

"Tell me, Jake, why did I ever want to be an actor?" 
"You've got me there. But you ain't the only one this gets 
in a jam. Her, too. La Lee. Vicki the Vixen." 
"How do you mean?" 

"She's got herself a new boy friend. A big-shot. And you 
know how dames go for big-shots. Most dames are loo am- 
bitious for their own good. Well, this feller s 
a writer. Two-and-a-half-grand-a-week guy. And 
you know, pal, that ain't hay. La Lee reserves 
all her Sunday nights for him. So you and her 
are in the same boat." 
"Who's the sap?" 

"Guy named Ben Powers. Know him?" 
"Yeah, I know him. A little corny, isn't he?" 
"Right off the cob. But he's in the money." 
"That's what Vicki goes for." 
"Thai's what all cuties go for. But you got 
Vicki all wrong, pal. She's really a sweet kid. 
She's ambitious, sure, but she's worked hard and 
she deserves anything she gets. You oughter 
treat her nice. She's got a heart as big as an 
actor's head. You're the only one don't like 
her." 

"She doesn't like me any better." 
"You treat her too rough. To handle a dame, 
you've got to be nice to them. They can't take 
it when you give 'em too much double-talk." 
"She can dish it out too." 
"Like I was sayin', pal— self-defense." 
'I here was only about half an hour till I had 
10 be back on the set again, so we went to 
I he commissary and I had a sandwich and a 
cup of colfee. lake kept haranguing me all the 
time I ate. Filially I told him all right, I'd do 
it, if he'd figure out some way of explaining 
things to Sandra. 

"All you have to do is to be at the Troc 
with Vicki," he said. "So we can gel pixtures. 
We got the copy written up already. Bring the 
girl-friend along; that's what La Lee's gonna 
do with Powers. You'll have to be with Vicki. 
sine but you'll have your ever-lovin' Banc) 
along too, see." 
"Oh sine, that fixes everything. Just swell, 
Dandy." 
"Don'l wony. pal. Just take 

fellow, 



He levelled his forefinger at 
Vicki. "Young lady, this is the 
fifth time today you've blown 
up in your lines. What's the 
matter with you?" 



things easy. 

"This Powers is a big 
isn't he?" 
"Yeah." 

"Suppose he thinks I'm cut- 
33 



ting him out with Vicki?" 

"That's one angle I overlooked." 
'Great." 

"But I'll be there, pal. Don't worry. Don't forget now, you've 
got to go through with this. If either you or Yicki reneges, that 
one is gonna get into trouble." 

"Say that again." 

He said it again. 

"I get it," I said. "If Vicki backs out I'm not to blame." 

Jake got it too. "Lissen pal, don't do anything I'm gonna regret. 
Just remember, easy does it." 

I left the studio about six o'clock. All the necessary takes had 
been cleaned up without any more trouble. I drove out Wilshire 
to Westwood where I had a small apartment. Then I called 
Sandra. 

"Listen, honey," I said, "about Sunday night ..." I explained 
what was going to happen. Just as I had expected, she didn't 
like it. But by talking nice I persuaded her not to back out of 
her agreement. 

"I'll do it— just this once," she said. 

"It won't happen again— I hope." 

"Oh so that's how it is. Every time I go any place with you 
you'll have to have that mascaraed darling of the screen along." 

"Now Sandra, I love you, only you— so what difference does 
anything else make?" 

By the time I convinced her that everything would be all 
right I felt worn out. I had tried to pretend that the whole thing 
would be over in a few days. But I knew better. I realized it 
would probably go on for months— until Yicki's and my first big 
picture was released. 

Friday night I went to the Legion fights with Jake. Satur- 
day I did some shopping, and inspected several used-car bar- 
gains. I spent all day Sunday on the beach, worrying. 

The set-up for Sunday night was this. I was to take Sandra to 
the Trocadero and leave her in Jake's hands. Then I was to go 
and call for Vicki. Which was what I did. 

At about nine I drove my car into the driveway of the Knight's 
palatial Pasadena home. The butler admitted me with his usual 
air of distaste. Xo member of the family was in evidence. How 
those Knights despised actors! Sandra came down the